Verni It is also the end of the band’s tenure at CMC. Their tenth album, it is the last time that guitar duo played with Bobby Blitz and D. Overkill’s Necroshine album comes from the band’s often overlooked run of albums on CMC records featuring guitarists Joe Comeau and Sebastian Marino. While this period as a whole probably deserves a more in-depth feature than this, for now here’s a sample: five masterpieces from the age of commercial thrash. While some of these bands actively chased Metallica’s success and found moments of pop perfection in the process, others used the expanded space provided by the compact disc format and relatively flush (at least compared to what would come later) budgets to bend their songs in new directions. In reality, while many thrash bands released pretty cluttered, unfocused albums during this time period, there are more than enough diamonds in the rough to justify sifting through them. That story is a natural recursion to the “selling out” that hardcore punk warned against, and a vindication of DIY values at the expense of using label money to try on new creative identities. It feels comfortable to chalk up this often confused and ultimately mixed bag of music on raw greed. Therefore in the minds of many, the most critically indefensible permutation of metal stems directly from thrash’s success and subsequent overreach. These two events are inextricably linked, since Anthrax’s collaboration with Public Enemy on “Bring the Noise” was also released in 1991. For the purposes of this article, I mean roughly the period of time between 1991 - the genre’s commercial peak, the year of Sepultura’s Arise, Metallica’s the Black Album - and the rise of nü-metal. Perhaps no era of metal takes more undeserved flak than the age of “sell out” thrash.
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