Thrash metal - Wikipedia https://en.wikipedia.

org/wiki/Thrash_metal

Thrash metal
From Wikipedia, the free encyclopedia

Thrash metal is an extreme subgenre of heavy metal music

characterized by its fast tempo and overall aggression. The Thrash metal
songs usually use fast percussive beats and low-register
Stylistic NWOBHM speed metal
guitar riffs, overlaid with shredding-style lead work. The
lyrics often deal with social issues and reproach for The origins hardcore punk
Establishment, using direct and denunciatory language, an Cultural Early 1980s, United States,
approach borrowed from hardcore punk. origins United Kingdom and Germany

The genre evolved in the early 1980s from combining the fast Typical Electric guitar (rhythm guitar
drum beats and attitude of hardcore with the double bass instruments and/or lead guitar role) bass guitar
drumming, heavy and complex guitar style of the new wave drums vocals
of British heavy metal (NWOBHM). It emerged partially as a Derivative Black metal death metal
reaction to the more conventional and widely acceptable forms groove metal
glam metal, a less aggressive, pop musicinfused heavy
metal subgenre which appeared simultaneously. Thrash metal Fusion genres
was an inspiration for subsequent extreme genres such as Crossover thrash funk metal[1] grindcore
death metal and black metal. metalcore

Four American bandsAnthrax, Megadeth, Metallica, and Regional scenes

Slayerare credited with pioneering and popularizing the Australia San Francisco Bay Area Brazil
genre. The Clash of the Titans tour (19901991), which Germany Poland United Kingdom
featured Megadeth, Slayer, and Anthrax, is considered the
Other topics
genre's pinnacle, after which thrash metal saw a decline in
popularity throughout the decade. Thrash metal has seen a Heavy metal NWOAHM power metal
resurgence in recent times, with many of the older bands thrashcore
returning to their roots with their new releases. A new
generation of thrash metal bands emerged in the early 2000s, drawing lyrical and visual inspiration from the
older groups.

Contents
1 Characteristics
2 History
2.1 Origins
2.2 Early 1980s
2.3 Mid 1980s
2.4 Late 1980s
2.5 1990s
2.6 2000s and 2010s
3 Genre spinoffs
4 Regional scenes
5 See also
6 Notes

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7 Bibliography

Characteristics
Thrash metal generally features fast tempos, low-register, complex
guitar riffs, high-register guitar solos and double bass drumming.[2] The
genre evolved in the early 1980s from combining the drum beats of
hardcore punk with the guitar style of the new wave of British heavy
metal.[3] It emerged partially as a reaction to the more conventional and
widely acceptable glam metal, a less aggressive, pop music-infused
heavy metal subgenre which appeared simultaneously.[4] The rhythm
guitar parts are played with heavy distortion and often palm muted to
create a tighter and more precise sound.[5] Vocally, thrash metal can
employ anything from melodic singing to shouted vocals. Most guitar Kirk Hammett and James Hetfield of
solos are played at high speed, as they are usually characterized by Metallica (pictured in 2008).
shredding, and use techniques such as sweep picking, legato phrasing, Metallica's early work is regarded as
alternate picking, tremolo picking, string skipping, and two-hand essential to the development of the
tapping. genre in the 1980s.

The guitar riffs often use chromatic scales and emphasize the tritone and
diminished intervals, instead of using conventional single scale based riffing. For example, the intro riff of
Metallica's "Master of Puppets" (the title track of the namesake album) is a chromatic descent, followed by a
chromatic ascent based on the tritone.

Speed, pacing and time-changes also define thrash metal. Thrash tends to have an accelerating feel which may
be due in large part to its aggressive drumming style. For example, drummers often use two bass drums, or a
double-bass pedal, in order to create a relentless, driving beat. Cymbal stops/chokes are often used to transition
from one riff to another or to precede an acceleration in tempo. Some common characteristics of the genre are
fast guitar riffs with aggressive picking styles and fast guitar solos, and extensive use of two bass drums as
opposed to the conventional use of only one, typical of most rock music.

