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Thrashers were quick to adapt, but most of them failed to contribute much of note, half-heartedly trying to keep pace as the style nearly went extinct.įortunately, the new millennium brought a massive resurgence as old school fans were either sick of groove, pining for the old days and a new generation of headbangers clung to the classics, inspired by thrash's originators and heaped not-so-subtle praise unto their heroes.
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Meanwhile, Sepultura put Brazil on the metal map, also balancing on the extreme metal tightrope.Īs the '90s approached, groove saturated heavy metal entirely as Pantera carried the torch, keeping the spirit of metal lit throughout the decade. The Teutonic 4 ( Kreator, Sodom, Destruction, Tankard) ramped up the intensity, playing far faster than any of the stateside acts in the earliest days. Outside of the United States, a number of acts were mucking up thrash's sound, shoveling dirt on it as they walked the line between thrash and proto-death metal. So I'd say it's really less of a stylistic choice or technique than it is just trying to make due with various elements fighting for sonic space.On the East Coast, Anthrax and Overkill had a decidedly different sound, especially as Anthrax leaned on crossover, hardcore and punk more than their contemporaries, while Overkill stuck to their own vision, wavering very little throughout their career, putting attitude first and foremost. Ditto for the bass guitar, although, some thrash bands go for the smiley-face EQ curve on the guitars, which can sometimes afford a tiny bit of breathing room for the definition of the bass guitar to poke through. Sometimes resorting to tricks like taping a quarter/silver dollar to the kick head in hopes of getting more beater definition. When mixing, you're basically forced to EQ the upper mids of the drums to the extreme, just in hopes of having them poke through with any definition at all.
#THRASH METAL ALBUMS FULL#
Guitars are so loud, full and saturated that you wouldn't hear any sustain or ambience on the drums even if it was there. They form a giant wall, with low end that tramples all over the bass, and midrange that covers any snare/beater slap. With thrash, you're talking about full-on saturation of guitars. With something like G&R, you're still talking about guitar tracks that have some dynamics to them, and are moreless focused in the midrange. I know, it was too big a stretch! budget reasons mostly but thrash albums can't sound popish like a guns record I was wondering if you share my opinion, especially about dynamic perception, and I was wondering if there is any technical and historical reason why thrash metal has this kind of tone.Ĭould be that at the very beginning the audio engineers (of this genre) opt for this kind of sound because was easier to mix so dense tracks with maybe cheaper gears? While hard rock albums, in general, have more low-end presence, the kick has big body, snare drum seems to breathe a little more, high-end seems to be more spread, less dynamics range to my ears though.
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Trash metals seems to be a little washed out from low-end, basses sound a little thin especially in the kick, the snare drum sound quite short and with a strong attack, in general it seems that all drum elements have a short sustain (a little gated, maybe?), high-end is quite compact. It's clear that the two different genres use different mixing approaches. Then I switched to hard rock albums, such as: "Appetite for destruction", Guns n'Roses 1987, always paying attention to drum. I was listening to some new and old thrash metal albums, paying attention to the sound/tone of drum, for example "Justice for all", Metallica 1988.