Copyright (c) 2007-2018 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


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.

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


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 Krysaf1'b0e". 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


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


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


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


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


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


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


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


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


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.

Bacalou EP, 2011


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


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


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


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


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


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


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


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 3 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 is always a market for this kind of music, especially in the Scandinavia.

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

Official Site


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 at full display here once again. There are no 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 apltly 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


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


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


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


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


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


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-rollier 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 omnnipresent aggro-deathy shouty vocals.

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

My Space


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 levelled clean mid-ranged tone with a slight inebriate flavour.

Under the Skin of the Weak Full-Length, 1996


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


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 parametres 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


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


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


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 2nd 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 tember reminiscent of Chuck Billy (Testament again).

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


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


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


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, mellodic side.

Demo Demo, 1990


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


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


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


Fans of the darker, more technical side of modern thrash 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. There are occasional shades of death metal, but used with taste and style. The sound is crushingly heavy, 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 haven't said their final word yet.

The New Elite Full-length, 2003

Official Site


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 predicle heavy riffage topped by familiar angry shouty vocals.

Drift Full-Length, 2012


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 comforle 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 thrashh 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 impetious 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


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

My Space


A Czech trio who speciaize in intense blitzkrieg thrash akin to early Sacrifice and Volcano which means that inevile 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


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


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.

Death of a Hero Full-length, 2012

Official Site


Competent all-instrumental speed/power/thrash with progressive overtones; the music is moderately complex giving enough room for the riffage 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 is an omnipresence of keyboards which deafens the otherwise traditionally good riffs making the album sound like more aggressive gothic. The compelxity 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


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

My Space


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 2nd half, except for the energetic bonus track "War", if at all if we exclude isolated passages from the songs which are more of an unvoluntary slip of the hand rather than an intended insertion.

Blood & Thunder Full-Length, 2014


This band entered the metal arena with "Znamenie" (2005) which was a cool progresive 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 compex, ethereal musical landscape.

Grani Full-Length, 2015

Official Site


3 tracks of rough thrashy hardcore which is both sharp and heavy, hindered by the slightly buzzy 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 deathy semi-shouter.

Eznsttol A S'afrig EP, 2012


American power metal meets a slight shade of thrash; good stuff with a more modern edge on the last two efforts.

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


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


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 is 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 assited by capable semi-aggro vocals with a soulful blend.

Bloated Full-length, 1995

My Space


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 midly 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...

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

Official Site


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


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 oen 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 tember with drunken overtones.

Baltimor Full-Length, 2014



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

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

Official Site


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


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.

D.C.T (Divine Command Theory) EP, 2012

Official Site


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 blitzkriegrs "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 LLife 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


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 crosover 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


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


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 growly 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


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 basn, 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 involded, but to these ears there's nothing resembling a human voice coming out of this mess).

Sectarianism Demo, 1987
Rehearsal Demo, 1987


"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 "Coaliton 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


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


"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 w?uld 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 leainvg 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


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


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


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.
"Hell Is Back on Earth": 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 momets on the closing "Remorseless Fury" which hardly offers anything "remorseless", let alone "furious".

Barbarian Full-length, 2011
Faith Extinguisher Full-Length, 2014
Hell Is Back on Earth Full-Length, 2016

Official Site


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 "Syptom 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", which 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 endind 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.

Seguimos Avanzando Live album, 2006
Heavy Metal Resurrecci=n Full-length, 2007
Hell Is Back on Earth Full-length, 2009

Official Site


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 a "dessert" there is one excellent technical thrashy instrumental ("Barbaric Core").

Demo Demo, 1987


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


These Chinese "barabarians" 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


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



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


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,a nd 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


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 is an overabundance of melodic hooks, as well as very good leads.

Drugoi (Ia) Full-Length, 2011


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 nergetic 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


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


Based on the last 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.

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


Good technical thrash/death metal which, in its faster and more frantic parts, reminds of Atheist quite a bit, 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


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


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 tember recalling Russ Anderson (Forbidden again).

A.S.D.F. Demo, 1995


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


Baed on "Cracking The Sledge", this formation pulls out groovy post-thrash without any more meaningful deviations. The guitars are suily heavy, the singer is suily angry, and "Now" is the suily faster number. In other words, this album would be suile 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


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


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


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


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


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


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


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


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


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 is not 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 2 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


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 2nd 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.

Enforcers of Evil Full-Length, 2014

Official Site


The demo: 3 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 2nd 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.

KM 24 Demo, 2009
Bastardos Full-Length, 2015

Official Site


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 palitre 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


3 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


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


A 3-songer of modern thrash with harsh deathy 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


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


Modern post-thrash mixed with sparce 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 tember 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


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


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


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


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


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


Epic battle-like speed/thrash metal offering 5 songs of 90's speed metal-influenced stuff with a few more aggressive thrashy 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


"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 more thrashy period.

Immortal Power Demo, 1986
The Sense Demo, 1987


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


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 doomy, stomping numbers (the great instrumental "Orchestrated by Fear").

Excessive Force Full-length, 1995


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 oon 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 deathy "dynamite", and the closer "Courtship of Evil" is the last speedy "hammer" from this heavy effort which also boasts good expressive, semi-shouty deathy vocals.

Devastating Chaos Machine Full-Length, 2015

Official Site


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


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


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


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


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


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 deathy 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.

Wake the Plague Full-Length, 2011
Hate Injection Full-Length, 2015

Official Site


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 speedsters, 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/dethster 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


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 riffage. "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. "Undiscribable" 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


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.

Power Word: Kill EP, 2004
Warthirsting & Winterbound Full-Length, 2007
Battlehungry and Swordsworn Full-Length, 2015

Official Site


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


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


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


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 musiscians 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


Well played retro speed/thrash with hellish black metal vocals; the music is close to the Swedes Cranium and the Portuguese Alastor. There wil 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


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


4 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


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


This new outfit indulge in eppic 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 metalmovement.

Blood Moon Full-Length, 2016

Official Site


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 avantgarde 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 "reliefs" coming in the 2nd 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

My Space


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 tember; 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. "Dimensional Deranged Dilema" 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 compoistions 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


Modern thrash/death played on a 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 enamorated by them, and their presence is stronger in the 2nd half the headbanging closer "El Magnifico" apologizing for the relative lack of dynamics with more aggressive rhythms.

Eternal Conflict Full-Length, 2013


Energetic, uplifting retro power/thrash with more engaging, progressive sprawls ("Black Master") served at times. Ther 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


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


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 is no "sonic revelation" of any kind here: just a slight sombre twist on the pretty common 90's post-thrashy patterns.

Regeneration Full-length, 2000
Existence EP, 2002
Sonic Revelations Full-length, 2009

Official Site


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


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 dispalayed 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-doomy 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


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 more thrashy 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 ger 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 isntrumentals "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


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 serious 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


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

Demo Demo, 2005

Official Site


The debut: please, welcome some simplistic "beer" thrash/crossover from Croatia ornated 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


This is an obscure 4-track effort serving very thinly produced retro thrash wtih hateful deathy 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


Brutal unpolished mix of thrash and death metal; fast short tracks accompanied by brutal low-tuned death 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


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


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


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


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 inintellgible vocals which could be corrected in the future.

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

My Space


2 Mexicans are behind this project which shows no mercy with brutal deathy blasts scattered among the less extreme thrash/crossovery 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 performabnce is at least on a more professional level which can't be said about the much inferior musical approach.

Demo Demo, 2008


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


Based on "Architects of the Void", this act plays an ambitious blend of doom, thrash, post-thrash, and death metal which comes erved with a healthy pinch of industrial on the longer compositions ("The Mithriditist", the avantgarde 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


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. Stil, 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


A noisy modern thrash affair with a crusty/hardcore vibe; the band perfer 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 tember.

Au Coeur du Combat Full-Length, 2015



Heavy groovy post-thrash with cool doomy 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 inevily finds its mellower side in the 2nd 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-thrashy 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


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


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 entires 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 Ut'dfn Full-length, 1992


3 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


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

My Space


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


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 deathy 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


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, technicall/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 doomy 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 metal which sticks to mild semi-balladic patterns for at least half the time ignoring everything that was labelled "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


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


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 2nd 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


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 doomy 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/doomy "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 doomster with 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


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


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 headbanging riffs, but "Suffocating Dream" would be a big mood spoiler being an overlong 9-min tender ballad which at least misses the bad unrehearsed deathy vocals.

Stabbed Full-length, 2018

Official Site


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 sparce 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 EPrquote s, and as such brings no surprises to the le. The guys play fast with frequent melodic ldblquote decorationsrdblquote not hiding their fascination with their motherland scenery which here is reproduced without too many alterations. By the time the insane headbanger ldblquote In the Shadow of the Beastrdblquote : 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.

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

My Space


With a band who have a relatively long-ish 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


Energetic modern thrash/post-thrash with more complex, almost progressive, arrangements; the music is not very eventful, though, and sharp riffers like the jumpy "Deliriant" are not that many. What one will 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


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


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 pice 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


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


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


Based on "Corruption", these guys pull out the typical for the time groovy 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


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.

The Spirit Driven By Hate Full-length, 2006

Official Site


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


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


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


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


These Romanians serrve 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


Based on the debut, this not very known US trio pulls out predicle clumsy post-thrash which lacks life and dynamics degenerating to some bland blues/funk on "Bitter Harvest", among other unnameable "atrocities". The only more aggresive thing on this pretty mild affair is the gruff semi-clean vocals at times intercepted by more brutal deathy 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


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 folow-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


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 inevily 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. "Victims Beyond All Help" 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.

Visions of Pain Demo, 2007
Victims Beyond All Help Full-length, 2010

My Space


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


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


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


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 1st 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....

Universal Decay Rehearsal 90 Demo, 1990
Universal Decay Demo, 1991


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-doomy 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


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


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


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


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


This act provides old school Germanic speed/thrash metal "ornated" 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


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 interldue. "...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 2nd 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 porgressiver recalling Toxik's "Think This" with a wide gamut of time and tempo shifts including another portion of deathy 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.

Act of Retribution Full-Length, 2015
Trilogy: Prisoners of Miserable Fate EP, 2016
Contra Omnes Full-Length, 2017

Official Site


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 suile 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


Intense old school thrash metal with both heavy and speedy riffs topped by brutal deathy vocals. There are sparce 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


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".

Duros, Ebrios y Lujuriosos Full-length, 2009

My Space


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


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


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


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/doomy (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 deathy tember 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


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


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


The demo is modern thrash, sounding like a mixture of Sepultura's "Chaos Ad" and Machine Head's "Burn My Eyes". The instrumental "Despair" is particularly good with its technical riffs and flute tunes. By the time the guys got lucky to record a full-length the style has already changed into nu-metal.

Manipulation Demo, 1996
Ray Of Hope Full-length, 2004

Official Site


This Indonesian outfit acquit themselves with modern thrash which comes with a not very pleasant fuzzy guitar sound, which 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


This young formation serve a more agressive proto-thrashy 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 inevily slips towards heavy/power metal at some stage. "Endzeit" is a surprising speed/thrashing "bomb" thrown in the 2nd half, but it can't posibly 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


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


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 thrashy 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


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 reliefs. The vocal duel is a bit on the awkward side the clean participation being very momentous and hardly expected, the deathy shouty one reaching an annoying hysterical pitch at times.

Life's Time Full-Length, 2014


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 ake 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


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 headbanging 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 twsited quality ala Immolation and Morbid Angel.

