thehistoryofthrashpart7

 

PART VII.
THE FIRST WAVE OF THRASH METAL.
INTERNATIONAL THRASH METAL
(1980-1986)

INTERNATIONAL THRASH

While the Bay Area often dominates the narrative, thrash metal was developing simultaneously across the world throughout the early to mid‑1980s. In Europe, South America, and even parts of Asia, young bands were discovering the same combination of speed, aggression, and underground rebellion, often without any direct connection to the American scene.

In Germany, the Teutonic wave exploded early with Sodom, Kreator, and Destruction, whose raw, violent sound pushed thrash toward the borders of black and death metal. Switzerland contributed Celtic Frost’s predecessor Hellhammer, while Denmark produced Artillery, pioneers of technical Scandinavian thrash. The Netherlands had bands like Mandator and Defender; Belgium had Cyclone; Italy produced Bulldozer and Schizo; Poland had KAT; and France saw the rise of Aggressor and Loudblast.

South America developed its own feral, chaotic style. Brazil unleashed Sepultura, Vulcano, and Dorsal Atlântica, bands whose primitive intensity rivaled anything in Europe. Chile had Pentagram (later Pentagram Chile), whose early demos were among the most extreme of the era. These scenes grew through tape trading rather than industry support, giving the region a uniquely savage sound.

Even in Asia, early sparks appeared: Japan’s United, Jurassic Jade, and Outrage were already forming by the mid‑eighties, blending Western thrash with their own hardcore‑influenced underground.

Across all these regions, thrash metal evolved in parallel, sometimes inspired by American imports, sometimes completely independent but always driven by the same hunger for speed, extremity, and rebellion. By 1986, the genre had become a truly global movement, with distinct regional identities already taking shape.

SWITZERLAND

HELLHAMMER (1982-1984)

Hellhammer formed in Nürensdorf, Switzerland in 1982, created by Thomas Gabriel Fischer (Tom Warrior), Urs Sprenger (Steve Warrior), and Jörg Neubart (Bruce Day). At the time, Switzerland had no extreme metal scene to speak of, and Hellhammer’s crude, primitive, and aggressively unpolished sound was unlike anything in Central Europe. Their early demos, Death Fiend and Triumph of Death (both 1983) spread rapidly through the tape‑trading underground, shocking listeners with their raw production, caveman riffing, and apocalyptic atmosphere.

In 1984 they released the Apocalyptic Raids EP on Noise Records, a record that would later become one of the most influential extreme metal releases of the decade. Although critics at the time dismissed Hellhammer as amateurish, their fusion of proto‑black metal, doom, and primitive thrash laid the groundwork for entire genres. By mid‑1984 the band dissolved, but Fischer and bassist Martin Eric Ain immediately formed Celtic Frost, taking Hellhammer’s ideas into a more refined and groundbreaking direction.

Hellhammer’s brief existence (1982–84) produced some of the most important early extreme metal recordings in Europe, influencing black metal, death metal, and the darker edge of thrash for decades to come.

CELTIC FROST (1984-1986)

Celtic Frost was formed in Zürich, Switzerland in 1984 by Thomas Gabriel Fischer, more known as Tom G. Warrior and Martin Eric Ain along with session drummer Stephen Priestly. Since Hellhammer had built up a small international fan-base. Celtic Frost signed up to Noise records and in 1984 they debuted with the mini-LP, Morbid Tales, which became an instant classic in the underground metal scene. Tracks like Into the Crypts of Rays and Procreation (of the Wicked) are legendary tracks from it. After that Celtic Frost set out on their first tour, through Germany and Austria. This was followed with an EP titled Emperor's Return. Which featured songs like Morbid Tales, Dethroned Emperor and an early version of Circle of the Tyrants. In 1985 Tom G. Warrior co-produced and sung on Coroner's first demo tape Death Cult. Celtic Frost's strange antics made a few metal publications skeptical, Metal Forces had a long feud with the group and Celtic Frost refused to play in England because of it. The bands mixture of thrash, death and black metal with gothic imagery was too much to for most heavy metal fans at the time.

