0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

A.D.H.E.R. (ARGENTINA)

Based on "Terciario de la Edad", this act play decent modern power/post-thrash with rare stretches towards classic heavy/power metal the latter binding them with the heroes of the local metal scene in their homeland Horcas and Hermetica. The tone is peaceful and the mid-pace which dominates the proceedings may turn to a background for whatever one is doing since there's nothing adventurous here to challenge the mind. The singer merges with the calm tone of the music with his clean mid-ranged timbre which doesn't possess too much depth, but that's hardly the most urgent ingredient on this album.

"De Otras Tierras" offers more classic-sounding power/thrash, but there's no intensity or a guitar edge to be heard very often; the guys play in a relaxed manner with a lot of melody and a sleepy mid-pace which frequently "staggers" towards the stoner, the blues and the ballad. The closing "Negra Realidad" is an impressive pumping speedster, but that's the only song to make the head move a bit.

Eterno Recuerdo Full-length, 2002
Terciario de la Edad Full-length, 2004
De Otras Tierras Full-length, 2007

A.K.R. (USA)

This outfit (the abbreviation stands for "Anorexia Killed the Rat") provides a truly amateurish mish-mash consisting of three covers (one of Slayer, "Die by the Sword"; two of S.O.D., "Freddy Krueger" & "United Forces") and several original cuts which cling between thrash and proto-death, but the horrible sound quality and the very bad shouty death metal vocals are very hard to ignore. Otherwise the band play fast notching it up proficiency-wise on the "Surf's Up" hit making at least more recognizable compared to the previously mentioned covers.

Live Demo, 1988

A.M.E.S. (GERMANY)

Based on the debut demo, this band pulls out heavy steam-roller modern thrash/death metal which never leaves the mid-pace except for the violent closer "Cast Aise", topped by ultra-brutal growling vocals. There's also a certain playful vibe in the guitar approach reminiscent of the first two Six Feet Under albums.

Demise Demo, 2003
God's Sign Under Suffering Souls Demo, 2004
Postmortem Rites Full-length, 2007

Official Site

A.M.Q.A. (USA)

Punk-ish thrash/crossover, more on the melodic side; there are two bass players in the band, and this can be very clearly felt; there is a very heavy bass bottom on every track, and yet the music is catchy and melodic.

Cats are Neat EP, 1986
Mutant Cats From Hell Full-length, 1988

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A.N.I.M.A.L. (ARGENTINA)

Based on "El Nuevo Camino Del Hombre": groovy post-thrash, but lacking energy and speed, mostly mid-paced, often moving towards slower, balladic fields, one-dimensional and ultimately boring; there is one awful attempt at funk (or rap, or jazz?) at the end: "Chalito".

A.N.I.M.A.L. Full-length, 1993
Fin De Un Mundo Enfermo Full-length, 1994
El Nuevo Camino Del Hombre Full-length, 1996
Poder Latino Full-length, 1998
Usa Toda Tu Fuerza Full-length, 1999
Animal 6 Full-length, 2001
Combativo Full-length, 2004

My Space

A.N.S. (USA)

"The Process of Stocking Out" is thrashcore mixed with punk and a few instrumental variations with a strong modern industrial vibe; not terribly bad, actuallly, even sounding original at times. "Pressure Cracks" is cool thrash/crossover in the spirit of Broken Bones and Ludichrist; fast energetic songs take turns with noisier more hardcore-based ones. The modern elements have gone except for the nice spacey instrumental near the end "Instru-Monu-Mental" with touches of Mastodon, and now this effort sounds more classic but quite derivative as well.

The Process of Stocking Out Full-Length, 2008
Pressure Cracks Full-Length, 2009

A.O.D. (FINLAND)

Based on the 2-song demo "Painful Awakening", this obscure band play cool heavy thrash sounding like early Testament. Both songs could well stay on "The New Order" with their crushing, semi-technical riffs and nice Alex Skolnick-like guitar work.

The band's full-length is finally a fact, and "Gallery of Pain" doesn't disappoint offering well-executed retro thrash, but with a drier, more clinical production and more hoarse semi-shouty vocals. The pace gets high from the get-go with the first two songs being major headbangers, followed by the more moderate "Children of Misfortune" which influences the next mid-pacer "Guilty or Not", before the rage returns with the short Slayer-sque fury "Cross the Line (of No Return)". The guys switch onto pure proto-death/hardcore on "Suicide Are You Fucking Insane?", but this is the only part where things get slightly out of control, but in a good way.

Demo 1988 Demo, 1988
Painful Awakening EP, 1989
AnnODomini Best of/Compilation, 2001
Gallery of Pain Full-length, 2010

My Space

A.P.O.D. (FRANCE)

Dark gothic thrash with strong shades of death metal including in the gruff shouty vocal department; "No More Problem... No More Life" is an eventful progressiver ala early-90's Messiah with intriguing complex riffs, but later on this impressive initiative is dissipated by several much more immediate, less serious cuts ("Sadists").

Captured by a Patapouf... Demo, 1991

A.R.G. (FINLAND)

A really good Finnish thrash metal band who perfectly combine aggression and technicality; their debut is rawer, but very effective, quite intense and speedy with great riffs and ambitious long, complex tracks ("Heathenism in Penitentuary"). The overall style is similar to late 80's Kreator and Destruction. The sophomore album is pretty much in the same vein, but is more technical and polished with another monstrous, 12-min multi-layered thrash opus near the end (the title track) and really impressive exercises at a more complex, technical song-writing like "Adoration of the Kings", the smashing speedy riff-fest "Misfortune Along My Side", or the crushing galloping "Back To Life". This uncompromising thrash assault still finds room for one brilliant fast-paced melodic crossover piece, "Hey Hey My My".
"Redemption from Refaim": another veteran is back from the ashes, and the fans will rejoice listening to this bold statement of intent which will throw him/her into spontaneous headbanging from the very opener "Overlord". However, the guys have prepared pleasant surprises along the way: the intriguing technical escapade "Defiled", the consummate Destruction-like speed/thrasher "Redemption from Refaim", the more epic roller-coaster "Random Act of Cruelty"; etc. Heads will roll on the bombastic "Hypocritical Rites", but the more tender-hearted may have their go on the acoustic beginning of "Ramming Down Your Throat" which later turns into another flash of thrashing light. "Bloodstar" is again on the more serious side with more melodic decisions, before the closer "Refaim" serves a portion of heavy dramatic arrangements to close this new chapter from the guys' career with style.
The "Hellcome Misery" EP is a vitriolic piece of fury which retains the band's staple style from earlier recordings every bit of the way. "Bonegrinder" rages hard with no remorse with biting hyper-active rhythms and maddening tempos the guys letting some steam off at the end with a heavy pounding exit. The title-track is another exhausting headbanger with a more varied rhythm-section and some truly dazzling lead sections. "Submit To None" attempts something more tamed and the excellent melodic licks usher a more streamlined delivery with sudden speedy outbursts which overtake the second half, the latter flowing into frolic rock-ish rhythms those courtesy of the Finnish hard rock veterans Zero Nine, the guys covering their hit "Rolling Through the Night" in a more intense, more headbanging manner.

Entrance Full-Length, 1989
Back To Life EP, 1990
One World Without The End Full-Length, 1991
Redemption from Refaim Full-Length, 2015
Hellcome Misery EP, 2017

Official Site

A.S.M.O. (HOLLAND)

This act promotes the sound of the American power/thrash fraternity quite well on European ground with its epic arrangements ranging from the vitriolic speed of Savage Grace ("A.S.M.O.") to heavy seismic riffage in the vein of Jag Panzer ("Innocent"). Things move towards more aggressive thrash on the destructive "Total Death Destruction", and generally the dynamics is quite big another asset being the very good attached clean singer who is close to Jeoff Tate (Queensryche).

Obstruent Demo, 1987

A BAND OF ORCS (USA)

Based on the full-length, this band offer competent modern/classic thrash/death which possesses all the necessary ingredients to be an entertaining listen and seldom disappoints with its good sense of diversity and melody although to talk about all-out speed here would be farfetched the dominant riffage being squashing steam-roller-like with shades of progressive on the several longer numbers ("Hall of the Frozen Dead"). The leads are on a particularly high level surpassing the rest which crosses the Swedish school with the battle-like approach of Bolt Thrower to a generally positive effect. The singer is also close to Karl Willets (Bolt Thrower), maybe a tad higher and more comprehensive.

WarChiefs of the Apocalypse EP, 2007
Adding Heads to the Pile Full-Length, 2012

Official Site

A BETTER HOPE FOUNDATION (USA)

Crusty thrashcore with dry dispassionate guitars despite the up-tempo experienced for most of the time. The guys lash on autopilot producing samey energetic stuff which seldom gets wildly hardcore-ish ("Colder Nights") to a startling, but positive, effect, but watch out for the closing "extravaganza", a slow composition ala Biohazard including spacey melodic passages with an alternative edge which are ultimately ruined by the very shouty hardcore vocals.

Trading Heroes For Ghosts Full-Length, 2008
You Can Never Go Home Again EP, 2010

A BURIAL AT SEA (NORWAY)

The EP offers modern thrash/death metal of the Gothenburg school, fast and intense with clever technical riffage ("Among Betrayers") present.

Pestilent Demo, 2007
Like a Blessing EP, 2009

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A CALL TO ARMS (USA)

This new act specializes in classic power/thrash which is pretty close to early Iced Earth, until it hits the more aggressive parameters on the smashing "No New Revolution". Things only get more interesting, first on the short technical "Parasite Season", and then on another fast-paced number "The God Within". "Upcoming Epidemic" is a nice more epic-tinged power/thrasher with heavy meaty riffs which suit the cool clean, mid-ranged vocals reminiscent of the second Iced Earth singer John Greely.

Peace Through Strength, Victory Through Devastation Full-Length, 2011

A COLOUR COLD BLACK (GERMANY)

Based on the debut, this band plays a weird mixture of thrash (a little bit also coming with a pinch of hardcore), death and doom metal with a very annoying abrasive guitar sound. At its most melancholic the approach comes close to early Anathema, but the Germans speed up more often where they also recall their compatriots End of Green. Reportedly on their later works the band incorporated thrash metal elements more mixing them with industrial and groove.

"Pull It Up" is a bland form of eclectic, avantgarde rock with no trace of thrash or even post-thrash; this is an awful blend of Red Hot Chilli Peppers and Monster Magnet and a few attempts to make things more interesting with the odd jumpy rhythm ala Tool or the harder quasi-industrial guitar edge in the spirit of Killing Joke springing up from time to time. The singer now has a soulful semi-declamatory/semi-clean tember, and misses the opportunity to sing more to which the musical delivery by all means inclines.

Dead Dream Full-length, 1997
Drowning Sun EP, 1998
Sau-Krass Full-length, 1998
Adrenaline Agony Full-length, 2000
Rockitallover Full-length, 2001
Pull It Up Full-length, 2004

Official Site

A DEEPER DARK (USA)

The EP: this band specialize in crunchy modern post-thrash which has both heaviness and an edge as well as deep dark undercurrents also carried by the several more atmospheric passages and the throaty death metal vocals which are surprisingly intelligible and even a bit attached. "Rise Of A New Species Of Man" is a cool dynamic cut, but the pensive brooding tone of the effort isn't broken easily although the short melodic leads could be considered a more optimistic digression.
The full-length is a more dynamic offering with sharper guitars and more aggressive leanings even attempting something more stylish and technical on the jumpy, not very predictable "Catastrophic". "War Machine" is a cool morose proto-doomster, and "System Flawed" is a rousing mid-paced shredder leaving "Unknown Territory" the sole reminder of the EP's more laid-back, nonchalant nature.

The Blackest Ov Black EP, 2012
The Art of War Full-Length, 2015

Official Site

A FITTING REVENGE (USA)

Modern melo-thrash/death with rough death metal vocals; the music is profesionally executed, but is nothing new as the better moments are the ones that are slower ("Electric Flame Ghost", "Prophet Of Truth") with a bigger sense of melody, and they're the ones that dominate. "Of Livestock And Wolves" is a diverse progressive piece with less controlled blast-beating passages, but for most of the time the approach is relatively peaceful without any extremes.

Tempus Fugit Full-Length, 2017

A GHOST NAMED ALICE (AUSTRIA)

A cool blend of power, proto-thrash and progressive which isn't very complex, and accentuates on the melodic guitar work which is especially striking on the semi-balladuc jumper "Darkened Halo", and on the strangely uplifting, spacey frolicer "When Luck Is With The Stupid". The leads take the upper hand on the dramatic "symphony" "Followers" deafening the vocal exploits a bit the latter staying within the not very emotional mid-ranged semi-clean parametres. The band members are also active with the gothic metallers Shadows' Grey and their extension, the extreme progressive metal outfit Scargod.

It Feels Like Suicide Full-length, 2018

Official Site

A LOWER DEEP (USA)

A cool mixture of thrash, progressive and doom metal with a heavy thick sound and a small doze of modern groove; will appeal to fans of Nevermore, Memento Mori, the last Hexenhaus album and even Iced Earth. "Parable of the Thorn" is the band's least thrashy effort; it's still quite good, with a bigger concentration on the progressive/power metal side of the music; the more intense thrashy sections (quite a few of them here) are modern-sounding, and not really engaging.
"Trinity" is a better offering, starting with a cool heavy power/thrashing number ("Ascent Of The Fallen"), which sets the tone for the rest. The tracks are longer, and are not sustained in a hard-hitting thrashing vein the whole time, but include slower doom sections as well as more melodic ones. Certainly, there are more laid-back, power metal-based songs ("Gods And Monsters") as well as pure doom metal delights (the excellent, Candlemass-influenced "Lost in Eden"), plus a few exercises in modern groove (the closing "The Power Of Why"), but generally the guitar sound is sharper and more aggressive.
"Black Marys" continues the harder course from the last recording, and the brutal death shout at the beginning of the opener "Bleed" may scare you, but this number is the prototypical for the band mix of doom and power/thrash surrounded by a dark ominous atmosphere, which sets the tone for what follows: mid-paced to slow crushingly heavy stuff, clinging between the modern and the classic sound, with the doom metal opus "Hamartia" being the highlight, with the more dynamic technical power/thrasher "The Narrow Way" a close second. "For Those Left Behind" is the other place where your head will start banging, and where more extreme lower-tuned vocals can again be heard; the closing "Revelation" offers a nice fast twist in the middle, but as a whole this effort focuses on heaviness, now moving closer to Communic sound-wise.

A Lower Deep Full-length, 2002
able of the Thorn Full-length, 2004
Trinity Full-length, 2005
Black Marys Full-Length, 2007

Official Site

A LUCID NIGHTMARE (CANADA)

Modern post-thrash with heavy corrosive riffs; the approach frankly borders on doom ("Topgun", "Rust"), but "HUmanity" is a cool more dynamic thrasher which strife is killed by the lethargic balaldic dirge "Strive", the confrontational shouty vocalist supporting the more energetic side to which also belongs the more complex volatile shredder "My Own Justice".

Effigy Full-length, 2024

Official Site

A MURDER OF CROWS (AUSTRALIA)

Modern power/thrash metal with strong groovy qualities; nothing really special except for the very good ballad "A New Breath" and the spasmodic proto-deathy closer "Here Comes The Pain", a sudden very aggressive outbreak ruined by the shouty angry vocals.

The Twisted Path EP, 2010

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A NAMELEES INERTIA (ITALY)

This is modern cyber-thrash with not very overt progressive tendencies which clings between the dark brooding shreds of Nevermore ("Shell Shock") and more aggressive thrashing ("Monade"). "Break the Cycle" is a nice varied thrasher recalling the more exuberant exploits of the Brits Biomechanical whereas "Kernel Panic" is a stylish minimalisitc nod to the djent movement. The dual, deathy vs. clean, vocal duel is not bad, but is hardly this effort's strongest asset.

Anthropocentric Full-Length, 2018

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A PUNTO (ARGENTINA)

The full-length: a modern blend of thrash and death metal with technical pretensions coming mostly from the jumpy hectic riffage which springs up from time to time. The tempos change quite a few times as the predominant one is the mid-paced. There are a couple of short 1/1.5-min tracks which are awkward as they are more aggressive and less serious and do nothing more but ruin the rest which offers pounding heavy rhythms as well as several groovy ones.
The demo is another clever affair, the choppy mid-pacer "Los Violentos Visten de Azul" creating less regular atmosphere, the more dramatic and melodic "A Mi Despreciable Jefe" disrupted by the rowdier headbanging shredder "The Delicious Taste of Agony", the stylish lead sections on this one nicely complementing the complicated proceedings. "Victims of the War" is an outstanding technicaller with sudden speedy rushes, an awesome roller-coaster which borders on proto-death on the more aggressive moments.

The Delicious Taste of Agony Demo, 1992
Popular Poder Full-length, 1996

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A SICKNESS CALLED CONSCIOUS (USA)

This is hyper-active semi-technical death/thrash which relies on sudden stop-and-go twists, with a few nice melodic tunes ("A Deal With the Devil") also provided alongside less controlled black metal-ish outbursts ("Labyrinths"). Thrash participates more legitimately on the choppy "The Bludgeoning" and on a couple of short shredders ("White Vulture", "Into Oblivion") but the aggressive shouty death metal vocals make it quite clear which genre leads the show here.

Forest Of The Suicides Full-Length, 2020

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A TASTE OF FEAR (ITALY)

Modern thrash/death with crisp boosted production which can be fairly vicious and wild ("Out Of Place"), and when this wild attitude gets blended with more serious progressive decisions ("A Feared Secret"), things are close to hitting the top. "Ripped Soul's Gift" serves a few more melodic and slower respites, but the majority are speedy remorseless shredders another exception being the creepy doomy closing title-track. The vocals are rough shouty death metal ones, the standard for this kind of hybrid.

God's Design Full-length, 2017

Official Site

A THOUSAND REASONS (ARGENTINA)

A 3-song demo of heavy abrasive thrash with very brutal low-tuned vocals; this is dark, almost doomy, music with a sudden faster revelation at the end: the hardcore-ish industrial oddity "Synthetic Heaven" which suddenly switches to darkwave on the final line also introducing nice clean vocals.

Strength and Fight Demo, 2009

A TORTURED SOUL (USA)

Based on "On This Evil Night", this band deliver very good classic power/thrash with an elusive progressive/technical edge. The title-track opens the album in a heavy, moshing fashion with crushing hammering riffs before the next "Crimson" speeds up a bit preserving the volcanic character its predecessor also adding a few appetizing, melodic decorations. "Black Dragon" lashes fiery riffs from all sides without speeding up too much; and "Dreams" is an impetuous progressive speed/thrasher matching the last few Paradox works in every respect. "All Alone" is a fascinating mix of ballads and fast-paced rhythms leaving the following "Smoke" to do more damage with harder, more aggressive guitars. "Waiting for Death" is a fabulous technical shredder recalling Helstar's "Nosferatu"; and "The Ripper's Curse" is an epic hymn with a very cool chorus. "Mourning Son" is almost 10-min of eventful thrashy progressiveness featuring several balladic breaks among the virtuous, hard-hitting riffage the latter finding a glorious continuation on the final "Murdering", another very stylish technicaller with dramatic, epic accumulations. The vocalist may be a bit of a letdown with his not very melodic, semi-clean baritone, but it can't possibly a spoiler on this grand recording which can easily top the year's poll.
"Kiss of the Thorn", which is a re-working of most of the material from the debut, is an epic speed/power metal affair with touches of thrash on the more aggressive material, like the vigorous closer "Tomorrow's Door". The singer often goes for the King Diamond falcetto, but his occasional wails are not that impressive, and create the impression that he isn't very confident in their execution restraining himself from pitching them higher. The riffs hit hard all the same, though, and the fans should have no problems savouring energetic shredders like "Altar Of Sangria" and the progressive gallopismms on "Parasite".
"Lucifer's Fate" follows the path carved by its predecessor, and is in the same epic power/speed metal vein reminiscent of Liege Lord's "Master Control" quite a bit. Brooding masterpieces like "Eye of Ra" and the pessimistic proto-galloper "Ashes to Ashes" will inevitably put a smile on the listener's face, as well as the slightly naive attempts of the vocalist to emulate King Diamond on the high-pitched shrieks; and it's only intricate speedsters like "Rust", and partly the progressive-heavy "Reign", which hint at the splendour to be unleashed on the band's magnum opus six years later.

Tomorrow's Door Full-length, 2005
Kiss of the Thorn Full-length, 2007
Lucifer's Fate Full-length, 2010
On This Evil Night Full-Length, 2016

Official Site

A TU PUTA KARA (SPAIN)

Modern thrash hesitating between heavy groovy and faster crossover parts; the alternation is almost song-by-song as both sides deliver helped by the relative length of the songs (4-5min), with sections where both tendencies entwine to produce the most interesting tunes ("La 'daltima", "A Fuerza Ostias", both placed at the end) topped by less impressive semi-death/semi-shouty vocals.

Movido por el Odio Full-length, 2007

Official Site

A VISION GROTESQUE (USA)

This band, previously known as Art of Dying, a moniker they had to drop due to legal claims made by a Canadian act of the same name, play modern thrash/death metal of the Swedish school (based on "Metaphysical Hypnosis"); nothing extraordinary, pretty typical stuff, melodic and laid-back, with the rough low-tuned vocals the only brutal thing, reminiscent of mid-period In Flames and the Finns Gandalf. The guitar work is not bad at all, but the guys develop it all in a tedious mid-tempo with only the closer "Whisper the Serpent" thrashing hard with force.

King of the Massacre Full-length, 2007
Waking Up to Hell EP, 2007
Metaphysical Hypnosis Full-length, 2009

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A VULGAR PICTURE (USA)

The opening "Statement of Intent" is really a "statement of intent" with its creepy semi-technical decisions, but enters "Bound to Destruction" and things become aggressive to the point of proto-deathness. Later on such brutality is nowhere to be encountered the sound taking a disappointing turn towards groovy post-thrash/death where it stays till the end the progressive leanings on the melodic closer "The World I Found" the only more pleasant shift. The singer is the staple death metal shouter, maybe showing the casual shade of emotion at times.

The World I Found Full-Length, 2013

Official Site

AAMONHAMMER (BRAZIL)

Brutal black/thrash metal, not too dissimilar from others from the Brazilian metal scene at the same time: Vulcano, Sextrash, Sarcofago, etc. with a pinch of early Sodom and Hellhammer.

Funeral Demo, 1987
Warfare Noise II Split, 1988

AARDVARKS (GERMANY)

Based on "Conglomerate", this band offer an interesting blend of thrash and gothic/death metal which brings a thrashy Crematory to mind. The songs are heavy, slow to mid-tempo. Before you, thrash metal maniacs, give up tracking this band down, I would like to add that there are nice fast thrashers, too: "Grey" is a good example for that. The band's interesting mixture will appeal to gothic, death and thrash metal fans.

The "Pro Victoria" demo continues with the ambitious, and never overdone, aforementioned mix with a very good sound quality and crispy biting guitars. Again "Crematory meets thrash" would be a fitting description, and all hats will be down for the excellent cover of Bolt Thrower's immortal "For Victory", here named "Pro Victoria", a great dark read of this brilliant song with the steam-roller riffs and the brilliant doomy intro and outro, of course, preserved, the singer pulling outstanding performance worthy of Karl Willets himself.
The "Farkas' Lemma" demo is a cool start for the band also showing an early penchant for a more dynamic song-writing with the dark progressive speedster "Homeless". The melodic licks are also around to ensure a wider appeal which is also guaranteed with the pensive proto-doomy "Late Onus", and arguably with the stomping, but also speedy, cover of Motorhead's "Ace of Spades" at the end the brutal death metal vocals not really matching the inebriate timbre of Lemmy (R.I.P.).
The "Profondo Rosso" EP is a hard-hitter the boosted guitars cutting like a knife in a mid-paced modern fashion topped by the calm low-tuned death metal vocals. The peaceful tone is rudely broken by the raging speedster "Grey", also featured on the full-length three years later which also sounds a bit on the classic side with a nice technical mid-section; an unexpected, but utterly welcome cut after which the marching tone comes back with the galloping battle-like "Meat". The final "Too Many Puppies" is a noisier industrial piece creeping onward with formidable heavy squashing riffs. With a small, but fairly consistent, discography this outfit remain one of the better kept secrets from the German underground.

Farkas' Lemma Demo, 1996
Profondo Rosso, EP, 1999
Conglomerate, Full-length, 2002
Pro Victoria Demo, 2008

Official Site

AAVENGER (GERMANY)

This is classic epic power/thrash that still has its less tamed side (the ripping headache "Vengeance Night"), but this is largely stomping academic stuff accompanied by semi-whispered, sometimes deathly vocals which get a tad more lyrical on the atmospheric doomy "The Cure". "Eliminator" is the other speedy proposition, eliminating the possibility of other such developments, the heavy steam-rolls of "Sinners Paradise" an additional squasher, "Guilty Innocence" notching up the drama towards the end with another breezing swath of riffy vitriol.

Valor Full-Length, 2022

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ABACABB (USA)

Heavy groovy post-thrash, not too bad, with hammering Pantera-sque ("Far Beyond Driven") riffs and sudden very fast "interludes" ("Regression"), which are cool and fresh, boldly jumping on the death metal wagon ("Regression") to an even more impressive effect. Some tracks ("Destruction", etc.) are frankly proto-grinding, but surprisingly this unusual amalgam produces listenable results without sounding awkward.

Survivalist Full-length, 2009

Official Site

ABACINATE (HOLLAND)

Classy aggressive thrash similar to Sepultura's "Beneath the Remains" and Devastation's "Idolatry"; too bad these guys disappeared soon after that. These are actually the same musicians who were behind another great underground act: Brain Implosion. This is very fast-paced intense music, with no single pause for a break which never goes over the line into death metal territory, providing seven tracks of pure headbanging thrash.

Out of the System, Demo, 1991

ABACINATE (USA)

The full-length: these guys pull out a very wild mix of thrash, death metal and hardcore; the guitar work is fabulous, quite technical and varied, shaking hands with the best in the field: Suffocation, Morbid Angel, Decapitated, etc. although the band here are not strangers to straight thrashy sections. The grinding passages are quite a few, but are very appropriately used creating a very nice contrast with the less intense material nicely adding up to the great dynamics of the album. Even the short 1.5-2min numbers are packed with superb guitars and sudden tempo changes (check out the mighty riff-fest "Sadist Misogynist"). Another act this band might remind you of, is Carcass, their mid-period (check out the awesome "The Nuremberg Code"). More conventional Swedish-styled riffs are also added ("She Gave up the Ghost") here and there, but they stand no chance against the impeccable technical riffage.

Portrayal Of The Gray Man EP, 2006
Ruination Full-length, 2008

Official Site

ABACINATOR (USA)

"Abacinator" is heavy thrash alternating between fast Slayer-esque sections and slower ones recalling Nasty Savage's debut with mean declamatory vocals which sound quite cool, actually. "Domestic Violence" abandons the slower parts and is all-out speed most of the time with again Slayer being the obvious influence as well as Evildead's "Annihilation of Civilization" and Sacred Reich's "Ignorance"; the drums sound a bit hollow on this one, and there's a song there: "Acting Like Black Sabbath" which acquires doomy tendencies similar to the Brits' early stage with Ozzy, and is clearly intended as a joke.

Abacinator Demo, 1987
Domestic Violence Demo, 1988

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ABADDEN (UK)

The full-length reveals "defenders of the old school faith", the main difference coming from the throaty death metal-ish vocals. The main influences come from the American side (the Bay-Area, Slayer, early Whiplash), and rest assured that there's no speed lost here the guys moshing out with fury with sharp lashing riffs the whole time. "The Hand That Feeds" is a cool attempt at more elaborate performance ala late-80's Metallica followed closely by the last two numbers: "Into the Dark" which scores high in the lead department, and the more mid-paced closer "The Day of Reckoning" where the guys leave room for cool melodic hooks toning down the speed as a finishing touch.

My Misery EP, 2007
Sentenced to Death Full-length, 2010

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ABADDON (CZECH)

A young act who tries to broaden the margins of the thrash/death metal hybrid by adding clever arrangements of the semi-progressive type which results in a loss of speed and kind of repetitive structures evolving in mid-pace with frequent more intriguing technical stops which are also kind of samey sounding like a clumsier unrehearsed Coroner. The sound hesitates between the classic and the modern trends, but the melodic hooks ala later-period Death are a nice touch on the pounding proto-mechanical background the latter assisted by a strong bass-bottom. The singer is a low-tuned death metal growler of the more intelligible kind and will remind of the ex-Torr singer Vlasta Henych quite a bit.

Armageddon Full-length, 2008

Official Site

ABADDON (SOUTH AFRICA)

The debut: a blend of modern and classic thrash quite comparable to early Sacrifice on the more retro-prone moments, the guys varying the pace although the heavy hypnotic stompers ("The Fractured Race", "Illuminati") clearly dominate the landscape, the rough semi-declamatory death metal vocals intelligibly leading the show which could have benefited from a couple of more dynamic numbers.
"Rise of Terror" doesn't stray very far from the preceding opus, the band shredding with confidence, notching the speed up initially on a string of cuts among which the title-track is an admirable more complex achievement. The thing is that the fast-paced arrangements inexplicably disappear in the second half, the nervy jolts on "Black Death" creating some feverish impression for a bit, the deathly accumulations on "Soulless" a sure booster, the more volatile formulas applied on the all-instrumental piece "The Extinction Solution" at the end another relatively positive occurrence.
"Statues of Sorrow" is an even more pensive, more atmospheric affair, the band now combining brutal black-laced outrages ("The Swarm") with the dominant patiently-woven doom-ornate approach ("Imperious Divine"), thrash arriving later in the form of the epic diverser "Order of Death" and the semi-technical roller-coaster "Road to Damnation". It stays there till the end, fighting its way through more black metallisms (the ambitious title-track), death-ridden aggression ("Weavers of Kismet"), and more anti-climactic atmospherics ("The Abyss").

The Fractured Race Full-length, 2018
Rise of Terror Full-Length, 2020
Statues of Sorrow Full-Length, 2023

Official Site

ABADDON (UK)

Dynamic modern thrash with both metalcore and death metal influences; the music is fairly eventful with touches of romance (the tender balladic interlude on "A Life in Pictures"), but all is about to collapse at the end when the band pull out an unexpected cover of Backstreet Boys' (!!) "Larger Than Life" done in an abrasive quasi-industrial fashion and hardly recognizable not without the help of the bad semi-shouty/semi-death metal vocals.

Book Of The Fallen EP, 2010

ABADDON RD (DOMINICAN REPUBLIC)

Based on "Tragic Eternal Mutation", which is the English version of their 2014 recording, this formation serve a modern brand of power/thrash which mostly relies on heavy seismic rhythms with a lot of drama bordering on epic. Exceptions to the rules are inevitable and here comes "Evil Possessed" to blow your socks off with some wild brutal death/thrash. In the second half the tracks become longer and more complex, but the slower approach makes them somewhat dragging listens.

Abaddon RD Full-length, 2002
Animal Bizarro Full-length, 2008
La Tregica Y Eterna Mutacion Full-length, 2014
Tragic Eternal Mutation Full-length, 2015

Official Site

ABANDON HOPE (GERMANY)

Another band who play modern groovy post-thrash apparently influenced by Pantera and Machine Head this time spiced up with stoner/doom elements as well as more interesting, semi-progressive guitar work. When the guys pull themselves together, they can come up with hard-hitting, headbanging riffs ("Lost But Not Forgotten"). They also offer a cover version of Jethro Tull's "Locomotive Breath".

The Endless Ride Full-length, 2006

Official Site

ABANDONED (GERMANY)

These guys like the word "thrash", and it's not hard to guess where they would go with album titles like that: classic 80's thrash is the order of the day for which responsible are some of the more renowned musicians from the German metal scene: Fabian "Fabs" Schwarz, the guitar player who in the past played for both Stormwitch and Tyran Pace, and of more recent times is involved in Paradox and Runamok, among other acts; the bass player Gonter Auschrat who also provides the heavy bottom in Out of Order; and the drummer Jan Mischon who is also a member of the talented outfit Courageous. Surprisingly, Abandoned don't follow on the steps of their compatriots, but have looked for inspiration on the other side of the Atlantic ocean and have come up with a good more Bay-Area thrash-influenced debut with a pinch of Paradox's speed/thrash which to these ears bears the most delicious fruit ("Holy Terror", "Phoenix Rise"). The drums sound hollow and noisy, though, and the singer doesn't quite fit with his throaty semi-shouty timbre. Still, the tempo is up and vivid the whole time, and the guys throw in a couple of nice catchy choruses along the way.

"Thrash You!" concentrates on speed/thrash metal ala Paradox now sounding not far from that same band's "Collision Course". So some may find this album the better offering since the speed has been increased considerably, and the guys thrash sure-handedly, adding the odd more technical or more melodic hook here and there. The approach gets quite hard going beyond the Paradox shadow for a while: the bombastic crossover-tinged "Feel The Fire", and speed killers like "Damned For All Time", "In Search of Sanity" and "Trapped" aren't too far behind. Two relieves from the high intensity can be encountered: the short 1.5-min lead instrumental "Repentance" and the short attempt at a calm acoustic ballad "V.O.D. Reprise" at the end. The melodic choruses aren't that frequent this time, and the hoarse singing again remains the major flaw.
The EP arrives after a gigantic 10-year hiatus, but the guys haven't forgotten how to thrash in the good old school fashion "Cataclysmic Signs" showing the old penchant for more complex thrashing while "Creeper" and "Fuck You Bastard" are short stripped-down explosions. Still, the highlight seems to be "Holy Terror", an admirable more technical piece influencing the closing "The Oncoming Storm", another major headbanger seeing the band alive and well, and ready for more, bigger and longer thrashing exploits.

Thrash Notes, Full-length, 2006
Thrash You, Full-length, 2007
Still Misanthrope EP, 2017

Official Site

ABANDONED SPHINX (SWEDEN)

Three songs (two actually, since one is just a balladic intro) of dark mid-tempo thrash of which "Moment of Advantage" is a cool creepy semi-technical number, partly killed by the doom-laden pace and the brutal death metal vocals.

Former Life EP, 1993

ABATHOR (POLAND)

Based on the "Reincarnation" demo, this band plays noisy abrasive thrash metal with chainsaws instead of guitars... kidding, of course, but seriously, the sound is so buzzy that one may have problems distinguishing one motif from another due to the very noisy environment. Otherwise, this is intense fast thrash/proto-death metal with a few interesting balladic sections ("Down") where the music starts making sense for a bit. The guys had also had another project at around the same time: Citizen Dick, with a style closer to hardcore.

The unreleased album would be a pleasant surprise boasting a much better sound quality, and besides that a heavy potent delivery of the classic variety sitting somewhere between the Bay-Area (think mid-period Testament) and Flotsam & Jetsam's "Quatro". The effort develops in a doomy crushing manner until it reaches "Names Of Sin": a fast blitzkrieg number with nice technical tendencies. "Phoenix From The Flames" later on is a cool nod to doom metal, but all of you will be wide awake on the next "Infamy" which is a short furious thrasher ably supported by the two bonus tracks following suit, both fast raging speedsters with a worse sound quality, apparently leftovers from the band's older material. The guitar sound is really boosted and the guys play with confidence adding more clever arrangements here and there. The only drawback would be the rough death-y singer coming as a lower-pitched version of Kirk Windstein (Crowbar).

The "The Ultimate Cure" demo is a fairly long one consisting of ten whole songs, but the quality both music and sound-wise is awful the guys just bashing with passion introducing a few stylish lead sections along the way recalling the maestro Mike Scaccia (R.I.P., Rigor Mortis, Ministry). There are several more moderate tracks ("Decadence Remains"), but expect a few death-laced surprises ("Soldiers of Destiny") as well. Still, not many signs of the big musical metamorphosis which took place a few years later...

Reincarnation Demo, 1991
The Ultimate Cure Demo, 1991
Promo Demo, 1993
Phoenix from the Flames Unreleased LP, 1996

My Space

ABATHUR (IRAN)

Based on the single, this band offer brutal black/thrash with a very dirty, fuzzy guitar sound. The first song "Blood World Flesh Winter" is almost pure vicious black metal whereas the other one "Last Man's Last Way" is cool black-ish thrash along the lines of mid-period Bathory ("Blood, Fire, Death") in a good galloping tempo with a very nice acoustic outro.

Grim Fuckin Folktales Demo, 2001
Philosophic Nothingness Split, 2002
Blood|World|Flesh|Winter Single, 2002
Befrost Full-Length, 2006

Official Site

ABATTOIR (USA)

This band is more famous as the band from where John Cyriis started his career (although he doesn't sing on any of the two albums), and also another member of Agent Steel: the guitarist Juan Garcia. The style is a good mixture of speed, thrash and power metal, with the preferences going for the second album which is heavier, with a more aggressive sound. "Vicious Attack" is almost a full-fledged speed/power metal affair, which keeps a respectable up-tempo throughout (the opener "Screams from the Grave", "The Enemy"), featuring a cool version of, but of course, Motorhead's "Ace of Spades", as well as less sharp heavy/power metal numbers. "The Only Safe Place" is not a very distant departure, but the sound is heavier and not as speed metal-based, close to early Exciter and the songs, albeit longer, are more memorable and catchy.

The band make an attempt to return to the scene with this roughly concocted demo which sees Gaines joining forces with the Evildead guys some of whom had been members of Abattoir in the past as well. The sound is suitably rough and more than half of the tracks are nice cuts with a cool speed/thrash sting: the semi-technical shredder "Off", the early Exciter-worship (also check the song-title for the same reference) "Kill, Destroy, Erase", the crunchy mechanical "Sheep", the perennial headbangers "Evil Incarnate" & "Process Elimination", etc. Gaines is a bit rusty behind the mike as though he hasn't taken part in quite a few bands recently, and a bit more emotion in his hoarse semi-recitals would probably be better. Otherwise the band has done a good job to warm up the soil for an eventual full-length without betraying their roots by trying something new.

The band's future is uncertain again with Gaines concentrating on other projects (Anger as Art, above all) and Evildead planning to come back with a reunion album.

Vicious Attack, Full-length, 1985
The Only Safe Place, Full-length, 1986
From the Ashes Demo, 2004

My Space

ABATTORY (SINGAPORE)

The guys responsible for this EP are also those playing in another Singaporean act: Impiety. The music here is more controlled without going into the extremes so typical for Impiety. There's still a lot of aggression involved ("Voices From The Graves"), and the tracks move at lightning speed at times ("Marching Of The Dead") with the obligatory slower atmospheric interludes. "Elements Of Chaos" stands out with the nice more technical guitar work and the hammering middle section.

Anthems Of Death EP, 2001

Official Site

ABAX (CZECH)

Based on the "Paranoia" EP, this act serve moody mid-paced thrash which clings between the old and the new school. Near the end the guys vary things with the inclusion of a couple of vivid crossover cuts which, despite their uplifting character, are quite off-context starkly contrasting with the remaining much more officiant compositions. The vocals are not bad, though, with a carefree clean timbre and a few more dramatic throw-ins.
The demo is built around the classic thrash canons, the band relying on heavy mid-paced rhythms most of the time, the moody setting of 'Otrava" matched by the power/thrash trots of "Dojivost Stoupa" and the clumsy semi-balladic developments of "Ruda". The hoarse not very emotional tirades of the singer don;t stay too much on the way, but generally there isn't much excitement to be generated on any front here.

New face Demo, 1992
Zlatej Rej EP, 2008
Paranoia EP, 2012

Official Site

ABAXIAL (ARGENTINA)

The full-length is a nice blend of classic and modern 90's thrash; pretty complex stuff at times that works quite well and will recall some notable works from the 90's like Aleister's Tribal Tech", Aftermath's "Eyes of Tomorrow", and Tefilla's "Grievous Anguish". The guitars have a nice technical edge, and the tempo varies from nice galloping energetic thrashers ("Self-Respect") to heavy slower ones ("206 Bones"). "Carnivore" is a cool choppy, more complex number. The singer has a slightly uneven hoarse, semi-clean voice which at its best sounds like unrehearsed James Hetfield.

The "Neo-Drama" EP is firmly in the classic thrash metal mould serving a powerful thick crunchy sound quite close to Xentrix and Metallica's mid/late-80's period. The compositions are long trying to sound moderately technical, and succeed although there isn't much speed present the guys acquitting themselves with a solid mid-pace ("La Larga Travesia De La Evolucion" has a nice speedy part in the second half) with very good leads which aren't far from the ones of Kirk Hammett himself (check the ones on "La Larga Travesia De La Evolucion", an absolute feast for the ears with their brilliant melodies).
The demo is a really bad modern post-thrash affair the only saviour in this sea of rehashed robotic grooves being the stylish melodic leads which try to keep the sinking ship afloat with stylish Oriental strokes and other contrasting implements.

Neo-Drama EP, 1992
Samsara, Full-length, 1994
Calibre Demo, 1996

Fan Site

ABDUCTED CHILD (COLOMBIA)

There is only one person involved here, the name, or alias Andres "Abducted", and he comes up (based on "The First World Invasion") with modern thrash with a few hardcore and death metal touches the vivid music supported by deep guttural death metal vocals. The man pulls out quite a performance making this release feel like it has been recorded by more musicians, but the thin guitar sound kind of betrays its origins at times especially when Andres indulges in not very necessary blast-beats where the drum machine also becomes too obvious. Otherwise, the man aims at the more aggressive parametres and the speedy riffage seldom pauses for a break ably accompanied by the odd melodic lick.

Oncoming The Enemy EP, 2006
Prophecy Is True...The First World Invasion Is Near! EP, 2008
The First World Invasion Full-length, 2010

Official Site

ABDUCTION (ITALY)

The debut: this act play pretty decent Bay Areasque thrash with echoes of Testament and Exodus. The approach is crisp and vivid with some really tasteful lead guitar work (check the one on "Raped by Aliens"). The riff-patterns are not as striking, but deliver with their adherence to fast-paced crescendos and covert semi-technical leanings ("The Toxic Avenger Attacks", the short stylish exploder "Pleasure to Grill"). The singer does a good job with his dramatic high-strung clean timbre which he strains at times to reach shouty dimensions.
"Killer Holidays on Planet Earth" is a dynamic hyper-active recording, not far from the first Hirax recordings, which exudes near-hardcore intensity at times the latter particularly evident on the shorter, more immediate material ("Grandpa Rick", "Fart Club"). Elsewhere we have the heavy officiant stomper "The Baloff Zone" and the short aggressive outbreak "One of Them" which is ornate by spell-binding melodic leads.

From Uranus to Your Anus Full-Length, 2016
Killer Holidays on Planet Earth Full-length, 2020

Official Site

ABDUCTOR (COLOMBIA)

This act indulges in speedy thrash/proto-death ala Kreator's "Pleasure to Kill" and early Necrodeath. The guys play with passion relying on fast lashing riffs with several more melodic insertions present. The music is fairly energetic slightly hampered by the muddy sound quality and the overscreechy hysterical vocals.

Comando Infernal Demo, 2012

Official Site

ABDUCTUM (SPAIN)

The debut: playful, unpretentious speed/thrash/crossover of the old school; the guitars are crisp and the melodies are infectious the guys hardening the course here and there (the galloping "Turn It Off!"), but the general tone is more on the speed metal side: the frolic "Our Master Lie", the diverse merry-go-rounder "No My Mermaid" which energy gets taken away majorly by the closing "The Unrevealed Truth" which is more than 8-min of mellow doom/heavy metal which becomes plain boring at some stage. The singer isn't bad with his attached clean timbre commanding the "parade" with competence, but is almost missing from the closing extravaganza, and for a good reason. Some of the musicians were also members of the heavy metal formation Abu Simbel.
"Behold the Man" takes a more serious approach to the style now resembling mid-period Megadeth quite a bit with its hesitation between power and thrash in the beginning. The intensity has been considerably diminished for the sake of several brilliant melodies ("Where No Answer Fit"), and some pieces ("Painspermia") hint at bigger technical skills which should be explored more fully in the future. "The Mirror Of Simple Souls" energizes the environment with its steely galloping riffs influencing the following "Ultra Killer Mask" which is a full-blooded thrasher. "Within The Cave" is another winner with its addictive melodic hooks and the insistent dynamic riff-base, before the closing "The Drawn Gods" wraps it on in the best possible way with over 8-min of impetuous sophisticated thrashing also adding a nice memorable chorus. The vocalist now resembles Dave Mustaine quite a bit, but this could hardly be a pullback on this cool, invigorating recording which sees the band in a much brighter light.

