Copyright (c) 2007-2024 THE THRASH METAL GUIDE

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

B.A.R.F. (CANADA)

Based on the demos, this band plays raw aggressive thrash/crossover not too far from The Accused, but with a more punk-ish attitude. The music on "Tumulte" takes a slightly more aggressive edge even treading into death metal waters on quite a few times, but the punk-ish atmosphere still remains ("Mouton Noir", "Intoxicate") despite the presence of more vicious and brutal vocals.
"Region Sauvage" is a decidedly more aggressive offering than earlier recordings, but also expect merry crossover jump-arounds ("Comme Chartrand"), dramatic mid-paced stomps ("Dans le Rouge de tes Yeux"), and pure hard'n heavy vaudevilles ("Quebec Rock") the joy instilled also tolerating a couple of more brutal but also fairly stylish hardcore outbirsts (the closing "Terricide").

Social Disorder Demo, 1986
Blasting All Rotten Fuckers Demo, 1990
Tumulte Full-length, 1992
Ignorance Chaos Suicide Full-length, 1993
Surprise... Full-length, 1995
Catharsis Full-length, 1998
Brule Consume Torture Full-length, 2014
Mantra Full-length, 2018
Region Sauvage Full-length, 2022

Official Site

B.B.R. (CZECH)

Based on the debut, this outfit specialize in messy, not very coherent modern post-thrash sustained in mid-pace which never changes even for a split second producing boring groovy passages to no end the only shift being the nice calm closing ballad "Konec Krysace". The singer rends his lungs in an attached semi-shouty manner and manages to elicit some memorable melodic lines.
"Predvoj Smrti" is a more energetic and a more concise affair the band still staying within the post-thrash confines, but sounding more confident and overall angrier also reflected in the more aggressive, now clearly death metal-inclined, vocal delivery. Nice catchy melodies are also present to make this album a much more attractive listen than any of the band's previous recordings and draw a line to be followed on future efforts.

Pro Prachy Full-length, 1996
Bod Zlomu Full-length, 2002
Hyenizmus Full-length, 2004
Predvoj Smrti Full-length, 2007

Official Site

B.D.S. (MEXICO)

Based on the 2011 demo, this act indulge in raw bashing thrash on a semi-amateurish level assited by a very noisy background and expressive shouty death metal vocals which are seldom intercepted by more emotional clean ones ("Teethmarks"). The buzz from the guitars is so loud that it taes away all the joy which is served both in a fast and slow pace the latter touching the 80's American scene ("Teethmarks" again) a bit.

Beer Hate Blood Demo, 2006
Demo Demo, 2011

My Space

B.E.E.R. (MEXICO)

This is quite cool classic thrash which has not much to do with the happy-go-lucky tangents of Tankard... so apart from the name there are no beer connotations to be savoured here, the band thrashing with conviction and professionalism, with both complex and vitriolic sections are thrown at the listener, the latter a bit pulled back by the gruff death metal vocals. The ambitious progressive clout of "Nekromantik" is welcome for sure, but watch out for the frivolous thrash/crossover expletives on Party B.E.E.R.", and the more technical vehemence emitted by "Thrashing The Christ", the short ripping "Beer Everywhere Everyday Ruthlessly" another party stirrer with its sharp polished riffs.

Blinded by Evil Full-length, 2021

Official Site

B.O.T.

Thrashy hardcore with a very bad sound quality and surprisingly cool leads; the songs are very short (1-1.5min), and some are just instrumental variations including the opening 2-min from Diamond Head's "Am I Evil"- yeah, that same one which Metallica covered two years earlier, and one noisy bass instrumental as a finishing touch.

Faster Thrashing Speed Demo, 1986

B&R (USA)

Thrash/crossover with a rough sound and intriguing semi-clean Dave Mustaine-like vocals; this is mostly mid-tempo music with jolly riffs which sounds more interesting when it tries to break the pattern a bit (the nice semi-ballad "Younger Years"; the more energtic early Megadeth-esque "Keep The Faith").

Keep the faith Demo, 1990

B-RUDE (ITALY)

Heavy stomping thrash which comes with a pristine sound quality; the tempos vary the whole although this isn't overtly technical stuff, but the several crossover developmets are perfectly legitimate recalling acts like Leeway and Ludichrist. The singer is a hardcore-ish semi-shouter who tries to sound more attached at times, helped by his comrades on the choruses.

Demo Demo, 1989

BAAL (GERMANY)

Based on "Confusion of Tongues": modern thrash/death, quite fast and furious, but having a genuine technical edge which makes it stand out from the rest of the pack. The guys have the knack to combine raging thrashy riffs with nice melodies ("(Heads Deep in the Ass of the) Red Dragon"). Some tracks are a nice take on the Bolt Thrower war metal style ("Vespertine Absurdity", "Pile Of Debris", with a more technical twist), but there are some which are your average Swedish death metal ("Endeavor Bafflegab"). Often do the guys thrash without mercy ("Pink Tank Fantasies"- this is probably the next stage after the pink elephants... I guess?; "Blackwater Crusade"), and these are the times when the music really takes off. Certainly, a release like that can not pass without pure death metal pieces, but this is where the technicality shows more clearly: "The Throne of Nimrod", although the ultra-fast parts might make you faint. The closing appropriately-titled "Exodus" is a more melodic gothic thrash/death metal instrumental adding more to the diverse interesting nature of this album.

The Lilith Complex Full-length, 2004
Confusion of Tongues Full-length, 2008

Official Site

BAALSHAMIN (SWITZERLAND)

These Swiss satanists specialize in merry-go-round black/proto-thrash which hesitates between raw dark depressers ("Ancient Battlefield") with genuine atmosphere created by haunting keyboard landscapes, and primal direct old school creepers ("F.O.A.D.") in the vein of early Bathory and Khold. The sound qiality is appropriately raw imitating the old canons, and the singer husks and rasps his way in a more guttural manner, but is often interrupted by cleaner chants and tirades the latter further enhancing the eerie feel this album has in abundance.

Fuck The New World Order Full-Length, 2012

BABILOS (USA)

3 songs of good retro thrash with meaty semi-technical riffs not far from early Testament, similarity also in the lead department where the guy doesn't hide his infatuation with the more complex elaborate style of Alex Scholnick. "Trapped In The Pit" is mostly instrumental, brisk up-tempo shred with the vocals hitting near the end, but hardly leaving the most positive impression with their gruff semi-death metal blend. "Till Death Do We Thrash" is another no-brainer for the headbangers with sharp lashing riffs taking turns with proficient piercing technical/melodic leads. "Declaration Of Cruelty" is a heavy stomper which, despite the considerable loss of speed, delivers with steam-rolling guitars and again, with very cool lead guitar work, this time of the more screaming chaotic type. The sound quality is crystal clear, and those three tracks can be very well implemented into a prospective full-length, and even serve as the base for it.

Demo Demo, 2010

BABOON RISING (USA)

A trio of inspired and very prolific musicians who as of now have whole 18 (!) full-lengths released. The album reviewed here features very diverse, progressive blend of power, thrash and a bit of death metal. The eclectic nature of the opener "Toilet Seat Thief" will delight fans of the less conventional who will have plenty to savour later on as well: from the brutal deathy leanings on "South Sentinel Island" and "Magnetic Personality", to the more technical speed/thrashy escapades on "Carrots", to the semi-balladic progressivisms on "Mesmerizing Molten Metal" and "Forget to Remember"; there's a lot of music to headbang to although to these ears the frequent death metal aggression kind of doesn't work consistently the whole time. Regardless, witthout the latter "American Pharaoh" wouldn't have been the widely entertaining death/thrashing roller-coaster, and the closing "The Eye Thread" wouldn't have been the impressive dramatic pounder which closes the album with aplomb. It may be a bit hard to imagine how the guys would have been able to retain the high musicianship on each of the preceding albums, but who knows... you may be staring at the metal scene's best kept secret of the new millennium.

This Composition Full-Length, 2015

Official Site

BACALOU (USA)

The EP: this formation specialize in cool retro thrash/death which produces some formidable pieces: the dramatic shredder "Eyes of Rah", the galloping progressiver "In Dust We Trust", among other pleasantries which show an act who know their craft and are ready to strike further on a wider scale. The leads are not very clearly heard, though, and the singer could have come with more passion: his indifferent semi-clean antics with a touch of death metal lack the dramatism which the music has aplenty.
The full-length follows the same path, and produces vivid lively retro thrashing rhythms, death metal (the short splitting "Shifting Terror") not that widely covered this time around, the approach mellower with a few power/thrash moments ("Hand of War", "Gorillaclops") also roaming around, the more stylish technical motifs unleashed on "Eyes of Ra" sure winners, the more relaxed thrash/crossover veneer of the closer "Shock Therapy" a fitting merry epitaph to a cool diverse effort.

Bacalou EP, 2011
Bacalou Full-length, 2021

Official Site

BACCHUS (USA)

Based on the third demo, this band varies things quite well, always staying within the confines of thrash metal. "Hatchet Man" is a cool aggressive Slayer-esque number; "Mein Kampf" is a jolly thrash/crossover piece recalling Ludichrist and Leeway; "Reanimator" is a Bay Area-influenced thrasher ala Vio-lence. The rest is fast and energetic, with cool sharp guitars and excellent vocals courtesy of Manuel Lopez: a former singer of the early technical thrashers Ulysses Siren.

Demo 1 "Enraged" Demo, 1987
Demo 2 Demo, 1987
Demo 3 Demo, 1989
Demo 4 "Live and Learn" Demo, 1990

BACK FROM ASHES (USA)

Modern thrash sounding close to Geezer's "Black Science" and Grip Inc.'s "Solidify"; edgy heavy riffs of a more ordinary nature will one hear here, mostly in mid-tempo with a pinch of alternative. The music becomes too melodic and bland near the end, but suits better the good clean vocals.

Broken Full-Length, 2007

BACK IN PAIN (FRANCE)

This is modern metalcore-ish death/thrash with harsh shouty, death metal vocals. Melodic and more aggressive riffs alternate reaching more technical heights ("Children Of Existence") on occasion, but for most of the time this is the expected rehashed material heard hundreds of times before.

Dark Preacher Full-Length, 2016

BACKBONE (GREECE)

After near 3-min lost in industrial noises ("Entanglement") as an introduction, this band move on with uneventful modern 90's post-thrash, tedious one-dimensional stuff which stays on the border of industrial, recalling Skrew's "Angel Seed", the harsh shouty vocals also siding with the Americans. "Iconoclast" offers some entangled complexity, but this is too lethargically executed to make even the 90's music fans overtly excited.

Vertex EP, 2022

Youtube

BACKDAWN (FRANCE)

Based on the full-length debut, this act serve modern 90's post-thrash with crunchy riffs, overshouty deathy vocals, and a few more intense moments where some post-death metal can be heard ( Blood Stained Banner; the Fear Factory reminder Only Hate Remains). Take This thrashes in a cool sterile manner also graced by a short balladic interlude. Its energy gets transferred on the following title-track which also lashes wildly, before "Veins Of Doom" justifies its title with a heavy portion of dirgy doom with a surprising faster twist at the end. More abstract histrionics await you on the remaining 2 cuts which give a more audible industrial vibe to the proceedings.
"I Shall Burn Your Empire" follows the same path unerringly the delivery perhaps a bit more diverse with a progressive pinch ("I Shall Burn Your Empire") also reflected in a few cleaner vocal inclusions which work suprisingly well. The lack of speed may be a detriment to some and lasting through the longer compositions in the middle may be a burden to the less patient. The dynamics increases in the 2nd half, and "Surrounded By Fire" is a cool intense headbanger sadly cancelled by the remaining semi-balladic cuts.

Backdawn EP, 2012
Through Extermination Full-length, 2013
I Shall Burn Your Empire Full-Length, 2016

Official Site

BACKHOE BUTCHERY (USA)

Based on "Once Upon A Thrasher's Dream", this band plays heavy doomy thrash which livens up with a few intense death metal passages, but the crushing steam-roller riffs are all over the place. "I Am A Pirate" comes in the middle to offer some relief with jollier crossover rhythms and a good melody, and the closer "Land Of No Change" is also faster and more uplifting ending in a chaotic grindy fashion, but the very brutal death metal grunts mar them quite a bit. Some band members also take part in the death metal outfit Apnea.

Once Upon A Thrasher's Dream Full-length, 2001
Prolonging The Misery Full-length, 2004
Mailbox Full Of Mouse-Traps Full-length, 2007

My Space

BACKLASH (ITALY)

This is a modern soft mix of power and post-thrash with mid-ranged semi-clean vocals which relies too much on the ballad to impress, and consequently ends up nowhere although the closing cover of Motorhead's... that's right, kind of saves this pedestrian affair from sinking completely. Some of the band members are now with the heavy metal purveyors Vicolo Inferno.

Guardati Intorno Demo, 1997

BACKLASH (USA)

Energetic vivid retro power/thrash unleashed by these Yankees who still take prisoners thanks to mellower excursions like "Call of the Void", the melodic elbellishments on "God of Destruction" a really cool digression, soaring above the banal boring proto-grooves on "Owed Nothing". Nothing over the top on "Over the Top", just speedy crushing guitars, the latter mixed with heavier pounding rhythms on the variegated closer "Lenity", a contrasting but interesting saga, also epitomizing the good attached semi-clean/semi-shouty vocals quite well.

Colossus Full-length, 2021

Official Site

BACKMASK (USA)

Modern thrash/death metal with technical tendencies, but not enough to make it really stand out; the riffs are crunchy and heavy, and the overall style could be described as a more technical Pantera mixed with Gothenburg-styled melodies and very cool leads. "Prisoner of Mind" is a good attempt at atmospheric progressive metal ala Opeth.

Dark Fiber Full-length, 2006

Official Site

BACKSBING BASTARD (FINLAND)

Based on the 2-song "Shipwrecked" demo, this band plays modern melodic thrash metal of the dark emotional variety. This is laid-back music in mid-pace with very good mid-ranged melodic vocals.
"Reflections" is another three tracks of the same radio-friendly modern thrash with the casual shade of death metal which brings them close to the their compatriots Gandalf, and even H.I.M. ("Reflections"), the main difference coming from the frequent participation of rough low-tuned death metal vocals. The approach is pretty emotional with a lush use of keyboards, and possibly with a full-length the guys might be able to make more heads turn since there's always a market for this kind of music, especially in the Scandinavia.

Demo Demo, 2006
The Premonition: New Era Demo, 2007
Of Thieves and Beggars Demo, 2008
Shipwrecked Demo, 2010
Reflections Demo, 2011

Official Site

BACKSTABBER (CANADA)

Modern thrash/death which doesn't sound overtly belligerent the more technical material ("Subterranean") also being the more brutal one. The hyper-blasts on "Ink Spill" are an isolated phenomenon as the delivery clings much closer to thrash the parade spearheaded by invigorating moshers "My Disclosure" and "Geo Engineering". The vocalist is a rending deathy shouter missing from the cosing title-track which is a surprisingly downbeat balladic instrumental.

Conspiracy Theorist Full-length, 2019

Official Site

BACKWATER (GERMANY)

One of the first thrash metal bands from Germany, Backwater are not of the aggressive type, their music is mid-paced and simplistic recalling Venom, Motorhead and the first two Flames albums, with some rock'n roll variations ("Green Eyed Woman" and "Smokin'drinkin'" from "Final Strike") thrown in.
"Take Extreme Forms": so every old timer is intent on revitalizing their career these days. No complains at all, and it's never too late for the good old thrash'n roll which is on full display here once again. There aren't any "extreme forms" taken; this is the jolly speedy boogie the guys were not too bad practicing once in the good old days. The music is on the friendly side the whole time with nice melodic tunes thrown here and there (check out the title-track and the heavy/power metal hymn "The World"). "Aliens Blood" is a more energetic affair, but the remaining material is too mild to be classified as full-fledged thrash turning to doom metal near the end, the closer very aptly titled "The Tale of Doom", a really good atmospheric piece.

Revelation Full-length, 1984
Final Strike Full-length, 1986
Take Extreme Forms Full-Length, 2013

My Space

BACKWATER (SWEDEN)

Alternative groovy post-thrash with cool alternative vocals, but its very melodic at times nature might pull back the thrash fans, especially after I add that there are hardly any intense, headbanging sections here.

Revenge Full-Length, 2007

BACKWATER BURIAL (USA)

A 2-song demo of a modern/classic thrash mixture: "American Dream" is a good up-tempo track with groovy implements; "Under a Blood Moon" is mid-paced, heavy, recalling the more recent Venom sound.

Under a Blood Moon EP, 2007

BACO (CHILE)

Modern melodic power/thrash metal with pleasant mellow hoks bordering on hard'n heavy at times ("Land Of Reality"); the band relies on more restrained mid-tempos which turn to pure doom metal on the entertaining closer "Man On Road", to which the good soulful clean vocals, ala Phil Anselmo's more blues-ish delivery, fit quite well.

From the Ashes Full-length, 2006

My Space

BACTERIA (ARGENTINA)

Melodic power/thrash, of course influenced by Hermetica and Horcas (their early works); sometimes the music picks up speed, and becomes quite good: "En Decadencia", "Cansado de Luchar", "Dueno de las Calles", which are excellent energetic thrashers with cool melodic leads and sharp riffs, but the rest is less striking with balladic moments and a softer guitar sound.

Cansado de Luchar Full-length, 2005

Official Site

BAD ACID TRIP (USA)

Based on "Lynch the Weirdo", this band offers a wild, frantic mixture of thrash, death, hard and grindcore, which is quite entertaining with short, explosive tracks, often blending all of the aforementioned genres in less than 2-min. The vocal variety is also quite big, and again tries to take part in most tracks; so prepare for 17 pieces of total death/thrashing grindcore madness... The guys play it fair, and give equal chances to each style, with death metal being the not very obvious favourite.

Live From the Fudge EP, 1995
For the Weird by the Weird Full-length, 2002
Lynch the Weirdo Full-length, 2004

Official Site

BAD BLOOD (CROATIA)

A mix of thrash metal and hardcore, fast and intense, with brutal guttural death metal vocals; apart from the predominant fast-paced tracks a couple of slower numbers can be found which come served with a crushing steam-roller sound.
"Silence=Death" is a more aggressive affair with hardcore less present superseded by angry groovy sections where the riffs jump up and down to a disorienting Biohazard-esque effect. Harder thrashing can be encountered here and there, but its effect is diminished by the very buzzy guitars and the omnipresent aggro-death shouty vocals.

To Sin by Silence Full-length, 2002
Silence=Death Full-Length, 2013

My Space

BAD BLOOD (UK)

This not very known band play more classic-decorated modern power/thrash reminiscent of the Megadeth works around that time, but without a serious back-up by a string of fairly strong albums like the Americans, this effort just wears thin soon simply because the songs are not very memorable, and the lack of many intense sections would pull back even the 90's vogues' fans. The vocals are passable with their leveled clean mid-ranged tone with a slight inebriate flavour.

Under the Skin of the Weak Full-Length, 1996

BAD BLOOD (USA)

Modern, slightly technical power/thrash metal which has its twists, but lacks energy and sharpness; still some numbers offer a more intense play (the galloping jumpy "Bad Blood"; the good heavy closer "Welcome To My Nightmare"), but the concentration on the rest is clearly on melody. "The Burning Truth" is the other place where your head may headbang a bit, but the second part is even more interesting: softer, but there is a very cool acoustic guitar inserted contrasting with the heavy riffs. "Extreme Metal Attitude" doesn't really deserve its sinister title being another modern power/thrasher in the Black Album vein.

Bad Blood Full-length, 2007

My Space

BAD DREAMS ALWAYS (SWEDEN)

This is violent unrestrained thrash/death/crossover which bashes with no remorse for a bit over 9-min, the brutal barrage topped by threatening shouty death metal vocals. "Poor Mr Teacher" tones it down a bit resembling a punky stroll, and "Awaiting Death" is a more aggressive attempt at purer death.

Raw Youth Power Demo, 1993

BAD HABBIT (USA)

This act play pretty standard for the time speed/thrash with echoes of Redrum and Powermad so expect some more melodic tones at times (the power metal hymn "Unholy Hour", the laid-back semi-ballad "Sitting In The Dark"). The singer is in the clean mid-ranged confines lacking depth and emotion, and the best number here seems to be the closing galloping power/thrashing instrumental "Overdose" where the guy doesn't take part.

Overdose Demo, 1989

BAD HABITS (USA)

Based on the debut demo, this act serve heavily fuzzy thrash which is not very imaginative also coming with a more playful crossover edge at times. "Invalid" is a hard-hitting piece of Slayer-esque proportions, but "Mad House" on the other hand is just a friendly punk rocker the not very emotional semi-shouty clean singer a perfect match for the latter approach.

Brain Dead Demo, 1989
Crystal Ball Demo, 1990

Official Site

BAD HEAVEN (USA)

A very good demo of speed/thrash metal akin to early Exciter with touches of American power metal (Savage Grace, Helstar); the tempo varies throughout, but tracks like "Cavern" and "Reigns of Fate" are mighty speed killers with great sharp riffs. James Rivera was supposedly a member of this act in their spawning stages, but he failed to record anything lasting with them.
The "Crystal Dagger" demo is in a similar vein wasting no time to win the listener for the band's cause with the speedy shredder "Crystal Dagger". Then "Metal On Metal" starts galloping in a heavy formidable manner "waking up" all the cowboys from the Western prairies before "Demon Slayer" tones down the approach a bit with more ordinary power metal rhythms. "Fear No Evil" is a bit edgier recalling Attacker's "Battle at Helm's Deep" including in the screamy vocal department where the singer doesn't really leave a very positive impression with his thin hysterical tone.

Crystal Dagger Demo, 1985
Dragon Lord Demo, 1987

BAD KARMA (USA)

The 1989 demo: good semi-technical thrash with frequently changing tempos and a really good lead guitar; a somewhat awkward choice is to put an 8-min ballad, which although slightly reminding of the Testament variations in this direction, could have been avoided on just a 3-song demo.
The full-length is good progressive power/thrash with fine melodic guitars featured on long (8-9min) compositions which become too balladic in the second half and capture the power metal spirit more before the guys unleash "Tame The Beast", a short shredder which grows into the more technical galloper from their debut demo "Death Has No Calling Card" and the excellent Testament-esque closer "Capital Punishment", a melodic crusher with stylish guitar work. The singer is also worth mentioning with his versatile timbre reminiscent of Chuck Billy (Testament again).

Death Has No Calling Card Demo, 1988
Demo Demo, 1989
Bad Karma Full-Length, 1999

BAD MAMASAN (CHINA)

An ex-pat trio from Beijing performs here for the recording of this laid-back unpretentious funky modern post-thrash which at times takes surprising avantgarde turns in a way not too far from the Finns Waltari. Still, the guitars are too soft to make this release a sure pick for the average thrash metal fan, although more serious complex compositions (the pounding closer "Poison Gas") may catch his/her ear on occasion. The singer is the attraction here with his versatile high-pitched clean voice inserting the necessary amount of dramatism into the music, well fitting to the latter's mellow laid-back nature.

Jeanine the Wolverine Full-length, 2011

Official Site

BAD MORE ENDING (ITALY)

These Italians pull out energetic groovy thrashcore with lashing guitars and heavy tempos. The music is not stale and a few headbanging moments ("The Burning Process") can be encountered with ease including pieces directly taken from "Vulgar Display of Power" or "Far Beyond Driven".

Theory Of Endless Sacrifice EP, 2010

Official Site

BAD OMEN (USA)

This demo exhibits cool galloping power/thrash with obvious nods towards their very recent heritage (think Liege Lord, Omen, early Helstar) also providing hard-hitting thrash ("Blinded By Hate") ala Forbidden whenever needed. The dominant dynamics gets lost (the pounding semi-ballad "Lost At Sea") here and there, but generally the tone is dark and brooding the good semi-clean vocals also adding to the mood seldom showing their more lyrical, melodic side.

Demo Demo, 1990

BAD VICTIM (CZECH)

Heavy intense modern post-thrash which marches on with seismic thundering riffage which very rarely changes the tempo consequently counding a bit boring and not very interesting. The vocal performance is a bit more impressive with deep throaty death metal lines crossing less extreme shouty aggro-ones.

Strepina Full-length, 2007

Official Site

BAD YODELERS (USA)

Some songs sound like pure pop-metal, but the band have enough powerful thrashers to pull it through; melodic stuff, will not appeal to all thrash metal fans. "I Wonder" is clearly the better achievement, with even interesting semi-technical moments showing up here and there, sharper guitars and more intensity involved recalling Mordred's "In This Life". The guys have a penchant for ballads, and produce good results ("Queen", the excellent heavy semi-ballad "Life"); at least half of the songs actually are of the semi-balladic type. One could see them as the inventors of the modern gothic style, which later was picked by acts like Sentenced, Century, H.I.M., To Die For, Razorback: check out "Forgotten Face" which is probably the first track of this kind, and the more thrashy, but still quite melodic and atmospheric, "Goodbye". "Beyond" is an exemplary smashing, pounding mid-tempo thrasher with great guitar work, both technical and melodic; if only there were at least a few more of this kind.

I Wonder... Full-length, 1990
Window Full-length, 1991

BAD ÖMEN (USA)

Capable aggressive classic thrash which jumps on the gallops initially with the blistering opener "This Is Murder", the moshing fun accelerated on "As the Hooks Dig In" and the proto-death madness "Graveyard of the Empires", the semi-shouty death metal vocals also helping the hyper-active cause with their venomous antics. Incessant bash comes pouring out of "Death From Above", with more modern thrashcorey rhythms materializing on the final energizer "Hate From a Distance".

Salt The Earth Full-Length, 2024

Youtube

BADGERED (FINLAND)

Based on the full-length, this act serve decent retro power/thrash which suffers a bit from the abrasive not very articulate production, the cool clean emotional vocals confidently leading the show which acquires desirable speedy dimensions with the energetic "Bury Me" and the Bay-Areasque "Ultimatum". The overall approach recalls more recent Death Angel, the more atmospheric progressive digressions on "Future Oncoming" also more than welcome, a similar pattern followed on the heavy dark "Dive", the radio-friendly lustre of "Lost Worlds" canceled by the vigorous speedsters "Disorder" and "Break Down and Bleed".

House of Cards EP, 2016
Planet Absurdic Full-length, 2020

Official Site

BADTRIP SURFDEATH (BRAZIL)

These folks offer messy scattered all-instrumental thrash/crossover with more compulsive grindy outbreaks which are more on the listenable side, but this slab of music is just plain noise for at least half the time. The level of musicianship is, expectedly, on a not very high level.

Badtrip Surfdeath Full-Length, 2011

Official Site

BAGHEAD (USA)

Fans of the darker more technical, also more modern, side of thrash (think also Aleister, Tefilla) will love this. Yes, I know you think of Nevermore and later-period Obliveon almost immediately, and these are good reference points, but Baghead's songwriting is more ambitious and more complex with carefully-woven, multifarious compositions like "Cynide Savior" and "Engineers of Disinformation" leading the challenging show. There are occasional shades of death metal ("Endless Decay"), but those are used with taste and style and greatly contribute to the less ordinary character of this recording. The sound is crushingly heavy at times with volcanic riffs patiently steam-rolling forward, and it's a good thing that the band have included one purely atmospheric, acoustic piece near the end ("The Soul Within") to take away the pressure. Watch out for these guys; they hopefully haven't said their final word yet.

The New Elite Full-length, 2003
Betrayal EP, 2005

Official Site

BAGHEERA (SWITZERLAND)

This Swiss act offer typical modern post-thrash which gets strangely dynamic on the dry mechanical Voivod-esque number "Rough" and the brutal death metal-laced headbanger near the end "Torchlight"; but that's all from a more varied point-of-view: the rest is predictable heavy riffage topped by familiar angry shouty vocals.

Drift Full-Length, 2012

BAHAL (ITALY)

Based on "Striges", this band pulls out an atmospheric mixture of black and thrash metal which focuses more on atmosphere and orchestral arrangements touching more recent Dimmu Borgir quite a bit. The thrashy breaks are more than welcome, recalling later-period Immortal, since the sprawling black metal sections may stretch your nerves a bit, forgetting to end, often not offering anything speedy, just sweeping landscapes with a shade of ambient. Certainly, there are quite a few blast-beats inserted, and the dynamics at least in the first half is not missing; it's just that the guys feel more comfortable crossing over a wider spectre from the black metal genre.
"Ikelos" The black/thrash metal blend continues unabated here, but the concentration again is more on black metal, and this effort sounds too brutal and relentless for the thrash metal fan's ears who will have to put up with plenty of blast-beats although the guys haven't forgotten about the more tender, epic side of things; it's kind of sad that the latter moments never develop into a full-length track. Still, this album is not a waste at all and will keep the black metal maniacs quite happy the whole time.
"Shahat" is again more on the black metal side of things thrash metal not really playing any significant role for most of the time. Like the case with previous recordings, the fans will be pleased to hear fast impetuous passages, plenty of atmospheric sections, and some inspired, almost semi-technical, shredding ("Metamorfosi").

Gazing At The Winter Moon Full-length, 2005
Striges Full-length, 2009
Ikelos Full-length, 2010
Nostos Full-length, 2012
Shahat Full-length, 2014

Official Site

BAIARD (ITALY)

Rough abrasive 90's post-thrash which is supported by a pretty muddy sound quality, but the generally energetic layout wins in the end, the corrosive "Cosa Sei" stirring the spirits a bit, before "Strani Sogni" soothes everyone and everything with soulful balladic decisions. The vocals are suitable soulful and hoarse, their composed clean timbre fitting all the musical nuances.

Baiard Demo, 1995

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BAJO ZERO (VENEZUELA)

Modern thrash with crunchy riffs and cool melodic leads; the tempo varies from song to song, at times thrashing with force, at others settling for plodding groove. The singer spoils the picture a bit with his very gruff brutal delivery, which suits better the slower groove-laden parts.

Santeria Full-length, 2003
Caminos Inhumanos EP, 2008

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BAJONET (CZECH)

A Czech trio who specialize in intense blitzkrieg thrash akin to early Sacrifice and Volcano which means that inevitable shades of death metal are guaranteed on at least half the tracks. The latter tracks are explosive short "bullets" (1-2min) having an unfinished hardcore feel to them the scary witch-like vocals providing the more serious attitude. This is an aggressive extreme listen, not for the faint-hearted, which seldom provides stops from the moshing train.

B'e1tldres Full-Length, 2012

BAKER'S DOZEN (BELARUS)

Modern thrash of the energetic edgy variety; the music is speedy and optimistic, but the guys have the detrimental tendency to insert unnecessary metalcore breaks from time to time, which serve to no purpose, and kill the gained inertia. On top of that the vocals are awful synthesized shouts.

Demo Demo, 2009

BAKKEN (UK)

The debut this UK outfit play melodic modern/classic power/speed/thrash which clings too much towards the melodic ornamentations, but the inspired galloping character of pieces like "The Cursed" and "Get Back To Your Feet", and the infectious epic tunes on "Sasquatch" will make any metal fan's day. Some may complain that the singer doesn't possess the necessary range and emotion to assist the melodic musical approach, but overall the guys have no reasons to worry that they will sink without a trace, especially in their homeland where the availability of this particular kind of music is quite scarce.
"This Means War" carries on in the same vein with a more pronounced modern edge perhaps, but fans of Paradox and Manticora should have no problems savouring energetic, also moderately complex, opuses like "Cold Blooded Murder" and the title-track. Although such notable fireworks aren't exactly offered later, this effort still wins points from the proficient musicianship which jumps on pure early Helloween-esque speed metal with "We Fight", a somewhat surprising amongst the dominant mid-tempo layout.

Death of a Hero Full-length, 2012
This Means War Full-length, 2020

Official Site

BALANCE OF ONE (KASAKHSTAN)

Competent all-instrumental speed/power/thrash with progressive overtones; the music is moderately complex giving enough room for the riffs to develop with the leads taking a secondary role, albeit being quite good. The compositions are diverse mixing faster and slower passages the whole time, seldom blasting out for a change, but on the other hand cool balladic interludes are inserted here and there as well, including two purely balladic pieces, the closer being only acoustic guitars, quite a romantic touch. The sound quality is a bit muddy making the leads a bit screamy contrasting too much at times with the heavy pounding riffage.
"Perfection" offers a more abrasive guitar sound, and an increased involvement of the leads. There's an omnipresence of keyboards which deafens the otherwise traditionally good riffs making the album sound like more aggressive gothic. The complexity of the songs has also been increased resulting in fairly longer ones, "1 000 000 l.e. From You" closing on 10-min, and the closer "Survivor After Humanity" going well over this boundary with its 10.5-min of varied atmospheric gothic/power/thrash, but on the other hand the speed has gone down with most of the tracks developing in a crunchy mid-pace with several more intense passages. As a whole this is not a bad effort at all showing the band in a more restrained, more complex and more atmospheric light, closer to "perfection".

Death Becoming Force Full-Length, 2010
Perfection Full-Length, 2010

BALBERITH (SINGAPORE)

Three Singaporeans are responsible for this brutal take on the early black/thrash metal idea (based on the full-length) which crosses the furious speed aesthetics of early Impaled Nazarene with the darker more laid-back approach of early Bathory and Burzum. There is a cover of Venom's "Countess Bathory" thrown in the middle done in a fast raging manner, hardly recognizable. The musicianship, however, is not on a very high level, and most of the time the guys just bash with passion with a raw underground sound and raspy raven-like vocals the latter well suiting the primal unpolished musical approach.

Legion ov Terror EP, 2006
Beast Ov Hell EP, 2009
Triumph ov Beastial Dominator (Years ov Hatred & Vengeance) Full-length, 2009

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BALDUR (CHILE))

This new act play epic power/thrash which leaves the officiant mid-tempo ("At The Gates Of Valhalla") at times, but mostly marches onward with heavy mid-paced guitars and cool melodic leads. The thrash metal fans may lose their patience at some point since thrash is very seldom heard in the second half, except for the energetic bonus track "War", if at all if we exclude isolated passages from the songs which are more of an involuntary slip of the hand rather than an intended insertion.

