PART XXVI.
THE REVIVAL
THE LEGACY BANDS.
(2005-2015)
METALLICA (2005-2015)
Metallica spent this decade trying to rebuild the version of themselves they had gradually drifted away from. After the turmoil surrounding St. Anger and the public therapy spectacle of Some Kind of Monster, the band entered the studio with Rick Rubin and attempted a hard reset. The result was Death Magnetic in 2008, an album built on long, multi‑section compositions and a return to down‑picking discipline. It wasn’t a perfect revival of their 1980s sound, but it was the closest they had come in decades, and it changed the tone of the conversation around them.
The band toured relentlessly, leaned heavily into their back catalogue, and became a fixture at the biggest festivals in the world. The Big Four shows in 2010 and 2011 placed them back inside the thrash narrative, even if they were operating on a scale no other band could match. Internally, the group finally stabilized. Robert Trujillo settled into the bassist role, James Hetfield regained confidence as a frontman, and the band found a working rhythm after years of tension. This era was about regaining control of their identity rather than reinventing it. Metallica wasn't back but they made some improvements.
The band toured relentlessly, leaned heavily into their back catalogue, and became a fixture at the biggest festivals in the world. The Big Four shows in 2010 and 2011 placed them back inside the thrash narrative, even if they were operating on a scale no other band could match. Internally, the group finally stabilized. Robert Trujillo settled into the bassist role, James Hetfield regained confidence as a frontman, and the band found a working rhythm after years of tension. This era was about regaining control of their identity rather than reinventing it. Metallica wasn't back but they made some improvements.
MEGADETH (2005–2015)
Megadeth entered one of their most focused and musically disciplined periods since the early 1990s. Dave Mustaine rebuilt the band around technical precision, bringing in players like Chris Broderick and Shawn Drover, musicians capable of executing the intricate material he was writing. United Abominations in 2007 and Endgame in 2009 marked a clear return to sharp, tightly wound thrash, with Mustaine delivering some of his most aggressive riffs in years.
Thirteen in 2011 continued that momentum, blending new material with older ideas that had been sitting in the vault. The lineup shifted, as it always does in Megadeth, but the musical direction stayed remarkably consistent. Mustaine toured heavily, kept the band in the public eye, and re‑established Megadeth as a reliable source of modern thrash rather than a legacy act coasting on past glories.
Thirteen in 2011 continued that momentum, blending new material with older ideas that had been sitting in the vault. The lineup shifted, as it always does in Megadeth, but the musical direction stayed remarkably consistent. Mustaine toured heavily, kept the band in the public eye, and re‑established Megadeth as a reliable source of modern thrash rather than a legacy act coasting on past glories.
Megadeth - Endgame (2009)
SLAYER (2005–2015)
Slayer entered the decade with surprising vitality. Christ Illusion in 2006 felt like a deliberate attempt to reconnect with the darker, more chaotic energy of their classic years, and World Painted Blood in 2009 continued that late‑career surge. The real story of this era, however, was Jeff Hanneman. After the spider‑bite incident in 2011, his health deteriorated rapidly, and his ability to tour or record diminished.
Gary Holt stepped in to cover his parts live, and although he did so with total respect, the chemistry of the band inevitably shifted. Hanneman’s death in 2013 marked the end of the true Slayer, even though the band continued with Holt and Paul Bostaph. The decade began with creative strength and ended with a sense of finality, closing the book on one of thrash’s most important partnerships.
Gary Holt stepped in to cover his parts live, and although he did so with total respect, the chemistry of the band inevitably shifted. Hanneman’s death in 2013 marked the end of the true Slayer, even though the band continued with Holt and Paul Bostaph. The decade began with creative strength and ended with a sense of finality, closing the book on one of thrash’s most important partnerships.
ANTHRAX (2005–2015)
Anthrax spent the early 2000s in a state of identity crisis, struggling to find a stable direction. Everything changed when Joey Belladonna returned. His presence restored the band’s classic identity, and Worship Music in 2011 became the album that pulled them out of the wilderness. It was the first time in decades that Anthrax sounded unified and confident. The Big Four shows helped them regain visibility, but it was the strength of Worship Music that proved they still had something meaningful to contribute. This era was about rediscovery, healing old wounds, and finally stabilizing after years of uncertainty.