To keep up with the other instruments, many bassists use a plectrum. However, some prominent thrash metal
bassists have used their fingers, such as Frank Bello, Greg Christian, Steve DiGiorgio, Robert Trujillo and Cliff
Burton. Several bassists use a distorted bass tone, an approach popularized by Burton and Motrhead's Lemmy.
Lyrical themes in thrash metal include warfare, corruption, injustice, murder, suicide, isolation, alienation,
addiction, and other maladies that afflict the individual and society. In addition, politics, particularly pessimism
and dissatisfaction towards politics, are common themes among thrash metal bands. Humor and irony can
occasionally be found (Anthrax for example), but they are limited, and are exception rather than a rule.[6][7]

History
Origins

Among the earliest songs to be labeled thrash metal was Queen's "Stone Cold Crazy", recorded and released in
1974. The song was described as being thrash metal "before the term had been invented".[8] Black Sabbath's
"Symptom of the Universe", released in 1975, was the inspiration for Diamond Head's "Am I Evil?".[9] Since

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then, NWOBHM bands directly influenced the development of early

thrash. The early work of artists such as Diamond Head, Iron Maiden,
Judas Priest, Venom, Motrhead, Tygers of Pan Tang, Raven, and Angel
Witch, among others, introduced the fast-paced instrumentation that
became an essential aspect of thrash.

Void is hailed as one of the earliest examples of hardcore/heavy metal

crossover, whose chaotic musical approach is often cited as particularly
influential.[10] Their 1982 split LP with fellow Washington band The
Venom's early work is considered a
Faith showed both bands exhibiting quick, fiery, high-speed punk rock.
major influence on thrash metal.
It has been argued that those recordings laid the foundation for early
thrash metal, at least in terms of selected tempos.[11]

In Europe, the earliest band of the emerging thrash movement was Venom from Newcastle upon Tyne, formed
in 1979. Their 1982 album Black Metal has been cited as a major influence on many subsequent genres and
bands in the extreme metal world, such as Bathory, Hellhammer, Slayer, and Mayhem. The European scene was
almost exclusively influenced by the most aggressive music Germany and England were producing at the time.
British bands such as Tank and Raven, along with German band Accept, motivated musicians from central
Europe to start bands of their own, eventually producing groups such as Sodom, Kreator, and Destruction from
Germany, as well as Switzerland's Coroner. The Swedish punk band Warheads have also been described as a
proto-thrash band.

Early 1980s

In 1981, a Southern California band Leather Charm wrote a song entitled "Hit the Lights". Leather Charm soon
disbanded and the band's primary songwriter, vocalist/rhythm guitarist James Hetfield met drummer Lars Ulrich
through a classified advertisement. Together, Hetfield and Ulrich formed Metallica, the first of the "Big Four"
thrash bands, with lead guitarist Dave Mustaine, who would later form Megadeth, another of the "Big Four"
originators of thrash, and bassist Ron McGovney. Metallica later relocated to the San Francisco Bay Area.
McGovney was replaced with Cliff Burton, and Mustaine was later replaced with Kirk Hammett. "Hit the
Lights" was featured on their first studio album, Kill 'Em All, released in mid1983.[12]

The term "thrash metal" was first used in the music press by Kerrang! magazine's journalist Malcolm Dome
while making a reference to the Anthrax song "Metal Thrashing Mad".[13] Prior to this, Metallica frontman
James Hetfield referred to Metallica's sound as speed metal or power metal.

Another "Big Four" thrash band formed in Southern California in 1981, when guitarists Jeff Hanneman and
Kerry King met while auditioning for the same band and subsequently decided to form a band of their own.
Hanneman and King recruited vocalist/bassist Tom Araya, a former respiratory therapist, and drummer Dave
Lombardo, a pizza delivery driver, and Slayer was formed. Slayer was discovered by Metal Blade Records
executive Brian Slagel while performing Iron Maiden's "Phantom of the Opera" at a show, and were promptly
signed to the label. In December 1983, less than six months after the release of Kill 'Em All, Slayer put out their
debut album, Show No Mercy.

In 1982, Stress recorded what is considered to be the first Brazilian heavy metal album.[14] Roosevelt "Bala"
(bass and vocals) claimed this to be the first thrash metal album, since it was recorded before Metallica's Kill
'Em All. However, later he stated that some compositions have elements of thrash, like the speed, fast alternate
picking, and the aggressive vocals and sound. Canada also produced influential speed metal bands such as
Annihilator, Anvil, Exciter, Razor and Voivod.