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

Official Site


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.

Raging Death Split album, 1987
Helpless Souls Demo, 1987
Death Shall Overcome Demo, 1989


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


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


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


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


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


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


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 tember of the singer .

World of Chaos EP, 1993


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


Classic thrash/crossover alternating between fast and slow passages rich in catchy melodies and hooks reminding of Suicidal Tendencies' more thrashy period ("Lights, Camera,...", "How Will I Laught 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-thrashy 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



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


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


Modern thrash/death which attempts something more complex, but the mechanized guitar sound takes over way too soon to give any chances fro the mroe 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 deathy vocals.

Compulsive Depressive Full-Length, 2017


One of the finest Swedish metal bands of the past ten years, Bewitched are often referred to as black metal which is probaly 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 ait 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-doomy 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 doomy/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 memebrs 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


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 romanticisms. 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


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 wth 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


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" in order to see if more "thrash in black" (and with magic at that) would sound that good as well.

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

Official Site


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


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 buzzy 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

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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 entitely "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


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 melodidc 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 parametres with just a few attempts at more adventurous singing which should have been more.

Faith In Death Full-Length, 2014


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


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-lcean tember 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


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 riffage is 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


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


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


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


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 absract 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 10 years, a mandatory listen for all fans of high quality music.
"Zodiac" would be quite a shock, a very unpleasant surpsise 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 baladic 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 2nd 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


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" & "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 deathy 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.
"Predicitions 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


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 upteenth 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


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 tember not miles away from the legend Jeff Scott Soto.

Reflections In Time EP, 2010


This is predicle 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


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 realy the highlight, but his gruff clean non-changing tember fits the music all right.

Beyond Vision Demo, 1991


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


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 sparce 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


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 antertained. 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 deathy vocals.

Senderos De Muerte Demo, 2009


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 Motrohead overtones and a less serious punky/crusty attitude. The singer is a hoarse low-tuned shouter whose rending antics are quite hard to decipher.

Where Morality Fails Demo, 2007


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 thrashy 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


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


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


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 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. "Pagan Reality" 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 thrash number, 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 riffage is 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 remastered versions of old tracks of theirs, 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


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


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 pprogressive 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


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


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 escalatng crescendos,and especially with the very good high-strung , emotional clean vocals.

Bineuronal EP, 2016


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 sest 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 vocasl 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)".

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

Official Site


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


Industrial groovy 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


This is a unique band: the style is a mixture of thrash and gothic/doom which works perfect. 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 grand 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 "Poing 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 wiith 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". Overal this is a true masterpiece which would rival any Candlemass of While Heaven Wept album of recent years by atthe same time offering something for the hardboiled thrashers to hold onto.
"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


4 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


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 doomy 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


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 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.

Melodic Thrashing Mayhem EP, 2010
Violent Non Conformity Full-length, 2017

My Space


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 music is similar to another band- Azotic Reign from Sweden, but the Brits are more adventurous, and perhaps more melodic. Their music is not 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


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 fien untl 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


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 riffage; 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


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


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


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 riffage is 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 "Dysphoric Reality" 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


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 doomy 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


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


Based on "The Hellpreacher", this is a mix of heavy doomy 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


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

My Space


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

My Space


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

Setting Our Own Path Full-Length, 1990


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 wiht more intense mosh (the energizing "Vita Morbida"). There is a certain Carcass' "Swansong" vibe as well ("Infected", "Gomorrah": watch for the brutal deathy break on this one!) to which the vicious husky death metal vocals are a better match.

Something Inside Of Us All Demo, 2011


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


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 3 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


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 tember.

Bitchcraft Demo, 1996

Fan Site


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


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 2nd 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


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


A not very convincing attempt at more technical thrash with Megadeth a pretty obvious influence. "Sex and Death" is a convincign 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 uncontrolledly at some point, with good leads supporting on the side. The singer is a bit weak, though, singing in a flat indifferent, clean tember 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 sparce 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


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 is not exactly the best choice for the music, and his semi-shouty narratives get easily lost amongst the fiery, albeit fairly pedestrian, riffage.

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

Official Site


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 wind sof 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.

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

Official Site


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-doomy 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


Based on "Line of Fear", this act play competent retro thrash with dissipations from the modern school both sides seldom leaving the mid-pace the eventful Oriental shredder "Baal-Adon" being the highlight with its more dynamic decisions, the dramatic stomper "Religion of Peace" a close second. The good semi-clean, hoarse singer is another positive addition with his assured, not very adventurous, blend.

Lord of the Night Full-length, 2012
Line of Fear Full-length, 2016

Official Site


This trio straddles the line between the 90's post-thrash trends and the dancy industrial of White Zombie. Still the tempo changes, sometimes offering dynamic up-tempo riffage (the cool crossover-tinged "F.B.I."), although before its coming one may get a headache from the pounding one-dimensional riffage. The approach is broken again for "Strange 48", which is an abstract acoustic/ambient ballad. A year later the band changed their name to Substance D, and released another album of exactly the same sound, maybe more industrialized and mellower.

Black Full-length, 1997


Based on the full-length, this act serve a blend of power and thrash, mostly on a modern base, but with a few references towards the classic area as well. The pace isn't very dynamic, but "I Know Places" starts moving things arounda nd the follwing "Still I" is already a cool melodic headbanger with Iron Maiden-esque guitar duels. "Hell Was Full" is another razor-sharp shredder leaving the more melodic exploits for "Revolution" and the proggressive semi-ballad "Lost Soul" which influences the remaining cuts which cling towards the doomy side the final "Insanity" excelling in the lead department. The singer isn't very striking with a mean-ish semi-clean/semi-shouty baritone reminiscent of Kerrmit (Tyrant, Germany).

Call of the Void EP, 2013
Voyager: Record Full-length, 2016

Official Site


Based on "Possessed", this German formation indulge in pure old school power/speed/thrash not far from New Eden and their compatriots from Psychotron, maybe not as progressive-oriented as the latter. The guys don't aim at breakking any speed records, but expect numerous thrashy breaks scattered around some of them served with galloping rhythms ("The Final Call"), some with spasmodic semi-blasts ("Possessed By Hate"), others with dramatic heavy shreds ("Human Machine"). There are also occasional nods to the 90's power/speed metal school ("Streams Of Sorrow"), but overall this is crunchy biting stuff with good emotional clean vocals.

Why Full-length, 1998
Land of Darkness Full-length, 2000
Angels Wear Black Full-length, 2004
Possessed Full-length, 2012


Apart from one of the worst sound qualitites ever offered in the underground, this demo "boasts" evil brutal thrash/proto-death which is way more aggressive than Possessed's same year's "Seven Churches". But sound-wise this is so bad that it should be no surprise that this recording has remained completely unknown all these years even to the bigger connoisseurs out there. This is a messy wall of sound topped by indifferent declamatory "vocals" which could pass for a cross between death metal and hardcore. This is plainly "noise metal", like the title of the closer sums it up so well in the end; worth hearing just out of curiosity.

Demo Demo, 1985


An aggressive mix of thrash, black and death metal; the vocals are the prototypical black metal rasps, but the music acquires nice death/thrash tendencies with a cool melodic edge ("Ten Talons Deep"). Well, rest assured that the ultra-blasting black metal composition is juts around the corner: "On This Day Death" although "shocks" of the kind are not many at all. Pure thrashers roam around ("Release The Kraken", "And You Thought You Know Pain!" which, despite the very brutal black metal beginning, is a nice thrashing mid-paced piece). "Dethroned Emperor" at the end is a cover of... did someone say "Celtic Frost"? The singer, if that's the same one, abandons his awful rasps on this one, and impersonates Tom G. Warrior down to the -T-.

The hellish trio is back again, and "Triumvirate" won't disappoint although it's much more black/death metal-fixated, both of the more technical and the blasting more brutal kind, with doom metal sneaked in stealing the two mentioned styles' thunder big time. "Ultimate Reality" is nice atmospheric minimalistic black metal followed by the cool much more dynamic "Angels to Dust": epic heroic black metal ala early Dimmu Borgir with a great doomy twist at the end, the latter transforming into a full-fledged doomster a couple of tracks ahead, in the form of the creepy moody masterpiece "Dead and Left", the highlight of the album with brilliant hooks and tunes flowing within. The closer "Veadtuck" is another hit in the doom target, an excellent instrumental piece with addictive hypnotic riffs and a furious raging exit. Thrash metal is almost nowhere to be heard here, but this effort is a commendable mix of black, death and doom metal which would please not only fans of those three genres, but every regular fan of high quality metal.
"Hail Death" is again in the black, doom, and death blend field with thrash humbly present on a few isolated passages. The compositions are lengthy, and there is much happening the band changing the mood and the pace at will also providing the nice power/doom metal anthem "Until The End", a catchy sing-along number which is the borderline in the album: after it the sound becomes strictly doomy the Kiss cover of "Under The Rose" at the end sealing its bluesy fate. As a whole this opus is not anything too striking by any standards seeing an act randomly mixing styles without bringing the best out of such mixtures.

Time Insults the Mind Full-Length, 2008
Triumvirate Full-length, 2010
Hail Death Full-Length, 2014

My Space


The demo: this new formation pull out heavy old school black(april)/thrash which is a bit marred by the fuzzy sound quality, but delivers in the music department with seismic Celtic Frost-like riffs on the gloomy "Archwing (Political Warfare and Damned)"; and with more vivid speedy guitars on "Balls Deep" which is a crisp speed/proto-thrasher also introducing quite nice melodic leads near the end which are a fair contrast to the brutal low-tuned death metal vocals.
The full-length boasts a better sound quality although the delivery remains the same, dark heavy retro thrash with seismic guitars and brooding, mostly mid-tempo compositions. On "Take Out The Thrash" thrash has indeed been taken out this cut being a sleepy quasi-doomster, not much to do with thrash. The latter, however, returns for the closing "The Metallic Deth" which is a prime headbanger with intense rhythms and an imposing doomy outro. Some of the musicians are much more active with the black metal formation Benighten Empire.

Lunitics Demo, 2014
Rise and Rot Full-Length, 2015



The bass authority Bob Mayo (Meliah Rage, Wargasm, Maniac. etc.) is here, but the music is just plain ordinary modern post-thrash with hardcore and groove alternating awkwardly on a buzzy, messy background which is often just noise except on the more comprehensive closer "Self" which is a cool more intense piece with classic reverberations.

Black Art Demo, 1995


Based on the full-length debut: these guys offer modern thrash ala Dew-Scented and early The Haunted, seldom spiced with more aggressive death metal elements. The music flows in a predicle manner, without surprises, suddenly jumping from calm balladic pieces ("Bleeding Away", "Dawn of No Difference") to explosive thrashers ("12 Gauge Judas", "My War"), and vice versa. Those transitions are far from smooth, and hardly carry out their function properly, and not only because they are too many to make this a pleasant listen for thrash metal fans, who might lose their nerves a bit with the unexpected mood and tempo changes.
The "Anthem Of Disorder" EP offers pretty much the same; more melodic elements have been thrown in, in the vein of more recent The Haunted including the sparce clean vocals.

Victims Of The Fall EP, 2006
Truths Of The Blood Full-length, 2008
Anthem Of Disorder EP, 2009

Official Site


This is modern thrash/death quite close to the so well eslished rules of the Gothenburg sound, only that the approach here is more melodic "courting" more recent The Haunted and the last Raise Hell effort. So don't expect too much speed and aggression here except the throaty forceful vocals which are the most brutal ingredient on this relatively peaceful mid-tempo piece of art. All the musicians involved here are also busy with the another modern death metal band: Age of Fury where the style is a bit more aggressive and faster.

