thehistoryofthrashpart5

 

PART V.
THE FIRST WAVE OF THRASH METAL.
AMERICAN THRASH METAL.
(1980-1986)

The United States of America had several thrash metal scenes. The main ones being the Bay Area of San Francisco, New York and Los Angeles. While Boston, Chicago and the Texas area had smaller but good scenes. So in this part of the history of thrash metal we'll go though what the American thrash metal bands were doing in during the first wave of thrash metal, the between 1980 up until 1986. 

THE FIRST BANDS ARE FORMED. (1980–1982)

In the early eighties, American metal began shifting toward something faster and far more aggressive than the traditional heavy metal of the decade before. Young musicians across the country were absorbing the speed of the NWOBHM and the raw edge of punk, then pushing both to extremes. Bands like Metallica, Slayer, Exodus, and Overkill started writing material that was heavier, sharper, and more violent than anything on the radio.

These early years were built on rough demos, chaotic club shows, and a growing underground tape‑trading network. Thrash metal didn’t have a name yet, but its identity was forming. The Bay Area was already becoming a major hotspot, but similar sparks were appearing in Los Angeles, New York, and New Jersey. 

THE FIRST WAVE OF THRASH METAL (1983–1986)

1983 marks the moment thrash metal became a defined genre. The first full‑length albums appeared, transforming a scattered underground movement into a recognizable style. Metallica’s Kill ’Em All set the tone, and within a few years Slayer, Anthrax, Megadeth, and Exodus were pushing the sound into new levels of speed and intensity.

The term "thrash metal" entered the vocabulary in 1984, capturing the aggressive, percussive riffing that separated this new wave from traditional heavy metal. Between 1983 and 1986, the genre evolved at a staggering pace, faster drumming, harsher vocals, and increasingly technical guitar work.

By 1986, thrash had reached its first creative peak. Albums like Master of Puppets, Reign in Blood, and Peace Sells… defined the genre’s possibilities and cemented the Big Four as its leading force. Meanwhile, the Bay Area, already covered in the previous chapter, continued to grow into a powerhouse, producing the next generation of bands who would dominate the late eighties. Thrash metal had arrived, and American metal was forever changed..

METAL MASSACRE

Metal Blade’s Metal Massacre compilation series played a crucial role in the rise of thrash metal. Countless bands had their first songs pressed on vinyl thanks to these releases. The very first Metal Massacre in 1982 famously featured Metallica’s debut appearance with "Hit the Lights".

The second volume introduced Savage Grace, Armored Saint, and Trauma. The band where Cliff Burton first made his mark. Metal Massacre III followed with none other than Slayer, contributing "Aggressive Perfector" alongside Chicago speedsters Znöwhite.

A few months later came Metal Massacre IV, spotlighting Abattoir, Zoetrope, and Sceptre (an early form of Agent Steel). By 1984, Metal Massacre V delivered one of the strongest lineups in the series: Omen, Voivod, Attacker, Overkill, Metal Church, and Hellhammer.

Metal Massacre VI (1985) kept the momentum going with Possessed, Dark Angel, Hirax, and Nasty Savage, while Metal Massacre VII (1986) featured Flotsam and Jetsam with Jason Newsted still in the band, plus Heretic, Sentinel Beast, Détente, Juggernaut, Have Mercy, and Cryptic Slaughter.

In 1987, Metal Massacre VIII arrived with Viking and Sacred Reich among others. Although the series began to lose some steam afterward, volumes IX, X, and XI still appeared in the late ’80s and early ’90s, featuring bands like Toxik, Faith or Fear, Redrum, Slaughter (Canada), Havoc Mass, and Tynator.

After that, releases became sporadic. Metal Massacre XII (1995) reflected the era’s trends with nu‑metal‑leaning acts, and Metal Massacre XIII (2006) followed a similar path.

No matter what you think of the later installments, the first seven or eight volumes were absolutely foundational. They launched the careers of bands who would define thrash metal: Slayer, Metallica, Flotsam and Jetsam, Overkill, Possessed, Dark Angel, Voivod, and many more. Brian Slagel’s ability to discover these groups so early was remarkable. The thrash genre would have looked very different without his contributions.