Blood & Thunder Full-Length, 2014

BALFOR (RUSSIA)

This band entered the metal arena with "Znamenie" (2005) which was a cool progressive black/death metal affair. "Prolific" is hardly the word which comes to mind thinking about them, but 10 years later they're back with this excellent progressive thrash opus. "Grani" opens the album with clever mid-paced riffage which becomes more complex and puzzling on the next "Vperedi Vechnost", a prime shredder worthy of Sieges Even and Coroner. "Prah Sviatuih Idei" clings more towards the more linear side ala Eldritch, and "Za Chertoi" is the short more aggressive deviation. "Tvoi Mir" is very cool progressive thrash ala Paradox with great melodic leads, and "Kosmos" is a more meditative instrumental. The closing "Ot Sebia k Sebe" is a jumpy technicaller with a spacey vibe closing the album in a more abstract, dissonant manner. The vocals are warm and clean, and do a good job ensuring the suitable vocal support to the complex, ethereal musical landscape.

Grani Full-Length, 2015

Official Site

BALHE (HUNGARY)

Three tracks of rough thrashy hardcore which is both sharp and heavy, hindered by the slightly fuzzy guitar sound. The guys shred with passion mixing things up adding a few more aggressive fast passages. The sound is strictly modern, and the singer is an intense deathly semi-shouter.

Eznsttol A S'afrig EP, 2012

BALISTIK KICK (USA)

American power metal meets a slight shade of thrash; good stuff with a more modern edge on the last two efforts. "Warhead"@ is a varied feelgood slab, the title-track racing onward with passion initially, before an amalgam of friendly hard'n heavy anthems ("Twilights Last Gleaming"), fist-pumping epic tunes ("March of Crimes"), and balladic idylls ("When Worlds Collide") occupy the space, giving the cool vocals a chance to show their attached versatility.
The debut is a heavy/power/proto-thrash blend that relies on both impetuous gallops ("Live To Die Young") and welcoming rocking sing-alongs ("In Time") to pull it through, the invigorating speedy riffs of "City of Rats" preserving the mosh, the latter irrevocably mortified by the tender soulful "King of Toys".
"Destroy" is the expected combination of fast-paced shredders ("A.M. Terror", "Absence of Light") and boisterous mid-pacers ("Sons of Bitches", "Black Hammer Jet"), the former side clearly dominating this time, also reflected in vivid fervent layouts of the short bouncy hymns "In the Devils Ire" and "Powermad".

Balistik Kick Full-length, 1993
Warhead Full-length, 1997
Destroy Full-length, 2000

BALKON (CZECH)

Based on the full-length, this Czech trio play classic power/thrash which eventually transforms into something rowdier ("Kiss the Night"), but overall this is more on the mid-tempo side, with occasional ventures into more intricate waters ("Throw It Away"), the insistent lively pounds of "The New World" another positive occurrence. Watch out for the closing "Wind of Doom", a cool speed/thrasher spearheaded by the decent not very expressive semi-clean vocals.

Hunt for the Cure EP 2022
Slave to the Machine Full-Length, 2023

Official Site

BALLISTIC (USA)

This is Tom Gattis' third band (after Tension and Wardog), and here he does a very job again. Surrounded by musicians having done service in other renowned bands (Jag Panzer, Twisted Tower Dire, Tension), the way to the top looks pretty easy. The band plays speed/thrash of the more melodic variety with few moments from the 90's power/speed metal scene ("Silent Killer"), and the inclusion of pure heavy metal numbers, which are not of the sloppy kind, but pack a punch, and shades of his two previous bands could be clearly heard; Ballistic's music is perhaps more technical and a tad faster.

Ballistic Full-length, 2003

Official Site

BALLISTIC WHIPLASH (USA)

This is a pretty faithful rendition of the trendy at the time groovy post-thrash with a more light-hearted attitude, resulting in a few grungy sections ala Helmet and Biohazard involved. There's also doom present ("Bacootas", "Bloated") of the traditional slow kind (think Sleep, early Cathedral), as well as one ripping, classic piece ("Total Balance"), a "total" thrashing madness which has no match anywhere else, the rest being mild jumpy stuff assisted by capable semi-aggro vocals with a soulful blend.

Bloated Full-length, 1995

My Space

BALROG (ITALY)

Two Stefano's, two Andrea's, and one Tommaso are responsible for this decent slab of old school power/thrash metal with clear nods towards the American scene (think early Helstar, Liege Lord, Iced Earth). "The Wait" is a cool intense opener mixing mid and up-tempos topped by good melodic leads. "At The Black Gates" is a more moderate galloping number with balladic tendencies followed by the similarly-styled "The Rise". The problem is that later on the intensity of the opener is nowhere captured the guys seemingly content to acquit themselves with melodic power metal with thrash partially coming back on the jumpy closer "Perpetual Circle".
"Miserable Frame" already sounds more intriguing with the technical twists on the opening epicer "Blood Feud", but that's all about it: later on the mildly entertaining mix of power metal and post-thrash settles in bringing very few more interesting moments some of which can be caught on the jumpy moderner "Dark City". The rest is merely passing being on the mellow side except for the surprisingly raging "Wings Of Debauchery" which tries to save the album from sinking completely. The guys' interest in thrash metal is fading away, and surely the next release would hardly find a place here...
"Gorgon" sounds more belligerent than its predecessor, but again thrash isn't very heavily covered, the band mixing epic pounding/galloping drama ("Path of Exile") with soaring "eagle fly free" speed metal (the title-track), "The Night Flier" the clear highlight here, a mighty fast-pacer with imposing epic touches, the closing "Slipping Sand through the Hands" a nice varied progressiver with a wide array of nuances.

A Dark Passage Full-length, 2010
Miserable Frame Full-Length, 2013
Gorgon Full-length, 2022

Official Site

BALT SALT ZOMBIES (PUERTO RICO)

These Latinos indulge in vicious crushing thrash/crossover which won't stimulate the imagination of the listener too much, but would rather make him jump around having good fun with those highly-energized short number which are as much thrash as they are hardcore, or even punk. The vocals are suitably shouty and semi-melodic ensuring a few additional more pleasant moments.

Graveyards, Ghouls & Gore Full-Length, 2014

BALTAVAR (BULGARIA)

This act provide classic thrash of the atmospheric minimalistic variety, the gruff semi-declamatory vocalist adding to the suggestive aura of this recording. Creepy chuggy numbers ("The Devil's Altar") alternate with marginally more dynamic tunes ("Burn It All"), the dirgy melodic pageant "Beautiful" a nice more lyrical digression, siding with the semi-balladic "Burn It All" and the macabre doom-fixated "My World".

Dark Science Full-Length, 2023

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BALTIMOR (FINLAND)

An entertaining blend of power, speed and thrash is offered by these young Finns who have fun unleashing short merry cuts among which even "Heavy Metal Rock'n'Roll" is more of a speed metal hymn rather than anything else. The energy is high until the very end, and one can't help but have a good time on rousers like "Oilers and 13" with their catchy galloping rhythms. The singer may be a bit if of a pullback with his gruff semi-deathy shouty timbre with drunken overtones.

Baltimor Full-Length, 2014

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BANDANOS (BRAZIL)

Thrash/crossover with a good up-tempo thrashy rhythm recalling Wehrmacht ("Te Amo Pora") in the faster songs, and Ratos de Porao's thrashier period.

We Crush Your Mind With The Thrash Inside Full-length, 2007

Official Site

BANDIERA DELL'ODIO (ITALY)

An interesting combo this one, pulling out atmospheric baroque thrash, "All`Ombra del Fungo" moshing hard with a sense for the aggressive, "Limite Invalicabile" even attempting something proto-death on top of some truly avant-garde shredding, "Solo fra la Gente" jumping on the thrash/crossover wagon for a bit. "A.I.D.S." is an outlandish heavy pummeler, and "Dolore" is a short hardcore joy, the vocalist shouting his lungs out on that one, opposing to his much more composed main semi-clean/semi-declamatory baritone.

Demo Demo, 1989

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BANDIT (SLOVENIA)

Based on the full-length, this act play old school speed/thrash largely modelled after the German models (Helloween, Scanner, etc.) from the glorious 80’s. Soaring leads, fast tempos, and passable mid-ranged clean vocals will make the audience’s day, with “Heavy Metal” and “Iron Hand” hitting hard with passion, the more mainstream power metal hymn “Surrender or Die!” still delivering with its catchy demeanour. “Shadow of the night” is a mellow hard’n heavy filler, but run for cover on “Hellburner” and the unbridled speed/thrashing fury “Metal Infantry”, the guys firing on al fours at the end.

Metal Infantry EP, 2020
Heavy Metal! EP, 2022
Metal Infantry Full-length, 2023

Official Site

BANE OF BEDLAM (AUSTRALIA)

The full-length debut: this outfit indulge in very well executed old school thrash reminiscent of more recent Exodus the wilder thrashing numbers taking turns with more elaborate arrangements both sides brought together on the excellent "Heavens Ember" which borders on the progressive without losing its headbanging nature for a split second. The more complex approach carries on till the end reaching speedy heights on the sweeping "Atrocity Divine" which also has a breath-taking lead-driven section near the end with some of the finest leads around. After this highlight the closing title-track may appear too ordinary, but it thrashes with might no worse than any other number before it, and finishes this strong album with a deserved panache. The vocalist doesn't deserve too many kudos, though, since his hysterical shouts are not a very nice assistance to the much more inspired musical delivery.
The EP is another major ripper the guys thrashing of full-throttle with a pinch of death metal ("Born of Metal", "Exiled") and more modern leanings. The overall approach is more conventional as though the guys were still honing their weapons not quite sure yet as to how far they can reach in terms of complexity. Near the end they find their way to more intriguing thrashing their efforts crowned with the 9-min closer "Thrashed To Death" which is an eventful cavalcade of truly inspired riffs and tempo shifts which has its head firmly on technical/progressive thrash ground despite its stripped-down title; a sure testimony for bigger things to come.
"Congenital" offers a rigorous, more orthodox approach the guys thrashing with reckless abandon occasionally adding more stylish touches (the more technical headbanger "Mass Collusion"), but this is by no means the focus here the other more intriguing moment being the weaving Oriental motifs on "Denialist". The rest is merciless "assault" as exemplified by ragers like "Guilty at Birth" and the appropriately-titled "2 Minutes Hate".

The Last Testament EP, 2011
Monument Of Horror Full-Length, 2013
Congenital Full-Length, 2017

Official Site

BANGOVER (UK)

The "Alive Undead/Genophage" EP: this is decent modern power/thrash which has its aggressive moments as well as classic references, but most of the time it is on the melodic side with shades of Gothenburg-styled melo-death ("D.C.T (Divine Command Theory)" which is a cool diverse track with loads of cool lashing riffs). The sound is crisp and cutting giving the guitars a really nice boost, but deafening the harsh brutal death metal vocals.
The full-length introduces a more pronounced classic vibe, and the complex opener "Beer Death Experience" may remind of the early Iced Earth exploits with its not always predictable moves, with shorter headbangers ("Blood of Brakus") shaking hands with more contrived shredders ("Grand Moff Tarkin"), the culmination reached on the excellent technical "Palindrome" which combines all nuances into one appetizing whole, a lofty example immediately followed by the more epically-executed "Floss or Die" and the surprisingly brutal "Shovel Butcher", a piece of unrestrained Slayer-esque madness that still works quite well.
The "Close Encounters of the Thrash Kind" moshes with more though put behind the execution, the elaborate title-track developing in a shape-shifting mode the entire time, from slow-burning passages to fast-paced skirmishes, before "Crop Circle Pit" brings forward speedy rushing riffs, the frolic thrash/crossover aura of Blood, Sweat and Beers" another welcome invigorating occurrence.

D.C.T (Divine Command Theory) EP, 2012
Alive Undead/Genophage EP, 2014
Shovel Butcher Full-length, 2018
Close Encounters of the Thrash Kind EP, 2021

Official Site

BANISHED (SPAIN)

Intense classic thrash built around heavy squashing riffs and sinister atmospheric undercurrents; the guitars consistently march onward occasionally acquiring the battle-like aura of the Bolt Thrower material ("Falsehood"), the resemblance with the Brits also exacerbated by the expressive Karl Willet's-esque vocals. A few faster-paced strokes ("Hypocrite") are dispersed here and there, but this is largely steam-rolling officiant stuff.

A New Beginning Full-Length, 2019

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BANISHED FORCE (GERMANY)

A young act from Germany who pull pretty intense retro thrash which gets the message through from the very 1st cut: the ultra-speedy "Thrashers in Uniform" which virtually sets the tone for this perennial roller-coaster of fast fiery riffs and forceful, semi-declamatory vocals. Slayer's "Reign in Blood" is an obvious reference point as well as Wehrmacht on the more intense material. Somewhere in the middle the guys remember to slow down, on the 3-min semi-stomper "Multiple Death" where stylish bass insertions can be caught. Another track in a similar vein follows: "Alienation", but the deviations and there, and until the end we have an incessant barrage of speedy blitzkrieg pieces which may help in starting the "thrash revolution" (if it hasn't already begun), like the title of one of the tracks suggests.
"Greed" will make you "greedy" for more thrash moshing out in a similar to the debut fashion with a bigger presence of slower moments perhaps, still lashing wild riffs to no end those at times spiced by the odd more stylish inclusion ("Greed" which is a dramatic technical piece with interesting riffy developments without speeding too much). Elaborations on this approach, however, are not heard later on as the band feeling more comfortable with their more stripped-down delivery which still produces fine results: the short blitzkriegers "Importance" and the proto-death rager "As Long As I Exist" just a few examples. "The Only Hole" is a surprisingly more laid-back cut, but fits into the overall picture without spoiling it. The closing "Wild Life Final" would be another "detraction" with its more loose crossover style, but all this seems pretty solid on this commendable sophomore effort which sees a "force" on the scene, and not quite "banished"...

Alienation Full-length, 2009
Greed Full-Length, 2012

Official Site

BANISHET (INDONESIA)

Based on the full-length, this act pull out gruff, not very aptly produced, modern thrash/death where melodic excursions ("Bakar") meet simplistic proto-speedsters ("Ambisi Berujung Mati") on a mellow, friendly background which is shaken by the more brutal death/black-ish vocals. "Untuk Indonesia" is a relaxed crossover cut well reflecting the overall optimistic, uplifting atmosphere of this unpretentious recording.

Ambisi Berujung Mati EP, 2014
Bukan Tanpa Arah Full-length, 2015

Official Site

BANKERAY (INDONESIA)

The EP: 2 tracks of modern thrashcore in a light-hearted mode with pleasant semi-shouty vocals and 1 number of beautiful peaceful acoustic tenderness ("Rain Whisper"); for lovers only...
The full-length is a tad more serious and more intense although it's hardly the "thrash attack" the band were expecting to come up with as evident from "Thrash Attack" which is just merry thrash/crossover; except for the more aggressive roller-coaster "Jeki Brandal" there aren't so many hard-hitting riffs to be heard the guys having fun mostly in the speed metal, thrash/crossover sector.

Jalur Tengkorak EP, 2011
Liar Full-Length, 2015

Official Site

BANNED FROM HELL (ITALY)

This outfit indulge in pretty decent officiant epic thrash/death which battles forward in a steam-rolling fashion slowing down to doomy paces at times accompanied by brutal growling death metal vocals which are intercepted by some effective melodic leads. The band wrap it up with the excellent twisted dramatic cut "Nightmare" which brings forward a pinch of technicality and a few keyboard implements, plus a surprising fast-paced passage.

Nightmare EP, 2012

Official Site

BAPHOMET (BRAZIL)

An obscure Brazilian trio who (based on the rehearsal) indulge in vicious bashing thrash/proto-death which comes with a very bad sound quality. So the guys bash, bash and... bash with passion the Razor cover in the middle "Nowhere Fast" ultimately difficult to recognize merging with the barrage around it which surprisingly comes in the form of relatively long (4-6min) all-instrumental tracks (there may be some vocals involved, but to these ears there's nothing resembling a human voice coming out of this mess).

Sectarianism Demo, 1987
Rehearsal Demo, 1987

BAPHOMET (GERMANY)

"No Answers" is one of the undisputed masterpieces of the 90's, triumphant technical thrash/death metal, a fine addition to a tremendous, on the technical metal side, year (the works of Coroner, Pestilence, Anacrusis, Death, Atheist, Assorted Heap, Invocator, etc.). "No Answers" opens in a fast-paced, intense manner, not too far from Pestilence's "Testimony of the Ancients". The guys introduce slower darker, but equally as interesting, tracks ("Time Has Come") later on. Still, their more speedy delivery is the more attractive one, and smashing killers like "Elm Street" are the highlight although near the end the music takes a slower, more atmospheric turn. "Rise of Baphomet" is a melodic power/thrash metal instrumental. The band's singer, Thomas Hertler, is also the founder of the famous label Massacre Records.

"Latest Jesus" is another strong offering, maybe a bit slower and more on the death metal side, but the cool riff-work stays pretty much intact. The music is darker and sinister, and the leads are more proficient and longer, but on the other hand we have two soft, pure gothic tracks: "Lethal Tendencies", "Latest Jesus", which don't really fit into the overall picture. "State of Censorship" is a magnificent fast technical smasher, followed by the stylish dark "Coalition of the Lost". "Born Of No Name" has shades of gothic as well, but this time it is combined with good thrashing guitars, and the result is more satisfying. "Full Moon Eyes", the last song, is another whirlwind of both fast and slower technical riffs, greatly summing up what this effort is about.
"Trust" is clearly a letdown with less impressive and more modern guitar work. It actually starts in a way no worse than the other two with the excellent fast-paced "Betrayed" and "Mind the Doubt", and it's the third song "What Went Wrong" which tells a different story with its slower, more modern riffs. The technical guitars step down to leave room for more stomping, even groovy ones ("Intense"), although just sparkles of the technical genius of old spring up here and there: the Coroner ("Grin")-influenced and quite cool "Low Life", but the awful, distorted vocals on this one will pull you back. The closing track "Trust" is a gothic/doom affair which shouldn't be a surprise having in mind the band's previous experiments in this field.

No Answers Full-length, 1991
Latest Jesus Full-length, 1992
Trust Full-length, 1994

BAPHOMET (USA)

The demo is an excellent slab of technically-minded thrash of the fast more aggressive variety bordering on proto-death. "Children of Doom" is an outstanding progressive 8-min composition, an obvious influence on the future Nocturnus releases, a timeless blend of fast intense and more restrained atmospheric passages topped by the first real attempts at gruff low-tuned death metal singing. "Evil Witchery" is almost pure death metal all the way preserving the technical moments most of the time racing with the speed of light at times quite successfully as well, another sure hit in the target. "Satanic Feast" is equally as brutal, this time without any technical surprises, which come back on the monstrous 9-min closer "Necromancy", a seamless cocktail of speedy and more complex sections constantly overlapping each other on a swirling technical base. Listening to this, one would not be surprised to hear later elaborations on this little obscure gem: the works of Nocturnus, Incubus, Invocator, Hellwitch; even Atheist and Pestilence, if you like. This band should really get a wider exposure for being one of the first acts ever (if not the first) to give a more technical shape to the spawning death metal genre.

Baphomet Demo, 1987
Children of Doom Best of/Compilation, 2010

BAPHOMET'S BLOOD (ITALY)

"Satanic Metal Attack": an awful sound and amateurish musicianship leave little to enjoy here; otherwise if you pay serious attention, you may recognize light-hearted speed/thrash in the spirit of Motorhead (the Brits are honoured with a cover of "Heart of Stone") and Hallow's Eve ("Kill the Monk"), on the more aggressive moments. The last song "Heavy Metal Forces" is a cover version of their compatriots Fingernails who play very similar stuff, and are one of the first acts to start the speed/thrash metal mania in Italy back in the mid-80's. The singer has a gruff tember coming as a blend between Lemmy and Kermit (Tyrant).
"Metal Damnation" is a more hard-hitting, and a much better, affair relying more on speed metal to pull it through, and succeeds as such even touching the legendary "Violence and Force" on the best moments ("Midnight Patrol"). "Italian Steel" partly justifies its title although this is vintage Motorhead, also recalling the German power/speed metal veterans Tyrant ("Fight for Your Life", in particular). The following "Evilbringer" deserves this title more being a furious speedster which sets the tone for the next "The Iron Bonehead", another pure speed metal delight. The closing "Ready For Hell" is mellower again "nodding" towards the guys' idols Motorhead, but up to this point the band have already proven themselves as one of the better practitioners of the good old speed metal nowadays standing proud beside "pillars" of the genre like the still-operating veterans Killers (France) and Not Fragile (Germany), and Solitaire (Finland) from the more recent practitioners.
Actually the band's rise to a higher level of musicianship has started with "Second Strike" which is quite close music-wise to its follow-up. The brisk opener, also carrying the band name, pulls no punches with its speedy riffage, and although the next "Baphometal" is a softer Motorhead-ish roller coaster, later the album offers not many relieves of the kind, heading onwards in a nice energetic fashion raising the flag of classic speed metal sky-high in the best tradition of the Germans Vectom and Tyrant, a dedication also displayed by the song-titles ("Speed, Fast, Loud"; "Speed Metal Earthquake", which is indeed a moshing seismic speedster). The end is preserved for a cover of the aforementioned Tyrant: "Making Noise and Drinking Beer" from their debut "Mean Machine", to these ears maybe not very appropriately chosen, slower than the other material, betraying its energy and passion.
The "Back from the Fire" EP is an optimistic speed/proto-thrash metal offering with Motorhead a very obvious influence, down to the inebriate hoarse vocals. These are 4 jolly tracks with merry-go-round riffs of the playful, carefree type.
"In Satan We Trust": yes indeed, we do and if we didn't the music displayed here would have convinced us to fully embrace the Horned One. An ambitious opener in the face of the 8-min opus "Command In The Inverted Cross" leads after it a string of catchy frolic speed/thrashers which faithfully follow the "laws" carved by the preceding efforts the shadow of Motorhead looming even more heavily now thanks to merry speedy rockers like "Hellbreaker" and the more diverse "Triple Six". "Infernal Overdrive" is a highly enjoyable Germanic speedster leaving room for a cool rock-ish cover ("Egel") of the Hungarian heavy metal legends Farao as a finishing touch.

Satanic Metal Attack Full-length, 2006
Second Strike Full-length, 2008
Metal Damnation Full-length, 2009
Back from the Fire EP, 2011
In Satan We Trust Full-Length, 2016

Official Site

BAPTIZED IN BLOOD (CANADA)

The full-length is your typical melodic modern thrash metal, which acquires more melodic speed/power metal elements ala Children of Bodom on quite a few moments. Some tracks are quite satisfying takes on speed metal: "Next Stop Hollywood", and especially the speed monster "Kickin' Ass And Takin' The Blame", but on the rest the tempos change all the time, with maybe too many melodic deviations to keep the thrash metal fan entertained the whole time.

Baptized In Blood EP, 2006
Gutterbound Full-length, 2009

My Space

BAR SINISTER (USA)

This is alive recording of some badly-constructed speed/thrash which is graced by a cover of Trouble's "Bastards Will Pay", an awkward choice having nothing to do with the fast-paced original material. The sound quality is so bad that one may give up listening after the first 2 songs barely recognizing something distantly recalling inferior Laaz Rockit and Hallows Eve.

Live And Sin Demo, 1989

BARBARIAN (ITALY)

This hellish trio pulls out specializes in old school speed/thrash coming as a mix between the Iron Angel debut and the more stripped-down barrage of early Venom. The approach is right as rain, maybe a bit more playful than the one of the aforementioned acts (check the Motorhead-ish "Rain of Fire") from time to time, also varying things up with the odd slower cut (the tribute to early Celtic Frost "Human Pest"). "Ad Mortem Festinamus" features a certain black metal intensity spiced with a more rock-ish vibe reminiscent of a more recent Darkthrone. The singer is strictly in the black metal camp and his demonic shouts kind of fit the simplistic musical delivery.
"Faith Extinguisher" will "extinguish" a lot of "faith" with its simplistic barrage of old school Venom-esque thrash/proto-thrash which again comes with a pinch of more regular speed metal ("Godless, Amoral and Proud", "Total Metal") where the happy mood is guaranteed except on the times when the band swing towards early Celtic Frost (the formidable darker "Crux et Circenses", the closing rouser "We Are The Profane") where they sounds even more proficient the deep death metal vocals fitting better.
"Cult of the Empty Grave": the band continue to surprise by epitomizing a different style on every subsequent release, and now they have chosen the heroic epic path to follow by churning out happy-go-lucky riffs of the power/speed metal type recalling the 80's American heroes Liege Lord, Savage Grace and Omen. "Absolute Metal" is a more formidable speed/thrasher, and "Supreme Gift" is a pleasant uplifting galloper, but the rest will by no means be interesting to the thrash metal fraternity also excluding the several edgier moments on the closing "Remorseless Fury" which hardly offers anything "remorseless", let alone "furious".
"To No God Shall I Kneel" is a more simplistic affair, hesitating between Motorhead and Toxic Holocaust; in other words, don't expect anything too eye-gougingly brutal, this is relatively friendly stuff the stomping insistency of "Hope Annihilator" merging with the abrasive impetuousness of "The Beast Is Unleashed", the doomy sobriety of "The Old Worship of Pain" compensating for the trippily executed rock-ish title-track, the only actual shortcoming here.
"Viperface" is a more abrasive crustier outing the guys not changing their delivery drastically, although the songs are longer this time, coming with an intentional epic colouring (the opening title-track, "Chant of the Inflicter"), the short headbanger "Charity Defiler" defiling the neighbourhood with also shades of black, but such rowdiness is alien this time, "A Feast for the Beast" the other more intense proposition, and certainly the speedy accumulations in the second half of "Fourteen Daggers".

Barbarian Full-length, 2011
Faith Extinguisher Full-Length, 2014
Cult of the Empty Grave Full-Length, 2016
Barbarian EP, 2017
To No God Shall I Kneel Full-length, 2019
Viperface Full-length, 2022

Official Site

BARBARIAN (SPAIN)

This band was founded by Pep Casas: the guitarist (and singer) who was the mainman behind one of the first (and best) Spanish thrash metal bands Fuck Off. Half of the songs from this live album are old songs taken from the two Fuck Off releases; the other half keeps up in the same spirit: up-tempo speed/thrash, maybe more melodic and catchy than the older material, with influences from classic heavy metal, but still enjoyable enough. Casas does a great job on the guitar, and steals the show big time. His riffs are not as killing as before, but his skills, especially in the lead-section, have improved a lot. His vocal abilities seem to have declined a bit, as his voice now has acquired a clear hardcore shade, and could be annoying at times. A decent version of Black Sabbath's "Symptom of the Universe" is included as well.
"Hell Is Back on Earth" is another capable entry with speed metal taking over in a way similar to the early German efforts in the field (Warrant, Iron Angel), and the American acts Savage Grace and early Liege Lord. The guys spare no speed, and the opener "Rider From Hell" is a smashing piece of old school speed/thrash lashing hard for more than 6-min. "Embraced by Religion" is a short bursting speedster, but the songs that follow reach the length of the opening one with the speed never getting lost although every track contains heavier stomping passages. "Harlot of Heaven" in the middle serves more hard-hitting thrash, compensated by the melodic instrumental speedy roller-coaster "Human Holocaust" which is a feast for the ears with loads of memorable melodic tunes. Then comes a time for more forceful thrash metal with "High Priest Blaspheme" that gets translated well on the short bombastic "Soldiers to War", and especially on the excellent mosher at the end "Midnight Preacher", which starts with a nice guitar-driven take on the theme from the cult film "The Good, the Bad, and the Ugly": a really aggressive slab of speed/thrash giving a nice ending to this commendable effort which gives a desirable more standard direction to the genre among the increasingly technical releases (Killem, Legen Beltza, Kaothic, Unreal Overflows, Perseidan, etc.) coming out of Spain in recent years.
"Cross the Endless North" notches up the intensity with a few black metal additives ("The Valkyrie's Dance") violating the scenery but not exactly beyond repair, the furious "Possessed by Evil" and the thrashing urgency of "The System Falls" keeping the album immersed in the hyper-active realms. There's little mercy shown later, "Lord of the War" trying something deathly for a change, the bashing immediacy of "Beware the Black Queen" adding more moshing fuel to the already sizzling furnace.

Seguimos Avanzando Live album, 2006
Heavy Metal Resurreccion Full-length, 2007
Hell Is Back on Earth Full-length, 2009
Face the Barbarian Full-length, 2022
Cross the Endless North Full-length, 2023

Official Site

BARBARIAN (USA)

On this only demo this band combines quite a few influences: heavy power/thrash in the vein of Nasty Savage's debut, American power metal ala Savage Grace and Omen, speed/thrash akin to Destructor and Exciter, and for dessert there's one excellent technical thrashy instrumental ("Barbaric Core").

Demo Demo, 1987

BARBARIANS (ARGENTINA)

Melodic punk-ish thrash/crossover with very good melodic leads; surprisingly there are very few faster sections, only the energetic "Instinto Guerrero" comes to mind, and this stuff will be also of interest to heavy and power metal fans (check out the epic "Hombres del Norte").

Destino al Walhalla Full-length, 2006

Official Site

BARBAROUS (CHINA)

These Chinese "barbarians" deliver fairly decent classic thrash with brutal death metal vocals. The guys shred with competence producing cool headbanging atmosphere all the way through unleashing their more proficient side (the excellent leads on "War of Mobs") at will complicating the landscape a bit on the title-track which is a more clever number with more varied riffage. The rest is impetuous dynamic thrash which will bang the head of many a fan around the world, and only to those who have already climbed the Great Wall over there.

Massacre in A-Minor Full-Length, 2014

Official Site

BARBATOS (JAPAN)

Black/thrash metal akin to Abigail; Barbatos are even less serious and more light-hearted in their approach; the music is playful rock-ish thrash reminiscent of Venom, Motorhead, mid 90's Sodom, etc.
"Straight Metal War" is another speed/thrashing boogie with too many light-hearted numbers scattered around, of a balladic, bluesy, and classic heavy metal nature. Still, this is good fun all over retaining the staple optimistic character of the guys' older works.

War! Speed and Power Full-length, 2001
War Metal Drinkers EP, 2002
Rocking Metal Motherfucker Full-length, 2003
Fury and Fear, Flesh and Bone Full-length, 2005
LEt's fucking die! Full-length, 2006
Straight Metal War Full-Length, 2015

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BARBED WIRE (HUNGARY)

Very good, but roughly produced thrash metal reminiscent of Sepultura's mid period ("Arise", above all); the guys tend to write longer songs, but there is nothing technical going on there. The bass and the lead work are particularly good and overshadow the not very impressive riffage. "Time" and "Empty Lies" are cool aggressive thrashers which could fit onto "Beneath the Remains" without any problems, even with the quiet atmospheric ending of the latter. Seldom can one hear less-serious, punky jokes: "Liar" which are not as a nice touch as, say, the excellent slower semi-balladic instrumental "A Lost Friend".

Demo Demo, 1991
Immemorial Demo, 1992

BAREHANDED (SLOVENIA)

This is a very mixed bag: on their only demo so far this band offers a wild cocktail of styles; the good thing is that the base is thrash metal and it's of the more melodic, semi-technical variety typical for 90's Megadeth ("Symphony of Destruction" is not a Megadeth-cover), but there are Swedish death metal riffs (think Dark Tranquillity), folk/pagan melodies, and even progressive rock/metal sections not too far from Porcupine Tree. It definitely has its moments, but apparently this is just a bit more than a draft for something better and more compact.
The full-length is a different story the band now thrashing much more aggressively, and the opener "Barehanded" will hardly leave any thrash metal fan "barehanded" with its merciless vitriolic riffage. Its intensity is nowhere matched later, but the approach remains edgy with slight progressive pretensions ("I'm Not Paranoid"; the less convincing, chaotic "On Her Own") in the middle. "Not My War" is a surprising violent basher near the end, but the increased aggression goes out the window after the 5.5-min of melancholic balladisms which the closing "Dam Of Thoughts pt.2" serves; truly beautiful stuff, but strongly off-context.

Manipulator Demo, 2005
Dam of Thoughts Full-Length, 2013

Official Site

BARGEST (RUSSIA)

This is laidback stuff, modern power/proto-thrash metal with decent mid-ranged clean vocals, developing in a calm mid-tempo with frequent balladic stretches. The guitars lack an edge, but there's an overabundance of melodic hooks as well as very good leads.

Drugoi (Ia) Full-Length, 2011

BARKING SPIDER (USA)

An overlong ambient/orchestral intro ("West Of House") may pull back the listener at first, the latter already not very impressed by the goofy band name, but the band are quick to get on track with their decent brand of old school power/thrash which is strangely uplifting with a characteristic spacey vibe well captured on "Unreal World" also accentuated by the good alternative clean vocals and the excellent melodic leads. The title-track is a more linear epic power/thrasher ala the Swiss Drifter, and "Earthbound" is another heroic speed/thrasher the energetic delivery totally betrayed by the sleepy heavy rocker "Shit... Or Get Off The Pot", and the tender ballad "I Forgot". The closer "The Rushers Of Din" tries to make up for the lapses with a more dynamic sound, but its uneven nature leaves something to be desired.

Warrior By Night Full-Length, 2016

BARONG (INDONESIA)

Based on "Lepas Kendali", these Indonesians play laid-back unimpressive modern post-thrash which is totally skippable even by the diehard fans of the 90's trends since everything here is so painfully familiar and unsurprising that to sit through the whole album would be a waste of time. This mellow groovy music the several balladic touches being the highlights (dance on, lovers...).