Black Barrel Smoke Demo, 2011

Official Site


3 songs of doom/stoner/post-thrash, emitting both heaviness and melody in equal dozes, the major detraction being the subdued, semi-whispered vocals which simply don't stand well alongside the melodic riffs.

Welcome Into The Warfield Demo, 2011


The EP: 4 tracks of heavy abrasive thrashcore, still up-tempo for most of the time with throaty shouty vocals not far from the ones of Lars G. Petrov (Entombed). "Heavy Breathing" is an elaboration on the EP, dynamic headbanging music with fast simplistic riffs clinging between hardcore and thrash the whole time in a way akin to Helllbastard's early period. "Unholy Virgin" is a welcome shift at the end towards pounding doom, a tendency continued on the final "Wewhocannotbenamed", but in a less pleasant heavier industrialized manner.
"Sentenced to Life" is such a good nod to the early-90's Swedish death metal school (Unleashed, Entombed, Dismember, etc.) that some of you may not be sure whether this is the same band who pulled out such a simplistic material a few years back. Still, some of the hardcore easthetics shows up on the shorter pieces, but overall this is classic thrash/death sustained in a consistent up-pace moving towards the fuller-fledged death metal field ("Endless Corpse", the blasting rager "Of Flesh") at times. The guys cut themselves some slack at the end with "The Flame" which is a creepy mid-paced thrasher ala late-80's Slayer with some cool, catchy hooks; and the officiant atmospheric closer "Obey" which is a pensive doomy composition with very good lead guitar work. This is a pleasant surprise sitting well next to the last Unleashed release, to name one, which age is only shown by the slightly fuzzy sound of the guitars.
"Slaves Beyond Death" is the next steam-rolling installment although the opening "Pleasure, Pain, Disease" provides a few more fast-paced riffs which are later encountered on several other pieces reaching blast-beating extremes on "Reaping Flesh". Generally the approach this time is more dynamic the more doom-laden tracks occupying the 2nd half. Still, "Burning Hate" near the end death/thrashes with force and will please the headbangers who may not have a lot of fun on the elegiac closing instrumental "Chains of the Afterlife".

Razor to Oblivion EP, 2008
Heavy Breathing Full-length, 2010
Sentenced to Life Full-length, 2012
Slaves Beyond Death Full-Length, 2015

My Space


This German outfit indulge in playful roller-coaster speed/proto-thrash which is at its best when it emits darkness and mood (check out the creepy opener "Skylla"), but overall the musicianship is not on a very high level the guitars having a strong abrasive edge which is not very appropriate for the slower material, like the fairly good ballad "Black Burn" which is the highlight here showing the lead guitarist in a brighter light. The singer delivers a very guttural death metal tember, and most likely he's been replaced on the aforementioned ballad since the vocals there are of the high dramatic clean variety. Some of the band members had started it all in the distant 1980's under the name Ballantinez when they tried to find a place under the sun playing classic heavy metal.

The Invocation Full-Length, 2012


Based on the "Lands of Eternity" demo, these Italians pull out cool progressive power/thrash accentuated by good high-strung dramatic clean vocals. The music is mostly mid-tempo to galloping ("King Of War") with an excellent thundering bass bottom. "Free Existentialism" is a relative drawback being an overlong (7.5-min) ballad, but rousing "horse riding" anthems like "Slave Of Death" and "Star Of Fortune" keep the mood high with their frolic rhythms and infectious tunes. The closig "Evil Prophecy" is more "evil" with more aggressive thrashy riffs, and the mid-break in the face of a nice screamy lead "exploit" is quite admirable although the bad sound quality stifles the guitars' edge quite a bit. The guys later managed to reach the official release stage under the name Wrest with a more power metal-fixated album ("Livin' in a Cage") in 1989.

Iron Words Demo, 1985
Lands of Eternity Demo, 1987


Heavy doomy thrash/death with deep low-tuned vocals; good music, quite atmospheric, with nice guitar work, especially the leads, but there is seldom a moment to reach the mid-pace, and fans of later-period Bolt Thrower and the Dutch Beyond Belief will probably be happier with this.

Emergence EP, 2009

My Space


This outfit specialize in stomping epic thrash/death which clings between infectious melodies (the title-track) and pleasant twisted technicality ("Convergence Disturbance"). "Bloodied Bathory" is a rousing thrash/deathster in a fast vigiorus pace, and "Pit Of Sorrow" is the doomy revelation. Blazing virtuous leads will one come across on the raging speedster "Skullfucker" which optimistic immediacy is completely cancelled by the officiant progressive doom/thrashy closer "Vanquished Dishonor". Some of the musicians are also active with the black/death metallers Goatflesh.

Wormhole Full-Length, 2017

Official Site


This formation was summoned by Blacky- the Voivod member, just for one live performance. These are cover versions of thrash metal titans, like Metallica (honoured with two covers- "Whiplash" and "Fight Fire with Fire"), Exodus ("Piranha"), Celtic Frost ("Circle of the Tyrants"), Destruction ("Mad Butcher"), Kreator ("Betrayer"), Possessed ("The Exorcist"), etc. The sound quality is not very good (it's a live recording, after all), but the versions aren't very hard to recognize; well, if nothing else, the singer announces them very clearly in the beginning.

Le Medley Montreal Live, 2002


Based on "Crawl To Exceed", this is modern industrial thrash which contains really hard-hitting guitars, bringing it close to acts like Skrew and Die Krupps, but the use of melodic alternative vocals in the vein of Burton Bell (Fear Factory), and keyboards, spoils things considerably. Fans of Fear Factory again, and Puncture, should give this band a listen as well.

Crawl To Exceed Full-length, 2001
Synthesis EP, 2002
Instigator Full-length, 2008

Official Site


Brisk energetic old school speed/thrash which resembles the Metallica debut at times (the opening title-track, "Death by Crushing"), at others it follows its own path by moshing harder ("Black Cyclone") with more violent shades of proto-death; or tries something epic ("Beast Battalion", the heavy pounder "IAH") with overt power metal overtones. The singer fits all nuances with his high-strung emotional tenor recalling Bobby Ellsworth (Overkill).

Death Is King Full-length, 2018

Official Site


Based on "Absence of Time", this act specialize in generally friendly post-thrash which only occasionally gets angrier ("February") although then guitars do have an edge for most of the time, trying to match the forceful inebriate timbre of the singer who actually does a good job on the bouncy groovy background.

Absence of Time Full-length, 1999
Age of Reason Full-length, 2004
Until We Meet EP, 2014

Official Site


An early mix of power, speed and thrash metal along the lines of the Germans Tyrant, Savage Grace, and early Helstar; the music is quite simplistic with the exception of several quite good leads (the excellent instrumental "Black Deal").

Demo Demo, 1985
Eclipse Demo, 1987


This is the early incarnation of the black metal legends Darkthrone. The music is on a very low level the guys apparently just learning to play here, producing a very messy concoction of thrash, black, death metal and grindcore. At their best they succeed in capturing the early doomy magic of Celtic Frost ("Riders of Sauron", and partially "Pizza Monsters"), but most of the time this is utterly amateurish music, played just for the fun of it, having very little to do with the excellent Darkthrone debut.

Black Is Beautiful Demo, 1987


A cult thrash metal band whose ferocious thrash in the Slayer/Possessed-mould should have put them stronger on the metal map back in the old days.

Evil Prayer Demo, 1985
Mary's Blood Demo, 1988
Iron Cross Demo, 1988


Based on "Kickin' Asses In Hell", this evil act indulges in aggressive black/thrash with a Japanese vibe (remember Sabbat, Barbatos, Abigail, etc.). The Mexicans are a tad more intense and faster slowing down at times ("Iter Criminis"), but not wasting too much time in those parametres. There are two covers of some of their influences outside the Japanese spectre: the Greek black metal legens Zemial's "Nocturnal Witch"; and Desaster's "In A Winter Battle", both done faithfully, slightly hindered by the buzzy guitar sound which is a particular obstacle for the Desaster track which also has a certain epic flavour. The singer is a sinister blacky rasper, but fits the misanthropic delivery which has its bititng thrashy edge: "Kickin' Asses In Hell".

The Black Magic Domain EP, 2000
Into the Jails of Past Full-length, 2005
Kickin' Asses In Hell Full-length, 2011

Official Site


This is some really wild chaotic stuff which crosses black, thrash and death metal where then more stylish technical momengts (think Hellwitch) "duel" with brutal not very sensible barrage the latter the more regular presence. Consequently, one may not be able to get a lot of pleasure from this mess, which is whole 14 tracks long, which edns with a compilation of several Kreator songs, all of them easily recognizable ("Time to raise your flag...", etc.), the screechy brutal blacky vocals somehow managing to channel the early rendings of Mille.

Suicidal Heaven Demo, 2006

My Space


There is one person behind this project; his name is Alexander Oden, and he produces a dark industrialized form of thrash, strictly modern, with shades of death and gothic metal, with plenty of sinister atmosphere also achieved through the inclusion of several ambient breaks. A nice, otiginal touch are the surreal abstract leads which are pretty much one-of-a-kind, and give the album a strange, inimile colouring (check out the closing "Angel of Mercy", a nice atmospheric composition with loads of great melodies) which distinguishes it from similar efforts, like Nefilim's "Zoon", Malhavoc's "Release" (who are probably the closest soundalike), or the Project Hate early output. There's some manic thrashing to be heard ("Mocking the Dead"; the aggressive shredder "Inhuman") as well, and the riffs are generally very hard and cutting, topped by brutal death metal growls. The blasting sections (which are not too many) come accompanied by a keyboard background which is another stylish addition and a rare melodic relief on this crushing release.
"Catatonic Utopia" continues the "dark saga" with a retouched guitar sound, which now emphasizes on melody more, producing some addictive passages, with gothic more strongly present ("A Shadow of Myself"), the overall approach now moving more towards the aforementioned The Project Hate. Brutal death metal outbreaks ("Devoured by Psychosis", with a haunting orchestral flavour) have not been completey left out, but peaceful balladic compositions like "Eternal Union" are something new. "In My Dreams" is a macabre doom metal cut with great leads, and later on the sound acquires those tendencies the songs becoming slower and softer, "Solitary" near the end being a tender, acoustic cut; Oden (if that's him) pulling out a surprisingly cool subdued clean performance with a nice female assistance present. In terms of thrash this effort will not be a very sure pick, but fans of dark atmospheric music will fall in love with it in no time.

Mocking the Dead Full-length, 2008
Catatonic Utopia Full-Length, 2011

Official Site


Intense old school black/death/thrash which seldom develops beyond the brutal primal bash. The vicious husky blacky vocals create a lot of horrifying atmosphere which stays closer to the black metal movement. The closing "Into the Rings Ov Neptune" is a more engaging opus where the wild barrage is intercepted by cool epic nuances recalling mid-period Bathory.