Metal Massacre

LOS ANGELES.

SLAYER (1981–1986)

Slayer formed in 1981 when Kerry King and Dave Lombardo began playing together, soon joined by Jeff Hanneman and Tom Araya. Their early rehearsals consisted of Iron Maiden and Judas Priest covers, but they quickly adopted a darker, more extreme image inspired by Venom and Mercyful Fate. Spikes, leather, pentagrams, and an aggressive stage presence.

Brian Slagel discovered the band while they opened for Bitch in California and offered them a spot on Metal Massacre III. Their contribution "Aggressive Perfector", created enough buzz for Slagel to sign them to Metal Blade Records.

Slayer self‑financed their debut Show No Mercy (1983), a raw, fast, and evil‑sounding record that became Metal Blade’s best‑selling release at the time. They toured in Tom Araya’s Camaro to promote it, embodying the DIY spirit of early thrash. 

The Haunting the Chapel EP (1984) pushed their sound into darker, more intense territory, with "Chemical Warfare" becoming a live staple. After extensive touring, including the Combat Tour with Venom and Exodus, Slayer released Hell Awaits (1985), a more progressive and ambitious album that expanded their fanbase and earned critical acclaim.

Producer Rick Rubin signed Slayer to Def Jam, giving them a cleaner, more powerful production. The result was Reign in Blood (1986), a 29‑minute blast of precision and brutality that redefined extreme metal. Despite controversy surrounding the lyrics of "Angel of Death" the album entered the Billboard charts and became one of the most influential metal albums ever recorded.

Slayer - Reign In Blood (1986)

MEGADETH (1983–1986)

After being fired from Metallica on the 11th of February, 1983, Dave Mustaine returned to Los Angeles and formed Megadeth with bassist David Ellefson. They struggled to find a vocalist, John Cyriis of Agent Steel fame was briefly in the band but then it was decided that Dave Mustaine would take on the role himself. Early drummer Lee Rausch was eventually replaced by Gar Samuelson, and guitarist Chris Poland joined soon after, giving Megadeth a more technical and jazz‑infused edge.

Their first demo, Last Rites (1984), led to a deal with Combat Records. Megadeth recorded their debut Killing Is My Business… And Business Is Good! (1985) on a small budget, much of which the band infamously spent on drugs and alcohol. Despite the rough production, the album became a cult classic, much thanks to the great song-writing. Killing is My Business featured early Megadeth classics such as "Mechanix", "Rattlehead" and "Skull Beneath the Skin".

Their second album, Peace Sells… But Who’s Buying? (1986), was initially funded by Combat before Capitol Records stepped in to remix and release it. With sharper production, tighter songwriting, and socially conscious lyrics, the album became Megadeth’s big breakthrough. Tracks like "Peace Sells", "Wake Up Dead" and "Devils Island" remain staples of their live shows. Ed Repka’s artwork introduced a more iconic version of Vic Rattlehead, solidifying Megadeth’s visual identity.

Megadeth

AGENT STEEL (1984-1986)

Agent Steel was an American power/speed/thrash metal band from Los Angeles. Vocalist John Camps (later known as John Cyriis) wrote early versions of "Taken by Force" and "144,000 Gone" while in the band Sceptre. After leaving them, John rehearsed a few time with Megadeth in 1983, he then briefly joined Los Angeles speed‑metal band Abattoir in 1983, but departed before they were signed. Cyriis then formed Agent Steel with drummer Chuck Profus, soon joined by George Robb, Bill Simmons, and Mark Marshall.

After recording early demos, guitarists Juan Garcia and Kurt Colfelt joined, and the band caught the attention of Combat Records, who signed them. Agent Steel’s first live show was opening for Slayer at the Country Club in Reseda, California.

Their debut album Skeptics Apocalypse was released in August 1985. Shortly afterward, Colfelt left following conflicts with Cyriis and went on to form Holy Terror. He was replaced by Bernie Versailles, and the band recorded the Mad Locust Rising EP (1985), released by Combat in the U.S. and Music for Nations in Europe.