Tak Ada Lawan Full-length, 2000
Lepas Kendali Full-length, 2004

BAROPHOBIA (SWEDEN)

Based on the "Labyrinth of the Mind" demo, this band, who boasts the presence of Msrten Hagstrom (Meshuggah), pulls out a cool mix of fast raging thrash ala Merciless and clever heavy technical riffage ala early Meshuggah and Dark Angel's "Time Does Not Heal". The latter are clearly the dominating sound, and one doesn't need a very big imagination to see where the beginnings of the Meshuggah characteristic delivery had been laid. "The Domino Principle" is a wild shredder on the verge of death, but the choppy rhythm-section is already in place, the hectic stop-and-go technique epitomized on "Lament Configuration" spraining the headbanger's neck with ease, a steady mid-paced stroller that could have fitted perfectly into "Contradictions Collapse". "Libidinous Suffering" is built on the same nervy skeleton, a dry mechanical piece predating the 90's modern thrash movement of which this band's continuation have been most shining representatives all these years.

International Hits Demo, 1988
Beckomberga Ensemble Demo, 1989
Demo Demo, 1990
Labyrinth of the Mind Demo, 1990

BARRACUDA (CZECH)

Good technical thrash/death metal which, in its faster and more frantic parts, reminds of early Atheist and Carcass' early 90's period, but the guys don't rely on speed a lot often mixing the tempo with heavy, mid-paced moments as well as cool atmospheric, progressive passages. There is a variety of vocal styles used, too, the predominant ones being both death metal-based: low growls and higher-pitched snarls similar to Kelly Shaefer from Atheist. There are semi-whispered clean ones, too, accompanying the mellower progressive sections. The songs don't go over the 4-min range and are infused with a fair number of interesting, ever changing riffs which, along with the alternating vocals, create the impression that one listens to different bands. Hopefully this band is ready to strike with something new soon: by all means a valuable addition to the technical side of metal.

Humanimal Full-length, 2003

Official Site

BARRELEYE (GERMANY)

Based on the full-length, this outfit pull out dry, mechanical modern thrash with not very pleasant shouty death metal vocals. The noisy environment dominates and with the relative lack of speed this effort can't possibly score very high sinking into trite groovy patterns at some stage. "Urged To Fall" would be a rude awakening in the middle, a brutal death-laced track, and it kind of raises the level higher for the creation of several more dynamic cuts ("Flesh Tie", the closing "Inner Fiend").

Virus EP, 2014
Urged to Fall Full-length, 2015

Official Site

BARRETT (MEXICO)

Dry sterile modern-ish thrash that possesses some headbanging potential ("BRT (Big Red Thing)", "Lords of Chaos"), but also expect dark atmospheric stomps ("Cthulhu Rise") and steady mid-paced tributes to the Bay-Area ("Red Flag"), the more complex and meandering "Wolf Attack" more fully displaying then band's skills, the latter also comprising the vocalist's exacerbating semi-clean declamatory antics.

Ktulu Fhtagn Full-length, 2023

Official Site

BARRIADA (JAPAN)

This not very known Japanese act indulge in cool heavy Bay-Areasque thrash along the lines of mid-period Metallica and Forbidden, and the listener will have a lot of fun on major headbangers like "Road Of Crucifixion" and especially the raging technicaller "One Step Out From Insanity" which also boasts standout bass performance. "Aftermath" is another rousing speedster, and "A.S.D.F." is a more immediate rager which lashes fiery riffs with passion adding a short screamy lead section. The singer is another asset with his high-strung clean timbre recalling Russ Anderson (Forbidden again).

A.S.D.F. Demo, 1995

BARRON (USA)

This formation (the full-length debut), which is only one musician (Adrian Barron, also the death metallers Demonic Executioner) delivers dark gloomy thrash/death which has its legitimate progressive pretensions due to the songs' length and the more intriguing arrangements. The delivery is at times quite reminiscent of the British legends Deathwish ("Broken"), but there are wild death metal excursions ("In A Hole") as well as full-fledged doom-oriented sagas ("The Old Familiar Feeling") where Barron reveals his cleaner more emotional vocal side as opposed to his dominant, not very articulate semi-death grunt.
"Nothing Heals": from the imposing all-instrumental doom-laden intro ("It's All Gone"), the album long sprawling epic compositions which last all the way till the end, sometimes trudging in a gloomy sombre mid-tempo ("No Escape"), sometimes going straight for high octane doom (the excellent twisted saga that is the title-track), sometimes thrashing with wild abandon (the complex shredder "Hate Keeps Me Alive"). There's quite a bit of good music on offer here, the near-14-min all-instrumental hymn "A Faceless Evil" slowing down the proceedings a bit, being a slow-motion doomy dirge, a similar but marginally more dynamic formula utilized for the closing pageant "You're Still Here", those two turning the tables away from thrash.

The Darkness Is Here EP, 2020
Light in the Dark Full-Length, 2020
Christmas of Brutality EP, 2020
Nothing Heals Full-length, 2021

Official Site

BARSARK (RUSSIA)

An obscure entry into the 90's Russian thrash metal catalogue; if we exclude the sloppy sound quality, the music isn't bad at all the band aiming at the more ambitious, progressive area managing to pull out a couple of impressive thrashers like the diverse "Silent Cry of the Dead", the atmospheric doomy "Neverfading Memories", and the stylish intense speedster "Sybola". "I'll Be Sleeping When I Die" is a not very necessary ballad despite the nice Latino variations and the good bass support; and "Patriot Lunacy" is an excellent instrumental reminiscent of Metallica's "The Call of Chtullu"; not to mention the short, but very cool technical closer "Room 184" which is another less ordinary instrumental piece. The singer is hardly the highlight, though, with his indifferent unrehearsed voice obviously struggling with the English lyrics.

Barsark Full-Length, 1994

BASANOS (AUSTRIA)

Based on "Cracking The Sledge", this formation pulls out groovy post-thrash without any more meaningful deviations. The guitars are suily heavy, the singer is nicely angry, and "Now" is the suitably faster number. In other words, this album would be fitting to all those who have left their hearts in the 90's, and possible still have those, now pretty faded and worn out, posters of Machine Head and Pantera on the walls.

Instincts Full-length 2010
Cracking The Sledge Full-length 2011

Official Site

BASEMENT CRITTERS (BELGIUM)

Based on the full-length, this act provide intriguing retro thrash/crossover which is built around long, thought-out compositions which are largely stomping mid-paced pageants ("Profile", "FAQ") with the speedy element not that important at all, and whenever the latter's at play ("Back from the Old Days") the delivery crosses over into hardcore territory with "Hero" providing the other extreme being a cool lyrical ballad. "Track and Trace" is a diverse melodic cut, and "Gadget Generation" is a heavy squashing closer which shows the vocalist as a more capable performer with a more attached cleaner timbre as opposed to his dominant forceful semi-clean/semi-shouty tirades.

Hurt Me with the Truth EP, 2016
God Save Us As .Jpeg Full-Length, 2020

Official Site

BASIC DREAMS (ITALY)

A cool debut from Italy this way comes; the guys offer progressively-tinged melodic power/thrash metal reminiscent of early Eldritch, Squealer and Dark Arena. Some tracks leave the thrash field: "Son of Future", "Strange Days", "When the Rain Falls" (an unnecessarily long ballad-7min), and the sound is not very heavy and aggressive although some songs have the energetic headbanging riffs: "Another Reason to Hope". The vocalist is truly the highlight with his clean passionate emotional voice which will remind you of James Hetfield, especially on the aforementioned ballad.

Secrets & Lies Full-length, 2001

Official Site

BASILISK (CHILE)

Raw speedy thrash in the early Kreator vein; energetic and quite well done. The singer is not a very pleasant hysterical shrieker, but the cool music saves the day. Some Slayer-esque intensity can also be felt ("Thrash Without Truce"). The lead work is cool, perhaps a bit melodic for the style, and gives some tracks a genuine epic atmosphere ("Basilisk"). "Altars Of Carrion" is a great aggressive thrasher with the only more technically-inclined guitar performance on the demo.

Thrash al Hueso Demo, 2004

BASILISK (USA)

This is some really cool brutal speed/thrash/proto-death seeing a really proficient act with all the right tools set in place; sharp lashing guitars, clever song-structures, high-strung shouty/screamy vocals ala Larry Portelli (Blessed Death), virtuoso lead sections (check out "Maramus"), etc. "The Angst Control" is an exemplary progressive number crossing all the aforementioned styles seamlessly so expect a lot of headbanging as well. "Waraplegic" is a formidable galloper ala later-period Helstar which exits with a furious speedy passage which influences the following ragers "Destined To Die" & "Official Beating". This is a nice obscurity which had all the right ingredients to make the band a major star on the circuit if released a couple of years earlier.

Demo Demo, 1991

BASSAIUM (JAPAN)

Based on the debut, these Japanese samurai play retro death with the casual sparkle of Germanic speed/thrash metal. Death metal reigns supreme, though, and one can not remain unshaken (and also unstirred) by the visceral power of technical explosions like "Capital Punishment Of A Neighbor", or partly repelled by the sincere grindy-ness of "Great Killing". Their influence from the thrash metal spectre is paid a nice deathy tribute at the end: a brutal version of Kreator's "Extreme Aggression" which music-wise is not very hard to recognize, but the undecipherable brutal low-tuned vocals are hardly an attraction there. Reportedly on the follow-up the band switched onto pure heads-down retro thrash covering quite a few influences with the German ones again leading the show.

Be Addicted To Suffering Pain Full-length 2002
Pandemic Full-length 2008

My Space

BAST (CZECH)

Based on "Zem8 Vlk'b7", this band plays a more classic-sounding speed/thrash metal which at times descends to a more peaceful heavy metal tempo, plus the odd balladic break. The guitar work is melodic lacking sharpness consequently missing in the thrash sector on at least half of the material. Still, the balladic sections are handled well if we exclude the rough semi-clean tone of the singer which lacks depth and emotion.
"Stopy V Kameni" is not too far music-wise from its follow-up containing a similar material of melodic power/thrash metal the peaceful delivery occasionally broken by more vigorous tempos ("Vogastisburg"), but the one-dimensional mid-paced approach will hardly keep you hooked to the player, although the good melodic emotional vocalist does his best to keep the album floating.

Stopy V Kameni Full-length, 2004
Zem8 Vlk'b7 Full-length, 2008

Official Site

BASTAHAZE (JAPAN)

Alternative weird modern thrash/post-thrash which shouldn't be a surprise coming from The Land of the Rising Sun. The music is creepy and doomy (check out the vintage doomster "Go Down") with sneaky minimalistic qualities so don't expect any aggressive escapades since there aren't any here. The singer, or rather, singers have a cool alternaitve clean tember which doesn't change much, but provides the odd background for the musical histrionics.

Bleed Full-Length, 2014

BASTARD (POLAND)

A mix of Skid Row's "Slave to the Grind" and the more friendly 90's aggro-rhythms, feelgood music without much edge, but energetic nonetheless (check out the semi-headbanger "Open Grave" which could have qualified for Flotsam & Jetsam's "Quatro" easily back then) if we exclude the heavy closing semi-ballad "Blasphemer" which is still a good number with nice leads. The singer is not bad, either, singing in an attached semi-clean manner echoing James Hetfield at times when he doesn't give a more aggressive deathy colouring to his voice.

Act 1 Full-Length, 1994

BASTARD (USA)

Old school speed/thrash with hoarse deathly vocals; simplistic unpretentious stuff with abrasive guitars and relaxed near-hardcore-ish attitude ("Hellfire & Steel"), the spirit of Motorhead ("The Possession", "Rotten Blood") also popping up prominently. "The Protector" is a curious more ambitious odyssey, but this effort is just for the party and fun of it.

Rotten Blood Full-Length, 2021

Official Site

BASTARD SEED (GERMANY)

Based on the compilation, this act, which is actually only one musician, the name Gregory Maupin, serves quite good retro progressive thrash with both heavy deviant ("The Game") and weird angular configurations ("Zero Hour") tussling for domination, the stomping sinister "Sorrow Lives" gradually building inertia, "Pain Dealt" adding a few genuinely technical strokes on an otherwise not very dynamic canvas, the more sprightly rhythms on "Manipulation" by all means a positive occurrence, including the steel intricacy of "March of the Divine", the creepy twists on "No Forgiveness" delectable enough to keep the listener engaged. Later Maupin recruited other musicians for his next project, Agony Divine, a more death metal-based outfit.

The Agony Within Demo, 1994
Bastard Seed Compilation, 2018

Official Site

BASTARD SQUAD (USA)

These American "bastards" opt for cool thrash/crossover which is both intense and "desperate" ("Desperation") and mellow and funky ("Dynamite Lady"). There are also joke songs ("Johnny Be Paranoid", a comic mix of "Johnny Be Good" and Sabbath's "Paranoid"), as well as dynamic thrashy instrumentals ("Tarantula", the technical 3-min lead-driven "Hey, Ralph"). There's a lot of joy and optimism displayed here, the hoarse semi-clean singer also trying to share the mood with less serious punk-ish antics.

Bastard Squad Demo 1990

BASTARD'S BREED (GERMANY)

Based on the full-length, this band play heavy modern post-thrash with all the staple for the genre tools of the trade lined up. This is mid-paced stuff which surely has its delightful faster-paced moments ("The Prophet's Eye"), but such escapes from the groovy snare aren't many at all although the hardcore-ish jolts of "Your Life Is a Lie" are another plus. The same, however, can't be said about the harsh shouty hardcore-ish vocals which simply create a lot of noise when in action.

Essence of the Breed EP, 2017
Where Is the Sun Full-length, 2019

Official Site

BASTARDATOR (CANADA)

Based on "Identify The Dead", this band pull out cool old school speed/thrash ala Destructor and Whiplash. The music actually sits between the aforementioned bands' debuts: it's edgier than the Destructor effort, but isn't as intense and fast as the one of Whiplash. There is some hardcore feeling throughout ("Identify the Dead") as well as echoes of Metallica's "Kill'Em All" ("Conquistador", the "Hit the Lights"-influenced "Pillars Of Oppression"). The tempo isn't fast the whole time, and some heavy metal tunes can also be caught ("Power Of The Templars"). This album doesn't strike as hard as a full-fledged thrash metal "monster", but its variety and catchiness will bring a lot of sweet memories from the 80's.
The "Power of Death" is just two songs of the same rough speedy stuff partially ruined by the low-tuned deathy singer. This is direct stripped-down music which this time reaches the wild proto-extremity of the Whiplash debut with ease looking even towards Rigor Mortis on the more agrressive passages.

Bastards of Mayhem EP, 2007
Barbatos/Bastardator Split, 2008
Identify The Dead Full-length, 2009
Power of Death EP, 2010

My Space

BASTARDIZER (AUSTRALIA)

Based on the debut, these "bastardizers" offer "bastardized" roller-coaster speed/thrash which has its Motorhead shadow looming over at times, but the more aggressive sweeps are just around the corner ("Enforcers of Evil"), and they start leading the pack at some stage in the second half although one may wish those heavy doomy cuts, like "Pentagram of Pleasure" to have been more. Still, no complaints on the final "The Black Scourge of Death" which speed/thrashes with vibe also reminding of the more recent Darkthrone metamorphosis.
"Dawn of Domination" isn't very far from the approach on the debut, only that the guitar sound is more abrasive and crusty, and some of then material comes with this steam-rolling, battle-like flair ("Crimson Trenches"), disturbing the hegemony of the faster-paced hymns ("Demons Unleashed", the Motorhead-ish roller-coaster "Whiskey ‘til Death") which dominate the proceedings without brutalizing or "bastardizing" the environment too much.

Enforcers of Evil Full-Length, 2014
Dawn of Domination Full-length 2018

Official Site

BASTARDOS (ARGENTINA, BUENOS AIRES)

The demo: three songs of straight-ahead old school thrash played with competence and understanding of the genre canons, the main annoyance being the shouty, slightly hysterical, vocals which may remind you of the Tony Portaro delivery on the Whiplash debut. Otherise the music is right as rain dynamic headbanging thrash with sharp guitars which are often overshadowed by the pounding drum section and the excellent bass work.
The full-length is an obvious improvement over the demo, both music and production-wise, and a lasher after lasher come in quick succession to pound the listener to oblivion. "Almas Combativas" tries to reach the speed of light, and "Apocalipsis Thrash" is more of stylish semi-technical thrash rather than really "apocalipsis". The second half offers better-constructed numbers with more interesting riff-patterns (check out another more technical piece, "Siniestra Cultura de Poder") although the end is again occupied by shorter blitzkriegers the closer "La Massacre" being a mighty Slayer-esque headbanger.
"Nueva Droga" is a much more light-hearted recording, with speed metal occupying the front seat with gleeful panache, the crossover joy "Cabanyal", and "La Muerte se Abrio de Piernas" is a mild heavy rocker, the guys obviously not intending on moshing hard anymore as thrash steadily refuses to materialize here.

KM 24 Demo, 2009
Bastardos Full-Length, 2015
Nueva Droga Full-Length, 2022

Official Site

BASTARDOS (ARGENTINA, CAMPANA, BUENOS AIRES)

This band specialize in brisk energetic retro speed/thrash which is closer to the speed metal side with echoes of the 90's power/speed metal movement ("Nada Quedara"). There's a lot of headbanging joy to be encountered here, like on the roller-coasters "Oscuros Rincones" and "Never", as well as a wider palette of riff-patterns like on the surprisingly short and eventful "Tienes Miedo". The vocalist is a passable clean throat who doesn't exhibit too much emotion, but manages to retain the melodic pitch for most of the time.

Visiones de un Mundo en Decadencia Full-Length, 2016

Official Site

BASTARDOS (SPAIN)

Three songs of nice intense old school thrash, fast and technical at the same time recalling the Dutch one-album-wonder Usurper. The riffs lash with no mercy supported by very short screaming leads, but the good music is slightly "betrayed" by the hoarse shouty vocals.
The "Descraneados en las Calles" is another 3-songer, but there's not much technicality at display here, just violent bashing riffage with Slayer, Dark Angel and Possessed paid special attention. Still, this remains good appealing stuff with its blitzkrieg guitars and the odd stylish flavour (the intriguing hooks on "Apocalipsis Thrash").

Bastardos Demo
Descraneados en las Calles Demo, 2011

BASTARDS (SPAIN)

Fairly decent ripping classic thrash comes from these Spanish "bastards" who spice the approach with ever-changing tempos and quite a few catchy melodic licks the latter serving especially well the longer more serious compositions ("Killing the Elm Street Children"). The "final" "Final Electric Storm" is both the most brutal and most technical track with a rapidfire rhythm-section showing a lot of promise for eventual future "exploits".

Rivers of Blood EP, 2012

My Space

BASTEROS (SINGAPORE)

A 3-songer of modern thrash with harsh death metal vocals; familiar stuff slightly raising the eyebrow on the more complex "1963" which is a cool melo-thrasher with numerous atmospheric "decorations" including a cool balladic digression.

Demo Demo, 2015

BASTION (USA)

Both demos offer enjoyable speed/thrash along the lines of the Brits Blood Money, Agent Steel and Exciter. This is good music with nice, memorable and generally up-tempo songs ("Merciless" picks up more aggression and is arguably the best track here), and a singer who has a cool mid-ranged melodic voice. The guitar work is good, simplistic with good melodic lines thrown in. "Blitzfreeze" contains the faster material, and is more speed metal-based, but on the other hand "D.B.D." and "Metamorphosis" come with great riffs in the early Destruction vein.

Blitzfreeze Demo, 1987
Dead Religion is Good Religion Demo, 1988

BASTION Z (UKRAINE)

Modern post-thrash mixed with sparse faster classic outbursts ("V Obiatiah Boli"); nothing to lose your sleep over, mid-paced not very eventful stuff, although some of the leads are not bad, and the singer has a powerful diverse timbre who handles all ranges without hitting the high ones too often, emitting quite a bit of passion which the ordinary musical delivery kind of doesn't deserve.

Everything Will Burn EP, 2011

BAT BONES (JAPAN)

Fast hardcore-ish thrash metal with shades of Motorhead as well sounding quite close to early Broken Bones with hoarse punky vocals and simplistic stripped-down riffage.

Demo Demo, 1989

BATALLON DE CASTIGO (SPAIN)

The band-members have been doing "service" in a Spanish prison and, to pass the time, have decided to play some thrash. Their open Nazi stance, expressed in the lyrics, may have been the main obstacle for the band to reach further. Alas, the music is less impressive than their political views, thrash and hardcore mixed together, something typical for the Nazi bands around the world.

Ca'a6a de Espa'a6a! Full-length, 1998
Desperta ferro! Full-length, 1999
Akelarre Full-length, 2004

BATHORY (SWEDEN)

The great Quorthon (R.I.P.), the only artist in music history to have taken part in the founding of two metal genres (black and viking metal), ventured into many styles throughout his short, but very eventful life, including thrash. And while he was good at everything he was doing on the music field, thrash metal had clearly been his weakest side. While there were good attempts at the style on "Blood, Fire, Death", they worked well mainly because of the able support of the other metal genres present there. The two pure ventures into thrash from the mid-90's: "Requiem" and "Octagon", were very uneven efforts, especially "Octagon" with its strained undeveloped vocals and blunt unfocused sound. Even the "other genres versus thrash"-mixture on "Destroyer of Worlds" later didn't work anymore. It was clear by then that Quorthon was way better treading into other metal fields. However, considering the immeasurable contribution this man had made to the metal world, this site feels honoured to include him as well.

Blood Fire Death Full-length, 1988
Requiem Full-length, 1994
Octagon Full-length, 1995
Destroyer of Worlds Full-length, 2001

Official Site

BATHYM (USA)

A 2-song EP of thrash/death metal; the 1st track is mid-paced with a cool faster middle section closer to death metal; the 2nd one is a faster, cool thrashy headbanger. The vocals are very vicious, evil black metal-ish shrieks, but suit the music well.

Demonic Force EP, 1991

Fan Site

BATSTORM (THAILAND)

After a good bass intro the guys unleash aggressive thrash/death which could have been more appealing if it wasn't for the annoying buzzy guitar sound. The music is fast and closer to death metal, with vicious synthesized black-ish vocals.

---'aa- 2006 ( Desaster ) EP, 2006

Official Site

BATTALION (BRAZIL)

Epic battle-like speed/thrash metal offering 5 songs of 90's speed metal-influenced stuff with a few more aggressive thrash moments; at their best the guys manage to touch early Sacred Steel ("Soldiers from the Shadows") and even early Agent Steel (in other words, all the early "steels" from the scene). The songs flow nicely in up-tempo with sharp riffs and a strong bass-bottom, supported by average gruff semi-clean vocals which ineptly try to scream high from time to time.

Battalion Demo, 2007

My Space

BATTALION (DENMARK)

"Immortal Power" contains heavy, mid-paced thrash with a certain Bay Area flavour with rough, black-ish vocals. "The Sense" is faster, a bit more technical, with a new more melodic singer, recalling Laaz Rockit's thrashier period.

Immortal Power Demo, 1986
The Sense Demo, 1987

BATTALION (SWITZERLAND)

This band started a few years earlier under the name Corpus Delicti where they played classic heavy metal. Based on "Underdogs", the guys must have undergone a major "shift in consciousness" since the music now is all-out retro speed/thrash wasting no time winning as many fans as possible for the thrash metal cause with the blitzkrieg opener "Thrash Maniacs" which is strictly for "thrash maniacs". "Headbangers" is hardly the headbanger's paradise being a much slower offering, but "Running Alone" will shoot you straight to the 7th heaven, a major speedster in the best tradition of the early German school (Vectom, Warrant, Iron Angel). Then another slower number comes, but the fast and slow songs stop alternating here with the guys losing the inertia in the middle apparently feeling a bit nostalgic for the heavy metal times of old reflected in a couple of mellower heavy/power metal-based numbers. "Beggars Right", which is an allusion to the Running Wild hit from "Under Jolly Roger" both music and title-wise, brings back the speedy patterns which stay around for the final "Defenders": a flying happy hymn recalling the 90's power/speed metal scene with the soaring melodies and the catchy sing-along choruses.
"Set the Phantom Afire" is a more assured recording the guys feeling more confident with all sides of their style thrashing with passion on the short early Slayer-esque "Dead Men Tell No Tales" which is surrounded by longer progressive compositions which still belong to the thrash metal camp, but are less intense. Then the thrashy patterns give way to power/progressive for a string of less impressive compositions until the arrival of "Drifting Towards Insanity" which is another raging shorter which is followed by the slower, but nonetheless interesting "Possessed by Satan". "Oppression Department" is another short headbanging outburst which exits this album with aplomb although some may get a bit confused when listening to this not very even conglomerate of aggression and complexity which creates the impression that the band are still looking for their most fitting face.
"Generation Movement" is a dynamic offering with very modern production which makes the snakes... sorry, the guitars hiss at times. The good news is that the band play on high speed for most of the time and seldom show remorse even on the 7.5-min title-track. The flag of retro thrash is raised high on bombs like "An Unaltered Attitude" and "Wrong Side of the Tracks", before the closing "Venom" cools down a bit to purer speed metal dimensions. This album could pass for the guys' finest hour from an old school thrash's point-of-view, and seems like a direction well chosen.

The Fight for Metal Full-length, 2006
Underdogs Full-length, 2010
Set the Phantom Afire Full-Length, 2012
Generation Movement Full-Length, 2015

Official Site

BATTALION (USA)

Fairly good classic power/thrash metal, quite heavy, with a couple of a few cool semi-technical riffs thrown in for good measure reminiscent of Helstar's "Nosferatu" in the more dynamic parts, and another great American underground band, Carbide, resemblance with that act also in the not very expressive, mid-ranged clean department. The pace is mostly mid-tempo, but it varies from speedy power/thrashers ("The Black") to almost stomping doom-soaked numbers (the great instrumental "Orchestrated by Fear").

Excessive Force Full-length, 1995

BATTATROX (MEXICO)

This young act pull out modern abrasive thrash which adheres to the faster parametres more the mechanical dry guitars a minor annoyance. Still, the guys carry on unperturbed and manage to come up with admirable robotic headbangers like "Blessed By the Unholy God" and "Born to F# Around". "Mosher Grandma" is a short deathly dynamite, and the closer "Courtship of Evil" is the last speedy "hammer" from this heavy effort which also boasts good expressive, semi-shouty death metal vocals.

Devastating Chaos Machine Full-Length, 2015

Official Site

BATTERED (SWEDEN)

Battered was formed by three members of the viking/black metallers Einherjer after the latter split up. The music is firmly in the thrash metal realm with shades of Einherjer's last album "Blot". This is a blend of modern and classic thrash, well executed, with occasionally very good technical guitar work. The album starts really promisingly with the intense thrashing opener "Oblivion Awaits", but the next couple of songs slow down, and are more melodic and modern-sounding. "Not One" thrashes with no mercy, and from then on things become more interesting. "The Dig" is another great track, sounding as though directly taken from Grip Inc.'s "Nemesis". "Industrial Killing" follows with smashing technical guitars in the Coroner vein, before "Perfect Illusion" speeds up again. The remaining numbers are more on the stomping, heavier side, "The Flagellant" coming very close to Slayer's late 80's period. The very shouted, noisy vocals are not very fitting to the music, and some adjustment in this department for the future would be desirable.

Battered Full-length, 2006

Official Site

BATTERY (DENMARK)

Based on "Martial Law", this band play vicious intense thrash/death of the old school with not very pronounced semi-shouty death metal vocals. This isn't only relentless barrage, mind you, but also offers cool more moderate mid-pacers ("Downfall Of An Age") those "embalmed" in cool virtuous melodies. "2038" tries something more technical among the bashing guitars, and "Forced Retaliation" is a short rager with proto-death tendencies. "Battery By Authority" is the other less aggressive cut with an epic shouty chorus, but expect no more mercy till the end the album finished with a trio of remorseless headbangers.

Mental Pollution EP, 2012
Armed with Rage Full-length, 2014
Martial Law Full-length, 2016

Official Site

BATTERY (GERMANY)

Speed/thrash metal of the German school ala early Deathrow, early Destruction and the Paradox debut; the vocals are more brutal with a death metal shade, and the music is energetic with good sharp riffs which at times try hard to emulate Destruction (and succeed). The leads are of the screaming type, but fit the intense delivery well although sometimes one might not hear them quite clearly because of the muddy sound quality.

The Unknown Demo, 1986
Nuclear Assault Demo, 1987

BATTLE OF THE WAR MACHINES (UK)

Modern metalcore-ish thrash which doesn't completely lack in the speed department ("Aftermath"; the dry hardcore-ish "Delete All Life Forms"), but the preferrable by the band delivery is mostly mid with the metalcore breaks being of the jumpy more technical variety.

Trial And Terror Full-Length, 2010

BATTLE SLAUGHTER (USA)

Based on the Live album, these guys pull out raw aggressive black/thrash metal which is hard to compare to anything else out there since the sound is too bad, and the band bashes with no mercy for most of the time creating a noisy, blurry mess with echoes of early Bathory and Impaled Nazarene. The vocalist plainly shouts and croaks, taking quite a space from the performance which hardly deserves any audience having in mind its ultimately amateurish nature.

Hammer Of Fusion Demo, 2008
Export Rehearsal Tape Live album, 2011

My Space

BATTLECREEK (GERMANY)

This band play (based on the debut) very good "battle"-like classic thrash along the lines of Paradox and more recent Agent Steel; so expect more elaborately crafted compositions with a sophisticated technical edge and swirling screamy leads which at times acquire a nice melodic character. Heads down to the guys for producing the ultimate modern basher" "Psycho Torture" is relentless speed/thrash to the bone, a killing number which translates its controlled ferocity to the longer "Commercial Brain Shredding" which lashes spitting fiery riffs for just over 7-min. The progressive infatuations reach the culmination on the excellent "Pestilence" which is standout technical speed/thrashing with numerous nuances including in the lead sector. The final "bomb" is called "Stormtroopers of Thrash", and the guys rightfully title themselves as such although their approach is way more complex and though-out than the one of Billy Milano and his gangs. The singer is a rending shouty semi-cleaner who doesn't spare his throat additionally burdening it with the casual deathly grunt.
"Hate Injection" is a tad more simplistic with shorter tracks which rip through the speakers with lashing, sharp guitars and the already mentioned not very appropriate shouty vocals. The title-track is a more interesting attempt at breaking the established roller-coaster atmosphere with a more technical play, and "Hell in a Cell" is a more inspired 7-min shredder, but the rest is just direct classic speed/thrash hardened at the end on "Nodeng of Darkness" which is a brutal death metal-laced rifforama.
“Maze of the Mind”: The guys carry on with the battle instigated, rushing on with both immediate bouncers (“King of Rats”) and marginally more complex roller-coasters (“Implosion of the Sun”), the impetuous seismic effect form “Thou Shalt Not Kill” well acknowledged, the more leisurely speed metal veneer of “Slaves to the Virtual God” suiting the more carefree character of the closing power/speed metal conglomerate “Pleasures of the Hangman”.

Wake the Plague Full-Length, 2011
Hate Injection Full-Length, 2015
Maze of the Mind Full-length, 2024

Official Site

BATTLECROSS (USA)

Based on "Pursuit of Honor", which is a re-recording of their debut, this band delivers a fairly decent slab of the new modern breed of speed/thrash metal coming with more frequent death metal leanings, but with also numerous melodic hooks. "Deception" brings the more stylish riffing forward after the opening trio of soaring fast-pacers, and later on there's more elaboration on the technical side with hectic complex pieces like "Breaking You" and "Rupture", or with vigorous twisted speedsters like the excellent "Better Off Dead". The closing "Misery" (there is a fine lead-driven instrumental after it) wraps it up nicely closing the 2nd chapter of the band's career with style blending the speed and the technicality in a sure-handed fashion. This young outfit obviously want to have their voice heard, and with the heaps of talent displayed here they should have no worries about it.
"Rise to Power" may eventually see the guys "rise to power" with its blitzkrieg approach which has all the requisite energy on rippers like "Not Your Slave" and "Absence" which are also full of catchy melodic chops. "The Climb" is a technical thrash/deathster at its very best, and it elevates the album to previously unknown heights with intelligent shredders like "Blood & Lies" (check the haunting balladic interlude on this one) and the spacey headbanger "Bound By Fear". "Despised" is a surprising funky technicaller with a blast-beat ending, and "Shackles" moves up the brutality scale now almost full-fledged death metal. The closing "The Path" smites all technical melo-death practitioners like Arsis in the dust with the final cavalcade of stylish licks and clever twists on a great melodic, lead-driven base. This is a really valuable addition to the metal pleiad of 2015, and a true contender for the top ten.
"War of Will" borders too much on Swedish melo-death and consequently the more stylish flourishes are left behind for the sake of more conventional shredding ala early Dark Tranquillity and At the Gates. The execution is traditionally clinical and professional, but the overall delivery leaves a feeling of treading familiar territories which get abandoned partially for the more adventurous "The Will To Overcome" and the closing cover of Pantera's "Fucking Hostile" which is turned into a bashing proto-deathster, a wise decision coordinated with the prevalent style of the album.