Until The Void Consumes Us Full-Length, 2018


The full-length shows a new, brightly shining, star on the progressive/technical metal horizon. The intelligent musical approach is established from the very first cords of the opening "Levitations" which is a creepy atmospheric puzzler. Then comes "Progenitors of Predation" which is the missing song from "Rust in Peace", a crushing technical piece with more spasmodic headbanging passages breaking the complexity. "Colony Collapse" is a total "Mental Vortex"-worship, a labyrinthine masterpiece with loads of music to be sat down and savoured, a paradise of clever overlapping arrangements and steel precise riffs. "Obelisk" is just a tad more laid-back with a main galloping motif its great warm melodic flows recalling another Coroner album, "No More Colour". "Starve" is a more complex, longer composition with echoes of later-period Death. The closing "Lack Regard" continues in the same vein by adding a more mazey landscape with surreal rhythmic patterns flickering in and out of existence till the virtuoso spiral-like ending. The singer semi-recites in a mean hushed manner not far from Ron Royce (Coroner again). This is easily one of the five best thrash metal albums of 2013, way before the year is over; since Coroner are apparently not interested in prolonging their career, here come a richly talented act to fill in this niche.
The EP is three tracks of the same complex stuff the guys alternating harder to swallow sections with direct faster ones the resultant "therapy" crossing Coroner with mid-period Sadus: check the dramatic deathy sweeper "Virulent Cognition" for the latter influence. "Artifacts" is shorter and less demanding the guys obviously sharpening their "weapons" for the full-length this dress rehearsal also boasting a sharp expressive production.
"Terms of Surrender" would be a big disappointment to the thrash metal fans: it's really heartbreaking to see one of the brightest hopes on the horizon fade away in such a degrading fashion. The style has shifted to much less ordinary modern melo-thrash/death which hasn't a single shade of technicality developing in a samey uneventful proto-galloping pace with a few furious blast-beats ruining the impression even further. "Tongues of Silver" tries to capture some lost ground with more intriguing hooks and eventually manages to restore some glory. Later on, however, it gets help from the remaining material "I Conspire" deviating from the "righteous" path with more aggressive deathy leanings. Well, the debut was simply too good to be true, and indeed the band shows clearly that they have no other gimmicks up their sleeves to keep the high quality choosing instead the safer road to tread, the one of familiar, trite formulas which generate very little excitement these days.

Black Fast EP, 2011
Starving Out the Light Full-length, 2013
Terms of Surrender Full-Length, 2015

Official Site


The demo: early speedy Germanic thrash is on offer here, energetic vigorous music quite reminiscent of the Exumer and Toxic Shock debuts. There's no speed lost the highest point being the excellent instrumental "Black Fire", a nice shredder in a constantly fast pace. The end is preserved for a good cover of Kreator's "Tormentor" which is partially ruined by the rough death metal vocals.
The full-length is a cool elaboration on the sound introduced on the demo the guys thrashing with gusto apparently having fun pulling out this cool energetic music which stes "thrash patrols" on every corner, especially with the shattering "Thrash Patrol". Some composioins are merrier and not as fast, but there will be enough reason for the fan to "thrash till death", like the title of one of the songs suggests.

Destroying... Demo, 2008
Burning Aggression Full-Length, 2011

My Space


Slightly undeveloped speed/thrash in the vein of early Venom and Exciter; the guys manage to keep a good energetic tempo, and succeed, with simplistic, repetitive, but enjoyable riffs. Later the band changed their name to Ixion, and produced another demo of a better quality.

Demo Demo, 1985


Intense bashing thrash/death which ot of the blue reveals a very unexpected surreal technical side on the twisted "Ti Uccidero". But then things go really awful with the funky rocker "Italia Paranoica", a degrading piece which will make most of you turn the players off which will be the right thing to do since later on there's not much to be heard except for scattered ideas around the power/speed/thrash metal spectre without any coherent motif to hold them together. A rehearsal semi-effort, to put it this way...

Killer Machine Demo, 1992


A guy under the moniker The Iron Messiah is responsible for this energetic retro black thrash affair which is fairly aggressive here and there ("Blackening Of The Blood") with the scattered blast-beats "roaming" around. The atmosphere is appropriately evil and misanthropic also thanks to the serpentine witch-like vocals. This isn't speed for speed's sake only, but there are slower doom-laden moments ("Walking Through Fire") to be encountered as well, those having a dark brooding character. This is not bad having in mind that it comes out of the hands of just one musician who is also involved with the black metal formation Evynkar.

Darker Days Will Come EP, 2012

Official Site


Meet The Beyonder (aka Simao Santos), the contemporary metal "guru" of the Portuguese underground, who takes part in numerous other thrash/black/death/grind projects. With this EP here he resurrects the pounding doomy sound of early Celtic Frost with a raw buzzy sound which only deepens the gloom to a positive effect. So expect doomy heavy riffage all over with a few faster "temptations" and very brutal low-tuned grunting vocals; a bit one-dimensional and monotonous, but true to the old school.

Winds of Carrion EP, 2007

Official Site


Don't expect English of a very high quality (check the demo title), and the music tries to not raise the expectations very high, either, being minimalistic doomy old school thrash akin to early Celtic Frost but with an unpleasant abrasive guitar sound, and more frequent speedy passages which even manage to grow into a whole song: the good dynamic headbanger "Fear About Own Life"; the early speed metal scene-worship "Slogans And Words". The singer tries to emulate Tom G. Warrior and comes not too far from his Swiss peer, maybe coming with a more throaty deathy tone at times.

Don't Afraid Tomorrow Demo, 1992


Based on "A Doctrine Of Vultures", this outfit pull out heavy angry post-thrash which delivers with both its good sense of melody and the heavy steam-roller riffage. The album also has its more ambitious side, like the stomping title-track although the similarly-styled 8-min semi-ballad "Die Alone" is hardly the other highlight. "Decay" would be a huge surprise, a shredding headbanger with genuine technical sections, the finest display of inspired musicianship on this uneven, but entertaining roller-coaster which also wins points from the attached semi-clean/semi-shouty vocals.

Inner Pain EP, 2010
Rule of Force Full-length, 2011
A Doctrine Of Vultures Full-Length, 2016

Official Site


Dynamic groovy post-thrash with a couple of more classic-sounding elements present, but not enough to make this effort an addition to the classic thrash resurrection movement; so this still remains within the confines of the 90's fashion, the main difference being the melodic hoarse-ish clean vocals.

Power of Reality Full-length, 2006

My Space


Based on the full-length, this formation specialize in dynamic classic-sounding thrash which provides short optimistic speedsters like "Locked". "Name Of The One" shows a more serious character with heavier brooding riffage which grows into something formidably semi-technical on "Rain". The more technical experiments continue on the short death metal shredder "Indecisive Face", and partially on the closing "When" which serves a cool atmospheric, balladic exit ruined a bit by the harsh semi-shouty death metal vocals.

Black Light EP, 2015
Name of the One Full-length, 2016

Official Site


Dark Tranquillity meets thrash; fast tempo, melodic guitars, gothic-tinged slower parts, etc.; "Dirge for Veronique Auguste" is a nice acoustic instrumental. There's nothing new here, if we exclude the female vocals which alternate quite well with the main death metal ones.

Empty as the Day Full-Length, 2007



The debut demo: 3 tracks of amusing retro thrash of the early German school sounding very close to Destruction's "Sentence of Death" (2 songs). "Bestial Purity" is cacophonous stuff akin to early Barathrum: doom, black and thrash shake hands in a not very friendly manner jumping from ponderous slow passages to much faster ones with a distorted guitar sound.
The "Reap of Evil" demo has a more serious attitude with longer compositions and more laid-back tunes. To some this may be the lesser choice since the speed has been diminished quite a bit even including the high-octane doomy cuts: the Saint Vitus-worship "Possessed" and the atmopsheric funeral masterpiece "Embraced by the Occult". A probable transitional rehearsal before moving towards the fields of doom?

Raise the Dead Demo, 2007
Reap of Evil Demo, 2010

My Space


This band offer lashing classic thrash which sticks to seismic heavy riffs in mid-pace which get intercepted by a really good ballad ("Forever Forsaken") and more dramatism reflected in the cutting shredders "Blind Terror" and "Kill" near the end. The closing "The Other Side of Silence" is a well-balanced attempt at a more progressive sound mixing hard-hitting with quiet peaceful sections, mostly instrumental, leaving the otherwise good emotional semi-clean singer a bit in the background.
"The Apocalypse" is another sure-handed offering recalling mid-period Anvil now with its hesitation between thrash and speed/poweer metal the singer also recalling the early forceful antics of Lips. "Hate Machine" stirs the blood majorly with its fast riffs, and "Torrential" is just a bit behind with its more speed metal-inclined approach. "Sailing Into Cygnus" is an epic power metal number, but make sure you run for cover on the short speed/thrashing delight "Legend" right after it. Two long, both over 8-min, compositions follow killing the inertia a bit which sadly never gets back to the faster parametres the last duo being mild unimpressive heavy/power metal cuts the closing "Lug 420" a pointless spacey instrumental. The band make a decent cross over several styles, but they still need to hone their weapons more in order to sound more convincing.
"The Conjuring of Three": the guys are quite regularly present on the scene churning out albums every year, and number 3 may prove lucky for them since this is the most assured offering from the band so far. The guys thrash with force in a direct bashing fashion not letting the speed go down, and the fans will be quite entertained on crushing speedsters like "I, Eternal" and the early Exciter-worship "Corporate Metal" which is not exactly "Pounding Metal", but still... The end is served in the form of 2 covers: Sacred Reich's "The American Way", a very cool faithful rendition with great pounding riffs; and Slayer's 'Black Magik"... sorry "Magic", which is done in a more controlled seismic manner, another wise choice giving a cool individual "aura" to the track. This is an aptly "conjured" effort the guys finally finding the way to mosh out with the better.
"Wings of Armageddon" is characterized by a darker, more sinister, but also more melodic approach (check out the gorgeous leads all over). The shorter numbers ("Chasing Ghosts") are still intense "stingers", but the speed has been toned down quite a bit reflected in isolated cuts ("Rivers Of Whiskey") the latter still carved by brilliant lead sections. "Trail Of Tears" is a more or less expected ballad, but vitriolic sweepers like "Nihilist" are handsomely provided to keep the heads banging. The final "Black Winter Solstice" is 8.5-min of hard-hitting thrash touching the progressive expectedly serving the closing portion of leads' genius: it's really hard to think of better performance on the lead guitar of recent years from the thrash metal circuit...
"Declaration of Hate": the guys release an album every year which sould be a cause for respect, and in this case we have a return to the more aggressive sound from earlier recordings well exemplified by the opening title-track. The band march onward with bursting melodic speedsters like "Kingdoms Burn" and it's towards the middle that "Shiva" serves a more laid-back delivery, but its pensive mode is immediately cancelled by rigorous headbangers like "Blood Money" and "The Riverman". A sorrowful epitaph comes at the end, though, in the form of the closing "Viaticum" which is a semi-balladic doomster with great melodic leads.

Words Of Prophecy Full-Length, 2012
The Apocalypse Full-Length, 2013
The Conjuring of Three Full-Length, 2014
Providence Full-Length, 2015
Wings of Armageddon Full-Length, 2016
Declaration of Hate Full-Length, 2017

Official Site


Based on the "The Last Mass" demo, this act offers abrasive roughly-sounding thrash metal with hysterical rending vocals which probably belong to the spawning at the time death metal genre. The music varies from stomping riffs in the Celtic Frost vein to more aggressive proto-death ones akin to early Bathory. A few years later the guys came up with two full-lengths under the name ZOnite where the style has shifted towards thrash/death metal.