Bassist George Robb departed and was replaced by Michael Zaputil. In March 1986, the band entered Morrisound Studios in Tampa to record their second album. They paused the sessions in May to tour Europe with Anthrax and Overkill, footage of which appeared on the split video U.S. Speed Metal Attack. Returning to the U.S. in June, they completed Unstoppable Force, though label delays pushed its release to 1987.

Agent Steel

DARK ANGEL (1981–1986)

Dark Angel formed in Los Angeles in 1981 under the name Shellshock, but after discovering another band already held the rights, they adopted the name Dark Angel. The early lineup featured Jim Durkin and Eric Meyer on guitars, Rob Yahn on bass, Jack Schwartz on drums, and Don Doty on vocals. They recorded several demos and quickly became known for their raw aggression and relentless speed.

In April 1985, Dark Angel released their debut album We Have Arrived through Metal Storm Records. The record captured their early ferocity, though the band had not yet developed the hyper‑technical, apocalyptic sound that would later define them. They supported the album with shows alongside Megadeth, Venom, Savage Grace, Possessed, Exodus, D.R.I., and others, carving out a reputation as one of L.A.’s most intense live acts.

Drummer Jack Schwartz soon departed, and his replacement changed everything: Gene Hoglan, fresh from his stint as a roadie and lighting tech for Slayer. Hoglan’s precision, speed, and creativity elevated Dark Angel to a new level.

In November 1986, the band released Darkness Descends, a landmark of extreme thrash metal. With its blistering tempos, dense riffing, and Hoglan’s now‑legendary drumming, the album became an instant classic and remains one of the most influential thrash records ever made. Dark Angel spent the remainder of 1986 touring heavily in support of the album, solidifying their status as one of the genre’s most uncompromising forces.

HIRAX (1980–1986)

Hirax emerged from the Southern California metal scene in 1980, led by the unmistakable and high‑energy frontman Katon W. De Pena. Mixing the speed of early thrash with the raw bite of punk, Hirax quickly became one of the most aggressive and unique bands in the region. Their early years were marked by constant lineup changes, but by 1983–84 they had a stable enough formation to start recording demos and playing high‑intensity shows across Los Angeles.

Their underground buzz grew fast. Hirax shared stages with Metallica, Exodus, Megadeth, Possessed, Dark Angel, and other rising West Coast acts, earning a reputation for chaotic, adrenaline‑charged performances. In 1985, Metal Blade Records featured their track "Bombs of Death" on Metal Massacre VI, which led to a full record deal.

Hirax released their debut album Raging Violence in 1985, an explosive mix of speed, shrieking vocals, and punk‑infused thrash. They followed it with the Hate, Fear and Power EP in 1986, a short but ferocious release that solidified their cult status. Despite their momentum, internal tensions fractured the lineup, and by late 1986 Katon had left, bringing the band’s first era to an end.

NEW YORK & NEW JERSEY.

ANTHRAX (1981–1986)

Anthrax formed in New York in 1981, founded by guitarist Scott Ian and bassist Dan Lilker. After several early lineup changes, they released their first single, "Soldiers of Metal" in 1983, which led to a deal with Megaforce Records.

Their debut album Fistful of Metal (1984) introduced their fast, sharp, and energetic style. "Metal Thrashing Mad" became a signature track and the song that inspired Malcolm Dome to coin the term "thrash metal".

Internal tensions led to the firing of vocalist Neil Turbin and bassist Dan Lilker, who went on to form Nuclear Assault. Anthrax rebuilt their lineup with vocalist Joey Belladonna and bassist Frank Bello, releasing the Armed and Dangerous EP (1985) and then the breakthrough album Spreading the Disease (1985). This lineup: Belladonna, Bello, Ian, Benante, and Spitz became the classic Anthrax formation that would remain intact for many years.

By 1986, Anthrax were touring Europe with Metallica, sharing the stage during the final days of Metallica's bassist Cliff Burton.

Anthrax - Spreading The Disease (1985)

S.O.D. (1985–1986)

S.O.D. didn’t exist for most of this period. Through the early ’80s, Scott Ian and Charlie Benante were busy forming and developing Anthrax, while Dan Lilker was moving between Anthrax and the New York hardcore scene. The idea for S.O.D. only appeared in 1985, when Ian started writing ultra‑fast, sarcastic riffs during the Spreading the Disease sessions. He pulled in Benante, Lilker, and Billy Milano, and the four of them recorded Speak English or Die in just a few days.