Push Pull Destroy Full-length, 2010
Pursuit of Honor Full-length, 2011
War of Will Full-Length, 2013
Rise to Power Full-Length, 2015

My Space

BATTLEFIELD (GERMANY)

The band debuted with this nice EP of German speed/thrash metal with a female singer, close to Angel Dust and Iron Angel, and looked as though they would replace those two bands, the one of whom had split up, the other being in the process of changing their style. "We Come To Fight" is a truly impressive speed/thrasher which begins with an imposing, slower intro, but later lashes with no mercy, with the girl singing her lungs out, providing great high vocals reminiscent of her compatriot (and peer) Doro Pesch. "Nuclear Death" is another smashing speed delight, with an even more aggressive riffs. "Knock On Your Door" adds more stylish, semi-technical guitar work to the proceedings, still thrashing in an uncompromising way. "Grave Of The Unknown" is speed metal at its best, which would be a highlight even on "Walls of Jericho". "Possessed Preacher" starts like a quiet, tender ballad, with fine vocals, but afterwards the speed/thrash aggression reigns supreme this time accompanied by a catchy sing-along chorus, longer and better leads, and stupendous riffage as well which in the second half (the song is 9-min long) becomes quite technical for a while. However, the "winds of change" carried Battlefield away, like the bands they were supposed to replace, and their later offerings adopted a much more melodic heavy/power metal sound with almost no traces of speed/thrash.
The "Time To Rethink" demo, released less than a year before their much more melodic debut, carries on in the same energetic vein, speed/thrashing in a way quite close to the EP. "Time To Rethink" is a sweeping speed/thrasher, but "Plastic World" is a more complex affair mixing slow and fast rhythms to a very good effect. "Undescribable" is relentless intense thrash with the girl (whose name is Tanja Ivenz) unleashing a few piercing high-pitches. "Through My Veins" is another merciless portion of headbanging speed/thrash metal with impressive lead guitar work raising the flag high of the early German speed/thrash metal movement at the beginning of the new decade. One might have been quite shocked to hear the full-length debut, which followed soon after, after having given a listen to this short compulsive piece of vigorous speed/thrash metal.

We Come to Fight EP, 1987
Time To Rethink Demo, 1990

Fan Site

BATTLEGRAVE (AUSTRALIA)

Based on the full-length, this duo deliver intense modern/retro thrash which is fairly intense for at least half the time, the band easly reaching Slayer-esque intensity with unbridled outtakes like "Betray Your Beliefs". The heavier, steam-rolling side of the guys' repertoire ("Pt 1 The Witch in the Wood") is also worth of note although to these ears the short outbursts of violence like "Swallowed by the Waves (The Wreck of the Trinculo)" and "They're Under the Ground" are the more convincing part of this hyper-active affair whic also benefits from the presence of the intense shouty, quarrelsome vocals.

To Hell with War EP, 2017
Relics of a Dead Earth Full-length, 2018

Official Site

BATTLEMASTER (USA)

Based on "Battlehungry and Swordsworn", this act specialize in hyper-active thrash/black/death metal which is often played at the speed of light, consequently not giving much room for thrash metal to breathe until the last few tracks where black metal steps down as the leading genre for a while not in the vocal department, though: this raven-like croaker reigns supreme all over accentuating the atmosphere to the point of horror. Some of the band members also play in the purer black metal outfit Neckbrace and the black/thrash cohort Hoboknife.
"Ghastly, Graven & Grimoireless" is a more moderate recording the band strolling in a heavy mid-tempo, also trying something more technical ("Black Challenge"). "Hectored Bugbearean Wrath" attempts something more restless and blacky, but overall this is a more restrained and epic-prone opus with more proficient musicianship involved.
"Greedgripped & Spellspoilt" is a moderately intense saga, the band relying on dramatic pulverizing cuts ("Overburdened", "Extradeath") with the spice of several laid-back epic insertions ("Elite Spectral Attache", the cumulative "Plunderdrunk"). Slayer's "Reign in Blood" materializes on the short maddening "Search for Traps", the more technical hyper-active lustre of "Circular Sigil Failure" the possible highlight on this varied intriguing recording.

Power Word: Kill EP, 2004
Warthirsting & Winterbound Full-Length, 2007
Battlehungry and Swordsworn Full-Length, 2015
Ghastly, Graven & Grimoireless Full-length, 2020
Greedgripped & Spellspoilt Full-length, 2023

Official Site

BATTLESOUL (CANADA)

Based on the full-length, this act plays epic stuff mixing Swedish melo-death metal with modern thrash and folk/pagan motifs. The style comes as a blend between Ensiferum and Norther with frequent blacky hyper-blasts thrown in for not a very good measure. Fast and slow songs are mixed the latter the more appealing side carrying the battle-like spirit of Amon Amarth and mid-period Bathory ("Lay Down Thy Burdens", "Those Who Sought the Dawn") on the best moments. The guitar tone is pretty melodic, though, with loads of catchy memorable hooks (check out "Warriors in Carrion Kingdoms") ably supported by keyboards, angelic female vocals, and more.

Battlesoul EP, 2008
Lay Down thy Burdens Full-length, 2010

Official Site

BATTLESPAWN (USA)

Based on the full-length, this act offer intense modern thrash which is not far metalcore and even post-thrash. "Instrumental" is a cool interlude with its relaxed, pensive rhythms and fine melodic leads; and "Mosh Pit Warrior" is obviously a cool nod to the old school being a prime thrash/crossover headbanger; but the rest is too generic to strike a chord regardless of the singer's attached shouty performance.

Evil Rising EP, 2013
Blood on the Asphalt Full-length, 2015

Official Site

BATTLETORN (USA)

Based on "Terminal Dawn", this is aggressive fast thrash/crossover ala Cryptic Slaughter and The Accused with very short, barely going over the 1.5-min limit songs; uncompromising, in-your-face approach, pretty basic and one-dimensional, but sincere.
"Reflect The Filth" is in a similar vein, short direct tracks, this time not as fast allowing a couple of more moderate passages to sneak in. The vocals are awful rending hysterical screeches which may get on some listeners' nerves.

Peace of the Grave EP, 2005
Villains/Reversed Single, 2005
Evil Chains Full-length, 2005
Burn Fast EP, 2006
Terminal Dawn Full-length, 2007
Reflect The Filth Full-length, 2009

Official Site

BATTUE (GERMANY)

Based on the demo, this act plays modern thrash/death metal which doesn't quite belong to any of the familiar schools, but looks for its own face with a dynamic, intense mixture of fast and slow sections both sides graced by a good sense of melody, bordering on the technical ("As Shadows Fade To Black") on occasion. The vocal "duel" is the expected "guttural vs. the raven" one, but is not overused, and as a whole the guys have laid a good base for a prospective capable full-length release. The musicians also operate in two other formations: the similarly-styled thrash/death unit Deathtrip, and the doom/death metal outfit Nailed to Obscurity,

Demo Demo, 2007
New World Disorder Full-length, 2008
Deathinfection EP, 2010

Official Site

BAYNE (NORWAY)

Modern melo-thrash with both death metal and metalcore standing on the side, trying to interfere into the dynamic melee here and there, the latter more effecive when the guys stick to the melodic gimmicks ("At Gunpoint", "Reload Hero") more. The harsh shouty death metal vocals are surprisingly comprehensible for most of the time, becoming more intense on the more belligerent material (the thrashing delight "Firestorm"), but more moderate and friendlier on the cool fusion-esque respite "Be the Blaze".

Bulletgame Full-length, 2019

BAZOOKA (TAIWAN)

Well played retro speed/thrash with hellish black metal vocals; the music is close to the Swedes Cranium and the Portuguese Alastor. There will be a lot of fun with this effort played at high-speed the whole time, and one will hardly be annoyed by the not very convincing hoarse black metal vocals. The "pause" comes in the middle in the form of the heavy pounding "Barrage", a heavy stomper with echoes from early Celtic Frost. Its heaviness slightly translates on the following "Burning Village", but don't expect this to happen any further till the end; this is an uncompromising speed/thrash metal attack from the Far East.

Toxic Warriors Full-length, 2009

My Space

BAZOOKA TROOPAZ (NORWAY)

Speedy blitzkrieg thrash/crossover which is constructed around short dynamic numbers (“Bazooka Troopaz”) and steady mid-tempo strollers (“Hard Ticket to Hawaii”), the intense semi-declamatory vocals doing a good job as the equally venomous assistant to the energetic music. The speed metal vehemence of “Sons of Steel” is duly acknowledged, the same no-bars-held attitude epitomized for the brief crossover anthems “Bombs, Babes and Bazookas” and “Suburban Commando”.

Bombs, Babes And Bazookas Full-Length, 2023

Youtube

BBQ CHICKENS (JAPAN)

Spasmodic thrashcore played just for the fun of it; very short compulsive tracks done in an optimistic carefree manner topped by merry clean vocals of the semi-declamatory type.

Indie Rock Strikes Back Full-Length, 2011

BEAGLE PUNCHER (UK)

Four songs of excellent speedy retro thrash, all instrumental, quite close to the Canadians Mastery although the tracks are shorter, the leads aren't prevalent, and there are no attempts at more elaborate shredding, just straight-forward fast-paced thrashing, a sure-handed headbanging winner.

Canine Holocaust EP, 2008

My Space

BEAST (SPAIN)

Based on the "Thrash Metal Propaganda" EP, these Spaniards spread the "thrash metal propaganda" far and wide with their energetic brand of classic thrash which is professionally executed varying the tempos with dexterity never sounding boring or stale even producing the odd technical hook on demand. "Black Death" is a cool atmospheric dark brooder, but "Thrash Metal Holocaust" will wake you up right after it for a 2.5-min portion of mosh. A kind of a surprise would be the closing quiet acoustic instrumental "Blood Upon The Snow" which lasts for about 3.5-min, and is not exactly just an outro. The singer has a potent forceful tember unleashing both melodic and aggressive antics.
The full-length is another old school portion entertaining the listener with a capable selection of ripping riffs and vivid rhythms the speedy crescendos very seldom getting lost ("Black Death"). "Atomic Nightmare" is a more engaging speed/thrashy canonada lashing riffs for just over 7-min ably assisted by the exiting duo from which "Thrill Killer" is a commendable closer with jumpy fast-paced riffs exemplifying the band's approach which is also helped by the inspired vocal delivery which is semi-shouty with a hoarse blend reminiscent of later Chuck Schuldiner (R.I.P.).

Of Beer and Blood EP, 2011
Thrash Metal Propaganda EP, 2012
Infernal Hangover... Wrecked in Space Full-Length, 2013

My Space

BEAST INSIDE (SPAIN)

Old school power/thrash delivered by this crew, who go their way without creating too much fuss or drama, largely cause their prevalent mid-paced sentiments seldom vacillate, the heavy pounding "Warchild" finely epitomizing all this album is about. "Beast Attack" justifies its beastly title with a portion of lively rhythms bordering on the headbanging, those same temptations also reflected on the final "War", the intense semi-clean shouty vocals creating the biggest drama of the lot.

Under Control Full-length, 2022

Official Site

BEAST LIGHT (MEXICO)

Based on the self-titled, these Mixicanos pull out merry unpretentious power/speed/proto-thrash which is pure Motorhead-worship on the faster-paced material (the title-track). The rest is either epic and melody-prone ("El Faraon") or energetic and semi-galloping ("Metal Revolution"), the cool clean high-strung shouty vocals accommodating all stylistic deviations.

The Army of the Beast EP, 2012
Beast Light Full-length, 2015

Official Site

BEAST MODE (USA)

Thefull-length: this new outfit indulge in epic speed/power/thrash with brutal death metal vocals; not a very suitable blend provided that the music is strictly on the mellow side built around heroic galloping riffs which evidently court speed metal most of the time. "Wrath of the Leastrygonians" is a more impetuous headbanger, but the rest is battle hymns with echoes of Omen, Attacker, and the 90's power/speed metal movement.
The “Seventh Solstice” EP is a more energetic fare, the title-track racing with the deathly demons every bit of the way, the music finally matching the vehemence of the vocalist, but thrash comes back mixed with melo-death on “The Forge”, the pounding steam-roller “Blasphemy” hinting at the staple for the full-length epic accumulations, “Becoming the Beast” confirming that last impression with a mellower, less exacerbating layout.

Blood Moon Full-Length, 2016
Pound of Flesh EP, 2021
Seventh Solstice EP, 2023

Official Site

BEAST OF DAMNATION (HOLLAND)

This is classic/modern black/thrash metal recalling Impaled Nazarene and Dissection on the faster parts, but there are a few which go straight into the avant-garde post-black heard on the only Thorns effort and on the last few Satyricon albums. Both styles alternate supported by nice melodic leads (again with a touch of Dissection) and forceful death metal vocals.
"Grizzly Tales Of Terror" is another vicious offering this time also adding death metal to the proceedings, and this addition threatens to overtake the whole space at times emitting a strong Swedish influence (the At the Gates-esque "Brundlefly"). The whole release is sustained in quite a high speed the slower relieves coming in the second half (the battle-like epicer "Machete Killzone"; the short semi-technical "The Roswell Accident"), but never last for a whole song. "Death Metal Storm" is a surprisingly calm number, despite its raging title sticking to pounding mid to up-tempo riffs with not a shade of aggression, apparently setting the tone for the closing officiant piece "Triumph of the Beast" which is a war-like hymn with stomping rhythms and a great faster exiting section.

Plague Infected Battlefield EP, 2008
Grizzly Tales Of Terror Full-length, 2012

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BEAST PETRIFY (SINGAPORE)

Based on "Intrication": these Singaporeans play an aggressive, but at the same time fairly complex and technical, blend of thrash and death metal. "Entangled Nightmares" is a total mid-period Carcass and Atheist worship (the similarities with this band are also based on the vocals): a brutal slab of metal, quite jumpy and hectic as well. "Schizophrenic Aggressor" is a more direct death/thrasher with a great bass support, followed by the "monstrous" interlude: the 9.5-min progressive opus "Fisting of Addictive", which is larger than life, and apart from the dominant thrash/death approach, the band finds time to add classic heavy metal touches ala Iron Maiden, which kind of dissipate the hard-hitting nature of the beginning; later on furious thrashing follows suit, and the exit is reserved for some joke tunes, but one has to pay attention in order to catch all the nuances here. "Injustice Victims" is a chaotic, violent piece which ruins the good, until this point, impression where the vocals "help" a lot as well acquiring an awful screechy hysterical timbre; it may be considered a masterpiece of technical thrash/death metal, but to these ears it's a bit more than senseless aggression. "In Tears of Anger" is a melodic power/thrash instrumental, not bad, but out of context, and will do little to remove the aftertaste already formed during the previous number. "Enigma of Hypnosis" finally returns to the more controlled patterns from the start, and is a fairly satisfying piece of thrash. "Intricated Devastation" is another winner, moving more towards death metal, graced by cool technical, but also quite fast frantic guitars. "Rage in the Millennium Vibrations" is a stunning work of technical/progressive thrash/death metal which more than compensates for the flaws encountered earlier: an encyclopaedia of riffs, time changes, and moods where one would hardly find a dull moment during its more than 12-min of length; for a "dessert" the exiting part is a very cool balladic lead-driven outro.

"Dimensional Deranged Dilema" is a great work seeing the band already on a high level of musicianship, offering an amalgam of styles, well mixed together; the approach is more complex and firmly belongs to the progressive genre. The guitar sound is a bit buzzy, and the bass is put up front, but these aren't very big detractions. The title-track already suggests at the very beginning of the complex stuff one will encounter here, being a good progressive power/thrasher with nice melodies and furious fast parts. "Massive Irretrievable Burden" is another masterpiece of thought-out, elaborate music, but things pretty much hit the top with the brilliant instrumental "Slaves Of The Abyss" which, although more melodic and balladic, is a true gem of technical/progressive thrash, seamlessly blending raging thrashy sections with very calm, quiet ones, where the lead guitar work is breathtaking. "Impending Disaster" is more direct, but still semi-technical thrash, followed by "Revulsion After Discrimination" which also starts quietly, only to continue in a furious speed/thrashing manner ala Exumer's "Possessed by Fire" (which is actually the main influence on the whole album) only served with a much stronger technical/progressive edge; later the sound gets more technical, but retains the fast moments. "Pertiferous Betrayal" is again more immediate speed/thrash, quite fast and enjoyable, as well as the next "Obscure Obliteration" which jumps the death metal wagon for a while, before offering a nice Oriental passage. "The Pain Deep Within" goes back to the complex song-writing, providing a wide range of moods and tempos finished with a nice acoustic instrumental which later finds full realisation on the fine closing instrumental the latter only featuring an acoustic play, but is more than a satisfying ending to this strong debut.
The split with the Polish black/death thrashers Empheris is a wild more brutal affair the opening "Epidemic Glimpse of Horror" crushing everything in its way showing no sophistication whatsoever. "Dominant Force" is a bit more under control, but it's "Majestic Embarkment" which introduces the more technical elements which are immediately picked by the following "Pembalasan Penanggal Puaka" both compositions not losing a note from the speed encountered previously. This stylish display is followed by two awful rehearsal numbers which should have never seen the light of day; they're so bad indeed. Otherwise this shows the guys in good shape playing a bit more directly, but captivating nonetheless.

Dimensional Deranged Dilema Full-length, 1999
Webbed In Living Hell Full-length, 2003
Intrication Full-length, 2008
Petrified Through Aeons in the Light of Providence Split, 2012

BEAST WITHIN THE SOUND (CZECH)

The full-length debut: modern thrash/death played with high intensity the guys having fun shredding like demented at times. The style is very close to early The Haunted and Maze of Torment with the compulsory slower escapades which here threaten to turn into full-fledged ballads ("True and Love"). The guys apparently become enamored by them, and their presence is stronger in the second half, the headbanging closer "El Magnifico" apologizing for the relative lack of dynamics with more aggressive rhythms.
"Resistance" is the next in line hard-hitting beast, with speedy cuts filling up the horizon, with the good old death metal paid attention on the ripping "Roots of Damnation". "Enemy Lines" slows down to heavy steam-rolling proportions, but the band's desire to lash out like demented leads to other deathly proposals like "Rise of the Sheep" and the hyper-active closing title-track.

Eternal Conflict Full-Length, 2013
Propulsion of War EP, 2018
...and Vice Versa Full-length, 2018
Resistance Full-length, 2020

Official Site

BEATNIK SCAT (USA)

Based on "The Beatnik...", this band play energetic old school thrash/crossover which is largely built on the alternation between heavy stompers ("Search for More Whiskey") and unrelenting speedy breezers ("Lead Pipe", "5-0"), the full-blooded thrasher "Morgue of Brainless Bodies" wrapping things on with a moshing vigour, the cool clean semi-declamatory vocals leading the show with overt gleeful drama.

Goon Game Full-length, 2017
There Can Be Only One Full-length, 2019
The Beatnik, Chapter One: Trio of Torture: Trio of Torture Full-length, 2021

Official Site

BEATRAY (GERMANY)

Energetic, uplifting retro power/thrash with more engaging, progressive sprawls ("Black Master") served at times. The approach is too melodic for most of the time, and hard-hitting shredders like "Eyes Made from Sand" and the short ripping "Ice Scream" aren't given a very big chance to shine the band at some stage feeling content enough to imitate their peers from Iron Maiden ("Wolves' Delight") with the dual guitar harmonies and all. At last the guys pull out the epic side from their arsenal with panache as evident from the last two compositions which heroic aesthetics are greatly enhanced by the excellent clean, emotional vocals.

A Ship's Call Full-Length, 2016

BECOME WRATH (SPAIN)

Another standard modern thrash offering gracing our ears not leaving too many traces at the end except for noisy guitars, industrial gimmicks, shouty, sometimes to the point of hysteria, vocals and clumsy song-structures which awkwardly blend semi-fast with slow doomy rhythms the latter stifling the rest, but wisely missing at the end on the dynamic speedster "The Horns of the Moon", and partially from the encompassing progressive melodic closer "Time for a Change" which has finally seen the "time for a change", but a bit late...

Crush Them Full-Length, 2012

BECOMING (USA)

Based on "Sonic Revelations", this act offers dark modern post-thrash with brooding mid-tempo riffs which get interrupted on the cool dreamy acoustic ballad "Pure Disguise", and on the excellent lead-driven balladic instrumental "Time". The problem is that those interruptions are not frequent at all the rest sticking to the established formula a bit too closely, and may drown you with all the darkness and the monotony before the end. There's no sonic revelation of any kind here; just a slight somber twist on the pretty common 90's post-thrash patterns.
“In the Name of God” is an alternative/groovy fare which picks some aggression on the corrosive title-track, but for the large part this is melodic stuff, at times plain soothing and balladic (“Alienation”), at others sloppily rappy (“Wish”), but there are a few surprisingly proficient moments (check the dazzling leads on “How We Livin'”) as well. Watch out also for the dramatic stomps on “Redemption”, and the insistent pounding rhythms of “Powerlines”.

Regeneration Full-length, 2000
Existence EP, 2002
Sonic Revelations Full-length, 2009
In the Name of God Full-length, 2020

Official Site

BED OF RAZORS (USA)

Energetic brisk modern-ish thrash/crossover with a more pronounced hardcore edge ala early-Pro-Pain, the rough quarrelsome shouty vocals spearheading the proceedings which can be slower and pounding ("Ingest", "Splinter of the Mind's Eye") for at least half the time. When the guys mosh they take no prisoners like it happens on the shorter more concrete material ("Tips the Scale", "Surrendering Autonomy"), "Neglect and Violence" a cool more full-fledged thrashier experience.

Bed of Razors Full-length, 2021

Official Site

BED SORES (CZECH)

Ordinary groovy post-thrash spiced with more intense death metal-ish moments ("Toodoo", "Why", "For") which are definitely the better side of their style. At times the guys drop the ball and go head-over-heals into alternative metal territory ("The Way Of Talented Race") with the jumpy rhythms and the clean vocals.

Talented Race Full-length, 2005

Official Site

BEDLAM (USA)

Based on the "Permanent Psychosis" demo, these guys offer pretty cool American power/speed/thrash metal which is both heavy and mid-paced, and speedy and intense, both sides very well displayed on "Shadowland" which is a nice diverse thrasher with the very high-pitched dramatic vocals a slight pullback reminiscent of early Warrel Dane quite a bit. "Chaos at Bedlam" is a heavy semi-doom piece, and "Contradictions" is a more vigorous track moshing far and wide ala early Blessed Death and Whiplash.

Demo Demo, 1988
Permanent Psychosis Demo, 1991

BEEHLER (CANADA)

This is Dan Beehler (Exciter)'s new band under his own name. Helped by another former Exciter member: the bassist Allan Johnson, the band perfectly captures the spirit of 80's Exciter, but with a thrashier attitude. Beehler's vocals are impossible to be mistaken; perhaps here he gives way to his higher-pitched tones making him sound even like Rob Halford at times. Tribute is paid to the Beehler's past with a new version of the immortal "Violence And Force". There is much promise shown on both demos; hopefully a full-length release is just a matter of time.

Mr. Beehler is finally ready with his full-length, but without Johnson this time, and judging by the fierce opener "Jet Black" he is determined to give his former comrades from Exciter a lesson in the good old speed/thrash, something which they by all means need having in mind their not very impressive, more recent, efforts. And things don't get any calmer later on, the album offering vigorous speedsters galore ("Eternal Tormentor", "March of Death", "Destroy", the grinding (yes, indeed!) "Kill the Witch", etc.). Even the seemingly slower deviations ("Organized Mayhem", "In Know One We Trust") contain faster sections the short lead-driven instrumentals "Megalodon" and the closing "The End of the World" being the only really quiet moments. Beehler hasn't lost his hellish screams this time sounding even higher-pitched reaching Halford-esque heights at times, and his attached, albeit slightly hysterical, antics confidently top this dedicated tribute to the old school which is just a nostalgic tune or two away from reaching the greatness of Exciter's earlier output.

Demo Demo, 2002
Demo Demo, 2003
Messages to the Dead Full-length, 2011

Official Site

BEER BREATH (FRANCE)

The debut: boisterous rowdy modern thrash/death which jumps from an officiant, nearly doomy, layout to spastic blast-beating outrage in no time. Tamed steam-rollers like the short "Aa Sucks" are a rarity although the battle-like Bolt Thrower-esque layout of "Take Away" is another testimony for anti-aggression the more dynamic riffs on "Emberiza Hortulana" bringing back the thrash before the all-instrumental balladic idyll "Morning Hangover" wraps it on in a very surprising psychedelic downbeat manner. Some of the musicians are also active with the black/death metallers Gohrgone, and the thrash/death formation Scolopendra.
"Unholy Street Ceremony" acquires a more militant stance, with heavy seismic rhythms, the spirit of Bolt Thrower raised high once again on tank-like compositions like "8.666" and "Insane", the more belligerent fast-pacer "Freedom by Being Wasted" aggrandizing the environment to near-sizzling proportions, but back to bellicose volcanic serenity with the pounding "Great a Tuborg", the closing "Last Kiss of a Coward" another stomping quasi-doom kiss.

Story of a Decayed Life Full-length, 2018
Unholy Street Ceremony Full-Length, 2022

Official Site

BEER BREATH (COLOMBIA)

Based on the full-length, these lads serve optimistic straight-forward, also beer-drinking, retro thrash/crossover which begins in a heavy brooding manner with the shorter “Possessed by Beer”, before “Demons of Beer” starts lashing these impossibly catchy Motorhead-ish rhythms, the light-hearted fiesta ably backed-up by semi-shouty gruff vocals. “Speed Thrashing Wolf” logically notches up the speed, but there’s no party atmosphere lost on the free-flowing punker “Demon Whisky” and the not very compromising lasher “Fire and Hell”, “Destruccion” betting on full-fledged thrash to ravage the setting with less mercy.

Possessed by Beer Full-length, 2023
Power Thrashing Beer EP, 2023

Official Site

BEER MOSH (SPAIN)

Heavy, hardcore-influenced modern thrash metal; the debut is on the rougher, more aggressive side with short bursting cuts like "Snowmalia" and "Lucha", and curt, spat out hardcore-tinged pieces like "Parate a Pensar" aren't a rarity either. It's a cool headbanging fun all the way the hoarse angry shouty vocals adding more fuel to the belligerent drama.
"Injusta Prision" is a more officiant, more carefully-assembled affair the band thrashing in a more serious manner as evident from the opening title-track. The delivery isn't nearly half as aggressive although one would be glad to come across a couple of energizing numbers like "Manipulacion" and "Gaztetxea Herriarentzat". The more proficient execution leads to a few cool engaging roller-coasters like the speed/thrashing diverser "Esto Es Bilbo" and the nearly progressive mechanized shredder "Paranoia".

Pesadilla EP, 1992
A Todos Los Cerdos Les Llega Su San Martin Full-length, 1993
Injusta Prision Full-length, 1996

BEER SOCIETY (SLOVAKIA)

Modern thrash metal with more melodic classic heavy metal moments; this isn't hard stuff but could be enjoyable, especially if you're a member of the beer society.

Demo Demo, 2005

Official Site

BEERKRIEG (CROATIA)

The debut: please, welcome some simplistic "beer" thrash/crossover from Croatia ornate by carefree Motorhead-ish overtones. This is jolly feelgood stuff with somewhat dubious at times thrashy merits although "Nema Milosti (Vader's Fist)" will make quite a few heads bang. The vocalist is a gruff shouter who overdoes it here and there rending his throat to the extreme.
"Panzeta Division" is a much more aggressive offering the guys now moshing like crazy touching death metal with ease on the more brutal cuts. This is furious unbridled stuff along the lines of Aggressive Agricultor and Spazztic Blurr, wild thrash/crossover which only occasionally acquires a more friendly character ("Alarm, Alarm"). At the end the guys have provided a cool cover of Razor's 'Evil Invaders" done in a more frolic crossover fashion.

Pakao Nad Sinjom Full-Length, 2013
Panzeta Division Full-Length, 2014

Official Site

BEETHOVEN (RUSSIA)

This is an obscure 4-track effort serving very thinly produced retro thrash with hateful deathly vocals, distantly recalling early Mille. The very thin guitar sound is a major disruption the music sounding as though having been recorded on a computer with the very noisy drums another annoyance consisting of mostly fast rhythms with a few attempts at something melodic which could have gone somewhere if it wasn't for the really bad sound quality.

Stay Such Demo, 1993

BEFAMAL (BRAZIL)

Brutal unpolished mix of thrash and death metal; fast short tracks accompanied by brutal low-tuned death metal vocals; death metal dominates, with thrash being a little bit more than just a humble assistant. The end is preserved for the very aggressive speedy cover of Sodom's "Blasphemer".

The Christ Exile Demo, 2004

BEFORE GOD (USA)

This is a side project for almost all members of the Nazi crossover/thrashers Bound For Glory. It would be great if they decide to concentrate on this act more for the future; the music of Before God is much better, being a fusion of several metal styles- thrash, death (both technical and quite brutal at times), black and pagan/viking, with the last one bringing the sound close to Bathory's more epic period ("Blood,Fire,Death" and "Hammerheart"). Unfortunately, the guys must have lost interest in this project as it's been quite a while since we last heard from them.

Wolves Amongst The Sheep Full-length, 1999
Under The Blood Banner Full-length, 2000

Official Site

BEFORE THE FALL (AUSTRIA)

Fans of Terror 2000 and The Forsaken will rejoice: modern thrash metal, but watch out for those undesirable metalcore passages.

From Mutism to Riddance Full-length, 2006

Official Site

BEG FOR LIFE (AUSTRALIA)

A heavy mix of groovy post-thrash, hardcore and low-tuned roller-coaster death metal akin to early Six Feet Under. Not bad, easily reaching the intensity of Soulstorm and Puncture also aiming at the sludge/core arena at times when the sound smells Eye Hate God quite a bit.

Doomed Full-Length, 2009

BEGINNING OF THE END (UK)

Thrashcore with hysterical black-ish vocals; there's plenty of energy and speed to be enjoyed here although the guitars lack an edge sticking to the same sound pattern with sincere spontaneous takes on punk at times. The slow deviation from the norm "Death" is a cool minimalistic modern post-thrasher ruined by the bad rending unintelligible vocals which could be corrected in the future.

If Youre Going Through Hell-Keep Going Full-length, 2009

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BEGRAVEMENT (USA)

Based on the full-length, this band play classic thrash/death which can be on the sophisticated semi-technical side (the pulverizing opener "A Horrific Illusion"), but the overt headbanging qualities are surely the more preferable side for half the time, the guys still stirring the requisite atmosphere with either minimalistic creepers ("Desecration of the Meek") or sprawling balladic elegies ("Intergalactic Espionage"), the culmination in this last trend reached on the final saga "Return to Planet Earth", an eventful 10-min journey around the nooks and corners of the death/thrash spectre with quite a bit of aggressive shredding, amongst heavier more dramatic elaborations, the shouty death metal vocalist the most standard ingredient on those moments. Some of the musicians used to play in the death metallers Space Murder (later DeLuziver).

Conjuring the Necromancer EP, 2021
Horrific Illusions Beckon Full-length, 2023

Official Site

BEHAVIOUR (BRAZIL)

This act pull out heavy retro thrash accompanied by brutal guttural death metal vocals. The insistent mid-pace epitomized might remind of Bolt Thrower, but when the guys start moshing ("F.Y.V.M.", "Human Targets"), they can easily rank with the most vicious practitioners out there, never letting the permeating doom vibe become a leitmotif. Shades of death ("Let Them Fall") are inevitable, but the brisk thrashisms unleashed on "Trust No One" and elsewhere overwrite such tools in no time. Some of the band members were also busy with the short-lived death metallers Carcinoma.

Rex Imbecilic Full-length, 2023

Official Site

BEHEAD (MEXICO)

Based on the full-length, this act indulge in fairly cool intricate old school thrash/death which rushes through the speakers ("Reborn", "Impossible Equilibrium") with quite a bit of passion, the more contrived shredding on "Worrying Seconds" a sure reminder of Death's legacy, the complex layout of "Inestabilidad" suggesting at more progressive vistas to be explored later, which happens on both the twisted technicaller "Indiferencia" and the hectic multifarious closer "Human Despair". The vocalist is a shouty gruff deathster, creating his own version of polished aggression on the side. Some of the band members are also involved in the heavy metallers Lunacy and the retro thrash outfit Parkcrest.

Awakening of a Murderous Soul EP, 2015
Choose Your Death Full-length, 2022

Official Site

BEHEAD DEMONS (MEXICO)

Two Mexicans are behind this project which shows no mercy with brutal deathly blasts scattered among the less extreme thrash/crossover rest. "Scrolls of the Megilloth" is a not very impressive cover of Mortification's anthem with a thin guitar sound and noisy drums both flaws more or less obvious on the other material. The singer's a brutal guttural "monster" whose performance is at least on a more professional level which can't be said about the much inferior musical approach.

Demo Demo, 2008

BEHEADING SAMSARA (SPAIN)

Modern thrash/death which stomps forward with thick groovy rhythms, with both doom dirges ("Shepherd of Stones") and lyrical semi-balladic elegies ("Burning House") peppering the landscape with stubborn regularity, not leaving much room for any faster-paced developments to shine. The vocal duel is passable, harsh deathly versus emotional clean tirades crossing vocal cords on a noisy industrialized foundation. Some of the band members are also active with the melo-deathsters Apeiron.

Eternal Autumn Full-length, 2022

Official Site

BEHEMOTH (USA)

This is a surprisingly aggro-sounding effort for this early stage of the not fully-shaped yet numetal wave; this is choppy semi-hectic post-thrashy stuff partly ruined by the very angry guttural death metal vocals. "Lycanthrope" is a more vivid representation with semi-technical tendencies, and "Seven Sermons of the Dead" is a steam-rolling marcher which is that close to matching Pantera's belligerence.

Demo Demo, 1991

BEHIND ENEMY LINES (USA)

Two members of the doomsters Penance apparently got tired with the doom metal scene, and have decided to play more cheerful music for a change. The result is this band whose style is an enjoyable mixture of thrash, hardcore and punk.

Know Your Enemy Full-length, 2001
The Global Cannibal Full-length, 2003
One Nation Under The Iron Fist of God Full-length, 2007

Official Site

BEHIND THE HORROR (BRAZIL)

Based on the full-length, this duo play modern semi-progressive thrash which is marred by the very shouty death metal vocals. The title-track bets on energy, but "Storm Rage" is a curious melodic jumper that remains the highlight as later on the guys indulge in not very exciting mid-paced hooks from which only the final "Into the Void" emerges victorious with a more entangled structure and more interesting vortex-like riff-patterns.