In 1985 Celtic Frost recorded and released their masterpiece To Mega Therion which did not feature Martin E. Ain on bass, but stand-in Dominic Steiner. But  Martin co-penned the album, but in the end he left the band prior to recording the album, which he regretted when looking back upon it. Ain did return after the album was recorded however. The cover artwork is a painting by H.R. Giger entitled Satan I. The album was a major influence on the then-developing death metal and black metal genres. It also featured operatic female  vocals, which was unheard of in extreme metal at the time.

Celtic Frost - To Mega Therion (1985)

SCANDINAVIA

In Sweden, Bathory emerged seemingly out of nowhere with their self‑titled 1984 debut, a raw, feral, and utterly original record that baffled listeners and helped define the early black‑metal aesthetic. Its intensity and atmosphere were years ahead of anything else in Scandinavia, though it was firmly rooted in black metal rather than thrash.

Sweden also produced Maninnya Blade, who released a speed‑metal single in 1984 and a full album in 1986. Members later went on to form Hexenhaus, one of Sweden’s premier thrash bands. In Finland, Iceland, and Norway, thrash activity was minimal during this early period, with most extreme‑metal development happening later in the decade.

Denmark, however, produced Scandinavia’s first true thrash album when Artillery released Fear of Tomorrow in August 1985 through the NWOBHM label Neat Records. 

ARTILLERY (1982-1986)

Artillery formed in 1982 in Taastrup, about 15 km west of Copenhagen, Denmark, founded by drummer Carsten Nielsen and guitarist Jørgen Sandau. The early lineup solidified with guitarists Sandau and Michael Stützer, bassist Morten Stützer, and vocalist Per Onink, who sang on the band’s first demo recorded in December 1982. Onink soon departed and was replaced by Carsten Lohmann, whose harsher delivery helped define the band’s early sound.

With Lohmann, Artillery recorded two influential 1984 demos, Shellshock and Deeds of Darkness. Both of which circulated heavily in the European tape‑trading underground and established the band as Denmark’s most promising extreme‑metal act. Lohmann left shortly afterward, and Flemming Rönsdorf stepped in as the new vocalist, completing the classic early lineup.

Artillery’s first official appearance came in early 1985 with the track "Hey Woman" on Speed Metal Hell Vol. 1 (New Renaissance Records). They followed it with "Deeds of Darkness" on Satan’s Revenge, another New Ren compilation. Later that year, the band recorded the Fear of Tomorrow demo, which secured them a contract with the legendary NWOBHM label Neat Records.

Their debut album Fear of Tomorrow was released on August 9, 1985, becoming the first thrash metal album ever released in Scandinavia. While Denmark already had Mercyful Fate and Sweden had Bathory, neither band played thrash. Making Artillery true pioneers in the region. Their sharp, technical riffing and tight musicianship set them apart from most European thrash of the era.

A curious footnote from this period: Quorthon of Bathory contacted drummer Carsten Nielsen and attempted to recruit him for Bathory’s lineup. Nielsen declined, believing Artillery had greater long‑term potential, a decision that kept the band intact during their formative years.

Artillery - Fear Of Tomorrow (1985)

HAIL TO ENGLAND

The UK was slower to embrace thrash than Germany or Canada, but a small and determined underground began taking shape in the mid‑eighties. Early on, the British scene was dominated by NWOBHM, punk, and Venom’s proto‑black‑metal influence, leaving little room for pure thrash until around 1984. 

The first true UK thrash band to emerge was Onslaught, who evolved from hardcore punk into a raw, Venom‑influenced black/thrash hybrid. Their debut Power from Hell (1985) became a cornerstone of early British extremity. By 1985–86, Sabbat appeared with sophisticated, occult‑themed demos that showcased a more technical and ambitious approach than most of their European peers. Meanwhile, English Dogs transitioned from punk into crossover thrash, helping bridge the gap between the UK’s hardcore and metal scenes.

Though a small scene at the time, Thrash would become slightly more popular towards the end of the eighties on the British isles. 


ITALY

BULLDOZER (1980-1986)

Bulldozer’s early era is the moment Italy first stepped into truly extreme metal. Formed in Milan in 1980, they took the grime of Motörhead and the blasphemous bite of Venom and pushed it into something even rawer. Their sound in this period is all snarling vocals, buzzing guitars, and a proudly filthy underground attitude that set them apart from the more polished European bands around them.

