thehistoryofthrashpart9

PART IX.
THE SECOND WAVE OF THRASH METAL.
BAY AREA THRASH.
(1987-1991)

Some argue that the first wave of thrash stretched from the early eighties all the way into the early nineties, since the genre’s popularity never truly dipped. But the explosion that hit the Bay Area in 1987 and 1988 marks a clear shift. A new generation of bands arrived almost at once, giving rise to what is now called the second wave. Suddenly the scene revolved heavily around the Bay, with Vio‑Lence, Death Angel, Testament, Heathen and Blind Illusion all breaking through within a short span of time. With several other American bands also emerged during these years, helping broaden the sound and push thrash into new territory.

The second wave didn’t just add more bands. It expanded the genre’s vocabulary. The music became more technical, the songwriting more ambitious, and the production values generally improved compared to the rawer early‑eighties recordings. This period also saw the arrival of the first openly Christian thrash bands, the rise of crossover thrash, technical thrash and even death/thrash. By the late eighties, thrash had become a global phenomenon, with bands releasing records in nearly every corner of the world.

THE BAY AREA EXPLODES

The second wave of thrash metal truly ignited in the Bay Area. Death Angel, Heathen, and Testament all debuted in 1987, and in 1988 the scene expanded further with the first albums from Vio‑Lence, Blind Illusion, and Forbidden. A flood of new talent arrived in just a couple of years, reshaping the local landscape.

But the Bay wasn’t only about the newcomers. Established acts were evolving too. Lääz Rockit shifted from power metal into a thrashier direction on Know Your Enemy in 1987, and Hexx made a similar transition with their Quest for Sanity EP in 1988. Possessed, who had unleashed Seven Churches in 1985, leaned more toward thrash on Beyond the Gates (1986) and The Eyes of Horror (1987). Mordred and Defiance also debuted in 1989, though they arrived just as the scene’s commercial momentum began to fade.

Beneath the surface, the Bay Area was packed with underground bands that never quite broke through but contributed to the local identity. Groups like Blizzard, Sacrilege B.C., Mercenary, Ulysses Siren, Havoc, Kaos, and Stone Vengeance. Crossover acts such as Attitude Adjustment and D.R.I. also played a role in shaping the sound of the regoin. And although Los Angeles had its own thriving scene, bands like Megadeth, Slayer, and Suicidal Tendencies frequently crossed paths with the Bay Area crowds, adding even more energy to an already explosive environment.

METALLICA (1987-1991)

After the death of Cliff Burton, Metallica recruited Jason Newsted from Arizona’s Flotsam and Jetsam, where he had been the band’s main songwriter. In the aftermath of the tragedy, the band left their El Cerrito home. The so‑called "Metalli‑Mansion" and relocated to San Rafael, north of San Francisco. Without giving themselves time to properly grieve, they entered the studio and recorded the cover EP The $5.98 E.P.: Garage Days Re‑Revisited. In 1987 they released Cliff ’Em All, a video tribute to their late bassist.

Soon after, Metallica began work on their fourth studio album. Producer Mike Clink, fresh off Guns N’ Roses’ Appetite for Destruction was initially hired for …And Justice for All, but the collaboration didn’t work out. The band returned to working with Flemming Rasmussen, this time recording in Los Angeles instead of Sweet Silence Studios in Denmark. …And Justice for All featured longer, more complex arrangements than anything Metallica had written before. The album reached number six on the U.S. charts and became the best‑selling thrash metal album of all time, still holding that title if you exclude the Black Album. Metallica also recorded their first music video, "One", which became a global hit. They then joined the Monsters of Rock tour, famously blowing Van Halen off the stage, before embarking on their first worldwide headlining tour.

After years on the road, Metallica entered the studio again, this time with producer Bob Rock. The band shifted toward simpler arrangements and significantly slower tempos a change that shocked many longtime fans who no longer considered the music thrash metal. The resulting self‑titled Black Album became a massive commercial success, selling over 16 million copies and producing several hit singles, including "Enter Sandman" and "Nothing Else Matters." Metallica became the biggest metal band on the planet and spent the next three years touring, including a co‑headlining run with Guns N’ Roses. They also released their first live box set, Live Shit: Binge & Purge. They also played in front of one of the largest crowds of all time in Moscow, Russia in late 1991.