By 1986 the album had become an underground sensation, but S.O.D. remained a side‑project that played only a handful of shows. The band essentially went dormant again after that, leaving behind one massively influential crossover record.

NUCLEAR ASSAULT (1984–1986)

Nuclear Assault formed in New York in 1984 after Dan Lilker was fired from Anthrax. Wanting to pursue a more aggressive style, Lilker teamed up with guitarist/vocalist John Connelly. They were joined by drummer Scott DuBoys and guitarist Mike Bogush, and soon recorded their first demos, featuring early versions of "Stranded in Hell", "The Plague" and the infamous "Hang the Pope".

After their first live shows in late 1984, Bogush left and was replaced by Anthony Bramante. In mid‑1985, DuBoys departed and Glenn Evans took over on drums. With this lineup, the band recorded the Live, Suffer, Die demo, which helped secure a deal with Combat Records.

In 1986, Nuclear Assault released the Brain Death EP, followed later that year by their full‑length debut Game Over. The album’s mix of speed, punk energy, and political lyrics made it an underground hit. The band toured Europe with Agent Steel and Atomkraft, solidifying their reputation as one of the most intense live acts of the second wave.

OVERKILL (1980–1986)

Overkill formed in New Jersey in 1980 from the ashes of the punk band The Lubricunts, featuring drummer Rat Skates (Lee Kundrat) and bassist D.D. Verni (Carlos Verni). After the breakup, they teamed up with guitarist Robert "Riff Thunder" Pisarek, who suggested the name Overkill and vocalist Bobby "Blitz" Ellsworth. Before settling on the name, the band briefly operated as Virgin Killer.

In their earliest days, Overkill played a mix of punk and metal covers, drawing heavily from the local New York punk scene. Living just a subway ride from CBGB’s, they absorbed the raw energy of bands like The Ramones and The Dead Boys, while also covering Judas Priest and Riot. This hybrid of punk attitude and metal riffing became the foundation of their future thrash sound.

Pisarek eventually left and was replaced by Dan Spitz, who would later join Anthrax. Between 1980 and 1982, Overkill cycled through several guitarists, including Anthony Ammendola, Rich Conte, and Mike Sherry, before finally stabilizing with Bobby Gustafson in 1982. Around this time, the band began writing original material. Hearing Metallica’s Kill ’Em All in 1983 pushed them toward a faster, heavier direction, inspiring early staples like "Overkill", "Raise the Dead", "Death Rider" and "Rotten to the Core". Overkill became regulars at L’Amour, the legendary Brooklyn metal club, often playing for little or no pay.

In 1983, the classic lineup Skates, Blitz, Verni, and Gustafson recorded the Power in Black demo. It made a major impact in the underground, leading to compilation appearances: "Feel the Fire" on New York Metal ’84 and "Death Rider" on Metal Massacre V. The band signed with Azra/Metal Storm and released the Overkill EP in 1984, which sold out quickly.

Jon Zazula of Megaforce Records took notice and signed the band. With Megaforce behind them, Overkill released their full‑length debut Feel the Fire (1985), now considered a thrash classic. The band quickly became one of the most important acts in the New York/New Jersey scene. Their momentum continued as they secured major touring slots, supporting Megadeth on the Peace Sells tour in the U.S., and later touring Europe with Anthrax and Agent Steel. By 1986, Overkill had established themselves as one of the most relentless and hardworking bands in thrash.

Overkill - Feel The Fire (1985)

WHIPLASH (1984–1986)

New Jersey’s Whiplash formed in 1984, built around the “three Tonys”: Tony Portaro on vocals and guitars, Tony Scaglione on drums and Tony Bono on bass.

Originally called Jackhammer, they adopted the name Whiplash in 1984. After releasing three demos between 1984 and 1985, they contributed “Thrash ’Til Death” to the Speed Metal Hell compilation, which helped them secure a deal with Roadrunner Records.