Their debut The Day of Wrath (1985) captured that identity perfectly, fast, primitive, and soaked in a proto‑black metal atmosphere. A year later, The Final Separation (1986) sharpened the thrash edge while keeping the chaotic spirit intact. By the mid‑’80s they had become Italy’s first extreme metal export, laying the groundwork for the country’s later thrash and blackened acts.

Bulldozer - The Day of Wrath (1985)

BENELUX (Holland & Belgium)
The Benelux area had something of a speed metal scene in the early eighties with Kate De Lombaert's Acid but also bands like Martyr, Emerald, Defender, Mysto Dysto, Crossfire, Warhead, Killer and even Ostrogoth had some fast tracks. Thrash would develop further in this region towards the late 80's. Cyclone's Brutal Destruction which was released in 1986 was a landmark on the Dutch scene.


POLAND 
Poland had more of a speed metal scene during this era with Stos and especially KAT, That were like an uptempo version of Venom. Dragon would later appear on the scene but Turbo was the band that brought thrash to Poland with 1986's Kawaleria Szatana. Turbo's earlier work were more in the heavy/speed metal category.


FROM RUSSIA WITH THRASH

Russie were behind the iron curtain of communism so western metal was heavily restricted in Russia. It was also difficult to find recording studios and even equipment to play on in Russia during this time. Despite that there were some thrash bands that started to form around 1986. There were underground demos circulating but no thrash metal record was released in Russia during this time. Bands like Aria (Ария) and Black Coffee (Черный Кофе) were popular heavy metal bands at the time. The two moscow bands Коррозия Металла (Korrozia Metalla) and Шах (Shah) had formed and recoded some demos and Аспид (Aspid) formed in 1988.

SOUTH AMERICA

South America developed one of the most feral, chaotic, and uncompromising early thrash scenes anywhere in the world. Unlike Europe or North America, where labels and venues existed, the South American movement grew out of poverty, political instability, and a total lack of infrastructure. Bands recorded on broken gear, pressed demos in tiny quantities, and relied entirely on tape‑trading networks but the results were some of the most extreme metal of the early eighties. You had the Argentinian band V8 that perhaps were more of a heavy/speed metal band that were influential. Also Horcas and Parabellum were underground bands that people were drawn to in the south american underground. 

SEPULTURA (Belo Horizonte)

Formed by teenagers with almost no resources, Sepultura’s early demos (Bestial Devastation EP, 1985) were primitive, violent, and heavily influenced by Venom and Celtic Frost. By 1986 they were already a major underground force.

VULCANO (São Paulo)

Vulcano formed 1981 was one of the earliest extreme‑metal bands in South America. Their early EPs and the live album Live! (1985) blended thrash, proto‑death, and black metal with a rawness unmatched anywhere else at the time.

DORSAL ATLANTICA (Rio de Janeiro)

A foundational band whose 1982–85 demos and the Antes do Fim album (1986) helped define the Brazilian thrash sound, fast, chaotic, and politically charged.

MEANWHILE IN CANADA…

The U.S. and especially the Bay Area tends to dominate the thrash‑metal narrative, but Canada was already forging its own path in the early eighties. Long before Metallica, Slayer, or Anthrax released their debuts, Anvil and Exciter were unleashing high‑speed metal that helped shape the genre’s foundations. Canada also had bands like Eudoxis, Armoros, Piledriver, Beyond Possession and Aggression that were active during these early days. 

ANVIL (Toronto)

Anvil formed in 1978 by Steve “Lips” Kudlow and Robb Reiner, debuted in 1981 with Hard ’N’ Heavy, a record that made a significant underground impact. Motörhead even attempted to recruit Lips, but he chose to stay with Anvil. Their 1982 album Metal on Metal delivered early proto‑thrash classics like "666", "Mothra" and the title track "Metal on Metal". With "666" often cited as one of the earliest thrash‑leaning songs ever written. After releasing Forged in Fire in 1983, Anvil lost their record deal and momentum stalled until the late eighties, causing the band to slip from the spotlight despite their pioneering role.