The Unrevealed Truth Full-Length, 2013
Behold the Man Full-Length, 2016

Official Site

ABERNETHY (CZECH)

This is catchy friendly post-thrash which is more convincing when it stays closer to the balladic patterns, and the guys wisely stick to the calmer side of their repertoire producing a few full-blooded ballads as well. The sound quality is quite good making the guitars quite cutting.

Made in Pato Full-Length, 1999

Official Site

ABERRATED (USA)

The demo: excellent all-instrumental technical thrash/death of the hectic, unpredictable type. One has to concentrate quite a bit in order to be able to capture all the nuances on this ultra-complex album which plays as a mixture between Gorguts and Martyr on the more aggressive, and Electro Quarterstaff and Behold the Octopus on the more laid-back side. One will encounter very complicated passages suddenly taking turns with fast, blasting sections all this creating a hallucinogenic, chaotic feeling which doesn't get alleviated much by the addition of several surreal, abstract passages (the multi-layered opus "Moonlit Immolation"). Relatively more direct thrashing may one come across on "Virulent", but the next "Metamorphosis" is already a great nod to Coroner with its ever-swirling riffs and weird time-signatures. Expect nice flamenco guitars and great melodic leads on the diverse "The Delusion Cycle", and first-rate virtuoso pyrotechnics on the more light-hearted "A Mind Of Its Own". The surf rock guitar legend Dick Dale is paid a tribute at the end with a great technical thrashy version of his most popular tune "Miserlou", made famous by Quentin Tarantino who used it for the soundtrack to his hit "Pulp Fiction", here turned into a speedy delight with another portion of great Shrapnel-like guitar performance.
The EP is another complicated albeit less striking affair, the guys shredding with progressive inspiration on the staccato-prone "Legions" before moving towards the tech-death spectre with the more expressive but less energetic "Tracers". "Five Clicks" is a virtuoso-fixated composition marred by the not very rehearsed guttural death metal vocals, and "Moonlit Immolation" is nod towards the dazzling brutality movement with an array of bursting speedy conundrums.

Delusion Cycle Demo, 2012
Twisted Forms EP, 2023

Official Site

ABERRATION (CANADA)

Based on the compilation, this act indulge in dark old school power/thrash in the vein of Metal Church and Sanctuary; this is mid-paced stuff for the large part, which builds momentum gradually thanks to epic marches like "Chronicles of the Dead" and "Sineater", the versatile singer taking care of the obligatory drama, changing from mean deathly recitals to pretty effective clean high-pitched croons. "Twisted But Intact" is a sinister doom-laden saga worthy of Candlemass at their best; and "Psychologic" is a jarring restless modern thrasher ruined by the terrible shouty death metal vocals.

Degeneration Demo, 1996
Promo CD Demo, 1998
Progressions of Madness Compilation, 2000

Youtube

ABERRATION (CHILE)

Dark abysmal thrash/death with brutal guttural death metal vocals; the music is heavy with doom-infused overtones until the arrival of the title-track which is a sudden spasm of technicality also coming with very good melodic leads. And that's it, the rest being on the pounding atmospheric side with melodic relieves still provided at every opportunity.

Like a Sacrilege Demo, 1993

ABGATOR (GERMANY)

This is good stuff: excellent classic thrash along the lines of Viking's "Man of Straw", but faster-paced, and more aggressive ("Wings of Change" picks up a death metal-like intensity). The guitar performance is particularly good boasting great leads and hard-hitting riffs.

House of Cards Demo, 1991

Official Site

ABHOR EVIL (USA)

Based on the "Abhor Evil 2" demo, this act pull out rough kind of unpolished thrash which still possesses a few quirky moments (the twisted motifs on "Mahaloth", the ethereal semi-leads on "Nausea"), the pounding urgency of "Element of Mind" a relative respite, the intense semi-shouty/semi-declamatory vocals rudely interfering here and there, but generally doesn't create as much havoc as his colleagues.

Abhor Evil Demo, 1990
Abhor Evil 2 Demo, 1990

Official Site

ABHORER (SINGAPORE)

Based on the 2-song EP, this band bashes out brutal raw black/thrash/death, very fast music which isn't far from the Australian monsters The Berzerker on the more extreme passages.

Rumpus of the Undead Demo, 1989
Deride the Remedied / Rumpus of the Undead Split, 1991
Upheaval of Blasphemy EP, 1994
Zygotical Sabbatory Anabapt Full-length, 1996
Unholy Blasphemer Best of/Compilation, 2004

ABHORRANCE (USA)

Based on the EP, this is retro melodic thrash/crossover akin to Broken Bones and Lawnmower Deth. "Malevolent Existence" is a strange, but not a very successful, attempt to cross their basic style with some alternative shades.

The full-length is more in the crossover/hardcore zone, and modern elements have sneaked through in a way not too different from Madball and more recent Pro-Pain. Thrash/death metal takes over for a while on "Support Your Local Back-Alley Abortion Clinic" to further cement the band's growing infatuation with the modern trends.

Lowering The Spirits of a Narcissistic Superhero EP, 2002
The Right Disease Full-length, 2005

Official Site

ABHORRED (USA)

Very good energetic classic thrash with a slight shade of death metal and death metal vocals; a few scattered blast-beats, but nothing really too brutal. The style resembles the Japanese Torture Squad and the Swedes Defleshed.

None Shall Be Sed EP, 2007

ABHORRENCE (DENMARK)

This band play old school thrash which trots in a regular mid-pace for most of the time, the ripping headacher "Destination the End" shattering the senses in a less ceremonious manner, the playful power metal stroller "Strange Times" a mellow occurrence, defying the threatening tirades of the semi-deathly singer. Some of the band members also played with the death metal cohort Moratorium.

Destination the End Demo, 1991

ABHORRENT (BRAZIL)

The band's debut is cool thrash in the Bay-Area tradition with vocals reminding of Max Cavalera. The music is fast and aggressive reminiscent of Vio-lence's "Eternal Nightmare", only coming with drier more abrasive guitars. The angry shouty hardcore vocals can be a bit grating on the nerves, but the clever semi-technical riffage on "Eternal Doubt" and the ripping uncompromising nature of cuts like "Blood on Your Lips" and "Prelude of the End" easily compensate for any pitfalls, the highlight remaining the intricately-woven rifforama "The Witch", a possible candidate for Forbidden's "Twisted into Form", with the atmospheric Bay-Areasque shredder a very close second.
The sophomore has almost nothing to do with this style going for strictly the modern, groovy post-thrash idea, a not very imaginative emulative recording which tries too hard to follow the aggro-models from the 90's Pantera exploits, ending up sounding quite close to them, but again this is hardly anything worth writing about.

Rage, Full-length, 1996
Caution Strong Irritant, Full-length, 2001

Official Site

ABHORRENT (CHILE)

Based on "Start Point", this outfit provide cleverly-executed technical thrash/death metal which unleashes everything from the technical/progressive metal arsenal on the colossal 14.5-min opener "Misteris from the Forgotten Worlds (I-II-III)", an encylopaedic composition with a pleiad of nuances and shades overlapping in a surprisingly logical fashion for most of the time. "Sins" is a short spastic shredder the guys warming up for another lengthy exercise in infernal complexity that is "Ejercito de las Sombras", a surreal roller-coaster with steel technical riffs and abrupt time and tempo changes the latter nicely translated on the brilliant atmospheric Nocturnus-esque, but pretty dynamic and headbangable, instrumental "Abhorrent". More less bridled energy with "Unbalance" which is the most orthodox proposition here the band just lashing with passion without too much intricate ado.
"Heridas" is not as creatively elaborate although it does contain moments where the fans will scratch their heads like on the multi-layered Death-esque "Gods (Writers of the Universal Symphony)", or the labyrinthine Voivod-ian spacer "Creation", the title-track adding another doze of otherworldly psychedelia. Speedy explosions are not that amply provided this time, and although the Evo cover of "Piso el Gas" is sustained in the expected energetic crossover manner, there isn't much headbanging atmosphere to be savoured, the other more intense exercise being "Lonely among Thousands" and partially the more dynamic moments from the strange contrasting closer "Messiah" where balladic romanticism co-exists with bouts of brutality. Some of the band members have also had a spell with another noteworthy Chilean technical/progressive death/thrash metal act, Necrodead.
"Kathabasis" is the band's return after nearly a decade of dormancy, and the opening "Candidate to Punishment" is already a meandering progressive shredder with breath-taking quiet interludes. "Sabbat" is another less ordinary composition with raging proto-deathy escapades, but it's "Ruling Dynasty" and "The Deluge" that establish the intricate speedy patterns on which this effort is largely built, the subdued creepy motifs on the closing "Human Infection" by all means a nice deviation.

Start Point Full-length, 1996
Heridas Full-length, 2011
Kathabasis Full-length, 2020

Official Site

ABHORRENT (NORWAY)

The singer and founder of the band Stian Johansen was one of the most active figures from the early-90's black metal movement, along with the mythical Euronymous (R.I.P.) with whom he also formed the pre-Mayhem act Helvete. He also played bass for Mayhem, after Dead (R.I.P.) committed suicide. This badly produced demo is four songs of heavy mid-paced to slow doomy thrash, distantly recalling early Celtic Frost. Later the same guys changed their name to Thyabhorrent where the style shifted into a more sensible, more aggressive death/thrash mix.

Occultus Brujeria Demo, 1990

ABIGAIL (JAPAN)

A black/thrash metal band with a long, consistent career in the underground; music-wise Abigail are pure unadulterated thrash metal, and the "black metal" tag they rather deserve for the horrifying screaming vocals. Most of the time their style is like a faster mix of Motorhead and Venom, but there are also influences from other sides of the metal spectre.
"Sweet Baby Metal Slut" offers no surprises thrashing in a jolly unpretentious manner the whole time as this time the slower mid-paced tracks are not many at all, and the overall speedy approach creates uplifting roller-coaster atmosphere slightly spoilt by the apocalyptic black metal vocals.
"The Final Damnation" notches it up in the aggression department the guys now thrashing with more force seldom pausing for a break inserting the odd melodic hook (the opening title-track) as well as the casual spasmodic blast-beat ("Blasphemy Night"). Some pieces "flirt" with hardcore ("No Pain! No Limit!"), others like the closing "Holocaust by Evil" are symphonies of all possible metal styles meshed together, recalling their compatriots Sigh with their ambitious, almost progressive, leanings.

Descending from a Blackend Sky, EP, 1993
Confound Eternal, EP, 1996
Intercourse and Lust, Full-length, 1997
Welcome all Hell Fuckers, EP, 2001
Forever Street Metal Bitch, Full-length, 2003
Fucking louder than hell, Full-length, 2004
Abigail Loves Ilona, as she is the Very Best, Full-length, 2005
Ultimate Unholy Death, Full-length, 2005
Eastern Force of Evil, EP, 2005
Sweet Baby Metal Slut Full-length, 2010
The Final Damnation Full-Length, 2016

My Space

ABIGHOR (ITALY)

Based on the "The Bloody Cross" demo, these guys provide cool energetic speed/thrash which has certain epic/progressive pretensions ("Sword Of The Saint"), something which Manticora would develop more fully a few years later. "Negative Discharge" is an excellent uplifting speedster, and "My Damned House" is another more complex piece with a power metal flavour, the latter mixed with violent mosh on the following "Madness In The Evil Brain". The title-track is a glorious closer speed/thrashing to the death which unfortunately was replaced by a softer and more complex style on later releases including on the full-length which is a very intriguing slab of progressive power metal, a style given even more freedom on the next outfit formed by the band members, Proloud.

The debut demo is much more epic-sounding and more power metal-based, but it's a compelling listen all the way regardless of the very muddy sound quality. The compositions are elaborate except for the short ripper "Over The Life" which is a really hard-hitting thrasher its infectious fast, ripping riffs partially translated on the following epicer with a Sabbat (UK) flavour "Inducter of Death". "Tetragrammaton" also speed/thrashes with might for nearly 7-min, overshadowing the power metal glory "Abigor" which closes the demo with more lyrical arrangements.

Wings of the End Demo, 1988
The Bloody Cross Demo, 1989
Outside the Window Demo, 1993
Anticlockwise Full-length, 1994

ABINAYA (FRANCE)

This is a modern blend of thrash and death metal with more intriguing Oriental and folk elements. The delivery is stomping and pounding and very seldom leaves the established mid-paced "idyll", "Nord-Sud" being the sole exception. Consequently at some point the music may get tiring due to its incessant hammering nature the fine ballad "Le Noir Soleil" a nice digression recalling Lake of Tears. The singer acquires a very cool romantic timbre which is a stark contrast to his deathly semi-shouts heard elsewhere. It's interesting to note that although the song-titles are in French, the guys sing in English.

Beaute Paefenne Full-Length, 2014

ABIOTX (USA)

Based on "Liquid Damage", this trio specialize in energetic, brisk old school thrash which changes the pace at will the party atmosphere partly ruined by the gruff subdued vocals. Even the seemingly progressive "Libertines and Laments" is sustained in a fast raging fashion for most of the time, by far the highlight on this short, but invigorating effort which brings the short speed metal killer "She Wolf" and the crossover anthem "Seeing Through My Eyes" as a finishing touch.

Humanity EP, 2003
Straight to Hell Full-length, 2011
Liquid Damage Full-length, 2015

Official Site

ABKANIS (CHILE)

A 2-songer of prime retro thrash with clever semi-technical riffage on "The Weakness"; and more brutal death metal shades on "Nazi-Cop" which is maddening shred ala Morbid Saint and Devastation. The singer is a scary death metal semi-shouter his antics being always on the intelligible side. Another asset is the very clear sound quality which gives a fair share to each instrument.

The Weakness EP, 2012

ABLATION (CANADA)

A retro thrash/death mixture this one, with some hectic semi-technical guitar work ("Useless War") involved at times, the heavy steam-rolling nature of "Wall of Reality" spiced with unexpected spasmodic displays of brutality, with "Traitor" staying closer to purer thrash with a few less ordinary walkabouts. "Possession of Your Soul" is clearly the highlight, a dense tenebrous mid-pacer with threatening near-doomy riffs, the shouty semi-death metal vocals dispersing the settling darkness.

Possession of Your Soul Demo, 1992

Official Site

ABLAZE (CANADA)

Two songs of pretty good American power/thrash metal very close to Laaz Rockit's "Know Your Enemy": sharp riffs, soaring high-pitched vocals, galloping rhythms, and a nice balladic deviation on the not very appropriately titled "Sadistic Dream". Later the guys turned into a Metallica tribute band after a few line-up changes.

Psychopath Single, 1986

Youtube

ABNEGATE (ITALY)

The debut: this unknown act play a mix of retro 80's and modern 90's thrash with throaty angry vocals, a mix between Phil Anselmo and Max Cavalera. The guys sound better when they put more speed into the proceedings where a certain death metal feeling is also present ("Cold Life", "Murky Dream"), or when they go for the other extreme: the heavy, doomy "Death Without Dying". "Shadowed" recalls the Black Album with a faster twist, and the closing track "No Sleep Till Brooklyn" is the odd unnecessary cover of the Beastie Boys.

"New Kernel" has entirely surrendered to the modern fashions and would be a pain to listen to unless you're a total groove maniac. This can hardly pass even for a post-thrash effort; it's some uneven mix between grunge and alternative with the cool industrial/electronic cut "Hansia" inserted at the end to make the fans dance around for a while.

Insane Souls Full-length, 1994
New Kernel Full-Length, 1997

ABNORMAL THAUGHTZ (USA)

Listless, boring modern power/post-thrash with dull repetitive riffs, preceding the obnoxious sound Machine Head acquired in the late 90's (this band could have been an influence- ha ha!) by a few years. Some slower brooding pieces are not too bad, actually: "Schitzophrenic Love Affair", the pounding thrashy closer "Against The Wall", and it seemed as though the guys would have been better off if they had chosen the doom metal field to explore. The singer is not a complete waste with his solid mid-ranged clean delivery which, again, would be of a bigger advantage to some doom metal act.

Abnormal Thaughtz Full-length, 1995

ABOLISH (USA)

This is your average heavy groovy 90's thrash which ironically sounds more appealing when it acquires more doomy tendencies ("Fade", the really cool doomster "Alive To Breathe Again").

Tap the Nerve Full-length, 1995

ABOLISHER (USA)

These guys try to give the thrash/death metal hybrid a big doze of progressive, and although at times this compilation sounds fairly intriguing there are quite a few moments when the music gets confusing, becoming either too complicated, or the addition of extra instruments (keyboards, that is) ruins the riffy sections. There are two overlong compositions here: one a bit over 10-min (the better one), the other going beyond the 13-min mark. Songs of such an epic length inevitably come served with boring parts, and these two are full with them. Again, the EP has its moments, it's not a complete waste, but more concentration on the riffage rather than the atmosphere for the future would be to both the band's and the fans' advantage.

Lament The Season EP, 2001

Official Site

ABOMINADOR (BRAZIL)

Based on the second "Abominador" demo, this act (which is actually only one person going under the name/pseudonym Vitor) pulls out primal old school black/thrash metal which has it all: early Venom above all, but also Celtic Frost, Slaughter, and the intro is a nice speedster with a pounding bass bottom which is apparently the guy's main instrument. The latter provides guttural low-tuned vocals which have more to do with the death metal field.

Abominador Demo, 2010
Abominador II Demo, 2010

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ABOMINATION

Expect nothing more than the very typical modern thrashcore with the even more typical groovy insertions. "Morbid Aggression" tries to justify the "aggression" part of its title thrashing more intensely, but that's about it. The rest has all been heard hundreds (maybe even thousands) of times before...

Dark Corner of the Mind Full-Length, 2010

ABOMINATION (USA)

Paul Speckman is one of the greatest figures of the American metal underground. Among his projects, Abomination is arguably the best one. The band's trade mark are the heavy crushing, stomping riffs which create an ominous depressing atmosphere aggravated by Speckman's roaring vocals, and this would not be music you would get back to very often. However, the quality displayed here is undeniable, and fans of the darker rawer side of thrash will find a lot to like. Unfortunately, their comeback album in 1999 sounds tired and uninspired with Speckman looking for inspiration at other genres (hardcore) consequently ruining the band's unique sound.

Abomination, Full-length, 1990
Tragedy Strikes, Full-length, 1991
The Final War, EP, 1999
Curses of a Deadly Sin, Full-length, 1999

Official Site

ABOMINATOR (AUSTRALIA)

Abominator are one of the main rivals to Destroyer 666 as one of the leading Australian metal bands in recent years. They actually have a connection to the Destroyers: Chris Volcano- a former singer and a drummer for that band. The music is not far from early Destroyer 666, and is pretty much the same frenetic mixture of thrash, death, speed and black metal, but with a more aggressive attitude, and without any melodic leanings which "flooded" the Destroyers' sound on their more recent works.

Damnation's Prophecy Full-length, 1999
Subversives For Lucifer Full-length, 2001
Nuctemeron Descent Full-length, 2003
The Eternal Conflagration Full-length, 2006

Official Site

ABOMNIUM (HOLLAND)

There's one person, the pseudonym Sapient, behind these three efforts. Based on "Coffinships", the guy indulges in modern black/thrash which is more on the epic, symphonic side (the 8.5-min progressiver "Hymn To The Tombs") spicing the approach with shorter more aggressive numbers ("Black Canyons of the Living Dead") those smelling death metal quite a bit. The delivery is quite eventful ranging from spasmodic hyper-blasts to quiet meditative interludes with thrash assisting ("Horde") wherever necessary not interfering a lot into this complex opera which will bring memories of the early Emperor works as well as Bal-Sagoth, Dimmu Borgir, etc.

"A Hollow Path" embraces the black metal idea much more tightly, and consequently there's not much room for thrash to develop among the bombastic blasting operatics and the dirgy doom distractions ("Blood Court"). This is symphonic black metal all the way sitting somewhere between Emperor and mid-period Dimmu Borgir.
"Of Time and Dying Stars" follows the black metal path very stringently, and in-between the guys sneak in heavy doom-laden meditations ("The Machine Awakens"), thrash only jumping on the energetic saga "Requiem", but it's besieged by the good old speed metal there as well, so it has no say for most of the time.

Rites Like Chains Full-length, 2011
Coffinships Full-length, 2013
Solace for the Condemned Full-Length, 2014
A Hollow Path Full-length, 2017
Of Time and Dying Stars Full-length, 2022

Official Site

ABORTIVE ABORTION (GERMANY)

Classic thrash/death, mostly mid-paced with echoes of doom, with shouty death metal vocals; a familiar picture on all counts which wins some points from the good melodic leads, but the rest is just too sloppily assembled including the romantic ballad "Dreamer" which loses the death metal throat for the sake of marginally better cleaner vocals.

Senseless? Full-Length, 1996

ABORTOS DE SATAN (SPAIN)

Based on the "Exodo en el Alma" demo, these guys pull out intense classic thrash metal which doesn't rely on speed constantly, but provides the desirable heavier breaks which manage to stretch into a whole track near the end: the still energetic mid-paced closer "Abortos de Satan". The sound is a bit rough around the edges, but the guitars lash intelligibly. The only complaint is the shrieky hysterical shouter who serves as the vocalist, and his rendings are too much over the top to be a good addition to the inspired music.

The full-length is a logical continuation of the preceding demo only coming with a more expressive hardcore flavour which makes the guitars more abrasive and noisier. Again the pace is mixed the slower moments being frankly modern ("Esta Claro") ruining the middle which consists of a string of longer, more monotonous compositions. This is mostly pedestrian stuff which boasts a very clear guitar sound which is finally justified at the end, on the closing songs: the energetic headbanger "En Tu Puta Cara" and the heavy semi-balladic closer "La Ultima Oportunidad".
"Pura Mugre" comes with a more acceptable abstract edge with a shade of 90's post-thrash which supersedes the more aggressive hardcore leanings from its predecessor, and "Atracafarmacias" is even a hard-hitting retro mosher to everyone's surprise. Later on the guys don't mosh so hard and the mid-paced groovy melee may wear thin at some stage the other faster-paced deviation being the cool shredder "Desconectado".

Demo Demo, 2006
Exodo en el Alma Demo, 2008
Miseria y Papel de Plata Full-length, 2011
Pura Mugre Full-Length, 2016

Official Site

ABOVE 740 (USA)

Based on the first demo, this band play dirgy abrasive 90's post-thrash which can be both prolonged and a bit cumbersome ("Less Than One") and lively and playful (the crossover anthem "Useless"), the cool semi-declamatory hardcore vocalist assisting the not very energetic but passable musical fiesta to the best of his abilities. Said fiesta also comprises the decent doom-prone "Justify" and the catchy rock-ish hit "Little Dogs & Puppies".

Above 740 Demo, 1996
Disease Demo, 1998

Youtube

ABOVE THE ALTAR (USA)

Modern thrash/death metal trying to balance between moderate mid-paced numbers and fast raging ones. The former side comes with a shade of groove whereas the latter is at times pure grinding bash. The melodic mid-tempo lashers ("Tried by Fire") ala mid-period In Flames seem to deliver the best, but they aren't that many, and the mixture is a bit uneven topped by forced semi-shouty death metal vocals.

A Still Born Heart Full-length, 2010

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ABOVE THE SKY (DENMARK)

This is modern power/thrash which doesn�t win too many points from the harsh shouty death metal vocals but makes up with steady mid-paced riffs and occasional fast-paced interactions (�Fatal Cage�), the radio-friendly sing-alonger �Clouds n Dirt� the only genuinely meek occurrence here. The second half doesn�t contain too many exciting moments, with leisurely-assembled semi-balladic trots inevitably leading to the morose doom-clad closer �Persistency�.

We Are Above the Sky Full-length, 2023

Official Site

ABOVE THE WRECKAGE (RUSSIA)

Modern post-thrash with crossover tendencies; feelgood melodic stuff with good clean vocals recalling Mike Muir (Suicidal Tendencies) and laid-back mid-pace.

To Hate Is Easier Than To Love EP, 2010

ABRACADATHRASH (SWITZERLAND)

Despite the funny, do-not-take-us-seriously name these guys come up with awesome speed/thrash akin to Paradox's "Heresy" and Vio-lence's "Eternal Nightmare"; the music is fast with cool swirling leads, and vocals which aren't too far from Chuck Billy. "Reincarnation" moves the sound in a heavier and slightly more technical direction, sounding like a leftover from Heathen's "Victims of Deception", or even Metallica's "...And Justice for All".

F.T.W. Demo, 1989

ABRASION (USA)

An interesting obscure outfit who serve intriguing progressive thrash that sits between the old and the modern school. The title-track sets the tone for intense complexity witnessed here for most of the time, but short bursters like "Delusionary Mortal" are by no means throw-outs as their more technical deathy layer isn't very far from the compelling chaos of acts like Hellwitch and Vacant Grave. There's an alternation throughout of the two sides as every progressive composition is followed by a much more immediate cut, the highlight being the excellent shredder "Intoxication" which scatters a myriad of time and tempo changes throughout, the guys trying to stitch this eventful amalgam with dashes or more orthodox aggression. "Deep Inside" is pure bashing madness, but such moments are nicely compensated by quiet serene interludes ("Vacant Eyes") the latter understandably missing the quarrelsome shouty death metal vocals.

Why Survive? Full-length, 1997

ABRAXAS (USA)

Based on the "By Way of Death" demo, this act provide vehement classic thrash which sometimes receives boosts from both the hardcore and death metal camps. "Greenhouse Death" is a cool attempt at something more complex and progressive, and "By Way of Death" is another more twisting shredder with stomping doom accumulations. "Rude Awakening" fully justifies its title with rowdy violent rhythms, full-on death metal, but "More Beers" is just a short hardcore outburst. Four cuts are offered in a live setting at the end, those more aligned with the death metal realm.

Resurrection Demo, 1990
By Way of Death Demo, 1991

ABRAZURA (BULGARIA)

A 3-songer which shreds in a heavy stomping semi-technical manner, the quarrelsome shouty death metal vocals intimidating the environment which becomes nicely contrived on the dense staccato shredder "Avoid Intent", the virtuoso lead section a definite eyebrow-raiser. Later on the guys fail to reach the same heightened level of musicianship, bashing with less mercy, recalling the mid-period Sepultura exploits. The band members are all over the Bulgarian metal spectre, taking part in the retro thrashers Deity, the metalcore stalwarts Hate Campaign, and the groove/industrial carnival Suffer H.

..Just Intent.. Demo, 1993

ABRIN (RUSSIA)

Based on "The World of Evil", these guys offer classic speed/thrash with a modern production which gives the guitars a not very pleasant abrasive flair. The guys thrash with gusto producing their share of headbanging delights ("The Iron Devil", "Fear in the Eyes") slowing down for the radio-friendly heavy metal hymn "Heavy Metal". They do a particularly good job on the Running Wild cover of "Under Jolly Roger" the good emotional clean vocals even surpassing those of Mr. Rock'n Rolf.

Mir Zla Full-length, 2012
The World of Evil Full-length, 2014
Vozvrata Net Full-length, 2015

Official Site

ABROGATION (GERMANY)

The band's style is consistently cool modern thrash/death metal which ranges from more moderate mid-paced gothic-tinged tracks to very furious blasting bombs. The music pays more tribute to thrash, especially on the last "Sarggeburt" which is cool headbanging thrash almost all the way with some improvements in the guitar work (the leads, in particular) and sparse more extreme episodes (the blast-beats on "Fegefeuer" and "Totensammler").

Creation of Madness EP, 1998
Handwerk des Todes Full-length, 1999
Das Blut Der Toten Full-length, 2002
1487 Full-length, 2005
Sarggeburt Full-length, 2009

Official Site

ABSCENDENT (ITALY)

The debut: modern progressive thrash with gruff semi-shouty death metal vocals; the compositions are long (6-8min) and offer plenty of music both of the intense and the melodic variety. "Compelled" is a cool technical shredder, but the rest is way more complex and engaging reaching Paradox-esque heights on the excellent "Doppelga4nger" and on the closing melo-thrash/speedster with deathy leanings "Nausea".

"Deliverance" is another pretty cool opus the band concentrating on more carefully-plotted layouts without too much speed present, but the hypnotic gradually-escalating riffage on "Unbound" will lure the listener into its seductive embrace before a fountain of brisk headbanging rhythms startles everyone in a fairly pleasant manner, with "Reign of Depravity" shooting a pleiad of technical staccato riffs into the aether, the creepy minimalistic intro of "Atrocity Incarnated" another unobtrusive highlight. Said number is a somewhat anti-climactic mid-pacer, but comes the final "Oblivion", and the setting comes alive with bouncy jolting guitars and more melodic Death-esque passages.

Decaying Human Condition Full-Length, 2016
Deliverance Full-Length, 2018

Official Site

ABSCISSION (CANADA)

This is an interesting act, playing cool albeit uneven technical modern thrash, the contrived showdown supervised by varied death metal vocal exploits. Short dizzying hecticers ("Making Good Time") take turns with longer choppier propositions ("Tradition of the Flawed"), the former side audibly the more intriguing one, also comprising the vivid roller-coaster "Opportunist". The remainder also tolerates a curious groovy ballad ("Stranger in the Strand (So Bouquet)"), an industrialized jumporama ("Oblivion"), an elaborate progressive saga ("Wither Alive"), and an overlong quiet ambient "Epilogue", that last part a sure pullback.

Palimpsest Full-length, 2018

Official Site

ABSENCE OF THE SACRED (SINGAPORE/USA)

Based on "Come Hither O Herald Of Death", these Singaporean purveyors offer energetic, semi-technical thrash/death more on the modern side which excels in melodic hooks which harshly contrast with the brutal death metal growls the latter coming surprisingly comprehensive. Opeth-esque progressive interrupts the hard-hitting formula on "Our Glorious Dead", but the "carnage" is easily restored with the next two blitzkriegers until the arrival of "Atrocities That Birthed Abominations", an elaborate opus which is woven by numerous moods and nuances without losing the primal energy of the album, shredding wildly on a few moments. This is professionally executed music but it would hardly make many waves on a scene which has heard a similar material many times before.
�IV: The Hand That Wounds� is another clever technical proposition, the heavy elephantine intricacy of �Die Hand Die Verletzt� interlacing with the hyper-active riffs of �Radioactive Ghosts of Fukushima�, the speedy mechanics of �Darwinian Mechanics� later dispersed by spams of dazzling lead-driven fireworks, �All-consuming Matrix� betting on fast-paced histrionics to wrap it on, abandoning the previous entanglements for a right-on bash.

Atrocities That Birthed Abominations Full-length, 2006
Era of the Apostate Full-length, 2008
Come Hither O Herald of Death Full-length, 2012
IV: The Hand That Wounds Full-length, 2024

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ABSENT FROM THE BODY (USA)

This is modern thrash/post-thrash which is served with a good sense of melody as contrasting to the harsh angry vocals. The established friendly mid-tempo tone is very seldom broken if we exclude the more belligerent rhythms on "Slave to the Bullet" which also carry a stomping hardcore-ish vibe.

The Wars We Wage Full-Length, 2018

Official Site

ABSERDO (USA)

The full-length, which also contains the three tracks from the Promo EP, offers workmanlike modern thrash metal mixed with hardcore which starts misleadingly with the all-out retro thrasher "Patriotic and Arrogant", but later on the sound gets less interesting and strictly modern turning into an intolerable mish-mash at some point with grindcore, jazz, doom (the not bad closer "South Dakota") and funk added to an ultimately unappealing effect.

The "Sweet Baby Eagles Coop" EP starts pretty intensely with the maddening thrash/deathster "Everybody Dead Again", and later on very little mercy is shown with wild ragers like "Hit Cops With Skateboards" and "Like A Hamster/Eat Your Kids". This is a more death metal-fixated effort, maybe suggesting at a future transition into full-fledged death metal?

Raising A Promo EP, 2010
Raising A Pervert Full-length, 2010
Sweet Baby Eagles Coop EP, 2011

My Space

ABSIT ORDER (PHILIPPINES)

This band specialize in retro thrash which is mostly mid-paced and atmospheric, with occasional ventures into the more extreme (Altar"), the heavy stomping quality of "Haste" the exact opposite to what the song-titles implies. Melodic tunes, from both the riff and lead department, overflow the setting, contrasting with the screechy blacky vocalist. The musicians also have another project, the more aggressive death/thrash cohort Mass Hypnosia.

Brutal Conquer Full-length, 2021

Official Site

ABSOLUM (USA)

Modern groovy post-thrash which also comes served with a psychedelic alternative flair("Grand Design"), the shouty quarrelsome vocals mingling with more acceptable cleaner one sat times, the jumpy dramatic "Chemical Abyss" also packing quite a bit of punch with its lively more aggressive rhythms. Expect stoner/doom ("Black to Red") and even some crisper fuller-fledged thrash ("The Apath") to befall you, not to mention the high-octane tribute to early Cathedral "Exordium", doom at its dystopian finest.

Grand Design Full-length, 2021

Official Site

ABSOLUTE (BULGARIA)

These obscure Bulgarians offer really good classic thrash metal (based on the first outing) starting with the mid-paced stomper "Cherni Mutzuni", but soon switch onto faster thrash with "Niakade Zad Stenite" and "Alkoholna Sila". Then comes a time for the romantic but still thrashy semi-balladic instrumental "Mig Predi Golemia Vzriv" which shows the lead guitarist in fine form. More intense thrash with "Osuden Na Jivot" which is a nice mix between speedy and slower pounding passages. "Stranata Na Straha" is excellent more melodic speed/thrash with progressive tendencies; again the leads score high here. "Tehnicheski Progres" is fast-paced thrash ala early Metallica with again, nice lead guitars. "Evolucia" carries on in the same vein, maybe more straight-forward and more aggressive, compensated by the other instrumental: the closing "V Kulta", which both title and music-wise will remind you of Metallica's "The Call of Chtullu", a compelling mix of balladic and hard-hitting mid-tempo thrashy sections. The singer may be a slight pullback with his hoarse non-melodic pitch, but the music is top-notch putting this band right next to the leaders of the Bulgarian thrash movement, like Ira Deum, Agressor, Crash, Nightmare, etc.
"Nisto ne Stava" would be a big disappointment for the band fans comprising mild tepid hard'n heavy with no traces of thrash whatsoever; unpretentious free-flowing music that sounds too bland and uninspired to be worth lending an ear even by those who like said genre(s).
"Rivers of Blood" is a return to the more aggressive, thrashier ways of execution, but expect modern groovers ("Falling Apart") and alternative quasi-rockers ("I Don't Care") to cloud the joy despite the presence of rowdy headbangers like the title-track and "Samael". Later on the album becomes a fluctuating ride with both clumsy post-thrashers ("Human Genocide") and better lyrical ballads ("Last Goodbyes") diversifying the palette, the final impression probably on the semi-positive side.

Niakade Zad Stenite Full-length, 1993
Nisto ne Stava Full-length, 1998
Bezimen Full-length, 2001
Me(n)tal Disorders Full-length, 2017
Rivers of Blood Full-Length, 2021

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ABSOLUTE DARKNESS (USA)

The debut: rough modern-ish thrash with aggressive death metal vocals; this is diverse abrasive stuff without any sophistication. "Betrayal" offers something more melodic and accessible despite the more brutal death metal arrangements; and "Barricaded In" is a heavy epicer showing a side of the band that occupies the whole second half excluding the raging closer "2029".
"Disaster Awaits" gravitates towards the death metal side at times although thrash still holds the better moments like the more technical twister "Chaos Unleashed" and the excellent dramatic diverser "Disaster Awaits". There's no heaviness lost on the ten-ton behemoth "Resist" and on the imposing epic closer "Mutual Destruction".
"Failure of State" brings back the thrash with overt intent, the band moshing with moderation ("Rounded Up", "Mob Rule") but largely relying on heavy dark strolls ("My Forever Rule", "My Assassination") to pull it through, the brief headbanger "Unite!" ravaging the spirit for a bit, bravely supported by the energizing bonus track "Mad King".

Future Imperfect Full-Length, 2016
Disaster Awaits Full-length, 2018
Failure of State Full-length, 2022

Official Site

ABSOLUTE DISORDER (FRANCE)

Messy semi-rehearsed thrash which is still more on the classic side, and also comes served with a few pleasant atmospheric gothic sections which are a stark contrast to the brutal low-tuned death metal vocals. The approach is mid-paced with strong doom overtones at times ("... Appearance").

Deceptive Appearance Demo, 1994

ABSOLUTE MADNESS (USA)

Lashing old school thrash/crossover, fast tight music with slightly screechy vocals and clever stomping interceptions; good sound quality, crisp sharp riffs, and short direct tracks.

A.M. Demo Demo, 2009

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ABSOLUTE VENGEANCE (USA)

The guys had a lengthy career under the name Fierce Allegiance releasing three full-lengths and an EP of fairly decent retro thrash. Based on "Beneath the Flesh", the name of the game is thrash again, but more modern-sounding and way more melodic. The concentration is more on modern complexity without too much speed involved the guys shredding with more passion on the shorter material producing the requisite more dynamic moments on this otherwise relaxed effort which wins mostly due to the great melodic hooks both in the riff and the lead department. The singer is a dramatic shouter of the more subdued throaty variety.

Absolute Vengeance EP, 2007
Beneath the Flesh Full-length, 2008

My Space

ABSOLUTE ZERO (CANADA)

Typical modern 90's post-thrash, mostly mid-paced with angry Phil Anselmo-like vocals often interrupted by bad alternative semi-clean ones; the pace accelerates quite a bit at times reaching hardcore fields, but those are quickly followed by a soft jumpy funky passage. A couple of Oriental tunes can be heard, and the bass work is quite good reminiscent of Les Claypool (Blind Illusion, Primus), but overall this is nothing too original.

Torn Full-length, 1994

ABSOLUTE ZERO (USA)

A 4-song demo (one track is actually an instrumental ("Zappa Death")) of excellent technical thrash; the music is a bit hectic, but never loses coherence, with a frequent change of tempos and numerous twisted technical riffs, recalling Mekong Delta, the Dutch Donor and Watchtower. This is great stuff with the magnificent closer "The King" being a 7.5-min long technical opus featuring aggressive guitars as well as calmer atmospheric moments.

Piracy Demo, 1988

ABSOLUTION (USA)

A really good newcomer on the US metal scene pulling out worthy classic thrash; the vocal styles vary from clean to rougher, mean-ish ones, both working fine. Based on the full-length, the tempo is not very fast, but there's enough energy involved to keep the listener on the alert. Some songs are a bit softer with a power/speed metal vibe ("Reflections Of Hate", "Seven Deadly Sins"), but the musicianship there is better, especially in the lead department. The album starts with two short, immediate thrashers, but with each subsequent song the complexity increases, and although it very seldom reaches progressive dimensions the overall sound is fairly technical on quite a few times: the awesome Oriental-tinged "Eternal Ascension", the sharp riff-fest "The Servant Of Liars". Near the end the band take it easier mixing power and thrash in a fairly cool manner except on the very ordinary modern metal track "Blind Reality". The closing "Human" is a more ambitious progressively-ornated song, but abandons the thrashing concentrating more on melody and complex arrangements partially losing in the long run lasting for nearly 9-min.

The Remission of Sin EP, 2005
The Revelation Diaries Full-length, 2008

Official Site

ABSOLUTION DENIED (COLOMBIA)

This is a 3-song demo of jumpy energetic modern thrash/death metal which is quite melodic with a few less impressive metalcore implements; not too straight-forward, but nothing too technical, either...

Sinister Time Demo, 2011

ABSOLVE (CANADA)

Modern thrash/death metal with slight moments from the classic Swedish death metal scene (Grave, Entombed, Unanimated), a pretty dynamic intense affair with sparse technical tendencies ("Rot and Decay") and a few brutal blast-beating sections.

Sadistic Crown EP, 2010

My Space

ABSORBED (SPAIN)

The tag "technical death metal" attached to these guys is solely based on the brutal low-tuned vocals since music-wise this band has no ties to death metal whatsoever. Otherwise the music is well executed technical/progressive power/thrash which shares the calm and serenity, as well as the complex compositions, with the Czechs Scenery. So there's no speed above the mid-pace to be encountered, and the riffs lack sharpness relying more on melodic hooks which come at times with a shade of gothic. The contrast between the scary singer and the peaceful music is really weird at first strongly recalling the one achieved by the Austrian gothic/death metal act Visceral Evisceration, but one will get used to it without problems. "Contact" contains a nice acoustic interlude and could pass for a technical semi-ballad. "Towards Summer We Soar" is a great progressive opus also rubbing shoulders with Spiral Architect boasting strong bass support. "Disgust And Hate" abandons the technicality a bit, and is the fastest track sustained in a less pretentious crossover manner also ably helped by the vocals (could be a different singer?) which here are typical hardcore semi-shouts. After it comes the closer "Cosmos Turbine" which is a masterpiece of complex though-out progressive thrash offering clever technical riffs and even a headbanging section.

This album is a really unusual and a very interesting take on progressive metal which could have aroused the interest in such kind of music in Spain since later in the new millennium this band's "legacy" was followed by a couple of capable acts (Continuo Renacer, Unreal Overflows (one of that band's guitarist, Fran Perez, was involved with Absorbed at an earlier stage although he hadn't taken part in the recording of the album), Perseidan, Kaothic, etc.) which offered a more aggressive, death metal-based, interpretation to the music on offer here.

Reverie Full-length, 1999

Official Site

ABSORBED IN THOUGHT (GERMANY)

An obscure trio who specializes in quite interesting, at times inordinately complex, choppy thrash which may be a bit hard to follow at times due to the less ordinary song-patterns and the frequent time-changes that were quite characteristic of the representatives of the progressive/technical thrash metal wave which flourished in Germany at the time. This is creepy, multi-textured music which is mostly mid-paced assisted by indifferent, at times plain uninvolved, clean vocals. The guitars twist and turn into too many directions in a way not far from Deathrow's "Deception Ignored" although this isn't as cleverly concocted having a kind of an unfinished feel. Sounded like a good rehearsal for bigger things to come which never materialized... The guys were earlier known as Obscurity the style being more simplistic, less exuberant classic thrash.

Kolibri Demo, 1993

ABSTRACT (BRAZIL)

There's one guy responsible (Leo Schroder is the name; he used other musicians for the recordings, too, but he's the mainman) for this quite good technical classic thrash affair which boasts a crisp sharp sound and great lead performance. The songs are intriguing with clever riffs, mostly in mid-pace, adhering to the odd galloping moment ("Ad Aeternum") on occasion. More intense thrashing can be encountered on the shorter numbers ("Endless Karma") where the shadow of late-80's Kreator and their compatriots Executer can be clearly felt. A more puzzling delivery with shades of progressive sneaks on "Heroes Of Remorse" which is a prime shredder with fast and slow sections alternating on a swirling lead-driven base with Oriental leanings. The bigger complexity remains for the following "Hella" and "Old" which will remind you of late-period Death as well, especially the latter with its haunting melodic tunes. The closing "Disturbance/Nightmare" is a stylish busy, hectic piece thrashing wild with a touch of proto-death among the technical decisions calling another hero from the past and present: Atheist. Schroder's vocals are another reminder of the Americans with his rusty forceful timbre ala Kelly Shaefer.

Concrete Visions Full-length, 2000

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ABSTRACT (ITALY)

Based on the 2002 promo, this outfit execute pretty grand old school technical thrash that on �Spirals� is a most supreme twister with echoes of Spiral Architect and Zero Hour, a labyrinthine awe-inspiring excursion further elevated by the excellent emotional female vocalist. A couple of more atmospheric quitter sections arrive later, but �E-Mages� puts a stop on those, this cut a heavy slow-burner with a more linear structure, with some power metal sneaking in in a way not too dissimilar to Cauldron�s Born�s first. Some striking virtuoso guitar work is also on display all over, making this unknown entity one of the best kept secret from the Italian underground. Some of the musicians are occupied with the progressive/power metal formation Angel's Last Breath.

Demo Demo, 1997
Promo Demo, 1998
Promo Demo, 2002

ABSTRACT (SWITZERLAND)

Another serious obscurity from Switzerland; this act provide excellent progressive power/thrash with echoes of both Apocalypse and Drifter only that the approach here is more elaborate also reflected in the songs' length. "Tell Me (Without Words)" is a multi-layered progressive thrasher with numerous nuances embedded, and "Quest of Life" is a more linear speed/thrasher with wild screamy leads. "Rhapsody In Blood" is a heavy stomper with several doomy staggerings fully epitomizing the expressive clean vocals which don't occupy much space.