The Last Mass Demo, 1989
Satanic Possession Demo, 1989


The demo: this is raw noisy speed/thrash which is the bastard child of Exciter and Savage Grace, but done in an ultimately amateurish fashion with some of the worst sound quality in recent years. The Sepultura cover of "Inner Self" is so hard to recognize that one really has to try hard to make another one so far removed from the original. The guys just have fun messing around with the instruments because they are hopefully not planning to embark on a full-time musical career.
The full-length is Sepultura's "Arise" revisited with a worse, fuzzy guitar sound, but with not bad gruff expressive, semi-death metal vocals. The delivery is a vast improvement from the demo and the band now come up with some stylish musical excursions: check out the melodic leads on "Black Mass". "Behold The Horror" and "East Coast Thrash" are fast relentless speedsters, but watch out for "Victims Of The Disease", a cool more elaborate headbanger; and for the closing "Witch" which is a creepy technicaller with twisting, hypnotic riffs. Yes, the guys have embarked on a full-time career, and they have all the chances to reach far if they continue to acquit themselves in such manner.

Demo Demo, 2012
The Second Coming EP, 2013
Ancient Scriptures Full-length, 2015

Official Site


The self-titled demo: just one song of abrasive crusty thrashcore in up-tempo becoming blasting fast in the 2nd half where an open black metal attitude sneaks in. The singer is a raspy shouter often stifled by the lashing musical landscape.
The 2nd demo: the music is mroe aggressive now incorporating elements from death and black metal without losing completely its crusty aesthetics which are now replaced by spasmodic blasts and more linear thrashy patterns. The vocals are more hysterical and screamy now deafening the instruments when in action.

Black Monolith Demo, 2011
Demo Demo, 2011


Based on "Lethal Waters", this act pull out power/speed/proto-thrash sitting somewhere between the 80's American scene and the 90's power/speed metal movement. So expect soaring melodies, melodic leads aplenty, good clean vocals, guitar duels ala Iron Maiden, and a solid doze of galloping power/thrash ("Frozen Tombs", "Midnight Warrior") still of the catchy more moderate variety.

The Conquering Full-length, 2009
Lethal Waters Full-length, 2012

Official Site


The debut: this is modern thrash which includes a few classic riffs the overall amalgam sitting between Dew-Scented and the NWOAHM school (think God Forbid and Chimaira, above all). The tempo moves from up to mid and vice versa. Melody is not really the name of the game here, but "I Clean My Mind Imploring for Coma" is a nice headbanger with a few good melodic hooks. "Destroy to Survive" is an aggro-piece in the vein of Pantera, and the closing title-track is a long 11-min saga which actually manages to deliver with more clever arrangements and diverse decisions including several stylish technical inclusions. The singer is a plain shouter of the angry, expressive type.
"Psychological Subjection" is decidedly better and the opner "Acid Rain" already suggests at the bigger musical metamorphosis which has occurred. "God Rape the Queen" is a semi-technical death/thrash hybrider which grows into the following "Lose Your Balance" where more direct bashing meets a few less ordinary decisions. Wild technical death metal arrives with "G.M.O. Planet", but its unbridled brutalirty is quickly tamed by the next "Hand of God" which is a mid-paced pounder. The more progressive variations on the last 2 compositions are a bit on the clumsy side, but many will rise on the final headbanging moments from the closing "System Down" which close with style this decent effort which again shows unnecessary restraints in the technical department.

Black Propaganda Full-length, 2011
Psychological Subjection Full-Length, 2014

Official Site


Modern energetic thrash, but the melodic implements are too many, smelling metalcore quite often, and despite the speedy riffs here and there this album will hardly make the thrash metal fan jump with joy.

Steinophobic Full-length, 2008

My Space


Intense energetic old school thrash with a very good sound quality which gives the guitars a clicking, biting edge. The guys adhere to the fast pace for most of the time, but make sure to leave enough room for more melodic developments ("Psycho"). "Promised Land" is a brutal rager matched by "Nuclear Strike" and "Enlightened by Fire" every bit of the way, this core dictating the proceedings here which are topped by cool forceful semi-death metal vocals.

Blood Moon Rising Full-length, 2017

Official Site


Diverse, but quite scattered at this stage, modern thrash/death metal which doesn't hide its fascination with the Swedish school, especially on the faster-paced moments (the cool melodic "Impunity"). Unfortunately, the mid-paced fillers are way too many and stand on the way of the more aggressive materialo. Still, there's by all means potential with the various shades and flavours added (some genuine atmospheric touches), and with a more polished sound the guys can have some impact on the South-east Asian metal horizon.

Sinister World Elegy Full-Length, 2016


The band's singer is also a member of another Australian thrash band: Dark Order. This isn't the intense, proto-death thrash of Dark Order: we have heavy, slow tracks which border on doom quite a bit, and for dessert, there is a ballad: "Paradise". There are some up-tempo thrashers, but the overall tone goes towards the power/doom metal side.
"Sovereign" opens ambitiously with the 8-min long "Eye of the Storm", which fails to offer anything more technical, just mid to up-tempo thrashing of the pretty standard type. Later on the music settles for the mid to slow pace already introduced on the debut, before the thrash/doom opus "Sovereign" hits with full force. Then the band wakes up for more aggressive riffage with "Viking" and the nice semi-technical "The 3rd Antichrist". "Edge of the Universe" is very close to bringing this album deplorably down, being close to 13-min of ponderous progressive doom, slightly livened up by the faster ending. Fortunately the guys pull themselves together for the quite good technical/progressive thrasher "The Madness", which keeps things fairly interesting during its 8-min. This is not the end, as the following "Succubus" carries on in the same technical vein, coming up with some of the finest guitar performance on the album. The infatuation with the progressive sound finds its full realisation on the closing opus "The Summonace, The Occultance", which tries to cheat in the beginning that this would be entertainment similar to the previous two, but soon degenerates to the so much loved by the guys doom which at some point descends to a very quiet ballad, staying on this level for quite a while. Quite a mixed bag as a whole, this effort has its moments, but the band has to learn to control their impulses to go into territories from which they obviously have problems coming out fast.

Equalibrium Full-length, 2001
Sovereign Full-length, 2008

Official Site


Despite the poor sound quality of the demos, one can distinguish interesting catchy riffs of a more simplistic nature. The music is mostly in the up-tempo sector recalling Hallows Eve or Destructor.

Encroached Upon Demo, 1989
False Pride Demo, 1990


Based on the debut: groovy alternative post-thrash which tries to emulate the Machine Head's least impressive period (you know what I mean); well, if the title of the best song on an album is "Punky Blonde" (this one is a major headbanger, by the way), you know what to expect... The biggest shock would probably be the names of the musicians behind this project: members of Behemoth, Geisha Goner, Testor, Neolithic, including the drum wizard Darek "Daray" Brzozowski (also Dimmu Borgir, Vader, etc.).

Black River Full-Length, 2008
Black'n'Roll Full-length, 2009

Official Site


The Jewish contribution to the genre hasn't been very profusive, but here come an act who specialize in decent modern thrash which is served with a pinch of crossover and post-thrash; in other words, the "cocktail" is larger-than-life, but one should pay attention to short exploders like "Capitalist Zombies" and "Smoke Hash" which would shatter his/her senses majorly. It's a kind of pity that their number is not that big the guys just relaxing with mild unpretentious tunes for most of the time.

No Pay No Gain Full-Length, 2013

Official Site


Many bands have managed to make a name for themselves by playing furious, brutal music back in the 80's, but Black Shepherd's attempt to achieve this in the same way fails miserably in almost every department. Long on aggression, but very short on execution, their only (thank god!) release is very messy, chaotic thrash that one gets the feeling that these guys have gotten together a few minutes before the recordings without having seen each other before, just for an experiment. Somewhere towards the middle the music starts making some sense, creating the impression that the band members have mysteriously found a way to synchronize their efforts, but it's only for a while. This is definitely not the best starting point if you want to get acquainted with thrash metal; it won't help you develop a liking to it.

Immortal Aggression Full-length, 1988

Vibrations Of Doom


This is aggressive classic thrash/death with a few less controlled moments (the grindy "atrocity" "Fuck The Corrupt"; the chaotic death metal shorter "The Shit Storm"). The delivery is fairly wild all the way through the band playing with the utmost intensity with the stylish inclusion of the odd stomping passage ("Schizophrenic"). The vocals are shouty of the death metal type and create a lot of dramatism with their forcefu, sometimes even hysterical, rendings.

To Punish and Enslave Full-Length, 2013

Official Site


The debut: these Russians play modern thrash with elements of both death metal and hardcore those insertions making this effort a pretty pedestrian affair in the long run. The tempo is mid for most of the time so don't expect too much dynamics since the rhythms don't change too often. The singer is a gruff semi-shouter who doesn't overshadow the music, but takes quite a bit of space.
"The Masterpiece of Hate" offers the same concoction of the three styles as the more attractive side this time are the more melodic cuts like the semi-technical, pleasantly lyrical title-track contrasting with intense steam-rollers like "Knockout". "Order Will Fall" is a cool more dramatic pounder, and "Faster than Death" is the requisite less controlled headbanger.

Voodoo Full-Length, 2012
The Masterpiece of Hate Full-Length, 2017


Based on the demo, this act provide 3 songs of evil misanthropic black/thrash which alternates between straight thrashy and vicious hyper-blasting sections. The amalgam works as more preference is given to thrash the overall approach coming close to Deathwitch and Desaster.

Phlegmass Demo, 2011
R.A.S. EP, 2012

Official Site


This is a 3-song EP which offers abrasive modern thrash with sparce more stylish, technical moments (the excellent puzzler "Executed To Hell", which hangs awkwardly between the two much more ordinary-sounding numbers). The other two tracks are passable headbangers with a hardcore flavour with clean, semi-shouty vocals with a punkish tember, and good melodic leads.
The full-length comes full of energy the opening "Era Of Suffering" raging like demented, and although later on the guys calm down to an extent the delivery remains high on adrenaline and testosterone even holding a few blasting " scientific secrets" ("Shadow Science") scattered around. "(Nothing Is) All You'll Ever Be" in the 2nd half is a great technical shredder, but it's the infectious dynamics of short exploders like "Soul Denied" which keep the listener focused, and certainly the encompassing 11-min closer "Obey" which "obeys" technical/progressive thrash wrapped in slower doomy passages with plenty of atmosphere "roaming" around.

Inevile Fatality EP, 2011
Endless Realities Full-Length, 2015

Official Site


Based on the EP, this band play raw black-ish thrash influenced by Venom and Celtic Frost with shades of hardcore. Short on musicianship, but quite original having in mind that around that time the more extreme metal genres have only been slightly hinted at.

Black Task EP, 1985
Long After Midnight Full-length, 1986

Official Site


Based on "Deadline", these "Texas fucking metallers" provide rough abrasive modern post-thrash with a very good taste of melody among the chugga-chugga riffage and the groovy pleasantries. "Ready to Fight" is an awesome classic galloper, a really pleasant surprise which leads after it the more dynamic "A Night to Forget" and the vigorous headbangers "Staples and Roadrash" and the closing title-track which boasts great melodic leads as well. The 2nd half elevates this effort well above the average not to mention the convincing dramatic vocals which are suitably angry without being annoying.

Texas Fucking Metal Full-length, 2012
Deadline Full-length, 2016

Official Site


This is modern thrash/death with bold ventures into metalcore which don't really harm the delivery since the overall approach is pretty pedestrian and ordinary. The music is also quite melodic, and it's this aspect which saves the album from sinking completely. The vocals are suitably shouty and don't stand on the way of the music too much.