Their debut album Power and Pain (February 1986) delivered a ferocious blend of speed, aggression, and East Coast attitude. It quickly became a cult classic. However, the band’s momentum was interrupted when Slayer needed a temporary drummer after Dave Lombardo left following the recording of Reign in Blood. Slayer recruited Tony Scaglione, forcing Whiplash into an involuntary hiatus during late 1986 and early 1987.

CARNIVORE (1980–1986)

Carnivore formed in Brooklyn in 1980, driven by Peter Steele’s vision of mixing hardcore punk aggression with heavy metal power. The early lineup shifted frequently as Steele refined the band’s sound and image, leaning into bleak, post‑apocalyptic themes inspired by Cold War paranoia, sci‑fi, and shock‑theater aesthetics. Their 1985 debut Carnivore introduced their brutal crossover style. Raw, violent, and darkly humorous, Which quickly earned them a cult following in the New York underground.

They followed it with Retaliation in 1986, a sharper and more aggressive record that pushed their sound further while hinting at the gothic sensibilities Steele would later explore. Despite strong underground support, internal tensions and the limitations of the local scene led to the band’s breakup by the end of 1986. Carnivore’s lifespan was short, but their two albums became essential cult classics and left a lasting mark on New York’s metal and crossover communities.

AMERICAN THRASH METAL

METAL CHURCH (1980-1986)

Metal Church were one of the key early players in the developing thrash scene. Even though their sound leaned toward American power metal, they consistently included fast, aggressive, thrash‑leaning tracks on nearly every album. The band originally formed in 1980 in San Francisco under the name Shrapnel, founded by Kurdt Vanderhoof along with Rick Condrin, Steve Hott, and Aaron Zimpel. Their first major step was the Red Skies demo (1981), a raw but promising recording that hinted at the heavier direction to come. A young Lars Ulrich even auditioned for the band before forming Metallica with James Hetfield.

Vanderhoof soon moved back to Aberdeen, Washington, where Metal Church solidified through several lineup changes. By 1983 the classic early formation: Kurdt Vanderhoof, Kirk Arrington, Duke Erickson, Craig Wells and vocalist David Wayne was in place. Their self‑titled debut Metal Church (1984) became an underground sensation, outselling the debut albums of both Slayer and Anthrax and establishing the band as a rising force.

Metallica personally recommended Metal Church to Elektra Records, leading to a new deal and joint touring opportunities. The band’s momentum continued with The Dark (1986), featuring the hit "Watch the Children Pray" which received heavy rotation on MTV. Just as Metal Church seemed poised for a major breakthrough, both David Wayne and Kurdt Vanderhoof left the touring lineup. Vanderhoof remaining as a studio songwriter only. The sudden loss of their frontman and primary composer halted the band’s upward trajectory at a crucial moment. David Wayne went on to join Intrinsic and later Reverend.

FLOTSAM AND JETSAM (1981–1986)

Flotsam and Jetsam began in Phoenix, Arizona in 1981 under the name Paradox, formed by drummer Kelly David‑Smith and guitarists Pete Mello and Dave Goulder. When Jason Newsted answered a newspaper ad, he joined as bassist and briefly as the band’s first vocalist. Friends of David‑Smith, Mark Vazquez and Michael Horton, also entered the lineup as the band evolved through names like Dredlox and The Dogz before finally settling on Flotsam and Jetsam.

A major turning point came when David‑Smith discovered vocalist Eric A.K. at a high‑school talent show. Around the same time, guitarist Kevin Horton left and was replaced by Edward Carlson, and later a 17‑year‑old Michael Gilbert stepped in for Vazquez. With this lineup, Flotsam began building a strong local following, opening for major touring acts such as Megadeth, Armored Saint, Alcatrazz, Malice, Exciter, Riot, and Mercyful Fate.

In 1985, the band recorded their first two demos, Iron Tears and Metal Shock and shot an early video for "Hammerhead". These demos gained attention in the underground and led to their inclusion on Speed Metal Hell II and Metal Massacre VII, which in turn secured them a deal with Metal Blade Records.

In 1986, Flotsam and Jetsam entered the studio with producer Brian Slagel and engineer Bill Metoyer to record their debut album Doomsday for the Deceiver, released on June 19, 1986. The album was a breakthrough, becoming the first record in Kerrang! history to receive a perfect 6K rating. The band seemed poised for a major rise, until tragedy struck the metal world.