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Mid 1980s

The popularity of thrash metal increased in 1984 with the

"Set the World Afire"
release of Metallica's sophomore record Ride the Lightning,
0:00 MENU
as well as Anthrax's debut Fistful of Metal. Overkill and
Slayer released extended plays on independent labels the The second track from Megadeth's
third studio album, So Far, So Good...
same year. This led to a heavier sounding form of thrash, So What! (1988)
which was reflected in Exodus' Bonded by Blood and
Slayer's Hell Awaits. In 1985, the German band Kreator
Problems playing this file? See media help.
released their debut album Endless Pain and the Brazilian
band Sepultura released their EP Bestial Devastation. Megadeth, which was formed by former Metallica
guitarist Dave Mustaine, released their debut album Killing Is My Business... and Business Is Good!, and
Anthrax released the critically acclaimed Spreading the Disease in 1985.

A number of high-profile albums were released in 1986. Metallica released Master of Puppets. Megadeth
released Peace Sells... but Who's Buying?, which proved to be the band's commercial and critical breakthrough
and a landmark album that AllMusic cited as "a classic of early thrash".[15] Slayer, regarded as one of the most
sinister thrash metal bands from the early 1980s,[16] released Reign in Blood, an album considered to have
single-handedly inspired the death metal genre.[17] Kreator released Pleasure to Kill, which would later be a
major influence on the death metal scene.[18]

Late 1980s

In 1987, Anthrax released their third album Among the Living, which
borrowed elements from their two previous releases, with fast guitar riffs
and pounding drums. Death Angel took a similar approach with their 1987
debut, The Ultra-Violence. In 1988, Suicidal Tendencies, who had
previously been a straightforward hardcore punk band, released their major
label debut How Will I Laugh Tomorrow When I Can't Even Smile Today.
Slayer (pictured in 2007) released
Sepultura's third album, Beneath the Remains, earned them some Reign in Blood in 1986,
mainstream appeal as it was released by Roadrunner Records. Testament considered a landmark
continued through the late 1980s with The New Order and Practice What achievement in the genre's history.
You Preach, both albums showing the band's musical growth and gaining
Testament nearly the same level of popularity as the "Big Four".[19][20]
Vio-lence and Forbidden, two relative latecomers to the Bay Area thrash metal scene, released their debut
albums Eternal Nightmare and Forbidden Evil in 1988. Canadian thrashers Annihilator released their highly
technical debut Alice in Hell in 1989, which was praised for its fast riffs and extended guitar solos. Sadus
appeared later, demonstrating a sound which was primarily driven by the fretless bass of Steve DiGiorgio. In
Germany, Sodom released Agent Orange, and Kreator would release Extreme Aggression.

From 1987 to 1989, Overkill released Taking Over, Under the Influence and The Years of Decay, three albums
considered their best. In 1988, Slayer released South of Heaven, Megadeth released So Far, So Good... So
What!, Anthrax released State of Euphoria while Metallica's ...And Justice for All spawned the band's first
video, the World War I-themed song "One".

A substantial number of thrash metal groups pay tribute to punk rock and hardcore punk. Metallica has covered
Discharge ("Free Speech for the Dumb"), Anti-Nowhere League ("So What?"), Killing Joke ("the Wait"),
Ramones ("53rd & 3rd", among others), and The Misfits ("Die Die my Darling", "Last Caress/Green Hell"),[21]

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and Slayer recorded Undisputed Attitude, an album of punk rock covers, including Minor Threat, early DRI, and
Iggy and the Stooges.[22] Megadeth have covered two Sex Pistols songs ("Anarchy in the UK" and "Problems"),
as have Anthrax ("God Save the Queen" and "Friggin' in the Riggin"). Anthrax have also covered "Protest and
Survive" by Discharge on their album Attack of the Killer B's, "We're a Happy Family" by Ramones, and "New
Noise" by the Swedish band Refused as a hidden track on Worship Music. Overkill have covered the Sex Pistols
("No Feelings"), Ramones ("I'm Against it"), and Dead Boys ("Sonic Reducer", and "Ain't Nothing to Do"). In
addition, Pantera covered Poison Idea ("the Badge").[23]

1990s

A number of more typical but technically sophisticated albums were released in 1990, including Megadeth's
Rust in Peace, Anthrax's Persistence of Time, Slayer's Seasons in the Abyss, Suicidal Tendencies'
Lights...Camera...Revolution!, Testament's Souls of Black, Kreator's Coma of Souls, Destruction's Cracked
Brain, Forbidden's Twisted into Form, Exodus' Impact Is Imminent, and the more groove-oriented Pantera's
Cowboys from Hell. All of those albums were commercial high points for the aforementioned artists. Many of
these bands embarked on a group tour called the "Clash of the Titans" the same year. Several albums that
continued this style, which had come to be known as technical thrash metal, were released in 1991, such as
Overkill's Horrorscope, Heathen's Victims of Deception, Dark Angel's Time Does Not Heal, and Coroner's
Mental Vortex.