Stomachion Full-length, 2010

Official Site


Sludge/doom meets modern thrash on a seismic, steam-rolling base; surprisingly dynamic stuff with frequent tempo-changes (don't read fast) which are almost equal to the heavy doomy passages, the latter sitting somewhere between Down and EyeHateGod. Still, the approach may wear thin near the end, due to the somewhat repetitive nature of the guitar patterns, despite some undeniable vivid moments in the 2nd half, like the frolic rhythms on "Get On Your Knees", for example. The singer is the staple shouter, quite close to Phil Anselmo.

Drink Drive Go to Hell Full-length, 2011

Official Site


Based on the Compilation, these Mexicans pull out fast brutal death/black/thrash metal ("Unholy Hymns to the Triumph") not far from Impaled Nazarene, apparently their more recent period. Tracks like "Hell Praise Satan", which are obviously reflections of their early days, are more naive rawer speed/thrashers with awful shouty synthesized vocals. One may not be sure where to put songs like "Imperial Satanic March" which are hyper-blasting cosmic black metal coming as a mix of early Dimmu Borgir and Emperor, and also with a much better sound quality. Like with every best of compilatiom, expect a lot of diversity with black metal ruling the show also helped by the screamy raven-like vocals. Thrash metal is much more widely covered on the guys' other project: Rotten.
"Bloody Signs Of Devastation" doesn't promise a lot with an overlong boring 3-min intro of a black mass (or something like that), and indeed, later on the album is an unimpressive mix of rough black/thrashers and an trackload of interludes, most of them having no relation to music. By far the highlight is the two covers at the end: Sodom's "Sodomy and Lust", done in a more raging blacky fashion; and Vulcano's "Gates of Iron" from the Brazilians' 2004 comeback album "Tales from the Black Book". And, the exiting outro is not bad at all as well, being a cool balladic tune of the soothing, lyrical type.

Angel of the Abyss Full-length, 2003
Black Metal Supremacy EP, 2005
Satanic Holocaust Full-length, 2007
Ten Years of Blasphemy Best of/Compilation, 2008
Bloody Signs Of Devastation Full-length, 2011

Official Site


Most of the album is thrashy power metal similar to 90's Flotsam & Jetsam. There are also classic heavy metal pieces ("Electric God") and attempts at a more epic song-writing ("Unholy Seduction").

Black Triangle Full-length, 1999

Official Site


Evil misanthropic retro black/thrash metal; fast brutal music with unholy crow-like vocals and a dirty sound. The several slower breaks work well, though: the one from "Throne Of Dark" is vintage early Bathory recalling "Raise the Dead", and the one from "Beyond Death" has a strong doom Barathrum-esque spirit.

In This Black Thrashing Night of Infernal Hell Full-length, 2010

Official Site


This EP offers 3 songs of cool thrash/death metal of the modern type, with obvious nods to the Swedish school. The guitar work is particularly good, albeit not flashy or technical. "Firewind" is a very good up-tempo thrasher, and "Brave of Blood" has a nice epic shade, recalling recent Destroyer 666.

Firewind EP, 2008

Official Site


Relaxed Motorhead-sih thrashcore with abrasive, harsh semi-death metal vocals; the delivery is one-dimensional up-tempo barrage from beginning to end making it really hard for the listener to distinguish from one track to another. Nevermimd, this is still passable stuff with former members of At the Gates and Virgin Sin involved.

Faces of Death Full-Length, 1989



Based on the full-length, this obscure formation indulge in dark power/thrash quite close to the Nasty Savage debut, early Anvil, and Griffin. There's a lot of melody floating around, and the guitars rarely bite with force leaving plenty of space for the melodic motifs to develop. "Desperate Means" is an evil sinister number with Celtic Frost-esque overtones, and "Life After Life" follows a close path with its brooding hypnotic riffage. Near the middle the approach becomes more openly thrashy with "First To The Worst", but doom metal springs up on the next "Heavy Metal Mad" only to be dissipated by the wild fast-paced cruster "Forbidden And Free" which leads a string of similar chaotic headbangers ("Kill The Criminal") the latter lifting the mood up big time making the 2nd part arguably the more enjoyable one. The singer does a decent job with his gruff authoritative tember crossing Tom G. Warrior with early Peter Steele (R.I.P.).

.44 Killer EP, 1983
Most Likely to Exceed Full-length, 1986



On their only demo this band mixes cool heavy, frequently fast-paced, thrash with a more melodic thrash/crossover sound; the mixture works well with concentration on the heavier side of the band's music.

Tempting the Blade Demo, 1986

My Space


Having taken their name from the "...And Justice For All" opener, this band recalls their mighty peers, but are a long way from the Americans' best moments. "Sloth", despite its "lazy" title, is a cool debut, showing the guys equally as gifted in both the more technical and melodic department. The opener "Harmonies In Black" promises a lot with hard-hitting technical riffage and good melodic guitar lines. "No More Confidence" is a nice little straight Bay-Area thrasher, but the heavy, more technical sound returns with "Regression", and stays until the end with an increased presence of the melody, for the sake of the speed which is brought back for a while on the intense, but also melodic "Parts Of Peril". Although it doesn't fulfill completely the promise given with the fine opener, this album is still well above the sea of rehashed modern thrash metal efforts from around the same time.
"Mental. Game. Messiah." borrows shamelessly from Metallica (the opener's title "The Eye Of The Observer" which is a direct nod to "The Eye of the Beholder" from "...And Justice For All"); this same opener starts in the same way in which the "...And Justice For All" opener ("Blackened") does with a lead-driven bridge, but later on is nothing more than the standard retro thrash piece. Later on things get even more confusing with modern groove added. The speed again plays a secondary role, if any at all, and although there are quite a few sharp riffs, which surpass the melodic leanings, which were so typical for the debut, the samey on all tracks heavy mid-tempo will make all the material merge into one, with very few memories from what you've heard.
"The Last Thing Undone" begins well again with the intense thrashing title-track, but completely overshadows the much less impressive and slower material which often treads semi-balladic waters with repetitive clumsy riffage. Again all the songs tend to flow into one another sticking to the same boring pattern over and over. This is basically old school stuff, but at the dawn of the thrash metal revival one has to try much harder if he wants to be on the front row with the best. Blackend have a really looong way to go...

Sloth Full-length, 1997
Mental. Game. Messiah. Full-length, 2000
The Last Thing Undone Full-length, 2001

Official Site


Based on the full-length, this act serve energetic old school power/speed/thrash which is partly ruined by the not very convincing gruff semi-clean metal vocals. Still, the latter are by no means a detriment, and the music is full of dynamics featuring "bullets" like "Slaughtered Tomorrow" and "Brain Control" where some tasteful melodic lead sections can also be savoured among the furious riffage. "Into Lunacy" is the thoughtful, progressive deviation, but the rest is way more immediate and direct "wasting" no time to nail down the listener with exploders like "Stay Wasted" and the 6-min closing shredder "Against The Grain". Some of the band members also play in the retro speed/thrashers Murdeath.

Underground Attack EP, 2014
Truth Behind Destruction Full-Length, 2016

Official Site


Feelgood unpretentious retro speed/thrash not far from the early works of their compatriots Razor, but the music here is more melodic sharing some crossover and power metal aesthetics along the way. The pace is mid to up nicely alternating throughout the songs, but the guitars lack sharpness and edge. Later the guys changed their name to Razorwire to probably further intensify the influence of their peers with the new moniker.

Thrash or Die Demo, 2008

Official Site


The drum guru Tim Yatras (Ilium, Dungeon, Austere, etc.) has gathered some comrades from other Aussie bands for the creation of this energetic slab of classic power/speed/thrash which comes decorated with orchestral gimmicks among which the imposing keyboards are an especially stylish touch. At tiems the delivery is quite sharp and intense (the sweeping opener "Purgatory"), but at others the approach becomes too cheesy ("Of Wings and White") with a strong nod towards the 90's power/speed metal scene. A few unfocused heavy mid-paacers ("The Blackened Angel") are also around to guarantee the wide appeal of this effort which benefits from the crisp production, but falls short in the vocal department: the singer is an unexpressive blacky raven who simply doesn't have place here.
The 2nd part of the "Chronicles..." is out, and it doesn't differ radically from the style already epitomized on the first installment. In other words the band speed/thrash this time with more aggression involved as evident from lightning speedsters like "Campaign of Death" and "Civil War". The album length is not very big since this is a folow-up to the already started saga, and an annoyance may be the interludes between the actual songs which last for just about 30-sec, but dissipate the effect. Still, when in action the guys hit hard and few would be those who would sit around on moshers like the closing "Alone" which also wraps it up in the epic department. The singer now sounds better with a more attached cleaner tember, still not very expressive, but is on the right track to perfection.

Chronicles of Damnation, Pt.1 Full-Length, 2013
Chronicles of Damnation, Pt.2 Full-Length, 2013



Based on the full-length, this band provide brisk retro, not really "blackened" thrash which relies on sharp cutting riffage the latter also suitable for the couple of more moderate epic cuts ("Reap What You Sow"). Traditionally there's not much speed at play, but the settled mid-tempo works well alongside several interesting Oriental tunes ("World at War"). The vocals are shouty, but not very angry and even manage to hold the casual melodic throw-in.

Blackened Ritual EP, 2014
Blackened Ritual Full-length, 2015

Official Site


A 3-songer of pounding classic thrash with echoes of Acid Reign and Defiance; the guitars are choppy and jumpy with slight semi-technical pretensions which keep the delivery in mid-tempo waters with a few swirling sections on "Slipping In Sanity". The singer is a mid-ranged semi-cleaner again recalling H (Acid Reign). Some of the musicians were later involved with the doom/stoner heroes Buzzmeg, and managed to release two full-lengths in the late-90's.

Teratoma Demo, 1993


These lads have changed their names several time throughout their existence (Square, Snake) before settling for this one. The style on display is retro power/thrash which at times tries to be more complex ("Azrael") and mellower, at others moshes hard ("Lehka Divka") with passion creating some fine moments for the headbangers.However, those moments are not that many since the band are more interested in exploring their more ambitious side the latter reaching its climax on the imposing all-instrumental progressive thrash closer "Den D", a rousing hymn of hard thrashing and virtuous melodies, a masterpiece of cleverly executed music for which alone this album is worth checking out.

Unik do Reality Full-Length, 2016

Official Site


The debut: this band play a mix of bashing and atmospheric black/thrash which at times can be a pure "blast" from the not so distant Norwegian past ("Inner Torment"). Reliefs are provided in the form of more moderate galloping power/thrashers ("Cursed", "Brother") which occupy half the space here, and give a nice mellow tone to the second half the whole saga finished with the nice progressive piece "Choke". The singer rends his lungs in a more brutal deathy fashion, but his interference is secondary to the better music.
"Blood Eagle" offers an almost entirely new approach the guys now moving towards the carefree retro speed/thrashy spectre, a wise decision which brings about a few uplifting roller-coasters ("Sticky Fingers", "Ruins") that raise the flag of the old school high to pretty positive results. "Behind Closed Doors" is an epic battle rouser with enchanting melodic tunes, and "Throne to the Wolves" is an excellent progressive thrasher with more gorgeous melodies aded to the fore including a less bridled death metal blast-beatign passage. More death metal comes served on the dramatic "Blood Eagle" "Frostbite" wraps it on with some exquisite quirky technical rhythms that would bring their compatriots Voivod to mind among other niceties like quiet atmospheric interludes, faster-paced "excursions", etc.