...and the Horror Begins EP, 2013
Burn Up This Truth Full-length, 2020

Official Site

BEHOLD! THE MONOLITH (USA)

Based on "Architects of the Void", this act plays an ambitious blend of doom, thrash, post-thrash, and death metal which comes served with a healthy pinch of industrial on the longer compositions ("The Mithriditist", the avant-garde Treponem Pal-sque "Lord Of Bones") where the guys have more time to put more elements into "the melting pot". "Between Oder And The Vistula" is a wonderful surreal progressive thrasher with an abrasive/sludgy flair and breath-taking melodic leads. The closing title-track overdoes it a bit, though, being an ethereal spacey mid-90's Voivod-ism which creates mildly intriguing futuristic landscapes for over 14-min. The vocalist is an agonizing suffering shouter whose rendings dangerously border on the hysterical.
The band's first two albums are spacey progressive operas blending the Neurosis desert-like dirges with the ethereal oblivionisms of Mastodon on a strictly doom/sludge base; by all means good engaging listens, but having nothing to do with thrash metal.

Behold! The Monolith EP, 2008
Behold! The Monolith Full-length, 2009
Defender, Redeemist Full-length, 2012
Architects of the Void Full-length, 2015

Official Site

BEHOLDER (UK)

The full-length offers heavy modern power/thrash, mid-tempo for most of the time recalling both more recent Iced Earth (on the few more classic moments) and Annihilator. Doom sneaks through at some point ("The Awakening"), and the semi-ballad genre is covered well ("The Brave Shall Fall"), but there is little to bang the fan's head here except for isolated sections from separate songs. Actually these are the same guys who were known much earlier under the name The Handsome Beasts and took an active part in the foundation of the NWOBHM movement, and are still active now.
"The Order of Chaos" is a heavier, and arguably a better effort the guys emitting ultra-heavy riffs which are nicely intercepted by clever semi-technical implements ("Here I Stand"). One may eventually learn to like this mid-paced steam-roller which moves forward in a steady, never vacillating, pace which may become a bit tiring to listen to towards the end although the dramatic riff-accumulation on "Killing Machine", or the speedy crescendos on "Toxic Nation" are more than just a detour from the chosen path, but also elevate this album on a higher musical level. "Out of Ashes" is a quiet acoustic instrumental which serves as a break before the guys hit the progressive top with the last duo of numbers neither of them, unfortunately, very interesting the dynamics having been dropped considerably for the sake of not very comprehensive mazey structures from which only the good melodic leads make more sense. Still, this isn't bad at all and will by all means have its share of followers in the months to come.
"Reflections" goes heads-over-heels into a djent/math territory and consequently the thrashy merits of this new album are pretty questionable. The music is built around labyrinthine, slippery rhythms which constantly overlap with spacey atmosphere at least appropriately created on sinister pieces like "Host" and "Dance Macabre" the latter leading the pack of mild, semi-balladic compositions where more than half of the material belongs. "My Revolution" shreds more aggressively near the end, but its dark urgency is completely negated by the pensive balladic closer "Speak to Me".

Unleash the Hell EP, 2008
The Awakening Full-length, 2009
The Order of Chaos Full-Length, 2013
Reflections Full-Length, 2016

Official Site

BEHOURD FINAL (FRANCE)

A noisy modern thrash affair with a crusty/hardcore vibe; the band prefer the seismic mid-tempo and seldom deviate from the formula producing mostly doomy mid-pacers with only "La Peste Noire" shaking the head a bit with its more intense galloping riffage, with "Mercenaires" adding another portion of faster-paced rhythms. The vocalist is an angry semi-shouter with an expressive forceful timbre.

Au Coeur du Combat Full-Length, 2015

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BEISSERT (GERMANY)

Heavy groovy post-thrash with cool doom implements ("Panzerpabst") which nicely comes stripped off the groove. The rest will hardly make anyone fall in love with these guys who completely lose it near the end moving onto 70's blues to a very negative effect culminating on the monstrous 20-min mish-mash "[The 70's] Never Existed" where the sax delivers much better than the guitars.
"The Pusher" hardly "pushes" the guys into new musical territories, and sounds much softer than the debut with more adherence to stoner/doom and cleaner vocals. The guitars lack an edge preferring to stick to playful jolly rhythms even displaying a certain dance potential.
"Darkness:Devil:Death" begins in a fairly dynamic fashion with the chaotic thrash/deathster "Thy Chthonic Cathedral" and later on the guys thrash with less remorse the heavy pounding riffage of "Age ov Darkness" and "Zorn Der Geister" settling nicely into the listener's soul. The sound inevitably finds its mellower side in the second half, but truly genuine doom metal cuts are nowhere to be found (the carefree stoner flavour of the closing "Die Diamantenen Tore Der Hoelle (Polaris)" solely comes to mind) the approach brought back to the familiar post-thrash patterns. Generally this is a more vivid, a more diverse picture which shows the band in a brighter light.

Nothin' Left to Luv! Full-length, 2007
The Pusher Full-length, 2010
Darkness:Devil:Death Full-Length, 2013

Official Site

BELADONNA (RUSSIA)

One of the lesser examples of thrash metal from the Russian metal scene; the music is probably not a total waste, but it's very simplistic and without any edge and sounds like a thesis of an average guitar student from a musical college. There are timid attempts at lead guitar performance, but they remain on the semi-professional level. The guys try to speed up here and there, but it's just hard to headbang on this, simply because there are no riffs to be heard. The singer is plain horrible with his screechy high-pitched voice sounding as though his balls were trapped in a vise the whole time.

Xa-Os Full-Length, 1991

BELFEGOR (HUNGARY)

Melodic power/speed/thrash metal is offered here with a big sense of melody which clearly predominates over the sharp riffage; actually there is not much thrash to be heard, but the faster numbers will definitely keep the speed lovers happy, and this effort could be considered one of the first entries into the 90's power/speed metal scene. At the present time members from this band play in the progressive metallers Age of Nemesis.

Vihar Uton Full-length, 1992

BELFEGOR (POLAND)

Three songs (one is actually just an acoustic outro) of atmospheric gloomy black/thrash, slow and ponderous, predating the "exploits" of Barathrum and Khold with a few years, the difference coming mostly in the vocal department; the singer here is cleaner and better.

Mrok Demo, 1992

BELICA (CHILE)

3 songs of speedy retro thrash with screechy hysterical vocals following the path carved by Whiplash and Pile Driver. This is actually good stuff with competent musicianship all over the guys acquitting themselves both in the aggressive and the melodic department. "Nuclear" betrays the fast-paced character of the demo with a few stomping moments, but the very clear sound quality makes up for any "lapses" in the "plot".

Nuclear Demo Demo, 2009

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BELIAL (CZECH)

This obscure Check outfit play well-constructed classic thrash/death with various tempos at times atmospheric and brooding ("Mor"), at others fast and edgy ("Cakani na Smrt"). There's a suitable dark aesthetics surrounding the tracks recalling Nocturnus and the Darkthrone debut "Soulside Journey", among other gems. The singer croaks like a raven, but his subdued recitals are not too inappropriate having in mind the morose tone of the recording. It's sad that the band couldn't move beyond their underground status in order to realise their visions in a better recording environment.

Astragoth Demo, 1992

BELIAL (USA)

The Promo contains three cuts which are interesting variations on the more technical classic thrash idea the instrumental "Which One Should Die" passing through several time and tempo changes in a way not too different from Gammacide and Torture, a really noteworthy shredder with a few more brutal death metal histrionics. "Devoured Faith" is a choppy technicaller also introducing the throaty death metal vocals which assist the intense roller-coaster ride and the sparse more melodic embellishments before "True Believer" comes crashing with stomping steam-roller guitars and hectic intricate riff-patterns ala Invocator, the resultant symbiosis the highlight on this short, but utterly essential gem.
"Strategy Is Everything" has acquired some modern influences, but the delivery remains quite intriguing with remnants from the past ("Rules and Regulations", the stylish lasher "Takeover") delighting the listener with their technical licks. The vocals have become angrier with a more expressed shouty timbre, but serve fine the bashing shredders "Unseen" and "Wall of Humanity" the latter adding cool dynamic gallops to its monolithic quasi-groovy facade.

Scarred for Life EP, 1991
Promo Demo, 1992
Strategy Is Everything Demo, 1994

BELIEVER (USA)

A highly respected Christian progressive/thrash metal band; "Extraction from Mortality" is the band's most immediate work, being quite worthy aggressive thrash which begins in a very intense fast manner bordering on death metal. This is far from mindless bashing, and "D.O.S." comes with a nice technical edge although this is just a sparkle as later on the brutal thrashing carries on, moving onto pure death metal teritory with "Blemished Sacrifices" which is hardly the band's most attractive side. Fortunately the technical riffage returns for "Not Even One" and the cool closer "Stress" which sees the guys experimenting with offbeat funky tunes.
"Sanity Obscure" is the band's magnum opus, and their real entry into the technical/progressive thrash metal field. The title opener serves the debut's aggression in a more refined and controlled manner, showing that this time the technicality will rule over the rest. The tempo is also fast and intense, but this album has its other, slower and more complex side which also produces very good results: "Nonpoint", "Stop the Madness". The album, however, loses momentum twice: on "Dies Irae", an orchestral, operatic track which comes unheralded, and sounds quite misplaced; and on "Like A Song" which is a U2 cover.

"Dimensions" offers longer and heavier songs which are intercepted by really good atmospheric, quiet passages, where one can hear guitars (leads and acoustic), bells, pianos, etc. that are simply too much on some tracks: "Dimentia". The speed has been decreased to a big extent, but slower, very technical and complex numbers like the awesome "What Is But Cannot Be" largely compensate for that. Still, headbangers of the more technical type are around ("Singularity") to stir the mood. The ending is secured for the 3-part metal opera "Movement" which is really ambitious and quite well done. The orchestral arrangements, the violins, royals and all other gimmicks are all here as well as the female vocals, all this put on a heavy metal base which might not serve a thrash metal album right, but at least proved very influential on many future acts (Therion, Nightwish, Bal-Sagoth, etc.).

The tsunami of comeback thrash veterans has swept these guys, too, and here they rise from the ashes with their new opus "Gabriel". One usually approaches the comeback albums with caution fearing that his idols might mess it up, being away for such a long time, but in the case of Believer one should safely bet on them. "Gabriel" is a good work on all counts, technical/progressive thrash, sitting somewhere between their last two efforts. "Medwton" opens the album in an energetic technical fashion, a tendency continued on the following a bit slower and more complex "A Moment in Prime". Some cool more abstract elements on "Stoned" before "Redshift" starts delving deeper into progressive eclectic territories: a strange avantgarde/doom number. "History Of Decline" is exemplary technical thrash, strengthened by cool orchestral implements, a masterpiece of complex thought-out performance. "The Need For Conflict" wastes no time bringing back the speed, still staying on a quite technical ground. Before your head starts spinning, the guys throw in the casual straight headbanger "Focused Lethality" as well as the dreamy almost balladic composition "Shut Out The Sun". "The Brave" has nothing to do with thrash, but is quite a noisy track, mostly due to the vocals, which here seriously try to tear some vocal chords on this one, and reminds of their attempt to cover U2 from "Sanity Obscure". Progressive instrumental thrash is probably the best way for the guys to apologize for the couple of not very impressive songs and also put an end to the album, and here comes "Nonsense Mediated Decay", which truly fits the above description although quite many things come along with it so expect progressive thrash out of the ordinary with numerous alternative breaks, surreal sections, non-metal references, and of course intense moshing at more and less expected places: quite a cool way to say good-bye although later on there is a bonus track which beats in eclectism everything heard here up to that point, but fortunately the guys know where to stop before stepping over the border beyond the good taste. The band have made sure to satisfy all their fans, and for that reason this work sounds both similar and different from their old output since it puts together both the more direct and the much less ordinary approaches, still resulting in one of the better comeback albums of recent years.

"Transhuman" would be quite a cold shower over the band fans; this is progressive power/post-thrash which sticks to mild semi-balladic patterns for at least half the time ignoring everything that was labeled "thrash" on their older output. There's no need to go into any further analysis of an album which simply doesn't belong here; this is a very unpleasant surprise coming right after the comeback effort, showing the band taking an entirely new direction, looking to expand their fanbase (but will there be any left from the old one?)...

Extraction from Mortality Full-length, 1989
Sanity Obscure Full-length, 1990
Dimensions Full-length, 1993
Gabriel Full-Length, 2009
Transhuman Full-length, 2011

Official Site

BELKANT (COLOMBIA)

Based on the full-length, this band play an aggressive extreme mix of thrash, death and black. The brutal downpour is pretty much relentless, the Slayer-esque "A la Diestra de Satan" helping the thrash cause the most, the rest either blasting with swathes of catchy melodies ("Reino de la Muerte") or rushing with the speed of light ("Poseido") for a place under the black sun, the guttural death metal singer becoming more hysterically raven-like on the more immediate material ("Mesias Satanico"). Some of the band members are also busy with the black metallers Tumba.

Profecía del Averno EP, 2019
Señor de las Moscas Full-length, 2023

Official Site

BELLADONNA (USA)

After having made a name for himself in Anthrax, Joey Belladonna decided to try his hands on something outside the shadow of his former band. Apparently both his new band and Anthrax themselves were not willing to pursue the hard thrash course of previous releases, and each took a long (and still going) break from thrash metal. Belladonna has chosen to preserve some thrash elements of the old school, but mixed with the more modern parts as well as a few hard'n heavy tracks (and ballads), they lose much of their initial power. Belladonna is in fine form carrying on in the vein of the vocals he used on "Persistence Of Time". Although far from all-out thrash metal efforts, his band's releases are much more satisfying than the alternative/modern works of 90's Anthrax.

Belladonna Full-length, 1995
Spells Of Fear Full-length, 1999
03 Full-length, 2003
Artifacts 1 Full-length, 2005
Artifacts 2 Full-length, 2006

Official Site

BELLIGERENCY (USA)

This young outfit indulge in modern thrash/death along the lines of the Swedish school which is played at high speed and little variation from one song to another. The variation is in the vocal department where harsh high-pitched vocals duel with low-tuned grunts the whole time. The tracks in the second half acquire a more melodic vibe and the tempo slows down a bit the final "Belligerency" being a potent creepy stomper.

Martyr to Some, Betrayer to All Full-Length, 2013

Official Site

BELLZLLEB (JAPAN)

Based on the self-titled debut: this band comes up with a fairly original mixture of thrash and doom metal; the thrashing follows on the step of early Celtic Frost and the Canadians Slaughter on the faster sections which are not too many. This is slow-ish music, with quite a few quiet acoustic moments, and heavy doomy ones. The vocals are quite varied the basic ones being low-pitched semi-melodic, but quite effective are the harsh blask-ish rasps which are also given quite a space. The thrash metal fan might not be enormously entertained, but this is unconventional stuff which is worth hearing at least out of curiosity. Like with many Japanese acts around the same time, expect something out of the ordinary. Later some of the guys took part in the thrash metal outfit Spooky Six Mouse.
"Mr. Ree" is another eclectic affair the guys dooming with force in the beginning before the more dynamic patterns ("Pack Of Lies") step in to bang the head; expect a lot of weirdness in the middle where doodling discordant guitars try to find their way through the dominant main motif. "Close Day: Fantasy In Blue" is just an avantgarde ballad with acoustic passages interplaying with good melodic leads to a slightly hallucinogenic effect. "Love Song" is a "love song" of the funeral doom type, and "Characteristic Sexual Desire Demon" is a very "characteristic" surreal thrasher sustained in a hypnotic mid-pace with sudden faster technical decisions. "Be Missing Violence" is an overlong (9.5-min) morose doomster giving way to the short balladic nonsense "Puppet Nonsense"; before the closing "Back In The Black Smile" brings back the illogical thrashisms with a healthy slab of furious riffage the latter bordering on grindcore even. This is another very unusual take on the genre which will take some time to be fully grasped, but kudos should be paid to the guys for trying to sound innovative without necessarily copying other weirdos, like their compatriots Doom, for example.
The EP contains the 10-min doom metal saga Burn For The Sin sung by a female who actually performs on all the three songs; the eclectic power/thrasher "Vampire" which is mostly an early Venom worship; and the power/doom metal "Raper" which is a dragger with its monotonous riffs and dirgy aesthetics.
"Section II" begins with the title-track which is a creepy esoteric ballad with not much music present. The musical exploits of the band actually start with the next "Human's Bait" which is a dreamy doom-infused cut with quaking heavy riffs. "In The Back" is a weird quasi-doomster with elusive leads and ambient atmosphere, and "Dogs Blood Rising" is a heavy pensive track which is very hard to categorize. The surreal thrashisms arrive on the final "Eucharist", but they only add up to the solid aftertaste this effort leaves since the guys spare themselves music-wise relying on side effects and artificially accumulated mood to impress the listener who won't be very entertained in the long run.

Satanic Metal EP, 1986
Bellzlleb Full-length, 1989
Section II Full-length, 1990
Mr. Ree Full-Length, 1992

BELSEBUB (SWEDEN)

Based on the single: this band pulls out mid-tempo thrash/death metal, along the lines of the Canadians Slaughter, or Slayer's "Hell Awaits". There is one brutal, grindcore section on "Masses to Reveal" to scare the listener away. "Chemical Warfare" is not a Slayer cover although it might remind you of the Slayer's song with its energetic headbanging delivery.

Lord of Lucast Demo, 1990
Disemboweled Demo, 1991
Elohim Single, 1992

BELTED JAW (AUSTRALIA)

Intense modern post-thrashism with overt shades of hardcore with rare ventures into full-blooded retro thrash (Butt Dust"); "Botled" is another pleasant deviation with its vigorous moshing riffs, but "Suffocating Dream" would be a big mood spoiler being an overlong 9-min tender ballad which at least misses the bad unrehearsed death metal vocals.

Stabbed Full-length, 2018

Official Site

BELTFED WEAPON (USA)

Based on the "Peacekeeper" EP, this band plays decent modern thrash mixing fast and slow rhythms on every song, concentrating more on the heavy pounding side, with sparse blasting sections which sound kind of misplaced. The same can't be said, however, about the several retro riffs ("Brutalizer") which give a nice boost to the music.
"Antidote" carries on with the modern thrash saga started with the EP's, and as such brings no surprises to the table. The guys play fast with frequent melodic decorations, not hiding their fascination with their motherland scenery which here is reproduced without too many alterations. By the time the insane headbanger "In the Shadow of the Beast" arrives, most fans would have dismissed this effort as the next in line, and they would have missed the capable blend of hard-hitting riffs and beautiful atmospheric interludes which is "Killed in the Womb", the highlight on this derivative if seemingly inspired release.
The “Darkened Demise” EP is a more potent, much more intricate affair the devious melodic extrapolations of “Accept Your Insanity” carved by dazzling lead sections, the guys throwing the short more immediate “Darkened Demise” to keep the less demanding in check. “Eternal Fire” is another display of virtuous musicianship, the band mixing classical arrangement not far from Helstar’s own “Nosferatu” with heavier graver sections, the sizzling headbanging proclivities of “Killing Machine” putting an end to the strives at infernal complexity, the closing “Head First into Hell” stomping its way with patiently-woven but still not very orthodox rhythms.

Beltfed Weapon EP, 2001
Peacekeeper EP, 2009
Antidote Full-Length, 2014
Darkened Demise EP, 2023

Official Site

BELTZEZ (FRANCE)

Based on "Bazterretan zer Dago?", this band play jolly unpretentious, uplifting thrash/crossover which can sometimes be pure speed metal joy ("Geroa Eraiki"), and generally there's not much sheer thrash to be encountered, with the good old hardcore ("Delirium Tremens") standing on the side, the pleasant semi-clean/semi-shouty vocals accommodating all the stylistic swings with admirable equanimity.

Beltzez Full-length, 1994
Bazterretan zer Dago? Full-length, 1997

Youtube

BELUSHI SPEED BALL (USA)

Based on "What, Us Worry", this band play fast energetic old school thrash/crossover which invariably borders on less-bridled hardcore ("Magic Conch"), the intense shouty vocals racing with the ripping riffs, the longer more serious "Butter and Pretty Dresses" waving a couple of more ambitious configurations, "Dog Birthday Is Dead" alleviating the pressure by offering pure uplifting punk.

Prepare for Trouble Full-length, 2019
What, Us Worry Full-length, 2022

Official Site

BENEATH (SWEDEN)

With a band who have a relatively lengthy history of demo-releases, one could ask what the possible reason might be that these guys never managed to impress any label. Based on the "Time Hysteria" demo, the answer comes easy: this is nothing more than the practiced by hundreds of bands modern Swedish thrash/death metal with no attempts for any deviation from that formula.

Earn Demo, 1995
The Weight We Carry Demo, 1998
Everything Ends Demo, 1999
Demon Seed Demo, 2000
Time Hysteria Demo, 2002

Official Site

BENEATH DEAD WAVES (UK)

Energetic modern thrash/post-thrash with more complex, almost progressive, arrangements; the music is not very eventful, though, and sharp rifforamas like the jumpy "Deliriant" aren't that many. What one'll find here is calm post-thrashy rhythms with meandering decisions and serene quiet interludes not far from Opeth. The singer shouts in a hysterical, almost screechy, fashion at times giving way to a cleaner baritone which mostly appears on the aforementioned calmer moments.

Inertia Full-Length, 2014

BENEATH THE REMAINS (CANADA)

Modern technical thrash, with not many musical references to Sepultura (except, of course, the band name), full of interesting, intriguing riffs, and at some point the listener may get lost, partially "found" by the more straight, but quite cool leads ("A Fitting Home"). The music seldom speeds up, and when that happens, the next complex section is very close, to disorient you again ("Misery Suffered, Misery To Come"). "Electric Funeral" is... yes, guys, you guessed right again, a Black Sabbath cover, quite faithfully done, which is a downpoint since the guys could have benefited from inserting some of their staple vortex-like riffs in it.

Screaming Demons EP, 2008

My Space

BENEFACTOR DECEASE (GREECE)

The overlong intro (the EP) is well justified the guys later offering long compositions built around crisp speedy Germanic thrash ala mid-period Kreator and Deathrow a slight detraction being the harsh semi-screamy vocals courtesy of a girl named Hara who can easily match Angela Cossof (Holy Moses) with her vicious spiteful antics. The rhythm guitar is very strong leaving little room for the leads to be heard. There's no technicality involved despite the songs' length; the band bash with no remorse with a more brutal deathy edge ("Ferocious of the Dismorphed", the short blasting sections on the closing "Subliminal Crime of Forgiveness") at times. "Thrash Lessons" will give you "lessons" in "thrash" big time with the biting riffs and the blitzkrieg tempos, and overall this act is a fitting addition to the growing legion of Greek thrash metal practitioners.
"Anatomy of an Angel" promises virtuosity from the cool lead-driven intro, and later on the guys don't disappoint with lengthy eventful compositions recalling Paradox this time quite a bit: just check out the perennial complex headbanger "Chronicles of a Paraphiliak", or the "electrifying" opener "Electrical Death". The title-track is the most brutal offering with a clear death metal edge, and the following 2-min of total deathing madness with a beautiful surreal edge ("The Finest Form For Body Modification") is another aggressive moment worth mentioning. "Feeling The Razor's Touch" is another more technical brutalizer with shades of progressive, and "Abandonement To The Hanger" is the magnum opus here, 9-min of vitriolic speed/thrash with raging riffs and nice atmospheric abstract passages. "Lyssa" is a brutal piece of thrash/death which supersedes the much tamer closer "A Blade In The Dark" which thrashes with more brains producing the final portion of clever semi-technical riffs. As a whole this full-length justifies the high quality of the EP and would definitely move Greek thrash further up the scene rankings.

Massive Spreads of Death EP, 2008
Anatomy of an Angel Full-Length, 2015

Official Site

BENT SIRKIS (USA)

Based on the "Kill Your Immediate Family" demo, these obscure guys, who may be considered the first ones to use the satanic scary black and white make-up which later every second black metal act used to use in the 90's, pull out speedy raw thrash in the vein of Hallows Eve and early Whiplash, and things could have been better if they hadn't tried to make themselves more "attractive" to a wider crowd by including bland insipid hard'n heavy numbers ("Shut Up") although this "betrayal" can be forgotten when listening to blistering sincere thrashers like "Serious As Death" and "Fire Up" which come with abrasive guitars and gruff declamatory semi-death metal vocals.
The "S.E.E.D." demo is a typical product of the 90's, a slightly more dynamic take on the post-thrash idea reaching almost intolerable death metal heights on the final "Spit In Your Face", the latter also featuring a nice lead section. Not terribly bad, but having little to do with the band's more sincere classic approach from the past.

Kill Your Immediate Family Demo, 1986
Thriving on Chaos Demo, 1989
Rise Up Demo, 1991
Freak of Nature Demo, 1993
Impure Demo, 1994
S.E.E.D. Demo, 1994

My Space

BEOWULF (USA)

The band has been sticking to their thrash'n roll style ala Motorhead and Tank throughout their career; not extreme or brutal at all, but enjoyable and catchy enough.

Beownlf Full-length, 1986
Lost My Head... But I'm Back On The Right Track Full-length, 1988
Un-Sentimental Full-length, 1993
2 Cents Full-length, 1995
Westminster and 5th Full-length, 2007

Official Site

BEQUEST (SWITZERLAND)

Based on "Corruption", these guys pull out the typical for the time groovy post-thrash. It's not too bad, actually, because apart from the chunky groovy parts, one could catch more up-tempo riffage ("New World", "Invasion of Death"). The rest is mid-paced and uneventful if we exclude the cool balladic instrumental "Snlze".

Corruption Full-length, 1996
No Fear Full-length, 2000

Official Site

BEREAVED (JAPAN)

The debut: this band features two members from the thrash metal masters Ritual Carnage. The style is more aggressive being old school thrash/death metal with nice guitar work and a certain Gothenburg-influence. With Damian Montgomery (the founder and frontman of Ritual Carnage) going back to the States, this band might turn into the other guys' full-time project.
“Unleashed Abyss” is more death metal-prone, the hyper-active veneer of pieces like “Discrepancy” and “Mutilate without Killing” levelling the neighbourhood in no time, leaving the lyricism for the moderate mid-pacer “To an Unseen World”, the brutal lustre of “Wings on My Back” leaving very little room for thrash to develop.

The Spirit Driven By Hate Full-length, 2006
The Cries of the Penitent Full-length, 2010
Unleashed Abyss Full-length, 2024

Official Site

BERNARD (RUSSIA)

Interesting varied thrash/crossover which ranges from immediate rippers (the opening "Forced By Alcohol") to surreal exercises in progressive thrash ("On Path From The Gig"). Later on the amalgam only gets bigger the band incorporating death metal, and even doom/black on the creepy "Raping Corpses". The vocals are raspy with a blacky edge, and are barely audible for most of the time.

Alcohol Disaster Full-Length, 2015

Official Site

BERSERK (SALVADOR)

These guys are a cool "thrashing machine" offering entertaining old school speed/thrash which will grab you from the beginning (minus the intro) with the speed/thrash metal hymn "Berserk" before switching onto jollier speed metal ala early Exciter on "Living a Lie". Then "Thrash Attack!!!" will try to justify its title and will succeed serving blitzkrieg Destruction-like stuff which will stay around for the two remaining songs.

Thrashing Machine EP, 2008

My Space

BERSERK MODE (COSTA RICA)

A one-man band, the name Carlos Navarro, who specializes in ripping retro thrash which is played on full-throttle ("Berserk Mode", "Prison Cage (The New Challenger)") for at least half the time, the deviations arriving in the form of more complex violators ("Stage One: Enter The Tournament"), Navarro supporting his musical endeavours with a hoarse semi-deathly baritone. "Continue" is a nice diverse instrumental piece, and "A New Rival Appears" is a brisk semi-technical, again all-instrumental, shredder.

Press Start EP, 2023
Inside a Loop Full-length, 2024

Official Site

BERSERKER (GERMANY)

This obscure demo from the German underground will pleasantly surprise you with its tight diverse delivery. "Rebellion" is a longer more complex composition which will remind you of Rigor Mortis, but later on the guys start moshing in a straight fashion producing entertaining speedy thrash which loses steam for the hard'n heavy roller-coaster "The Oath". The instrumental "Arriving of the Hellish Army Troops" is more on the power/speed metal side, but features numerous melodic hooks and a very good bass bottom, plus the obligatory aggressive thrash section at the end.

Brachial Metal Demo, 1987

BERSERKER (PAKISTAN)

The demo: this is heavy one-dimensional music with brutal grindy outburst sitting somewhere between black and thrash the ultimately brutal low-tuned vocals belonging to the death metal camp. This is semi-amateurish stuff which is morose and brooding the guitars doing their own thing at times with little regard to the other musicians in the band consequently creating messy chaotic landscapes among which stick out the much better leads which this mish-mash simply doesn't deserve. Hopefully the guys have done a better job with their other project: the black/death metal outfit Sanctity of Faith and Oblivion.

Altars of Putrification Demo, 2009
And So Falls the Throne Single, 2009

My Space

BERSERKERS (ROMANIA)

These Romanians serve intense classic thrash/proto-death with deep guttural death metal vocals. The tempos vary the whole time and a few cool melodies have been inserted mostly on the shorter material which occupies the middle. The longer songs are surprisingly more bashing and wilder ("Get On Your Knees") leading the the cool melodic deathster "Fucked Up" and the explosive "Sudden Death". The closing title-track is the highlight, an excellent more technical shredder hinting at a bigger potential to be realised later.

World War 3 Full-Length, 2015

Official Site

BERSERKR (USA)

Based on the debut, this not very known US trio pulls out predictable clumsy post-thrash which lacks life and dynamics degenerating to some bland blues/funk on "Bitter Harvest", among other unnameable "atrocities". The only more aggressive thing on this pretty mild affair is the gruff semi-clean vocals at times intercepted by more brutal deathly ones which could have been more fitting if there was at least a little bit of edge here (the closing "Across the Desert Sands" may be considered a more intense cut, but that's about all).

The Voice of Our Ancestors Full-length, 1994
Crush the Weak Full-length, 1996

My Space

BERZEKER (COLUMBIA)

The full-length shows a band with a sound deeply rooted in classic thrash: fast intense stuff of the more straight variety. The guys mix the more listenable proficient side of the 80-s Brazilian thrash scene (Chakal, Taurus, MX) with the speedy German school (Paradox, Toxic Shock, early Destruction: the excellent smasher "Written End"). The music of the Colombians is infused with more melody with catchy hooks gracing almost every song, but there's never slowing down even to mid-pace ("Dead Skunk In The Trunk" and "Bleeding To Death" contain one longer mid-tempo section): all the songs are blistering speed/thrashing bullets. "Constant Pain" and "Dead And Gone" introduce more technical riffage near the end, along with epic-like tunes which nicely mix with the intense speed/thrashing moments. This is an entertaining entry from Colombia done by boys in their late teens: a promising young talented band who will hopefully continue getting the needed support.
"Penitentiary" is a commendable follow-up nailing you down from the very opener "Terrorist" which is a smashing headbanger with sparce semi-technical tendencies and the odd heavy break. "Traitor to the State" is a mix of slow modern and fast classic sections. but "Pull It" will "pull it" through with edgy thrash/crossover rhythms. "Penitentiary" is another confident speedster which is replaced by a string of more moderate less energetic numbers until the arrival of the final two songs: "Narcophobia", an intense jumpy composition, and "Behind the Mask" which is a brutal lasher with death metal shades. The boys sound like a well polished machine now, and despite the signs of settling in their comfort zone, there is more to be expected by them in the future.

Bleeding to Death EP, 2005
Aggressor Full-length, 2006
Penitentiary Full-length, 2010

Official Site

BESIEGED (CANADA)

These guys pull out awesome aggressive thrash in the best tradition of Sepultura's "Beneath the Remains" and Devastation's "Idolatry". This is fast relentless music with fine melodic leads. The singer walks in Max Cavalera's shoes, maybe a bit more shouty, and these moments also recall the later Chuck Schuldiner (R.I.P.) style a bit. The guitar performance of the Canadians is more technical perhaps, reminding of the band's country of origin, but not in a very overt way. "Dying Wave" shifts into a slower, heavier direction for a while, similar to Sepultura on "Arise" (the album). The guys' idols are honoured with a cover of "Troops of Doom" at the end: a vicious and brutal take on the Brazilians' hit, the only piece on the album which smells death metal all the way.
"Victims Beyond All Help" will split you at the seams really bad within a bit more than 30-min with its merciless aggressive approach which inevitably comes death metal-decorated at times. So you will have no choice, but join the mosh which begins immediately with the blistering "Internal Suffering". Then some will gape wide on the next "Death" which sees such an uncompromising delivery also sounding pretty technical in a way similar to Expulsion and the lost legends Hypnosia. "Buried Alive" is a neckbreaker: a super-fast piece with lashing, weirdly technical, riffs. "The End" is not "the end", although to some of you this may be indeed the end feeling pretty exhausted after such a downpour, this cut being another raging offering with a clear death metal edge. The title-track races with the speed of light as well, but is more technically-charged and kind of more melodic. The speedy technicality, especially the latter, reaches its climax on the pen-ultimate "Trapped Inside", with the closer "Black" being more laid-back and complicated, the guys thrashing wild with the utmost precision making this short effort a surreally beautiful affair with a blend of speed and technicality seldom achieved. The Sepultura influences are not as clearly heard this time, the band moving towards a more individual face, with a more technical edge which only benefits from the all-out speed aesthetics.
"Violence Beyond All Reason" is another admirable violator, naturally, the guys moshing on full-throttle, "Last Chance" hardly being their last chance to thrash the neighbourhood, with "Paragons of Brutality" being not only brutal, but also a fairly technical cut, the title-track moshing with badly disguised intricacy, too. Both "Path to Defy" and "One World Coma" exhibit the same amount of entangled maturity, especially the latter with its labyrinthine twisted configurations. "Descent into Despotism" is another sure nail in the wall, the band simply untouchable here, seamlessly blending technical and aggressive extrapolations, the final "Testaments" making everyone regretful that this offering is only half an hour long, this piece being another noteworthy less ordinary headbanger, the surreal mid-break a total Mekong Delta winker.