After the death of Metallica bassist Cliff Burton, Metallica auditioned numerous players before choosing Jason Newsted. Losing their bassist and primary songwriter was a massive blow for Flotsam. Phil Rind of Sacred Reich temporarily filled in on bass while the band searched for a permanent replacement.

Flotsam and Jetsam - Doomsday For The Deceiver (1986)

WATCHTOWER (1982–1986)

Watchtower formed in Austin, Texas in 1982 with Doug Keyser (bass), Rick Colaluca (drums), Billy White (guitar), and Jason McMaster (vocals). Their first demo, Meltdown (1984), showcased a level of technicality far beyond most thrash bands of the era. In 1985 they released their debut album Energetic Disassembly on their own label, Zombo Records. The album’s rapid time‑signature shifts, complex arrangements, and precision musicianship made it a landmark in both thrash metal and progressive metal.

In late 1986, guitarist Billy White left the band to pursue other musical interests. After Cliff Burton’s death, Watchtower bassist Doug Keyser auditioned for Metallica, though the position ultimately went to Jason Newsted.

NASTY SAVAGE (1981–1986)

Nasty Savage began under the name Nightmare in 1981, featuring early members Ben Meyer and Fred Dregischan. Guitarist David Austin and drummer Curtis Beeson soon joined, and the band’s identity solidified when pro‑wrestling fanatic “Nasty” Ronnie Galletti auditioned and became their frontman. Around the same time, they adopted the name Nasty Savage.

The band focused on writing original material and recorded two highly traded demos in 1984, Raw Mayhem and Wage of Mayhem. These tapes became underground favorites and led to a deal with Metal Blade Records, who released their self‑titled debut Nasty Savage in 1985. Their theatrical stage shows and over‑the‑top style helped them build a dedicated fanbase.

HALLOWS EVE (1980–1986)

Hallows Eve emerged from Atlanta, Georgia’s underground metal scene in 1980, becoming one of the earliest and most distinctive U.S. bands to blend speed, thrash, and horror‑themed heavy metal. The original lineup of Tommy Stewart (bass), Doyle Bright (guitars), David Stuart (guitars), Steve “Skellator” Shoemaker (drums), and vocalist Stacey Anderson spent the early years rehearsing, refining their sound, and building a reputation with their wild, theatrical live shows.

By the mid‑eighties, Hallows Eve had become a staple of the Southeastern metal circuit, known for their gritty, underground aesthetic and their ability to bridge the gap between traditional heavy metal and the rising thrash movement. Their break came when Metal Blade Records included the track "Metal Merchants" on the influential Metal Massacre VI compilation in 1985. The song’s raw speed and sinister atmosphere introduced the band to a global audience and set the stage for their debut.

Later that year, Hallows Eve released Tales of Terror (1985), a cult classic that captured their blend of frantic riffing, punk‑tinged aggression, and horror‑movie theatrics. Tracks like "Plunging to Megadeath" and "Horrorshow" showcased a band that wasn’t trying to imitate the Bay Area or German scenes, they were carving out their own version of thrash.

In 1986, the band returned with Death & Insanity, a more polished and ambitious record that expanded their songwriting while keeping the manic energy intact. The album’s title track became their signature anthem.


DESTRUCTOR (1980–1986)

Destructor formed in Cleveland, Ohio in the early 1980s. By 1984 they had a stable lineup and were pushing toward a faster, heavier sound that separated them from the traditional metal acts around them. Their constant gigging across Ohio caught the attention of Auburn Records, and in 1985 they released Maximum Destruction, a raw, high‑energy debut that captured the grit of Midwestern thrash before it had a name.

Just as they were gaining momentum, tragedy hit. On New Year’s Day 1986, bassist Dave Holocaust was murdered during a home invasion, a shock that froze the band at the moment they were poised to break out. The loss defined the end of their first era. Between 1980 and 1986, Destructor rose fast from basement metal to regional promise, only to have their trajectory violently cut short.

FAST AND HEAVY SONGS FROM THE ERA: 1983-1986
(Spotify-Playlist)

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