TESTAMENT (2005–2015)
Testament experienced one of the most impressive resurgences of any thrash band during this period. The return of Alex Skolnick and the reformation of the classic lineup gave them a level of musicianship few bands in the genre could match. The Formation of Damnation in 2008 was a statement album, aggressive and modern while still rooted in the band’s identity. Behind the scenes, Chuck Billy’s recovery from cancer and the band’s renewed chemistry created a sense of purpose that carried into their live performances. Testament toured heavily, often outperforming bands placed above them on festival bills, and became one of the most respected live acts in thrash. This decade cemented them as a top‑tier band rather than a nostalgic name.
Testament - The Formation of Damnation (2008)
EXODUS (2005–2015)
Exodus were a force of nature during these years, entering their heaviest and most violent era. With Rob Dukes on vocals, the band embraced a more brutal, modern sound than anything they had done in the 1980s. Shovel Headed Kill Machine in 2005 set the tone, followed by The Atrocity Exhibition in 2007 and Exhibit B in 2010. These albums pushed the band into a more extreme direction, Not everyone liked this new era since it was a bit of a new direction for the band.
Gary Holt became the creative backbone, writing most of the material and eventually stepping in for Slayer when Jeff Hanneman fell ill. That move raised Exodus’ profile but also complicated their schedule. Internal tensions simmered, and by 2014 Dukes was out and Steve “Zetro” Souza returned for Blood In, Blood Out. It was a turbulent but musically ferocious decade, arguably the most intense in the band’s history.
Gary Holt became the creative backbone, writing most of the material and eventually stepping in for Slayer when Jeff Hanneman fell ill. That move raised Exodus’ profile but also complicated their schedule. Internal tensions simmered, and by 2014 Dukes was out and Steve “Zetro” Souza returned for Blood In, Blood Out. It was a turbulent but musically ferocious decade, arguably the most intense in the band’s history.
KREATOR (2005–2015)
Kreator dominated European thrash throughout the decade and became the most consistent of the German legends. Mille Petrozza led the band through a run of albums that blended modern production with the aggression of their classic era. Enemy of God in 2005 re‑established them as a global force. Hordes of Chaos in 2009 captured their live energy with a rawer production approach, and Phantom Antichrist in 2012 added a more melodic and almost epic dimension to their sound. The lineup remained stable, a rarity in thrash, and the band’s relentless touring schedule kept them at the top of festival bills. Kreator didn’t reinvent themselves. They refined themselves. The arrival of Sami Yli-Sirniö in 2001 made the band more melodic without losing their heaviness.
SODOM (2005–2015)
Sodom continued their long tradition of raw, direct thrash. The self‑titled Sodom in 2006, In War and Pieces in 2010, and Epitome of Torture in 2013 all stayed true to their wartime aesthetic and underground spirit. Tom Angelripper kept the band grounded in the same gritty identity they had maintained since the 1980s, even as guitarists came and went. Bernemann Kost remained the longest‑serving partner during this era, giving the band a stable musical core. Sodom didn’t chase trends or modernize their sound. They doubled down on what they did best, maintaining a fiercely loyal fanbase.
DESTRUCTION (2005–2015)
Destruction spent this decade refining their sharp, stripped‑down thrash attack. Inventor of Evil in 2005 marked a strong return to form, followed by Day of Reckoning in 2011 and Spiritual Genocide in 2012. Schmier and Mike Sifringer kept the band active on the road and in the studio, delivering records that stayed true to their formula while incorporating a slightly more modern production aesthetic. Lineup changes mostly affected the drum stool, but the core duo remained intact, giving the band a consistent identity. Destruction weren’t chasing reinvention. They were preserving the essence of what they had always been.
OVERKILL (2005–2015)
Overkill quietly became the most reliable thrash band of the entire era. They released Immortalis in 2007, Ironbound in 2010, The Electric Age in 2012, and White Devil Armory in 2014, a run of albums that never dipped in quality. The lineup stabilized around Bobby “Blitz” Ellsworth and D. D. Verni, with Dave Linsk and Derek Tailer forming one of the most dependable guitar teams in modern thrash. Overkill toured harder than almost anyone, maintained a stable identity, and built a reputation as the genre’s iron workhorse. While other bands stumbled or reinvented themselves, Overkill simply kept delivering.