Visions of Pain Demo, 2007
Victims Beyond All Help Full-length, 2010
Besieged EP, 2015
Violence Beyond All Reason Full-length, 2022

My Space

BESIEGER (USA)

Abrasive pounding guitars dominate this rough slab of retro thrash/death metal which is one-dimensional up-tempo bashing for most of the time, but there are a few interesting surreal technical moments ala Immolation and Morbid Angel ("Honor in Obliteration") which could definitely turn into something special later.

Honor In Obliteration Demo, 2011

BESTIAL (ARGENTINA)

The band's style clings between Sepultura's "Arise" and "Chaos AD", so we have a mix of classic and modern thrash. The music is nicely balanced between the two styles, with slight preferences towards the classic sound; this is mostly mid-tempo stuff, with longer for the style songs (5-6min), among which one might find some fine thrashers ("Demencia").

Bestial Full-Length, 1998

BESTIAL (BRAZIL)

Based on "Final Presage", this band comes up with a combination of the three basic metal genres: black, thrash and death. The concentration is perhaps on death metal, and there are quite a few very intense and fast sections, but one could easily catch cool thrashy riffs here and there.

Final Presage Full-length, 2004
Phalanx of Genocide Full-length, 2005

Official Site

BESTIAL COLONY (SINGAPORE)

The demos: this is one of the earliest thrash/death metal acts to come out of Singapore, and as such don't expect any high level of musicianship. This is actually pretty amateurish stuff, based on the rehearsal, which can hardly be called music, but is a constant mess of barely heard guitars, awfully-sounding drums, and terrible shouty vocals which one may turn off well before the end of the first song. This mess is more on the faster side: at least this can be defined based on the drum rhythm; but that's all that can be said....
The full-length is finally a fact, only that from the original line-up it's only one member, the alias Nefarious, that has remained. The man unleashes a raucous death/thrash attack which has both a more laid-back (the mid-paced march "Mutilated Death") and more vicious (the pummeling "Into the Sordid") side, the doom-laden pageant "Very Disturbed" putting an end to the hyper-active histrionics, before "Eternal Punishment" energizes the environment with merry crossover rhythms. "Universal Decay" is another slowmotion apocalypse, Nefarious pulling out an effective clean vocal performance on that one as opposed to his raven-like croaks elsewhere; and "Resurrection" is another tribute to the dirgy crawling side of the spectre.

Universal Decay Rehearsal Demo, 1990
Universal Decay Demo, 1991
Sordid Decay Full-length, 2024

Official Site

BESTIAL CURSE (BRAZIL)

Early Bathory-worship down to the -T-; the raw primal sound quality is also quite well imitated as well as the blend of fast and slow tracks. Only the singer falls behind with his deeper death metal-laced tone. "Evoked Damnation" deviates into semi-doom black ala early Celtic Frost, and "Masters of Mayhem" is a nod to the new 90's black metal school with more melodic, almost epic, arrangements. The two band members are also busy with other acts: the classic heavy metallers Raw Raze, the doom metal outfit S.m.a.c.k., etc.

Masters of Mayhem Full-length, 2009

My Space

BESTIAL DEATH (ISRAEL)

A hellish trio from Israel providing raging thrash/death metal, a more aggressive elaboration on Possessed's "Seven Churches" with very vicious guttural vocals. The guys lash pretty fast and wild, and this underground recording (the sound is really bad) could pass for one of the earliest, and most brutal, attempts at death metal, pretty much on one level with the Messiah debut, and even Protector's "Misanthropy": seriously! If it wasn't for the raw sound quality and the very little exposure back at those times, this effort could have by all means been cited as an influence on the more extreme side of metal.

Suicide of the Immortal Demo, 1986

Official Site

BESTIAL DESECRATION (GERMANY)

Old school thrash in the vein of early Sodom and Kreator; the sound quality is bad with a very thin guitar sound, and spoils the impression from the otherwise energetic delivery.

Soldiers of Death EP, 2000

Fan Site

BESTIAL DEVASTATION (FINLAND)

Black/thrash metal of the old school, mostly heavy and mid-paced, similar to later-period Barathrum and early Celtic Frost.

Hostele Revenge Demo, 1999
Fist Of Steel Demo, 2001
Final Solution Demo, 2004

Official Site

BESTIAL DEVASTATOR (GERMANY)

Based on "Until Death Occurs...", this act provide intense ripping old school thrash which comes served with a more sinister blacky vibe ("Beneath The Gallows", "Fire, Leather and Hell") and with bold shades of proto-death ("Blackened Fire") on the more aggressive material. This is relentless speedy stuff with shrieky, at times plain hysterical raspy vocals.
"Realm of Tyranny" is a more brutal affair with black not incorporated firmly into the hyper-active frame which has no choice but to tolerate wild unbridled exercises like "Thermonuclear Destruction" and "Warriors", the guys adhering to thrash ("30 Cannons Are Firing Constantly", "German Devastator-Air Raid Bombed Out") on a few more laid-back moments but generally this is stuff for the more vigorous side of the audience.

Out of the Depths Full-length, 2013
Merciless Attacker Full-length, 2015
Until Death Occurs... Full-length, 2018
Realm of Tyranny Full-length, 2020

Official Site

BESTIAL HOLOCAUST (BOLIVIA)

Based on "Final Extermination", these Bolivians pull out aggressive old school black/thrash with vicious witch-like vocals. The tempo is fast, often branching out into spasmodic blasting black ("Impostor"), and generally the guys are fonder of the black metal idea, also expressed in the slower nods to Celtic Frost and Hellhammer ("Sentencia De Muerte"), which are not too many, but bring the desirable shift from this otherwise pretty intense listening experience.
"Into The Goat Vulva" continues the black/thrash saga now adding brutal death to the proceedings at times, still leaving enough oom for the thrash idea to develop. Still, the hyper-blasts are too many and slow sections can seldom be encountered. "Premoniciones" is a great technical cut, and more of the same in the future would only raise the guys' reputation. "Eterna Transmigraci=n" shows the more lyrical, melodic side of the band which also needs further exploration.

Pacto Con Satan EP, 2005
Final Extermination Full-length, 2006
Primigenium Invocation EP, 2006
Temple of Damnation Full-length, 2009
Into The Goat Vulva Full-length, 2012

My Space

BESTIAL HORDES (MALAYSIA)

This act provides old school Germanic speed/thrash metal ornate by spasmodic blacky hyper-blasts resulting in music which is both melodic and brutal crossing early Destruction with the Swedes Defleshed and allusions towards the Japanese movement (Sabbat, Barbatos, Abigail, etc.). The end comes in the form of an intense cover of the early Bathory hit "Die in Fire". Some of the musicians here also explore the fields of death metal with their other project Benefection.

Nuclear Metal Lust EP, 2011

BESTIAL INVASION (UKRAINE)

This young Ukrainian outfit, half of whose line-up hails from the talents Violent Omen, provide exemplary technical thrash of the old school which, if carrying in the same vein, would have no problems overshadowing the other band. Technicality and melody co-exist in a surprisingly mature fashion on the opening "Doomed Years" which manic, highly-stylized riffage will remind you of Toxik's "World Circus" and the obscures Terrahsphere. The "invasion" continues with the speed/thrashing rager Silent Wonders where John Gallagher from Raven fame can be heard gurgling on the bass. Guitar virtuosity overwhelms you on "Numenor" which leads to the progressive thrash constellation on "Praise of Mind" where none other than Kenn Nardi (Anacrusis), V.O. Pulver (Messiah, Poltergeist) and Alan Tecchio (Watchtower) have joined forces to assist in this superb thrashing cannonade which also features a very cool balladic interlude. "...from Somewhere in the Woods" is a more orthodox headbanger, but "My Dreadful Hours" is a dramatic technicaller with shades of death metal, before "Desires and Circumstances (MCCCVII)" provides a super-technical pile of twists and turns which only become less and less easy to decipher wrapped up by a hyper-active blasting exit. The closer is a relatively faithful cover of Raven's hit "On and On" its hard rock-ish irrelevance a small pullback on this really impressive display of talent which may remain unnoticed due to the not very appropriate album-title (no shades of Destruction here, amazingly for the better). And, a few words about the singer who is close to being the star of the show with his attached dramatic, super high-pitched clean voice reaching Halford-esque heights on quite a few occasions also giving a bombastic operatic colouring to the very complex musical tapestry.
The EP comprises three songs "Prisoner Of Miserable Fate" being a blitzkrieg speedster with a superb quiet mid-break; intelligent stuff also backed by awesome lead guitar work. "Zodiac: Crime World Mystery" is a great progressive thrasherism with twisting rhythms and gorgeous melodies woven literally out of nowhere. "Caligula: Salacious Age" is a more moderate shredder with nice bass support which later turns into a whirlwind of technical crescendos of the Coroner type, not to mention the beautiful Oriental motifs in the second half. The guys are clearly on top of their game, and one can only feel happy with talents like these around: thrash metal is in very safe hands somewhere out in Ukraine, that's for sure.
"Contra Omnes" is another masterpiece of classic technical thrash overwhelming the listener with stylish riffs galore from the get-go with the exuberant "Inception", an amorphous shredder with a few less controlled death metal-ish explosions. "N.E.V.E.R.M.O.R.E." perplexes the fans from the very start with a cavalcade of bizarre rifforamas but later on it surprisingly stays on the more orthodox side with fast-paced "skirmishes" flying around. "Prisoner of Miserable Fate" is a more atmospheric progressiver recalling Toxik's "Think This" with a wide gamut of time and tempo shifts including another portion of deathly outbursts. "Camera Obscura" gives more room for the bass player to explore his skills, and the man bonds really well with the guitar virtuosos who excel some of the most intricate riff knots on the album. More reverberating bassisms on the short instrumental "Enigma" before "Repudiating the Power" recalls more recent Paradox with the complex delivery and the dramatic accumulations. "Zodiac Crime World Mystery" is a nice mid-paced technicaller with an abrupt speedy epitaph, and "Caligula Salacious Age" is a varied opus the band alternating paces at will, all the way to the closing cover of Destruction's "Thrash Attack" here turned into a vocal track also polished a bit more than the original.
"Monomania" is the next in line admirable offering from this talented batch who come even closer to Toxik's "Think This" with more complex song-structures accommodating both raging outbursts and poignant atmospheric sprawls, both sides nicely introduced with the title-track before "The Angel of the West Window" presents the old school tech-thrash roster in all its entirety, a standout shredder in the best vein of the Poles Wold Spider and Armoros. Virtuoso crescendos and dazzling guitar pyrotechnics come to play on the ambitious progressive saga "The Garden of Earthly Delights", a labyrinthine listening experience that would pass the test for both "Deception Ignored" (Deathrow) and "Kaleidoscope" (Mekong Delta). More aggressive, also fairly intricate, thrashing arrives with "Memories. the Architect of the Universe", a wild bumpy ride this one with quirky time-signatures waiting at every coroner... sorry, corner, not to mention the breath-taking symphonic accumulations. "Sir Francis Drake The Queen's Pirate" is another exercise in more stripped-down technical thrash, a consummate roller-coaster with alluring melodic walkabouts and bewitching lead sections also inserted, the surreal short spastic thrashing closer "Retribution", a cover of Atheist from "Unquestionable Presence", the best possible epitaph to this first-rate opus, one of the true highlights of 2019.
The guys run rampant once again on this enjoyable prog-metal, not so much thrash anymore, wonder; also making sure there's no one to beat them in the melody supply department (check out "Limbo"), the hyper-active speed metal-ish intricacies of "Lust" and the flamboyant Bay-Areasque pulverizer "Gluttony" getting the message through with tons of original decisions, and above all with loads of energy, the latter the binding link all over, also gracing less thrash-bound excursions like the spacey goofy "Anger". Elsewhere it's one rousing progressive/power/speed/thrash fiesta which on "Violence" receives a hefty keyboard decoration; this one a relevant gimmick, including on the more flexible panoramic closer "Treachery".

Act of Retribution Full-Length, 2015
Trilogy: Prisoners of Miserable Fate EP, 2016
Contra Omnes Full-Length, 2017
Monomania Full-Length, 2019
The Divine Comedy Inferno Full-Length, 2021

Official Site

BESTIAL MOCKERY (SWEDEN)

This band appeared at around the same time with Cranium, both bands intent on bringing back the glorious 80's' sound. This band's style is different from the other band being black/thrash metal sounding like a vicious mixture between early Kreator and early Bathory. The music is fast and aggressive with the very appropriate, typical for the early 80's, "dirty" sound. The vocals are suitable to the music, being vicious black-ish rasps. The band doesn't offer much variety throughout their career, but fans of the more extreme side of classic thrash will enjoy these guys' works a lot.
"Christcrushing Hammerchainsaw" is by far the band's most extreme offering blasting out in a chaotic uncontrolled manner quite a bit, now also resembling their neighbours Impaled Nazarene and beyond, especially on the moments when the music turns to pure hyper-fast grindcore. The slower much calmer numbers come as a revelation: the doomy sinister "Chainsaw Inkarnated"; the playful heavy metal joke "Raise The Chalice" although by the time he reaches them (both songs are placed near the end), the listener may be totally exhausted.

A Sign of Satanic Victory EP, 2002
Christcrushing Hammerchainsaw Full-length, 2002
Evoke the Desecrator Full-length, 2003
Gospel of the Insane Full-length, 2006
Slaying The Life Full-length, 2007

Official Site

BESTIAL NOISE (FINLAND)

Intense old school thrash metal with both heavy and speedy riffs topped by brutal death metal vocals. There are sparse hyper-blasting moments belonging more to the black metal camp ("Libation", "Warfare Noise"), but they hardly serve the guys right being a bit more than just senseless bashing done for its own sake.

Demo Tape Demo, 2010

Official Site

BESTIAL POSSESSION (PERU)

The debut: fast blitzkrieg thrash/death of the old school with early Kreator and Rigor Mortis the main influences; good stuff with a slightly dirty sound, short screaming leads and gruff death metal vocals which transform into hellish screamy ones at times akin to Tom Araya (remember "Black Magic"). The aggression goes over the edge on "Thrash Bestial Attack" which goes straight into an early Sarcofago territory with the brutal blasts. "Believer Of Hell" is a cool cover of the Brazilian underground legends of the 80's Mutilator here played considerably faster turned into a furious black/death/thrash metal amalgam. The end comes in the form of the best track on the album "March Into Hell", vintage early Destruction with echoes of both "Mad Butcher" and "Confound Games".
"Altares Sangrientos" epitomizes the same no-bars-held attitude, wild bashing retro thrash which still has its more intricate side (the opening "Immortal Warrior"), including a few intriguing semi-galloping decisions on the hectic "Reino Chimu". "Black Beast" is a short grinding madness, and "Evil Possession" is a surprisingly mature near-progressiver which more ambitious layout is mirrored in both the proto-death shredder "Ritos de Depravacion" and the dark atmospheric but still pretty wild closer "Trujillo Massacre".

Duros, Ebrios y Lujuriosos Full-length, 2009
Morbid Massacre of Death EP, 2017
Altares Sangrientos Full-length, 2020

My Space

BESTIAL REVILER (RUSSIA)

This trio from Moscow pulls out merry straight old school thrash, fast and dynamic with gruff drunken death metal vocals, not too far from the Japanese models in the genre: Abigail, Barbatos, etc. "Horned Woman" is a tad more melodic, a jolly thrash/crossover piece.

Hellthrashing Warriors Split, 2009

My Space

BESTIAL SIGHT (RUSSIA)

A power trio from Russia that offer a mix of black and thrash in a pristine old school production environment which comes with imposing epic arrangements "My Ritual" being the only more "chaste" thrasher. Two covers are offered throughout: Mayhem's "Funeral Fog", and "Carpathian Forest" of... well, both performed faithfully, including in the screechy raven-like vocal department, the production quality surprisingly going up on those. The guys were earlier known as Prosatan with a style similar to the one here.

When You Need Metal... Go To Hell Full-Length, 2017

BESTIAL SOUL (FRANCE)

This young outfit provide brisk classic thrash which is more on the intellectually bashing side so don't expect many slower digressions "Pain And Despair" being the only one. Comes "Demonic Art" with more stylish semi-technical guitar work and things look better not without the help of the nice balladic beginning of "Perpetual Darkness" which later turns to some vicious blitzkrieg thrash. No complaints later as the guys thrash the neighbourhood to ruins the occasional mellower escapades ("Disciple Of Death") being almost as impressive as the more aggressive outbursts ("Trench for Forgotten"). The singer is vintage later-period Mille maybe a tad more hysterical.

Perpetual Darkness Full-Length, 2015

Official Site

BESTIAL TORMENT (SWITZERLAND)

The compilation sees a band operating on a wide scale covering thrash, black and death metal in almost equal dozes. The guys have ties to the Swiss death/thrash legends Excruciation from which camp came a few musicians. Hellhammer and early Celtic Frost have very obviously been a big influence on the guys during their spawning stages before switching onto more dynamic speed/thrash ala Whiplash and Possessed later on without losing completely their black/doom (and also "bloody") roots. Their last period is more in the doom/death camp with shades of Asphyx and early Messiah, but the musicianship is less impressive than before. The vocalist doesn't change his gruff low-tuned deathly timbre singing in the same manner all along, sounding a bit lower on the more death metal-based material, and his rendings often get lost in the musical barrage. The band members are also active in a few more musical areas: with the black metallers Ghost Kommando; and the retro black/thrash formation Forgotten Chaos.

Terror From Below EP, 2001
Revelations of Morbid Warfare Compilation, 2011

Official Site

BESTIAL TORTURE (FINLAND)

Based on "Hellthrashing Warriors" split, this band plays speedy retro thrash in the spirit of the Portuguese Alastor and the early models from the 80's German scene. The vocals are more in the black metal camp recalling Mika Lutinen (Impaled Nazarene).

Blackened Metal Damnation Demo, 2008
Hellthrashing Warriors Split, 2009

My Space

BESTIALIZER (ITALY)

Quite vicious cavernous classic thrash/death metal with quite a bit of doom incorporated among the vitriolic brutal thrash/death skirmishes. The delivery is fairly unrestrained at times recalling Sarcofago's mythical debut, the guys bashing with passion and energy to spare, also throwing a cover of another Brazilian veteran, Dorsal Atlantica's "Alcool" from their debut "Antes do Fim". "Acid Death" is a crusty "acidic" mid-pacer, but the rest is executed with the speed of light in mind the brutal death metal vocals adding more to the macabre, alien atmosphere.

Bestial Cosmicraid of the Demonic Chaospawn Full-length, 2018

Official Site

BESTIARIO (BRAZIL)

This is a modern blend of post-thrash and doom/stoner; holds water with more inspired melodic moments ("Horrendus et Horripilantis"), those sounding closer to doom. There are certainly more aggressive moments to be heard (the short explosive "Balaclava"; the short speed/thrash cut "Hospfcio Azul do Sol Poente"), but overall it's the doom metal fans who would be happier with this effort.

Besti'afrio Full-Length, 2011

BETHLEHEM (JAPAN)

Based on the first demo: two compositions of relatively wild retro thrash barrage, the guys providing arrays of speedy corrosive riffs on both cuts, "The World Goes To The Devil" the more diverse proposition with a more frequent change of pace, "Lost Your Soul" relying more on heavy crunchy arrangements with a thin semi-balladic aura to pull it trough, the proficient but marred by the unclear sound quality leads easily the most proficient ingredient on this charmingly muddy obscurity.

Demo 1 Demo, 1990
The Eternal Oath Demo, 1990

Youtube

BETHRAYER (CZECH)

This is quite capable, pretty technical as well modern thrash, sounding like a mixture of Aleister's "Tribal Tech" and a more eccentric version of Machine Head's "Burn My Eyes". The instrumental "Despair" is a true piece of art with its technical riffs and flute tunes, and "Step By Step" is a fairly twisted shredder with time changes galore. Elsewhere we have the more classic-sounding and more immediate title-track, an echo of Exhorder's first and Evildead's "The Underworld", and the short, pretty effective semi-technical creeper "Hatred". The latter nicely pairs with the intense unpredictable steam-roller "Benefactor" which choppy time-signatures will make anyone guess as to which direction this cut would swing. A really nice obscure entry from the 90's Czech roster that sure deserves a wider exposure.
The band are still around, but ever since this album's release the style has been modern thrashcore with the groove element heavily embedded into the volatile structure that has been exercised for three full-lengths and a couple of demos/singles.

Manipulation Full-Length, 1996

Official Site

BETON (INDONESIA)

This Indonesian outfit acquit themselves with modern thrash which comes with a not very pleasant fuzzy guitar sound that kind of hampers the proceeding, especially on the more aggressive, death-laced moments (the incessant brutal shredder "Orang Bayaran"). There are certainly mellower, more sophisticated sections ("Anak Metal") where the melody takes over, but generally this is a rough, unpolished effort which also suffers in the vocal department where the guy semi-shouts with a hoarse, unrehearsed voice.

Pencipta Perang Full-length, 2011

Official Site

BETONENGEL (GERMANY)

This young formation serve a more aggressive proto-thrash version of the Rammstein style, another similarity with their renowned compatriots being the German lyrics. Otherwise the approach is playful and memorable without too many intense moments, and inevitably slips towards heavy/power metal at some stage. "Endzeit" is a surprising speed/thrashing "bomb" thrown in the second half but it can't possibly shatter the piece instilled by the over 6-min quiet balladic closer "Regen". The vocals are very close to the ones of Rammstein again, and perfectly suit the radio-friendly tone of the material presented. So there's not really anything resembling "hart wie beton" ("hard as concrete" in English) here...

Hart wie Beton Full-Length, 2013

Official Site

BETRAYAL (BRAZIL)

A 5-song demo of cool Germanic speed/thrash with proto-death ornamentations ala their compatriots Bywar; the style is actually quite close to the one of that act the difference coming mostly from the dual vocal attack: one hysterical rasp, the other low-tuned brutal, and the more frequent use of extreme hyper-blasts. Otherwise this is fast relentless music nicely reaching "speed of light" heights at times ("Protestation").

Human Destruction Demo, 2005

My Space

BETRAYAL (USA)

A Christian thrash metal band; the band's debut is a very ambitious attempt at progressive thrash, but the final result is quite confusing with its awkward time changes, numerous influences from other sides of the music spectre (balladic, orchestral, funky, industrial passages, etc.), and weird riffs. Still it has its moments, and would have been better, if the guys didn't have the tendency to speed up to a death metal intensity on many songs ruining the preceding monolithic thrash sound. On the shorter tracks the band obviously had no time to insert many influences and those songs are the best and the more immediate: "Assassins in the Midst", "Prophets of Baal".
All this is gone on their sophomore effort which is commendable semi-technical thrash the only irritation being the distorted, computerized vocals. "The Passing" is a textbook on sharp technical riffs; the very first track ("Renouncement") shows that this album will be a different story. There's no unnecessary elaboration here, just direct steel moderately intricate riffs. The music is not openly aggressive; slower compositions are included ("Carnival of Madness"), and the atmospheric moments work much better ("Forest of Horrors"). "Whispers of Chaos" comes with an almost death metal-like aggression, and is the best song here. For the end the guys have preserved the shortest, but also the most effective tracks, bringing a great package of intensity and technicality squeezed in no more than 3-min. With a bit more focused and less pretentious approach these guys can work "miracles".

Renaissance by Death Full-length, 1990
The Passing Full-length, 1993

BETRAYAL OF ALLIES (USA)

This is mild modern speed/thrash which has both a rock-ish and a hardcore-ish vibe, and will most likely delight the Children of Bodom fans. "Blinded by Hatred" would be the more aggressive insertion with its spontaneous semi-blasts, but the rest never breaks the friendly tone "Voided" being the other headbanging "atrocity" the closing opus "Suffer no More" also serving a few faster-paced relieves. The vocal duel is a bit on the awkward side the clean participation being very momentous and hardly expected, the deathly shouty one reaching an annoying hysterical pitch at times.

Life's Time Full-Length, 2014

BETRAYDEATH (BRAZIL)

One musician, the name Rafael Teske, is operating here, serving pretty decent old school thrash with a throaty death metal vocalism accompanying it. The delivery is predominantly heavy and mid-tempo, the bass featured prominently, obviously Teske's main instrument. "For Now, Stay Out, It's Over" is a short more dynamic explosion, but the rest doesn't get tempted towards those parametres, "I Will See You Again" and "Everyone Is Wrong and Right" adhering to a mellower, more melodic power/thrash clout.

Fearlessness Full-length, 2022

Official Site

BETRAYED (CHILE)

This is one album as you have noticed, been re-released in 2006. Betrayed play awesome technical thrash ala Ulysses Siren and Have Mercy with sharp guitars and mostly a quite energetic tempo, often considered the finest thrash metal album from Chile, and rightfully so. The album starts aggressively with "Fight For Your Land", graced by really impressive technical riffs and clever tempo changes. The speed never drops intercepted by brief slower breaks. The exception is "Human Madness" which is a nice mid-tempo instrumental with a more simplistic and less aggressive guitar work. The only complaint is the vocals which sound indifferent and declamatory as though the guy doesn't really sing, but recites. It was probably original back in the days, but now it sounds downright funny and... a bit annoying. With a more capable singer, these guys could have reached the very top of the ladder; now they have reached very close.
"The Unbeliever": the guys are alive and well although from the old line-up it's only the drummer and band founder Claudio Tapia that has left. Regardless, his new comrades do a good job on this opus which also contains old re-recorded tracks in the second half. The new material follows the Bay-Area canons quite closely, resembling Forbidden's debut including in the high-strung emotional vocal department. Predominantly fast-paced cuts will make the listener's day with the casual insertion of the mid-paced hymn ("Looters Will Be Shot"). "Constitution" is a nice combination of the two sides showing bigger ambition, but those moments have been sidelined for the sake of the good old headbanging thrash.

1879 Tales of War Full-length, 1990
1879 Tales of War Full-length, 2006
Looters Will Be Shot EP, 2016
The Unbeliever Full-length, 2017

My Space

BETRAYED (GERMANY)

The debut EP: a brutal vicious blend of black, death, speed and thrash metal topped by very extreme low-tuned death metal growls; despite the dominant very fast blasting delivery the guys don't shy away from heavy slower interludes which spring up for a while on every track just to take away some of the pressure.
The full-length is a logical elaboration on the EP's, and as such provides numerous moshing opportunities with black metal leading the show both in the music and vocal department. The delivery is dark and morose, but is achieved through the application of mostly fast-paced riff-patterns which are seldom on the purely thrash side (the choppy "Interment Necromancy", the cool closing speedster "Crypts"), but are not bad having this foreboding twisted quality ala Immolation and Morbid Angel.

Apocalyptic Salvation EP, 2007
Betrayed EP, 2013
Consuming Darkness Full-length, 2014

Official Site

BETRAYED (ITALY)

Based on the full-length, this band play old school, thrash assisted by throaty guttural death metal vocals. The musical approach vacillates between moshing breezers ("Time Is the Best Murderer") and stomping dramas ("From Crawling to Fly"), the furious fast-paced passage on "Also the Bear Sleeps in the Burrow" boldly crossing over the deathly realm, the title-track ruining it at the end, being a not very eventful power metal epic, the clean vocals epitomized on that one the major saving grace.

Mass Hypnosis EP, 2014
Kasna Full-length, 2021

Official Site

BETRAYEL (USA)

Based on "Helpless Souls", the band plays pretty decent speed/thrash along the lines of Destructor and early Whiplash, with a good sense of melody. Sometimes it's hard to see why bands like that were never given a chance by the "metal gods".
"Death Shall Overcome" is another very cool 5-track demo, offering more aggressive music this time, and with more vicious vocals, coming close to the ones on the Whiplash debut. The speed comes too close to proto-death on "Death Shall Overcome", and especially on the brutal furious "Born of the Jackel", but on the other hand "Scream In Darkness" is just mid-paced heavy riffs. "Blood Of Nam" mixes both approaches at the end providing another 3-min of very intense classic thrash. Some of the band members tasted the modern numetal fruit under the name Organ Donor in the early-00's.
The full-length sees the guys fully revitalized, thrashing intensely in the good old classic fashion, the approach both merry and crossover-ish ("Accelerant") and serious and stomping ("Above and Beyond", the volcanic shorter "Venomous"), the latter decidedly the dominant repertoire. The overt proto-death brutality from their demo days is very seldom present, and the vocals are really convincing semi-clean croons exuding both authority and pathos.

Raging Death Split album, 1987
Helpless Souls Demo, 1987
Death Shall Overcome Demo, 1989
Offerings Full-length, 2020

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BETRAYER (ARGENTINA)

A 3-song demo of heavy abrasive, more classic-sounding thrash which heaviness is nicely taken away by very proficient melodic leads, which also oppose to the gruff death metal vocals. "Mothers" is faster and more modern, but the energy, and the great leads again, make it the highlight.

Demo Demo, 2008

BETRAYER (AUSTRALIA)

An obscure entry to the classic thrash genre (I guess a big reason for the album's obscurity is the very engaging "old" title) from Australia which will surprise you with its openly retro attitude; the music is not bad, either, although it is not very hard-hitting borrowing from the funky eccentricity of Mordred and Re-Animator, but not in a bad way. The peaceful melodic mid-paced approach is rudely interrupted in the middle, first with the title track which is a brisk thrasher, and then with "Kill Is All I Know" which moshes out in a less controlled manner. The "idyll" is quickly restored later, but the very end comes in the form of three very short crossover/punk jokes. The singer has a cool semi-clean mean-ish voice, and will remind you of less dramatic and lower-pitched David Wayne (R.I.P.). The guys were previously known under the name Virgin Soldiers when they played classic hard'n heavy releasing one EP and one full-length in the late 80's.

Grandma Full-length, 1993

BETRAYER (BRAZIL)

This is nothing more here than the pedestrian groovy post-thrash; mild, laid-back stuff with bluesy/balladic overtones, and pleasant clean vocals which have a slight drunken shade.

Battles For The Unknown EP, 2003

BETRAYER (CANADA)

An interesting combination of traditional metal and thrash; 90's Megadeth is an obvious influence on the band, but there are epic parts, too, bringing the band's sound back to the American 80's metal scene.

Rusted Icons Full-length, 2001
Shadowed Force EP, 2005

Official Site

BETRAYER (GERMANY)

Pleasant, melodic power/thrash metal (based on the EP) not too far from the Germans Enola Gay, but edgier and a bit faster. The sound has a lot in common with the future 90's speed metal scene, kind of predating it, although the guitars here have a not very pleasant abrasive sound, and the vocalist is a not very appropriate choice singing in a dispassionate punky tone.
The full-length is an unimaginative heavy/power metal affair, still pretty classic-sounding, which seldom livens up (the more intense power/proto-thrasher "Death Throes"; the edgy speed metal cut "Hostage of Progress"), settling for mellow riffs with an abrasive shade, which at least suit well the not very attached clean alternative vocals.

Whole Acceptance EP, 1989
Hostage of Progress Full-length, 1996

Official Site

BETRAYER (ISRAEL)

A pleasant surprise comes from the Middle East: excellent progressive death/thrash metal with very good guitar performance producing really interesting riff-pictures ably supported by fine Shrapnel-like lead guitar work. "On The Wings Of Time" is a mighty opus of guitar wizardry followed by the more immediate thrash killer ala Helstar's "Nosferatu" "Rock Solide". "Battles Within" is another display of technical craftmanship which seamlessly flows into the progressive masterpiece "Garden Of Memories": a blend of razor-sharp technical riffs and beautiful melodies. The outro "Dead End" is good, but is just an orchestral exit from this fairly cool effort, instead of being another technical piece. With 5 compositions only, this obscure band could be considered a rival to much more known acts like Orphaned Land, Salem and Melechesh for the metal throne in Israel.

My Twisted Symphony EP, 1998

BETRAYER (NORWAY)

A 5-song EP of melodic power/thrash, still sounding quite classic, mostly mid-paced, lacking an edge on quite a few times, and as a whole may be of interest to fans of early Laaz Rockit, the Exciter debut, early Helstar, and even Motorhead, whose fans will also like the hoarse, Lemmy-like timbre of the singer .

World of Chaos EP, 1993

BETRAYER (POLAND)

Based on the "Forbidden Personality" demo, these folks indulge in intense thrash/death which is one-dimensional and bashing, but as an early attempt at death it delivers not without the help of some more intriguing guitar licks with a touch of Messiah and Invocator. There isn't much brutality to be come across here if we exclude a few isolated proto-blasting moments near the end. Some of the guys later joined the up-and-coming Vader.

Forbidden Personality Demo, 1990
Necronomical Exmortis Demo, 1992
Calamity Full-length, 1994

BETRAYER F.T.M. (COLOMBIA)

Classic thrash/crossover alternating between fast and slow passages rich in catchy melodies and hooks reminding of Suicidal Tendencies' thrashier period ("Lights, Camera,...", "How Will I Laugh Tomorrow...") quite a bit. There is no speed spared, though, and major invigorating thrashers can be heard more than now and then ("No Life Till Fury", "La Orden Del Caos", the German speed/thrash metal worship "Infernal Metal", the moshing closer "Caught By Hatred"). The sound quality is very good giving a nice boost to both the guitars and the convincing semi-clean vocals.
"Full Blast" is less intense with clearer speed/proto-thrash pretensions, and now shades of "Kill'Em All" are quite evident, as well as moments from the more speed metal-prone scene (think Savage Grace, early Overkill). "Shot Me Down" is an obvious nod to Motorhead, but in the 2nd half the album picks more aggression thrashing with more gusto, but also with a bigger sense of melody (check the leads on the energizer "Filthy Sam", as well as those on the brutal piece "Tridente Satanas" near the end).