Tell Me Demo, 1993

ABSTRACT RAPTURE (LUXEMBOURG)

The full-length: the people from the richest country in the world (for 2008) have never seemed to care about metal, but here comes a band from there who specialize in modern groovy post-thrash; nothing exceptional with the mid-paced heavy tracks ("The Void") dominating occasionally interrupted by faster better ones ("Noxious Utopia").

The EP is more moderate sticking to the Black Album patterns quite a bit and consequently sounds better despite the constant seismic pounding riffage which never leaves the mid-paced dimensions, and sounds a bit mechanical and sterile at times. There is a slight industrial vibe present as well aggravated by the semi-shouty artificial vocals.

"Earthcrush" is a modern thrash "beast", by all means the guys' magnum opus which crushes admirably without losing the numerous headbanging sections which are scattered everywhere and create a formidable wall of a mechanized quasi-industrial sound which becomes nicely Pantera-sque (check out the angry aggro-groover "In Another Time") at times. The inclusion of clean vocals doesn't work the whole time, and the main angry death metal shouter does a much better job. "No Salvation" near the end is a sweeping speedster with death metal overtones starkly contrasting played back-to-back with the quiet balladic instrumental closer "New Dawn".

Dead End Entry EP, 2006
Democadencia Full-length, 2008
Earthcrush Full-Length, 2011

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ABSTRACT SURVIVAL (NEW ZEALAND)

Based on "Emergence", this band play state-of-the-art brisk hyper-active old school thrash which is full to the brim with stylish technical decorations; however, the wild rampant rhythm-section dominates the landscape although the more intelligent riffage on "Genesis of Ignorance" is hard to be disguised, with the excellent thought-out "Falsified Prophets" coming close to the progressive parametres. Short hectic shredders like "March of the Horrorforms" are equally as delightful, but the real highlight here would be the shape-shifting "Coroner meets Voivod" masterpiece "Visions of Obscenity", an impeccably-constructed mosaic of twists and turns, the guys seldom going over the mid-pace, but achieving a very eventful setting. "Convulse" is a creepy slow-burning all-instrumental piece, and "Catalyst" is another hypnotic, gradually-escalating marvel with more brutal deathy excursions. "Empowerment" starts moving things towards the faster-paced parametre the delivery thrown in the slightly chaotic, even blacky on occasion, dimensions at some stage, any unbridled attempts mortified on the sterile futuristic epitaph "Icaro of Tranquility" which quasi-industrial colouring will bring to mind Strapping Young Lad and the guys' compatriots Ulcerate.
The debut is another fairly stylish listen built on very similar complex patterns with death metal more insistently present as evident from the engaging, multi-layered opener "Rise of the Chaote". "Planet Nuclear" settles for absolutely ravishing intricate Coroner-esque thrash with death metal again showing its head here and there, the approach becoming a bit mellower on the atmospheric mid-pacer "Dead Land". The atmospheric idyll is rudely broken by the spastic brutalizer "Inhuman(e)" which conflagrates the second half for a rousing progressive finale reflected in the jumpy dramatic "Nightmares of Suffering" and the dark brooding Demilich-esque "Cast Down the Unbelievers", this piece bringing the winds of doom in a strange reverberating manner.

Tyrannical Full-length, 2014
Assimilation||Annihilation EP, 2016
Emergence Full-length, 2018

Official Site

ABSTRACT VIOLENCE (GREECE)

The demo: the Greek thrash invasion carries on with this act who pull out intelligent old school thrash with a certain hardcore edge both in the simplistic riff and the shouty vocal department. The pace is up for most of the time, and the guitar patterns are quite direct except on the closing "Beer Mania" which is a laid-back punk track which tones down the guitar tone reducing the speed as well.

The full-length is a retro thrash "monster" which exudes force and speed the whole time the band expectedly serving some crossover moments, but most of the time this is pure thrash done right on the edge of turning into something more furious (death metal, that is). The leads are short and to-the-point and are delivered with both technicality and melody. The second half is mellower the guys softening down with more references to crossover, but heads will fall near the end on the brutal grinder "Dead Women (Never Say No)". The singer is attached and semi-clean, of the high-strung variety and pulls inspired semi-shouty performance with echoes of Kurt Brecht (D.R.I.).

Thrash Upon The Earth Demo, 2011
Crossoverized Full-Length, 2012

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ABSTRACTED (BRAZIL)

The EP: four songs of cleverly-executed modern technical thrash which tries to update Helstar's "Nosferatu"'s flamboyant style to the contemporary fans comprising the same flashy lead guitar work. The therapy works just fine and impetuous elaborate cuts like "Paradoxical Sight" and "Frail Convictions" will make the heads bang and the minds think especially the latter with its sudden tempo changes including a short deathy passage. "Cosmic Dust" is an encompassing 9.5-min opus with plenty of unexpected turns and twists also graced by a more brutal death-laced passage not to mention the quiet interlude in the middle. This is a great way for the band to start their career, and hopefully they will surprise the fans with a similar stylish effort soon.
The full-length arrives after the band have kind of lost inertia from the excellent EP, and sees the guys having become more elaborate, the opener "Introspection-Ego Death" closing on 13.5-min, the delivery now in the power/thrash camp on that one, but expect a much more vivid representation on "Wither to Dust", a superb technical thrash/deathster ably supported by the vociferous death metal throat behind the mike. "Whisper into the Void" retains the deathly embellishments, and is another stylish intricate, this time all-instrumental, saga with myriad time and tempo-changes. "Between Samsara and Samadhi" follows a similar pattern, the band moving further away from the classic speed/thrash patterns with a more aggressive delivery, the latter also masterfully exhibited on the lengthy mazey, less exuberantly-performed opus "Eightfold Path". Some pure progressive arrives with "Decree of Sunlight", where also cool cleaner vocal participate, before the final "Prospection-Ethereal Rebirth" hits, a 15.5-min journey through the nooks and corners of progressive metal, largely a thrash metal lasher with an atmospheric break, a larger-than-life composition that alone certifies this album's lofty status. The band have expended their palette, incorporating several styles, but this has by no means diminished their impact: this is another stellar effort with a yet to be tapped far-reaching potential.

Ophidian EP, 2015
Atma Conflux Full-length, 2022

Official Site

ABSTRUKTOR (USA)

This band play melodic old school power/thrash which is reflected in lengthy engaging numbers with various tempos and moods where melody meets more aggressive passages in a not very even alternating pattern. "Mouth of Hell" is a cool energizer aptly supported by the shorter, more vivid "Walking Dead", and with the galloping delight "High Grade Speed" following suit. Things in the second half seem much better the nice speed/thrashing closer finishing this album with panache providing cool moshing fun for over 7-min. The vocals are of the mid-ranged clean type, but their antics aren't very striking and at times lose the melodic pitch for the sake of a gruffer, not very suitable one.

Judgement of Terror Full-Length, 2014

Official Site

ABSTRUSE CUSTODY (USA)

Based on "Chapter Zero", this Canadian duo specialize in retro black/thrash which wins a few points from then suitably pristine production and the raven-like black metal vocals. Epic arrangements and speedy skirmishes are seamlessly mixed in cuts like "Out in the Cold" and "The Twins", the mellower clout of "Knights of the Snowy Kingdoms" shaking hands with power metal for a bit even. The second half gives several chances for aggressive ways of expression: watch out for the brisk vivid "Starfire" and the bombastic blacker "Breaking the Charm", the closer "Ablaze" another intense proposition, closing this effort with verve and dramatic epic passages.

Seeds from the Void Full-length, 2015
Chapter Zero Full-Length, 2024

Official Site

ABSU (USA)

Absu started as a black/death metal band on their debut, which sounded pretty close to Darkthrone. "The Sun of Tiphareth" introduced a more restrained, epic sound which showed another, very interesting side of the band. "The Third Storm of Cythraul" was a transitional work, featuring both the epic moments from the previous album and really fast thrashy passages, suggesting at the future direction taken by the band. "Tara" is a masterpiece of black/thrash reminding of Slayer at times, with Proscriptor doing an amazing job on drums; clearly one of the leading extreme bands on the contemporary American metal scene.

A self-titled album after a long string of albums is a sign of a retrospection made, or a new direction taken, but in the case of Absu this is just the next album, despite the lengthy hiatus. This is by no means a bad effort, featuring the same fairly aggressive mix of black, thrash, and death metal, this time nicely spiced with calmer majestic operatic mid-tempo black/thrashers ("Amy"), but rest assured that the compensation is just around the corner, in the face of furious pieces like the black/death metal madness "Nunbarshegunu", or the classic thrash killer "13 Globes", or the quite stylish combination of the three aforementioned styles "Of The Dead Who Never Rest In Their Tombs Are The Attendance Of Familiar Spirits". Sorry, but the review ends here, since the song-title took the space required... Kidding, of course... Something quite technical, but also brutal, comes later: "Magick Square Cipher" with thrash and death shaking hands here. The technicality disappears, but the speed and the no-prisoners attitude remains for the rest of the material, except for the closing "Ye Uttuku Spells", which is a fine display of stomping, hectic technicality. The fans of the band will be delighted to hear their heroes blasting with full force again by adding tasteful "detours" from their merciless delivery.

The self-titled/retrospective saga continues with "Abzu", where just one letter gets changed from the previous album-title. So do we have any changes in the musical approach? Actually, we have a few, and all for the better: the opening "Earth Ripper" will "rip the earth" with awesome galloping riffs, and pretty melodic guitars, something new in the band's catalogue, but serving its purpose handsomely, amidst the hard riffage and the piercing, hellish raspy vocals of Mr. Proscriptor McGovern. Then black metal steps in for the raging "Circles Of The Oath" to mix with the staple thrashing approach, which becomes nicely technical on the hectic, mid-tempo "Abraxas Connexus", a labyrinthine composition ala Melechesh (Proscriptor was once drumming there) with gorgeous Oriental tunes. "Skrying in the Spirit Vision" is another more aggressive cut with hyper-blasting moments and great short leads. The black/thrash Oriental saga is on full display on the next "Ontologically, It Became Time & Space", but the final "A Song for Ea" is an engaging 15-min opera covering a wide gamut of moods and music in general, even including a few maddening technical death metal sections, dissonant rhythms ala Blut Aus Nord, quiet acoustic insertions, and more. As a whole the band haven't strayed too much from their occult black/thrash metal path, but the bigger ambition shown, as well as the more melodic compromises made has only enriched their already encompassing sound, giving their style a more appealing flavour.

Barathrum V.I.T.R.I.O.L. Full-length, 1993
...And Shineth Unto the Cold Cometh EP, 1995
The Sun of Tiphareth Full-length, 1995
The Third Storm of Cythraul Full-length, 1997
In the Eyes of Ioldanach EP, 1998
Hallstattian Swords EP, 2001
Tara Full-length, 2001
L'Attaque Du Tyran: Toulouse, Le 28 Avril 1997 EP, 2007
Absu Full-length, 2009
Abzu Full-length, 2011

Official Site

ABSURD (BELGIUM)

This band features Gunther Maes- the guitarist who also took part in an early incarnation of the great Chemical Breath. Based on the "Oppression Murder" demo, this band offer a mix of hardcore and thrash similar to Acrophet's "Corrupt Minds", or early Prong. The music isn't very heavy, but is fast and enjoyable. The vocals are put a bit forward in the mix, and their presence "chokes" the instruments at times.

Possessed by Insanity Demo, 1989
Oppression or Murder Demo, 1989

ABSURD (CZECH)

A decent obscurity of more dynamic 90's thrash with still some remnants from the good old days. The music is mid-paced for most of the time with epic touches, and generally there are quite a few melodic hooks to be enjoyed. The singer, however, is a detraction with his rough drunken voice sounding like Lemmy (R.I.P.) if he had tried his hands on some death metal. "No Jesus" is a cool deviation from the more officiant norm branching out into merry crossover before the album returns to heavier, almost doomy on the pen-ultimate "Silence", waters.

Shadows Full-Length, 1996

ABSURD (SWITZERLAND)

Atmospheric doom/gothic-tinged modern thrash which starts in a sleepy morose fashion before speeding up later, but just a bit, giving us a jolly, totally out-of-context, crossover piece ("No Jesus") and several not very interesting mid-paced stompers with a few melodic hooks which starkly contrast with the harsh semi-death metal vocals.

Shadows Full-length, 1996

ABSURD CONFLICT (CZECH)

Based on the Promo, this band play modern thrash/death metal with a technical twist. The music moves from very fast early Dark Tranquillity-like moments to choppy modern breaks, to atmospheric, almost gothic sections. The lead guitar work is particularly good (check out "Till The End"), but after the furious opener "A Tragedy Concept" the sound gets softer and slower relying more on melodic hooks and more frequent time changes.

The "Hopeless Despair" demo is both "hopeless" and "desperate"; joking, folks... it sees the band having adopted the thrash/death hybrid, but the technical elements are nowhere to be heard. It's pretty standard modern stuff in mid-pace with only "Hope & Despair" bringing some "hope" (thankfully not "despair") providing both more technical prowess and more aggressive faster riffage.
The full-length moves closer to full-blooded death metal, but the approach is not very focused the band also trying to introduce more stylish technical performance which leads to the creation of the jumpy shredder "Across the Wasteland" and a couple of more stylish, but ultimately undeveloped, sections on the other cuts.

Hopeless Despair Demo, 1998
Promo Demo, 2003
Point of Crisis Full-length, 2007

Official Site

ABSURD2 (NORWAY)

This band was formed by former and present members of Extol, who apparently weren't too happy with the melodic and unimpressive form of music which this band have started to play recently. This is standout technical thrash/death pretty much along the lines of Extol's magnum opus "Synergy". The music is quite energetic with smashing technical guitars, frequently changing tempos, great jazzy parts, and will also remind you of Cynic, Atheist, Chemical Breath, Coroner, among other masters of the technical genre. The vocals are slightly irritating, being high-pitched hysterical semi-hardcore ones. Hopefully the full-length will hit us soon...

Absurd EP, 2004

Official Site

ABSURDITY (FRANCE)

A modern death/thrash metal band with a strong presence of hardcore on the second demo; this same demo is more dynamic and features at least one intense death metal attack: "The Burning Sun" which even manages to provide clever semi-technical hooks. Still, the hardcore-ish implements and the derivative heavy riffage ruin the picture although the final "From Nuclear Meltdown Toward Stone Age" may be another commendable piece: a cool atmospheric industrial deviation with doomy overtones.

Sessions Recordings Demo, 2003
Decline Of Human Condition Demo, 2004

Official Site

ABSYNTHIUM (BELGIUM)

This act plays modern thrash/death with ultimately brutal low-tuned death metal vocals. The sound stays closer to thrash, and despite the obvious effort put by the guys, the music is hampered by the fuzzy guitars and the thin screamy leads. The band vary things by mixing slow and fast passages, also adding the odd more melodic hook ("Ominous Future Present"), seldom adhering to something blasting ("I, Hate", the stylish semi-technical explosion "Nonexistence") moving the approach closer to death metal on those moments. Some of the band members also play in the black metal formation Signs of Darkness.

Hatestorm Demo, 2005

ABUSER (ITALY)

Technical/progressive thrash metal shifted through the years from the gorgeous models of the late-80's/early-90's (Target, Coroner, Anacrusis, Flaming Anger, Mekong Delta, Deathrow, Hexenhaus, Nasty Savage, etc.) which was the real time of this sub-genre, to more straight-forward stuff with a couple of more technical leanings of more recent times which we, the technical metal maniacs, had no choice but call "technical" due to the lack of anything better out there.

Abuser come close to the models of the 80's on a few times, but their infatuation with speed is bigger leaving some of the more technical passages kind of unfinished. Still, this effort rises well above the modern pack with a style quite close to the one album wonder Bezerker from Australia and Target's debut. Virtuoso guitar work ala Mike Wead can also be heard, but again it is the "need for speed" which will be fully satisfied in the long run with energetic roller-coasters like "Flesh Eaters" and "Creations". Technicality and speed come brilliantly mixed on the progressive opus "Iron Ghost" which is complex intense thrash at its best. The other tracks are shorter speedy "stingers" with genuine technical "decorations", the culmination among them being the excellent "Possession", a headbanger of a less ordinary nature with a few technical "surprises" along the way. The final is a bit underwhelming, though: a pretty faithful rendition of the early Whiplash hit "Spit on Your Grave" with no technical play whatsoever, but the speed metal fans will salivate all over once again. This is a truly impressive entry from Italy, and hopefully the guys will manage to stay afloat unlike several of their more recent compatriots (Rainspawn, Fear Traders, Death Mechanism, etc.) who disappeared after just one album.

Threats Of Fate Full-length, 2010

My Space

ABUSO VERBAL (ITALY)

Based on the split with the Brazilian death/thrashers Evil Sindicate, this act offers evil aggressive death/thrash metal; fast relentless music with apocalyptic death metal vocals.

Narco Homicida... Psicitico Alterado Full-length, 2007
Sindicato da Tortura Split, 2009

My Space

ABY-KEM (SPAIN)

This band tries to recreate the brooding atmosphere of Machine Head's "The Blackening" (please, note that both albums were released the same year), and almost succeed in doing this offering long, diverse compositions with dramatic overtones which will by all means engage the listener, but the relief is also here in the form of fast, uncompromising thrash/proto-death metal pieces ("Hondarrezko Ekaitza"). The guys almost hit the top with the progressive opus "Behin Betiko Zigortuak" which is an encompassing blend of intense thrash and breathtaking melodies, and generally there's seldom a dull moment on this effort ("Larroxen Iraultza" is a less interesting sterile steam-roller) which gives a much more serious twist to the 90's trends elaborating on a style almost considered obsolete nowadays.

Azken Guda Full-length, 2007

Official Site

ABYDOS (GERMANY)

A classic death/thrash mixture with dark gothic overtones and harsh screechy black metal-ish vocals; the guys manage to capture some of the pagan atmosphere of acts like Sabbat (UK) and Bifrost, but this is a more varied recording thanks to more melodic undercurrents and the unobtrusive presence of keyboards. The epic battle-like atmosphere of the album is nicely captured by the imposing "Times Change", but watch out for less bridled headbangers like "Paganfire" as both sides come together seamlessly on the more elaborate compositions towards the end, like "F.K." and especially on the excellent Paradox-esque "Ein Mensch".

Time Sins Full-Length, 2018

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ABYSM (CANADA)

Based on the first demo, this band plays classic thrash/death metal of the French school with vicious black metal vocals. The music is generally fast with the obligatory blast-beating sections "decorating" every song.

Demo Demo, 2007
June '07 Reh Demo, 2007

My Space

ABYSMAL (USA)

The battle-like riff-patterns of Bolt Thrower loom heavily over this cool effort which gives the Brits' steam-roller delivery a thrashy twist also supported by thin screamy leads the latter sounding almost surreal compared to the much more officiant, serious rhythm-section. The seismic riffage marches on in a steady mid-pace speeding up on occasion, but not by much. "Trophies of His Conquesty" is the expected tribute to the doom metal scene served with an appropriate stonery main theme and another portion of those weird piercing leads. "Time Squared" at the end is a revelation: dramatic volcanic thrash/death with a wild blasting exit. The vocals are brutal and down-tuned quite reminiscent of Karl Willets (Bolt Thrower time and time again) maybe a bit lower-pitched and less intelligible.

Surrealistic Fatality Demo, 1992

Official Site

ABYSMALIA (FINLAND)

A strong newcomer on the Finnish scene, which suggested at their big potential on the debut demo which offers heavy, mostly mid-paced technically-minded thrash of the modern variety with gruff death metal vocals, which are the downside. There are atmospheric sections recalling Coroner's "Grin" as well as a whole song sounding as though directly taken from that album: "Irreplaceable": a nice short abstract modern progressive piece. The music nicely picks up speed on the final "The Sewage of Lies (Phase Two)", but the track is ruined by the indifferent clean vocals, accompanying a pointless, very melodic section in the middle.

"Portals to Psychotic Inertia" comes just a few months after the demo, but the guys show that they have grown musically. If we exclude the very bad clean vocals, the rest is well done modern progressive/technical thrash metal rubbing shoulders with early Meshuggah and Obliveon. The compositions are longer, and are not "deprived" of speedy passages, which are well embedded in the overall quite complex musical picture: check out the first two songs. "Whispering Insomnia" is a less elaborate and softer composition followed by the creepy slow-ish progressive "Coma Recurring". The strong beginning finally finds its match in the face of the short direct thrasher "The Mindscraping Multitude" which will be a delight to the more level-headed fans, although it also offers a couple of more twisted sections. Don't bother with the closer "The Naiad of the Dawn (Anam Cara)": total waste of 5.5-min for the thrash metal fan: a gothic/orchestral number which doesn't even sound progressive, assisted by the worst clean vocals on the album: a semi-Dave Gahan-like (Depeche Mode) timbre which hardly has a place on an album like this. It's not too bad overall, but the guys scatter their sound into too many directions, sometimes not quite necessarily; more focus for the future on the harder guitar sound could bring better results.

"Replenish Entirety" is another larger-than-life affair now adding black and post-black metal to the already overdone amalgam. Thrash metal comes stifled more than now and then, if ever present, replaced by numerous quiet atmospheric passages, sprawling doomy sections, orchestral arrangements, and more. Apparently from now on the band will concentrate on extreme multi-layered progressive metal without any boundaries.

"Amid Adversities" hardens the course once again, but the approach is direct and stripped-down modern thrash/post-thrash with the other influences inevitably showing up gradually at various stages throughout including the slightly abrasive quasi-industrial boost in the guitar department. Still, there's plenty of energy to savour here (check out the busy jumpy piece "Endeavors Inane") ably compensated by longer, progressively-structured numbers (the dragging balladic sleeper "The Mothers of Sons"). This offering is by far better than the preceding one although it's obvious that the band aren't going to settle for one style only and will continue to expand their horizons on future efforts.

"Polarization" is a modern thrash "opera" with several influences crossed including a strong presence of gothic ("Against The Absolute"). There's not much actual thrash to be heard "Symbols Of Defeat" trying to insert some avantgarde sting into the proceedings, "Autophobia" helping with the most aggressive guitars on this quiet, meditative effort which goes down, but not in flames, on the awkward industrial/noise 12-min closer "Coma Reversed".

The Sewage of Lies Demo, 2007
Portals to Psychotic Inertia Full-length, 2008
Replenish Entirety Full-length, 2010
Amid Adversities Full-length, 2011
Polarization Full-Length, 2015

Official Site

ABYSMIA (USA)

The debut: decent minimalistic 90's post-thrash which won't surprise the listener with too many fast-paced crescendos, but may win him/her in the end due to the consistent atmospheric clout of hypnotic semi-doomsters like "Torn Asunder" and "Ominous New Dawn", a few more stylish pieces ("Bomb Full of Secrets") recalling the more intricate veneer of mid-period Prong and the Hungarians Korog. The singer is a kind of a spoiler, though, his grunting death metal baritone not quite fitting the relatively peaceful tone of the music.
"King of Anarchy" comes with a friendlier, more welcoming sound, even more reminiscent of Korog. "Sleep", ironically, is the most intense number, a near-thrash experience which immediately brings a revolution reflected in the robotic headbanger "Double Edged" and the steady hypnotic mid-pacer "The Harlot". The rest is more on the playful side but has its unpretentious rocky merits.
"Paradise Lost" hits a tad harder than its predecessor, and as such may please a wider gamut of fans, including fans of the modern power/thrash hybrid along the lines of Kragens, mid-period Skrew, and even Grip Inc. "Blackened Chrome" is a fine macabre semi-galloper, clearing the horizon for the coming of other niceties like the dark doom march "Empty Haunt", and the atmospheric mechanizer "Perfect Horror". "Pale" tries something more melodic bordering on the semi-ballad, but watch out for the vivid semi-technical shredder "Purple Platinum" and the playful but steady hypnotic closer "The Wolves".

Ominous New Dawn Full-Length, 2019
King of Anarchy Full-length, 2020
Paradise Lost Full-length 2021

Official Site

ABYSS (CHILE)

A good album of classic 80's thrash; the music is closer to the German school, and more particularly early Destruction and Darkness. The pace is dynamic, up-tempo for most of the time, with clever sharp riffs, but nothing overtly technical. The songs flow in the same vein without any changes, but there's no time for that since the album is only six songs. The singer has a sinister black-ish snarl seldom accompanied by more aggressive death metal growls.

Under the Shadows of Evil Full-length, 2006

Official Site

ABYSS (FRANCE)

Based on the "Against The Sea" EP, these guys play run-of-the-mill modern thrash/death metal, fast, energetic and sharp, with gruff aggressive Jan-Chris De Koeijer-like (Gorefest) vocals, but pretty derivative without any surprises although the peaceful balladic interludes are not bad ("The Navigator").

Silent Depths EP, 2006
Against The Sea EP, 2009

Official Site

ABYSS (JAPAN)

Based on the "The Depths of the Forest" demo, these Japs serve dirgy abrasive old school speed/thrash that is assisted by gruff shouty semi-death metal vocals. The delivery has its shades of the less serious Motorhead-ish charm ("The Revenge"), but expect also some less tamed bash ("Tell the Truth") to befall you alongside a few not very impressive repetitive modern grooves ("Life Imprisonment"), the short concrete "History" dispersing the monotony with the wildest riffs on the demo, "The World of Close" another less restrained shredder with a notable semi-galloping section.

The Misery of Mankind Demo, 1993
The Depths of the Forest Demo, 1993

Youtube

ABYSS OF SORROW (HUNGARY)

Based on the "Forgotten Past" 3-song demo, this act come up with pensive moody thrash/post-death of the modern kind which stretches into melancholic gothic/doom landscapes (check out the soporific elegy "A Long Night") ala Katatonia and Tristitia more often than the good taste affords. The riffage is clumsy and often lifeless the low-tuned male vocals not making a very impressive cross with the much better angelic female ones.

Abyss of Sorrow Demo, 2007
Forgotten Past Demo, 2008
Abyss Demo, 2008

Official Site

ABYSSAL SUFFERING (FRANCE)

One man is responsible for the three songs here; his name is Ivan Sikic, and he has also taken part in other acts, like the technical death metal masters Korum and the modern thrash act Hemoragy. The music on display here is old school thrash/death metal with technical pretensions, not far from Suffocation and early Death. Two fast technical blitzkriegers encircle an engaging opus "Die Dreaming" which is a whirlwind of complex labyrinthine riffs and structures, including a funeral doom "interlude" in the second half. "Soul Pioneer" is another interesting piece, all-instrumental, with a few virtuoso sections and frequently changing tempos, among the pretty twisted riff patterns. The sound quality is a bit muddy, and Ivan is a scary brutal growler when it comes to his vocals, not miles away from Frank Mullen (Suffocation again).

Soul Pioneer Demo, 2005

Official Site

ABYSSALS (FRANCE)

The line-up consists of former members of two excellent extreme French thrash metal formations: Mutilated, and Mutilator who never managed to make it above the demo stage. This demo shows that despite the lengthy hiatus between these two bands' recordings, they haven't lost their touch. This is pure classic thrash, aggressive and fast, certainly bringing to mind both bands (staying closer to Mutilator), but having a 80's Slayer vibe, too, with aggressive shouty death metal vocals and occasional blast-beats.

Demo Demo, 1994

ABYSSION (USA)

Two guys are behind this devilish project which stays on the dark black/thrash side if we exclude the several escapades towards death metal territories ("Ex Nihilo Nihil Fit") where also the very low-tuned brutal vocals belong. The evil black-isms seldom go for the hyper-blast, but the musical delivery is quite intense as thrash doesn't have quite a say for most of the time, death metal taking over again near the end on the stylish semi-technicaller "Covenant of Abomination", and on the cool diverse closer "Majestic Warlust" which is a wide amalgam lasting for over 8-min, also giving a chance to a few thrashy rhythms to be heard.

Satanic Taste of Neurotic Virtuosi Full-Length, 2013

Official Site

ABYZMAL (AUSTRALIA)

Modern thrash with dark atmospheric overtones and deep semi-clean vocals; the music delivers with consistent heavy riffage becoming nicely speedy (the energetic speed/thrasher "Misconnected Lies"; the sincere headbanger "This Day Will Come") on demand as well as beautifully melodic, like on the good galloping instrumental "The End Of Time" which excels in the lead department.

This Day Will Come EP, 2011

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ABYZZ (GERMANY)

Based on "EMPUSA", these guys pull out dark gothic thrash/death metal sounding surprisingly close to Cemetary's "Godless beauty" at times including in the forceful death metal vocal department. "The Heritage" is a fine more intense number with formidable steam-rolling riffage, and the final "Reborn Again" is a great slab of fast moshing thrash/death metal, but the rest is more on the atmospheric melancholic side with numerous melodic "decorations" and allusions to the doom/gothic metal field.
"A Reborn Plague" is a marginally more dynamic recording, but the overall veneer and layout are pretty similar, with some notable achievements ("The Reckoning", "The Game") in the progressive department as well, with doom metal ("A Dying Race", the dramatic cruncher "Why") also occupying a certain niche, the moshing vigour of the short "We Are the Many" the needful deviation on such a somber, morose opus.

Ominous Silence EP, 2000
Terror Mundi Full-length, 2002
Warmasutra Full-length, 2004
Reminder EP, 2006
EMPUSA Full-length, 2009
A Reborn Plague Full-length, 2020

Official Site

ABUSOR (CANADA)

Very good all-out retro thrash (based on the "Living Death" demo) which opens nicely with the intense thrashing instrumental "Stealing Blood" and the deadly headbanger "Thrash Is Death". The other tracks preserve the energetic riffage, but add more melodic hooks: watch out for the title-track which is a first-class speed/thrasher worthy of the Angel Dust debut, and especially for the raging closer "Abusor" which will pour tones of sharp speedy riffs over you.

Montreal Thrash Inferno Demo, 2008
Living Death Demo, 2008

My Space

ABYSM (USA)

Based on the full-length, this band play intense roller-coaster retro thrash/death, the blasting aesthetics of �Scapegoat� bringing the winds of black metal for a bit, before �Shadow of Malevolence� ravages the neighbourhood with brutal malevolent deathly decisions. The intimidating officious march on �Death Wears an Obsidian Crown� desirably changes the pace, but watch out for the aggressive downpour that is �Wretched� and for the exploding death/thrasher �Prey for the Deviants�.

Sol Invictus EP, 2023
Shadow of Malevolence Full-length, 2024

Official Site

ACADEMY BLACK (USA)

Thrash/crossover with quite a few experimental touches: "That's Uncool" crosses punk and funk (and thrash, of course), "Tonite I'm Gonna Rock You" is pure rock'n roll happiness, and "Dead Horse", the highlight here, brings cool alternative shades supported by a nice melodic guitar line.

24 Hour Foundation Project Demo, 1990

My Space

ACAO DIRETA (BRAZIL)

Based on the debut, these Brazilians play rough unpolished thrash/crossover sounding like the bastard child of their compatriots Ratos de Porao. The music is mixed, both fast and slower, but the approach is pretty samey and doesn't require any big musical experience. There are whole 24 tracks here, but the longest one is barely over 2-min. The vocalist recites in a forced shouty fashion without straining himself too much to outclass the undemanding musical delivery.

Progresso/Destrui'e7'e3o Full-Length, 1991
Entre A Bencao E O Caos Full-Length, 1997

ACAO LIBERTARIA (BRAZIL)

The EP: fast tight Wehrmacht-esque thrash/crossover; some tracks are pure unadulterated retro thrash ("Voce Escolhe"), some of which end up sounding pretty technical and jumpy (the frantic proto-death "Criptocracia"); others are kind of misplaced belonging to other genres (the aggressive death metal bomb "Pogoterapia"), all this assisted by indifferent shouty hardcore vocals.

The full-length is pure relentless retro thrash the crossover elements still springing up here and there, and the guys' passion to play fast'n tight is admirable despite the noisy guitar production and the hollow drum sound. Some ultra-speedy thrash pours from the speakers here: "Cavalo de Tria", the stylish headbanger "Filho da Periferia" which contains some addictive melodies; the short Slayer-esque bomb "A Fome e o Poder"; the hardcore-ish exploders "Revolte-se" and "Do You Speak English?"; etc. The music becomes more serious in the second half without losing its intense character before returning to the more stripped patterns for the last duo. The singer now shouts more, but at the same time tries to sing and the final result is way more satisfying recalling early Tommy Victor (Prong).

Criptocracia EP, 2010
Cavalo de Tria Full-Length, 2013

Official Site

ACARIYA (USA)

Typical modern Gothenburg-influenced thrash, quite fast and intense, recalling early The Haunted, but with a more melodic and better guitar work. There's some technicality involved (the standout riff-fest "The Understanding"), but it comes second to the sheer energy (the merciless "Burning The Bridges"). The clean vocals, of course, are also here, but they are very sparsely, and appropriately, used.

Acariya Full-length, 2008

My Space

ACARO (CHILE)

The self-titled demo is thrash/death metal of the retro variety, a bit chaotic but pretty heavy stuff never too fast except for the nice headbanger "Moraturi" at the end which lashes in a cool semi-technical death metal manner. The vocals are gruff semi-shouted death metal ones.

El Vac'edo Demo, 2002
Ludovico Treatment Demo, 2003
Entrop'eda Demo, 2004
Perverso Demo, 2005
Acaro demo, 2009

Fan Site

ACAROS (ARGENTINA)

Based on both demos, this act plays modern thrash/death metal which switches tempos the whole time preferring the heavy mid-ones more, consequently ending up sounding boring and repetitive, a situation worsened by the bad semi-shouty vocals and the very buzzy guitar sound. Some of the musicians also take part in the black metallers Demonic Soul.

El Principio del Final Demo, 2002
En vivo Demo, 2006

My Space

ACANTHA (CANADA)

The full-length offers a mixture of modern and classic thrash with a certain atmospheric progressive edge. The pace changes from slower to faster the whole time producing a couple of cool tracks: the excellent technical shredder "Blood Beast"; the more melodic epic thrasher "Feast of the Gods"; the galloping "Phrygian Skin". The final "On This Day We Prey" breaks the good behaviour, blasting out in a crazy fashion, and is the only death metal-laced song to which the vicious death metal vocals suit better. Those vocals are quite a downpoint, by the way, and it's probably good that they are not given too much space near the end with two pieces being purely instrumental.

Acantha EP, 2006
Eternal Punishment Full-length, 2008

Official Site

ACCELERATOR (GREECE)

The demo: three tracks of melodic retro speed/thrash metal "courting" the 90's speed metal scene a bit also reminding of the American veterans Savage Grace and Omen. All the tracks are sustained in a vigorous up-tempo with melodic guitars, clean emotional vocals, catchy choruses, and screaming leads.

The full-length is a more carefree and mellower affair the flag of speed metal raised higher with power metal playing a more prominent role. As a result there's very little thrash to be appreciated here the band obviously interested more in the radio-friendly side of the metal genre.

Demo Demo, 2010
Accelerator Full-Length, 2015

Official Site

ACCELERATOR (SWITZERLAND)

Mid-paced gothic-tinged thrash/death reminiscent of the Austrian legends Visceral Evisceration; the album is infused with atmospheric, semi-acoustic moments/instrumentals and other gothic gimmicks (keyboards, cleaner vocals, etc.). Even the really short 1.5-2min numbers occupying the middle, refuse to speed up, and that's a shame (isn't it?).

The Prophecy Full-length, 1997

ACCELERATOR (USA)

This is fast blitzkrieg old school thrash assault the guys moshing on full throttle all the way with a few pitstops ("Deadlocked") provided along the way. The band go over the top at times with more brutal histrionics (the almost grinding "Nuclear Beerfare") those contrasting with the friendlier tunes (the thrash/crossover frolicer "Killing Machine"; the energetic power/speedster "Insomniac") also inserted on more or less regular bases.

Anthropophagy Outbreak Full-Length, 2017

ACCESSORY (GERMANY)

Based on the debut demo, this band tries to blend the depressive sludgy death metal of Autopsy with a thrashier edge. Nothing exceptional, unfortunately, the final result being very underwhelming with awkward amateurish switches from slow doomy parts to very fast brutal ones. The unique decadent atmosphere of the Autopsy efforts is almost nowhere to be felt, the negative impression further strengthened by the bad unrehearsed low throaty vocals.
The full-length sees the guys having matured musically now sounding much more convincing and much more death metal-inclined with the aforementioned slower sections still present, but now much more professionally done ably assisting the dominant faster semi-technical passages. For fans of Floridian death metal, early-90's Messiah and later-period Protector this album would be a sure pick, but the thrash metal fans may not make much sense out of it.

Look into my eyes Demo, 1990
Symphonies of Disaster Demo, 1990
Promo Demo, 1991
Within Your Mind Full-length, 1992

ACCIDENT (MOLDOVA)

Based on "Tons of Powder", this is typical groovy modern post-thrash in the vein of... you know who.

Agonize! Full-length, 1992
Sugar Free Full-length, 1994
LSD Full-length, 1995
Tons Of Powder Full-length, 1996
Fuego Full-length, 1998
Psychosport Full-length, 2006

Official Site

ACCIDIA (ITALY)

Speedy roller-coaster thrash/crossover played with a carefree merry attitude; the guys just have fun jamming around as the only more seriously aggressive moment is "Solo Per I Tuoi Occhi" to which the cool semi-declamatory vocals kind of don't quite fit due to their more laid-back nature.

La Tua Paura'85 Demo, 1989

ACCIO DIRECTA (SPAIN)

This band shared a member with Spain's most famous and celebrated band Legion (the drummer Joan Ross Loza). The style here is very similar to the other band: energetic thrash of a more straight-forward nature with a slightly more simplistic guitar work, and probably a bit faster.

Imag'ednate Full-length, 1990

ACCURACY (GERMANY)

The full-length offers unimaginative modern 90's post-thrash with hardcore overtones on the faster material. This is tedious boring music that relies on heavy repetitive riffs which doesn't hide its involvement with the doom/sludge field ("Pawn" is an exemplary Crowbar-esque steam-roller, the best song here) where also the forceful semi-shouty vocals belong.
The demo is a revelation in every respect, the band at this early stage producing outstanding technical/progressive thrash quite comparable to the demo efforts of their compatriots Flaming Anger, hectic frequently fast-paced music with sudden switches to more visionary, less orthodox vistas. The title-track is a dense intricate shredder with hectic overlapping rhythms, the clean but not very expressive mid-ranged vocalist spitting his antics with rapidity, trying to stay on par with the dynamic entangled riffage and the several more melodic developments. "Black Rain" starts with bouncy bass-driven motifs and hard stomping sections, the more officiant march acquiring abruptly turning into a heightened melodic crescendo, the seismic riffs still roaming around later, the alternation between the two currents steady and even, the very positive impression ruined by the singer whose unrehearsed semi-declamatory tirades seriously lack depth here. "Hope and Dreams" is a short tight wonder, the technical complex expletives jumping up and down to a hallucinogenic effect, the emerging vociferous bass creating sizzling fusion-esque passages, before a dramatic balladic etude rises in the middle to further stupefy the audience. The closer "We Don't Know" is an all-instrumental proposition, a fine blend of semi-balladic pounds and atmospheric intricate riff-patterns, the few melodic walkabouts totally arresting, also assisted by speedy skirmishes and dazzling virtuoso leads.
The EP is modern thrashcore with shouty death metal vocals creating additional noise on the side. Some inept groovers ("Got Fucked") are certainly thrown in, including marginally better attempts at doom ("Living Epidemic"), the short lead-driven stomper "Bonus" surely a bonus, a momentary redeemer from an otherwise pretty unsightly performance.

Guiding Light Demo, 1992
Accuracy EP, 1995
Absolut 100% Full-length, 1996

ACCURSED DAWN (USA)

Based on the full-length, this band remind of Hellwitch with its ultra-fast, albeit less technical, thrash/death metal style. The difference is that these guys like slowing down sometimes: "Euphony to the Night Treader" (and other separate sections from other tracks) is an example for that, but the rest is pretty much sheer speed and aggression. The vocals are in the same Patrick Ranieri (Hellwitch again)-like shrieky high-pitched unholy vein, and at least half of the songs are long (6-7min) mixing furious death/thrash, including a couple of blast-beats, with atmospheric laid-back passages.
The EP is served with a more laid-back, more officiant, gothic-flavoured sound the more intense speedy sections recalling the Gothenburg school. The title-track is an atmospheric elegiac stomper, and "Dead Of Winter" provides the opposite side with a portion of less controlled death metal-ish escapades.

Eternal Twilight EP, 2003
Manifest Damnation Full-length, 2005

Official Site

ACCURSED OATH (USA)

Based on the "Massive Retaliation" demo, this act indulge in first-rate old school thrash accompanied by gruff semi-clean/semi-declamatory vocals which recall Dave Mustaine, but this guy is throatier and less lyrical, not to mention the several more brutal deathly grunts that he throws in from time to time. The music follows the Bay-Area patterns, too, and some progressive vibe ala Heathen and early Megadeth can easily be detected on more entangled shredders like "Undertow" and especially the immaculate creepy delight "All Things Pale". The lead guitar work is great with virtuoso aspirations which hit the peak on the superb Megadeth-esque odyssey "Haunting Chains", the dramatic progressive thrasher "Darkness Illusions" another gem of thought-out, cleverly-constructed music with twists and turns galore including a few semi-balladic interludes. This is another pleasant surprise from the unfathomable US underground which should be better known.

Blackened Utopia Demo, 1994
Massive Retaliation Demo, 1995

ACCUSATOR (FINLAND)

Quite cool old school thrash which holds the Bay-Area at high esteem, the ripping qualities of "The Pill" hard to ignore, although this is a diverse riff-fest, "Cease to Exist" providing several intriguing progressive moments for the fans to enjoy. The very appropriately-titled "Acid Attack" races with the speed of light to a shattering effect, and "N.S.T.M" pulls out something more intriguing with a tinge of the technical. "Witch Hunt" combines everything into one, going away with the laurels for the highlight here, the more relaxed speed metal-ish "False Images" also giving the singer a chance to display his actual singing skills, his overall mean semi-clean vocal performance not far the one of Schmier (Destruction). The musicians earlier played in the now defunct retro thrash formation Adrenaline.

Trial by Fire Full-length, 2022

Official Site

ACCUSER (GERMANY)

One of the better representatives of the German thrash metal scene, Accuser started with standard speed/thrash on "The Conviction", not too far stylistically from Rage's "Reign of Fear", maybe a bit more thrashy. But the band soon moved onto a more ambitious, semi-technical song-writing on "Experimental Errors" and "Who Dominates Who?", which featured more stylish guitar work and longer, more complex songs. "Double Talk" retained the technical edge, but the guitars have acquired a drier, more mechanical sound, still rooted in classic thrash, but hinting at an eventual future metamorphosis. At least on "Repent" there are no traces of any metamorphosis yet, and this album is an entertaining headbanging delight with razor sharp riffs and energetic tempos; this work also saw Frank Thoms, the band's founder, taking over the vocals after the previous singer's departure. The band held the fortress of classic thrash up to 1994 when they introduced modern metal sounds on "Reflections", which still contained fairly hard-hitting numbers. "Taken by the Throat" had very little to do with the band's past, going into a post-thrash groovy direction, recalling mid-period Prong and other heroes from the 90's. The guys resurfaced in 2006 under the name Scartribe under which name they released one demo of more classically-sounding thrash. This act is on hold at the moment due to the guys' decision to proceed under their old name.

"Agitation": another old-timer is "back from the ashes", and in their case the question is: how far would they go in their back catalogue; will they go straight to their classic speed/thrash roots, or will they stop earlier, at their 90's stage where they were still able to produce a worthy competition to the angry sound of their US counterparts Pantera and Machine Head? In this case the truth is somewhere in the middle which is hardly the best option: the guys have mixed both styles which come served with a boosted modern production, and as such create a passing impression of competent workmanlike classic/modern thrash of the more laid-back variety with striking lead guitar work which is by far the best t. The blend of faster and slower tracks is by all means achieved, but the modern leanings clearly predominate making this new effort sounding like a slightly more energetic version of "Reflections". Those who loved the band's later period will definitely be happier; the fans of their early years will have no choice but to frown here and there (maybe even more often than that)...