Overkill - Ironbound (2010)
FORBIDDEN (2005–2015)
Forbidden reunited with surprising strength, bringing back Russ Anderson and Craig Locicero and delivering Omega Wave in 2010. The album blended their classic melodic complexity with a modern edge, and fans responded enthusiastically. But internal pressures, lineup instability, and the realities of trying to restart a career decades later made it difficult to maintain momentum. Despite the quality of the music, the band faded again before they could build on the comeback.
HEATHEN (2005–2015)
Heathen resurfaced with The Evolution of Chaos in 2009, a record that reminded the world why they were one of the most respected cult bands in the Bay Area. Their melodic, technical approach stood out in a scene dominated by aggression, and the album became a quiet classic among fans. During this period guitarist Lee Altus also played with Exodus. Touring was limited, partly due to members’ commitments elsewhere, but the strength of the album alone was enough to reestablish their legacy.
Heathen - The Evolution Of Chaos (2009)
FLOTSAM AND JETSAM (2005–2015)
Flotsam and Jetsam spent this decade rebuilding themselves after years of instability. The band released Dreams of Death in 2005, a darker and more conceptual record that showed they were still willing to experiment. Two years later came The Cold, which leaned into a more melodic and atmospheric direction and quietly became one of their most respected modern albums. Lineup changes were constant, especially on guitar, but Michael Gilbert eventually returned and helped stabilize the band’s sound.
By the time they released Ugly Noise in 2012, they were operating with a mix of returning veterans and newer players, and the album reflected that blend of experience and renewed energy. Flotsam never regained the commercial momentum of their early years, but they remained a persistent, evolving presence in the metal underground.
By the time they released Ugly Noise in 2012, they were operating with a mix of returning veterans and newer players, and the album reflected that blend of experience and renewed energy. Flotsam never regained the commercial momentum of their early years, but they remained a persistent, evolving presence in the metal underground.
DEATH ANGEL (2005–2015)
After reuniting in the early 2000s, they entered a remarkably productive period. Killing Season in 2008 showed a band that had matured without losing their speed or edge. The real turning point came with Relentless Retribution in 2010, an album fueled by lineup changes and a renewed sense of purpose. Drummer Will Carroll joined during this period, giving the band a tighter and more aggressive rhythmic foundation. The Dream Calls for Blood in 2013 continued that momentum, proving Death Angel were thriving even though some found their albums to be a bit on the modern side. Their live performances during this decade were some of the most energetic in the genre, and they became a staple of modern thrash tours.
SEPULTURA (2005–2015)
Sepultura spent this decade carving out a new identity with Derrick Green and Andreas Kisser steering the ship. The band moved further away from their classic sound, but they remained active and creatively restless. Dante XXI in 2006 and A-Lex in 2009 were both concept albums, showing a willingness to take risks even as fans debated the band’s direction. The arrival of drummer Eloy Casagrande in 2011 changed everything. His explosive playing revitalized the band and pushed them into a heavier, more technical direction. Kairos in 2011 and The Mediator Between Head and Hands Must Be the Heart in 2013 reflected that shift. Sepultura were no longer lost in the modern metal sauce. They were building something new, inspired by their thrashing past and by the mid‑2010s they had fully committed to that path.
ANVIL (2005–2015)
Despite not being a full on thrash metal band, Anvil entered an unexpected renaissance thanks to the documentary Anvil! The Story of Anvil in 2008. Before the film, they had released This Is Thirteen, a self‑funded album that showed they were still grinding despite decades of setbacks. The documentary brought them global attention, and suddenly the band found themselves playing major festivals and touring internationally again. They followed up with Juggernaut of Justice in 2011 and Hope in Hell in 2013, both of which benefited from renewed confidence and visibility. Lineup changes continued, especially on drums, but Lips and Robb Reiner remained the core. This decade was the closest Anvil ever came to a second career.
