Part_4

While pop metal ruled the airwaves, fans of bands like Motorhead and Venom panicked as they saw metal become a softer, more mainstream gender of music. They were relieved, however, by the rise of thrash/speed/power metal (the last label being separated sometimes because of its strong epic characteristic), spearheaded by Metallica. Metallica began combining multiple riffing, snarling vocals, and a wide use of double-pedals in drumming to produce music that was totally uncompromising and ferocious, therefore being shunned by MTV and commercial radio stations. Shortly after, bands like Mercyful Fate and the crunching Exodus (an important part of the blooming San Francisco Bay Area thrash metal scene) were increasing their presence to back up Metallica and bring the harder metal fans together again.
At this time, three other thrash metal bands took over along with Metallica: Megadeth, Anthrax, and Slayer. Megadeth, founded by ex-Metallica guitarist Dave Mustaine, created what would be later known as techno-thrash, characterized by numerous tempo changes and complex riffs, which backed Mustaine's sharp snarl. Meanwhile, Anthrax produced hard-hitting riffs and began experimenting with rap, while Slayer made the heaviest riffs of its time and its members developed their obsession with Satanic imagery. Later on, Suicidal Tendencies would reach similar heights with releases such as Lights... Camera...Revolution, which would incorporate punk, alternative, and rap influences into singer Mike Muir's extroverted ramblings, while Testament would enjoy commercial success through the mid-period of the 80's with albums such as Practice What You Preach and what many consider to be the disappointing Souls of Black. Also noteworthy is the fact that Testament was at one time considered part of the "Big Four" of the thrash metal scene, before Slayer took over its position with what is considered by many to be one of the crucial thrash metal albums of all time: 1986's Reign In Blood.
The scene would have died out if it hadn't been for an underground network in which band demos and records were quickly exchanged and distributed throughout the world. Exciter, Overkill, Nuclear Assault, Dark Angel, Razor, and a number of other bands became known by the thrash scene underground and developed strong cult followings. Additionally, Germany was feeding the general enthusiasm with what was one of the most important thrash metal scenes apart from the one in the San Francisco Bay Area, placing acts such as Destruction, Kreator, Tankard, and Sodom in the movement and injecting it with what at one time was labeled Teutonic thrash. Even then, however, thrash metal was still far from achieving the success it deserved and strived for.
Thrash metal finally hit paydirt when Metallica's masterpiece, Master of Puppets, reached the gold mark (500,000 albums sold) in 1986. This catapulted Slayer, Anthrax, and Megadeth into stardom as well, and began the rise of thrash metal in commercial circles. The answer to pop metal had arrived in the form of an uncompromisingly brutal form of music. However, just like with pop metal, many excellent bands never quite obtained the sales they deserved. Flotsam & Jetsam, Wrathchild America, the solid and straightforward Sacred Reich, early Anvil, and the innovatively progressive and original Coroner and Mekong Delta, despite their powerful albums and originality, never reached enough exposure. Voivod, meanwhile, failed to obtain a well-deserved recognition after changing styles towards a more progressive thrash metal direction. Later on, the splendid Angel Rat featured a more accessible, mainstream sound that contrasted sharply against the brilliant Dimension Hatross and Nothingface; yet it failed to break the band through to the media.
Another trend that suddenly gained impressive influence during the late Eighties would be power metal. A style that took the speed and heaviness of speed metal and combined it with epic song overtones characteristic of classic metal, power metal would be primordially divided into two types, the first of them being the standard, or "American," style of power metal, played by bands like Metal Church, Savatage, Jag Panzer, and Manowar; and which despite its epic proportions inherited mainly from thrash metal and retained much of its harshness. Meanwhile, melodic, or "European" power metal was a style that concentrated mainly on the combination of speed and classic elements, with the occasional inclusion of progressive tendencies; an approach exploited by bands like Running Wild and the unique Rage. Power metal would not, however, reach worldwide exposure until Helloween's Keeper of the Seven Keys albums reached combined sales of over one million records. Fronted by the astounding voice of Michael Kiske, Helloween became the epitome of power metal, producing some of the genre's most memorable harmonies and melodies at speeds only imagined by Iron Maiden. This in turn caused a sudden sensation around power metal, allowing for the eventual creation of new bands like Blind Guardian and Iced Earth, and impelling older bands, such as the proto-power metal Riot, to adapt to the style.