"Dependent Domination": after the not very impressive cross over their career done with "Agitation", the band are back and this time they sound more convincing, and more retro. The music is a direct take on the guys' early 90's output ("Double Talk", "Repent") with only Thoms' gruff semi-death metal vocals being a major difference. The opener "Beneath Your Dignity" serves plenty of classic headbanging riffs, but we already had those to open the previous album. No modern surprises on the next "Torn to Pieces" which is a major explosive retro thrasher with "Desolate Shape" just a tad less intense. So far the album is a nice reminder of Paradox's "Riot Squad" offering the same uncompromising rapid-fire approach all over seldom pausing for a break with all the 90's cliches left behind the lead guitar being top-notch again to provide the melodic relief from this constant riff-assault. This is a welcome entry into the band's catalogue cancelling the previous shaky effort re-inventing the steel from the good old past without any risky leanings this time.

It's with the utmost delight that a fan comes across an old timer who have managed to go back in shape with such style that one very easily forgets all the shortcomings from the past, if there were any. After Exumer and Paradox struck gold recently, there was only one more act needed to wrap up the new "holy three" of German thrash, the new trio to replace the old one (Destruction, Kreator, Sodom, that is). And here they are: the guys started the reunion campaign in an "agitated" manner with "Agitation" which was a more or less expected "marriage" between their 90's leanings and their classic style. Then came the tribute to the classic school with "Dependent Domination" which more immediate and more direct delivery was more of a nod to their early-90's heritage. And now we are faced with "Diabolic": a total return to the band's very early days from the late-80's, and a very well done one at that.

The crisp modern production boosts the cutting guitars quite a bit, but this isn't an impediment since the band thrash on full speed-ahead the raging opener "Apocalyptic Decay" setting the tone for what follows later with its ever-overlapping rhythms some of which are on the border of falling into a death metal territory. The compositions are lengthy (5-8min) with several time changes throughout plus the obligatory slower passages which never last for too long. Sophistication has always been missing from the band's repertoire, but the leads this time are simply great with plenty of catchy melodies to remember. Some may notice the close resemblance in the overall execution to the more recent Paradox efforts again with a similar combination between speed and technicality with less overt progressive leanings ("Deification" an obvious exception with its stupendous lead sections and more melodic "ornamentations") probably and with more urgent shredding patterns which by the end may become addictive the guys producing an exemplary rifforama lasting for just over an hour which would find many a fan moshing around in oblivion all the way to the "gory" end which comes in the form of "World Wide Violence": the longest track on the album which slightly misleads with its slower beginning before the "carnage" begins to never stop for about 8-min before the fine doomy Bolt Thrower-like ending closes it with style. Thoms' vocals remain an acquired taste his mechanized deathy semi-shouts leading the show and although one may wish one Charlie Steinhauer (Paradox time and time again), or Leszek "Leo" Szpigiel (Scanner, Mekong Delta), or even Schmier behind the mike, that same one can't deny the fact that here we have one of the very few cases nowadays when a veteran act create their magnum opus at the least expected time to everyone's surprise.
"The Forlorn Divide": after the climactic preceding effort the fans would hardly expect their favourites to top it up, and indeed the veterans don't bother much thrashing with professionalism, but little inspiration behind these moderately complex opuses among which one should highlight the melodic progressive thrasher "Impending Doom" (check the gorgeous leads on this one), and the vigorous shredder with Shrapnel pretensions "Sulfur Rain". There's nothing wrong with the rest of the material, it's just that with a fourth installment since the reformation the band seem to enter an expected cycle of self-repetition, a phenomenon already experienced in their camp in the early-90's.
"The Mastery" doesn't exactly justify its title although it's far from a flop, and it can't be any other way with "flying missiles" like "Mission Missile" echoing in the vicinity. "The Real World" is an early more laid-back pounding proposition, but don't expect two in a row on this roller-coaster which still tolerates another seismic stomper ("Time for Silence") later on. The reduced speed may be an intentional decision as it gives a slightly broader dimension to the proceedings, making explosives like "Catacombs" and "Ruthless" even more prominent. The closing title-track moves towards more complex progressive waters with a wider array of tempo changes and rhythmic patterns, and is a dignified epitaph to this a bit less predictable, generally satisfying recording.
The self-titled is a fairly vitriolic slab of sharp hard-hitting old school thrash without any seeming elaborations, with short spitting bullets ("Misled Obedience", "Temple of All") dominating the setting which welcomes the melodic laid-back mid-pacer "Lux in Tenebris" and the semi-balladic idyll "Be None the Wiser". "Rethink" is hardly a time to rethink, a brutal in-your-face lasher, and "Psychocision" is the only more complex proposition, juggling with a wider array of tempo changes. As a whole the band have concentrated on the more immediate, headbanging side of the genre, and have surely produced another admirable recording if we exclude Thoms' over-angry, also synthesized at times, timbre, one he slightly tones down for the somewhat awkward cover of Foreigner's "Urgent" at the end.
"Rebirthless" continues the stormy approach from its predecessor, the semi-intricate vehemence of "Ghost of Disease" leading the show with panache, the title-track recalling the Bay-Areasque exploits from the band's early days. Some pounding mid-tempo developments with "Painted Cruelty" and "When Desperation Scorns", before "Fear Denied" notches up the moshing tendencies, those decorated with soaring melodious strokes on "Spiritual Recipients".

The Conviction Full-length, 1987
Experimental Errors EP, 1988
Who Dominates Who? Full-length, 1989
Double Talk Full-length, 1991
Repent Full-length, 1992
Confusion/Romance EP, 1994
Reflections Full-length, 1994
Taken by the Throat Full-length, 1995
Agitation Full-length, 2010
Dependent Domination Full-length, 2011
Diabolic Full-Length, 2013
The Forlorn Divide Full-length, 2016
The Mastery Full-Length, 2018
Accuser Full-Length, 2020
Rebirthless Full-Length, 2024

Official Site

ACE OF SPADES (JAPAN)

There's only one person known from this band's line-up, the guitarist Naojiroh Takarabe, who is responsible for these six songs of heavy, doomy post-thrash which is predictably groovy without any attempts at more lively moments. The guitar sound is pretty abrasive, and the guy (if that's him) sings in a dispassionate, dry semi-clean timbre. Music-wise this obscure effort has nothing to do with its godfather, the Motorhead evergreen of the same title.

Ace of Spades EP, 1994

Official Site

ACE THE RAVEN (USA)

This is a one-man band, namely Mike "Ace the Raven" Kotarski, who has taken part in other acts before that, including the speed/thrashers from the late-80's Severe Warning. This album offers a wide range of metal styles: power, classic heavy metal, doom, thrash and even death metal. Every song is "decorated" with one style only (with a few exceptions where the combination of several sub-genres might be found either highly entertaining, or downright irritating, depending on the taste) making it almost completely different from the others. Few bands have attempted such risky mixtures, and having in mind that it's only one musician responsible for all that, kudos should be given him for the good job he has done.

Fortress Of Apathy Full-length, 2005

Official Site

ACELDAMA (USA)

A heavy doomy translation of the genre sounding both classic and modern coming close to Xentrix's "Kim", but the guitars here are crushingly heavy surrendering to the fields of doom quite a bit ("Rapture", "Devilworks") to the point of losing completely the thrash metal idea. The music is mid-paced at best with the slow descents too frequent to please the thrash metal fan who may only jump around for a while on the energetic closer "Wings Of Pain". The singer is a semi-death metal shouter spiced with casual, but highly effective high-pitched King Diamond-like, screams the latter hardly the better choice for the ultra-heavy music, but intriguing enough, and not only for nostalgic reasons.

Blood Full-length, 1996

ACERO BELICO (CHILE)

This is pleasant friendly thrash/crossover with elements of power metal. The album has energy aplenty and lashing cuts like "Fuga" and "Vertigo" should have no problems making the fans jump around with joy. Watch out also for the closing title-track which unleashes another slab of more potent headbanbging riffs as a finishing touch. The vocals are cool attached clean ones delivering the message without pitching it too high.

Thanatos Full-Length, 2013

Official Site

ACETIC VOICE (GREECE)

The "Behind Bars" demo: these guys could have easily been worthy rivals to Flames on the Greek metal field if they had been lucky enough to stay around for longer: excellent speed/thrash in the vein of Destruction, Sacrifice and early Whiplash; fast tempos, sharp guitars and a singer who doesn't stray too far from the vocals used by Tony Portaro on the early Whiplash works. The leads are worth mentioning, too, being quite proficient and maybe a bit more melodic than the ones which used to go with the style.
The "Under Attack" demo is another vicious outburst of aggression, more unpolished this time, the band just bashing with passion, touching proto-death with ease ("Demoniac Mosquito") at times, at others trying something less energetic ("Metal Beast") with shades of power metal. "United Forces" is a sloppy not very refined cover of Cryptic Slaughter's hit, the singer pulling out an admirable hardcore timbre on that one, sticking to a muffled deathly baritone on the rest of the songs.

Under Attack Demo, 1988
Behind Bars Demo, 1990

Official Site

ACETON (SLOVA)

Based on the debut demo, this act provide fast dynamic semi-technical thrash which is ultimately marred by the very thin production which makes the guitar hiss the whole time; and the really bad death metal vocals that plainly recite in a curt spitting fashion. The guys have ideas, though, like the the Bay-Areasque shredder "Odpad" shows only too well; it's just that it's all too sloppily produced and hurriedly stitched together for most of the time.

Vecny Strach Demo, 1992
Nezmyselny Svet Demo, 1994
Shadows of the Past Demo, 1995

ACETYLENE (USA)

There's a mixture of several vocal styles here: clean, hysterical metalcore-ish, death-metal ones, you name it. If this could be a shortcoming to many, the music is a compensation being well played modern thrash with occasional fast death metal moments.

Elements of Insanity Full-length, 2000
Burning Times EP, 2001

My Space

ACHERON (SLOVAKIA)

Modern 90's post-thrash metal with elements of crossover sounding like a thrashy version of Clawfinger's debut album.

Brainstorm Full-length, 1996

Official Site

ACHERON (USA)

Based on "The Pain Dominion": this is a fairly cool take on the good old American power/thrash metal citing mostly early Overkill and Meliah Rage with good clean vocals ala Steve Grimmett (Grimreaper, Onslaught), graced with the odd higher pitch ala Bobby "Blitz" Ellsworth (Overkill again). The music is edgy and crunchy sticking to a solid mid-pace without any speedy digressions (the jumpy, semi-technical "Atrocity March" comes to mind). Softer nods to the heavy metal scene ("Committed!") "roam" around, but watch out for the more complex sounds on the closing "Hordes of Locusts" which flirts with funk to a positive impression. Later the guys split-up only to re-appear under the name The Unholy releasing three albums of solid traditional doom metal before disbanding again.
The debut clings more towards the epic power metal side with a few notable attempts at doom ("Apparition") also provided, a tendency later fully developed under the The Unholy moniker. The more dynamic moments ("Scyldings", "Secrets") are direct nods to the early Exciter heritage the highlights being those numbers ("Acheron") that blend both sides into one diverse whole. "Daughter of Winter" is a crunchy angrier, also thrashier proposition but this particular genre hasn't been given much room to flourish as the power metal values rule the setting with speed metal receiving another boost at the end thanks to the galloping rouser "Night of the Judgement".

Prophecies Unholy Full-length, 1989
The Pain Dominion Full-length, 1993

ACHEROZU (CHINA)

The debut: these folks provide cool intense old school speed/thrash which gets black metal-decorated on the atmospheric "Void Break". Later on black metal continues to be heard in smaller dozes including in sparse blast-beating passages ("Fallen of Emperor Yan"). Still, the speed/thrashing saga isn't obstructed majorly by that intrusion thanks to impetuous evil headbangers like "Oceanic Weep" and the proto-deathy "Nightmare At The End". The vocals are hissing witch-like black metal ones and provide the requisite macabre atmosphere.
"Vendetta Ocean" is another worthy affair the band staying true to their chosen parametres, moshing in reckless abandon for a large portion of the time, adding a more pronounced death metal element ("Sun Katana") here and there as well as the odd pounding doom-laden cut ("Abkana") ala Barathrum. Flying speedsters like "Dragon' Flag" and the black-peppered "Gashan" lead the show assuredly, opposing to the calm semi-balladic, but still effective veneer of the closing sprawler "Broken Waves".

Uncrowned King Full-Length, 2015
Vendetta Ocean Full-length 2019

Official Site

ACHILLES (USA)

Melodic all-instrumental thrash/proto-death which clings between the modern and the classic school. The dramatic accumulations on "Dark Kingdom" suggest at some more heightened death metal-ish drama, but such gestures of rebellion aren't that common although the technical marvel "Night Winds" is another more aggressive shredder, siding with "Fire Demon", a more brutally-structured composition. Generally the concentration is clearly on atmosphere with loads of quiet dreamy passages and laid-back, keyboard-driven interludes.

Omega Full-Length, 2020

ACHOKARLOS (SPAIN)

Very good semi-instrumental progressive death/thrash which stays away from meaningless wankery concentrating on hard-hitting riffs and dynamics. The overall style is not far from the one of the Canadians Electro Quarterstaff, although here we don't have very sudden and very complex time changes and signatures, and the headbangers will be pleased to find a few sections to their liking, too. The compositions are mid to up-tempo, seldom becoming very fast, and there is a slow balladic section on every one, all graced by nice lead guitar work which strongly recalls Steve Vai's style. "Sin Rostro" is probably the only more immediate song, thrashing hard, except in the middle where another fine balladic section awaits you. Brutal death metal growls will welcome you on the furious grinding "Patience" and the more laid-back "Confused", which may "confuse" you a bit, accompanied by pure death metal riffage. After those 2 "unusual" tracks, things get back to normal on the hallucinogenic "Abstract Universe", which keeps the death metal guitars, but adds some twisted technicality, and is very close to being the highlight here, also helped by the expert leads and the jazzy passage ala Cynic and Atheist at the end. "Kutna Hora" features the same vocals, but scores high on speed and technicality, a clear nod to Suffocation. "Kid! Don?t Play With Your Food" is the closer, but it's a bit off-the-track, starting with an overlong balladic intro, before switching on slow-ish complex riffage with funky overtones: a weird and eclectic composition, still on with the previous elaborate material, and a fitting end to this enjoyable and a bit hard-to-swallow effort.

"Parametric Milk" is less intense with not many nods to death metal, now being well-constructed instrumental progressive thrash. The title-opener is a meandering progressive composition without any hard-hitting moments close to Spastik Inc and the likes, but "El Amanecer De Los Muertos" is already a much edgier number, although the leads dominate over the riffs the whole time as well as on the following "The Traveller". "El Temazo (The Great Song)" is excellent galloping thrash, and the 2-t "The Silence" is not bad, either, t 1 being a calm ballad, the second one hitting harder with energetic speed/thrashing riffs. "C.A.R. (Criteria Of Acceptance And Rejection)" is another dreamy progressive number before "Desires" thrashes more intensely still preserving some of the dreamy passages. The remaining tracks are lead-dominated mid to up-tempo, and despite their certain merits may be a bit of an annoyance with the omnipresence of the lead guitars. The closing "The Fly" is an abstract slightly industrialized instrumental closing this effort the way it started. Generally this is not entirely different from the previous album, but while the latter gave a lot of freedom to the sharp riffs to develop, this one sees the guy concentrating on his guitar virtuoso performance sacrificing the other components for the sake of the very well-accentuated leads.

"Mind Landscapes" features vocals (both male and female) for a change, and the music has become way more abstract and complex, and inevitably slower. There is a certain industrial atmosphere roaming around recalling Meshuggah quite a bit if we exclude the excellent melodic leads which here are not that frequent. This is pretty mechanical sterile music with a heavy dispassionate machine-like sound with only "Mind Landscapes" lifting the spirit up with brutal spasmodic death metal decisions. This is quite a different "animal", a radical step away from the guy's initial delivery; but after all, who needs two albums released the same year of the same style?

"Kill the Light" is another offbeat effort the man now incorporating more vocals into the over-busy musical amalgam which now adheres to alternative, Oriental motifs, cold mechanical shredding ala Gojira and Meshuggah, weird spacey ballads (the overlong and not really engaging "Bruce Willis Wants to Kill Me"). The moshing sections are all wrapped in odd time-signatures and are never too long the guy aiming at the cyber, industrial realms too much, a good example of which is the sterile shredder "Cyborg Surgery" which lifts the mood up; but all will be lost very soon after with a string of boring balladic variations on funk and ambient progressive. The three bonus tracks at the end are pure dancey industrial with only the very last "Funk You All!!!" reminding of the man's technical prowess with several expert lead sections. This effort is just not good sounding like a blend of the guy's leftover material, like the "garbage" side of his previous works which was probably meant to stay buried somewhere rather than being released as another full-length which may not "kill the light", but may reduce the band's fanbase accumulated through the past few years.

The "Symptoms of Lethargy" EP is a modern thrasherism which is way better than the few previous releases with a mechanical technical sound reminiscent of Altered Aeon and Biomechanical. The approach here is a bit more dispassionate perhaps although the cool melodic leads save the situation. The two "Capsules" at the end are shredding delights with cool fast-paced passages taking turns with less intense abstract ones the latter also bringing Meshuggah to mind. The vocal participation is on the shouty angry side, but fits the dry sterile character of the guitar work.

Forget All You Know Full-Length, 2009
Parametric Milk Full-Length, 2009
Mind Landscapes Full-length, 2010
Kill the Light Full-Length, 2012
Symptoms of Lethargy EP, 2014

Official Site

ACHREN (UK)

Based on the full-length, this band plays a modern brand of black/thrash which is fast ("Bastards on the Gallows or Bastards on the Rack", "Fuck it Hard", etc.) for most of the time, but also slower and atmospheric ("The Way Of The Twilight Or The Aura Of Flies") on occasion. The guitar tone is kind of playful, and the rhythms are catchy, even on the fastest passages. The singer is the prototypical raven-like rasper, but his demonic antics are intelligible.

Fury of the Northmen EP, 2003
Blood Metal EP, 2006
The Forgotten King Full-length, 2011

Official Site

ACHROMATOPSIA (MEXICO)

This Mexican trio serve intense lashing old school thrash which is expressed through dominant ripping cuts ("Residuos Hom�nidos", "Achromaudio"), with death metal ("Critical Morals") helping on the side but not very obtrusively. "La Esencia de la Agonia" is a curious more melodic offering with touches of crossover, and the final "Sickness Attack" is a short furious hardcore troll. The singer is a gruff semi-shouty hardcore throat, fitting all the nuances covered here.

Eternal Hate Full-length, 2022

Official Site

ACID (BELGIUM)

This band is one of the pioneers of the speed/thrash metal movement, and they should be mentioned right beside Anvil and Raven as the very first acts who introduced the more aggressive side of the genre in the distant 1982; ironically, the most speedy track on the band's debut is called "Anvil". Speed metal was literally born with this album, check also out the ferocious opener "Acid", the blitzkrieg proto-thrash bombs "Demon" and "Heaven's Devil", the hellish closer "Satan", the cool blend of ballad and speed "Woman At Last". The compulsive enthusiastic spirit of the punk movement is all over the album, too, aggravated by the muddy sound quality. The singer is a girl, going under the name Kate, and in this aspect the band are pioneers as well, introducing the female vocals on the metal scene, along with the NWOBHM representatives Girlschool. If Anvil had concentrated on the heavier, pounding side of the genre, these folks had written the rules of speed metal, plain and simple.

The sophomore effort elaborates on the debut, providing better produced speed metal antics, which maybe don't sound as aggressive anymore comed to the fuller-on speed/thrash attacks offered by their American counterparts Metallica, Slayer and Hawaii. Still, this is pretty much one-of-its-kind music in Europe, predating the German scene, which at this time was just slowly waking up. Here the first examples of galloping up-tempo power/speed can be heard, later followed by many American acts: "Maniac", "Luciferia", the proto-thrash killer "Black Car", which may remind you of Anthrax's "Death from Above" from "Fistful of Metal". "America" is 6-min of a constant speedfest, and "No Time" comes as a more aggressive, more proficient Motorhead. "Bottoms Up" is the most brutal track, thrashing no worse than Metallica's "The Four Horsemen". The three bonus tracks at the end are first-rate speed metal, a sound which was later heard on Exciter's magnum opus "Violence and Force"; check out the raging "The Day You Die", or the pounding "Exterminator" which could have been an influence on "Pounding Metal" and "Delivering to the Master" from that same Exciter album.

"Engine Beast" is an all-out speed metal effort with better production qualities, seeing the guys (and a girl) apparently not willing to join the thrash metal scene which they helped establish on a full-time basis. There's a lot of headbanging going here, mostly of the galloping speed/semi-thrash type: check out the vigorous anthem "Warriors Of The Dark", "Lost in Hell", "Big Ben". Heads-down speed/thrash can also be heard on the closing title-track and "Satan s Delivery", evil sinister pieces, strongly recalling Metallica's "Kill'Em All", rather than their previous output. Two melodic fillers are included which would make a few heads shake, but rest assured that they aren't much more than the obligatory breaks from the mosh. Having done their job, to show to the world that metal also has its more "unpleasant" extreme side, and having seen that their legacy was so well carried by hordes of new acts, the band split up. Neither of the five members has ever been spotted after that taking part in any other musical formation, in or outside the metal field.

Acid Full-length, 1982
Maniac Full-length, 1983
Black Car EP, 1984
Engine Beast Full-length, 1985

Fan Site

ACID AGE (UK)

This is a side-project for some of the Hellbastard guys. Based on the "Enter the Zomborg" EP, this act play vivid energetic classic thrash with an optimistic crossover atmosphere. The guitars rip and lash the sharp riffs accompanied by a few great melodies (check out the leads on "Zombie Sabbath": addictive stuff!). The tracks in the beginning are short and to-the-point as the more serious material is placed near the end including the closing collaboration with their compatriots Gama Bomb "Don't Feed the Bitch", vintage vitriolic speed/thrash at its finest, with whom the band share more than a few passing resemblances.

The full-length debut is a perennial roller-coaster the guys speed/thrashing with the utmost intensity the whole time the very fast pace inevitably leading to "hyper thrash" experiences, like the title of one of the songs suggests. Pleasant experimentalism arrives with "Charles Gein" which is a melodic technicaller of the more chaotic variety. The speed of light is eventually reached on "50,000 Robot Archers", a super-fast number which may make one lose interest in the rest since the band, apparently tired after this exhausting performance, slacken up and take it easy producing much less impressive cuts with a messy sound quality. This is an inspired, but quite uneven, offering which furious nature may not be to everyone's taste.
The "Twenty Fifteen" EP is a compilation of re-recorded tracks ("Graphik Grotesk") and live cuts.

"Like a Runaway Combine Harvester in a Field of Crippled Rabbits": thumbs up for the longest and most original album-title of 2016! Otherwise it's business as usual for the band who thrash their souls out in a direct stripped-down manner, the stylish blazing leads the highlight here. The variety isn't that big this time the songs all sustained in an energetic fast-paced way, "Manifesto de Hyper Thrash" being merry thrash/crossover instead of leading the pack aggression-wise. "Try to Hide from Frankenstein's Bride" races with the speed of light reaching proto-death proportions, the thunder stolen again by the superior lead sections. At least "Thrash Novelty" doesn't humiliate its title being the ultimate rager death metal also sneaking in to enhance its brutal character.
"Semper Pessimus": after a weird balladic psychedelic tractate ("The Shameless Lyre"), the band resume their speed/thrash tactics which take a really nice virtuoso-prone nature on "The Banquet of the Dead", the more direct side of the guys' repertoire reflected in "Slave Girl". However, the band are intent on complicating the environment as much as possible, and here comes the all-instrumental odyssey "Death of Octavia" to befuddle the listener once again with crooked rhythms and not very heralded arrangements. The eclecticism stays around for "My Wretched Womb", another instrumental piece with classical guitars and a couple of wild crescendos jumping each other without warning. Death metal comes to play on "The Burning of Rome", a lengthy saga with pronounced death metal vocals the latter remaining for the outlandish heavy stomper "Manic Euthanasia".

Enter the Zomborg EP, 2013
The Troma-Tized EP, 2014
Drone Shark Ethics Full-Length, 2014
Twenty Fifteen EP, 2015
Like a Runaway Combine Harvester in a Field of Crippled Rabbits Full-Length, 2016
Semper Pessimus Full-length, 2021

Official Site

ACID BRIGADE (BRAZIL)

This "acid brigade" from the Amazon deliver brisk energetic old school thrash that doesn't race with the speed light, but pays attention to more carefully-plotted compositions like the more intricate "Megadeth meets Overkill" roller-coasters "Gonna Get Me Some" and "All Order Shall Fall", the immediacy of the shorter material ("Bitter End", "Acid Brigade") merging with the impetuousness of a couple of longer, but equally as dynamic pieces ("No Chance of Rebirth") where the hard thrashing simply never stops with technical walkabouts consistently provided to make things more intriguing. The vocalist sings in a steady mid-ranged semi-clean manner, not emitting too much passion as the latter sentiment is hardly necessary here.

Storming into This Land Full-length, 2019

Official Site

ACID CROSS (CANADA)

This new Canadian outfit indulge in vicious retro black/thrash which resembles their compatriots Megiddo on the more sinister moments. Otherwise the guys thrash with gusto as evident from the very intro "Six Demon Bag" which sets the tone for this evil slice of dark thrashiness that is at times more on the brooding macabre side ("Graveyeard Revenge", the doomy creepers "The Devil Rides Out" and "Technological Demise") in the vein of Khold and Barathrum. The tracks are short and to-the-point and although there's not much speed involved, the fans should be happy "assaulted" by those heavy pessimistic rhythmic patterns which get a slight epic colouring on the rousing "Trench Life". The vocals can't possibly be more appropriate being raspy and mean as though coming from the deep hellish underground.

Black Moon Rites Full-Length, 2015

Official Site

ACID DEATH (GREECE)

One of the finest Greek metal bands to ever grace the scene; "Pieces of Mankind" is quite cool progressive thrash with shades of death (coming mostly from the vocal department) and gothic metal the latter recalling their compatriots Nightfall, ranking just below the higher achievements of bands like Nocturnus, Pestilence and Death. The music is meandering and technical with interesting time changes and occasionally really impressive guitar work (great leads and stupendous riffs), twisting and turning quite a lot, but never going into very aggressive or fast-paced grounds. The atmospheric passages, where the guitars take a nice disorienting jazz-y overtone, are some of the better ones to appear out of Greece.
"Random's Manifest" moves almost completely into a death metal territory, but the progressive tendencies of the debut are all intact making this effort another stellar example of technically-minded metal, this time presented with even more complex, jazz-like song structures, and even more striking guitar work (especially the magnificent melodic leads), bringing it very close to the best from the technical death metal field: Atheist, Death again, Pestilence, Cynic.

"Balance of Power" is an explosive gem of intense thrash/death metal ala Massacra and Pestilence. It will sweep you away from the very first track: the raging monster "Apathy Murders Hope", before "Civil War" slows down, adding beautiful lead guitar work to the proceedings, along with fine technical licks. "Death From Above" is heads-down merciless thrash/death, followed by the more controlled, but by no means less appealing "Balance Of Power", which could qualify even for "Testimony of the Ancients". "Twilight Spirits" is technical thrash/death metal at its best, mixing tempos and moods, topped by outstanding lead guitar work again. The leads remain, while everything else disappears on the very cool peaceful closing instrumental "State of Paranoia". It's quite a mystery why the band didn't capitalize immediately on the very well shaped sound of this small gem, choosing instead to remain in the underground for another six years.

The band are back in action with this short promising promo that starts with a new version of "Apathy Murders Hope" which remains fast and ripping with an added technical appeal. Then comes the superb technical thrash masterpiece "Convict", a total Coroner-worship, a varied number with marvelous elaborate structures. "Crossing The Line" settles for more moderate riffage, less technical and a bit more modern-sounding, but engaging nonetheless showing the guys in fine form to produce more great music in the near future.

"Eidolon" contains the two new tracks from the promo, and they are the modern-sounding ones as album is sustained in a more modern fashion similar to the way Pestilence tried to modernize themselves on "Fracture". It begins with the above average thrash/deathster "Blind Reflection" which is a modern ripper without too many technical excesses. It seamlessly flows into "Crossing The Line" from the promo which is unchanged, but its groovy aesthetics are not more clearly accentuated due to the similar preceding number. The modernisms continue unabated with "Towards Hate" which is a not very eventful heavy groover and the first sign of boredom. "Convict 655321" follows suit to save the day with its impeccable technical riffage after which things get more interesting with the nice melodic "Inside My Walls", which boasts the best leads on the album, and the intense headbanger "No Sky Above" which thrashes with no remorse all the way to the great progressive cut "Eidolon", a puzzling composition with dissonant illogical rhythms and consummate riff-patterns. "Odious Maggots" is another faster-paced piece, an energizing thrasher with a few more intriguing moments. "Dying Alone" is a diverse composition with death, thrash and even blasting black metal for a while present mixed effortlessly accompanied by an unobtrusive keyboard background and some of the finest lead guitar work around with an Oriental flavour. The closing "Sole Truth" is an instrumental of the peaceful slower type with nice rhythms and a dominant lead guitar landscape. After the shaky start the band pull themselves together for the production of another strong release and they could easily be forgiven for their short-spell, at this stage, infatuation with the 90's trends.

The "MisleD" EP is actually a re-recording of their split with Avulsed plus the title-track from the "Balance of Power" EP, also remastered. With a better production the songs now sound way more clinical and more appealing the precise technical riffage and the excellent lead guitar work causing gasps of admiration. "Misled" is a technical puzzler superseded by the speedy melo-deathster "Dragon Queen". "Civil War" is a moderate shredder with some stunning technical moments reminiscent of early-90's Death plus virtuoso bass performance which is simply second to none. "Balance Of Power" is almost unaltered except for the crispier guitar sound and its speedy rhythms will throw you into improvised mosh just like that. "Splitting Your Mind's Eye" is a technical feast with brilliant time-changes and mazey riff-patterns again with the shadow of Death looming over even more heavily this time, but this is expert musicianship which back in those days sounded even more impressive. Since "Eidolon" wasn't exactly a masterpiece the band needed something to remind them of how great they were in the not so distant past, and this revisit of a more obscure chapter from their back catalogue should trigger another wave of creativity.
"Hall of Mirrors" finds a relatively good balance between the less emotional, robotic delivery of "Eidolon" and the warmer, more classic sounds of their older repertoire. The fans will rejoice on intelligent brutalizers like "Mental Slime"; or will gape in wonder at the technical brilliance of short shredders like "Truth Revealed"; or will listen with care on more sprawling progressive opuses like "Life And Death". Generally the compositions in the less impressive second half are mostly mid-tempo without too many speedy escapades (isolated blast-beating passages from separate cuts), but the sleepiness may come as a bit too much on gloomy quasi-doomsters like "Taste Of The Erratic", for example, or the friendly core-infused "Ghostship". The closer "Supreme Act Of Heroism" tries to make up for a few musical lapses previously with more energetic rhythms, but the band simply doesn't sound too convincing with the hesitation between the two paths, the settled balance kind of hanging at this stage.
"Primal Energies" is another diverse blend which first tests modern progressive metal waters with "My Bloody Crown", a relatively calm composition, the rude awakening provided by the ripping headacher "Inner Demons", a death/thrash marvel which flows into the more controlled and more technical "Godless Shrines", the rifforama becoming more sterile and mechanical on the title-track which turns out an admirable shredder ala Darkane with alluring melodic walkabouts. "The Rope" mirrors the opener being a not very eventful semi-balladic progressiver, and "Reality and Fear" mixes deep atmospherics with some hard thrashing, close to being the highlight on this not very focused, trying-to-please-too-many-walks-of-fans opus.

Balance of Power EP, 1992
Pieces of Mankind Full-Length, 1998
Random's Manifest Full-length, 2000
Promo Promo, 2011
Eidolon Full-Length, 2012
MisleD Re-recorded EP, 2013
Hall of Mirrors Full-Length, 2015
Primal Energies Full-Length, 2019

Official Site

ACID DRINKERS (POLAND)

One of the longest running bands from the Polish metal scene, Acid Drinkers offer a fusion of thrash, punk and crossover. Their beginnings are thrashier and more interesting, whereas later their style acquires hardcore elements (mainly in the vocal department) and is less thrashy.

The acid drinkers are alive and well in the new millennium, like "La t Du Diable" indicates without any vacillation. And not only that, but they also sound suitably angry and aggressive serving energetic thrash/crossover with a modern edge, at least in the beginning. The music is quite diverse the band covering moods and atmospheric cuts at will, branching out into mechanical post-thrash some time in the second half and consequently ruining the initial positive impression, indulging in pure stoner/doom on the final "Zombie Nation". One can't expect consistency from this long-running act, and as a varied amalgam of several styles and influences this effort could strike a few cords.

"25 Cents for a Riff" is the jolly good rock'n roll which doesn't have even a shade of intensity or dynamics; at its best the album evokes the spirit of Motorhead ("God Hampered His Life"), but 90% of the time it's mild and friendly, the perfect background for any cowboy bar in the Wild West. Apparently the guys had gotten tired playing faster on the previous album, and have decided to take a break here...

"P.E.E.P. Show": after the aggressive Slayer-esque opener "Let'em Bleed" the band's statement is more than clear, and although this kind of brutality isn't encountered later on, the guys thrash way more intensely than on their earlier releases. The fast pace is sustained for an impressive number of songs as the approach is more on the semi-modern side with more abrasive riffage. In the second half one can hear more groove-based numbers as well as a more serious song-writing on the atmospheric diverser "The Cannibal". However, the highlight is probably "Heavenly Hellfucker", another hard-hitting headbanger near the end with choppier Annihilator-esque rhythms.

Are You Rebel ? Full-length, 1990
Dirty Money, Dirty Tricks Full-length, 1991
Strip Tease Full-length, 1992
Vile Vicious Vision Full-length, 1993
Fishdick Full-length, 1993
Infernal Connection Full-length, 1994
Pump the Plastic Heart EP, 1995
Walkway to Heaven EP, 1996
The State of Mind Report Full-length, 1996
High Proof Cosmic Milk Full-length, 1998
(I Can't Get Now) Satisfaction EP, 1999
Amazing Atomic Activity Full-length, 1999
Broken Head Full-length, 2000
Acidofilia Full-length, 2002
Rock Is Not Enough, Give Me The Metal Full-length, 2004
Verses of Steel Full-Length, 2008
Fishdick Zwei - The Dick Is Rising Again Full-Length, 2010
La t Du Diable Full-Length, 2012
25 Cents for a Riff Full-length, 2014
P.E.E.P. Show Full-Length, 2016

Official Site

ACID EVIL (ECUADOR)

This is also the alias of the cure girl who's behind this project; the only musician involved, who attempts some really aptly-stitched retro black/thrash that is led by the girl's venomous witch-like vocals, the brutal shenanigans of "Magnetismo" leading then belligerent pack which also comprises the nice semi-technical rager "Predators" and the stylish epic basher "Beyond the Cosmos". Brace yourselves for the diverse musicalities of "The Ascending of the Nighthawk", another more epically-executed anthem; and for "Forgotten into the Deep Eyes of the Leoquina", which is a more complicated tribute to the early German movement (Destruction, Necronomicon, Kreator), a compelling multifarious ride with dazzling lead sections.

Multidimensional Past Full-length, 2019
Saturnian Kult EP, 2024

Official Site

ACID FORCE (SLOVAKIA)

Based on the full-length debut, this band play frolic unpretentious thrash/crossover which becomes more serious on the several longer pieces ("Speedtrain") where the sound moves towards the speed metal field. The singer is an attached hardcore shouter spitting the lyrics with the utmost intensity. Some of the band members also play with the retro thrashers Anstratus.
�World Targets in Megadeaths� is a more polished, more sophisticated affair, the guys providing an alluring effective melodic lead-driven intro to the opening �Out of the Trench�, this semi-technical energizer followed by the hyper-active bomb �Fast Friday� and the slow-burning epicer �Rebirth of the Sun�, the short crossover �Praise The Atom� the only tie to their much more frivolous debut. �Lightning Cops� is a free-floating speed metal hymn, and �Beyond the Concrete Fields� is a balladic idyllic instrumental.

Towards the Nuclear Load EP, 2015
Atrocity for the Lust Full-length, 2017
World Targets in Megadeaths Full-length, 2023

Official Site

ACID MASS (USA)

Based on "Worship", this single-man project, the name Ben Ricketts, plays intense dynamic classic thrash that can be both intimidating and militant (the appropriately-titled "War Machine") and frivolous and crossover-ish ("Nuclear Exorcism"). "Hell From Above" is a more devious, more stylish mid-pacer, and "Inferno Queen" is a free-flowing speed metal joy, the spirit of the 80's German movement (Vectom, Helloween, Atlain, etc.) brought with all the unbridled vigour available. Ricketts provides an aggressive proto-deathly, semi-shouty timbre as support to the energetic musical canvas.

Lust for Violence EP, 2023
Agonizer Full-length, 2023
Upon the Knife EP, 2024
Worship Full-length, 2024

Official Site

ACID REIGN (UK)

From the humble, but enthusiastic beginnings on "Moshkinstein", the band managed to develop into one of the more stylish members of the UK metal scene. "The Fear" offers interesting, energetic thrash and stands for the band's finest hour; this is really aggressive stuff (the opener "Reflection Of Truths" and most of the songs), but it has its original deviations: the long, complex "The Fear", the "intense thrash meets crossover" type "Blind Aggression", the wild "Lost In Solitude", mixing heavy, stomping riffs with super-fast ones. It was clear that the guys had more to show, and their potential was yet to be fully displayed, but they went too far on the next release: "Obnoxious" takes a much more experimental direction with the band's sound becoming decidedly slower, progressive with longer, less catchy, and sometimes hard to follow, songs; a fairly intriguing listen on all counts, but far from an immediate one, only for the thinking side of the metal fandom.

The Fear Demos contain four tracks from the band full-length debut: the-title track, "Blind Aggression", "Insane Ecstasy", and "Reflection of Truths". All compositions come almost unchanged and one may start wonder what the point is of releasing old songs without any visible, or pre-announced, intentions of recording something new. Still, they, if nothing else, could serve as a good reminder of a once very promising act; maybe the guys are indeed planning to get back together...
"The Age of Entitlement" has finally arrived, and now we all can become enlightened... sorry, entitled to some more of the good old thrash brought by one of the UK's finest; and not only but the guys really pull it out producing one of the finest comeback albums of the past ten years, and easily the best one to come out of the Isles in the new millennium. A glorious melodic intro ("T.A.O.E.") inaugurates this inspired shredfest the band looking at their debut on the ripping "The New Low", the boosted guitar sound greatly helping on the side, with "#newagenarcissist" winking at the more contrived aura of "Obnoxious". Moshing with passion ("My Peace of Hell" "Sense of Independence") becomes the order of the day in the middle, also due to short frolic crossover jokes ("My Peace of Hell"), but expect heavier squashing riffs on the more composed "Hardship" before "Within the Woods" hits the progressive thrash dimensions with a wide gamut of moods and tempo-shifts, hard-hitting sections, and some great melodic lead guitar work. However, the absolute highlight here remains the closing "United Hates", a marvelous techno-thrasher with a great chorus and frenetic tempos on top of some truly infectious riff-patterns. Howard Smith is in top form behind the mike, his intense attached clean antics leading the show with the utmost confidence, contributing greatly to this sure pick for "thrash album of the year" award for 2019.

Moshkinstein EP, 1988
The Fear Full-length, 1989
Obnoxious Full-length, 1990
The Worst Of Acid Reign Full-length, 1991
The Fear Demos Demo, 2013
The Age of Entitlement Full-length, 2019

My Space

ACID SPEECH (BRAZIL)

Based on the demo, these guys pull out intense speedy retro thrash akin to early Destruction and Kreator; the vocals go into the K. Weber (Toxic Shock (Germany)) mould. This is five songs of speedy relentless music featuring a cool instrumental ("Into the Depths of a Nightmare") of fast moshing "thrash attack" in the best tradition of the Destruction classic "Thrash Attack", but without the slower opening part of the latter.

Corrosive Riot Demo, 2009
Corrosive Warfare Split, 2009

Official Site

ACID STORM (BRAZIL)

One of the more interesting bands to come out of Brazil; the debut is more straight-forward, typical 80's speed/thrash without any particular highlights, but "Biotronic Genesis" is an ambitious and an engaging technical thrash effort, crossing the first two Forbidden albums in a seamless, a bit more complex though, way. It starts in a straight, uncompromising headbanging fashion with "Biologic Mechanization" which is a great speedy number. The technicality begins with "Biological Holocaust" which is much longer and uses the same fast-paced base, but the guitars are more technical and the arrangements more complex. The aggression increases for the next two songs, but the steel technical riffs remain, and the fabulous "Metal Beasts" will remind you of the short-lived US act Have Mercy with its unique blend of technicality and intensity. The last two songs bring back the long elaborate structures with an increased presence of time-changes although the intense hard-hitting riffs remain the major driving force here as well. The singer Robson Goulart is a great asset with his clean, emotional delivery quite close to the of Russ Anderson (Forbidden) and John Connelly (Nuclear Assault), seldom leaving the mid-ranged confines but satisfying all over, alternating all the mood swings with dexterity.

The "No Man's Land" demo shows the band in good form once again offering the same potent mix of technical and aggressive riffage, this time even more intense than before, even rubbing shoulders with Slayer and Vio-Lence on the more intense sections. These three songs could have served as a very good base for a new album, but the band disbanded soon after.

The "Tomorrow Soldiers" demo is another capable 3-songer all the pieces being energetic semi-technical thrashers the overall approach recalling Artillery's "Terror Squad" with its clever shredding which is more on the galloping side on "Right Time to Die", but acquires more intriguing tendencies on the title-track, before "Monster of ID" wraps it up with some intense bashing thrash and virtuous guitar work which again could have carried a prospective full-length with ease if the band had voted to "float" on the scene for longer...

Why?... Dirty War Full-length, 1989
Biotronic Genesis Full-length, 1991
Tomorrow Soldiers Demo, 1993
No Man's Land Demo, 1994

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ACID VENOM (RUSSIA)

A laid-back modern mix of power, grunge and post-thrash with only a tad of aggression ("Against the World") generated from such a minimalistic approach which wins from the clean emotional vocal department. "Selfish and Callous" is a convincing progressive power/thrasher, but this is music that would appeal more to the Alice in Chains and Digital Ruin fans.

Avalanche Full-Length, 2018

ACIDEZ (USA)

Based on "Don't Ask for Permission", this act play one-dimensional intense thrashcore which still leaves some room for more interesting melodies interspersed among the carefree roller-coaster barrage. There are inevitable nods to the punk scene from which the band were an indelible part in their spawning stages also judging by their still extant mohawk hair-style.
"Welcome to the 3D Era" clings more towards the optimistic boogie of Motorhead and as such isn't very aggressive being stripped-down punk/hardcore on at least half of the material. "Machine Domination" is a crusty steam-roller, and generally the tempo is quite energetic without any slower respites.
"In Punk We Thrash" is largely a hardcore affair, but is energetic and uplifting, the band moshing vigorously and unpretentiously, paying their tribute to the Legends Motorhead ("La Muerte Es Un Negocio") along the way, losing it at times in a more overtly brutal grindy manner ("Satanic Conspiracy"), but generally sticking to good albeit not very sober behaviour.

En Las Calles EP, 2006
No Hay Futuro Full-length, 2008
Don't Ask for Permission Full-length, 2012
Beer Drinkers Survivors Full-length, 2014
Welcome to the 3D Era Full-length, 2016
In Punk We Thrash Full-length, 2022

Official Site

ACIDIC ASSAULT (USA)

Based on the EP, this band play intense retro thrash which comes served with a curious dual vocal attack: one screechy to the point of hysteria (think the Halford rendings on the "Painkiller" track, but far shriller) and gruff semi-death metal ones. Neither serves the music right which is crisp and energetic with hard hitting riffage and very capable bass support. Melody and technicality are also hinted at on the engaging shredder "Gunfire", but most of the time what one gets is a direct "assault" done competently with a potential for a worthy full-length.

Into the Darkness EP, 2011
Acidic Assault/Hedlok Split, 2012

Official Site

ACIDITY (ITALY)

Based on the full-length, this outfit pull out crisp classic thrash which marches on in up-tempo and a slight shade of crossover ("Murder") plus a pinch of semi-technicality ("Nowhere to Hide") reminiscent of the Germans Pyracanda and the Brits Xentrix. "Call to Insanity" is the sole deviation from the norm being a nice "acoustic vs. leads" instrumental; the rest is cool invigorating music supported by not bad semi-declamatory/semi-clean vocals.