SACRIFICE (2005–2015)
After years of inactivity, the band reunited and released The Ones I Condemn in 2009, their first album since 1993. The record was a shock to many fans because it sounded like the band had never left. Rob Urbinati and Joe Rico returned with the same sharp, aggressive riffing that defined their early work, and the album was praised for its authenticity and intensity. The lineup was mostly intact from the classic era, which gave the comeback a sense of continuity. Sacrifice didn’t tour heavily, but the strength of the album alone was enough to remind the thrash world that they were one of Canada’s most underrated bands. Their return was brief but meaningful, and it placed them firmly within the broader thrash resurgence of the late 2000s.
After years of inactivity, the band reunited and released The Ones I Condemn in 2009, their first album since 1993. The record was a shock to many fans because it sounded like the band had never left. Rob Urbinati and Joe Rico returned with the same sharp, aggressive riffing that defined their early work, and the album was praised for its authenticity and intensity. The lineup was mostly intact from the classic era, which gave the comeback a sense of continuity. Sacrifice didn’t tour heavily, but the strength of the album alone was enough to remind the thrash world that they were one of Canada’s most underrated bands. Their return was brief but meaningful, and it placed them firmly within the broader thrash resurgence of the late 2000s.
Sacrifice - The Ones I Condemn (2009)
ONSLAUGHT (2005–2015)
Onslaught returned with surprising force after years of inactivity. Killing Peace in 2007 marked their first album in almost two decades and immediately re‑established them as one of the UK’s most aggressive thrash bands. Sy Keeler’s return on vocals gave the band a sharp, commanding presence, and the album’s reception pushed them back onto the international stage. They followed with Sounds of Violence in 2011, which many fans consider one of the strongest records of their entire career. Lineup changes were frequent, especially on guitar, but the band kept touring and recording with a level of intensity that rivaled their early years. VI in 2013 continued their modern resurgence and proved they were not just a nostalgia act.
WHIPLASH (2005–2015)
Whiplash resurfaced with Unborn Again in 2009, their first album in over a decade. Tony Portaro remained the driving force, and the record showed he still had the speed and bite that defined the band’s early work. The lineup around him shifted repeatedly, making it difficult for the band to maintain consistent touring, but they stayed active on the festival circuit. Although they didn’t release another album during this period, their return kept their legacy alive and introduced them to a new generation of fans.
NUCLEAR ASSAULT (2005–2015)
Nuclear Assault reunited intermittently throughout this decade, playing festivals and select tours. They released the Third World Genocide album in 2005, which leaned into a rawer, punk‑infused thrash sound. After that, the band’s activity became sporadic due to Dan Lilker’s commitments elsewhere and the members’ reluctance to fully restart the band. Still, their live appearances were well‑received, and they remained a respected name in the thrash revival era.
HIRAX (2005–2015)
Hirax stayed active throughout the decade with Katon W. De Pena leading a constantly shifting lineup. The New Age of Terror in 2004 set the stage, and they followed with El Rostro de la Muerte in 2009 and Immortal Legacy in 2014. The band’s sound remained rooted in high‑speed, high‑energy thrash with a strong crossover edge. Hirax toured heavily in South America and Europe, building a cult following that kept them relevant even without mainstream attention.
ARTILLERY (2005–2015)
Artillery experienced a major revival during this period. After reforming, they released When Death Comes in 2009 and My Blood in 2011, both of which showcased their signature blend of melodic riffs and sharp, technical thrash. Vocalist Søren Adamsen brought a more powerful, traditional metal edge to the band’s sound. Later in the decade, Michael Bastholm Dahl took over vocals, and the band released Legions in 2013. Artillery became one of the most active European thrash bands of the era, touring widely and releasing some of the strongest material of their career.
TANKARD (2005–2015)
Tankard remained one of the most consistent and good‑humored bands in German thrash. They released The Beauty and the Beer in 2006, Thirst in 2008, Vol(l)ume 14 in 2010, and A Girl Called Cerveza in 2012. Their lineup stayed remarkably stable, with Gerre and Frank Thorwarth continuing their decades‑long partnership. Tankard never changed their formula, but they didn’t need to. Their albums were energetic, fun, and rooted in the same beer‑soaked thrash spirit that made them cult legends.
Tankard - Thirst (2008)
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