Later in 1991, Metallica released their eponymous album, known as "The Black Album". The album marked a
stylistic change in the band, eliminating much of the speed and longer song structures of the band's previous
work, and instead focusing on more concise and slower songs. It would go on to become the band's best selling
album, and began a wave of thrash metal bands releasing more commercially oriented albums.

After the commercial and artistic climax for the genre, the energy of the thrash metal was exhausted and it was
overtaken by the rising alternative metal and grunge movements.[24] In the 1990s many veteran thrash metal
bands began changing to more accessible, radio-friendly styles.[25] Metallica was a notable example of this
shift, particularly with their midtolate 1990s albums Load, and ReLoad, which displayed minor blues and
southern rock influences, and were seen as a major departure from the band's earlier sound.[26] Megadeth took a
more accessible heavy metal route starting with their 1992 album Countdown to Extinction,[27] and Testament
released the melodic The Ritual in 1992.[28]

As further extreme metal genres came to prominence in the 1990s (industrial metal, death metal, and black
metal each finding their own fanbase), the heavy metal "family tree" soon found itself blending aesthetics and
styles.[29] For example, bands with all the musical traits of thrash metal began using death growls, a vocal style
borrowed from death metal, while black metal bands often utilized the airy feel of synthesizers, popularized in
industrial metal. Today the placing of bands within distinct subgenres remains a source of contention for heavy
metal fans, however, little debate resides over the fact that thrash metal is the sole proprietor of its respective
spinoffs.

2000s and 2010s

Many 1980s-era thrash metal bands which split up or were inactive during the 1990s, such as Dark Angel,
Death Angel, Nuclear Assault, and Forbidden, reunited in the 2000s. The more notable bands have returned to
their roots with their new releases, such as Metallica's Death Magnetic (2008), Megadeth's Endgame (2009),
Slayer's World Painted Blood (2009), Exodus' Exhibit B: The Human Condition (2010), Anthrax's Worship
Music (2011), Overkill's The Electric Age (2012), Testament's Dark Roots of Earth (2012), and Flotsam and

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Jetsam's Ugly Noise (2012).

In September 2009, it was announced that Metallica's Lars Ulrich was attempting to assemble a tour with the
"Big Four" on one bill. The bands shared the stage for seven shows during the Sonisphere Festival concert
series. The first gig took place in Warsaw, Poland, and the last one was in Istanbul, Turkey. In May 2010,
Metallica announced that the concert in Sofia, Bulgaria on June 22, 2010 would be transmitted via satellite to
movie theaters across the United States, Europe, Canada, and Latin America. The show also provided the
historic moment of all current members of the Big Four (with the exception of Slayer members Tom Araya,
Kerry King and Jeff Hanneman) sharing the stage to perform the song "Am I Evil?" by Diamond Head.

Genre spinoffs
Thrash metal is directly responsible for the development of underground metal genres, such as death metal and
black metal.[30] In addition to this, metalcore, grindcore and deathcore employ similar riffs in their composition,
the former with more focus on melody rather than chromaticism. The blending of punk ethos and metal's brutal
nature led to even more extreme, underground styles after thrash metal began gaining mild commercial success
in the late 1980s.[31] With gorier subject matter, heavier downtuning of guitars, more consistent use of blast beat
drumming, and darker, atonal death growls, death metal was established in the mid-1980s.

Black metal, also related to thrash metal, has emerged at the same time, with many black metal bands taking
influence from thrash metal bands such as Venom.[32] Black metal continued deviating from thrash metal, often
providing more orchestral overtones, open tremolo picking, blast beat drumming, shrieked or raspy vocals and
pagan or occult-based aesthetics to distinguish itself from thrash metal. Thrash metal with stronger punk
elements is called crossover thrash. Its overall sound is more punk-influenced than traditional thrash metal, but
has more heavy metal elements than hardcore punk and thrashcore.[33]

Regional scenes
Thrash metal emerged predominantly from a handful of regional scenes,
each of which was generally distinguished by the unique characteristics of
its bands.