No Life Till Fury Full-Length, 2010
Full Blast Full-Length, 2014

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BETZEFER (ISRAEL)

This band consists entirely of members of Nail Within; with the other band they have managed to pull out cool Swedish-influenced thrash/death metal, but here they have concentrated on another aspect of the genre. Based on "New Hate", this band plays groovy post-thrash which is not miles away from mid-period Machine Head so don't expect very hard-hitting riffs, just effortlessly flowing repetitive music with not much to make your head turn. The music of Nail Within will have a much bigger appeal for the regular thrash metal fan than the one presented here.
"Freedom to the Slave" is a bit more dynamic although it doesn't stray too much from the formula blending the typical groove with more energetic parts to a mild, but hardly very surprising, effect, the boredom seldom spiced with the odd more lively crossover piece ("Heavensent").

Pitz Aachbar EP, 2000
Some Tits, But No Bush EP, 2001
New Hate EP, 2003
Fuckin' Rock 'N' Roll Single, 2005
Down Low Full-length, 2005
Freedom to the Slave Makers Full-length, 2011

Official Site

BETTER LEFT UNDEAD (USA)

Modern post-thrash with industrial qualities; this is heavy abrasive stuff with dry cold guitars ala Swamp Terrorists and Oomph, but sticks too much to the repetitive mid-tempo patterns seldom livening things up anything more interesting (the melodic doomy break on "Lube Nazi").

Brainless Demo, 2010

BETWEEN THE LIES (AUSTRALIA)

Modern thrash/death which attempts something more complex, but the mechanized guitar sound takes over way too soon to give any chances fro the more melodic embellishments to develop. This is bleak, sterile Meshuggah-esque stuff for a large portion of the time livened up on occasion by the odd faster-paced escapade ("Be Happy") the latter not provided amply on the longer material (the 13.5-min opus "Pain in Me") which inevitably starts dragging at some point carried by dry shouty deathly vocals.

Compulsive Depressive Full-Length, 2017

BEWITCHED (SWEDEN)

One of the finest Swedish metal bands of the past ten years, Bewitched are often referred to as black metal which is probably based on their lyrics, but music-wise this definition is completely ungrounded. The band's style is classic power/thrash with catchy heavy metal tunes in the tradition of NWOBHM (Angel Witch comes to mind when listening to this band sometimes); simplistic, but enjoyable stuff.
The band started well with "Diabolical Desecration" which was a cool slab of power, speed, thrash and a bit of classic heavy metal; it was the necessary antidote to the growing at the time Scandinavian black metal movement by giving it a more melodic edge without abandoning the satanic, anti-Christian lyrical content. Then came the "Encyclopedia of Evil" EP a few months later, which was a tribute to all the black metal pioneers: Bathory, Venom, Mercyful Fate, Black Widow, Celtic Frost, the band doing covers of those acts by trying to stick to their individual style rather than rendering them in a faithful manner. "Pentagram Prayer" didn't betray the guys' staple approach although it sounded at softer with Motorhead an obvious influence on at least half of the tracks.
"At the Gates of Hell" saw the band exiting the thrash metal field for most of the time, producing a light-hearted material in the heavy/power/speed metal camp. "Rise of the Antichrist" was quite a surprise having in mind the direction taken on the last two albums, unleashing pretty intense classic thrash with power and speed metal now serving as mere "apprentices". This offering stands as their best one containing forceful pieces both in the fast ("Sacrificed in Flames", the spasmodic speedster "Under Satan's Spell") and the stomping, heavy ("Rise of the Antichrist") department, the band having released this album at the very right time, when thrash metal was coming back in vogue.
"Spiritual Warfare" promised a lot with the raging opener "Fucked by Fire", but later on the guys prefer to provide much less dynamic, listless pieces of the brooding, quasi-doom type with a stronger shade of black, with only the sweeping headbanger "Black Burning Hatred" matching the opener in terms of intensity. At the end there's even a melancholic doom/balladic piece: the closer "Spiritual Warfare" which may make Candlemass and Solitude Aeturnus proud. After a few repeated listens the fan may start enjoying this effort more, actually, since it's obvious that the band eventually try to sound more black metal, choosing the path of Celtic Frost to explore with a heavier, slower approach. It's by no means a disaster, but after the climactic predecessor it sounds seriously underwhelming. The band members are also busy with several other projects, the melodic black metal heroes Naglfar being one of them, so it should come as no surprise the long silent hiatus taken in their camp.

Diabolical Desecration Full-length, 1996
Encyclopedia of Evil EP, 1996
Pentagram Prayer Full-length, 1997
At the Gates of Hell Full-length, 1999
Rise of the Antichrist Full-length, 2002
Atrocities in A-Minor EP, 2004
Spiritual Warfare Full-length, 2006

Official Site

BEWITCHMENT (BRAZIL)

Based on the sophomore, this one-man show (the name Rodrigo Costa) is built around the old school thrash/death mixture idea, but this is stylish semi-technical bash ("O Violador de Sepulturas") which also grows into something formidably deathly ("Grotesque Retribution") with Costa helping the deathly cause with his vicious guttural singing. A couple of dirgy tributes to early Celtic Frost ("Fall into Oblivion") also help the proceedings as well as the deeper atmospheric, also progressive, histrionics on the final "My Morbid Thoughts."

Towards Desolation Full-length, 2017
Oblivion Shall Reign Full-length, 2019

Official Site

BEWIZED (GREECE)

Synthesized, soulless guitars with an industrial edge create cold mechanical atmosphere which mixes intense death metal passages with much less interesting metalcore breaks, the latter stretching into needless balladic romanticism. The expected vocal "duel" is also here, as well as the repetitive choppy rhythms; don't bother...

Carved Upon Your Bones EP 2008

Official Site

BEYOND (CANADA)

The style on the "Framed Insanity" demo has a certain American power/thrash metal flavour with a hefty Helstar echo, the songs in the middle, but the first and last track are full-on speed/thrash, check them out: great smashing headbangers which would stand proud on the Angel Dust, or even the Coroner debut. The "Staircase" demo features more complex music bordering on progressive having not much in common with thrash, more along the lines of the early efforts of Fates Warning and Queensryche. Their only full-length concentrates on progressive metal leaving the band's thrashy roots far behind.
The debut demo is a standout achievement for this early stage, an immaculate display of technical exuberance with shades of early Coroner as the opening "Awaken To Dream" could be a leftover from "R.I.P." with its spinning dramatic technicality. "Flame Of Understanding" is a more simplistic headbanger, but "Quest Through Paradox" is an engaging roller-coaster with some of the most memorable motifs around thrashing hard with elements of proto-death and brilliant virtuous lead sections. "Introverted Cry" is a stomping quasi-doomster, and "Man Of Morals" is technical thrash at its most exuberant and stylish, a standout mosher which gives way to the impetuous gallops on "Strength In Numbers", another candidate for the aforementioned Coroner opus, a virtuoso masterpiece with spiral-like arrangements and jumpy hectic rhythms. "Faith Of Unknown" is the next in line less ordinary piece with a lot of drama pouring from the steel sharp riffage the latter covered even more widely on the closing "Beyond The Mind", a perennial headbanger which never loses the speedy crescendos finishing this grand effort with all the aplomb and complexity it deserves.

Inner World Demo, 1987
Framed Insanity Demo, 1988
Staircase Demo, 1989
Quantum Bummer Full-length, 1990

BEYOND (HOLLAND)

Quite cool semi-technical thrash/death of the old school, the very shouty deathly vocalist an intimidating presence all around, toning it down for the more thrash-prone "Confusion", the steel precise riffs on "Beyond" close to being the highlight due to their more entangled character, the lead guitarist also winning a few points from his sophisticated exploits. Earlier some of the band members also paraded as a death metal outfit under the Excavation moniker, and also took part in the Belgian thrash/death wizards Chemical Breath.

As Visions Awake Demo, 1995

BEYOND (HUNGARY)

This band (based on the debut) offers good headbanging energetic retro thrash metal: pretty cool stuff which combines elements from both the Bay-Area and the German scene; heavier late-80's Slayer-esque sections are also present, but sheer speed is pretty much the order of the day for most of the time if we exclude a few awkward offbeat songs with elements of groove including one ballad as well. Don't worry: the album is twelve songs long, and those moments won't be a very big distraction.
Whether "Thrash" deserves its pretentious title, is up to you to decide: to these ears it is a solid under-achievement sounding well inferior to the debut. It uses retro thrash as a base, but piles up over it groove, speed/power, crossover/punk, and other awkward elements which had better be left unmentioned; and since the number of tracks this time is shorter (only 8), there are no saviours; perhaps "Felszfnes L'afz" with its more clever riffs and proficient melodic leads. If you expect to hear some mind-blowing old school thrash, don't bother with this one. This is "Thrash" for the "new, ignorant age", but even this crowd may get disinterested at some point.
It's good that the "thrash" comes "in black" this time so that the guys would finally do some damage. This is so much better than "Thrash" that one may wonder whether it's the same band who released the previous really mediocre effort. "Thrash Metal" is literally "Reborn" here, like the title of one of the song suggests, the band lashing fiery riffs to oblivion crossing the less bridled fury of early Kreator with the more serious style of Paradox (the cool semi-ballad "I Lose It All"). There's almost hardcore sincerity present here: this is so direct and aboveboard that one will have no choice, but to rise and mosh around like demented breaking a few glasses/vases in the process without much care. Death metal slightly shows its "ugly head" at the end on the perennial mosher "Destined To Die" which wraps up this "massacre" with dignity. This is pure old school thrash without any black metal ingredients, in case of the title holds any allusions to the other genre, and one may be eager to track down "Black Magic Night", which is essentially a re-recording of their debut demo from 1985, in order to see if more "thrash in black" (and with magic at that) would sound that good as well.
"Black Magic Night" is more controlled than its successor, but the music is definitely worth hearing provided that this is also the band's very first recording with intense Destruction-like exercises on vigorous roller-coaster thrash like "Preparation To Hell" and more restrained speed/thrash hybriders like "Expeled From Life" dictating the show, with mad rippers like "Steps Of Death" and "Master Of Killing" in the second half matching them every bit of the way, not to mention the 3.5-min of pure unbridled early Kreator-esque aggression "Vision".
"Elhagyott Varos" brings back some of the modern tendencies, but not to such a detrimental extent, and for most of the time the fans should be able to enjoy this energetic which is exemplified by unbridled outbursts like "Alhirekbol Elek" and "Az Utolso Csikkek". The heavy deviant nature of pieces like "Ehber" and the closing tribute to the American martial artist and actor Chuck Norris "Csak Norrisz" serve as mediators, providing the respiteful less dynamic moments on this decent but not really striking offering.

Tomik a Fejedet Full-length, 1994
Holt Lelkek Full-Length, 2007
Thrash Full-length, 2009
Black Magic Night Full-length, 2011
Thrash in Black Full-length, 2011
Berdonor Full-length, 2018
Elhagyott Varos Full-length, 2020

Official Site

BEYOND (USA)

Beyond rose from the ashes of the death metallers Demented Ted. Few traces of death metal here as the style is heavy modern, industrialized post-thrash reminiscent of Grope, Soulstorm, etc. The sterile shred can grasp the ear of the listener at times, like on the short dramatizer "Pure"; or on the abstract quasi-doomster "Void Of Soul". The rest is too robotic and mechanic to create a lot of really pleasant moments for the fan despite its very well coordinated with the times style.

Reassemble Full-length, 1995

BEYOND DEATH (USA)

This is the band in which Jack Owen and Alex Webster from the death metal masters Cannibal Corpse began their career in the metal world. Based on the "A Slice of Death" demo, they have done a good job with their aggressive thrash/proto-death metal style with deep death growls, which could have been an influence on Mr. Chris Barnes later.
"Yuk Fou" is with a worse sound quality (it's a live recording actually), and the music is very fast and brutal, with an open grindcore attitude. This is full-blooded death metal on at least half of the tracks, with only "Flubberscum" showing mercy with its simplistic mid-paced Venom-like guitars as well as "Mr Yuk" at the end, which has a certain hardcore shade.
The full-length is a rough thrash/death metal offering, with fuzzy guitars and bad declamatory semi-death metal vocals. Thrash metal is much more widely covered here also reflected in slower, crunchy rhythms ("Green Liquid Debree") bordering on doom, which take more than half the space. This is unpretentious, semi-amateurish stuff showing the guys not having grown musically at all during the extensive 20-tear break, obviously having worked in any other field during that time, but the musical one.

A Slice of Death Demo, 1987
Yuk Fou Demo, 1988
Happysick Full-length 2008

My Space

BEYOND DESCRIPTION (JAPAN)

Based on the "promo" demo, this band, whose line-up features members from the black metal avantgardists Sigh, plays thrash/crossover of the fast energetic variety, but their music is "infested" with hardcore, and even grindcore moments. The tracks are short, straight-to-the-point and quite fast.
"A Road To A Brilliant Future" is an aggressive affair, taking the vacant "seat" between Wehrmacht and Cryptic Slaughter (more brutal than the former, but seldom reaching the grinding madness of the latter's debut). The leads occupy a bigger space than on similar efforts, and are not bad, albeit short and chaotic. There's no slow moment here, just bashing ultra-fast pace topped by the crusty shouty vocals.
"Acts Of Sheer Madness" is not exactly "an act of sheer madness", but is a pretty wild affair with plenty of bashing of the outrageous hardcore semi-grinding type. There are attempts at slower modern, almost mechanized, thrashing, but they sound awkward, and it's obvious that this is not where the guys' hearts are thrown. Still, more laid-back takes on thrash/crossover ("Selfishness", "Weed", both towards the end) ala Broken Bones are not bad at all, and can be even considered the better, more musical, side.
"Proof of the Truth" shows the guys having not forgotten to mosh out in a fast & furious fashion with thrash metal covered much better ably assisting the wild hardcore outbreaks, even overtaking at the end on a couple of relentless speed/thrashers ("Desire", "Climb").
"An Elegy For Depletion", a fairly well chosen title for what follows in the music department, is another all-out mosh affair the band thrashing like demented all the way through the delivery now more oriented towards pure thrash, the band even reaching Slayer heights on invigorators like "Potential" and "Provocation". "Shut" is the jokey filler, slower and not as focused, with a big optimistic punk potential. The closing acoustic outro is appropriately-titled "Depletion" the guys logically taking a break being entirely depleted after such a tiring, highly inspired, performance.
"The Robotized World" doesn't radically change the delivery the band always ready to mosh to oblivion shooting a bullet after bullet neither crossing the 3-min limit. "Journey" is a less ordinary "journey" with more varied, more intriguing riffage, but the rest is heads down bash with direct, lashing guitars smelling hardcore for at least half the time.

More Power To Your Elbow EP, 1992
Promo Demo, 1992
Fine Day Nostalgia EP, 1995
Calm Loving Life EP, 1997
Chaos Days In 1992 EP, 2000
Searching For The Missing Truth EP, 2002
Acts Of Sheer Madness Full-length, 2002
A Road To A Brilliant Future Full-length, 2004
Proof of the Truth Full-Length, 2011
An Elegy for Depletion Full-Length, 2013
The Robotized World Full-length, 2017

Official Site

BEYOND DETH (USA)

The debut: a newcomer on the not very densely populated black/thrash field; a firm classic sound has been forged accompanied by harsh deathly vocals that preside over either fast-paced semi-technical excursions (the title-track) or more epic, quasi-progressive exercises ("Beyond Deth"), or more versatile melody-prone walkabouts ("Search the Stars"). A diverse recording that may surprise a bit with its not very predictable amorphous character. Some of the musicians are also active with the death metal act Incessant Collapse.
"Accept Your Fate" moves towards the death/thrash hybridization, and the impetuous vigour of tracks like "Live Again" and "Infernal Dreams" bring the setting to fever-ish proportions, the epic academic flair of "Servants" and "Endless Repent" echoing Amon Amarth and their Viking clones. A more progressive approach has been served towards the end with "Kill the Weak" and "Accept Your Fate" showing bigger ambition which may be looked at with more details on future instalments.

The Age of Darkness Full-length, 2018
Accept Your Fate Full-length, 2020

Official Site

BEYOND ETERNAL (CANADA)

This is quite a find: intense semi-technical power/speed/thrash at its classic best. The beginning is more dramatic and pounding (the opener "The Ravage Of Time"), but the lashing guitars start not long after and the next "Live For Nothing...Or Die For" is already a wholesome ripper. The inspired rifforama only stops for the relatively calm ballad "Faith In Death", before the galloping riffs of "Born To Kill" catapult you from your seat. More melodic speed metal comes served on "All You Fear" the hard thrashing coming back with the short explosive "Apocalypse" and the stomping "Dawn Brings Death". The end is in the form of the instrumental piece "Pandora" which is a varied "symphony" of tempos among which one is quite brutal with a death metal shade. The vocalist is a versatile throat, but his heroics are mostly within the semi-clean mid-ranged confines with just a few attempts at more adventurous singing which should have been more.

Faith In Death Full-Length, 2014

BEYOND MORTALITY (SWEDEN)

Based on the "Suffocation by Fear" demo, this act provide intense thrash/death metal crossing the new with the old school trends resulting in a frequently dynamic listen with several super-fast sections and casual more technical decisions ("Murder"). The singer is a brutal death metal growler of the expressive authoritative type.
The full-length doesn't stray from the chosen path the band thrashing in an expected way now sounding quite close to the veterans from their native land (Entombed, Unleashed, Dismember, etc.) playing fast'n tight for most of the time seldom spicing their direct approach with anything less obvious (the more intricate and slower shredder "Final Order"). The 2nd half starts dragging a bit due to the increased number of slower tracks where the pounding comes accompanied by a strong bass bottom.

The Final Chapter of Life Demo, 2001
Dear Boss Demo, 2003
Not Meant to Last Demo, 2004
Turn Blind Demo, 2007
Infected Life Demo, 2010
Suffocation by Fear Demo, 2011
Infected Life Full-Length, 2013

Official Site

BEYOND POSSESSION (CANADA)

Punk/thrash/crossover of the fast aggressive type; simplistic and direct and quite brutal-sounding at times. ON the other hand, some tunes are quite relaxed and mellow (check out the punky tone of "Life Force"), but they are just a relief from the more aggressive rest which is very seldom more than just stripped-down bash without too much thought out behind it. The singer semi-recites with an articulate semi-clean timbre shouting a bit more forcefully at times as though to match the intensity of the music.

Tell Tale Heart EP, 1985
Is Beyond Possession Full-length, 1986

BEYOND REASON (AUSTRIA)

This outfit play pretty decent modern power/thrash with has the seeping drama of the 90's Swedish movement (Hexenhaus, Pathos, Abstrakt Algebra, etc.), the fervent "I Am You" also boasting cool proficient leads, the doom-ornate "Sickness" creating a near-epic environment. "Free" is another highbrow, mostly power metal, drama the very cool attached clean vocals doing their best to retain the poignancy to the end, "Antithesis" showing some more dynamic prowess with more belligerent albeit still seismic riffage, aptly assisted by more bellicose thrashier shredder "Scavenger".

The Five Corners of the Universe EP, 2023

Official Site

BEYOND REALITY (USA)

After two capable efforts in the power/progressive mould this act hardens the course a bit on this offering adding a couple of more aggressive thrash riffs. The tempo remains mid-paced for most of the time, but the riffs are quite heavy as the melodic hooks have been diminished although intriguing Oriental tunes can be heard ("When All Else Fails"). After the peaceful semi-ballad "On My Way" comes the fastest track "Sacred Ground" which thrashes in a heavy steam-rolling fashion recalling Nevermore. "Pages Of Decay" follows suit trying to keep the speed from the previous number, but the jumpy proto-modern riffs are an obstacle. Then the semi-balladic tendencies take over once again on "Rage Of Man" turning into a whole short balladic instrumental at the end ("Departure") as a finishing touch.

Sacred Ground Full-length, 1998

My Space

BEYOND SANITY (HOLLAND)

Angelic female vocals lead the pack here which otherwise provides heavy seismic modern gothic thrash/death metal which, despite the frequent balladic moments, manages to deliver combining melody and intensity (the faster "Devour the Demon") in a way not far from mid-period In Flames and their compatriots Izegrim.

Devour the Demon EP 2010

My Space

BEYOND SERENITY (DENMARK)

Based on the EP, this very obscure Danish act comes up with cool classic technically-minded thrash, mid-paced to slow, flirting with the balladic genre along the way, as well as with modern "updates", at the end coming with a nice progressive thrasher ("Angel of Revenge").

Behind the Silence Demo, 1992
Promotiontape Demo, 1994
Bursting Into Leaf EP, 1997
Anno 1997 Demo, 1997

BEYOND THE FLESH (USA)

Based on the only full-length release so far, this band offers cool thrash/death metal recalling Carcass' "Heartwork" and Death's later period with nice technical riffs mixed with a considerable doze of thrash. The vocals remind of Jeff Walker, plus the addition of low death growls. The songs range from more melodic technical numbers to more brutal death metal ones.
On the "Third Storm" EP the band mix thrash and death in the expected way, sometimes blasting with passion ("Third Storm"), sometimes sounding quite peaceful, almost progressive ("Vicious Cycle").
"...and Then There Was Nothing" is an obvious improvement over the guys' previous outings as the sound is sharper and the approach more intricate, and shredders like "Allegiance" or the very ambitious officiant progressiver "The Acolyte's Burden" will satisfy the fanbase then latter with some imposing deep atmospherics the latter also gracing the closing stomper "I Will Not Hesitate to Burn All of This to the Ground".

Spawned From Flesh and Bone EP, 2001
What The Mind Perceives Full-length, 2003
Third Storm EP, 2006
...and Then There Was Nothing Full-length, 2017

Official Site

BEYOND THE GATES (ITALY)

Based on "The Inhumanity of Human Mind", this Italian duo indulge in fascinatingy interesting, but also quite violent at times, technical/progressive thrash/death metal which boasts numerous time and tempo-changes, often provided within one number, going away with all the "laurels" on the super-technical puzzler "The Madness" which is an admirable achievement even by Atheist, Martyr and Coroner standards. The shorter material is quite aggressive the guys spicing their venomous approach on those with a couple of stylish labyrinthine pyrotechnics the latter reaching another culmination on the hectic "Divine Suffering" which finishes with a splendid ambient/balladic passage. Then comes "Twilight" which is an insane shredder mostly in mid-tempo with a formidable wall of technical riffs rising accompanied by several addictive melodic insertions. The insanity goes on with "Amnesia" which is another tech-fest of the more abstract surreal type with a cavalcade of guitars spiralling out of nowhere in the best tradition of the technical thrash/death/black metal innovators Nomicon. "The 25th Hour" is a relatively more straight-forward thrash/deathster ala the Canadians Quo Vadis and Arsis featuring a not very obtrusive keyboard presence; a great melodic cut with a great chorus which one may end up listening to over and over. "Andromeda" brings back the head-spinning technicality which is here served with plenty of speed and "inhuman" sterile shredding which transforms in beautiful cosmic melodies at the end. The closing "Swedishhh" is a brilliant 2.5-min acoustic instrumental, another testimony of "inhuman" genius which this captivating album offers aplenty making this new act a very hot competition to Sadist and Illogicist as well as every other contemporary technical metal practitioner. This is truly one of the peaks of technical thrash/death metal of the past ten years, a mandatory listen for all fans of high quality music.
"Zodiac" would be quite a shock, a very unpleasant surprise to those who loved the debut. The band have calmed down technicality-wise almost to the point of no recognition. The bold adventurous spirit of the preceding album is nowhere to be found the style now being serene uneventful progressive death/post-death metal with metalcore borrowings marrying Killswitch Engage and Chimaira with Opeth and Enslaved. This is dreamy, even meditative at times, stuff with toothless guitars and numerous spacey sections the clean vocals an additional annoyance thrown in at will all over the album. This is a huge disappointment punishable by all "human" and "inhuman" standards...
"Soul Crisis" is an auspicious start for the band who already show, at this early stage, that they have what it takes to be major stars on the metal circuit. After the lyrical balladic intro "Whoracle" the guys start shredding with passion on the speedy "Soul Crisis" which is enhanced with nice balladic passages inserted among the insanely fast ones. The technicality is of the more sophisticated type, along the lines of the Canadians Quo Vadis with obvious nods towards the Gothenburg school. The lion share from the technical side falls on the hectic diverser "Nine" which switches between frenetic tempos and pounding jumpy sections the whole time on an atmospheric, claustrophobic base. More technical charge comes with the superb "The Black Hole Holocaust" which again shies away from speed in the beginning until the guys lose it in the second half with a portion of maddening blast-beats calming down towards the end. "The Remains Of God" is more conventional Swedish death, fast'n furious, with semi-clean vocals assisting the main brutal growls; watch out for the 2nd part which features a brilliant technical passage which will make your head spin- literally. The closer "Insomnia" is a creepy epic quasi-doom/thrasher, a fitting epitaph to this warm-up for the band's magnum opus.

Soul Crisis EP, 2011
The Inhumanity of Human Mind Full-length, 2011
Zodiac Full-length, 2012

Official Site

BEYOND THE GRAVE (BRAZIL)

Based on the "The Silence of the Defeated" demo, these guys play intense retro thrash with the German school an obvious influence. The music is both fast and melodic, in the tradition of mid-period Destruction, who are honoured at the end with an excellent cover of the godly/less "Curse the Gods".
"The Terror Beyond" continues in the same merciless vein, relentless speed/thrash with a crisp sound and cutting riffage. Mighty headbangers will one encounter here: the short massacres "Speeh of an Assyrian King" and "Shadow Killer"; the wild semi-technicaller "Conflict Zone" which reaches a death metal intensity at some point; the short Slayer-esque "Hall of the Corpses". The closer "Bloody Reign" is a true revelation: 6-min of diverse thrash with a few soaring lead melodies thrown in which flows into the aforementioned Destruction cover of "Curse the Gods". The singer who pulls out a harsh death metal performance tries to subdue his guttural style on this one, but not everyone can be Schmier. In other words, for the good old Germanic thrash look no further than these guys for whom the best is surely yet to come.
"Predictions of Disgrace" is another commendable release the band thrashing with force adding the more aggressive death metal hook ("Priest Of Lust") whenever necessary alongside the entertaining short speed/thrashing bursters like "Human Degradation", "Predictions Of Disgrace" and the semi-technical shredder "Never Forgive (1964)". "Violence Free" is a clever more technical mosher with echoes of Destruction which puts the performance on a higher pedestal also reflected in the last two cuts including the bonus track "Voices That Lead To Kill" which comes with a rougher more abrasive edge, apparently a leftover from an older recording.

The Silence of the Defeated Demo, 2006
Brazilian Thrash Massacre Split, 2007
Let The Chaos Clean The World EP, 2007
The Terror Beyond Full-length, 2011
Predicitions of Disgrace Full-Length, 2016

My Space

BEYOND THIS LAND (CHILE)

This power trio deliver officiant epic thrash coming as less aggressive and less belligerent Amon Amarth, more on the modern side without too many stretches towards the fast-paced realms save for the surprising brisk speedster "Dragon". Copious amounts of melodies have been spilt over the listener from feelgood roller-coasters like "Blood for the Gods" and the balladic idyll "Sons of Odin" the carnival partly ruined by the vocalist who never changes his semi-shouty death metal timbre.

Hyperborea Full-length, 2018

BEYOND THRESHOLD (USA)

Modern thrashcore with loads of groove and aggro-patterns which would remind of both mid-period Machine Head and Madball. The singer tries to match the musical approach in terms of anger and succeeds although one would not have a choice, but to admire his clean "exploits" on the epic semi-balladic "First Blood". The guys start with fast-paced cuts, but gradually abandon the speed and settle for heavy mid-paced rhythms which pull the excitement effect down until the album reaches the cool acoustic ballad "Stuck Inside"; again, a high score for the vocalist who goes away with all the praises for the umpteenth time. More slow moments on the closer "Overthrown" which is a not as impressive mixture of doom and the ballad being too pensive and repetitive to grab the attention fully.

Who We Are Full-Length, 2012

BEYOND UNKNOWN (USA)

A pretty good EP of technical power/thrash metal of the classic type, interesting engaging music along the lines of Artillery and Have Mercy; diverse with frequent tempo changes thrashing wildly on occasion (the energetic instrumental piece "Reflections"), but also getting complex bordering on progressive ("Beyond Unknown") without toning down the intensity. The lead guitar work is outstanding, clinging more towards the melodic delivery, and the singer is another great asset with his emotional clean timbre not miles away from the legend Jeff Scott Soto.

Reflections In Time EP, 2010

BEYOND VERGE (FINLAND)

This is predictable modern power/thrash metal which doesn't lack both sharpness and energy, but suffers from the trite vocal duel. Still, the guitar work delivers, especially on the more dynamic moments (the fine galloper "Preacher", the more lyrical speedster "Name of the Pain").

1st Attempt Demo, 2008

Official Site

BEYOND VISION (BELGIUM)

This obscure Belgian formation used to play stylish progressive thrash metal resulting in more than a few interesting moments. "Finale Mortale" is a heavy shredder with nice classical leads and a haunting quiet mid-interlude. "Fragments Of A Dying World" is a sinister dark piece with a surprisingly fast second part after the 1st crushing Nevermore-sque one. "Beyond Vision" is a formidable galloper in the best tradition of Helstar's "Nosferatu", and "Contrast Of Reality" is a more intense speed/thrasher with again excellent classical lead guitar work. "Way Of The Warrior" at the end is a live recording of an old song of theirs which is a fast direct thrasher with another portion of virtuoso leads. The singer is not really the highlight, but his gruff clean non-changing timbre fits the music all right.

Beyond Vision Demo, 1991

BEZERKER (AUSTRALIA)

Arguably the finest full-length thrash metal release to come out of Australia: very nice technical thrash which could only be compared to the mighty Hexenhaus and Toxik's "World Circus". Bezerker are perhaps more intense, especially in the first part, which simply crushes with technical aggression (check out "Yours Subliminally"). The guitar heroes in this band do a job no worse than Mike Wead himself. The second half, which begins with the technical stomper "I Lost", is faster and a bit more varied, but the technical riffage remains intact. The singer is a very nice addition to the great music with his powerful melodic voice, who effortlessly switches from one height to another all the time, without sounding annoying. This band have no relation to the death-grinders The Berzerker from the same country, who appeared several years later.

Lost Full-length, 1989

Vibrations Of Doom

BG (USA)

This is abrasive heavy thrashcore which shares moments from both the classic and modern scene. The singer shouts hysterically, and the guitars stomp with both noisy and sparse melodic shades the latter taken directly from the early-80's punk scene. This is a simplistic concoction of carelessly thrown 1,1.5-min tracks of the rehearsal type.

The Congratulations EP, 2002

BHAKTAR (CHILE)

Competent energetic retro thrash which rips from the beginning with crisp vigorous riffage on the ripping opener "Vendedores de Fe". More mid-paced riffs come forward later on, but compulsive headbangers like the short "Destierro" and the more ambitious speedster "Falsa Verdad" will keep anyone entertained. The approach becomes more complex near the end although there is no reduction of speed the band marching on in an imposing steam-rolling manner slightly hampered by the hysterical high-pitched death metal vocals.

Senderos De Muerte Demo, 2009

BHIKSHU (FINLAND)

The EP: an interesting, not always predictable, black/death/thrash amalgamation which can be delightfully brutal ("The Mad King"), but expect a wide vocal diversity alongside quirky more technical rhythms ("Thirty-Six"), the bashing simplicity of "Firebrand" reminding of the guys' compatriots Impaled Nazarene. "Immortal and Man" is a marginally more tamed death-laced epicer, and the title-track is a variegated doom-infused saga with sudden blasting outbreaks.
The full-length is strictly oriented towards the black/death combination, leaving thrash on the wayside for at least half the time, and although numbers like "Thanatica" and "The Contortionist" are some admirable exercises in tight pummeling old school thrashing, there's way more fury stored in short blitzkriegers lime "The Fool and the Monolith" and the complex proto-blasting sprawler "Awaken to Emptiness".

The Fate of Monarchs EP, 2021
Awakened to Emptiness Full-length, 2023

Official Site

BHOPAL (ITALY)

This band plays retro black/thrash with early Celtic Frost an obvious influence. These Italians speed up more often where the sound gets more playful with Motorhead overtones and a less serious punk/crusty attitude. The singer is a hoarse low-tuned shouter whose rending antics are quite hard to decipher.

Where Morality Fails Demo, 2007

BIBLEBLACK (SWEDEN)

The guitar wizard Mike Wead has decided to play more aggressive music again, here helped by his colleague from Abstrakt Algebra Simon Johansson, who had previously joined Wead's former co-workers from Hexenhaus for the forming of Fifth Reason, and has also pulled the strings in the power/doom metallers Memory Garden and the power/speed metal heroes Steel Attack.
The eponymous technical intro "Leaving Shangri-La", a commendable mixture of keyboards and guitars, will raise the level quite high, but the guys later have no problems reaching it producing a really good mix of modern and classic thrash, quite guitar-oriented, with nice technical leads, and the keyboards ever present, maybe at times to the point of annoyance. Well, all is forgiven on merciless thrashers like "Mourning Becomes Me", or complex technical/progressive opuses like "I Am Legion". There are exits from thrash ("The Dark Engine"), which is a fine "cosmic" composition ala mid-period Samael and The Kovenant. "Bleed" brings the sound back to the aggressive thrash patterns but more "cosmic" technicality will find you on "Stigma Diaboli", which this time really goes to the 7th Heaven, or even beyond, with these spacey melodies, orchestral arrangements, and distorted guitars. More thrash, this time mid-paced, on "Walk Into Light (Liars Parade)" followed by the atmospheric gothic closer which has no ties to thrash at all, but is wonderfully enchanting with the great haunting keyboard melodies within. This is by no means a full-fledged work of thrash, but the musicianship displayed and the ideas thrown in will guarantee you an engaging, diverse experience.

The Black Swan Empire Full-Length, 2009

BIBLE BLACK (USA)

Heavy modern power/thrash which sounds like a more aggressive, but slower version of Anthrax's "Stomp 642". The music slows down to a sleepy state sometimes ("Judgement Day", "World on Fire") and there's a certain amount of groove involved, but the lack of any up-tempo sections here might not satisfy the Machine Head or Pantera fans.