Metallica

EXODUS (1987–1991)

In October 1987, Exodus released Pleasures of the Flesh, the long‑awaited follow‑up to Bonded by Blood. It was their first album with vocalist Steve “Zetro” Souza, recruited from The Legacy, the band that would soon become Testament. The album showed a more mature sound but lacked the ferocious street‑level intensity of their debut, and it struggled to compete with landmark releases like Master of Puppets and Reign in Blood. Former vocalist Paul Baloff later worked with Hirax and Piranha.

In 1989 Exodus returned with Fabulous Disaster, their final release for Combat Records before signing with Capitol. The band recorded a video for "The Toxic Waltz", which received airtime on MTV’s Headbangers Ball. They toured with Anthrax and Helloween, building momentum toward their major‑label debut. During this period, original drummer Tom Hunting left the band and was replaced by John Tempesta.

In the summer of 1990, Exodus released Impact Is Imminent. The album performed respectably but failed to push the band into mainstream success. In 1991 they issued their first live album, Good Friendly Violent Fun.

Exodus

TESTAMENT (1987–1991)

Testament released their debut album The Legacy in April 1987 on Megaforce Records. The album featuring future classics like "Burnt Offerings", "Over the Wall" and "Alone in the Dark" earned immediate acclaim, and the band was frequently compared to Metallica. Testament joined Anthrax on the Among the Living tour and recorded the live EP Live at Eindhoven. They also toured with Megadeth and Overkill.

In 1988 Testament released their second album, The New Order, which further strengthened their reputation. With a more polished production and standout tracks such as "Eerie Inhabitants", "Trial by Fire", "Into the Pit" and "Disciples of the Watch". The album sold over 250,000 copies. Testament toured Europe with Megadeth and later the U.S. with Death Angel, Vio‑Lence, and Raven.

Their third album, Practice What You Preach, arrived in August 1989 — their third release in three years. It featured songs like "Greenhouse Effect", "Sins of Omission" and "The Ballad" and placed greater emphasis on environmental themes. The album became their most successful to date, reaching number 77 on the Billboard 200. The title track received heavy rotation on Headbangers Ball. Testament toured extensively with Wrathchild America, Annihilator, Mortal Sin, Nuclear Assault, and Savatage.

In October 1990 the band released Souls of Black, their fourth album in four years. Despite the looming rise of grunge, the album sold well, and the title track became the standout hit.

Testament

DEATH ANGEL (1987–1991)

After the success of their Kill as One demo, Death Angel signed with Enigma Records. Their debut album The Ultra‑Violence was recorded in just two days during the summer of 1986 and released on April 23, 1987. Guitarist Rob Cavestany served as the band’s primary songwriter. Remarkably, all members were still teenagers. The album was a major success and positioned Death Angel alongside Testament, Heathen, Forbidden, Vio‑Lence, and Defiance as leaders of the second wave of Bay Area thrash. The title was inspired by Stanley Kubrick’s A Clockwork Orange. The band filmed a video for "Voracious Souls" and the album was produced by Davy Vain.

Death Angel followed up with Frolic Through the Park in July 1988. The album showcased a more diverse and mature sound, though some critics felt it lacked the raw intensity of the debut. Loudwire has since praised it as one of the best thrash albums of the 1980s. The band again worked with producer Davy Vain and recorded a video for "Bored", which received MTV airtime and appeared in Leatherface: The Texas Chainsaw Massacre III. The album also included a cover of Kiss's "Cold Gin". Death Angel embarked on their first worldwide tour to support the release.

In 1989 Geffen Records bought out the band’s contract, making Death Angel labelmates with Nirvana, a band that would soon reshape rock music. With a larger budget, the band hired Max Norman (known for his work with Ozzy Osbourne, Megadeth, and Savatage) to produce their third album. Act III was recorded in late 1989 and released on April 10, 1990. It displayed an even broader stylistic range, mixing acoustic passages, fast thrashers, and elements of funk. The band filmed videos for "Seemingly Endless Time" and "A Room with a View." Opinions on the album were divided: some hailed it as their best work, others accused the band of selling out.

In the summer of 1990, Enigma Records released the live album Fall from Grace without the band’s involvement. Due to label complications, the Death Angel logo was removed from the cover.