Blackest Sin Full-Length, 2013
Blood Eagle Full-length, 2017

Official Site


Based on the full-length, this "black" and "evil" act pull out old school speed/thrash in the vein of their 80's compatriots (think early Helloween, Warrant, Iron Angel) with more aggressive black/deathy vocal paticipation at times as opposed to the main hoarse shouty semi-death metal ones. Heroic speedsters like "Bethlehemian Blasphemies" and "Black Magick Riders" will keep all headbangers happy while "Seven Bridges-Seven Gates" reveals the more epic-prone, slower side of the guys' repertoire akin to Amon Amarth and mid-period Bathory. "Under the Black Sail of the Burning Cross" is an encompassing closer, a diverse power/speed/thrash saga with numerous battle-rousing moments.

Hail the Cult EP, 2015
The Ceremonial Fire Full-length, 2017

Official Site


A 3-track demo of intense direct classic thrash; "Die For My Desire" tries something more elaborate introducing power metal into the picture to a calmer, epic effect. The rest is bashing stuff with fuzzy riffs marred by the bad sound quality, with passable not very emotional clean vocals.

Demo Demo, 1993


Based on the full-length, this band play first-rate classic power/thrash which starts with the invigorating speedy instrumental "Bps". Then comes the title-track which is intense shredding mid-paced thrash also introducing the cool soulful clean vocals. "Dying Age" is a soaring speedster with hard thrashing breaks and a couple of infectious melodic lead sections. "Horizon's Fall" is a heavy steam-roller superseded by the direct fast-pacer "Caesar" and the excellent semi-technicaller "The Soldier" which elaborates the environment with nice choppy, jumpy riff-patterns influencing the next "You Better Run", an eventful progressiver recalling Symphony X. "The Veil" carries on with the progressive infatuations on a less urgent thrashy base the dramatic riffage never venturing into faster-paced waters. No complaints, though, as "Last Son" later speed/thrashes harder by preserving the more complex arrangements resulting in another delightful lengthy opus. "I Am the Night" is raging thrash with steely shreds ala Nevermore also aptly epitomized. "Iron Legion" is another speedster with more technical riffage applied alongside virtuoso Shrapnel-like lead passages; and the closer "Hollow Men" wraps it up with the final portion of precise, semi-technical gutars keeping the tempo up for most of the time, exiting this very good effort with aplomb also promising more high quality exploits from these folks' camp in the future.

Blackgate EP, 2014
Ronin Full-length, 2016

Official Site


Based on the full-length, this is abrasive modern post-thrash which acquires more intense hardcore-ish tendencies here and there recalling Pro-Pain ("Mushroom-Roses"), bit overall this is a moody affair with frequent nods to the stoner/doom metal scene with two cool, heavy ballads at the end with a nostalgic bluesy vibe. The singer has a levelled semi-clean/semi-shouty tenor which he uses appropriately including a couple of warmer cleaner tirades.

Kneel Down EP, 2013
Karma Saliva Full-length, 2015

Official Site


Throughout their career this band, whose only constant member goes under the pseudonim Atziluth, have/has stuck to the intense old school black/thrash metal models playing very fast music "ornated" by blast-beats and the likes not far from early Deathwitch and Impaled Nazarene. There are a few attempts at slower epic music (the 10-min elegiac "From the Dark Eternal") recalling Bathory and more recent Destroyer 666, but expect very little mercy shown on the rest which is more in favour of black metal assisted by forceful brutal vocals ala Ross Dolan (Immolation).
"Dark Season" is a different "animal" shying away from the fast parts for most of the time ("The Burning" is the only less controlled blasting composition) producing morose atmospheric doomy black/thrash metal not far from Barathrum, and even the Greeks Nightfall and mid-period Rotting Christ. The epic side of the guy's delivery is by all means preserved reflected in nice pagan thrashers like "In thy Name" and "Behind the Shadow". The final "The Laughing Face of Madness" is top-notch doom metal, epicness at its best seldom reached even by the most renowned doom metal bands. This new effort could be considered the more appealing one since it boasts superior musicianship which was kind of hampered by the previous more direct speed-based approach.
The "In a Swarm of Flaming Shadows" EP returns to the faster patterns thrashing and also blasting at times its way through without forgetting about the more lyrical, melodic side of their style which bears some of the most addictive hooks around: check out "Black Banners of the Damned". "A Timeless Curse" is the obligatory slower, epic cut: a dark atmospheric piece ala Impaled Nazarene's "Blood is Thicker than Water". The guys previously had an interesting progressive thrash formation called Indoctrination, and had also corroborated in the symphonic black metal act Illnath. At present some of them also participate in the death/black metal outfit Ravishing.
"Lost Souls of Mental Famine" is an encompassing, operatic affair with black metal returning to the front not leaving much room for the other genres to show their heads above ground. Still, "Portal of Madness" is a gritty black/thrasher with echoes fo early Bathory, and "A Nail in the Coffin" is an intriguing dissonant oddity with a cool doomy ending. The rest is well executed symphonic black metal with imposing, majestic atmosphere and several gloomy doomy escapades.

Arrival of the Firedemon Full-length, 2004
The Nighttime Graveyard EP, 2005
Dawn of Doom Full-length, 2007
Lost in a Twilight World Full-length, 2008
Dark Season Full-length, 2010
In a Swarm of Flaming Shadows EP, 2011
Lost Souls of Mental Famine Full-Length, 2015

Official Site


A very good power/thrash metal band with a style similar to Liege Lord and early Iced Earth, but more technical and thrashy (compared to Liege Lord). Their only album, which is actually a Best of Compilation, contains whole 17 songs so expect a variety here. The majority of the tracks are definitely on the positive side, some of them having a genuine atmospheric, even progressive edge: "O-Factor", others being straight-forward power/thrashers of the more melodic type: "Barbarian", or the excellent galloping "Dead'n Gone" and "Ignorance of Man". Tracks like "Bite Your Lip" and "Chapter 23" are the downpoint being pure power/heavy metal tracks, apparently from the band's earlier period. The guitar work is occasionally quite striking, like on the intriguing, technical, and very good "Horizontal Hero" and "Under H2O", or on the 10-min progressive opus "The Talisman" which will surprise you with its high level of musicianship and many things happening within. Some of the musicians here had one more temptation four years later, under the name The Last Things, where they concentrated more on the technical/progressive side of things again to very positive results.

Ignorance of Man Full-length, 1989

Vibrations Of Doom


This Ukrainian act specialize in modern thrash with a strong progressive flavour which can at times become fast and furious in the manner of the Gothenburg school, but those moments never grow into a wholesome composition. One can even catch a few more intricate decisions on "Demonization" which thrashes out wirth the best out there at some point serving fast sterile technical riffage. "Plastic Eyes" is a nice dramatic steam-roller before "Mystical Art" tones it down with semi-baladic structures, catchy choruses and very good screamy leads. At their more complex ("War of Hate") the band lose the edge and indulge in melodic riffing in mid-pace which isn't very entertaining compared to the much more dynamic rest. The singer is a diverser shifting from clean mid-ranges to more attached angry semi-shouts the whole time.

Tamer Of Feelings Full-Length, 2013


A cool thrash metal band of the old school; the style is neither modern nor classic: comes between the two. The vocals are rough, more death metal-like. "Crush ...Unleash the Beast" offers a more varied material: elements of epic/power ("Empire Flesh, Fall") and death metal ("Mindloss") with a few blast-beats scattered throughout, and is the lesser achievement of the first two instalments. The thrashers there are of the heavy, mid-paced variety, with "Forever in Pain" being the highlight: an awesome more energetic thrasher, followed by the more speed metal-based, but also quite cool "The Punisher".
"Dawn Of The New Sun" abandons the aggressive death metal riffage, and the concentration is more on headbanging thrash, reaching the top with great songs like "Last Breath" and "Death Through My Eyes". Another cover of Motorhead's "Ace Of Spades" awaits you in the middle, as well as the enjoyable thrash/crossover piece at the end "Insicuridade".
"Stimulation for the Beast" arrives after a lengthy 8-year hiatus, but the guys haven't forgotten how to provide some cool classic thrash and this is exactly what the listener will encounter here. The band mosh out at times with a touch of speed metal ("G.T.H [Go To Hell]", "Retribution"), at others with a harder thrashy "sting" ("The House Down Below", "Perfect Hatred"). The tone is more on the friendly side the guys seldom stepping on the pedal to the brim, but there will be many "smiles" on the closing "Die With A Smile" which exits the album with a fine portion of fast-paced vitriolic rhythms. The rough death metal-ish flavour in the vocals remains, maybe served with a more melodic tone at times to better suit the more uplifting nature of the music.

Crush ...Unleash the Beast Full-length, 2000
Dawn Of The New Sun Full-length, 2002
Stimulation for the Beast Full-Length, 2010

My Space


Rough raw thrash with semi-declamatory/semi-death metal vocals; some quirky avantgarde semi-technicality roams around with quirky bass implements ("Last Sacraments") springing up from least expected places, or psychedelic thrash/crossover motifs start floating ephemerally, not to mention the chaotic riff-soup unleashed on "Thanatos". An interesting unpolished offering that could have grown into somethig more substantial. The band members later tried their luck in the thrash metallers Dryrot, and the death metal formation Absorb.

Last Sacraments Demo, 1989


Based on "Alienation", this formation play fast blitzkrieg, old school thrash along the lines of their compatriots Sepultura. The opener "Street Justice" is a sure statement of intent with its remorseless delivery. "Thru the Eyes" serves more melodic rhythms, but the uncompromisng thrashing is intact and remains such until the end. "Mechanical Minds" stomps forward with less rigorous riffs infecting the following "Dark Days" with its dark, brooding atmosphere the latter also handsomely captured on "Weapons of Intolerance". "Dyed In Blood" brings back the impetuous thrashing but "Devil's Child" is both slower and more technical. "The Rotten Institution" jumps around in a choppier fashion, before "Two-Faced Liar" offers more optimistic atmosphere with its brisk energetic guitars the latter getting more technical and more brutal on the closing rager "Corporation". Some of the band members also played in the thrashers Postwar who recorded one solitary demo in 2006.
The debut is a commendable start for the band who thrash with conviction and confidence spicing their more vigorous approach with the odd shade of hardcore. More technical flourishes ("Unleash Your Hell") spring up here and there as well as varied, not as speedy digressions ("Against All"). "Death Row" is the highlight being the most aggressive composition with proto-death sneaking in, but also serving the finest leads on the album. The end is preserved for a cool abrasive cover of the guys' peers and compatriots Overdose's "Children of War" from their debut "Conscience".

Order of Chaos Full-length, 2014
Alienation Full-length, 2016

Official Site


Decent modern power/thrash relying on dramatic mid-paced riffage to pull it through, and succeeds for what it is: a heavy steam-roller with aggro-vocals with a pinch of death metal. A surprise is "The Void" which is a faster piece with a nice lyrical break near the end. Another pleasant cut is the opening instrumental "Acoustic Progressive" which a fine cross between acoustic guitars and a dreamy bassism accompanied by unobtrusive drums; a peaceful, but proficient number.

Killing Machine EP, 2011

Official Site


This band's line up includes Tim Schallenberg, who later formed the great progressive thrashers Depressive Age, and Andreas Bahr who later played in another very good thrash metal act- Defcon. This is a two-song demo with the first song ("Kamikaze") being an average power/thrash metal number recalling the Americans Griffin, or Omen, and an awesome speed/thrash metal track ("Oracle of Dead") along the lines of early Destruction and the Toxic Shock debut. The vocals are very good, high-pitched and powerful, and Schallenberg does a great job pulling out piercing riffs and a few nice meandering solos.