Hidden Oppression EP, 2012
Into the Lies Full-length, 2014

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ACIDO (BRAZIL)

Roughly-produced intense retro thrash ala Vulcano and Holocausto with a slight proto-death flavour, with fast bashing riffs and gruff semi-death metal vocals; the music flows in the same relentless manner from beginning to end without any surprises with a few tasteful melodic leads provided.

Camp of Death Demo, 1990

ACNE (CHINA)

Gary Ho is the name, or rather pseudonym, of the musician behind all this here; the gary... sorry, guy acquits himself with pretty intriguing classic semi-technical thrash which on "Twist of the Knife" is quite close to achieving Coroner-esque greatness. Later on the delivery gets simplified, but not by much, with Gary either emphasizing on his lead guitar skills ("No Rebirth") or producing something dark and brooding ("Twins", the semi-doom carnival "Abnormally Normal"). The short technical jumper "Thick Skin" is definitely a highlight as well as the more modernized shredder "Game Zone". Gary assists the interesting soundscapes with a less impressive deathly baritone.

(Crossways) Full-length, 2019

Official Site

ACRAL NECROSIS (UK)

Based on the EP: excellent speed/black/thrash which could have sounded better if it wasn't for the sudden switches from nice headbanging speed/thrash to furious ultra-fast black metal sections; still the guitar work is quite good, and the guys play with energy and inspiration providing numerous delights for the thrash metal fans. The sound quality is very good, and particularly impressive is the 8-min opus "Acral Necrosis" which thrashes hard non-stop all the way through. The rest is by no means less striking, moshing with the same intensity, very seldom pausing for at least a mid-paced break. This is good moshing fun all the way with sharp riffs, great melodies, and the inevitable blast-beating moments.

Eternal Nuklear Violation EP, 2007
United In Annihilation Split, 2008

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ACRANIA (MEXICO)

The full-length debut is a decent piece of melodic thrash/death metal with both progressive and gothic leanings. The guys vary things with semi-fusion insertions, more puzzling technical passages, more quiet atmospheric sections (including a surprising jazzy theme on "The Final Shot" which to these ears is pretty misplaced and hardly necessary, and is followed by a short speedy crossover take on Richie Valens' "La Bamba"); etc. The delivery is dynamic with plenty of up-tempo moments, but overall the album is dominated by the excellent lead guitar work which is the leading component here. The singer is not bad with a subdued semi-death metal timbre quite close to the early Mathias Lodmalm (Cemetary) style. The band were previously known as Necrofilia with a style not too different from the one offered here.

"An Uncertain Collision" is more melodic and way more eclectic the band now diversifying things beyond the boundaries of thrash and death metal incorporating elements from jazz (now much more than the casual allusion), funk, blues with the omnipresence of the sax which involvement is disputable at times and kind of dissipates the mood. The riff-section has become jumpier and crunchier to suit the erratic staccato song-structures ("But Not Today"), but this amalgam is just too incoherent to catch the regular thrash metal fans' ear, even after several listens, who may be not too pleased with the considerable reduction of the aggressive riffage from the preceding opus.

In Peaceful Chaos EP, 2007
Unbreakable Fury Full-length, 2010
An Uncertain Collision Full-Length, 2012

Official Site

ACRANIS (BRAZIL)

This hellish Brazilian trio provides aggressive thrash/death metal expressed in lengthy (5-7min) compositions which seldom contain anything more than standard thrashing accompanied by a dual death metal vocal attack (one more, the other less shouty). Both styles alternate throughout, but at least on "Thrash Metal Strike" thrash should have been more widely covered, the song blasting at some point in a pure death metal fashion.

Valley of Death Demo, 2007

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ACRASSICAUDA (IRAQ)

A 4-song EP of good classic power/thrash with a characteristic dark sound, nicely touching doom ("Garden of Stones") on the slower moments, ornate by good Oriental motifs. The guitar work is cool although more speed for the future would be desirable; now this wall of heavy mid-paced riffs may come too tiring on a full-length. Still, kudos should be paid to the guys for trying to play an officially banned in their homeland brand of music, opposing to the pessimistic bleak war atmosphere which has been covering their country for quite a while.

The full-length is on the post-thrash side now with frequent Oriental motifs inserted to the point of being overused at times. Still, this is cool melodic stuff with the touches of doom here again alongside pleasant tender ballads ("Requiem For A Reverie"). "Elements" near the end is a vivid jump-around partly stifled by the lush use of Orientalisms, serving a desirable portion of more vivid rhythms.

Only the Dead See the End of War EP, 2010
Gilgamesh Full-Length, 2015

Official Site

ACRID (GERMANY)

Based on the "Acrid Beasts" demo, these guys must have been an influence on the UK grindcore movement which started a bit later. This is easily the first really brutal metal act to come out of Europe. The music here is thrash/proto-death metal with a frequent adherence to blasting grind not far from same year's Cryptic Slaughter's "Convicted" and Sarcofago's "INRI". This is brutal relentless stuff with short tracks, very fast bashing guitars, and guttural not very audible vocals. Impaled Nazarene must have gotten a hold of this as well since their early outrageous delivery resembles the music here quite a bit. Definitely not for the faint-hearted... later the band changed their name to Eternal Trash, and toned down their merciless approach to come up with a more laid-back thrash/crossover sound.

The debut demo is another violent bash with a strong proto-death sting, its brutal nature further aggravated by half of the songs played live where the mess is just... my god! Anyway, this act remains the most brutal "freak" of the European scene with some of their early "fruit" being pure unbridled grindcore as evident from this first demo which is an ultra-aggressive fist in the face predating the early outrages of Cryptic Slaughter and Repulsion by a whole year. From a pioneering point of view this effort should be respected no lower that the early Messiah and Hellhammer demos; from a musical one this is just amateurish badly-concocted bash with awful shouty quarrelsome vocals which try to capture a more sinister deathly tone at times, but apparently the guy's abilities are non-existent for this side of the singing spectre.

Devil's Metal Demo, 1985
Acrid Beasts Demo, 1986

ACRID (HOLLAND)

The full-length debut: this obscure Dutch outfit offers a more technical twist to the modern Swedish thrash/death metal trend. At their most inspired the guys touch Death: "For the Sake of...": a really nice progressive composition with a great acoustic interlude and clever technical riffage. "...The Complete" is another Death-influenced piece providing a couple of intriguing sections combined with cool melodic licks. The progressive motifs take more epic, Opetn-esque proportions: "Withered", but here come the more straight thrashers: "The Speaking Eyes", still with a slight technical edge. "Your Burning Silhouette" is a stylish combination of haunting balladic passages and technical, but melodic, riffs.

The "Withered" demo is already an ambitious start with meandering riffs, beautiful melodies, and some imposing Atheist-like hecticers ("The Talking Eyes"). "Hope For... The Complete" hits progressive heights with its complex rhythms, and "For The Sake Of..." is a consummate technical piece with echoes of mid-period Death also featuring a breath-taking balladic break. The title-track at the end is a creepy mid-pacer with very good bass support.
The "Tryyad" demo is a 3-tracker two of which are bland modern thrash/deathsters along the lines of the Gothenburg school; and "Trust" which is more vivid and interesting with a few nice semi-technical decisions.

The EP would be a waste of time for the band old fan since it's unexciting modern thrash/death with only one piece, "Night Falls", recalling the guys' past glories. The rest is by all means skippable even by modern Swedish standards.

"Prism" is the next for the band step down the road to oblivion delivering unimaginative modern thrash with Swedish leanings. Pretty tedious stuff which is livened up by the casual more aggressive hook ("Sovereign", the short blitzkrieger "Art of War"), but the focus is clearly on melody, mostly in the leads which reaches the culmination on the lyrical semi-ballad "Hate Is Stronger Than Fear".
"Wonderland" follows the same road as the one of its predecessor; in other words, don't expect too many pleasant surprises although the delivery is quite intense and moshing with flying bullets like "The Crossroads" and "Concrete Vermin" falling from all sides, with added unrestrained brutal death metal escapades ("Deception's Masquerade") not making the situation more attractive. In fact, laid-back mid-paced shredders like "What Lies Beneath" deliver better although the exiting string of short ripping headachers can also be considered more on the positive side with a couple of cool melodic licks making the setting more tolerable.

Withered Demo, 1996
Tryad Demo, 1999
Amalgamate Full-length, 1999
EP EP, 2014
Prism Full-Length, 2015
Wonderland Full-length, 2018

Official Site

ACRIDITY (USA)

Acridity's only album is ordinary thrash played by-the-book with the uninspired vocals being the major flaw. Apart from the intense, energetic thrashers more ambitious, longer numbers can also be found ("Beyond"), and they are a sign that with a bit more imagination this band could really do a good job. The rest comes with a certain doze of decent but standard riffage borrowing from Slayer, Torture, Exumer, etc., but some tracks ("Lethal Idol", "Vigilante") are worth hearing being cool headbangers.

For Freedom I Cry Full-length, 1991

ACRIMONIA (POLAND)

Even if Beethoven wanted to be dead, it wouldn't have been possible, with so much interest shown towards his works from all sides of the music spectre. These Poles offer an interesting rendition of his output with the opening "Beethoven Is Dead", which is quite original progressive thrash with references made towards Beethoven's immortal 9th symphony; dark ominous riffs in mid-tempo mix with stylish technical classical-influenced sections. Then more direct thrash follows on "Killers From Evil", which picks some technicality in the lead and bass department in the second half. Afterwards the sound takes a turn from thrash, with the haunting doomster "Story of Evil". The situation is completely saved by the excellent stomping instrumental "Marrazm", which offers really interesting Oriental tunes, along with creepy technical riffage. "Company" nicely blends doom-soaked funereal moments with more dynamic thrashing sections, although the "battle" is won by the doomy ones. "Spanish Dreams" is another instrumental which, as hinted by the title, is a combination of intense thrashy guitars and cool acoustic flamenco ones. "Fallen" is a worthy closer to this diverse saga bringing back the technical patterns, in mid-tempo, partially ruined by the awful hardcore vocals which fortunately are interrupted by much better female ones that suit better the jumpy, hectic riffs. This is an interesting listen which could have benefited from more technical prowess; now it often sounds like testing the soil for something bolder to come this way, with less treading in safer doom/gothic waters...

"Parasite" is another weird effort this time not messing with any classical composers but flirting quite a bit with jazz, but in a heavy pounding way. The pace is mid the whole time, and this creates a monotony sometimes "broken" by the odd stylish insertion: the great melodic tune "On High", the nice rock'n roll variation on "Don`t Fuck With Me", the twisted technical abstractism on "Dreams" which is by far the highlight of the album being exemplary progressive/technical thrash with doomy overtones. This offering isn't better than the follow-up although it's far from a disappointment, providing at times dry cold riffage in a way not far from early Meshuggah ("Fallen"), and the female vocal participation, albeit short, is quite good but the eclecticism may come as too much for the more level-headed fans, and the lack of more energy doesn't give the technical moments a big chance to stand out.

Parasite Full-length, 2005
Beethoven is Dead Full-Length, 2007

Official Site

ACRIMONY (POLAND)

So there were other, more technical acts in Poland than Turbo and Wolf Spider; one just has to dig deeper there to find them. This is a real gem which could have fitted perfectly into the wave of progressive/technical thrash metal acts from Germany from the same time. This is really technical and complex stuff which comes close to Mekong Delta and Target on quite a few moments. As you can imagine, this is not aggressive music although the riffs are quite sharp and the tempos jump from one to another all the time. There are, of course, numerous abstract and illogical at first listen tunes, but even they are quite captivating and interesting. Even the tracks which were meant as more immediate ones, are full of complex riffage: the 3-min technical thrash shredding masterpiece "What's That Light", or the brilliant semi-balladic piece "Y.R.U.B.Z.". This album, along with the other 90's one-album-wonder from Poland: Astharoth's "Gloomy Experiments", is one of the finest moments of the whole 90's metal scene.

In Unknown Direction Full-length, 1992

ACRITER (CZECH)

Thrash metal with a somewhat pagan atmosphere calling to mind the Dutch outfit Bifrost; these guys have the detrimental tendency to change the vocal styles every few seconds: you can hear Rob Halford-like screeches, awful synthesized shouts, death metal growls and, of course, more conventional clean ones. The music is mostly mid-paced with slower epic moments ("Thanalogia de Amor") inserted here and there.

Horror Mortis EP, 2004

Official Site

ACRITUD (CHILE)

The debut: quite good melodic, keyboard-driven thrash/death metal which is long on both atmosphere and musicianship; although the music is generally not very technical, some moments are really worth checking out by the technical lovers: "Desolacion", which also scores high in the lead department; quite high, actually. The pace is quite energetic seldom adhering to blast-beating parts. As a matter of fact, often will the approach remind you of the Brits Bal-Sagoth. "Extinguio La Acritud" is a really cool semi-ballad with clean vocals, and the closer "La Cupula" is an awesome progressive number boasting compelling operatic sections among the whirlwind of moods and tempo changes.

"Remake" is too melodic with a lot of orchestral arrangements and a truckload of keyboard-driven passages making this album a larger-than-life classically-infused opera. Now the overall approach is quite close to Bal-Sagoth again making more intense pieces like "Tendencia Psicopata" more exciting eventful deathly shredders. "Agudeza del Dolor" is one of the few numbers where thrash tries to dominate, but the other compositions aren't very long to leave it much room, many of them ("Detras de las Rocas Vacias/Agonia", "Y La Confianza Murio") bordering on the progressive.

La Cupula Full-length, 2008
Remake Full-Length, 2010

Official Site

ACRITUDE (GERMANY)

Excellent old school progressive thrash this, intense elaborate music accompanied by decent albeit not very expressive semi-declamatory vocals. The diverse multi-tentacled opener �Behind Closed Doors� is superseded by the calmer mid-pacer �Emerald Percepticon� and the edgy technicaller �Amongst the Rats�, before the short hectic puzzler �The Die is Cast� shoots all the competition with loads of melodic licks added as well. �In Introspect� is heavy seeping drama, and �Shrouded Corrosion� is the next-in-line speedy intricate extrapolation, mirroring the longest composition here, the 7-min roller-coaster �Flickers of Chasm�, the band deservedly calming down after it with the melancholic balladic all-instrumental piece �Nightmoon View�.

Rite of Passage Full-length, 2024

Official Site

ACRODUS (SLOVENIA)

A rough-sounding demo serving a cross between death and thrash metal, competently done albeit with a very muddy sound quality. The tempos vary as the dominant one is more on the mid-paced side and the riffs have a characteristic dark aura which works best on the final "Legality of Spirit", a nice more technical piece with seismic steam-rolling guitars.

Brain Washing Demo, 1994

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ACROLYSIS (AUSTRALIA)

Based on the full-length, this outfit specialize in abrasive modern power/post-thrash which is suitably bouncy without producing any sizzling headbanging environment. Clumsy groovy sleepers (�All Quiet on the Homefront�) alternate with moderately dynamic roller-coasters (�Over the Razor Fence�), the overlong �Blue Hour� a not very striking one-dimensional stroll that influences the numbers in the second half, the semi-clean mid-ranged singer managing to sound soulful and even passionate on a few occasions.

Black Dog's Serenade EP, 2019
Revolution Full-length, 2023

Official Site

ACROMIZER (SPAIN)

The debut: a beautiful balladic intro inaugurates fast smashing classic thrash which favours the dynamic mid-tempo; that's why speedy ragers like "All for you, All for Nothing" and "Caught off Guard" will catch you completely off-guard. There's an unobtrusive progressive element running through the songs recalling both Manticora and Paradox, the inspired musicianship topped by expressive clean vocals ala Hansi Kursch (Blind Guardian). "Killer Life" is a nice more technical shredder, and the following instrumental "One Second Remains" isn't very far behind with its catchy melodic hooks and sharp mid-paced arrangements. This is a promising assured debut which sees a young act trying to sound relevant into the sea of retro thrash resurrectors.

"Awakening" doesn't run very far away from the established formula, the lads lashing with gusto and style, producing nice semi-technical shredders like "Massive Attack" and "How to Explain the Chaos", the stomping qualities of the equally as convincing "Insane Brutality" finely contrasting with other exhibitions of a faster, more intricate play like "Two Reasons to Live" and "Sin Can Be Good". The melodious progressiveness of "Made of Memories" could have been pursued more vehemently since it brings the delivery in the vicinity of acts like Manticora and Paradox, but few would be the complainers once the rowdy speed/thrashing delight "Toxic Avenger" and the ripping headacher "Face to Face" have passed.
"Reborn" is another acceptable entry into the guys' discography, composed around the seven deadly sins text-wise, the raging virulence of "Rage" suiting the more pensive extrapolations of "Rancor", the mid-tempo drama on "Lust" canceled by the urgent rifforamas on "Wrath" and the sweeping speedy motifs of "Oblivion".

Spreading the Plague Full-Length, 2015
Awakening Full-length, 2019
Reborn Full-length, 2023

Official Site

ACROPHET (USA)

Thrash metal delivered with a hardcore speed and intensity; the debut is more hardcore-influenced, good stuff and fast with really intense, aggressive tracks ("Slaves of Sin", "Crowd Mistress") that lead the show assuredly with little fuss generated due to the dominant hyper-active delivery which is very close to reaching the speed of light on the maddening "Lifeless Image". The approach is slightly one-dimensional as very little apart from all-out speed has been served, save for the more tamed bouncy "Holy Spirit"; but the energy put into the recording makes up for this. "Ceremonial Slaughter" is a glorious speed/thrasher, suggesting at better things to come; and "Forgotten Faith" is blitzkrieg speed/thrash that could easily qualify for both Evildead's "Annihilation of Civilization" and Dark Angel's "Darkness Descends".

"Faded Glory" moves into full-fledged thrash, retaining the aggressive delivery from the debut all around, mixing the all-out speedy sections (the opening fury "When Time Stands Still", the short non-fussy "Dependency") with slower galloping ones ("Silent Insanity", "Haunting Once Again"), those suggesting at possibilities within the US power/speed metal sector. "Legend Has It" is a nice turn to more technical albeit equally frenetic thrashing, and "The American Zone 1990" is a quirky choppier proposition with an over crossover flair, the latter also carried proudly by the short breezy joke "Dead All Day" and the nicely weird melodic anomaly "Innocent Blood". These guys were definitely going somewhere, but they split-up soon after the release of their sophomore album.

Corrupt Minds Full-length, 1988
Faded Glory Full-length, 1990

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ACROSTIC (CHILE)

Classic 80's thrash sounding like a cross between mid-80's Slayer and Sacred Reich's "Ignorance"; the kids know how to play their thrash, trying to shred with a big intensity at times just on the edge of falling into death metal. The songs are all fast-paced, the vigorous riffage accompanied by shouty choruses and a slightly abrasive sound quality which stifles the cool short screamy leads. The singer sticks to vociferous semi-declamatory tones, but fits the energetic music with his authoritative, quarrelsome approach.

Kids Playing Thrash Full-length, 2005

Official Site

ACRYLATE (ITALY)

Based on "Chemical Defection", this band play retro thrash boosted by modern production and overshouty hysterical vocals. The guys thrash on with competence as a particular highlight is the excellent shredder "Evilhand" which also contains a nice short atmospheric passage. "Antology of Slaughter" concentrates on the aforementioned atmosphere being a lengthy balladic interlude, but there's no thrash lost after it the hard-hitting numbers being served in quick succession at times coming thinly technical ("Sound & Fury"), at others thrashing with a merry crossover flavour ("Acrylate").

Sound & Fury EP, 2006
SS 106 the Killing Road Full-length, 2007
M.A.F.I.A. EP, 2009
Chemical Defection Full-length, 2010

Official Site

ACT (ROMANIA)

Melodic groovy post-thrash: Rage Against the Machine on testosterones; enough said...

Exact EP, 2008

ACT OF AGGRESSION (USA)

This is old school thrash which does away with choppy mid-tempo histrionics the entire time, the more lively defiant rhythms of "Defiance" stirring the spirit, whereas "A.O.A." is a more elaborate complex all-instrumental piece, the lead guitarist excelling on it with a pleiad of stylish pirouettes in the absence of the cool mid-ranged clean vocals.

Act of Aggression Demo, 1990

ACT OF CREATION (GERMANY)

Based on "Thion", this act play modern melodic thrash with harsh shouty death metal vocals. There are both moments of progressive and metalcore embedded, but this is pretty much a melodic feast "Damon" making the only claim at aggression, the rest straddling the mid-paced waters, the other rude awakening being the blast-beats on "Ewiger Frieden".
"The Uncertain Light" is a milder opus, the band expanding their arsenal with more sprawling progressive compositions ("The Burning Place", "Reflection"), the more aggressive material ("Violet Red") mostly relying on heavy dramatic accumulations, with only "Sector F" making any claims at bigger headbanging merits. The rest recalls Dark Tranquillity's late-90's/early-00's period (think "Haven", above all).
"Moments to Remain" hardens the course a bit, the band stepping on the pedal a bit more, "Come with Me" and the title-track raging with suppressed moderation, leaving the friendly bounces for the mid-paced trot "Dying Inside" and the varied quasi-progressive pageant "Confront the Truth". "Beyond Reality" retains the mild complexity, but takes it easy on the fast-paced expletives, making this effort sound again more on the accommodating side.

Secret Memoirs of a Forced Fate Full-length, 2010
Endstation Full-length, 2010
Thion Full-length, 2016
The Uncertain Light Full-Length, 2020
Moments to Remain Full-length, 2024

Official Site

ACT OF DEFIANCE (USA)

A super group comprising two former members of Megadeth, Chris Broderick and Shawn Drover also Eidolon), indulge in intense old school thrash crossing the Bay-Area with Slayer, producing a potent ripping sound at the beginning which also comes with a modern "sting" ("Legion of Lies") at times. The high-speed antics are intercepted by the pounding "Refrain and Re-Fracture", but it can't stand on the way on the dynamic short cuts which follow suit, like "Dead Stare". Towards the end the approach becomes more officiant and complex again abandoning the fast-paced delivery which actually never returns till the end. Broderick is absolutely stunning on the leads and one may wonder why the hell Mustaine let a guitar player of such calibre go... as a whole this new beginning is just decent at this stage the band testing the soil trying different approaches which don't sit too well together the whole time.
"Old Scars, New Wounds" is another capable mixture of several nuances which range from fast-paced "bullets" ("Molten Core") to friendlier proto-groovers ("Overexposure"). "The Talisman" is a decent nod to the doom metal field, and "Lullaby of Vengeance" is a more updated version of the 80's power metal formula. Towards the end the sound acquires more modern, heavier parametres the band failing again to extract the best from such a promising collaboration.

Birth And The Burial Full-Length, 2015
Old Scars, New Wounds Full-length, 2017

Official Site

ACT OF DESTRUCTION (USA)

This is prototypical modern thrash with Gothenburg overtones; furious but also quite melodic stuff which captures some of the mid-period magic of At the Gates ("Disciples of the Night") on the better material. This is professionally done, but is hardly very imaginative also coming with the standard for the style shouty deathy vocals.

Extinction Full-Length, 2015

Official Site

ACT OF FATE (GERMANY)

Based on the full-length, this band plays pretty decent retro thrash mixing the pace sounding energetic as a whole, especially on jollier takes on the good old thrash/crossover like "Cold Emotions". The singer is the prototypical death metal growler, and he suits best the steam-rolling smasher ala Bolt Thrower in the middle "Blinded By...", which is the only more death metal-laced track on the album. "Starvation" is another heavy killer with a speedy twist at the end, and generally the second half is less dynamic livened up by the closing "Dream Destroyer" which again inserts steamy heavy riffage at some point.

Soul Puzzlement EP, 1998
Despise The Light Full-length, 1999

ACT OF GOD (CZECH)

Describing an album as "symphonic thrash metal" may raise quite a few brows in doubt, but this Czech formation deliver exactly that (based on the full-length debut). This is dark atmospheric music with operatic female vocals which, along with the constant "duel" between the guitars and the keyboards and the characteristic sound of the Czech language (the album is entirely sung in Czech), give this offering a fairly individual air. The problem is that, once establishing the canons along which this effort would develop, the guys (and a girl) never bother to shift from them except for one isolated speedy track in the middle. The rest provides the listener with a brooding gothic/thrash opera which gradually loses its intriguing assets as it moves along becoming purely instrumental on the closing tracks consequently taking away the main highlight: the good emotional vocals. Still, this is an interesting take on the genre which may remind of mid-period Therion and early Theatre of Tragedy on the calmer parts.

"Deception of Freedom" sees the band moving towards the English language, a move taking a bit from the mystique surrounding the previous effort. Otherwise the approach this time is a tad more energetic and "New Generation" will easily warm the hearts of the diehard thrashers as well as the symphonic speed metal hymn "Aiming High" which is not an Accept cover. The problem is that once one is past those two consecutive tracks, the music starts losing its edge descending to ordinary power metal which at least epitomizes the good female vocals better. The "thrash" tag seems a bit farfetched here, and it seems as though the guys (and a girl) are more interested in the symphonic power metal side of the spectre coming as more aggressive Nightwish.

"Dirty and Mean" boasts very good female vocals which dominate the landscape, but music-wise this is just ordinary heavy/power metal with rare excursions into more aggressive speed/thrash territories ("Circles for Innocents") where one can also savour the male vocal inclusions more fully.

Promo EP, 2005
...Casem Zapomenut'ed... Full-length, 2005
St'edny Nad R'e1nem EP, 2009
Vzpom'ednky V Zrcadlech Full-length, 2011
Deception of Freedom Full-Length, 2016
Dirty and Mean Full-length, 2019

Official Site

ACT OF SIN (CANADA)

Fast energetic modern thrash which "flirts" with both more intriguing and more brutal (read death metal) elements, both sides covered on the interesting "Werewolf" and on the diverse melo-death/thrasher "Breaking Point". The overshouty hysterical deathly vocals may get on your nerves, but the casual clean insertions should definitely make you listen with more care.

Casting The Second Stone Full-Length, 2016

Official Site

ACT OF VIOLENCE (USA)

Modern thrashcore with an abrasive guitar sound and brutal death metal vocals; the music is more on the heavy mid-tempo side, but is engaging and battle-like with a few epic touches. The leads are nice and melodic and generally the musicianship is a bit higher for this type of music. More officiant Swedish melo-death sneaks on "Kill or Be Killed" which reminds of the epic landscapes of Amon Amarth. Groove is very well covered as well, but its presence isn't annoying and adds up to the overall heavy feel.

Act Of Violence Full-Length, 2012

ACTION TOM BASS BAND (GERMANY)

Based on the "Fresh Flesh for Dom of Death" demo, this band plays heavy, mostly mid-tempo, thrash of the less serious hardcore-ish type. The guitar work is heavy touching epic/doom at times, but tracks from the other extreme can also be found: the brutal fast bomb "UR Sick". The singer is a typical death metal growler of the more intelligible variety: think Don Cochino (Pungent Stench). And, there's no "Tom" on "bass" here..

Sick Ass Fuck Demo, 2006
Fresh Flesh for Dom of Death Demo, 2007

Official Site

ACTING OUT (FRANCE)

These are the same guys who under the name Brain Decay have left a few demos and one good full-length released three years ago. The excellent thrashy death metal they used to play earlier is almost completely gone on this EP; the modern industrial tendencies have been considerably increased, and now the sound is even closer to Prong, but where the Americans exceed in originality this band produce at times something a bit more than just plain noise. Thrash metal is still present, but it's mixed with a big amount of hardcore, and the combination in this case is not on the positive side. In view of the 90's trends, this is a well-fitting album into the overall picture, but these guys have proved that they could do a lot better than that.

Disorder In Space & Time EP, 1996

ACTIVATE (USA)

The stupid album-title (the debut, naturally) is immediately compensated by the brilliant opening lead-driven instrumental "Fisher Forever, Forever Fisher" which shows an obvious fascination with Kirk Hammetts's enchanting style; from this moment on the band continue "fucking the man" with pretty decent classic thrash/crossover which throws in the casual stomping groovy transition, but these pitfalls are aptly made up for including with a very cool cover of Suicidal Tendencies' "War Inside My Head" played in a more pounding manner with a more forceful, more aggressive vocal presence.
"Critical Mass Extinction": the thrash/crossover carnival is on full display here, the guys thrashing with more vibe ("1984") on occasion, but the party atmosphere is simply too jocund to be overwritten by any more aggressive explosions. The highlight is clearly the creepy semi-technical shredder "Sinister Minister", with the intriguing stomping closing title-track a close second.

Fuck the Man Full-Length, 2016
Critical Mass Extinction Full-Length, 2019

Official Site

ACTIVATED (UKRAINE)

Fast brisk classic thrash with an overt Bay-Area shade, the harsh semi-clean/semi-shouty singer assisting to the best abilities, distantly recalling Chuck Billy (Testament). The power/thrash excursion "Madness" is a total Testament worship circa "The Ritual", and "Obey and Pray" is a cool more diverse saga the vocals acquiring thicker deathly echoes on that one. Watch out also for "Thrash the Rules", a dynamic roller-coaster with nice hectic semi-technical arrangements.

Rise EP, 2021

Official Site

ACTIVATOR (USA)

Standard modern thrash with Swedish overtones and attached shouty vocals which even rap on the jumpier groovier passages (check out the opening "Savior"). The sound descends to pure groovy post-thrash later on the delivery losing its initial aggression the latter replaced by numerous melodic decisions.

Activator Full-Length, 2013

ACTIVE ARSON (CANADA)

The EP: a promising young newcomer on the horizon, this outfit serve excellent energetic semi-technical retro thrash moving from the stylized stomps of "Sheep" to the infectious galloping impetuousness of "Cast Away". "Dance With the Demons" jumps on the progressive thrash wagon with alluring melodic tunes and a wide variety of tempo-shifts, the title-track concentrating on more intense headbanging crescendos with "Sun" built on the same no-bars-held layout, a short ripping headacher opposing to the more intricate clout of the closing "The Purge" which moves the delivery towards the Bay-Area. The singer is a mean spiteful semi-reciter coming as a more expressive Ron Royce (Coroner).
The full-length follows the same path, with speedy roller-coasters ("No Return", "Digital Infection"), the epic pounding "Innocent" a slight change of course, the brutal death metal ripper "I Am Legend" instigating a more vehement pogo, the latter carrying on on the more complex "Future Holds" and the ambitious varied closer "Lilith's Awakening", a multifarious excursion around the corners of the good old thrash.

Lucifer's Grail EP, 2019
Lilith's Awakening Full-length, 2021

Official Site

ACTIVE CORE (POLAND)

These Poles deliver laid-back, frolic modern post-thrash which is suitably heavy without overdoing it in the groovy department. There aren't any fast headbanging rhythms to be savoured here, but at the same time except for the balladic closer "Spirits Of The Dead" there aren't any actual slouchers.

Numen Full-Length, 2016

Youtube

ACTS OF VENGEANCE (UK)

Decently executed classic power/thrash which hesitates between the speedy crescendos as exemplified by the vivid speedster "Baptised In Blood" (check the leads on this one), and the melodic semi-balladisms on "Legacy". "In the Dark of the Night" is a sinister fast-paced shredder, but there are quite a few slower sections the band trying to incorporate more elements into their paletre recalling mid-period Iced Earth and the Metal Church period with Mike Howe.

Slaves To Sin Full-Length, 2016

ACUTOR (COLOMBIA)

Retro thrash oriented towards the German side of the genre which will please fans of Necronomicon, Darkness and Sodom. The guys play in a simplistic, direct manner but their lashing riffs deliver accompanied by short, but effective leads. When the band slow down, they sound even better: the stomping epicer "Por Encima Del Temor" which "fights" with the energetic instrumental "Preludio a La Muerte" for the highlight here. The second half is less striking introducing more slower moments including several balladic breaks. One of their influences is paid tribute at the end with a cover of "Remember the Fallen" (guess which one!).

Dios Ha Muerto Full-length, 1998

Official Site

AD ASTRA (HUNGARY)

The full-length: good technical/progressive modern power/thrash with choppy, somewhat mechanical, but effective riffs, changing paces, but never becoming fast or aggressive with melodic, balladic sections, including two full-blooded ballads ("One Minute Silence", "27K"). The Opeth influence is more than obvious, but these guys get carried away on the dreamy calmer passages: the soft, alternative "Waves". "The Other Self" is a more convincing progressive thrasher, but the atmospheric, quiet break on it is too long to be a cool touch. The last track is another soft number with nods to Porcupine Tree. As a whole the progressive parts win over the thrashy ones; would the band give thrash metal another chance?

Idegen Arcok EP, 2005
Crust of Ego Full-Length, 2008

Official Site

AD INCEPTUM (RUSSIA)

Based on �Infecto Christianus�, this band play retro black/thrash which can be quite wild and brutal (the operatic saga that is the title-track), but there�s also this more playful spirit (�InjekciaIada�) that tickles the nerves at times, pairing well with the epic side of this album, the latter best reflected in the heavy stomper �Krovavaia Vera�. �Vivat Cruciatu� is pure sweeping black metal madness but suits the screechy raven-like vocals all around, the thrashing urgency of �Flegeton� pouring the requisite doze of sharpness into the fervent fray. Some of the band members are also occupied with the classic thrashers Diagnoz.

Portantes Letum Full-length, 2016
Infecto Christianus Full-length, 2023

Official Site

AD UNUM OMNES (HUNGARY)

This is a black/thrash amalgam, retro-sounding for the most part, with a shrieky blacky raven behind the mike. Expect vehemence and a lot of dynamics, above all, the often racing with the speed of light ("Ad Unum Omnes", "Scum"), with thrash not having much of say, save for the more restrained atmospheric "All That Remains Is Ashes", and the more sophisticatedly bashing title-track.

Demolition Warfare Full-Length, 2021

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ADAM JOHNSTON (UK)

Based on "Visions", this guy offers modern power/post-thrash with progressive leanings which is accentuated by tasteful, proficient guitar work bordering on Shrapnel-like virtuosity at times (check out "In My Soul"). The delivery lacks an edge and often is the sound pure heroic power metal ("Last Goodbye"), "Not Alone" near the end providing the casual more aggressive rhythm. Adam sings in a kind of dispassionate mid-ranged clean timbre and could have used more emotion.

Thunder and Lightning EP, 2006
Masquerade of Life Full-length, 2008
Visions Full-length, 2011

Youtube

ADAMANTINE (PORTUGAL)

Based on the full-length debut, this act provide cleverly-executed speed/thrash with clear progressive pretensions which are well justified. The guys show ambition from the start with the epic opener "Chaos Genesis" which is followed by a string of shorter, more immediate compositions where the band thrash with confidence the only annoyance coming from the clean vocal insertions which are too many to create a positive impression. The fast tempo is very well preserved throughout echoing Paradox quite a bit. The middle is occupied by more thought-out numbers which slow down hitting the top with the balladic "Nocturne" which acquits itself with great leads. Passionate galloping riffs will overwhelm you on "The Age Of Golden Trees" which is followed by the closing "As The World Dies": furious speed/thrash at its finest lasting for 7.5-min excelling in the atmospheric department, too, with a great operatic exit. The main singer is not too far from Charly Steinhauer (Paradox again, who are the main influence), and his attached semi-clean/semi-hoarse vocals are an able assistant to the vigorous music. This is a really promising debut which nicely fits next to the more serious side of speed/thrash (Manticora, Hellfire, Dark Empire, etc.).
"Heroes & Villains" is another hyper-active affair, but the hoarse shouty death metal vocals that have been introduced are hardly an asset, and kind of make the whole recording acquire a somewhat melo-death flavour. There's plenty of dynamic progressions applied ("Spellbound", "Grudge") on the album, but the overall approach is way less adventurous, and the inclusion of more melodic numbers (the ballad "Hydra") hardly make the already disputable diverse nature of this opus more attractive.

Downfall of Adamastor EP, 2010
Chaos Genesis Full-length, 2012
Heroes & Villains Full-Length, 2017

Official Site

ADAMANTIVM (SPAIN)

Based on "Atajo a la Locura", this act provide an energetic modern blend of thrash, speed and a little bit of melo-death. The hyper-activity of the approach reaches blasting heights at times (the short exploder "B52"), and generally the guys play with the utmost intensity the tender moments taking a nice balladic shape ("Matar a Morir") or pound forward in a sure-handed proto-doom manner ("Grim Ghosts Of War"). The 2nd half is more timid the speed being decreased as a whole the band showing more professionalism in the execution, but the unbridled energy displayed earlier remains the more preferred side. The vocals are clean and usually mid-ranged with several attempts at conquering the higher registers.

Angel de la Muerte EP, 2008
Adamantivm Full-length, 2009
Atajo a la Locura Full-length, 2011

Official Site

ADAMAS (ITALY)

Based on the full-length debut, this act play classic power/thrash in the vein of early Metal Church and the Sanctuary debut the main difference coming from the overuse of keyboards ("Bitch Night") on almost every track. The music flows effortlessly seldom leaving the established mid-tempo, and the pleasant feeling it leaves is certified by the nice quiet orchestral implements on the final "Revenge...Best Served Cold". The singer is a cool clean mid-ranger with a forceful, not very diverse, timbre recalling the first Meliah Rage singer Mike Munro.

"Heavy Thoughts" opens with the title-track which features Mr. Blaze Bayley (Iron Maiden, Wolfsbane) as a guest vocalist. The approach now is a tad more modern and not as exciting since the faster-paced moments are brought to the minimum and the boredom will instill way before the end for the listener to stay with this recording till the end.

Exarco EP, 2008
Evil All Its Full-length, 2010
Heavy Thoughts Full-Length, 2015

Official Site

ADAPTOR (HOLLAND)

A 3-songer of retro thrash recalling their compatriots Messina, maybe a tad more brutal with the casual death metal shade sneaking in. This is well executed stuff which also benefits from the very clear sound quality and the more clever technical insertions ("Fire In The Hallway") which will also bring another Dutch act from the distant past to mind: Usurper. The singer is a staple death metal shouter but suits the music's intensity which already sounds like a good backbone for an eventual full-length.

Fire In The Hallway EP, 2012

ADDICT (GERMANY)

Based on "Bang or Die", this band play decent classic thrash which doesn't serve anything too overtly aggressive, but the guys entertain themselves, sometimes with a more pronounced speed metal edge ("Never Lose"), sometimes with a dash of more confrontational attitude ("War"). The energy applied is generally high, the band pumping the fists up on the dynamic roller-coasters like the title-track and the hyper-active "Rats Friends", the end preserved for a cover of Motorhead's "Killed by Death", made a bit faster, the cool raspy semi-clean vocalist doing his own show without impersonating Lemmy (R.I.P.). Some of the band members also play with the metalcore cohort Never Face Defeat.

Storm of the Dead Full-length, 2015
Bang or Die Full-Length, 2021

Youtube

ADDICTIVE (AUSTRALIA)

One of the less known, but better Australian thrash metal bands; the style presented on both albums is of the heavy, mostly mid-paced variety with nice, original touches here and there, moving the music on the edge of technical thrash quite a few times. "Kick'Em Hard" could pass for the better effort, containing short, fast headbangers in the beginning, before going back to the slower technical numbers in the middle, featuring an excellent 3-min instrumental near the end: "Distemper", where the lead guitar is simply striking, and one might start wondering where these leads were before. A third album could have made these guys into something special, but they never recorded again.

Pity of Man Full-length, 1989
Kick 'Em Hard Full-length, 1993

My Space

ADEM (UKRAINE)

Bay-Area thrash made in Ukraine; "Time of Madness" is more simplistic with a more relaxed guitar sound. The opener "Psychopathy" is quite an intriguing instrumental in an energetic tempo with interesting technical riffs. Later on the music retains the energy and introduces heavy, Metallica-influenced guitars which work quite well, especially on the slower, mid-paced numbers ("Time of Madness") which are fewer than the faster ones some of those being very cool speed/thrash attacks ("A Man On His Knees"). The bonus track "Nostalgy" is a quiet, nice balladic instrumental.

"Golgotha" increases both the technicality and the heaviness and the bass bottom, which was really good on the debut, is even better now. As a result we have great pounding technical thrash boasting really high achievements, like the dark instrumental pieces "Vision" and "Dance of Planets", served with superb guitar work. Even the more aggressive thrashers ("It's Hard To Be A God") are graced by stylish riffs and leads. On both albums the concentration is on music; the vocals play a secondary role in this band; not that they are really bad, being growly low-tuned of the semi-death metal variety; it's just that the musical aspect is a lot more impressive.

"Fight Without Rules" is actually a "fight" with strict modern "rules", very ordinary pedestrian 90's groovy post-thrash strongly recalling the early Biohazard works. The guys have gotten back together, and the release of a Best of Compilation in 2005 is apparently the first sign of a renewed activity in their camp although they really like taking their time.

Time of Madness Full-length, 1988
Golgotha Full-length, 1989
Fight Without Rules Full-length, 1996

Official Site

ADEMUS (USA)

Based on debut demo, this band plays really cool classic thrash metal of the semi-technical creepy variety sitting somewhere between Forced Entry and Slammer. "Doomsday" is a formidable steam-roller which later turns into a wonderful faster technical piece topped by very good forceful semi-clean declamatory vocals. "Blood Red Stain" is an atmospheric doomy shredder creeping forward with a slight industrial edge of the guitars. This approach stays around for a few tracks until the final "Shadows Of Black" which is a smashing dramatic closer with brutal ultra-heavy riffs and vortex-like arrangements. It would be interesting to check whether the guys were pulling out similar music on the second demo...

Sumeda Demo, 1995
Degeneration Demo, 1996

ADERFIA

Modern melodic power/thrash with nu-metal elements; the best parts will remind of the Argentinian acts Horcas and Hermetica (the energetic shredder "Inconscieste Egoista"), but the singer is not really an asset with his thin screamy melodic tone.

Aderfia EP, 2009

ADFECTUS EXUNDANT (USA)

Engaging modern progressive thrash/death which starts with monstrously long compositions where numerous influences shake hands making the landscape quite eventful and utterly unpredictable, for better or worse. The problem is that one will lose the plot within one track on quite a few times and may not bother to find it since there'll be a lot more to come later, and even more complex than the preceding sections. The band don't speed up a lot and the consistent jumpy mid-tempo may lose its effect at some stage carved by several quiet short instrumentals which don't sound too necessary. This is an uneven effort which has its moments, but unfortunately most of the time it sounds as a concoction of scattered, some of them quite interesting, ideas, none of them fully epitomized.

Adfectus Exundant Full-Length, 2012

ADHAIA (PERU)

Cool energetic thrash mixing modern with classic influences clinging more towards the old school, and the tracks are all mid to up-tempo affairs with forceful sharp riffs, a couple of nice melodic leads, and not very pleasant shouty vocals which would be more suitable for the hardcore scene.

Demo Demo, 2009

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ADHARMA (UKRAINE)

The debut: furious intense thrash/crossover with Slayer-esque aggression encountered more than just now and then; at times the approach is stripped-down hardcore with bashing guitars and growly deathly semi-shouty vocals. The sound quality is not bad, though, giving a boost to the payful bass which is the dominant instrument at times.

The self-titled is a bit more restrained although the mosh never ends here; it's just that it's served with a slight sophistication that leads to the production of more memorable numbers which length seldom goes beyond the 2.5-min mark. Near the end the guys lose it and branch out straight into grindcore for a trio of exiting tracks which will brutalize the environment big time as a finishing touch.

Knife Of Jealousy Full-Length, 2014
Adharma Full-Length, 2015

ADIMIRON (ITALY)

In their early stages this act played a death/black metal blend of the more melodic variety, but on "When Reality Wakes Up" they offer an alternative groovy form of the 90's post-thrash with a couple of more stylish leanings recalling Gorefest's later post-death metal period. More dynamic riffy passages take turns with more laid-back semi-progressive ones akin to Tool with another alternation in the vocal department between gruff semi-death metal vocals, again in the vein of Gorefest, and dispassionate clean ones. There are descents to ballads, and even blues on "Endeavouring" near the end where the album loses the little steam it has amassed previously.

Eclipse EP, 2002
Burning Souls Full-length, 2004
When Reality Wakes Up Full-length, 2008

Official Site

ADK (BRAZIL)

These are three tracks of mild heavy/post-thrash with a stoner flavour. "Quando Voce Morrer" is a merry speedster with party aesthetics, but the rest is heavier and groovy still preserving the party tone also due to the drunken semi-shouty vocals.