In 1991 the band toured globally in support of Act III, selling out venues such as the Warfield in San Francisco, the Ritz in New York, and the Hammersmith Odeon in London. They were scheduled to join the "Clash of the Titans" tour with Megadeth, Slayer, and Anthrax. But on the way to a show in Las Vegas, the band’s tour bus crashed, leaving drummer Andy Galeon seriously injured. His recovery would take more than a year, and Geffen Records pressured the band to replace him and continue working.

Death Angel played a few shows in Japan with drummer Chris Kontos, but ultimately refused to continue without Galeon. Geffen dropped the band. Vocalist Mark Osegueda left for New York, and with no drummer, no singer, and no label, the remaining members decided to dissolve the band after a handful of acoustic shows around the Bay Area. Their spot on the Clash of the Titans tour went to Alice in Chains, who gained massive exposure, A moment often seen as the beginning of grunge’s dominance in the 1990s.

Death Angel

HEATHEN (1987–1991)

Between 1987 and 1991, Heathen were steadily carving out their identity as one of the most melodic and technically gifted bands in the Bay Area. Their debut Breaking the Silence (1987) earned strong underground praise for its clean vocals, sharp songwriting, and a level of musicianship that set them apart from the more aggressive acts around them. The band’s sound leaned heavily on melody and precision, drawing comparisons with traditional metal.

However, frequent lineup changes, especially on bass and drums, slowed their momentum and made touring difficult. Despite these challenges, Heathen pushed forward and returned in 1991 with Victims of Deception, a far more complex and progressive album filled with long arrangements, intricate riffs, and socially conscious lyrics.

The record showcased a band operating at a very high technical level, but it arrived just as thrash’s commercial peak was fading, limiting its impact despite its undeniable quality. Over time, however, the album has become a cult favorite and is now considered one of the most sophisticated thrash releases of the early 90's.

VIO‑LENCE (1987–1991)

Vio‑Lence were one of the most ferocious bands of the era, and between 1987 and 1991 they were operating at full power. Their debut Eternal Nightmare (1988) became an underground classic thanks to its blistering speed, razor‑sharp riffs, and Sean Killian’s unorthodox, almost spoken‑word vocal delivery.

The band quickly gained a reputation for chaotic, high‑energy live shows that bordered on dangerous, making them a favorite among die‑hard thrash fans. They followed the debut with Oppressing the Masses in 1990, which featured tighter songwriting and a slightly more controlled approach without sacrificing intensity.

In 1991 they released the Torture Tactics EP, keeping their name alive as the scene began to shift. Internal tensions, label issues, and the changing musical climate all began to weigh on them, but during these years Vio‑Lence were one of the Bay Area’s most feared and respected live acts, influencing countless younger bands with their raw aggression.

FORBIDDEN (1987–1991)

Forbidden were among the most technically proficient bands in the Bay Area, and their output from 1987 to 1991 reflects that reputation. Their debut Forbidden Evil (1988) showcased fast, melodic thrash with standout performances from guitarist Glen Alvelais and vocalist Russ Anderson, whose soaring range set the band apart.

They toured heavily in support of the album, building a strong following both in the U.S. and Europe. In 1990 they released Twisted into Form, a more mature and progressive record with cleaner production, intricate arrangements, and a darker, more introspective tone.

Many fans consider it one of the finest technical thrash albums ever made. Forbidden spent these years touring internationally, sharing stages with major thrash acts and solidifying their reputation as one of the Bay Area’s elite. Their combination of technicality, melody, and power made them one of the most respected bands of the second wave.

Forbidden

DEFIANCE (1987–1991)

Defiance were part of the second wave of Bay Area thrash, and between 1987 and 1991 they were steadily rising through the underground ranks. Their debut Product of Society (1989), produced by Jeff Waters of Annihilator, introduced a sharp, politically charged sound with tight riffing and socially aware lyrics.

The band quickly followed with Void Terra Firma in 1990, featuring new vocalist Steev Esquivel and a more technical, refined approach. This lineup shift gave the band a stronger identity and helped them stand out in a crowded scene. Defiance toured with other rising thrash acts, building a loyal underground fanbase and earning a reputation for consistency and professionalism.

By 1991 they were working toward what would become Beyond Recognition, showing clear growth even as the thrash scene began to contract under the pressure of changing musical trends. These years represent the band’s most productive and influential period.