Bay Area thrash metal: In addition to being the most commercially

successful, San Francisco Bay Area thrash tended to be the most
progressive and technical of the major regional thrash scenes, being
strongly NWOBHM influenced. Metallica, Megadeth, Slayer,
Testament, Exodus, Death Angel, Vio-lence, Possessed, and Sepultura, a key band of the
Forbidden are prominent examples of bands to emerge from this Brazilian thrash metal scene
region.
East Coast thrash metal: Centered in New York City, the East Coast's thrash metal tended to display a
sound that incorporated a strong hardcore punk influence. An emphasis was placed on aggression and
speed rather than technicality. Anthrax, Overkill, Nuclear Assault, Toxik, and Whiplash exemplified the
style to emerge from this regional scene.
British thrash metal: The British thrash bands leaned towards a more traditional heavy metal approach,
often heavier and less aggressive than their American counterparts. The most notable bands from this
scene are Onslaught, Xentrix, and Sabbat.
Brazilian thrash metal: The Brazilian thrash scene is notable for producing a handful of bands that would
become principal parts of thrash metal's prevalence in the early 1990s. There were three scenes where

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Brazilian thrash metal was originated: Belo Horizonte (the most prominent), So Paulo, and Rio de
Janeiro. The most famous bands from this scene are Sepultura, Dorsal Atlntica, Executer, Chakal, MX,
Korzus, and Sarcfago.
Teutonic thrash metal: The German and Swiss region spawned dozens of bands since the mid-1980s that
developed its own style. The most prominent bands from this scene are Kreator, Destruction, Sodom,
Tankard, Coroner, Holy Moses, and Exumer.

See also
List of thrash metal bands

Notes
1. Prato, Greg (16 September
2014). Primus, Over the Electric
Grapevine: Insight into Primus
and the World of Les Claypool.
Akashic Books.
ISBN 978-1-61775-322-0.
2. Bowar, Chad. "What Is Thrash
Metal?"
(http://heavymetal.about.com
/od/heavymetal101
/a/101_thrash.htm). About.com.
Retrieved January 28, 2014.
3. McIver, Joel (April 29, 2010).
"A History of Thrash Metal"
(http://www.musicradar.com
/news/guitars/a-history-
of-thrash-metal-249162/). Total
Guitar. MusicRadar. Retrieved
June 17, 2014.
4. Weinstein 2000, p. 48.
5. Pillsbury 2006, p. 20.
6. Anthony, David (August 1,
2014). "Anthrax's ode to Judge
Dredd became thrash metal's
missing link"
(http://www.avclub.com/article
/anthraxs-ode-judge-dredd-
became-thrash-metals-
miss-207361). The A.V. Club.
Retrieved August 26, 2014.
7. Weinstein 2000, p. 50-51.
8. "This Months Q's 50, Stone
Cold Crazy". Q. February 2011.
9. Erlewine, Stephen Thomas.
"Black Sabbath: Symptom of the
Universe"
(http://www.allmusic.com/album
/symptom-of-the-universe-
the-original-black-sabbath-
1970-1978-mw0000662212).
AllMusic. Retrieved August 27,
2014.
10. Burton, Brent (August 30,
2011). "Two classic D.C.
hardcore bands empty their
vaults"
(http://www.washingtoncitypape
r.com/articles/41541/classic-
dc-hardcore-bands-faith-
and-void-reissues-empty-the/).
Washington City Paper.
Retrieved August 11, 2012.
11. Raggett, Ned. "The Faith/Void
Split LP"
(http://www.allmusic.com/album
/the-faith-void-split-
lp-mw0000233256). AllMusic.
Retrieved August 11, 2012.
12. Heller, Jason (March 28, 2013).
"An introduction to the snarling,
belligerent rebelliousness of
thrash" (http://www.avclub.com
/articles/an-introduction-to-the-
snarling-belligerent-
rebell,95715/). The A.V. Club.
Retrieved July 13, 2013.
13. Dome, Malcolm (February 23,
1984). "Anthrax: Fistful Of
Metal". Kerrang!. London, UK:
Spotlight Publications Ltd. 62:
8.
14. Rivadavia, Eduardo. "Stress
Biography"
(http://www.allmusic.com/artist
/stress-mn0002107464).
AllMusic. Retrieved June 20,
2012.
15. Huey, Steve. "Megadeth: Peace
Sells...But Who's Buying?"
(http://www.allmusic.com/album
/peace-sellsbut-whos-buying-
bonus-tracks-mw0000650486).
AllMusic. Retrieved August 26,
2014.
16. "Slayer band page"
(https://web.archive.org
/web/20070930184733/http:
//www.rockdetector.com
/officialbio,8188.sm).
Rockdetector.com. Archived
from the original
(http://www.rockdetector.com
/officialbio,8188.sm) on
2007-09-30. Retrieved
2010-08-10.
17. Huey, Steve. "Slayer: Reign in
Blood"
(http://www.allmusic.com/album
/reign-in-blood-
mw0000191741). AllMusic.
Retrieved August 10, 2010.