ADK EP, 2012

ADONIS (USA)

Based on the "Visions of Terror" demo, this band provides merry roller-coaster speed/thrash metal ala early Exciter and Savage Grace with a dirty sound quality. The songs are predominantly fast with a few slower heavier breaks, the most pleasant surprise being the closing "Endangered Species" which is smashing speed/thrash bordering on hardcore. The singer doesn't deliver as well, though, his timbre being low and semi-clean without a shade of emotion.

"Model Citizen" is the better achievement with a solid consistent sound in mid-pace with clever semi-technical arrangements not far from Acid Reign. The songs are longer all clocking around 5-min, and although the mid-tempo is seldom broken, the music delivers not without the help of the much better this time clean vocals. "O.B.I. (Obsessed by Insanity)" is a cool more lively composition which comes with heavy pounding riffs also nicely recalling Heathen's "Victims of Deception".

Visions of Terror Demo, 1987
Model Citizen Demo, 1989

ADORNED GRAVES (GERMANY)

Based on the full-length debut, this act stir a complex mixture of thrash, death, and doom which begins somewhat misleadingly with an elegiac balladic cut ("Out of the Deep") with very good clean emotional vocals, but it's an entirely different story later as the band bash with no mercy for at least half the time except on another surprising piece of relative tranquillity, the bouncy doom/progressiver "Psalm 88" which sets the elaborate template followed by the remaining tracks among which one will find the closing "Source of Life" a bit annoying as it's another balladic all-instrumental elegy missing the harsh shouty main death metal vocals.
"Being Towards a River" mixes short headbangers ("Killing Shadow Black") with sprawling progressive power/thrashers ("Effervescent Torrent"), a few more impetuous gallopers ("Panta Rhei") adding more fuel to the furnace. The band overdo it a bit on the 12-min saga "Rheingold" which they can't sustain in an absorbingly interesting manner till the end, another minus being the overlong balladic closing title-track.
"The Earth Hath Opened Her Mouth" is another diverse amalgam, the band throwing valiant gallopers ("Pilgrim's Path"), dramatic epicers ("Progenitors"), sprawling tale-telling anthems ("Valley of Achor"), and openly belligerent thrashers ("Son of Soil") into the pot, the folk/doom grandeur of "On a White Pale Hill" the seeming highlight, with the stylish albeit face-melting thrashisms of "Vaults and Caverns" a very close second.

The Hand of Death EP, 2015
Out from the Depth of the Grave Full-length, 2017
Being Towards a River Full-length, 2020
The Earth Hath Opened Her Mouth Full-Length, 2023

Official Site

ADRAMMA (BRAZIL)

Based on the "The Uncurable Disease" EP, these guys provide your average modern thrash hesitating between the more intense direct type ala The Haunted and the angrier Pantera-sque one. The latter wins although it seldom reaches the heights of "Vulgar Display..." or "Far Beyond Driven".

Highlight Flowers Make Words Hear The Pain EP, 2007
The Uncurable Disease EP, 2009

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ADRENALIN (CANADA)

The first demo is aggressive thrash bordering on death metal at times; the second one retains the aggression, but adds a considerable doze of modern thrash; the third one is full-blooded modern thrash with hardcore elements in the Pro-Pain vein.

Cause and Effect Demo, 1992
Tension Demo, 1993
Control Demo, 1994

ADRENALINE (FRANCE)

This is modern thrashcore which is fairly energetic mixing the pace by preferring the up one recalling the more recent Pro-Pain exploits. The riffs are hard and kicking, and the singer is an angry shouter with a powerful authoritative delivery ala Gary Meskil (Pro-Pain again).

Demain Nous Appartient EP, 2014

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ADRENALINE (UK)

Based on the "Being This Side Of Insane" EP, this band come up with melodic modern groovy post-thrash, mid-paced, traditionally crossing harsh hardcore with clean vocals. "Castrum Dolores" offers more vivid dynamic music, thrashing with gusto on a few moments ("Playing the Role of God", "Sins of a Thousand", "Inertia"), and the dragging groovy sections are not that annoying, neither are the clean melodic vocals which here take a more active participation. "No Ones Promised Tomorrow" is a cool touch: a romantic, albeit still heavy, ballad with the clean singer doing a very good job although on that one he sounds different from the rest of the album.

Inch of Skin EP, 2005
Being This Side Of Insane EP, 2007
Castrum Dolores Full-length, 2008

My Space

ADRENALIN SURGE (GREECE)

Based on the 2-track "Thin Red Line" demo, these chaps specialize in cool crisp old school thrash, the title-track a pretty nice shredder in mid-tempo, the mosh left for "Savage Hate", an intense piece with cool semi-technical arrangements and fine melodic leads. The singer is another plus with his attached clean timbre, also possessing a higher-pitched arsenal which he unleashes on occasion.

Somewhere Demo, 1998
Thin Red Line Demo, 2000

ADRENECHROME (CANADA)

This Canadian outfit acquit themselves with crunchy modern power/thrash which has its fair share of doomy moments, but dynamics doesn't lack here and a few original motifs (the funky flirtations on "The Horror" which is also graced by a great Oriental tune) make this effort a less ordinary one. "Hymn for the Heathens" even finds time for headbanging hooks, but the second half concentrates on the darker doomy side more. The singer is quite good with his dramatic clean timbre even recalling Tim "Ripper" Owens on the more inspired moments.

Hideous Appetites Full-Length, 2012

Official Site

ADRENICIDE (UK)

Based on "Drunk with Power", these guys offer quite enjoyable, energetic thrash/crossover, very close to late period D.R.I. The shorter tracks ("Infernal Waves", "Cradle to the Grave", and especially the 1-min bomb "Little Jimmy") move towards the more aggressive spectre (think Slayer), but in an album of 15 songs they can't really change the picture a lot. And they don't have to, since the music is cool and fast-paced, staying closer to thrash, with very few exceptions: the cool short balladic instrumental "Visiting Hours ....". "Keeps Going Wrong" is a very brutal take on thrash/death, lasting for about a minute.

"Raging Full On" is 21 tracks of cool energetic thrash/crossover, which again draws resemblances to D.R.I., but this time there are moments which will remind you of Suicidal Tendencies, and Slayer on the more aggressive moments. "Forward Into Death" deserves a special mention, being half a min of aggressive, blasting thrash. Later on there is another 1-min explosion: "Junk Punk". "Guns In The Playground" and "At War With Next Door" are the odd slow, semi-groovy tracks.

"Natural Born Thrashers" tries hard to deserve its title, thrashing more intensely than the band's previous works, spreading far and wide the thrash metal idea with its 20-and-so tracks. Certainly, a couple of numbers are more crossover-oriented, but most of the time the guys thrash with confidence and gusto. The compositions this time are longer, some closing dangerously over the limit on 4-4.5min (the excellent crushing instrumental "Let The Violence Commence"- a headbanging fest at its best), as the shorter ones are left for the end where the crossover madness ala Suicidal Tendencies reigns supreme for a while ("Dying Time Crawls", "Garland Greene").

"Kill" is a brisk energetic exercise in classic thrash/crossover at its best; fast music, short explosive numbers, uncompromising attitude and a lot of mosh from beginning to end. Again a couple of tracks are longer than the majority, but thrash rules the game all over, and this effort will hardly leave anyone cold especially those who grew up listening to D.R.I., Nuclear Assault, Hellbastard and Ratos de Porao.

"War Begs No Mercy" is the band's most aggressive achievement, an all-out thrash attack for most of the time with Slayer being a close soundalike on the more brutal material (check out the explosive "W.B.N.W." and "The Last Experiment"; also the maddening thrasher "Planet Of The Dumb", and the ultra-furious "Tortured And Broken"). The songs are short and to-the-point, with fast fiery riffs seldom slowing down on the mellower tracks ("The Hunter"), providing an almost non-stop headbanging fest to the fans, proving themselves a safe bet for all who love direct lashing mosh without any distractions.

"Power Shift", recorded just a few months after "War Begs No Mercy", shows no "shift" in sound, but delivers the same no-bars-held attitude thrashing in a wild Slayer-esque fashion all the way through those 18 songs of prime retro thrashing madness. The hardcore aesthetics are certainly here, especially on the shorter numbers, but this is pure thrash all the way, the only relief being the cool acoustic instrumental, a 1.5-min "oasis" amidst those raging numbers. The headbangers will by all means be pleased (and also quite exhausted), but this is really not for the sophisticated/refined side of the fanbase...

"Bursting into Decadence": one of the most prolific UK acts of the new millennium are back with a new opus which is again a fierce slab of classic speed/thrash the band thrashing with no remorse mixing a less compromising hardcore attitude with the raging nature of Slayer's "Reign in Blood" the final result again not for the faint of heart. The sound is somewhat more restrained, though, the guitars lacking a very expressive cutting edge this time which becomes more evident since there's no reduction of speed anywhere all the 13 tracks hitting you like a big hammer intent on doing as much damage as possible on your senses. There are a few longer steam-rollers near the end which are not that focused on speed, and "Suicide (Mortal Ride)" gets surreally technical for a bit also featuring a nice balladic exit; but this is the good old Adrenicide all the way, arguably the only band from the Isles who would hardly try anything more adventurous anytime soon to delineate their fanbase. And that should be the spirit...

"Hate Crisis": fast blitzkrieg old school thrash is again the order of the day, and although the title-track is a heavy stomper, the other songs show no remorse the situation spiced by the creepy technicaller "No Cure For The Madness". The compositions are generally longer this time, and it's quite cool to hear a 7.5-min shredder like "Residual Backtrack" moshing out all the way through. The approach is more varied compared to previous recordings, even aiming at the progressive metal base with more seriously plotted numbers like "Obey, Refrain, Enforce".

Impropaganda Full-length, 2003
All Went Black Full-length, 2004
Crossover-dose! EP, 2006
Drunk with Power Full-length, 2006
Raging Full On Full-length, 2007
Natural Born Thrashers Full-Length, 2008
Kill Full-length, 2009
Pioneers In The Land Of The Mad Full-length, 2009
War Begs No Mercy Full-length, 2010
Power Shift Full-length, 2011
Bursting into Decadence Full-Length, 2013
Hate Crisis Full-Length, 2014

My Space

ADVENTUS (BRAZIL)

Four songs of classic power/thrash with a modern production and a bit noisy guitar sound. Rough angry vocals meet melodic guitar lines and catchy choruses everywhere producing memorable tracks ("Sky or Hell") with a pinch of the modern trends.

Hell Will Fall Demo, 2011

ADVERMIX

Based on the first EP: good classic power/thrash metal which starts energetically with the speed/thrashing instrumental "Corre, Corre Transy", but later the music is mostly mid-paced with heavy meaty riffs and another pure speed metal delight ("Lords of War") thrown in the middle. The closer "The Monster Dick" is disappointing, though: an ordinary toothless heavy metal anthem (it's by all means a "dick", but by no means a "monster" one...).
The IInd EP is another winner with its ripping guitars and intriguing technical implementations ("Messangers of Death"). There's a certain loss of speed near the end, but again the guys do well to rehearse competently before the eventual full-length hits the shelves.

Gates to Transilvania EP, 2009
II EP, 2012

Official Site

ADVERSARY (USA, IL)

Based on the full-length, this outfit indulge in raspy abrasive retro power/thrash with surprisingly cool proficient leads. "Torn Soul" is a clumsy power/thrasher which doesn't quite match the vigour of the rest of the songs which are served with crunchy, mostly mid-paced, riffs and lightly gruff semi-clean, mid-ranged vocals.

Discern EP, 2002
Hidden Disease Full-length, 2003

ADVERSARY (USA, NM)

Based on the debut demo, this act serve dark brooding retro thrash with vociferous death metal vocals. The music can be both comfortably bashing ("Accidental Oblivion") and macabre and heavy ("Process of Deterioration") with a tinge of Obituary, the all-instrumental odyssey "The Castle of Lystia" attempting something more complex and entangled, with a few balladic insertions as well.

Side Effects Demo, 1990
Darkened Minds Demo, 1991

ADVERSARY (USA, VA)

Modern thrash/death metal which doesn't miss out on any of the typical for the genre gimmicks: the dual guitar melodies, the clean vocals, the energetic delivery, etc. Although the music stays closer to thrash for most of the time, there's hardly anything which would strike a cord in the thrash metal fan's heart.

Singularity Full-length, 2007

Official Site

ADVERSITY (CANADA)

Fast and energetic thrash/crossover, similar to D.R.I. and early Suicidal Tendencies. The sound quality is far from crystal-clear, but it doesn't quite hamper the musicians' efforts which early hit the hyper-active confines with the rowdy megamosher "Wasted Life", the punky frivolities on "The Jester" greatly helped by the totally rousing semi-declamatory vocals; in fact, there are no vocals here per se; our friend behind the mike simply recites, sounding like a stand-up comic at times. Don't underestimate speedy thrashcorers like "Destinized" and "No More Wars" those taken straight from the Suicidals' debut, and by no means "Religions for Sale", a surprisingly more technical jumpier proposition which later the band try to match with the more diverse layout of "Lost It All" and the steady stomping developments on "Metaphysics".

Lost It All Full-Length, 1988

ADVERSOR (ITALY)

The debut: this is a primal take on the aggressive sound of mid-period Sepultura (think "Arise", above all) spiced with more melodic quirks which can't possibly stand on the way of inspired ragers like "Envenomed" and "Rise to Survive". There's literally no mercy shown anywhere except on isolated slower breaks ("Abhor War Crimes", the epic closer "Event Horizon") from the tracks which also win from the intense forceful, semi-death metal vocals.
"The End of Mankind": the bash is relentless here again, and the guys don't spare themselves, moshing like demented coming close to other "aggressors" from the distant past like Morbid Saint's "Spectrum of Death" and Devastation's "Idolatry". The more melodic excursions on "Ignoble Blackmail" are a welcome respite, albeit not enough on this primal headbanger of an album if we also exclude the more intricate embellishments on "The Cult of Apocalypse"; the rest is fast uncompromising stuff to the proto-death.
"Portrait of a Wasteland" is a tad mellower with dark atmospheric excursions ("Outcast", "Purifying Hate"), the pummeling urgency of "Throwback to Darkness" bringing the formula back to the previous dimensions. "Entangled" is another heavy stomper, the diversity on offer here making this entry a different beast altogether, the pulverizing "Greed" calling the winds of death metal for an additional dynamic boost.

Rise to Survive Full-Length, 2016
The End of Mankind Full-length, 2018
Portrait of a Wasteland Full-length, 2023

Youtube

ADVERTENCIA (ARGENTINA)

Look no further than the typical for the country power/speed/thrash metal mix (Horcas, Hermetica, Lethal), here brought with numerous balladic touches which kill the little sharpness the guitars have turning it into a boring pedestrian affair which some may lose interest listening to well before the end.

Al Escucrar Tu Voz Full-length, 2007

My Space

ADVOCATE (USA, CO)

This trio from Colorado specializes in dark classic heavy thrash with American power metal influences and good mid-leveled clean vocals. The mid-pace is sometimes broken ("Turn From Him"), but there's no shortage of slower balladic moments, either ("The Key"). "Paper Back Sword" is a speed metal delight which main riff strongly reminds of the one from Iron Maiden's "Wasted Years", only played faster. "Way To Right" immediately cancels it being morose doom/thrash. Still, there's energy aplenty on the closing "Remember the Cross" which mixes the speedy and the heavier elements to a good effect.

Exigency EP, 1992

ADVOCATE (USA, NJ)

80's power/thrash metal band in the vein of Abattoir and Liege Lord; the music here is heavier and not as fast; it starts in quite an impressive way with three stomping, almost doom/power/thrashers before introducing some faster tunes ("Do or Die", "Agony") which nicely break the somewhat monotonous atmosphere. Near the end the sound even acquires nice semi-technical tendencies, not too far from Liege Lord's "Master's Control" ("The Final Hour", "No Words Left To Say").

World Without End EP, 1995
World Without End Full-length, 1997

ADVOCATE (USA, OH)

This is aptly-stitched classic thrash, "As I Lay Dying" moving along in a consistent intimidating mid-tempo trot, the title-track going up the aggression scale with potent Dark Angel-esque riffs, the intimidating semi-declamatory vocalist creating more drama, also on the atmospheric creepy "Anubis". "Human Race" is a rowdy stomper with a couple of less orthodox developments, the possible highlight on this obscure but worthy endeavour. Some of the band members were also engaged with the thrashcore unit Environmental (earlier Environmental Hazzard).

Blind Salvation Demo, 1990

Youtube

ADX (FRANCE)

The finest French thrash metal band; starting more as a speed metal outfit, the band have moved more and more towards the thrash metal spectre. The first three albums are more in the speed metal mould, with timid nods to thrash, along the lines of their compatriots Killers, the band running successfully as the European analogue to Agent Steel, and well deservedly so. A strong, and an appealing, characteristics for their style were the infectious choruses and the swirling melodic leads. "Weird Visions" is the band's real initiation into thrash, and their finest hour: one of the biggest achievements of the whole French metal scene. "King of Pain" keeps the tie to their past with a more speed metal-like approach, but later things become more interesting: the melodic mix of speed and thrash "Lost Generation"; the mighty thrashy riff-fest "Sacrifice in the Ice", with a marvelous waltz-like outro; the superb instrumental "Mystical Warfare"; the intense speed/thrasher "Behind the Mirror". There's, however, at least one filler as well: the mid-paced heavy metal number "Sign of the Time", partially saved by the raging follower "Invasion". A nice cover of Rainbow's "Kill the King" is placed at the end of this masterpiece which remained the band's last recording for quite some time.

"R'esurrection" saw the band back, but not really in flying colours, like it was expected. This is by all means thrash, but the huge doze of speed, which made their previous works so great, is almost nowhere to be found ("Resurrection" is the exception, a great intense thrash delight, the highlight of the album; if only there were at least a few more of these around...). The songs are lengthy, at least according to the band's standards, and the guitar work is not bad, albeit one-dimensional: heavy, mid-paced, pounding riffs with a modern edge here and there; this is what awaits you here for most of the time; not a really impressive picture, isn't it? Especially when I add that there's also one very long, tender 10-min ballad ("Jeux De Chair"). Well, the guys' penchant for nice melodic hooks can still be felt on at least half of the songs. The closing track is a remastered version of one of the band's lesser achievements: "Marquis Du Mal", this time sounding even worse, with an added modern sound. Apparently not fascinated with the acceptance this comeback album received, the band disappeared again not long after that.
"Division Blindee" is a glorious return to form for the band although their fans had to wait for eight whole years, also witnessing their idols falling behind their colleagues and compatriots from Killers, the latter having done a marvellous job on their last two albums. On this one ADX offer us the staple bombastic speed/thrash known from their 80's efforts. The fine guitar duels and leads are back along with the passionate, dramatic vocals and choruses; both the intro and the outro are also short, but fine additions. Slower, heavier tracks are added, as well as one with a more power metal edge, but the majority are all-out speed/thrashers (check out the closing "Demiure Morsure" which is a feast for the ears to those who like the Shrapnel acts and guitar pyrotechnics with a more aggressive edge): a big excuse for the not very convincing previous effort and a major push forward for the French speed/thrash metal scene of the new millennium.

"Immortel": hats down to France for making us feel like it's the 80's over again: the two aces of French metal ADX and Killers are racing each other again like in the good old days. And if back then ADX managed to edge out their rivals due to their more commercial thrash-fixated sound which they acquired in the late-80's, now they will have quite a bit of catching-up to do with the "killers" going stronger with each subsequent album looking almost unreachable at present. The shameful "R'e9surrection" is a distant memory now, and with a second album after the excellent "Division Blindee" things look bright for ADX once more. The catching-up is on full-throttle now, and the guys may eventually come close to their colleagues because the title-track is another classy display of old school speed/thrash metal the opening title-track spitting fire on all sides being a prime rager with great melodic licks. Time for mid-paced drama with the next smasher "Pachydermus", but don't expect two in a row of the kind from the "kings of speed", and "Messe Rouge" will rock your world in no time with its unstoppable rapidfire riffs. "Le Secret" is a mixture of the two sides, and "L'adieu Aux Armes" offers a power/thrash blend with a sudden explosive exit. "Bapt'eame De Sang" is formidable speed/thrash with a thundering bass bottom, and later on the alternation between fast and slower compositions is well achieved reaching doom-laden proportions on the sinister "Delirium". The guys apologize quickly with a duo of intense speedsters before the final "Le Dernier Geste" melts the hearts down with its more moderate catchy power metal approach. Still, there is plenty here to fill in the hungry thrash metal fan's basket to the brim, and as such this effort is another fine addition to the guys' catalogue who are alive and well, and by all means ready to take a major part in the genre's resurrection movement both in their homeland and worldwide.

"Ultimatum": our favourite speed/thrash metal heroes are here again, but this time they serve not very pretentious speed/power metal boogie which lacks the bite of their previous recordings sustained in a jolly carefree mood quite resembling the works from the 90's speed/power metal wave. In this sense the guys seem to be losing the race with their main rival Killers who are getting more and more aggressive. The speedy numbers here are dissipated by a healthy portion of not very striking mid-pacers which were "strangers" to the band even in their very early days. Anyway, as an effort of heavy metal joy this album should please a wider gamut of fans whereas the thrash metal fanbase has a lot else to choose from at present.

"Non Serviam" continues with the band's infatuation with the more friendly rhythms so by no means expect hard-hitting speed/thrash here although the opening "La Mort en Face" creates some illusions that this would be a look back at their 80's heritage with its highly energetic riffage. "La Complainte du Demeter" is another faster-paced cut, but the illusion won't last very long since soon after the guys settle for their mellower approach which should keep the fans of their more recent exploits happy.
"Bestial" absolutely justifies its title the band rekindling their passion for the good old speed/thrash once again, and although the opening "Au-Dessus Des Croix Noires" is more on the friendlier speed metal side, things soon become rowdier and darker with the brooding power/thrasher "Les Sanguinaires" and the more complex epicer "Overlord". Short vigorous speedsters ("Collecteurs De Chair") are regularly served, but it's the officiant thrashing urgency of cuts like "La Marche Des Spectres" and "Action Cannibale" that propel this album forward, the glorious "Disgrace" reminding of the first three instalments, the more technical veneer of "Du Sang Sur Les Pierres" a great diversifying dish on this grand recording, a stunning return to form also graced by the no-bars-held speed metal hurricane "La Traque" and the beautiful balladic closer "Le Mensonge" the lead guitarist reveling in his own grandiosity on that last one.

Ex'ecution Full-length, 1985
La Terreur Full-length, 1986
Supr'e9matie Full-length, 1987
Weird Visions Full-length, 1990
R'e9surrection Full-length, 1998
Division Blindee Full-Length, 2008
Immortel Full-Length, 2011
Ultimatum Full-Length, 2014
Non Serviam Full-Length, 2016
Bestial Full-Length, 2020

Official Site

AEDOOM (CHILE)

There's one guy behind this project (guess the name or rather, the alias) and he tries to combine two contrasting genres like thrash and doom metal resulting in heavy crushing music which is much closer to doom for most of the time, and will surely satisfy the lovers of slow volcanic rhythms. Things get seriously brutal on "It's Over (Part 1 ''The Suffer") which features a few unbridled blast-beating sections, and later on the headbangers will enjoy the short cleverly-executed rager "Rotting Faith" which leaves the scene to give way to two ponderous antediluvian doomsters in the best tradition of Tristitia and early My Dying Bride. So the guy has appropriately selected his pseudonym, after all...

Inner Silence Full-Length, 2014

Official Site

AEGLYSS (USA)

Fairly cool modern thrash/death which "flirts" with the technical, but not bravely enough ("Frbannat" near the end is an exception being a really stylish cut) to make the fan scratch his/her head a lot. Still, the dynamics is quite big without reaching any heights speed-wise, and melo-death "roams" around to kill any attempts at more brutal shredding culminating at the end on the more engaging progressive number "Frostbitten Plague-wielders". The singer performs in a forceful growling way, but his rendings are suitable and never strained.

An Ill-formed Faith Full-Length, 2012

Official Site

AEON (SWEDEN)

The stoner/doom guru Christian 'Spice' Sjstrand (The Mushroom Band, Spiritual Beggars, but also the modern thrashers Kayser) gives a more aggressive thrashy twist to his infatuation with the "stoned" sound. Based on the debut demo, this other project of his, which he runs along with one of his colleagues from Kayser Fredrik Finnander, plays modern power/thrash metal with an obligatory doomy shade, but rest assured that there will be a fair amount of moshing here: check out the wild shredder "Open Up To Life" and the short piece of proto-death brutality "Help Me Out". This is cool diverse music ably supported by Sj'strand's convincing gruff mid-leveled Tom Araya-sque delivery.

All Becomes Ashes Demo, 1990
Missing Ground Single, 1991
Universe Wide Open Demo, 1992
Absence Demo, 1993

AEON CULT (SPAIN)

This is the product of just one musician, the alias Pira, who pulls out pretty cool retro progressive power/thrash, the dominant mid-tempo stride interrupted by the casual more linear speedster ("Rat Race", the proto-death laced shredder "Delusions of Grandeur"). Pira supports his musical exploits with a fairly nice clean attached timbre, unleashing a more aggressive harsher deathly baritone from time to time. Bigger ambition is shown with the 8-min saga "And Words Are Blown by the Wind", a melodic semi-balladic pageant which still plays second fiddle to the more volatile rifforamas on "Panspermia", the final "Paradise" pulling the album down with its blase acoustic layout, an anti-climactic epitaph to an otherwise cool effort.
�Paradox� is a decidedly mellower recording, Pira interlacing his staple complex musings (�The Same Old Story�) with both idyllic balladic outtakes (�Depths of Despair�) and much angrier proto-death lashings (�Trapped by Fear�), the latter breed not really supported by dramatic surreal Oriental stretches (�Strength for Revenge�), but watch out for the title-track, a stylish technical piece of the hectic thrash/death variety. The rowdy aspect of the man�s repertoire meets no advocates later, the dreamy fusion-esque layout of �Oblivion of Being� wrapping on this cool but decidedly introspective effort.

Panspermia Full-length, 2019
Paradox Full-length, 2023

Official Site

AEONS ABYSS (AUSTRALIA)

Based on the full-length debut, this band specialize in heavy dark thrash with vicious throaty death metal vocals. The not very eventful, plain hypnotic delivery works well on the longer material ("You Shall Be As Gods", the stylish semi-technical shredder "Tried by Ordeal") whereas on the shorter one it sometimes ruins a more intense passage, the officiant epic character of doom-laden compositions like "Hashasheen (Assassin)" and "Agony Vision" close to being the highlight with their effective pessimistic flair.
"Terror Manifest" is built around esoteric tarot cards lore, and music-wise acquires an even heavier, darker attitude, the riffs now openly bordering on doom, like on the pretty effective formidable steam-roller "The Tower", with bewitching melodies arising from literally every corner, colliding with some truly visionary technical riffing on the excellent atmospheric "The Emperor". A sniff of death metal permeates the hyper-active "The Devil", but "The High Priestess" on the other hand is a vintage high-octane doomster. The Oriental motifs on "The Hierophant" are another plus in the resume of this varied, not very predictable recording.
The �Insidious Truth� EP is woven of the same elements, morose seismic thrash/death that builds momentum on the seeping dramatic title-track, before �v� releases a few potent semi-gallops. �The Lost Song� crosses tenebrous doom with not very controlled deathly blast-beats, and �Azathoth� attempts something more intricate on top of several cool melodic licks.

Pity Eloquence EP, 2019
Impenitent Full-length 2019
Terror Manifest Full-Length, 2021
Insidious Truth EP, 2023

Official Site

AEONS END (GERMANY)

This band included two future members of one of the leaders of the contemporary German thrash metal scene Red to Grey; actually, in an early incarnation of that same band the guys have played classic death metal, and here shades of their old style can occasionally be heard. The singer here is a girl, and her clean mid-ranged voice, not miles away from her compatriot Doro Pesch, is probably the best choice for this exquisite technical/progressive fusion of power and thrash, which perfectly fits into the progressive/technical thrash wave which appeared a few years earlier in Germany. The opener "It Never Prays..." is a more laid-back progressive power metal track, but "Share In Fate" hardens the course, and is a standout technical/progressive thrasher with swirling riffs and really aggressive, proto-death sections combined with sudden, spiral-like (hence the album title) time changes. "Life Unlived" is a softer-sounding, but still quite complex, number clinging again more towards the power metal side, but "Unreal Perception" thrashes with full force, despite the balladic introduction; this is another exemplary progressive thrash piece, which sounds like a leftover from Sieges Even's "Life Cycle"; a slight letdown is the more quiet, semi-balladic ending which contrasts to the furious technical sections before that. "Refusal" is as elaborate as thrash metal can possibly get, a head-spinning labyrinthine song with hard-hitting guitars, nice fast leads, and straight speed/thrash parts. The only "flaw" of this masterpiece is that it's only five songs; the last track ("Soul Dreamer") is a 2-min acoustic instrumental, which is actually a great ending to this obscure, but essential work. Red to Grey are yet to match the technical brilliance of this album.

Spiral Seas Full-length, 1994

Official Site

AERION (MEXICO)

Edgy brisk modern thrash in mid-pace which isn't very eventful, but delivers with its consistent volcanic rhythms some of which border on doom ("Crhimen") and the openly balladic ("Caeddo") before the closing "Tomando El Control" starts speed/thrashing with might also providing breathtaking melodic leads as an epitaph.

Trincheras Full-Length, 2015

Official Site

AESIR (USA)

The "Save Us From Today" demo: energetic edgy thrash with an American power metal flavour, close to Laaz Rockit's "Know Your Enemy" and early Helstar; the tempo is mid to up, but at times the guys get "pissed" and start thrashing in a less controlled manner (the raging sections from "Scream For The Light", and the speed/thrash monster "Mr. Neighbor"). "Evil Memories" tries something complex being twice as long as the other songs, but the guys are not that impressive when they slow down stretching bland balladic passages quite a bit topped by very screamy amateurish leads. The title-track isn't far behind in terms of length, but there the band never lets the speed go, and this one is a decent headbanger where the singer tries to unleash very high-pitched screams not too far from early Warrel Dane.
The "In the Name of Power" demo is just two songs "Time to Fight" being a heroic speedster with echoes of Savage Grace and Griffin, and "King of Asgard" is a cool melodic progressiver with steady mid-tempo riffs and dramatic epic arrangements.

In the Name of Power Demo, 1987
Save Us From Today Demo, 1987

AESTHETIC (USA)

Based on the full-length, this outfit pull out intense modern thrash which conforms with all the established rules of the genre if we exclude the semi-shouty death metal vocals. "Asaer" traverses more brutal death metal territories, but overall the band stray from the righeous path too much, the groovy escapades on "Pale" notwithstanding. "Morrigan" is a more flexible attempt at a progressive song-writing but the soft melodic vocals on it ruin the intentions a bit.

????? EP, 2009
Endless Warfare Full-length, 2019

Official Site

AETERNUM (SWITZERLAND)

Based on the 1996 split, this band is mostly in the death metal camp with the odd thrash riff added for good measure. The style ranges from the war-like, steam-rolling sound of the Brits Bolt Thrower and Benediction to very fast rhythms ala Mortification and Brutality.

The full-length has already mutated into symphonic black metal with certain support from death and a little bit of thrash. The music has acquired the expected hyper-blast tendencies, plus a few gothic, Cradle of Filth-styled decorations, and as a whole the thrash metal fan will feel cheated for most of the time.

Fear of Mankind Demo, 1995
Promotape 1996 Demo, 1996
Defaced Creation/Aeternum Split, 1996
Aeternum/Evoke Split, 1999
Dreamy Silken Moontew Full-length, 1999
Promo 2001 Demo, 2001

Official Site

AETURNUS (USA)

This is complex, technical thrash with shades of death metal (but not too many), quite close to the Swedes Rosicrucian's "Silence", or the Americans Punisher's "Disillusioned". The riffs are crushingly heavy, and the tempo for that reason is not fast; there are moments from the groovy 90's scene as well including the vocals which are a mix between Burton Bell and Phil Anselmo, with a slight computerized/industrialized edge, and are simply bad, compared to the better music. There are long (6-8min) tracks where one could hear quite a few time changes including more speedy parts, but most of the time this is pounding, somewhat tedious stuff.

From Blackest Darkness Full-length, 1995

AFFECTED (CZECHIA)

A Czech trio who specialize in unpretentious simplistic retro thrash which certainly has its more laid-back mid-tempo side ("Made of Metal"), those moments overwritten by the galloping urgency of "Disillusion" and the speed/thrashing impetuousness of "Blackout". The rough semi-shouty hardcore vocals aren't a detriment, and generally fit the mood swings, including the officiant doom-laden march "Inquisition" and the uplifting crossover jump-arounder "Call from the Cemetery".

Affected Full-length, 2021

Official Site

AFFIXIATE (SWEDEN)

Based on the debut demo, this act serve heavy squashing, industrialized post-thrash the riffs rolling like steam-rollers for most of the time topped by infernal semi-guttural death metal vocals. Aspirations towards any speedier ways of execution are out of the question, but "Abandoned Souls" is a sprightly livelier proposition the closing "Mortal Prey" also adding more diversity with more interesting, marginally more dynamic arrangements.

Affixiate Demo, 1995
Say There's Other Things Than Getting A Job Demo, 1995

AFFLICTED (SWEDEN)

After one very good technical death metal release ("Prodigal Sin"-1992), this band switched onto power/thrash metal with this one. The style is close to the American standards; this is epic, mostly mid-paced to up-tempo stuff reminiscent of old veterans like Omen, Savage Grace, Liege Lord, etc. It's too bad that the impressive technical sound of the debut is almost nowhere to be heard (maybe, a few moments on the battle opus "Raging Into Battle"). On the last two songs the guys let more aggression loose resulting in better, thrashier music with quirky experimentations on bass on "Cross My Heart".

Dawn of Glory Full-length, 1995

My Space

AFFLICTED CONVULSION (SWEDEN)

This is the early incarnation of Afflicted (see the review above). The debut demo shows a band playing competent thrash metal with several more stylish insertions (check the ambitious diverse title-track "Toxic Existence"), but the raging death metal parts aren't missing, either, reaching an almost intolerable grinding intensity at the end on the closing 1.5-min explosion "Batman".

Toxic Existence Demo, 1989
Psychedelic Grindcore Demo, 1989
Beyond Redemption Demo, 1990

AFFLICTION (TURKEY)

Based on "One Reality", these guys follow on the steps of their Swedish counterparts; in other words, this is modern thrash metal, quite fast bordering on death, the way bands like Carnal Forge and Hatesphere used to play it with slower sections inserted where you can hear cool melodic vocals. "Execution is Necessary" flows in the same vein, maybe a bit more aggressive, with more nods to death metal (In Flames, Dark Tranquillity).

One Reality Full-length, 2003
Execution is Necessary Full-length, 2007

Official Site

AFFLICTION (USA)

Heavy, technically competent thrash of the classic type; the music is a mix of fast-paced, intense pieces and heavy, mid-paced ones. The guitars are heavy with a dark, brooding sound which create an ominous atmosphere also helped by the very good bass work. There are no real highlights here, all songs tend to come together with the first and the last tracks being the fastest, and the most impressive ones (the last one is actually a short effective hardcore-ish piece: "Trying To Be Cool"). The vocals are a bit raw with a gruff, semi-death metal tone, but suit the dark music well.

The Damnation of Humanization Full-length, 1992

My Space

AFFLICTIVE NATURE (USA)

Based on the full-length, this formation serve noisy abrasive modern thrashcore which acquires more classic parametres ("Helm Crusher") also thanks to some truly inspired lead guitar work. "Intolerant Tyrant" and "Forced to Crawl" are both impetuous headbangers, but the guys' real power lies in thne more entangled material like the semi-technical mid-tempo shredder "Palace of Pain" and the infectiously melodic powerhouse "Power Illusion", the band's musical dexterity also springing up on the stomping delight "Possessor", the hellish shouty vocals providing unsettling intimidating atmosphere.

Doomed from the Start EP, 2012
Strictly Savage EP, 2013
Judged Punished Erased EP, 2013
Palace of Pain Full-length, 2019

Official Site

AFFLIKTOR (USA)

The tireless guitar wizard Toby Knapp is on the road again with an entirely new project, and needless to add this opus is a smattering display of guitar genius, classic technical thrash accompanied by vicious black metal vocals courtesy of Knapp again. The steel gallops of the opening "Storms of Demogorgon" will totally delight the headbangers, an awesome inauguration for this noteworthy shredfest which becomes choppier and more intricate on "Born To The Breeder", a vicious diverse thrasher Knapp's infernal witch-like rasps soaring above the highly-stylized musical "carnage". "Backwards Into Hell" switches onto a blast-beating mode for a bit at the beginning, and later it remains a more brutal death-laced piece with hard cutting riffage and brilliant lead sections. The magick continues with "Chaos Magick Totality", another exhausting riff-fest with a few black metal-ish motifs. "Burn The Earth" changes the formula with more restrained guitarisms, relying on a less vigorous stomping rhythm-section. "The Singularity" is sustained in a similar mode, a sinister pounding number with a sudden faster-paced escapade. "Planet Rogue" brings back the sophisticated technical thrash with a solid doze of death again, the drama reaching fever-pitch dimensions before more intricate delights ala Coroner pacify the environment, Knapp bewitching the listener with more stupendous leads. "Nothing Shall Arise" is the next in line outstanding technical achievement, a bumpier ride with a wider array of tempo shifts, closing the whole saga with an exquisite accumulation of both speedy and technical sweeps. An absolute marvel in every sense which will have no problems placing itself in the top ten of every self-respected metal fan for 2017.

Affliktor Full-length, 2017

Official Site

AFFRONT (BRAZIL)

Based on "World in Collapse", this band play vicious blitzkrieg old school thrash/death accompanied by shrieky blacky vocals; things get really wild on ragers like "Your Lies Your Fall" and "Favelas, Senzalas" with early eye-openers like Kreator's "Pleasure to Kill" and Sacrifice's "Torment in Fire" coming to mind, the several attempts at a more moderate, mid-tempo delivery ("Monument to Hate") sounding somewhat awkward on the pretty aggressive, hyper-active background. "Sowed by Lies" is a very interesting, unusual combination of quiet balladic etudes and unrestrained speedy thrashing, with the more technical title-track a close second.

Angry Voices Full-length, 2016
World in Collapse Full-Length, 2018

Official Site

AFRICAN CORPSE (GERMANY)

This outfit indulge in modern melodic thrash/death which for most of the time is one-dimensional mid-paced affair the sudden spasmodic outbreaks of aggression ("African Corpse") bringing the necessary doze of life into this otherwise easily forgettable release. The singer is the prototypical shouty throat who reaches the point of hysteria on quite a few times.

Corpsewar Full-Length, 2013

Official Site

AFROBOMINATION (USA)

Crusty core-y thrash which dirges forward in a frolic abrasive fashion retaining the up-pace for most of the time the vocalist's guttural deathly heroics mainly suitable on the morose doomster "The Afro-pick of Funk" and "Fuck You, I'm Black". The rest often recalls the Motorhead exploits with a harsher, thrashier edge.

Space Motherfuckers From Space Full-Length, 2015

AFTER ALL (BELGIUM)

The band's works during the 90's belong to the heavy/power metal genre. With "Mercury Rising" the music starts getting more interesting offering an interesting blend of doom, power, classic heavy metal and, of course, thrash. The last two releases, though, are essential classic thrash metal picks. Those of you who have followed the band from the very beginning, will be stunned to hear this aggressive intense stuff; both albums offer excellent fast-paced to up-tempo music with great sharp riffs, with almost no shades of the other genres previously courted ("Cascade" from "The Vermin Breed" is a doom/semi-balladic number, and "Second Time Around" from "This Violent Decline" is another good attempt at a semi-balladic song-writing of the heavier, Testament type). "This Violent Decline" could be considered the slightly better effort of the two, with a faster and more technical guitar work bordering even on death metal at times (the Germans Final Breath might come to mind) although the inclusion of Gothenburg-styled melodies might be a pullback to some.

"Cult Of Sin" is an explosive work wasting no time to prove its worth with the crushing opener "My Own Sacrifice", intense speedy thrash with a couple of more extreme death metal elements thrown in. In case of you wonder which style the guys have chosen to pursue, here comes "Scars Of My Actions": an old school thrash attack at its best with allusions to the German school (Paradox, Angel Dust). "Betrayed By The Gods" shows the band's other, slower and heavier side, a crushing piece of steam-roller aggression. "Devastation Done" is fast thrash/proto-death, a relentless downpour of riffs with a stomping mid-section. Death metal goes a level up on the brutal riff-fest "End Of Your World", and will remind you of early Pestilence and No Return's "Contamination Rises". "End Of Your World" is the odd power/thrasher with an epic shade, strengthened by the 1-min of peaceful balladic sounds on the instrumental "Doomsday Elegy (2012)". The "idyll" is over with those two, and "Embracing Eternity" rages on, thrashing with force for about 3-min, and this is where one can hear the vocal legend James Rivera adding a few hellish screams. "Hollow State" is another cool take on more epic thrash, but the speed comes back to stay on the final "Release", which provides a healthy doze of headbanging retro thrash lasting for about 5-min, before the fine balladic lead-driven outro takes over. The crisp production, courtesy of the Swedish maestro Dan Swano, gives a great boost to the guitar sound, and these riffs cut like a knife, sounding equally as hard on both the fast and slow passages. It would hardly matter whether the death metal tendencies will take a fuller shape on future recordings: with a musicianship of such a calibre these guys would easily be a sure pick for any metal fan.

"Dawn of the Enforcer" would be another no-brainer for the classic thrash lovers the band finally getting rid of the not very suitable deathy singer replacing it with a pretty good clean attached one. The opening "Parasite Within" is an instant hit, rigorous headbanging thrash at its finest followed by the equally as energizing "Timeless Machine". "Digital War" is a more dramatic and more diverse pounder with a shattering death metal insertion in the middle and a dreamy balladic ending. "Spread the Infamy" is a milder power/thrasher, but the guys don't let this become an undesirable tendency, and the next "Becoming the Martyr" is a furious piece with lashing riffs. "To Breach and Grieve" is almost doomy-sounding due to the slow seismic guitars the alternation between the two sides carrying on with the faster-paced "Demolition Course" and the remaining material. The last four tracks are not different in approach, but are sung by the older singer who this time has acquired a more acceptable cleaner tone, all of them taken from the preceding two EP's. With the crystal clear production courtesy of none other than Dan Swano and the cutting edge of the guitars this album seems like the band's finest hour so far, a diverse work which doesn't sound overdone or awkward, and is a sure highlight on the thrash metal scene for 2012.
"Waves of Annihilation" is another winner from this promising act who have found the right formula to thrash with conviction and vigour. "Rejection Overruled" opens the album with fiery riffs which only aggravate on the following "Target Extinction", a raging speed/thrasher with clever semi-technical gimmicks. No rest for the wicked, and "The Unusual Sin" is the next in line highly energetic cut again with a few more technical quirks presented. "Fall in Line" gallops with the finest courting the power/speed metal movement with style. The stylish intriguing thrashing comes back with "None Can Defy" the nice melodic leads another bonus. The attack only becomes more vicious with the headbanger "First Class Terror", but "Restore to Sanity" is a calmer piece despite the brutal death metal vocals introduced, a total contrast to the very good clean main ones. No speed "lost" on "Lost in the Crowd" before "After the Hurt Is Gone" offers moderate mid-tempo rhythms on a more challenging progressive base. "Destructive Force" closes the album with the final portion of blitzkrieg speedy guitars, a very appropriately-titled piece putting this effort on a high pedestal again, a sure leader of the Belgian metal fraternity at present.
"Eos" is another smattering display of the band's newly-found vigour and creativity, and it easily matches its predecessor in nearly every department. The impetuous opener crossed off the list, naturally, "The Judas Kiss" is the title, a stylized pummeler which finds its match in the shorter and more exigent headbanger "Deceptor" and the soaring "eagle fly free" spiriter "Kindred Spirits". The speed metal galloper "Elegy for the Lost" is another dynamic event despite its slower developments, "Waiting for Rain" capitalizing on the latter being an imposing quasi-doomster. The pogo returns with the impetuous "Demons Raging", the dramatic stompiness of "Grand Illusion" putting an end to the hyper-active environment, but only for 4-min as right after "Torn Asunder" tears the idyll for the umpteenth time here with another array of scintillating rhythms, the dramatic power metallisms on "Shadows of the Mind" finalizing this tantalizing saga with the help of the closing "At Dawn's First Light", a pensive atmospheric doom/ballad conglomerate.