HEXX (1987–1991)

Hexx underwent one of the most dramatic transformations of any Bay Area band during this period. Originally a power metal act with high‑pitched vocals and traditional metal influences, they shifted toward thrash with the Quest for Sanity EP in 1988, adopting a darker and more aggressive sound. This transition reflected the broader evolution of the scene, as many bands pushed toward heavier and more extreme styles.

By 1990’s Watery Graves EP and especially 1991’s Morbid Reality, Hexx had fully embraced death/thrash, with harsher vocals, faster tempos, and more brutal songwriting. Their evolution mirrored the genre’s shift toward extremity as the decade progressed, and while they never achieved mainstream recognition, their willingness to reinvent themselves made them one of the more interesting and unpredictable bands of the era.

Hexx

LÄÄZ ROCKIT (1987–1991)

Lääz Rockit were veterans of the Bay Area scene by 1987, and the years that followed saw them refining their sound and expanding their reach. Know Your Enemy (1987) and Annihilation Principle (1989) delivered tight, energetic thrash with a streetwise edge, blending aggression with catchy hooks.

The band toured internationally, gaining a strong following in Europe and Japan, where their energetic live performances were especially well received. In 1991 they released Nothing$ $acred on Roadrunner Records, which featured a more polished production and a slightly more modern sound that hinted at the changing musical landscape. Although they never broke into the mainstream, these years represented their most active and visible period, and they remained one of the Bay Area’s most reliable and consistent thrash bands.

POSSESSED (1987–1991)

Possessed, after pioneering death metal with Seven Churches, were shifting toward thrash by the late ’80s. Their EP The Eyes of Horror (1987), produced by Joe Satriani, showcased a more technical thrash direction with cleaner production and more intricate guitar work. However, internal issues and the tragic shooting of bassist/vocalist Jeff Becerra led to the band’s breakup shortly after the EP’s release.

Between 1987 and 1991, Possessed were largely inactive, but their influence loomed huge over both the thrash and death metal scenes. Countless bands cited them as foundational, and their early work continued to grow in stature even as the band itself remained dormant. Their legacy during this period was defined not by new releases, but by the massive impact of their earlier innovations.

MORDRED (1987–1991)

Mordred were the Bay Area’s great stylistic outlier during these years, boldly blending genres at a time when most thrash bands stuck to a formula. Their debut Fool’s Game (1989) mixed thrash with funk, groove, and melodic elements, setting them apart from their peers and attracting attention from fans outside the strict thrash world.

They toured with bands like Nuclear Assault and Faith No More, appealing to audiences who appreciated their willingness to experiment. In 1991 they released In This Life, which pushed their funk‑metal fusion even further, incorporating turntables, rap‑infused vocals, and a more experimental approach. While divisive among purists, Mordred were pioneers of a sound that would later influence alternative metal and crossover acts in the 1990s. Their creativity made them one of the most unique bands in the Bay Area scene.

SADUS (1987–1991)

Sadus were one of the fastest and most technical bands in the Bay Area, and between 1987 and 1991 they were firing on all cylinders. Their debut Illusions (1988), later reissued as Chemical Exposure, was a whirlwind of speed, precision, and aggression that immediately set them apart. Their follow‑up Swallowed in Black (1990) was even more intense, showcasing the band’s musicianship and Steve DiGiorgio’s groundbreaking fretless bass work, which became a defining feature of their sound.

Sadus toured with major thrash acts and earned a reputation as musicians’ musicians, influencing both thrash and death metal players. Their technical approach and relentless speed made them one of the most respected underground bands of the era, even if they never achieved mainstream recognition.

Sadus

BLIND ILLUSION (1987–1991)

Blind Illusion released their cult classic The Sane Asylum in 1988, a progressive and psychedelic thrash album featuring future Primus members Les Claypool and Larry LaLonde. The album stood out for its unusual structures, experimental edge, and blend of thrash with progressive rock influences.

Despite its originality, the band struggled with label issues, financial problems, and internal instability, which limited their ability to tour and promote the record. They disbanded in 1989, leaving behind a single album that would later be recognized as one of the most unique and adventurous releases in the Bay Area thrash catalog. Their brief activity during this period produced a record that continues to attract cult attention decades later.

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