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18. Lee, Cosmo (2006). "Interview
with Cannibal Corpse"
(https://web.archive.org
/web/20070703180313/http:
//invisibleoranges.com
/interviews
/cannibalcorpse.html). Invisible
Oranges. Archived from the
original
(http://invisibleoranges.com
/interviews/cannibalcorpse.html)
on July 3, 2007. Retrieved
August 29, 2014.
19. Lee, Cosmo (May 7, 2007). "Get
Thrashed: The Story of Thrash
Metal"
(http://www.stylusmagazine.com
/articles/movie_review
/get-thrashed-the-story-
of-thrash-metal.htm). Stylus
Magazine. Retrieved January 28,
2014.
20. Ferris, D.X. (August 8, 2007).
"Talkin' Thrash"
(https://web.archive.org
/web/20071110222020/http:
//www.clevescene.com
/2007-08-08/music/talkin-
thrash). Cleveland Scene.
Archived from the original
(http://www.clevescene.com
/2007-08-08/music/talkin-
thrash) on November 10, 2007.
Retrieved September 3, 2014.
21. Erlewine, Stephen Thomas.
"Metallica: Garage, Inc."
(http://www.allmusic.com/album
/garage-inc-box-
mw0000051667). AllMusic.
Retrieved August 26, 2014.
22. Jurek, Thom. "Slayer:
Undisputed Attitude"
(http://www.allmusic.com/album
/undisputed-attitude-
mw0000183530). AllMusic.
Retrieved August 26, 2014.
23. "Poison Idea's Pig Champion
Was Large in Life, Large in
Passing"
(http://www.blabbermouth.net
/news/poison-idea-s-
pig-champion-was-large-in-life-
large-in-passing/).
Blabbermouth.net. February 6,
2006. Retrieved July 11, 2012.
24. Mclver, Joel (2009). The Bloody
Reign of Slayer. Omnibus Press.
25. "Speed/Thrash Metal"
(http://www.allmusic.com/style
/speed-thrash-metal-
ma0000002874). AllMusic.
Retrieved January 30, 2014.
26. Sharpe-Young 2007, p. 256.
27. Sharpe-Young 2007, p. 241.
28. Syme, Anthony. "Interview with
Chuck Billy"
(http://metalupdate.com
/interviewbilly.html).
MetalUpdate.com. Retrieved
September 1, 2014.
29. Dunn, Sam (2005). Metal: A
Headbanger's Journey
(http://imdb.com/title
/tt0478209/). IMDB.
30. Weinstein 2000, p. 288.
31. Sharpe-Young 2007, p. 162.
32. Sharpe-Young 2007, p. 208.
33. Claes, Sean. "Superjoint Ritual
Feature Interview"
(http://www.blistering.com
/fastpage/fpengine.php/link/1
/templateid/7659/tempidx
/5/menuid/3). Blistering.
Retrieved August 10, 2010.

Bibliography
Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points Books. ISBN 978-0-9796163-1-0.
Pillsbury, Glenn (2006). Damage Incorporated: Metallica and the Production of Musical Identity.
Routledge. ISBN 1-136-09122-X.
Sharpe-Young, Garry (2007). Thrash Metal. Zonda Books Limited. ISBN 978-0-9582684-3-1.
Weinstein, Deena (2000). Heavy Metal: The Music and Its Culture. Da Capo Press.
ISBN 978-0-306-80970-5.

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