EXCITER (Ottawa)

Exciter, formed in 1978 by Dan Beehler, John Ricci, and Allan Johnson, followed a similar trajectory. After appearing on the US Metal compilation in 1982, they signed to Shrapnel Records and released Heavy Metal Maniac in 1983. A blistering speed‑metal assault that some consider the first thrash album, predating the debuts of the “Big Four.” Whether labeled speed or thrash, its influence is undeniable. Exciter soon joined Megaforce Records, becoming labelmates with Metallica and Anthrax, and released Violence & Force in 1984. They toured the U.S. with Mercyful Fate before heading to London to record Long Live the Loud (1985), which leaned toward a more traditional heavy‑metal sound. Subsequent albums continued in this direction, and internal tensions eventually fractured the original lineup, pushing Exciter deep into the underground for years.

Exciter - Heavy Metal Maniac (1983)

VOIVOD (Jonquière)

Voivod formed in 1982 in the industrial town of Jonquière, far from any established metal scene, and quickly developed one of the most original sounds in early extreme metal. Their early demos from 1983 showcased a chaotic fusion of thrash, punk, and proto‑death metal, driven by Piggy’s dissonant guitar style and Away’s mechanical, almost tribal drumming. In 1984 they released their debut War and Pain, a raw, apocalyptic record that stood apart from both American and European thrash. By 1986 they followed it with Rrröööaaarrr, an even more aggressive and unhinged album that pushed their sound into harsher, more experimental territory. During 1980–86, Voivod were not just another Canadian thrash band — they were one of the most innovative extreme‑metal acts anywhere in the world.

SACRIFICE (Toronto)

Sacrifice formed in 1983 and quickly became one of the most intense and uncompromising bands in the Canadian underground. Their early demos circulated heavily through tape‑trading networks, earning them a reputation for speed, aggression, and a darker edge than most thrash of the era. In 1986 they released their debut Torment in Fire, a ferocious, high‑velocity assault that blended thrash with early death‑metal tendencies. The album’s raw production and relentless riffing made it one of the most savage Canadian thrash releases of the decade. By the end of 1986, Sacrifice had firmly established themselves as a major force in the international underground.

RAZOR (Guelph)

Razor formed in 1983 and quickly became one of Canada’s purest and most consistent thrash bands. Their early EP Armed and Dangerous (1984) introduced a fast, razor‑sharp style that set them apart from the more speed‑metal‑leaning acts of the time. They followed with a rapid succession of albums: Executioner’s Song (1985), Evil Invaders (1985), and Malicious Intent (1986), each one faster, harsher, and more aggressive than the last. Razor’s no‑nonsense approach — tight riffs, violent tempos, and Bob Reid’s snarling vocals — made them a cornerstone of the Canadian scene. By the end of 1986, they were not just active; they were one of the most important thrash bands outside the United States.

INFERNÄL MÄJESTY (Vancouver)

Infernäl Mäjesty formed in 1986, arriving just as the first wave of Canadian thrash was reaching full strength. Although their legendary debut None Shall Defy wouldn’t be released until 1987, the band was already active, rehearsing, and shaping their dark, occult‑tinged thrash sound during 1986. Their early material stood out for its sinister atmosphere, complex arrangements, and a heavier, more death‑metal‑leaning approach than most of their Canadian peers. Even before their debut, Infernal Majesty were recognized in the underground as a band with enormous potential.

SLAUGHTER (Toronto)

Slaughter formed in 1984 and quickly became one of Canada’s most important early death/thrash hybrids. Their demos — especially Meatcleaver (1984) and Bloody Karnage (1985) — circulated widely in the tape‑trading scene and influenced countless young extreme‑metal musicians. Slaughter’s sound was primitive, filthy, and brutally heavy, bridging the gap between thrash and the emerging death‑metal movement. By 1986 they were a major underground force, helping establish Toronto as a hotspot for early extreme metal.

D.B.C. (DEAD BRAIN CELLS) (Montreal)

DBC formed in Montreal in 1985 and quickly stood out for blending thrash with hardcore and progressive elements. Their early demos showcased a tight, riff‑driven sound with socially conscious lyrics, setting them apart from the darker, more extreme bands in the Canadian scene. By 1986 they were active, gigging, and building momentum toward their 1987 self‑titled debut. Even in their formative years, DBC were recognized as one of the more musically ambitious Canadian thrash acts.

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

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