Mercury Rising Full-length, 2002
The Vermin Breed Full-length, 2005
This Violent Decline Full-Length, 2006
Cult of Sin Full-length, 2009
Betrayed by the Gods EP, 2010
Becoming the Martyr EP, 2011
Dawn of the Enforcer Full-length, 2012
Waves of Annihilation Full-Length, 2016
Eos Full-Length, 2022

Official Site

AFTER BURNER (AUSTRALIA)

Brisk ripping retro thrash/crossover the guys moshing with passion the whole time, seldom pausing for a break as the approach on the shorter material ("Colosseum", "Under the Ice") comes close to hardcore and punk where also the cool mid-ranged semi-declamatory vocals belong.

After Burner Full-Length, 2018

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AFTER DUSK (GREECE)

Based on "The Character of Physical Law", these folks deliver modern/classic power/thrash which is particularly striking in the lead department. "Masters of Earth" is an excellent epicer with stronger classic overtones and tasty melodic configurations. "A Phantom Epiphany" thrashes harder with the melodic additives still roaming around turning into unobtrusive keyboard tunes on "A Corpse with a Smile". "Mindinfestation" is a more officiant quasi-doom composition which finely complements the very good attached Ozzy-like vocals.

The Witch's Pact Full-length, 2006
Hybris Full-length, 2008
The Devil Got His Soul Full-length, 2012
The Character of Physical Law Full-length, 2017

Official Site

AFTER FOREST (FINLAND)

Based on the "Insignificant" EP, these folks offer modern thrash with seeming progressive tendencies which are scattered among the lengthy compositions the latter being a bit on the dragging side with too many quiet doom/balladic moments for this to be a truly enjoyable experience. The music has its atmospheric, gothic side also accentuated by the gruff death metal singer.
The "Act I" EP is just three tracks of a tad more cleverly concocted progressive post-thrash which again is quite melancholic (check out the 11-min saga "From Bliss to the Arrival of The Others") with frequent stretches towards the doom metal field.

Insignificant EP, 2012
Act I EP 2015,

AFTER JESUS (GERMANY)

This act "follow" Jesus with a classic mix of power and thrash with certain progressive overtones at times as evident from the opening band name carrier, an interesting blend of hard-hitting thrash and breathtaking balladic melodies. "...Look Inside" is another less ordinary piece with a doomy mid-break interrupting the dynamic thrashing. "Magic Madness Fantasies" is the short crossover joke, and "Life Brain Time" is an overlong, almost 8-min, tender ballad. The second half is all over the place even adding more technical death metal on the final "But One Day" which closes this effort with more style than it actually deserves.

Flabbergast Full-Length, 1995

Official Site

AFTER LIFE (SPAIN)

Traditional semi-technical modern thrash with an interesting vocal "duel" between harsh shouty death metal and angelic female vocals. The vocal histrionics accompany well the original music which evolves around robotic, choppy riffs ala Meshuggah which dispassionate execution slightly undermines cool energetic headbangers like "Unleash The Time", for example. The technical ambivalence of the latter is partially translated on "Bio-lence-Darkest Skies". The other "Bio-lence", "The Revenge Of Gaia" is ripping thrash at its very best akin to Darkane and Altered Aeon. "Dehumanize" is another less ordinary shredder with operatic keyboard support and breathtaking balladic interruptions; and "Enslaved" is sterile technical thrash with spastic rhythms overlapping on a more urgent proto-death base. "Break The Silence" is a more quiet progressiver with a fast-paced engine, and the final "Whispers, Beyond The Edge" is the last display of musical virtuosity thrashing hard and fast giving Darkane a run for their money with a truckload of tempo changes and moods, not to mention the super-technical twist near the end.

Requiem From The Abyss Full-Length, 2016

AFTER OBLIVION (BOSNIA & HERZEGOVINA)

A talented young act who give a nice speed/thrash twist to later-period Death and Sceptic, a tendency already started under the name Path Beyond Serenity, with one EP released before the name change. Fans of the two aforementioned bands may find this addictive; it's that good. The debut EP is four songs of top-notch musicianship reflected in swirling leads, overwhelming Oriental melodies (the latter are the main fascination being present all over), fast tempos, slower progressively-tinged passages, and more. The singer imitates the style Chuck Schuldiner (R.I.P.) acquired on the last two Death albums, but gives his tone a slightly screechy high pitch which could be considered the only flaw on this otherwise perfectly executed slab of technical thrash which is played in an energetic up-pace for most of the time.

"Vultures" contains three compositions which show an increased level of complexity with the progressive overtones now more strongly present which, fortunately, is not for the sake of the speedy delivery the guys lashing with passion throughout. Still, the time-signatures are more complex, and the Oriental spirit of the first EP is somewhat left behind, but the shadow of Death looms even stronger here (check out "Deliverance" which is a tribute to "Flesh and the Power It Holds" from "The Sound of Perseverance", only shorter). The emulation of the guys' peers is probably too close, but it's done with professionalism and dedication; and there's certainly time for the band to find their own style, if necessary.

The three numbers from the EP serve as the backbone for "Stamina" which is fairly good technical thrash/death from beginning to end. After the already familiar "Deliverance" which opens the album the guys start "delivering" expertly-executed Death-worship which threatens to reach the Polish Sceptic heights very early with the shattering shredder "For the Rebels". Comes "Vulture", another familiar tune from the EP, and "Breeding Perdition" is another prime technical headbanger which sets the tone for the remainder among which one will find the other track from the EP ("Septic Mind") and one short energetic instrumental ("Ascent of Misery"). We should also mention the closing "Hatred Profound" which is more on the atmospheric progressive side with the couple of softer balladic insertions. Everything is close to perfect here, but the individual character of the album, and respectively the band, is somewhat missing; this is a very well done tribute to a great act and the guys seem well equipped to race with the other Death clones around; only time will tell whether they would be able to escape the shadow of the Chuck Schuldiner (R.I.P.) gang and take a road less travelled...

The Carnal Form EP, 2007
Vultures EP, 2011
Stamina Full-Length, 2012

Official Site

AFTER THE BOMBS (CANADA)

Based on the "Terminal Filth Stench Bastard" EP, these guys play fast intense thrash/crossover ala Nuclear Assault and D.R.I. with very abrasive guitars and high-pitched apocalyptic vocals, reminiscent of Torsten Bergman (Living Death). There will be a lot of jumping around on this one, the speed never goes down, and despite the samey approach on every track, as a whole this little slab of old school crossover aggression will hardly leave you indifferent.
"Relentless Onslaught" is in the same vein, but the vocals now are more controlled, and the guitars are less abrasive. The songs are longer, although the aggression hasn't been diminished: check out the furious "Condemned" and "Face of Brutality", and especially the short piece of extremity "This Hell". Still there are a couple of tracks which are mid-paced and jollier, carrying the early punk spirit.

"Bloody Aftermath/Black Horse of Famine" is just two tracks of the same carefree thrash/crossover this time more hardcore-tinged and with more shouty vocals. The abrasive edge of the guitars has been brought back as well as the short song-length.

The self-titled EP is three songs of aggressive thrashcore, fast and furious, reaching the intensity of the debut EP with its fast bashing guitars, again with an abrasive fuzzy sound, topped by the forceful shouty vocals.

Terminal Filth Stench Bastard EP, 2005
Relentless Onslaught Full-length, 2007
Bloody Aftermath / Black Horse of Famine EP, 2007
Spoils of War EP, 2007
After The Bombs EP, 2009

My Space

AFTER THE REIGN (USA)

Modern melodic thrash metal in a peaceful mid-pace with a gothic atmosphere achieved mainly by the gruff semi-whispered vocals and the beautiful melodies both of which are reminiscent of mid-period Sentenced.

After The Reign Demo, 2010

AFTERBIRTH (USA)

Based on the "Amniotic Daze" demo, these guys pull out intense thrash metal with more brutal proto-death shades and forceful mean vocals. The tracks are very short (1-1.5min), but the delivery doesn't need anything longer to prove its aggressive character.

Amniotic Daze Demo, 1987
Afterbirth Demo, 1988

Fan Site

AFTERBLOOD (GREECE)

Heavy steam-roller thrash/death of the modern school which sounds the most convincing when it dooms ("Mission of Aggression") with the best out there. As though to apologize for the relative lack of speed in the 1st half, the band open the second chapter with the brutal "Thoughts of Black" and indeed, the songs towards the end become more dynamic even reaching blasting proportions on "Helheim". "Psychonic" closes the album in a more minimalistic doom fashion, but delivers with its crunchy riffage. The vocals are creepy with a semi-declamatory deathly timbre and suit fairly well the somber nature of the music.

Of Unsound Minds Full-Length, 2013

Official Site

AFTERDEATH (PORTUGAL)

Modern death/thrash metal with some groove involved and also interesting progressive moments, not too far from the Canadians Obliveon (their later period). The music is very crunchy, mid-paced most of the time. In the faster tracks ("Digital Horizons") the band come close to the classic thrash formula which is arguably their better side. These guys have definitely managed to forge their unique style, but split soon afterwards. They re-emerged "nameless" two years later under the name Nameless for the release of the much less impressive, albeit still classic-sounding and very interestingly titled "The Overcome of the Portuguese Bastards". The band's early demos are more simplistic straight-forward thrash/death metal with slower semi-gothic overtones not miles away from early Messiah.

Backwords Full-length, 1995

My Space

AFTERLIFE (CHILE)

This is melodic, laid-back modern power/speed/thrash which by all means has its more aggressive side (the brisk speedster "White Fire", the very appropriately-titled proto-deathster "Insane Brutality"), but the majority of the tracks are within the imposing mid-tempo parametres "Church of Blood" coming close to the more serious, progressive clout. The vocals ruin the positive impression, though, with their unpleasant shouty death metal timbre.

Repression Full-Length, 2018

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AFTERMASS (USA)

Fast aggressive thrash with slight death metal tendencies recalling early Kreator and the Italians Necrodeath on the more aggressive parts; apart from the basic death-ish vocals, there are clean ones which are quite good and might remind you of Jon Van Doorn from the Brits Deathwish. On the slower moments the music also brings this band to mind acquiring a somewhat darker gloomy atmosphere. But the concentration is clearly on speed and aggression, and as such this demo is a very good headbanging fun.

Demo Demo, 1989

AFTERMATH (IRELAND)

Based on the 3-song "S.S. Deity" demo, this young band play energetic thrash/death metal with a firm old school sound and aggressive, Slayer-esque riffage. The downpoint perhaps is the vocals which are of the shouty type, the ones Tom Araya used on "God Hates Us All", and don't fit the music that well.
The "To Die Or To Seize" demo is still quite energetic, but slower more pensive rhythms have sneaked in making the overall approach more mid-paced with a modern "sting". The singer is less shouty this time and consequently more attached and comprehensive.

S.S. Deity Demo, 2000
To Die Or To Seize Demo, 2002
The Meeting of Blood With Blood EP, 2005

Official Site

AFTERMATH (USA, TUCSON, AZ)

"Straight From Hell" is a cool beginning, despite some minor flaws. It contains one nice up-tempo power/thrasher "Mask of Deception"; one slower and not as interesting heavy/power metal hymn "Pandemonium"; one very cool speed/thrasher "Straight From Hell" which may have been an influence on the Agent Steel's "Rager" from "Unstoppable Force"; and one energetic speed metal killer "You're Never Gonna Wake Up".

"Don't Cheer Me Up" is a kind of a hit-and-miss affair; it has some great moments, but also some not very convincing ones. "Beast of Wrath" is an ambitious, progressively-tinged song, but busy with the more complex arrangements, the guys seemed to have forgotten about the thrashy riffage which comes up on the shorter, more satisfying numbers: "Black and Yellow", the great galloping power/thrasher "Lines of Horror", and especially the smashing stormy killer "Luci's Dance". Later on another, even more elaborate song comes: the 11-min long "Daemynspeke"; this is multi-layered stuff which this time features really intriguing guitars as well as more aggressive riffs; it could have been made shorter, though; some moments sound a bit strained and uninspired. The title-track is another cool intense mid-paced track which nicely speeds up near the end. "Nuclear Requiem" is a bit unnecessary being a melodic pointless instrumental. It needed just a little refinement for the band to find the perfect winning formula to thrash with the best, but they folded soon after this one.

The Compilation contains the two demos listed here. Based on them, the band had grown so much as musicians that it makes one really sad to see them go at the dawn of the 90's. "Meltdown" is an awesome galloper with sharp, also melodic guitars, and "Don't Cheer Me Up" (no such song on the full-length) is even more intense overshadowing a couple of more conventional power metal anthems. "Blood on the Moon" is galloping speed/thrash at its most fierce, its vigour later matched by "Start the Slip", a supreme technical thrasher with speedy ripping riffs and a few unexpected time and tempo shifts. "A Tale for Derek Blood" is a cool atmospheric progressiver with slower riff-patterns and nice melodic tunes which get a few more energetic updates those dominant on the final "Mindless Ways", another more varied composition with a swirling galloping exit. This is a great representation of the band's actual skills, and it's too bad that they never managed to realise their full potential.

Straight From Hell EP, 1985
Don't Cheer Me Up Full-length, 1988
Building Up to Meltdown Demo, 1989
The Derek Blood Sessions Demo, 1991
Building Up to Meltdown Compilation, 2009

Vibrations of Doom

AFTERMATH (USA, CHICAGO, IL)

The band's first two demos from the mid-80's are standard aggressive thrash perfectly reflecting the bashing vigour of the time, showing no signs of what would be at display on their only album. The "Words That Echo Fear" demo, however, is an entirely different story, four compositions of perfectly executed progressive/technical thrash, well more than just a dignified warm-up for the full-length. The title-track is a jumpy frantic number with dark apocalyptic overtones and a gorgeous operatic mid-section. "A Temptation to Overthrow" is a minimalistic creepy technicaller, an effective piece without too many speedy ados, but with some of the most twisted riff configurations on the US metal horizon of the late-80's which can be heard on same year's Coroner's "No More Color", a perennially shifting masterpiece with a few pounding dramatic stopovers from the dazzling shredfest, plus a spell-binding technical epitaph. "Being" is another eye-opener, a tad more relaxed progressive piece with quirky bouncy riffs, strangely recalling the transformation Coroner experienced on "Grin", before a more aggressive cannonade commences, a superb balladic etude intercepting it mid-way with the lead guitar work reaching Shrapnel-like virtuosity on it. "Experience" would be quite an experience indeed, an 8-min saga which starts with an alluring serene intro before more intense stomping sections arrive in league with superb melodic leads, a main hypnotic motif binding all the nuances together in one complex, multifarious whole. A great effort that made it much easier for the fans to see the roots from where came the band's gargantuan full-length.
"Eyes of Tomorrow" is a standout technical thrash metal effort drawing comparisons to Coroner, Anacrusis and the likes. The songs are quite complex, rich on atmosphere, with very original guitar work which constantly switches between the old and the new school. There are also a couple of quirky post-thrash moments similar to those on Coroner's "Grin"; in other words, fans of the 90's trends will also rejoice. This is easily one of the best efforts that the US 90's metal scene has to offer.
The demo is four songs of the same technical abstract stuff, this time sounding even more dreamy and "out there". "Japan" is a superior semi-doom progressive thrasher with innovative "cosmic" surreal passages which would later be turned into a staple mark by the Australian avantgardists Alchemist. "Metallic Slums and Highrises" is a masterpiece of twisted serpentine riffs and indifferent robotic, but strangely compelling, singing, the former suddenly switching onto something more straight-forward and vice versa creating a disorienting hallucinogenic picture seldom achieved before or after; the experimental spirit of Pestilence's "Spheres" can clearly be felt, but this one sounds more appealing and more scarily atmospheric; a truly one-of-a-kind listen. Then comes "God is in the Details" which is pretty close to Coroner's "Grin" again being a creepy modern progressive piece of the haunting doomy type recalling the Coroner song "Shifter" from their 1995 compilation album quite a bit. "Strain" is more laid-back technicality-wise again in the doom-prone "sleepy" mould, not very diverse, but pretty effective, too, seeing the guys probably warming up for another full-length which, unfortunately, never materialized.
"There Is Something Wrong": no, there's nothing wrong here; in fact, there can be nothing wrong with a reunion of one of the finest acts to ever come out of the enormous US metal roster... The thing is that you have to love the guys' entire discography, including the one-album Mother God Moviestar stint, in order to fully savour this album. Cause the band have made a cross over their repertoire starting with the more thrashcore-prone early days to which belongs the shorter, more stripped-down ("Diethanasia", "Smash Reset Control") material. Fans of the magnanimous "Eyes of Tomorrow" will swarm around the spastic, neurotic "False Flag Flying", the jumpy vivid Voivod-ian "Scientists and Priest", and the diverse unpredictable roller-coaster that is the title-track, a surreal psychedelic headbanger with shades of other auteurs like Calhoun Conquer and Transilience. Combinations of both sides ("Gaslight") are also quite effective especially the dystopian futuristic "A Handful of Dynamite", another stylish nod to late-80's Voivod. The more peaceful, more abstract nature of the Mother God Moviestar is reflected in the dreamy idyllic "Pseudocide", the not very music-related diversion "A Handful of Dynamite", and the noisier industrial closer "Expulsion". In the long run this is a multifarious package that will attract a wider gamut of fans, not the most homogenous listen in the world but by all means one fairly entertaining slab of elaborate progressive rock/metal.
"No Time to Waste", unfortunately, sounds like a waste of time for a large portion of the time. This is a way inferior version of the preceding entry, the delivery having little to do with thrash, vacillating between crunchy post-thrashers ("Original Instructions") and plodding doom-oriented extrapolations ("Up Is Down"), "We Can Do This Together" flirting with both industrial and groove in a banal uninspired manner, the band sinking deeper into the hole of below-mediocrity with the trippy balladic non-sense "Strawman in the House of Cards" and the ridiculous shabby cover of John Lennon's hit "Give Peace A Chance". Yes, the band are in a not very enviable anti-creative state... it may take a while for them to get out of it.

Demo #1 Demo 1986
Killing the Future Demo 1987
Words That Echo Fear Demo 1989
Eyes Of Tomorrow Full-length, 1994
Demo Demo, 1996
There Is Something Wrong Full-Length, 2019
No Time to Waste Full-Length, 2023

Official Site

AFTERMATH A.D. (USA)

Based on the "Disgorging Hatred" demo, this band play fairly decent Bay-Area influenced thrash with heavy stomping riffs and mean semi-clean vocals which actually sing, and not bad at that for most of the time. "Cult of Greed" breaks the established rules with fast blitzkrieg riffs which isn't matched elsewhere, but the closer "Under My Skin" is a clever more technical number ala Forced Entry and steals the show making the listener curious to check whether the quality here has been matched by the previous demos.

Devouring the Dead Demo, 1988
Mindless Havoc Demo, 1990
Disgorging Hatred Demo, 1992
Unearthed Demo(n)s Compilation, 2004

AFTERMATH EXCURSION (SOUTH AFRICA)

A South African trio who indulge in modern power/post-thrash which is too carefree to capture the regular thrash metal fan's attention for long. Everything develops in a calm semi-balladic manner with wild "awakenings" provided ("The Odd One Out") irregularly. The musicianship is not on a very high level (excluding the imposing doom metal hymn "Nature's Wrath" at the end); neither are the vocals which are gruff semi-clean and pretty unemotional.

It's All Gone Full-Length, 2015

Official Site

AFTERSHOCK (USA)

A cool demo of mid to up-tempo thrash akin to late-80's Overkill and Exodus ("Fabulous Disaster"); the singer is quite good, too, sounding like a mix between Steve Grimmett (Onslaught, Grim Reaper) and Bobby ``Blitz`` Ellsworth (Overkill).

Invading World Space Demo, 1990

AGAINST (ARGENTINA)

The debut: this is dynamic ripping modern thrash/post-thrash which can be both playful and hard-hitting although the latter side is only displayed at the beginning; later on the music becomes more friendly except for the hammering "Truth Forger" which also boasts fine melodic leads; and the up-tempo shredder "Marcha del Auca" which is served with a shade of hardcore. Beautiful power metal-styled leads appear on "Sound of Rebellion" which is a decent roller-coaster with good musicianship. The singer is a moderately angry semi-shouter who doesn't detract a lot from the musical course.

"Soy Libertad" is another convincing release maybe clinging towards The Black Album a bit more, but the intensity of cuts like "Ogorma" & "VMarcha Del Auca" (this one notches it up to death metal proportions even) should make any fan of the 90's post-thrash vogues' day. The majority of the material, however, is on the longer, more thoughtful, progressive side revealing another more proficient face of the band the best example of which is the cool closer "Stoican", a melodic power/thrasher with Iron Maiden-esque guitar duels.
"Emerger" elaborates on the band's progressive infatuations consequently erasing all speedy escapades from their previous repertoire. As a result we have peaceful, one-dimensional music which fails to liven up (the energetic melo-thrasher "Voluntad" one such temptation) excluding the brutal closer "Contra" which is pure death metal madness also featuring the greatest melodic tunes on the album.

Against Full-Length, 2014
Soy Libertad Full-Length, 2014
Emerger Full-Length, 2016

Official Site

AGAINST (AUSTRALIA)

These Aussies pull out modern thrashcore which is energetic and lively despite the frequent stomping mid-paced breaks which occupy half the space here the album characterized by short simplistic tracks on which the friendly tone never gets lost the shouty choruses adding another familiar flavour to it: Pro-Pain. The singer shouts in an attached acceptable way and one can't help but have a good time jumping around on those merry pounding rhythms.

Loyalty & Betrayal Full-Length, 2007

AGAINST (USA)

This act try to insert a healthy doze of old school headbanging rhythms to the well established by that time groovy post-thrash formula, and manage to succeed creating several genuinely energetic moments ("Modern Evil") which are still stifled by the prevalent groovy sections which give the album a rough abrasive edge, especially when those sections are served with some speed (the mechanized headbanger "The Hoax"). There are a couple of good melodic leads ("Reign of My Demons") to be heard, too, and generally the guys have tried to make their approach more eventful also with the help of properly inserted industrial gimmicks (the final title-track) from time to time.

Those Days Are Over Full-Length, 1996

AGAINST THEIR WILL (USA)

Power/thrash which is mostly on the modern side, the guys settling for a steady mid-tempo, the vivid semi-gallops on "Hide & Seek" energizing the setting a bit, soaring high above the groovy non-sense "Cancer You Are", the lowest point of the album, the band bouncing off right after with the speedy shredder "Organized Chaos", the same exercise not repeated elsewhere, the singer doing a good job with a dramatic mid-ranged clean tone.

Sands of Blood Full-Length, 2022

Official Site

AGANKAST (UK)

Based on "Dance Of The Dead", this band play simplistic, slightly raw power/thrash with brutal death metal vocals which just plainly shout for most of the time. The music is quite heavy, mid-paced, and may remind you of the Germans Warpath. Don't get pulled back by some stoner/doom elements: "Suffocator", which could be considered the highlight of the album. "The Killing Spree" comes splashing in the middle producing about 4-min of aggressive Slayer-esque thrash, and one can't help but wish these moments were more; well, your wishes may come true, since the next "Warlord" crushes majorly in a similar fashion showing the band having woken up to do more damage on a larger scale. But that's it since "Cockroaches" is just more dynamic doom followed by the jolly hard'n heavy closer "Return To The Valley Of The Kings".

Dance Of The Dead Full-length, 2005
Walking With Angels/Running With Devils Full-length, 2006
Welcome to Insanitarium Full-length, 2006
Runnig With Devils Full-length, 2007

Official Site

AGARWEAN (CZECH)

This formation provide an uneven mix between thrash and death metal which alternates the pace on an abrasive modern base which is not that striking despite some of the progressive pretensions claimed by a couple of tracks ("Your Life") including the really cool cover of Death's "Crystal Mountain" which is the best song here. The original material just doesn't have much to hold onto awkwardly jumping from heavy doom-laden passages to spasmodic blasting ones often within one song. The singer is a semi-shouty death metal growler who tries to impress more at times with the sudden hysterical squeal.

Among the Death Behind Full-Length, 2007

Official Site

AGATHA BONES (UK)

Based on the second demo, this band plays a mixture of power, heavy, speed and thrash metal, and pompous titles like "Thrash Attack" are not really deserved, the only more intense piece being the lashing speed/thrasher "BSF" the rest staying close to early Exciter and Griffin. The singer is very high-pitched to the point of hysteria and could have served as a model for Rob Halford for his delivery on "Painkiller" (ha ha- kidding, of course!).

Demo 1 Demo, ?
Demo 2 Demo, ?

AGE OF ARCADIA (INTERNATIONAL)

A Greek/Argentine/German collaboration that specialize in modern progressive thrash that also tolerates more aggressive ways of execution ("Together As One", the larger-than-life title-track) although rest assured that there'll be plenty of groovy bounces ("The Cave Myth") as well as more generic, less inspired riffage ala more recent Annihilator. "Reign Into The Light" is a successful combination of hard-hitting thrash and atmospheric balladisms the capable vocalist handling both sides with dexterity although when he's more on the harsher shouty side he has the tendency to overdo it at times.

Eleysis Full-length, 2018

Official Site

AGE OF DYSTOPIA (SWEDEN)

Based on the full-length, this band play intense modern thrash/death which is built on speedy aggressive cuts, the brisk ripper "Exterminate" a very nice example of the latter no-bars-held approach, "Hollow Eyes" another wild proposition with an overt death metal edge, the shouty growling singer a good match to the more brutal side of the album, the latter acquiring a more officiant doom clout on "Void", and on the dirgy but effective cruster "Narcissistic Terror".

Vultures EP, 2018
Age of Dystopia Full-length, 2021

Official Site

AGE OF EVIL (USA)

Power/thrash metal hesitating between the modern and the classic sound; this is melodic stuff which has its moments (the cool headbanger "A Call To Arms"), but there are times when the music is pure Savage Grace and later-period Iced Earth worship. The leads are quite good, though, and there's some Jeff Waters influence in the guitar style. The opener "Call Me Evil" is a Ballistic cover, and Marty Friedman guests on guitar there.

Living a Sick Dream Full-Length, 2007

Official Site

AGE OF FIRE (USA)

Based on �From the Forge�, this US trio serve classic power/thrash whose melodic complexity (�Bats in the Belfry�) is aptly backed up by both short non-fussy quasi-headbangers (�Amongst the Shadows�) and epic power metal matches (�Ghostly Tears�), the lyrical qualities of this latter side a bit hard to stand by the hard-core metallers. The second half offers little entertainment for the moshers save for the timid gallops of �Sons of Bannockburn� and the speed metal impetuosity of �The Rebel�, the rough semi-clean singer doing his job with dignity but little emotional fanfare.

Age of Fire Full-length, 1988
Obsidian Dreams Full-length, 2019
Shades of Shadow Full-length, 2020
Through the Tempest EP, 2022
From the Forge Full-length, 2024

Official Site

AGE OF NEFARIOUS (SWEDEN)

The debut: this act is a side-project for the The Porridgeface frontman Anders Lindberg who here plays classic thrash which opens with the vitriolic instrumental "Mnemonic Devices". Later on the music doesn't strike as very innovative, but Anders knows how to thrash well so there should be no disappointed in the long run especially with cool progressive, melodic "excursions" like "Age of Nefarious" "roaming" around. There's a certain number of less energetic cuts ("Precious Resistance") present as well, but the jolly good mood is seldom interrupted the man providing more than enough to satisfy the hungry thrash crowds who will mosh all over on the short direct closer "Superintendence", and elsewhere.
"Bad Timing" offers pretty much the same entertainment which occasionally acquires more serious progressive parametres ("Discussed It") the more immediate shorter speed/thrashers having more bite, trying to compensate for the leisurely executed, also fairly overlong semi-balladic filler "Sniper Faction". More sincere outtakes like the hardcore-ish joy "Generals" are also welcome, the slightly abrasive guitar tone boosting these less sophisticated roller-coasters.

The Damage of Nefarious Thinking Full-Length, 2016
Bad Timing Full-length, 2019

Official Site

AGENDA (GERMANY)

Based on the full-length, this band's "agenda" is to play melodic, laid-back modern-ish power/thrash which is performed in a carefree friendly manner with a few pretensions at more progressive song-writing ("Manufacture Of Death", the closing "Dark Thunder Dragon"). "Pigkiller" shows its teeth more widely being a more dynamic headbanger, and the title-track is a cool moderate speedster. The rest is too mild the last three cuts being pure hard'n heavy their pleasant character enhanced by the good emotional clean vocals.

Thrash You All EP, 2015
Genetic Arts Full-length, 2016

Official Site

AGENT STEEL (USA)

This great band made many metal fans' day back in the 80's. Whether you like his vocal style or not, John Cyriis remains one of the most unique voices in metal. The guys literally wrote the rules of American speed metal with their exemplary debut, which put them right on the very front row of the scene in the States. Two years later the band made a huge leap forward with the colossal "Unstoppable Force" which after all these years is still regarded as one one of the ten best albums of the genre. From the explosive title-carrying opener, to the magnificent mid-paced steam-roller "Still Searching", to the superb destructive speed/thrash shredder "Rager", to arguably the finest instrumental in thrash metal history "The Days at Guyana", to the marvellous closing ballad "Traveller", this masterpiece is a breathtaking listen, which logically marked the band's creative peak. Without Cyriis, the band seem to have lost some of their magic after the reformation in the late 90's. The new sound is slower, more power metal-based and the guitar work is not as flashy. But once you adjust your senses to the music, you will find out that both albums are commendable efforts showing another side of Agent Steel.

After a long 4-year gap Agent Steel are back again with "Alienigma": a very good album which follows on the steps of its predecessors, with a more aggressive attitude. "Fashioned From Dust" starts thrashing with power and speed from the beginning, and this number sounds wonderfully close to their 80's efforts. Not for long, since the next composition settles for the prototypical for their more recent period heavy mid-paced power/thrash. The testosterone goes up a notch on the galloping more lively "Hail To The Chief", but the semi-balladic "Liberty Lying Bleeding" will calm the listener down once again in the 1st half; the 2nd one offers cool speed metal with a more melodic edge. "Hybridized" nicely mixes speed and heaviness, being also longer, with a more thought-out progressive edge. Get ready for forceful aggressive thrash on the explosive "Extinct", a fairly unexpected shorter killer of a song, never experienced before on an Agent Steel album. The pleasant surprises continue, with "Wormfood": dark more technical power/thrash in the vein of Nevermore with crushing ultra heavy riffs, which more than make up for the loss of speed on the previous track, adding a beautiful atmospheric balladic interlude as well. "W.P.D." preserves the heaviness, pounding in a forceful mid-tempo manner. Need for speed naturally arises after a couple of heavy numbers, and "Tiamat's Fall" is the one to make the listener jump around, but it's not even a rehearsal for what follows: "Lamb to the Slaughter", violent brutal ultra-thrash in the first half, which easily beats the previously encountered "Extinct", decorated by unholy shrieks from the singer; the second half slows down, providing stylish leads and the staple mid-paced power/thrash approach. This effort will apparently have to keep us thrashing for another four years, if the guys stick to their consistency leaving the obligatory 4-year gap between releases.
"No Other Godz Before Me": wow, this was a saga worthy of Victor Hugo and Alexandre Dumas, both Senior and Junior... we're not going to elaborate on it, there's the media for this purpose, but will concentrate on the music. Armed with the hugely talented axemen, the Bulgarian Nikolay Atanasov (also Prophecy, Tardus Mortem, Rampart, etc.) and the Brazilian Vinicius Carvalho (also Anubis, Disgrace and Terror, etc.), and with the old tested comrade from the Stellar Seed enterprise, the Japanese bassist Shuichi Oni, Cyriis is ready to explore the universe and its unfathomable mysteries once again. His current explorations commence with a captivating melodic all-instrumental intro, before exploding in possibly the greatest speed metal attack witnessed for the past 25 years. Yes, thrash isn't covered very extensively, but this is so superb that one won't help but just sit and listen in veneration to this extraordinary statement of intent... if Cyriis has failed here, he would have been buried along his conspiracy theories and alien visitations deep down, never to be unearthed. Well, he delivered, to a point that even if he hides from sight again for the next five or six years, his name will be uttered in embellishing, worshipping notes all across the globe. There isn't a single cord here that doesn't serve the band's purpose... the moment said intro ("Passage to Afron-V") fades away, the album goes into a heads-down furious, old school speed metal mode, the six stringers stirring a gorgeous virtuous fast-paced melee that seems unending, the obligatory stopover coming in the form of the dramatic stomper "Veterans of Disaster", before the smattering riff-fest resumes with the galloping wonder "Carousel of Vagrant Souls", a great reminder of both "Never Surrender" and "Rager" from "Unstoppable Force". "The Incident", another sure speed metal winner, is sung in Portuguese for a change, we have two Brazilains in the line-up, after all; the guys dealing with all the naysayers with the absolutely maddening fast-pacer "Outer Space Connection" which brilliantly, and also seamlessly, flows into the breath-taking outro ("Entrance to Afron-V"), that one mirroring the intro, naturally. This is clearly a nod at the debut rather than "Unstopable Force II" as the adherence to speed is literally overwhelming. Cyriis is in his nature behind the mike, a standout dramatic pathos-inducing performance that is at times quite close to the helium-generating dimensions. All good, works for these ears which also totally savoured the contribution of the others, with everyone doing his best for the production of quite possibly the album of 2021.
Game, set, and match... Cyriis wins again, here as well as on any other part of the galaxy. Laurels, accolades, aliens... everything is his for the taking now. If he carries on in the same vein, soon all the godz will bow to him, not to mention already existing plans for monument erections here and there... ha ha, kidding here, but one never knows... cause the man by all means deserves it, in this or in any other life. Thumbs and toes up, positioned this way until the next exemplary showdown from this steel camp, and hopefully with the same participants. Keep them, John; they're a team to die for... literally.

Skeptics Apocalypse Full-length, 1985
Mad Locust Rising EP, 1985
Unstoppable Force Full-length, 1987
Omega Conspiracy Full-length, 1999
Order of the Illuminati Full-length, 2003
Alienigma Full-length, 2007
No Other Godz Before Me Full-length, 2021

Official Site

AGENT X (USA)

Two tracks of not bad classic power/speed/thrash in a sure-handed mid-pace which flirts a bit with the modern trends, but doesn't ruin it too much keeping the dynamic rhythms the whole time the optimistic atmosphere also preserved by the good soulful clean vocals ala Sebastian Bach (Skid Row).

Age of Decay Demo, 1995

AGENTS OF AGGRESSION (USA)

A hellish trio providing a heavy modern blend of power and post-thrash with plenty of groove embedded the latter missing from the faster-paced material ("Death Arise") which comes closer to the classic patterns. Still, the heart of the album are the milder power metal-based cuts like "We Are One" and "Our Hearts Bleed" which occupy the middle and don't let too many speedy histrionics to sneak through the sole exception being the closing galloper "Coma" which again comes with a retro flavour. The singer is a harsh semi-death reciter who doesn't quite fit the peaceful tone of the album.

Drop Beg Plead Full-length, 2018

AGGGRESSOR (MEXICO)

Based on "Bury Your Idols", this band play competent old school thrash which moshes hard on the opening "You Are God", and later on seldom slouches the hard-hitting riffs flowing seamlessly with slower stomps... sorry, stops, (the volcanic stomper "Angelus Novus") along the way. "Political Disorder" is a brain driller which proto-death aesthetics are handsomely picked by the next "All You Need Is Blood" despite the punky chorus. Watch out for the Chuck Berry cover of "Johnny B. Good" here named "Johnny B. Bad", but notched up considerably turned into a merry-go-round speed metal anthem, aptly assisted by the cool merry clean vocals which elsewhere are gruffer and meaner. The band were previously called Mandra with one demo released in 2010.
"Osculum Infame" is surprisingly sustained in a heavy squashing mid-pace for most of the time, and although cuts like "Lilit" are dramatic enough to stir at least a semi-pogo, there's not much offered to keep this tedious one-dimensional slugfest going. The all-instrumental piece "Consilium Umbra" at the end starts thrashing with more passion, but this is a belated outburst of passion that can't possibly bring a big change on this lethargic canvas.

Release of Aggression Full-length, 2013
Bury Your Idols Full-length, 2016
Osculum Infame Full-Length, 2021

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AGGRAVATOR (USA)

The EP: these young guys indulge in old school thrash which is quite close to early Kreator and Destruction the singer being a bit hoarser and more vicious than Mille and Schmier with a more overt death metal overtone. The music keeps to the faster parametres providing short pounding relieves on almost every song except on the furious closer "Social Unrest".
The full-length debut is backed up by the songs from the EP, but the rest doesn't disappoint; this is another faithful tribute to the old school now throwing shades of Slayer, Sacrifice and Necrodeath into the "furnace" which this time is spiced with tasteful leads and more interesting riffy decisions. The roller-coaster never ends, and the headbangers will end up the happiest in the end, inebriated by moshers like the title-track, "Unparalleled Cruelty" and "Industrial Conflicts". "Isolated Despair" is a curious mid-paced semi-technicaller which partially influences the closer "Frozen Atrocities" in the end the latter finishing this album with style and a lot of promise for future efforts.
"Sterile Existence" is a handsome "beast" thrashing hard with passion mixing the pace at will never settling for a predictable, one-dimensional melee. The band hit high in the lead department (check "High Impact Homicides") also providing impetuous moshers in abundance (("Subconcious Blind", "Abhorrent Point Of View") the "attack" made even more attractive with the help of several heavy steam-rollers (the title-track, "Phased").

Age of Combat EP, 2012
Populace Destructor Full-Length, 2014
Sterile Existence Full-Length, 2016

Official Site

AGGRESION (BRAZIL)

Based on "Revoada de Bruxas", this band play intense black/thrash/death metal with husky witch-like, black metal vocals. The symbiosis seems to work for most of the time although the brutal moments are way too many for the regular thrash metal fan to embrace this opus fully. Still, "Maleficarum" is a cool headbanger recalling their compatriots Torture Squad if we exclude the few not very necessary hyper-blasting strokes.
�Covil de Feras� is a more compelling slab, the progressive melodicisms of the title-track gelling well with the insistent thrashing intricacies of �SacrificadospeloFogo�. �Fantasmas das Cavernas� offers 8.5-min of epic militant strokes with a nice fast-paced sequel, a really intriguing complex number whose immediate antithesis �Marcha a Destruicao� is overshadowed by the brutal black-induced vistas of �The True Story about Doctor Faust's Pact with Meph�.

Murmurios Blasfemicos Full-length, 2008
Forja Infernal Full-length, 2012
Revoada de Bruxas Full-length, 2017
Covil de Feras Full-length, 2024

Official Site

AGGRESSA (AUSTRALIA)

Thrash metal which starts in a more melodic crossover way with catchy mid-tempo songs, until "Tunks", which is a brutal piece of thrash, finally hinting at the aggression suggested with the band's name, after which things become more intense for a few tracks, before they settle down again near the end. The vocals are the highlight here and might remind you of David White from Heathen.

Nuclear Death Full-length, 1988

AGGRESSION (BRAZIL)

This is brisk retro thrash a bit ruined by the awkward vocal choice: the singer rends his throat in a vicious witch-like manner creating a black metal atmosphere which is, fortunately, not supported by the inspired music, but is aggravated by the satanic lyrics. The guys thrash forward with death metal sneaking in on some tracks making things too brutal at times perhaps ("Satanic Sabbath"). The approach is a bit more complex for the style the band coming up with longer compositions where nothing too technical occurs if we exclude the high level of the lead guitar work.

Forja Infernal Full-Length, 2012

AGGRESSION (CANADA)

This band richly deserve their name: based on "The Full Treatment", this is very aggressive raw thrash which has definitely been an influence on many death metal bands later. The sound is so brutal that some of the more faint-hearted fans out there might not be able to stand through the whole album (ha ha, it's a joke-don't get scared!). The very poor sound quality also helps to aggravate the brutal impact the album has on the ears. This is an unpolished, pristine slab of merciless raging thrash/proto-death.

"Forgotten Skeleton" is a surprising return for these unsung veterans who continue with their carnage albeit with a slightly annoying abrasive guitar edge; later it became known that this material was actually intended as their actual debut, but its release was postponed indefinitely until 2004. Still, this is a pretty decent slab of old school thrash vehemence, the bash relentless all over, inevitably bordering on proto-death (the brutal outrage "Green Goblin"), but also adhering to more stylish excursions: the Rigor Mortis-esque virtuoso "Frozen Aggressor". "Forsaken Survival" is another more stylized headbanger, but "Mutilator-Beware of the Scarecrow" is just stripped-down hardcore-ish barrage. No complaints on the short explosive semi-technicaller "Kachina Dolls", arguably the band's finest achievement, and on the closing deathly massacre "Bloody Massacre Carnival" which shows the guys in good shape to enter the death metal arena, something they missed to achieve earlier due to their untimely disappearance.

"Fractured Psyche Demons": 11 years too late the band are back in action, but their taste for brutality has been retouched considerably. It's still the good old thrash all over, but now the death metal elements are gone the album now a concoction of full-fledged thrashers ("Cut Your Sins Off") and more immediate bashing hardcorers ("Sick and Disturbed"). On top of that we have a pure speed metal winner, "Metal Slaughter", a total nod to the mid-80's German school. From this moment on we have the band's first demos mixed together some of the tracks already familiar from the guys' previous efforts. The border is the muddy sound quality in the second half which is a total contrast to the much clearer one gracing the newer material.
"Fragmented Spirit Devils": the guys are quick to re-appear with a brand new effort this time, and their fans will be surprised to hear a more serious, quite technical at times, song-writing on the opening twister "Chapel Of Horrors". "Unleashing The Ghost" is the staple for the band brutalizer easily reaching for the death metal side, and later on the only mercy shown is on the short balladic instrumental "Insanity Without Indulgence". "Furnace Creek" "flirts" with death metal again, but the guys ruin it with an inappropriate insertion of drunken cleaner vocals as opposed to the monolithic main death metal ones which are also missing from the silly joke song at the end "Razamanas".
"Feels Like Punk, Sounds Like Thrash" again sees the guys more technical and more intriguing at the start with the meandering thrash/deathster "Attack of the Ice Lizards", but later on the delivery goes all over the place with frolic Motorhead-ish propositions ("Tales of Terror"), explosive hardcore shorters ("Stench of Your Mediocre Existence"), and goofy heavy metal rock'n rollers ("Once Upon a Time in Hell"). A fairly unfocused weak recording as a whole, an impression slightly corrected by the explosive thrashing closer "A River of Piss and Vinegar".
"Field of Nightmares": the guys are back, obviously intent on being a more frequent presence on the scene, and this short slab is finally a more coherent, also much better offering, the vitriolic headbanger "Poisonous Potion" ravaging the neigbourhood in a methodically brutal manner. "Satanic Angel Holy Devil" is a nice more serious composition, a near-progressive roller-coaster which still bashes with not much mercy amongst the lofty complex rifforamas. "Possessed by Dawn" follows a similar pattern the guys thrashing with covert sophistication, producing fireworks of tight intricate riffs, with a couple of absolutely astounding technical twists, those followed by a fine doom closure. "Dripping Flesh" is the next-in-line highbrow shredder, the guys playing with some speed metal opportunities, before serving entangled, also quite intense thrashisms and another portion of crooked visionary guitarisms. This is clearly the band's finest hour, a handsome conglomerate of both vehement and elaborate old school thrash.
"From Hell with Hate" is a total ripper, elaborating on the excellent preceding EP, the guys complicating the environment first with the complex opener "I.n.R.I", a mighty way to start this bristling odyssey, "Antichrist Devil Cunt" justifying its obscene title with unadulterated proto-death brutality. The more melodic embellishments on "Return of the Frozen Aggressor" are more than welcome, too, the band also notching it up in the technicality department, the moshing vehemence of "Let's Burn This Church to the Ground" sweeping all the posers away, the light-hearted crossover flair of "The Nightstalker" well noted. The moshers will continue salivating later on with smashing hits like "Worthy of Death", "One for the Woods" and the uplifting speed metal joy "Ouija" falling from the sky with seismic insistency, the closing 7.5-min roller-coaster "Left Hand Larceny" exhibiting admirable musical proficiency, also slowing down to steadier mid-paced parametres.
�Frozen Aggressors� is another sure hit, and it continues the trend every EP/album-title to begin with an "F", the guys willing to retain all the positive inertia from their more recent heroics, �C.H.U.D. Invasion� a mighty speed/thrashing shot, an all-instrumental marvel that seamlessly flows into �Circus of Deception�, a rowdy fast-paced ode that has its most logical sequel in the form of �Song #666�, a most infectious shorter with a nice stomping mid-section. "Crib of Thorns� flirts with mellower crossover sensibilities, and �Holidays in Sodom� ensures there are no disgruntled among the heavy pounding rhythms� lovers. �Satanic Cult Gangbang� is a moderate mid-tempo stride with a furious second half bordering on proto-death; and �Queen of the Damned� is a rigorous face-melting thrasher, the band exploring their seismic doom-oriented heart with the final �Hyperspectral Winter Incursions�, a stomping slow-burner with a cool atmospheric balladic introduction.