Bible Black Demo, 1994

BIDROHA (NEPAL)

This is just 2 tracks of crunchy old school power/thrash with a good alternation of tempos recalling Sacrifice and Laaz Rockit the singer being a mean semi-cleaner of the low type. The sound quality is good although a slight buzziness can be heard coming from the guitars.

Singles Recorded Till Date Demo, 2012

BIEST (GERMANY)

Melodic speed/thrash metal calling to mind another German band, Liar. "Only Tears" loses it completely embracing the heavy metal idea really tight consequently leaving no room for thrash whatsoever.

Crash Trash EP, 1987
Only Tears Demo, 1991

My Space

BIFROST (HOLLAND)

Bifrost have often been compared to Sabbat, partly because of the pagan atmosphere of their works, and partly because of the elaborate song-titles, and the truth is that they indeed come close to the Brits music-wise on quite a few moments. Bifrost's style is a fusion of thrash, viking/black and even folk metal with an overall epic feeling which is quite unique and not annoying. "Pagan Reality" is a self-assured debut, starting with the mid-paced heavy "Fimbulwinter- A Tale Of Hate" recalling Sabbat, but also the Skyclad early works. "Bird Of Prey" is an intense speedy thrasher, and the next "My Ancestor, Now A Dark Woodspirit" increases the aggression, reaching a death metal intensity in the beginning. The title-track is a very cool mix of slow pagan rhythms and fast thrashy ones, but the fast thrash attack takes over again on "Children Of The Black Hill" and "My Lady Of Winterfire". "Battlelord Odinn (Father Of Victories)" is a slower doomy track. "Choosers Of The Slain" prefers to stay within the mid-paced limits coming with great heavy, melodic riffs. The closing "Lost Times, In Darkness Forgotten" is a fine up-tempo, galloping thrasher, again offering nice melodic tunes and atmospheric acoustic sections.

"The Wildest Fire" starts with epic-tinged, melodic tracks until the coming of "Blood In My Veins" which picks more aggression, but all is lost on the softer gothic/thrash mix "Do I Decide Dreams". "Midwinter Celebration" thrashes more intensely once again, and is a very good reminder of the band's influences (Sabbat, Skyclad). "The Midgard Drama" is a slower heavier piece, but the riffs are very cool with a nice pagan edge. "Eburonic Pride" is a great number which could stand just perfect on the Skyclad debut; check out the brilliant Oriental theme there and the mighty melodic, but also sharp riffs. "My Wicked Smile" is a more laid-back instrumental, but the title-track is all-out speed/thrash, again boasting fine melodic hooks. "The Bright in the Future" is another instrumental which closes the album with marvellous atmospheric, orchestral melodies.

"Mythistory" takes no prisoners with the great opener "The Gods' Lament", a first-rate thrasher with a unique pagan atmosphere, vintage Sabbat. "You Fear My Kind (The Truth Divine)" adds a lot of keyboards, and is consequently more melodic recalling more recent Skyclad. "All Creation Wept..." preserves the keyboards, but is a more intense thrashing piece. "Soulbound Eternity" is galloping power/thrash with fine piano melodies, but "The Dark Woodspirit" is a pure death/thrash rager with a cool pagan edge. Later on the tracks are fine blends of more aggressive thrash and softer epic sections with thrash taking the upper hand on "Come... Burn With Me!", and especially on the thrashterpiece "Dreaming The Dark", the song which Sabbat never wrote; again nice keyboard tunes in the middle. A magnificent orchestral, piano-driven instrumental ("Without Soulcontrol") finishes this third consecutive strong effort. Moving closer and closer to perfection with every subsequent release, the band needed very little to reach their peers, but apart from the release of the 2-song EP in 2001, which contains a remastered version of an old track plus one new one (the title-track), nothing has come out of their camp in quite a while.

Pagan Reality Full-length, 1995
The Wildest Fire Full-length, 1996
Mythistory Full-length, 1998
Torn between two worlds EP, 2001

Official Site

BIG IRON (USA)

Based on "Falling Down", this is another Pantera and Machine Head-clone with the typical for the style heavy groovy riffs, and a slight shade of hardcore.

Tierra Del Diablo Full-length, 1997
Falling Down Full-length, 2004

BILHARZE (CZECHIA)

This Czech trio deliver corrosive industrial modern thrash that can be mechanical and tenebrous on "Growth", but also possesses a more expressive Skrew-esque side on "Memories of the Body", an urgent albeit subversive cannonade which is backed-up by the dynamic jolts on "Choke Up", a sterile headbanger of the chaotic unnerving variety. The singer is a stone cold reciter with a harsher hardcore-ish baritone epitomized at times, think a less shouty but less confrontational Al Jurgensen (Ministry).

Defcon VI Demo, 1990
Growth Demo, 1992

Official Site

BILLABONG OF BLOOD (AUSTRALIA)

Based on the full-length, this act offer crisply produced modern/classic thrash which knows how to thrash out with the best as evident from energetic cuts like "Rolling Thunder" and "Shadows On The Wall". "Creator-Destroyer" clings towards the progressive with its choppier rhythms, and its mellower character influences the ensuing material "We Rule The Night" being a merry crossover cut, and the closing "Steven The Destroyer" is a soft power metal hymn ruining the final impression from this otherwise cool slab of the good old thrash.

Billabong of Blood EP, 2014
Billabong of Blood Full-length, 2016

BILLY CRYSTAL METH (USA)

A very heavy all instrumental act, blending sludge, doom and 90's post-thrash into one squashing steam-roller mix, which has its quite a few energetic moments; still, fans of Eye Hate God and Crowbar will find more to like here...

6 Song Promo Demo, 2005
Doktor Bitch / Billy Crystal Meth Split, 2007
Meth Metal Full-length, 2008
Grand Old Lady / Billy Crystal Meth Split album, 2009

My Space

BILLYBIO (USA)

This is decent modern thrashcore which offers both heavy volcanic strolls ("Fallen Empires") and speedy energetic hymns (the title-track), the latter aspect turning to pure unbridled hardcore ("Lost Horizon") on occasion, but this is a dynamic recording which most uncharacteristic side is the epic/doom pageant "Turn the Wounds", the shouty semi-clean vocals doing a pretty good job on that one as opposed to the man's nonchalant tirades on the rest.

Leaders And Liars Full-Length, 2022

Youtube

BINEURONAL (FRANCE)

This 3-tracker is an auspicious start for these young Frenchmen who provide stylish technical modern thrash moshing with an overt Bay-Areasque flavour on "I Do Spit Fire", before "Metalyrics" enchants the listener with a portion of appetizing guitars on a dramatic, pounding base. "Song To The Whale" is more on the epic power/thrash side, but delivers with its escalating crescendos,and especially with the very good high-strung , emotional clean vocals.

Bineuronal EP, 2016

BIO-CANCER (GREECE)

Two songs of fast blitzkrieg retro thrash ala Hypnosia and Violator with a very good sound quality; the guitars rip with force lashing fiery riffs left and right with the husky vicious vocals another cool asset.
Prepare for some "ear piercing" thrash on "Ear Piercing Thrash", the guys' full-length debut which sees them embracing the old school thrash idea leaving no stone unturned with the vigorous title-track which sets the tone for the ensuing carnage where the band still no mercy: the more moderate stomper "Backsbed Again" although the scares are guaranteed near the end when some wild thrashing shred is unleashed. Things go a bit over the edge towards proto-death on the fierce "Spread the Cancer", but for the better, and the approach until the end remains quite aggressive the closing "Anthem of Violence" raging hard with a sophisticated technical edge showing up. The vocals remain as vicious as before, and this act definitely have a bright future if they would work a bit harder in the future: the album is only seven songs closing on less than half an hour.
"Tormenting the Innocent" is another wild affair the band knowing no mercy their aggressive demeanour boosted by the abrasive noisy edge of the guitars. Needless to say, mid-paced breaks are almost nowhere to be encountered, but melo-death is wisely touched on "F (R) Iends or Fiends?" bringing the necessary amount of diversity the latter also enhanced by the short crossover joke near the end "Haters Gonna Suffer!" and the brutal proto-death insanity "Life Is Tough (So Am I)".
“Revengeance” is a wild hyper-active entry, the riff-orgy stirred on “Citizen... Down!” still leaving room for more melodious developments, before more complex but equally fervent song-writing comes to the fore on “Footprints on My Back” and the more death-laced “Dream Merchants”. The pensive histrionics of “Underdog (Against the Odds)” find their rightful place in the second half next to the exhausting downpour unleashed on the closing madster “Bludgeoning Skullcrushing Mayhem”.

Endless Violence Split, 2011
Ear Piercing Thrash Full-Length, 2012
Tormenting the Innocent Full-Length, 2015
Revengeance Full-Length, 2023

Official Site

BIO-DEATH (MEXICO)

Modern power/post-thrash which suffers from both the execution and the production very thin guitars accentuate sparsely eventful riffage which picks intensity ("Agnostic Flesh") on occasion, but this is largely mid-tempo stuff which loses quite a few points from the overlong dreamy ballad/semi-ballad "Living in a Psychotic Paranoia (Lsd)", a pretentious snooze-fest totally sidelined by the shorter more dynamic material ("Earthquake", "With Out Respect"), and especially the excellent psychedelic instrumental "A Soul to Take". The vocalist is an awful shouty deathster who ruins the proceedings sometimes beyond repair.

Prayers of Messiah Full-length, 2020

Official Site

BIOCIDE (USA)

Thrash/death metal, well done, not too far from the Swedes' Merciless' debut with a certain Slayer vibe, too; the tempo is generally fast with very proficient lead guitar work and brutal, death metal-styled vocals.

Demo Demo, 1992

BIOCODEX (VENEZUELA)

There's only one musician involved here, the name Jose David Rodriguez, and he serves intense moshing old school thrash which initially puts "War Machine" up front, a ripping but also moderately complex composition, Rodriguez providing a mean spatout semi-declamatory timbre behind the mike. "Ovni Experiment" is a short non-fussy headbanger, and "Space Mosh" is an even shorter thrash/crossover merry-go-rounder. "Galactic Thrash" is the highlight, a technical speedy roller-coaster that wraps an entertaining, also promising first effort.

Galaktor Attack EP, 2021

Official Site

BIOERASER (ITALY)

Industrial groovy post-thrash sounding close to Fear Factory and Puncture in the more aggressive parts, but having quite a few melodic sections, too, where one can hear clean alternative vocals, and the music loses its edge a bit.

The Art Of Machines Demo, 2005

Official Site

BIOGENESIS (USA)

This is a unique band; the style is a mixture of progressive, thrash and gothic/doom which works very well. The singer is really a find with his ability to shift from great clean vocals to horrifying hardcore shouts; quite original are the low, sinister semi-operatic ones. The music is very heavy, and the only soundalike I can think of, is the one-album-wonder Cyperus, plus the gothic elements. The songs are long, and are full with dramatic atmosphere created by the frequent change of several vocal styles within one song, and the heavy, and occasionally technical ("Crystal Ball") guitars. Even the short 2-min stomper with the interesting title "Fat Man From China" is quite impressive. All songs cross the two contrasting styles quite well with not a single one belonging to the slow doom metal genre, with the exception of "Scorning of Wisdom", which admirably dooms with the best.
"The Rise, The Fall, The Rebirth": a colossal 11-year hiatus is broken by this excellent recording which sees the band on top form again for the creation of seismic, dark sounds which have more in common with doom metal, thrash sitting on the side interfering at times: the steam-rolling crusher "Point of Origin"; the dramatic semi-headbanger "Bleed Me"; the excellent brooding Sanctuary reminder "The Darkness Fades". "Fallback" near the end is another raging shredder marching forward with volcanic, stomping riffs; and the final "Catalyst For Malice" is dark pounding thrash at its best reminiscent of the ultra-heavy steam-roller delivery of Apocrypha's "Area 54". Overall, this is a true masterpiece which would rival any Candlemass or While Heaven Wept album of recent years by at the same time offering something for the hardboiled thrashers to hold onto as well.
"The Mark Bleeds Through:First Blood": this is obviously a reworking of their debut with two demo versions of songs from there, plus three brand new tracks provided as a bonus at the end. "Mud Vein" is a dynamic doom/thrasher; "Broken Vows" is a dramatic pounder with heavy, ship-sinking riffs; and "Do You Remember Me" is a dark atmospheric ballad in the spirit of Type O Negative.
"A Decadence Divine" is a much mellower recording as thrash is almost nowhere to be heard. This is more conventional progressive with a few more aggressive moments ("As Empires Fall"), and with very prominent keyboard presence that gives the album a romantic melodic, also poignantly dramatic aura.

The Mark Bleeds Through Full-length, 2001
The Rise, The Fall, The Rebirth Full-Length, 2012
The Mark Bleeds Through: First Blood Full-Length, 2013
A Decadence Divine Full-Length, 2017

My Space

BIOHATE (RUSSIA)

Four songs of varied modern thrash which is at times carefree and merry (the crossover joy "Stacie Rock'n'Rolla"), at times pensive and doomy ("The Walking Dead"), at times fast and intense ("Young and Loud"). The production is too loud making the guitars too buzzy at times with a loud echo accompanying them. The vocals take a very small space here, but are not bad with a cool hoarse shade to their attached semi-clean tone.

EP EP, 2012

BIOHAZARD (USA)

The very early incarnation of our favourite modern thrashcorers was way better the guys bashing wildly to produce violent intense thrash/crossover which is at times as squashing as Evildead and Slayer although there's a variety in tempos all over "Howard Beach" being a really brutal piece with proto-death overtones. "Money" is on the other side with a portion of heavier doom-loaded guitars at the beginning; still, the latter remains an exception among the aggressive barrage on the other material which is by all means on the listenable side the whole time the vocals rending the air with angry quarrelsome shouts.

Demo Demo, 1988

BIOLENCE (PORTUGAL)

The EP: this is modern energetic thrash metal with the Swedish school an obvious influence. The melody probably comes a bit too much reaching epic proportions on the Amon Amarth-esque "Blood of the Gods". The lead guitar work is really good (check out "Pure"), and generally the guitarists know what they're doing often changing the pace reaching more aggressive death metal waters on the already mentioned "Pure".
The full-length debut carries on in the same vein the guys thrashing with gusto and a touch of technicality, with the Gothenburg tendencies firmly in place again. "Death from Above" is a more engaging progressiver with "Human Existence" another highlight with its sprightly energetic guitars. A couple of lengthy compositions are placed towards the end among which the closing "Melodies of Doom" is a cool diverse number with nice virtuous melodies.
"Violent Exhumation" offers a more bashing, more stripped-down sound with not many melodic decorations at all; there's some crooked modern technicality ("Devoured", "Disease") ala Darkane involved, and the latter element is easily the highlight here as the rest settles for either heavy pounding hymns ("Look Around") or for echoes from the Gothenburg school-influenced style of the previous recordings.
"Enslave, Deplete, Destroy!!" is more aggressive, "Global Domination" being a sheer death metal steam-roller, "Merchants of Inhumanity" displaying a more intricate nature, bringing back the thrash as well, although death rules the proceedings on "Venomous Speech" later, "Nuclear Winter" revealing an epic doom-laden character ala Bolt Thrower alongside more melodic tunes, the latter also finding a field for expression on the more relaxed semi-headbanger "Cyclic Redundancy Error".

Melodic Thrashing Mayhem EP, 2010
Violent Non Conformity Full-length, 2017
Violent Exhumation Full-length, 2018
Enslave, Deplete, Destroy!! EP, 2021

My Space

BIOMECHANICAL (UK)

One of the leading bands from the not very massive nowadays British thrash metal scene, Biomechanical play complex progressive power/thrash with lots of twists and turns (the vocals also try to keep with the twists and turns of the music, moving into all possible styles known to the metal world). The style is similar to another band, Azotic Reign from Sweden, but the Brits are more adventurous, and perhaps more melodic. Their music isn't an immediate listen, but those who like thrash metal less ordinary and challenging, should definitely try this.
"Cannibalized" is a strong release, and by far the band's finest hour. It would startle you at first, with its quite uncompromising and much more aggressive sound compared to the earlier efforts; the tempo is faster, and the guitars are considerably more technical and chaotic, and you'll have to spend your time with this work in order to appreciate it fully. The singer does a fine job again, and his Rob Halford-like screams are particularly impressive. Parts of the album are pure death metal, but they are not too many, and power metal is nothing but a distant memory here; this is first-rate progressive/technical thrash with a definite modern edge, coming also from the industrial, mechanical feel which the sound emits. Some songs, for example, sound like a more technical and "updated" Pantera: "Predatory"; "Through Hatred Arise" is an almost symphonic piece supported by background guitars and bass, topped by the high-pitched vocals, and is really striking, but the rest is much more dynamic, although the pace changes all the time, creating an almost hallucinogenic atmosphere on the more twisted and frantic sections.

Eight Moons Full-length, 2002
The Empires of the Worlds Full-length, 2005
Cannibalised Full-length, 2008

Official Site

BIONATOPS (USA)

Modern thrash with progressive tendencies; there are shades of both industrial and djent both side-dishes coming nicely together on the minimalistic shredder "Peforate". "Ingrate" is a wild headbanger with echoes of Strapping Young Lad, and "No Safe Harbor For Thieving Seals" is a cool bizarre technical shape-shifter with outlandish Mekong Delta-sque decisions. "Prehistoric To Pillow" is another hard to pin down downbeat weirdness with sudden thrashy explosions this amalgam working fine until the coming of the noisy non-musical finale "Does It End Or Begin". The vocals are suggestive mean whispers for most of the time, adding more to the eclectic nature of this recording.

Voices Full-Length, 2017

BIORATE

This is mellow modern post-thrash with progressive tendencies and too many quiet interludes between songs. There are a couple of heavier riffs to be heard, including one more energetic headbanger ("Kill The Xenophobe") which really delivers with its dynamic semi-technical riffs; sadly, it finds little support from the other material which is jumpy and groovy at times, at others peaceful and semi-balladic the latter more fitting to the clean emotional vocals.

S.V.E.T. (Soon Violence Ends This) Full-Length, 2010

BIOTECH (ITALY)

Based on the "Without Escape" demo, this band play heavy groovy, industrialized post-thrash along the lines of Grope and Puncture. The chuggy wave of abrasive riffs is solely interrupted at the start of "Misguided" for a brief balladic intro; the rest one big wall of stomping mechanical, sterile riffs assisted by angry shouty vocals.

Without Escape Demo, 1996
Hate Inside Demo, 1997
New World Disorder EP, 1999

BIOTERROR (CHILE)

Cool dynamic retro thrash comes from this 4-song demo, in fast pace and with semi-angry shouty vocals. The sound quality is very good, and the guitars are sharp coming at times with a slight crossover/hardcore edge ("Bioterror") and a pinch of proto-groove ("Hora 25") ala Pro-Pain.

Proyecto Caos Demo, 2004

BIOTOXIC WARFARE (GREECE)

Based on the full-length: the drum intro, taken straight from Slayer's "Criminally Insane", is a promise for aggressive retro thrash, and indeed the band don't disappoint although their approach is way more refined than the one of early Slayer with guitar work which borders on the semi-technical (the opening instrumental "Mors Indecepta"; the proto-death shredder "Dysphoric Reality") more than just now and then. The razor-sharp riffs are alleviated by the insertion of several more atmospheric sections ("Proclaim the Gospel of Lies") and a few soaring melodic hooks which work particularly well on the sweeping speed/thrasher "Lust for Hate" which also boasts the finest leads on the album. The closing "As We Rot..(Promises of Heaven)" brings the eagles... sorry, the winds of death metal for nearly 6-min closing this effort with an aggressive aplomb.

Baptized in Blood and Greed EP, 2013
Lobotomized Full-length, 2015

Official Site

BIOVORE (USA)

These guys released two demos in the early-90's, but got busy with numerous other acts (Deceased, Sadistic Torment, Dying fetus) soon after to give their tribute to the flourishing at the time death metal genre, only to return to their "old love" with a full-length nearly 10 years later. This album is strictly on the modern semi-technical side of things bringing to mind both Baghead and the French experimentators Treponem Pal. If the music had stayed within the confines of those two bands, things would have been much better, but the band has also stretched towards crossover, alternative and even grunge to produce a fairly wild varied blend in which the creepy doom industrialized pieces ("Proto Type", "Digital") work best although the bad hysterical shouty vocals do their utmost to ruin them.

Scientific Proof Full-length, 2002

Official Site

BIOWARFARE (VENEZUELA)

Based on the full-length, these lads indulge in pretty decent retro thrash, a lashing headbanging opus full of instant shredding hits ("Burning insanity", the proto-death violator "Undead"), the semi-technical spin-arounder "Screaming in Silence" a stylish reminder of Destruction's mid-period. "Biowarfare" is an excellent more complex Bay-Areasque thrasher, and "Thrash Fever" aptly exemplifies the album's ferocious, also intricate nature, the latter receiving another boost from the lashing "Never Again". The vocalist is an intense semi-clean semi-shouter/semi-reciter, his passionate antics heard soundly over the hills and far away.

Biowarfare EP, 2015
Wiping Out Human Race Full-length, 2020

Official Site

BIPOLAR DISORDER (ITALY)

An Italian duo who specialize in brisk dynamic old school thrash which also his cleverer more intricate side (the title-track), with moments of speed and power metal ("The Walking Dead") also sneaking through, the band not pulling all the stops aggression-wise, the lyrical all-instrumental semi-balladic piece "When It Rains" missing the subdued semi-death/semi-declamatory vocalist.

Threshold of Madness Full-length, 2022

Official Site

BIRD OF PREY (USA)

Based on the "Tales from the Crypt" demo, this band play fast, aggressive thrash akin to Hallows Eve, Slayer and Rigor Mortis.

Tales from the Crypt Demo, 1987
Undead Resurrection Demo, 1988

BIRDS OF PREY (USA)

Based on "The Hellpreacher", this is a mix of heavy doom/sludge and more energetic modern thrash. The faster material comes with a shade of hardcore, and with a pinch of more intense proto-death ("Momma"). This band will be of interest to those who enjoy EyeHateGod or Down for a main course, served with Pro-Pain for a dessert.

Weight of the Wound Full-length, 2006
Sulfur And Semen Full-length, 2008
The Hellpreacher Full-length, 2009

Official Site

BIRROR (ARGENTINA)

This Argentinian trio offers classic thrash/crossover which comes with a pretty bad fuzzy sound quality and hysterical shouty vocals. The music is very simplistic with direct amateurish riffs packed in 1/1.5-min numbers.

Birror Demo 2008

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BIRTH AD (USA)

A thrash/crossover trio who pulls out pure classic stuff played quite fast and intensely in the vein of early Prong and The Accused with a couple of both more relaxed punky and more extreme proto-death metal implements. There are only 10 numbers and with the average song's length barely reaching 2-min, one ends up with a listening entertainment of just above 20-min. The guys take part in several other projects: the black metal formation Averse Sefira which is their main occupation having released 4 full-lengths so far; the technical brutal death metallers Death of Millions; and the death/goregrind act Show Me on the Doll.
The full-length follows the same frolic thrash/crossover path which at times transforms into a tad more serious speed/thrash ("Burn L.A.") which contrasts with the ultra-fast delivery which is on the edge of falling into pure hardcore on the short half-min burster "Violent Retribution". There's seldom anything else but pure unadulterated bash to be witnessed here, but fans of the aforementioned acts will never have a dull moment with this one.

Stillbirth of a Nation Full-length, 2009
I Blame You Full-Length, 2013

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BIRTH DEFECTS (CANADA)

Thrash/crossover of the more melodic, happier variety, similar to early Suicidal Tendencies and Gang Green.

Setting Our Own Path Full-Length, 1990

BIRTH MACHINE (CROATIA)

This outfit provide follow the path of modern thrash mixed with crossover and surprisingly this blend is not too bad, sounding like the first 2 Pro-Pain albums at times spiced with more intense mosh (the energizing "Vita Morbida"). There is a certain Carcass' "Swansong" vibe as well ("Infected", "Gomorrah": watch for the brutal death metal break on this one!) to which the vicious husky death metal vocals are a better match.

Something Inside Of Us All Demo, 2011

BIRTH RITUAL (JAPAN)

Based on the demo, this Japanese trio provides 3 tracks of raw simplistic black/thrash along the lines of early Venom with several speed metal moments ("Holocaust") present. The sound quality is a bit buzzy, and the singer is a comprehensive black metal rasper.

Witching Metal Demo, 2009
Angel Grinder EP, 2011

My Space

BITCH WITCH (USA)

Another attempt at the retro black/thrash metal genre done in a more laid-back crossover manner despite the gruff raven-like vocals. On the more intense moments the approach moves towards early Sodom so it shouldn't be a surprise the Germans' cover of "Sepulchural Voice" from their debut EP "In the Sign of Evil", the latter followed by the much milder doom metal-laced, but strangely atmospheric, closer "Holy Inquisition".
The demo is another three songs of messy early black/thrash which chaotic rhythmic patterns may get on some nerves a bit. The guys manage to synchronize their efforts for the final headbanger "Sangre Lacrimogena" which also boasts fine leads (really?!) and a consistent main riff.

Born of the Witch Full-Length, 2010
Demo Demo, 2011

BITCHCRAFT (USA)

This all-female act was previously known as Anghell (also reviwed here). This is just a 2-song demo of playful groovy post-thrash assisted by mean vicious vocals with a punky timbre.

Bitchcraft Demo, 1996

Fan Site

BITCHHAMMER (GERMANY)

Based on the full-length, these folks provide intense retro black/thrash which doesn't cross the borders of good behaviour, "Satanic Violence" letting a few less controlled proto-blasts sneak through, but overall this is an energetic hyper-active affair with black metal ("Fear No Evil") taking over at times, with stomping doom-laden tributes to the Celtic Frost heritage ("To Hell with the Cross") serving the requisite respites from the speedy roster. "Blasphemaniac" at the end is a looser thrash/crossover proposition, the harsh semi-death vocalist appropriately aggrandizing the atmosphere on this one as well. Some of the musicians are also active with the power/thrash formation Antyra.

Doomblessed & Chaosborn EP, 2010
Raging Hell Rivers EP, 2014
Offenders Of The Faith Full-Length, 2019

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BITCHSLICER (USA)

This is an interesting band who, on their debut, play modern groovy thrash not too far from Pantera including the similarities with this band in the vocal department. Then on the sophomore release they introduced grindcore, and things became more interesting. The mixture works pretty well most of the time if we exclude some cheesy moments in the band's sound: quite a few acoustic parts and awkward covers of non-metal singers (Hank Williams, Willie Nelson).

Cum Inside Full-length, 2003
Friday the 13th Live album, 2004
One For The Ladies EP, 2005
Lycanthropic Fellatio Full-length, 2007

Official Site

BITE (USA)

This is "biting" modern thrash/post-thrash which settles for a steady mid-tempo reminiscent of mid-period Prong spiced with a couple of more relaxed power/thrashers ("Angry Land") which are by all means a pleasant deviation alongside the several semi-ballads ("Coming Storm"). In the second half one will come across a few longer numbers where the riff-patterns remain on the same simplistic level, consequently diminishing the impact since they drag for too long without any more stylish gimmicks. The singer is a cool mean-ish semi-cleaner whose antics also carry the odd sense of melody.

Counter Attack Full-Length, 2016

Official Site

BITING SOCKS (MEXICO)

These Mexicans play simplistic hardcore/thrash with a very fuzzy guitar sound, generally fast with hysterical rending vocals and short, 1-2min, tracks.

Bandanos / Biting Socks Split, 2008

My Space

BITTER END (USA)

A not very convincing attempt at more technical thrash with Megadeth a pretty obvious influence. "Sex and Death" is a convincing jumpy beginning, but later on the digressions into other styles get too annoying, especially the funky experimentations on "Just Say Yes". The speed gets high near the middle, showing the band sounding more capable when sticking to more direct, simplistic riffage, as evident from the short speedster "Save Us", the more intense thrasher "Profits of Doom", and the vigorous closer "Living Hell", which moshes hard even blasting uncontrollably at some point, with good leads supporting on the side. The singer is a bit weak, though, singing in a flat indifferent, clean timbre the whole time, never changing the pitch even for a split second.
"Have a Nice Death!" is not exactly a new album featuring songs recorded in the early/late-90's. The first four tracks are a demo made in 1991; tracks 5-6 are another demo made in 1992; and tracks 7-10 are their last demo produced in 1998. The earlier material stays quite close to the music heard on the debut being mild speed/proto-thrash with sparse more technical decisions, "Tiny Minds" being a tribute to early Metallica, and "Burning Bridges" providing a cool mix between ballad and hard thrashing. "No Law" is a more intense speed/thrasher, again recalling Megadeth, but the highlight here would probably be the clever technical exercise in slower, almost instrumental-only, jumpy thrash titled "Right To Lie". The rest follows a similar path delivering passing old school stuff still sounding not as impressive the band seemingly not destined to become major stars on the scene.

Harsh Realities Full-length, 1990
Have a Nice Death! Full-length 2011

Official Site

BITTER PIECE (GERMANY)

Based on the full-length, this formation pull out a modern brand of thrash/death with certain speed metal elements resulting in dynamic "eagle fly free" music with plenty of catchy melodic hooks. The gruff death metal vocalist isn't exactly the best choice for the music, and his semi-shouty narratives get easily lost amongst the fiery, albeit fairly pedestrian, riffs.

Hell's Asylum EP, 2007
Vastyrion Rising Full-length, 2012

Official Site

BITTERNESS (GERMANY)

One of the many representatives of the big thrash metal wave which flooded the German music scene in the new millennium; the overall sound is aggressive with frequent stretches towards death metal, mixing classic with more modern riffs. There are moments when the band wades into gothic waters which could have been a good touch, if these moments were shorter. With less influences from other sides of the metal spectre, Bitterness could make a bigger impact on the scene. Now they are just one of the many.
"Genociety" is a decent offering of more modern-sounding thrash/death metal, this time with a more open Swedish flair ("Down In Flames", "Dehumanized"). There are a couple of pure thrashers (the opening "The Darkening", "The Human Resource Derangement") as well as two more moderate mid-tempo numbers ("Symbiosis In Death", "Genociety"). The guys have a side-project, called Steel Tormentor, where they offer the same stuff, maybe a bit more classic-sounding.
"The Final Declaration of the End (Swansongs for the Faithful)": apart from one of the longest album-titles in recent years, what else do we have here? Pretty decent aggressive, more classic-sounding, thrash with quite a few echoes of recent Kreator with the obligatory "winks" at the Gothenburg school which make the approach catchingly attractive with instant hits like "Misanthropic Love" "roaming" around. The tempos vary so there is something for everyone here although to these ears the explosive start kind of appeals the most, and finds its match near the end, on "The Coursing" and "No Life Inside" before the more elaborate closer "Confused Justice" starts pounding in a heavy seismic fashion to wrap it up. This effort is very well conformed with the tastes of the time, but will hardly leave a very big trace in the fans' memory.
"Resurrexodus" is another "bitter" recording and indeed Exodus' more recent exploits if the band were intentionally aiming at their American peers with the album title. The music is definitely on the classic side, but the modern production makes it click and clock with a very clean reverberation which kind of spoils the mood. The title-track would be a surprise being a pure melo-death joy after which the guys have problem calming down and carry on in a more aggressive death metal-ish fashion for a string of tracks. Thrash eventually comes back with the ripping "Devastating Rites", but brings the winds of modern thrash with it and the rest of the material becomes a rendition of the more recent Kreator works the shouty vocals another resemblance with their compatriots. This is too diverse and unfocused to capture the attention of the fanbase, but as a work of dynamic shredding thrash shouldn't disappoint.
"Dead World Order" is a more classic-oriented beast the band doing a pretty decent job thrashing with force, trying something more flexible and slower on the officiant title-track. "Idiocracy" is a cool attempt at more technical shredding, and "Blood Feud" is an intimidating atmospheric mid-pacer. The rest of the material keeps to the speedy confines with "None More Black" boldly venturing into melo-death territory.

Dawn of Golden Blood Full-length, 2002
Sweet Suicide Solutions Full-length, 2003
Marching Towards Infinity EP, 2004
Autumn's Fall Full-length, 2005
As All Beauty Starts to Fade... EP, 2007
Genociety Full-length, 2009
The Final Declaration of the End (Swansongs for the Faithful) Full-Length, 2012
Resurrexodus Full-Length, 2015
Dead World Order Full-length, 2020

Official Site

BK 49 (GERMANY)

This band was intended to be the continuation of the excellent formation Assorted Heap who released two stellar albums in the early 90's, although of the three Assorted Heap members who founded this band, by the time the first official release was out, there was only one left. The music is mostly death metal with more intercepting thrashy guitar work and an overall dark sound which at times recalls the other band.
The debut is an intense engaging affair thrashing hard with a curious technical edge. The album begins in a pretty aggressive manner with a trio of raging speedsters until "Hell Is Just A Word" brings forward heavy proto-doom riffs. "Cemetary Slaughter" immediately compensates right after with the most brutal riffs (sections from the song are quite heavy and will remind you of Slayer's "South of Heaven") on the album. "Trapped In Eternity" is another fast ripper, but the real switch to pure death metal is done on the closing "R U Morbid?", a short bullet, apparently paving the way for the full transition on the follow-up.
"Join The Dead" is pure death metal all the way with the Floridian school (Brutality, Massacre, Malevolent Creation) an obvious influence. The guys plat hyper-speed for most of the time, but still a good sense of melody can be caught (the nice Oriental leads on "Morbid Funeral") at times. The final "Buried But Not Deep Enough" is a stylish attempt at a more complex song-writing lashing cool technical riffs the whole time, also inserting a few more meditative surreal sections with a shade of progressive/doom.

Zombified Full-length, 1999
Join The Dead Full-length, 2003

Official Site

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