The Full Treatment Full-length, 1987
Forgotten Skeleton Full-length, 2004
Fractured Psyche Demons Full-Length, 2015
Fragmented Spirit Devils Full-Length, 2016
Feels Like Punk, Sounds Like Thrash Full-Length, 2018
Field of Nightmares EP, 2021
From Hell with Hate Full-Length, 2022
Frozen Aggressors Full-length, 2023

Official Site

AGGRESSION (CHILE)

Energetic thrash of the classic kind with several brutal death metal insertions; the band play with force and speed producing the finest moments of the closing rager "Brutalize your Fears" which also scores high in the lead department. The singer is the proto-typical low-tuned growler who possesses the necessary authoritative delivery to be more than just an appendage.

Asphyx Silence EP, 2012

Official Site

AGGRESSION (SPAIN)

This EP boasts a crystal clear sound quality, and apart from that blistering speed/thrash at its classic best. The sound is quite mixed with more nods to the Bay-Area perhaps. The singer has a cool semi-clean, semi-screamy timbre which is hard to be compared to any of the old shouters. This small debut effort is full of catchy, sharp riffs ("Countdown") which is a fairly aggressive number; "I Hate You", which is slower, with pounding rhythms and very cool vocal performance), more complex variations ("Never Surrender"), and very good bass work all over which supports the razor-like riffage quite well.
"Moshpit" is an elaboration on the EP with half of the tracks also present here so expect another portion of speedy headbanging retro thrash with a crisp sharp guitar sound which this time brings a soundalike from the old times: Forbidden's debut. Ironically, the slowest number is called "Thrashing Your Brain" from the EP, which is also the longest one, and is not up to par with the smashing speedsters ("Moshpirit", "New Born War"). Still, it's far from a filler, a role here given to "Better You Run", a mild mid-tempo power/thrasher. "Psycho-Crime" comes splashing erasing all not very positive impressions left by it with the final damage done by two more tracks from the EP ("I Hate You" & "Never Surrender").

"Viocracy" is a superior achievement, now the generally speedy delivery interrupted by quite a few stylish moments turning this album into a nice work of more technical, even progressive at times, thrash with echoes of "Twisted into Form", "Mental Vortex" and "Rust in Peace". "False Flags" is a compelling mix of speed and technicality with echoes of Metal Church's "The Human Factor" (the song, not the whole album), followed by the more technically-charged "Chemical Slavery" which jumps and turns the whole time to a pretty positive effect. Then time for some headbanging comes with the brisk title-track and the sweeping galloper "MK Ultra" which also pours technical riffs galore into the "furnace". "Get Mad" is a more relaxed mid-pacer which is still puzzling enough to make you scratch your head at times. "Awake Awareness" carries on in the same, not as speedy, vein, but here comes "Human Nature" and things get more intense and also more complex with the whirlwind guitars and the frequent tempo-changes. "Dehumanized" thrashes in a more stripped-down manner, but its more straight-forward nature is totally cancelled by the unusual closer "Victims of Bias" which begins in an eclectic flamenco-like fashion with jazzy implements, and the scare on the side of the fan may be really big; the guitars settle in later on with some of the hardest riffs on the album, mixing with the jazzy/funky sections to produce a hectic, off-beat all-instrumental composition which ends this effort with aplomb.
The Spaniards have raised the lathe quite high here both for themselves and for their competition. It would be hard to beat such a stylish work, but for the time being one can enjoy one of the early "birds" indicating that 2012 would be a great year for thrash metal. Some of the band members also take part in the death metal formation Caustic.

Thrashing Your Brain EP, 2008
Moshpirit Full-Length, 2009
Viocracy Full-length, 2012

My Space

AGGRESSION CORE (USA)

Based on the demo, this act serve abrasive noisy, but listenable heavy retro thrash which is mostly mid-paced topped by cool attached clean vocals. "Excursion To Hell" is a more intense headbanger, before the closer "Dead God" calms things down with a portion of heavy, ship-sinking riffs this particular song coming with a better sound quality.

Dead God Demo, 1995
Aggression Core Full-length, 2000
Victim or Enemy Full-length, 2002

Official Site

AGGRESSION OF DEATH (VENEZUELA)

Cool, tightly-executed retro thrash with a strong Devastation-vibe and brutal death metal vocals. The guys play fast with the staple slower breaks inserted on almost every song to create a crushing, steam-rolling listening experience. The sound quality is crystal clear, except for the slight noise coming from the drums. An interesting, and fairly well done, cover awaits you at the end: Kreator's "Phobia" from their better attempt at less thrash-based dark metal "Outcast". The generally low-tuned singer on this one acquires a more screechy tone, with a black metal tinge.

Poesia De La Muerte Full-Length, 2009

AGGRESSION TALES (BRAZIL)

An excellent debut of classic, Bay Area-influenced thrash metal (think early Testament above all) with cool aggressive riffage in the Slayer vein popping up here and there. The singer does a fine job changing a few vocal styles in a way similar to Chuck Billy, and he's particularly good at handling the harsher, death metal ones. He should try to avoid the occasional clean ones, though; they just don't fit the hard-hitting music too well.

"Random Acts of Physical Disgust": more "aggression tales" from Brazil come this time spiced with some "physical disgust"; the music is in the same vein as the one on the debut the band thrashing on full-throttle this time adding modern influences at times ("Feed My Monster"). "Damage of Defacement" is an excellent piece of intense Bay-Area thrash, and "Pathetic Greed" is a nod to Slayer again with its direct aggressive shreds. "Bankruptcy" is a laid-back speedy piece, the relief here, and the singer is now a pure death metal semi-shouter his rendings in the very low realms, and consequently not very exciting.

Scribbles in Blood Full-length, 2007
Random Acts of Physical Disgust Full-Length, 2011

Official Site

AGGRESSIVE (COLOMBIA)

The demo is actually just one song: "Despoiled", as you can guess, which is a really great speed/thrasher in the best Bay-Area tradition: think Forbidden's debut and Vio-Lence; fast, relentless stuff, with semi-high/semi-clean vocals. The EP is pure thrash/crossover mixing fast with slower songs topped by slightly screechy high-strung semi-declamatory vocals. "Despoiled" is here again without any changes made to it.

"Predators' Arrival" is a cool headbanging entertainment, the fun starting from the very 1st track: "Of Exploiter And Proletarian", which is an explosive Bay-Area piece, the hard-hitting music well supported by the clean dramatic vocals ala Mark Osegueda (Death Angel). "Corrosive Entertainment" adds a nice intriguing, technical touch to the proceedings, plus a merry crossover mid-break. "Unbalanced Architect" is pretty unbalanced mixing fast and slow rhythms, an approach closely followed by the title-track, too. "Idiosyncrasy" thrashes more wildly, but "The Metal Head Case" is another "case" of heavier, pounding riffs. "White Empire's Greed" is all-out thrash once again, and "Brainless State" doesn't fall too far behind, unleashing the final portion of deadly sharp riffage, the latter given a nice boost by the crystal clear production. These Colombians have done a pretty decent job here, and their inspired tribute to the old school could stand well beside the Brazilian competition.
"Collapse" is another impressive achievement, the band moshing with all the power they can muster at this stage, "Middle Finger Up" raising the moshers' flag inordinately high, the thrashing spree further aggravated by the addition of both the pummeling semi-galloper "Facebutt Profile" and the steam-roller drama "Aggressive". Back to maddening speed with the crossover-laced "Fascism, Fuck Off" and the excellent pulverizer "Cancer con Licencia", the highlight here, a varied brisk cut which stands dignified next to the more frivolous speed metal winner "Hienas y Asnos" and the closing power/thrasher "Metal & Guts".

Despoiled Demo, 2007
Brainless State EP, 2010
Predators' Arrival Full-length, 2011
Collapse Full-Length, 2022

Official Site

AGGRESSIVE AGRICULTOR (FRANCE)

Based on the full-length and the demo after it, this is a cool blend of punk and thrash/crossover. "Consanguinite" is a weird blend of fast uncompromising numbers ("One Seven") and slow plodding experiences (the opening title-track) which are still on the entertaining side, but the perennial merry bashing kind of obstructs the guys' efforts to show their more proficient side which shows up here and there.
"2016" is merry-go-round crossover without any particular thrash pretensions. Tis is simplistic stripped-down music often branching out into pure unbridled hardcore with a few unusual choices thrown in, like the merry country instrumental "Yiiiiaaaahhhh", or the overlong 10-min saga at the end "Scarecrow l'Epouvantable" which actually features some thrash of the disheveled semi-groovy type plus a lengthy lead section.

Eructation Agronomic Full-length, 1991
H'e Ho Tonton Marcel Demo, 1993
Adieu Toi Je T'Aimais Bien Demo, 1995
Les Ann'ees Vaches Folles Demo, 2006
Pig's Not Dead Full-length, 2009
Consanguinite Full-length, 2013
Na-na-na La P'tite Marie (Drunk in Peujard) EP, 2014
2016 Full-length, 2016

Official Site

AGGRESSIVE BY NATURE (CANADA)

This Canadian trio passable old school power/thrash which mixes sharp hard riffs with enchanting melodies on "Hand It Out", the mid-paced inertia instilled with "Necropolis Regent" a bit hard to overcome, the dramatic accumulations trying to break through this clout, but peaceful balaldic outtakes ("The End") and somewhat uneventful longer numbers ("Werepire") diminish the impression, the latter not raised very high by the standard mean-ish mid-ranged semi-clean vocalist.

Rebirth Full-length, 2024

Official Site

AGGRESSIVE INJECTION (USA)

Rough, messily produced thrash with shades of speed metal and crossover; the singer shouts very annoyingly, but the performance of the others is hardly very commendable so he doesn't really impede the proceedings. Various tempos are covered which shouldn't be a surprise having in mind the demo length (12 songs!), but apart from raw semi-amateurish bash one would hardly encounter anything else "You're Stupid" being the "cleverest" composition acquitting itself with a portion of more interesting stomping riffs.

Rehearsal Tape Demo, 1990

AGGRESSOR (BOSNIA AND HERZEGOVINA)

Early Kreator-worship done with inspiration and understanding; this is fast energetic music with vicious early Mille vocals, a very good clear sound quality, and certain speed metal aesthetics from time to time ("Addicted to Blood"). There's a nice faithful cover of their idols included as well: "Tormentor".

Eternal Slaughtering Demo, 2010

My Space

AGGRESSOR (CANADA)

Based on the full-length: this band, headed by the former Annihilator bassist, who is the singer here, Brian Stephenson, offer quite cool retro thrash with a Bay-Area shade ala Testament, with the guitar player at times paying tribute to the great Alex Scholnick. The music carries a nice technical edge, without overdoing it, and the tempo seldom goes into very intense territories. Still dynamic pieces like "Million Dollar Slaughter" and "Crimson Mark" will stir your blood in a major way, whereas a more complex song-writing can be heard on "Terror on Terror" and "Circle of Pain". "Burn on my Skin" is a cool ballad, but is more conventional, lacking the touch of originality and edge so typical for the similar efforts of their aforementioned American peers. Three more immediate shorter thrashers wrap it up near the end, with the closing "Mission to Mosh" adding more melodic crossover elements to the proceedings.

"Beyond All Reckoning" is a more complex follow-up which in this case doesn't mean better, with more jumpy decisions, dominant modern guitars, and more frequent melodic passages ("Justice Lost" which excels in the lead guitar department). The music lacks energy (the brisk speedster "Unknown" is an exception), and displays of bad taste are inevitable: the slow dragging power/thrasher "The Wanderer", the clumsy balladic closer "Redemption (First Eyes Awake)" are just two examples of the uninspired approach which permeates the whole album making it one not very exciting proto-groovy "opera" which time has long since gone.

Pure Canadian Agression EP, 2008
Rape the Willing Full-length, 2008
Beyond All Reckoning Full-length, 2012

Official Site

AGGRESSOR (ESTONIA)

Based on the band's debut: the music is crushingly heavy, mid-paced most of the time (with the exception of the fast headbangers "Fear the Future" and "Widow's Mourning"), sounding like a more thrashy version of Bolt Thrower (their later period) and Benediction.

Procreate the Petrifactions Full-length, 1993
Of Long Duration Anguish Full-length, 1994

AGGRESSOR (GERMANY)

Music-wise these guys are not miles away from early Venom and Celtic Frost/Hellhammer, but the vocals (if we could call this awful grunting vocals) are so shocking and horrifying (I mean, for the time of release), that even the grindcore acts later would find it hard to top it up in terms of nastiness. The last track "Psycho Metal" is a pure Hellhammer worship with its discordant rhythm and, again, the unholy tortured vocals.

Demo Demo, 1986

AGGRESSOR (ITALY)

Aggressive thrash in the Slayer, Dark Angel vein, mixed with early Death; this is fast good music ruined partially by the awful sound quality which stifles the vocals almost completely which in their turn are rough semi-whispered ones, quite low. The lead guitar is particularly good whenever it can be heard clearly.

The Wings of Death Demo, 1987

AGGRESSOR (JAPAN)

A very twisted and brutal recording which could only be compared to Hellhammer's "Apocalyptic Raids"; the vocals are some of the most tortured sounds you might hear, and although the music makes sense at times, and is clearly better than the one performed by Hellhammer, even having a rock-ish vibe ("Fuck Satan"- could be a Christian metal band?!), this is very little more than just a rehearsal of a bunch of drunken metal heads who had gathered with the only intention to scare away the neighbourhood, and I'm sure they had admirably succeeded in doing this.

Demo Demo, 1986

AGGRESSOR (MEXICO)

The flag of the old school is raised high on this recording which sees these guys following on the steps of their idols from the German side of the genre, and fans of Necronomicon, Destruction (the album-title is an obvious nod to the Schmier gang (remember "Release of Agony")), Darkness, and early Deathrow may find their new heroes here with ease. Fast thrashing alternates with a few more clever slower passages, but generally the speedy crescendos are seldom interrupted, even on more technical achievements like "Broken Ritual" and "Social Virus". One would expect a cover of some of the aforementioned acts as a finishing touch, but what arrives at the end is also a cover, but of Judas Priest's immortal "Painkiller" done quite faithfully without any more aggressive thrashy exaggerations, another fitting epitaph to this roller-coaster which also boasts quite good vocals which are dead ringers for Schmier; and a few sweeping lead sections with a thin virtuoso flair (check the "Painkiller" for those again). The guys were previously known as Mandra.

Release of Aggression Full-Length, 2013

Official Site

AGGRESSOR (PANAMA)

This obscure Panamese trio plays raw messy thrash metal ala early Sodom and Razor turning to violent proto-death on "Total Extermination" for a while which is the best track. The singer is an unrehearsed brutal growler, but suits the bad sound quality and the amateurish musical approach.

Call from the Crypt Demo, 1990

AGGRESSOR (SPAIN)

Aggressive proto-death bash with a muddy sound quality; brutal stuff as a whole the guitars still sounding recognizable despite the monolithic unchanging fast delivery topped by short screamy Kerry King-esque leads. Slayer can be a close call as well as Dark Angel, but the sound here gets nicely deathly ("When the Light Fell") with a shade of early Death as well. The vocals are strictly in the death metal camp, though, being brutal low-tuned, but intelligible and forceful.

Brutal Aggression Demo, 1989

AGGRESSOR (USA)

These "skull crushers" serve heavy modern thrash/post-thrash which more energetic side is reflected in cuts like the raging "Street Justice", the diverse progressiver "Prodigy", and the cool lasher "Hide". The rest is seismic and doomy among which "F214" with its clever atmospheric arrangements the latter partially covered on the closing "Black Crow". The singer is a rough semi-cleaner, and his more melodic antics are not bad at all.

Skull Crusher Full-Length, 2016

AGGRESSOR (USA, MA)

Based on "Self-Inflicted": a 4-songer offering quite cool heavy seismic retro thrash which becomes wonderfully technical ("Hyperhynosis") on occasion, but the dominant tone is quite heavy perfectly epitomized on the closing progressiver "Bio-Atrophy" which steam-rolls forward for over 7-min. The vocalist is a semi-clean/semi-shouter who is able to hold the odd melodic flair on the mellower moments.

Looking for a Label Demo, 1989
Self-Inflicted Demo, 1993

AGHAST (UK)

The "Aghast" EP is a cool mix of a little bit of heavy thrash, battle Bolt Thrower-like riffs, and cool technical licks ala Morbid Angel. "Chum" features a nice balladic passage, but generally the tempo is fast and energetic, "courting" the latter band above all.

Sardonic States of Comison: Content EP, 2006
A Wolf in the Kingdom of Heaven EP, 2008
Aghast EP, 2009

Official Site

AGHAST INSANE (ITALY)

A cool demo of modern and classic thrash metal mixed together; the music varies from heavy mid-tempo modern numbers ("Aghast Insane") to great fast headbangers ("Alone").

Aghast Insane Demo, 2004

Official Site

AGIOS LUCIFERI (BRAZIL)

This Brazilian duo provide furious black/thrash/death of the old school, the relentless semi-blasting riffs keeping the trve in check, whereas the others would often cringe from the constant violent downpour, the latter not far from the early outrages of acts like Impaled Nazarene and Marduk. Expect no mercy on virulent pieces like "Obscure Times" and "The Kingdom of the Serpent", the calmer thrash veneer of "Occult Energy" standing for the highlight, a more diverse banger that is nicely supported by the vigorous mosher "Hate and Revenge", but not so much by the raspy witch-like black metal vocalist.

Spiritual Liberation Full-length, 2023

Official Site

AGITATOR (ITALY)

These young "agitated" Italians pull out intense old school thrash in the German tradition: think Necronomicon, early Deathrow, Destruction. This is constant vitriolic mosh with very rare deviations from the righteous path as the guys' dedication to all things old school is admirable with various appetizing gimmicks present: great melodic leads ("No Words, No Life") ala Artillery; spinning Destruction-like riffs on the title-track; more engaging semi-technical delivery ("Lack of Passion"); not to forget the shouty choruses provided on almost every track. The vocalist is on the semi-clean/semi-shouty side quite close to Freddy from Necronomicon again.

Mental Violence Full-Length, 2014

Youtube

AGNOSIA (PORTUGAL)

A nice obscure demo from the Portuguese underground, offering classic mid to up-tempo thrash, with a few more melodic moments, mostly on the two instrumental pieces. The vocal tracks are edgier although the singer is hardly an asset with his strained semi-death/angry delivery, mixing direct retro headbanging sections with proto-modern groovy ones.

The First Gathering Demo, 1994

Fan Site

AGNOSIS (COLOMBIA)

Classic-sounding power/speed/thrash metal with a very bad sound quality; the music follows the patterns established by the Argentinian acts Horcas and Hermetica mixing faster and slower songs in almost equal dozes.

Cementerio de Sue'f1os Demo, 1992

AGNUSDEY (SPAIN)

The demo: modern thrash with dark overtones; the vocals are deep death metal-ish, and the leads are quite good, melodic, and generally there's a good sense of melody permeating the demo making it sound like less polished Rigor Mortis. The band mix the pace well on every piece creating an almost progressive drama ("Do Angels Exist") on the more hectic material.
The full-length offers a more classic sound with some impressive melodic sweeps ("Black World") served from the very beginning. The tempos vary from song to song as the up-paced one slightly dominates especially on speed/thrashing roller-coasters like "Fucking Killer" and the semi-progressive shredder "Garden of Black Roses". The closer "Kingdom of Well-being" provides some death metal-ish fervour at the end to which the growling, this time higher-pitched, death metal vocals suit better.

Demo Demo, 2013
Evil in the Earth Full-Length, 2014

Official Site

AGNUS DIE (BRAZIL)

Energetic classic thrash which is ready at times to cross over the death metal field in a way close to the Swedes Deliverance. The more simplistic barrage is abandoned for the clever technicaller "Desillusion" which is an intriguing combination of catchy tunes and aggressive passages. "Pos Game" is another highlight, an all-instrumental piece with captivating speedy lead-driven passages. The other material is much more immediate offering decent barrage supported by hoarse semi-clean vocals with a drunken blend.

Melting Brain EP, 2012

AGONA (BRAZIL)

A 6-song EP of modern melodic thrash/death metal which could have gained something from a more energetic delivery; now this dark mid-tempo stuff with gothic decorations and balladic stretches would mostly serve to keep fans of flamboyant acts like The Project Hate happy rather than the regular thrash metal fan.

"Homo Grotescus" shows a bigger understanding of the thrash metal canons and this time the band shred with more power and speed although full-blooded speedsters aren't very easy to come across, at least in the first half, despite the several genuinely aggressive moments (the blast-beats on the otherwise officiant epicer "Unon") inserted. The second half is more satisfying, first serving the vigorous title-track, and later the interesting proto-blaster "A Sombra" the guys' efforts gracefully crowned by the vintage headbanger "Cavalo de Tr'f3ia" near the end. "Gaia" is a really stylish melodic progressive instrumental, quite close to being the highlight with imposing orchestral arrangements the latter not so expertly rendered on the closing "Grande Perdedor" which is another instrumental, but of the pensive balladic type, a bit sleepy and kind of underwhelming. The vocalist is given a break at the end, and he rightfully deserves it growling his lungs mercilessly earlier in a scary brutal guttural manner.

Essencial Putrefa'e7'e3o EP, 2011
Homo Grotescus Full-Length, 2013

Official Site

AGONI (SWEDEN)

A 3-song demo of speed/thrash reminiscent of some German acts from around the same time: Warrant, Vectom, maybe a tad more melodic. The band later changed just the last letter of their name, to become Agony (see the review a few lines below), and to move into a more aggressive thrash direction, and to leave a few demos and one official release before splitting up.

The Future Is Ours Demo, 1985

AGONIA (SPAIN)

This is slow to mid-paced modern thrash with brutal death metal vocals; the guitars have at times this merry roller-coaster edge characteristic of early Six Feet Under, but the rhythm section doesn't falter much sticking to solid heavy riffage which may even make your head bang on the more dynamic "LegalizaR".

Frente al Espejo Demo, 1997

AGONICA (MEXICO)

Based on the "Hasta el 'daltimo Aliento" demo, this band pulls out a hesitation between the modern and the classic sound, which produces a few positive results, thrashing in a not very intense mid-pace, losing it a bit at the end with two clumsy heavy doom-laden tracks. The singer is the typical angry shouter.
The "Frontera" demo is five songs of more energetic thrash with both classic and modern overtones plus an over hardcore shade at times ("Mucho A La Chingada"). "Vivir Morir" is a surprising faster offering. The final "Odiame" is a peaceful instrumental of the bluesy/balladic type; it's actually a re-worked, instrumental-only, version of a song from the preceding demo.
The "Codicioso" demo is just two tracks of not very impressive crunchy modern thrash with generic riffage "Prepotente y Destructo" livening up with a few more energetic sections.

Bienvenidos Demo, 2002
Hasta el 'daltimo Aliento Demo, 2008
Frontera Demo, 2011
Codicioso Demo, 2012

My Space

AGONICA (SPAIN)

Based on the full-length, this band indulge in modern thrash/death which is both suitably melodic and intense at various stages throughout the album the guys' efforts helped by the crisp production and the very good bass support. "Deception of Devouts" is a successful attempt to capture the dark technical character of Nocturnus and Revenant, but the other material has no such aspirations being direct and bashing the melodic sweeps giving it an individual aura which is slightly dispersed by the more conventional shouty death metal vocals.

Portraits of Suffering EP, 2011
A New Onset Full-length, 2013

Official Site

AGONIE (CZECH)

Based on the "A Story About..." EP, these guys play dreamy alternative desert rock with the ballad and the grunge constant companions with post-thrash timidly showing up in the riff department. Reportedly, on the earlier efforts the guys had played much more aggressive thrash/death of the modern type.

Bolest Full-length, 2000
'8eeny Full-length, 2002
A Story About... EP, 2004

Official Site

AGONIZE (DENMARK)

These folks started under the name Alterator before changing it to the present one in 1989. Based on the "Fall" demo, this is excellent aggressive death/thrash ala Devastation's "Idolatry" and Death's "Spiritual Healing" with nice slower breaks and stylish technical riffs.
The promo is another commendable affair all the three songs being blistering technical, relatively short (2-4min), speedsters untouched by the modern vogues the guys shredding with passion helped by a very good sound quality which gives a great boost to the cutting swirling guitars which "duel" the whole time creating puzzling crescendos topped by aggressive throaty semi-shouty death metal vocals. The approach now was moving towards a more individual one with a slight shade of the early efforts of their compatriots Invocator, but the band disappeared without a trace.

Fall Demo, 1991
Promo Demo, 1993

AGONIZER (CUBA)

One of the very few representatives of the Cuban metal scene, Agonizer offer heavy, mid-paced thrash/death frequently bordering on doom metal and an overall dark sound recalling the first two Six Feet Under albums and later period Bolt Thrower.

Bless The Innocence Full-length, 2000

Official Site

AGONY (BRAZIL)

Four tracks of fast-paced classic speed/thrash recalling Toxik's "World Circus", but without too much technicality present; good stuff offering speedy sharp, albeit a bit abrasive, riffs aplenty (one vicious Slayer-esque thrasher "The Maniac" springs suddenly at the end, too) with a bit hollow-sounding drums and screamy clean vocals which need to do some more practice in order to get tuned with the better music.

A Second Sign Demo, 2005

AGONY (COLOMBIA)

The band's debut is a really pleasant surprise with its classic Sepultura-influenced sound coming as a very acceptable follow-up to "Arise". The guys are equally expert at thrashing with aggression ("Die Alone", where the sound is quite brutal with proto-death elements) and calming down with slower, dark pieces ("Forever Decay"), accompanied by nice melodic hooks. The songs are long with a genuine dark atmosphere; the guitar work is straight-forward with no technical pretensions except on a few occasions ("Walls Of Black"). The second half is more interesting: the music is less aggressive, but the guitars start to sound more stylish ("Falling Again"). The album closer "The Last Power" is the heaviest piece mixing stomping and very fast riffs, but the addition of groovy passages kind of lessens the impact.

Millenium Full-length, 1996
Reborn Full-length, 2002

Official Site

AGONY (SWEDEN)

This is the same band who were previously known as Agoni. This is typical, professionally done thrash metal with occasional genuine ideas and aggressive, fast tracks (the opener "Storm of the Apocalypse"). Although the intensity of this track is nowhere achieved later, some are not far behind: the energetic headbanger "The First Defiance". Later the band take turn towards a more ambitious song-writing: the 8-min stomper "Execution of Mankind", but the biting edge of the first two songs gets lost, and consequently the material loses its appeal as well, simply because there is not enough technicality involved to keep those longer tracks floating. The last song "Deadly Legacy" does a lot to capture the lost inertia, mixing technical and fast riffs in a fairly impressive way. If just there were a few more of the kind here....

First Defiance Full-Length, 1988

My Space

AGONY (USA)

This young act pulls out competent modern thrash/death which ranges from slower dark pieces to raging fast ones. The latter are more accentuated on, and while the first few ones one may take as just interesting deviations, on the others he may just lose interest, especially when they start sounding too gothic ("Faceless Death", "Staratagem", which comes accompanied by a cool clean deep vocals), or too groovy ("Spirit Hunter"). Towards the end the guys pull themselves together and start thrashing with more power ("The Devil's Breath", the more classic-sounding "Absolute Power").

The Devil's Breath Full-length, 2009

AGONY COLUMN (USA)

This is an interesting band; their style has often been described as "boogie thrash". Well, the "thrash" part of the description could only loosely be applied, as the band's music is more into heavy/power metal. But on the first two efforts one could distinguish quite a few forceful thrash riffs which could focus the attention of the thrash metal fan; something worth checking out, if only from a curiosity point-of-view.

God, Guns And Guts Full-length, 1989
Brave Words & Bloody Knuckles Full-length, 1991
Way back in the woods Full-length, 1996

My Space

AGONY ECLIPSED (USA)

Your average Gothenburg thrash/death metal with slightly irritating muffled low-tuned semi-whispered vocals; the energy is here as well as the melodic licks, but there's nothing new to be offered. At times the music takes a more melodic turn: "The Reverence of Inebriation" which is a cool instrumental in the mid-period In Flames vein; "Conquest of Corruption"- a jumpy stomping track, which again refuses to speed up. The EP finishes with a 30-sec drum solo recorded live.

The Reverence of Inebriation EP, 2008

Official Site

AGONY KINGS (USA)

Noisy hyper-active thrashcore which is plain hardcore for at least half the time although heavy stompers like "Pain" tell a different story for a while with their heavier, groovy post-thrash approach. The vocals are rending shouty hardcore-prone, fitting the unrestrained musical panorama like a glove.

Agony Kings Full-Length, 2017

AGONY OF DECEIT (USA)

Modern mechanical thrash trying to reach the bleak futuristic atmosphere of mid-period Meshuggah and the French Gojira. The problem is that the few stylish decisions are sunk in mediocre groovy patterns and repetitive jumpy mid-tempo riffs with one highlight in the middle: the modern thrash shredder "Wage Slave" and partially the brutal death metal madness "Fighting The Elements" near the end. The situation can't be saved by the several short balladic instrumentals which are quite cool, by the way, but their contrast with the much noisier rest isn't that pleasantly fitting. The guys offer a more technical and better death/thrash blend on their other project Beltfed Weapon.

Affliction Full-length, 2004

My Space

AGONY REIGNS (USA)

Based on the full-length, this act serve modern thrash/death that doesn't run very far from the Swedish canons, ticking all the right boxes within this sub-genre, from the ripping melodic guitars to the screechy cookie monster vocals. The slower, more atmospheric stopovers ("Beyond Death") drag a bit as the band are clearly fonder of the speedier arrangements, to which also belong the nice hyper-active semi-technicaller "Apathetic Entity" and the enchanting progressive orientalism "Zealot".

Death from Within EP, 2019
The Tragedy in Understanding Nothing Full-length, 2021

Official Site

AGONYST (UK)

Based on "The Bad Old Days", this band specialize in complex technical progressive thrash/death which has a characteristic futuristic vibe as evident from the opening weirder "Larp and the World Laughs at You". The hyper-active time and tempo-changes may remind of the Brits Biomechancial at times (the title-track). The thrashing is quite engaging often interrupted by more quiet atmospheric sweeps, and ethereal technical pieces like "Solomon's Sabre" and "Smegmatic Peon B" will make the fan listen with more care following the more or less expected twists and turns. The vocals are a mix between clean emotional and harsh death metal-ish creating a lot of atmosphere in the process.

Centennial Full-length, 2011
The Bad Old Days Full-length, 2015

Official Site

AGOR (NICARAGUA)

Three songs of modern post-thrash which boasts very good leads and a few cool fast-paced escapades; heavy seismic stuff (check out the doomy deviations on the title-track at the end) with not very rehearsed shouty drunken vocals.

Metal Violencia EP, 2007

AGORAPHOBIA (SPAIN)

Based on the "Black Fire" EP, this band plays jumpy modern thrash metal with quirky rhythms and varying tempos which often change within one composition to mixed effects. There is a certain hardcore attitude shown, also helped by the improvised choruses and the indifferent dry vocals.

Black Fire EP, 2006
Reflexion Full-length, 2010

My Space

AGRESION (COLOMBIA)

An ultimately underground recording showing an act playing raw primitive thrash in a clumsy mid-pace abruptly livened up by brutal death metal compositions ("Macho Cabr'edo"), but "shocks" of the kind a rarity, even on the last two very short compositions where the guys stick to ultra-heavy repetitive riffs in a slow tempo.

Rehearsal Demo Demo, 1990

Fan Site

AGRESIVA (SPAIN)

The debut full-length: this is cool classic thrash which is sustained in a vigorous energetic pace from the very beginning first with the sharp lasher "Pale Horse", then with the galloping delight "Hell Town" both ripping pieces with hard-hitting riffs galore. More technical performance comes forward on "The Glorius Revolution" and the diverse "Eternal Foe" in the middle, but the guys don't waste too much time in this sector soon returning to the more immediate blitzkrieg approach which stays till the end, the very end being kind of underwhelming helmed by the heavy closer "Betrayer" the faith restored by the Spanish version of the best track here "Hell Town". The singer doesn't disappoint, either, delivering with his mid-levelled clean timbre without taking any vocal risks.

"Crime of Our Time" has no intentions of changing the landscape drastically, and the delivery is expectedly energetic and biting the songs mixing fast and slower rhythms "Darkstryder" speed/thrashing with passion all the way through waking up the rest which immediately produces the smashing headbanger "Chronophobia". The 2-part saga "Cloud of Smoke" is more on the pensive, progressive side, but is another satisfactory achievement with its clever riff-patterns. "A Man of Tomorrow" is the other deviation from the dynamic formula, a more friendly take on the good old power/thrash with its impetuous galloping rhythms. The closing "Remorse Remains" serves a more technical play, and its jumpy guitars may be a suggestion of bigger exploits to come in the future. The vocals are more convincing and more varied this time with more adventurous higher-pitched antics presented.
"Decibel Ritual" is another headbanging beast, the guys speed/thrashing in the familiar manner, aptly balancing between the two styles until literally out of the blue comes "Cleansing-The Aftermath", a stupendous technical number which remains one of its kind, but by all means shows a potential that has to be worked on in the future. "Grateful" also shows more intricate prowess, but its mellower nature kind of conceals the more ambitious strives. Regardless, the band continue their ascension with the brisk "Under Silver Selene", the soaring speedster "We Stand", and the excellent closer "The Pantomime", a progressive thrashterpiece with a cool balladic intro. The band have done a very good job here, paving their way for more, even bigger exploits.
"El Fin de la Razon" is another decent recording although the approach is mellower and more melodic, with an accentuated power metal sting epitomized this time, the invigorating "Ganar o Perder" the only truly rowdy presence, the rest more technical expletives on "Entierra el Pasado" the other more prominent occurrence, if we also exclude the steel gallops released on "Contradiccion".
"Panico Escenico" is more dynamic and thrashier, the more intricate veneer of "Perdiendo el Norte" leading the pack which also boasts more proficient lead guitar work this time, on top of other niceties like the tight compact thrashing on "Confusion", or the ethereal lyricisms on "Toxico". "Esclavo" is another positive occurrence, a brief spasm of uplifting retro speed metal, and "La Senda" is an ambitious lengthy closer with the power metal extrapolations from the preceding opus introduced back for a downbeat but still listenable finale.

Eternal Foe Full-length, 2012
Chronophobia EP, 2013
Crime of Our Time Full-length, 2014
Decibel Ritual Full-length, 2017
El Fin de la Razon Full-length, 2020
Panico Escenico Full-length, 2022

Official Site

AGRESIVO (SWEDEN)

A short 2-track (the 1st cut is a short intro) demo of cool edgy retro thrash which follows the path already established by the guys under the previous name Inferior when they released two demos in pretty much the same style, maybe a bit more aggressive, death metal-tinged. The band thrash with clever riffage mostly sticking to the mid-pace adding the casual speed metal aesthetics ("Himnos De La Muerte") here and there. The singer is a gruff semi-shouter with a thin voice, but is supported by the others on the choruses so things are not so bad.

Rektum Mobile Demo, 2004

AGRESOR (BULGARIA)

An obscure Bulgarian act who pull out clever semi-technical thrash/death metal obviously influenced by Death and Pestilence, but minimalistic and less flashy, which could have had more appeal, if it wasn't for the very buzzy guitar sound. The guys never speed up too much, except on the very cool intense instrumental "Prelud # 1" which is the highlight here. The band also rely on atmosphere created by quiet acoustic sections and other gimmicks which find a full realisation on the marvellous progressive opus at the end "Svetata Lubov" which, despite its enormous length (13-min), will keep you entertained with its wide gamut of moods and riffs.

"Pogled Kum Budesteto" is even better with a much better sound quality and more technical guitars bordering on progressive at times. The music is again mid to up-tempo, and the sound is drier, but not to a modern extent. "Voda (Water)"'s minimalistic approach will remind you of Voivod's "Killing Technology", and "Glasut (The Voice)" is a nice twisted Coroner-like instrumental, with weird tunes (flutes, etc.) springing up, as well as male church chants. But this is not all, since there's more technicality and originality involved, like on the more aggressive technical thrasher "Luks (Luxury)", or the creepy sinister doom "Faza (Phase)", which seamlessly blends a modern sound ala Prong with a faster, early 90's Death-like ending. The second half isn't as striking, featuring heavy doom-laden tracks, with very little speed present, if any; one of those tracks "Turchin i Robinia (A Turk and A Slave)" mixes doom with elements from the Bulgarian folklore, and "Nevinni (Innocent)" is a cool acoustic ballad. This is quite a diverse listen, and some may regret that this effort was not sustained in the same technical vein till the end, but to hear such a refreshing work during the stale 90's will help improve anyone's sad mood in no time.

Idoli Na Stradanieto-Idols Of The Suffering Full-Length, 1993
Pogled Nazad Kum Budeshteto/A View Back To the Future Full-length, 1994

AGRESSIVE (BRAZIL)

Fast intense classic thrash (based on the debut demo) with good rolling riffs ala early Destruction and short ripping songs never lasting beyond the 3-min mark. The guys lash with passion and the singer accompanies them energetically with his rough rending death metal tone. This is really good music if you want to get "united for beer" with your mates, like the title of the closer suggests.
The "The Legacy Remains" demo is another blitzkrieg effort the guys moshing with force maybe showing a bigger sense of melody ("Avalanche Of Hate") here and there, but generally the thrashy cannonade never ends the main complaint being the rending, very shouty vocals which are utterly unintelligible. The last track "Infernal Soldier" is a jolly crossover cut.

Death and Chaos Demo, 2010
The Legacy Remains Demo, 2012

My Space

AGRESSOR (BRAZIL)

Agressor have been active since the early 90's, but it was in 2006 when they finally managed to release a full-length. Their early demos are a rough mixture of American power metal and thrash with an uneven quality. By the time of "Victim of Yourself" the power metal had been completely gone, and this album is classic thrash at its best; the music follows on the steps of the German veterans Destruction and Sodom, like many other contemporary Brazilian bands: energetic with sharp riffs and vicious, death metal-ish vocals; a couple of tracks in the middle slow down and carry the stomping, late 80's Slayer spirit for a while, ornate by very good leads with an Oriental touch ("P-36", "One Esta a Coragem?" (something about courage is the word here, I guess), and others). If they go on in the same spirit, these guys will easily manage to make their way through the fierce competition from the Brazilian metal scene these days, and why not to the very top?
"Demise of Life": the "agressors" are back, and the Amazon jungle is shaking again under their seismic riffage which this time is accompanied by ecological texts about the saving of that same jungle and the world environment in general. Music-wise this is another no-brainer with fiery blitzkriegers attacking from all sides leaving the more technical serious execution for the small number of mid-pacers ("The Origin") also present. Compulsive headbangers like "Accidental Murder" and "Belo Morte" will keep the adrenaline level high, "Terra sem Lei" being a rager of a more cleverly-performed kind with some striking lead guitar work. A crystal clear sound quality is another addition to this fairly cool return for a band who were under the scare of a split-up after the successful launching of another career for some of the members under the name Dark Side first, and then as Vingador where the style is a mellower version of the one here with elements of power metal.

Victim of Yourself Full-length, 2006
Destrui Meta1lica EP, 2012
Demise of Life Full-length, 2014

Official Site

AGRESSOR (FRANCE)

One of the best French death metal bands, Agressor's beginnings are deeply rooted in thrash. "Neverending Destiny" is intense, very fast thrash which hits you like a hammer although the death metal tendencies have already said their word and the shorter numbers are pure death metal explosions: "Paralytic Disease", "The Unknown Spell", the furious, ultra-fast "The Arrival". At from the relentless thrashing, one could also hear touches of a more unconventional song-writing: the chaotic technical "Elemental Decay", the lightning speed/thrashers "Neverending Destiny" and "Bloody Corpse", the dark, more controlled "Dark Power". The follow-up introduces death metal into the band's sound, but thrash still prevails in some of the songs. Even though their later efforts belong strictly to the death metal genre, some of their thrash metal past is still present.

Neverending Destiny Full-length, 1990
Towards Beyond Full-length, 1992

Official Site

AGRESSOR (HUNGARY)

Heavy volcanic thrash/death with brutal guttural death metal vocals akin to Chris Barnes (Six Feet Under, Cannibal Corpse); the guys aren't strangers to more intense moshing ("Meghaltal"), but the prevalent tone is brooding and mid-tempo the seismic delivery a bit one-dimensional reminiscent of early Six Feet Under.

Halotti Beszed Demo, 1996

AGRETATOR (SWEDEN)

"Delusions" is an impressive debut: technical thrash/death metal calling to mind Pestilence's "Testimony of the Ancients" and the Belgians Chemical Breath on the more inspired moments. It nicely combines speed and technicality most of the time, like on the awesome opener "Prophecy", and the next couple of tracks, seldom going for a more aggressive, more death metal-based sound: "Merciless Living" which is also the song that contains the slowest riffs, but moments like this aren't too many, and also include the heavy, dark "Internal Severity".
The EP is also good, but is much more melodic without any shades of death metal with strange, progressive song-structures, choppy riffs and a much stronger modern edge (think Coroner's "Grin", or early Meshuggah), offbeat moments (female/male choruses, a sweet quiet ballad, etc.). After the band split up, some members went to achieve bigger glories with their other band Darkane.
The demo is three tracks of chuggy Meshuggah-esque modern thrash sounding like a big step back compared to the previous instalments since there's nothing interesting at play here if we exclude the lyrical intro to "Inner Acts" and the nice lead sections on "Soul Divine". The rest is unmelodic sterile abrasive riffs which literally lead nowhere, and is hard to be seen as a worthy warm-up for the Darkane saga.

Delusions Full-length, 1994
Distorted Logic EP, 1996
Infected Demo, 1997

Official Site

AGREZOR (USA)

This is fast ripping classic thrash that is largely modelled after the early examples from the German scene (Kreator, Necronomicon, early Deathrow), the more complex shenanigans of �Cannibal Ritual� a cool deviation, also giving the harsh death metal singer more chances to rend his throat. �Enter the Chamber� follows the same lofty example, another multi-layered odyssey which leaves the shorter more immediate material (�Fear of Violence�, �Dead End�) somewhat in the background, the closing �Wreck� a pummeling exercise in heads-down bashing thrash at its least merciless.

Rise of the Serpent Full-Length, 2023

Official Site

AGRO (SOUTH AFRICA)

Based on "Ritual 6", this is melodic thrash mixed with power metal, of the modern type with a heavy, but tasteful use of keyboards. Sometimes they remind of the Finns Sentenced ("Amok" and after) on the more atmospheric moments.
"Forthcoming" sticks to the same mix with power metal more accentuated on on a couple of heroic battle rousers ("Woken By Silence"). The longer, more thoughout-out numbers ("Chalk Outline") tend to drag a bit, but surely everyone will thoroughly appreciate the sped-up version of Twisted Sister's "The Price", a galloping delight with only the gruff deathly vocal side of the duel spoiling the mood a bit. "Till Death" is an inspired power/speedster with echoes of Manticora, but the closing "The Tree II" is an overdone, nearly 13-min saga that doesn't contribute much to the relatively light-hearted tone of this recording.
"The Bitter End" is a cooler, more melodic affair the band either marching on in an officiant mid-paced fashion ("Betrayal of Innocence"), or speeding up in a breezy Germanic way ("A Luta Continua"). The main spoiler are the gruff death metal vocals which don't fit the mellow musical background the latter having few ties to actual thrash as this is by-and-large a power/speed metal recording sitting between the old and the new school.

From Within Full-length, 1995
Eyes Full-length, 1998
The Tree Full-length, 2000
Forthcoming Full-length, 2003
Gouda Than Hell Full-length, 2004
Ritual 6 Full-length, 2006
Rewriting History Full-length, 2010
The Bitter End Full-length, 2020

Official Site