Kamikaze Demo, 1987


Based on "Devastator", this act specializes in competent classic thrash with a heavy dark sound. The predominant pace is mid, but there is one fast merciless headbanger: "Enter The Pit". "Devastator" mixes both types, ending up sounding quite intense, with more clever guitar work, even switching to furious death metal tremolos in the middle. The singer is a low-tuned gruff death metal growler, and keeps his scary participation to a minimum.

Devastator EP, 2007
Sub-Human EP, 2008

My Space


This crusty trio from the wintry Calgary specialize in crusty blacky thrashy stuff which is delivered with the utmost intensity expressed in short bombastic numbers where one can find quite a bit of chaotic noise among the more sensible riff-patterns, the latter often losing the battle with the furious bashing passages. The "attack" becomes really "acid" on "Acid Attack", but it comes near the end so one would be relieved to see the final line of this fairly aggressive crusty roller-coaster which is finely supported by shouty Lemmy-like vocals which are a bit more expressive probably with a punky blend at times.
"Hail to Hades" is more restrained the band now having borrowed a trick or two from Motorhead and Exciter turning their staple sardonic style into a slightly more optimistic speedy roller-coaster. "Sepulchral Lust" breaks the "idyll" in the middle with a slab of brutal deat metal-ish outburst; but "Progeny Of Pan" is vintage doom with a blacky Barathrum-esque vibe. Both approaches mix later on as the doomier side seems to be the mmore attractive one: check out the funereal "Drawn By The Blood In Their Veins" its morose aesthetics cancelled by the unbridled energy of the closing speedster "Autmumnal Obeisance".

Whiskey and Blasphemy Full-Length, 2013
Hail to Hades Full-Length, 2016

Official Site


Old school speed/thrash played by-the-book with sharp lashing riffs mixing fast and slow passages the former clearly the more prevalent recalling Slayer and Sacred Reich if we exclude the sweeping German thrash-worship at the end "Raise From Your Grave". The songs are within the 4-5min range and there is quite a bit of music to be heard there. The singer may be a detraction, though, with his gruff hardcore-ish delivery.
"The Gate To The Unknown" contains some inspired old school thrash in the vein of early Angel Dust and Deathrow. The guys thrash with vigour and gusto producing vicious vitriolic riffs which turn to more direct simplistic bash ("Orders of Massacre") in the 2nd half. There will be no spared on violent headbangers like "Rise From Your Grave" and "Armed Forces From Hell" which will cause major neck sprains along the way including on the more complex closing title-track which never loses the speedy idea inserting the odd more intelligent hook.

Waves of Destruction Demo, 2010
The Gate To The Unknown Full-Length, 2013

My Space


Heavy modern-ish thrash with harsh shouty deathy vocals; the delivery seldom degenerates to poast-thrashy grooves, and there are a few interesting atmospheric mmoments ("Ceaseless Destruction") scattered among the sterile, mechanical riffs which also produce the vivid thrash/crossover delight "The Devil's Artifice" and the raging headbanger "Dawn of Death" at the end.

Dawn Of Death EP, 2017


The debut: these Czechs specialize in modern power/thrash of the less predictable type which means that one will experience cool melodic tunes, a few classic touches, semi-balladic passages accompanied by good melodic leads, and more. The hard-hitting side of the genre isn't very well covered the band preferring to keep it mid-paced although the riffs are constantly sharp and smashing even on the intended as a ballad "Fly Again". The closing "Mankind Disorder" is a shocking aggressive piece which will rock your world for about 4-min thrashing hard with a Slayer-esque edge and may be considered the most pleasant surprise on this cool, but hardly exceptional, offering.
"Realms of Blackshard" is heavier and kind of more hard-hitting, and the clean deep inclusion of the extra vocals is quite admirable and way better than the main shouty semi-deathy ones. The intense thrashing seldom stops and is even boosted on the longer numbers ("Years of Downfall") except for the overlong closing title-track which is seismic steam-rolling power/thrash its monotonous nature hardly the best possible exit for this otherwise cool effort.

Mankind Disorder Full-Length, 2011
Realms of Blackshard Full-Length, 2015

Official Site


Based on "Soul Confusion", this act play prototypical Swedish thrash/death metal with echoes of the 90's speed/power metal movement. As a whole we have melodic stuff with gruff mid-ranged semi-clean vocals which changes the tempos without breaking any sound barriers speed-wise. "Bloodred Silence" is the most aggressive song here thrashing quite hard leaving the rest in the mid to up-parametres with more qiuet and more intense sections taking turns making the tracks pleasant, but with a strong pinch of deja-vu, experiences. Some of the guys can also be seen in the death metal outfits Hetsheads and Mykorrhiza.

Our Pain Is Your Pleasure Full-length, 1997
Soulless & Proud Full-length, 2002
Lifeblood Full-length, 2006
Soul Confusion Full-length, 2012

Official Site


Based on the debut demo, these guys play excellent American power/thrash metal ala Helstar and early Iced Earth starting with the brisk galloping "Twist Of Fate" which in its turn is compensated by the slower more complex, but also more technical "Thieves of the Night". "The Confrontation" speeds up nicely, again in a galloping pace, but near the end the sound gets faster and more thrashy. "Merciless Peril" is a mellower semi-ballad, but "Edgerunner" is a sure-handed speedster, and the final "Bad Winds Rising" desirably breaks the "fast-slow song" alternation to produce another slab of vigorous "horse-riding" speed/thrash metal. The singer is a nice addition with his melodic mid-levelled voice which comes a bit thin at times, and could have tried a few higher-pitched notes.
The EP starts misleadingly with a ballad ("Visions") which is a really good atmospheric song, and the next "Vertigo" is not the fastest track in the world, either, but is a truly satisfying progressive doomy thrasher with dramatic swirling riffage and finally a few higher tones from the singer. "Ship of Fools" is another evidence that this will be a more elaborate technical offering with clever guitars aplenty, again missing something in the speedy department despite the more energetic galloping ending. "House of Dreams" clings again towards the balladic fields, and doesn't leave as a positive impression this time simply because the required demand of similar numbers has already been reached. "Test of Time" is a very good hard-hitting thrasher in a consistent mid-pace, and the closing "Twist of Fate" is a slightly reworked version of the song from the demo. The following two demos softened the course quite a bit opting for a more melodic hard'n heavy sound by failing to develop further the progressive/technical tendencies shown here.

Twist Of Fate Demo, 1989
Tales from the Wishing Well EP, 1990
Demo Demo, 1992
The Lands of Yesterday Demo, 1992
Twist Of Fate Best of/Compilation, 2009


Black/thrash which crosses the aggression and speed of Impaled Nazarene with the bleak, depressing sound of early Barathrum and Thorns. Some tracks don't fall into this description having a pure classic heavy metal vibe ("Hordes of Werewolves"). There are quite a few interesting moments here: atmospheric ones, slower doomy ones, pure black metal outbreaks; will appeal to fans from several walks of metal.

Black Metal Juggernaut Full-length, 2005

My Space


With a name like this, what could you expect? But of course evil old school black/thrash which in this case pays tribute to the early German scene incorporating quite a bit of speed metal as well. This is true "satanic shred force", like the title of one of the songs says so well, and one will have to bang his/her head a lot on this relentless fast downpour which never gets out of control giving a nice boost to the guitars which are constantly comprehensive including in the screamy lead department which sometimes inserts the odd stylish melody. The singer is suitably misanthropic and vicious with a harsh raspy tone shouting at times in a more brutal deathy way.

Satanic Shred Force EP, 2012

Official Site


Two songs of brutal amateurish thrash/death which is so sloppily made that apart from the vociferous shouty death metal vocals not much can actually be heard. One can distinguish fast abrasive riffs as well on "Genetic Ateration" with more emphasis on death metal, but this is just too pristine and ineptly produced to really make anyone listen with care. Later the guys changed their name to Manifest Destiny, and took a more prominent part in the classic/modern thrash metal campaign in the 90's and beyond.

BlackWitch Messiah Demo, 1992



Based on the "The Harvest Has Begun" demo, these guys pull out modern thrash/death metal which takes jollier more melodic forms at times ("Laughter"), and apart from the intense speedy opener "There Comes The Firestorm", there is not much fast-paced music to be heard: this is mostly mid-paced Amon Amarth-esque stuff with sharp heavy riffs and epic "decorations" including more intriguing semi-technical riffs on "Road To Perdition".

Live aus Piaseczno Demo, 2006
The Harvest Has Begun Demo, 2007

Official Site


The album starts well with cool thrashers, simplistic and straight-forward. The second half is filled with less interesting songs, more melodic and less thrashy, some of them pure blue-sy heavy metal numbers ("House of Witchcraft"), which diminish the impression from the otherwise promising beginning.
"Taste the Blade" is a heavy/power metal offering with shades of doom and ballad with the odd more intense hardcore-ish outburst ("Revenge"). "Here Comes The Knife" is the only full-fledged speed/thrasher, with the closing "Baphomet's Call" a close second, although the latter is more on the thrash/crossover side. This is by no means the thrash metal fan's paradise, but the slower material has an intriguing epic shade which will remind you of the Swedes Heavy Load and early Jag Panzer.

Blade of the Ripper Full-length, 2006
Taste the Blade Full-length, 2008

My Space


This young outfit specialize in intriguing technical old school power/thrash which twists and turns in many unpredictable ways on the serpentine opener "We Sleep" echoing both Psychotic Waltz and Zero Hour. "Ronin" is more along lines of early Artillery an impression also enhanced by the very good clean high-strung vocals; and "Blind to the World" is another stylish lasher with great lead sections as well, not to mention the cool balladic digressions. "The Machine" is galloping speed/thrash with intricate technicalquirks near the end on top of some soaring melodies and impetuous hard thrashing. This is a very good beginning for these young talents who should be able to secure a contract for a full-length based on the strength of the material here.

7747-7744 Demo, 2015

Official Site


Modern melodic thrash of the Swedish school, mixing faster harder riffs with more laid-back ones ala more recent The Haunted; the vocals are harsher sticking to the death metal school.

Hateful Affection Demo, 2004

Official Site


Cool intense retro thrash metal with Kreator the major influence with early Deathrow a close second. Fast ripping riffs and subdued semi-clean vocals of the declamatory kind, quite clsoe to the ones of Milo (Deathrow again). Near the end the guys start lashing in a less controlled proto-death manner ("Time in Hell"), but cool down for the nice lead-driven closing instrumental "Death (Remembrance)".

The Touch Of Death Wings Demo, 1990


Quirky, somewhat technical, modern thrash/death which is led by very aggressive, shouty death metal vocals ala Jan Chris de Koller (Gorefest). The guys mix direct, fast-paced rhythms with more stylish, semi-technical sections the llatter handsomely reflected in the virtuous, melodic lead-driven beginning of "Behind The Walls Of Insanity". There's a curious thin, hardcore blend running through the album alongside more relaxed, rock-ish tunes ("Lies") all this making this effort a not very ordinary listen.

BlankWar Full-Length, 2016

Official Site


Cool retro thrash comes out of this 4-track demo, fast and energetic, with gruff Al Urgensen (Ministry)-like vocals. The style is not too far from the more aggressive side of the Bay-Area scene with a pinch of Slayer.

Kill the World Demo, 2008


This is early Germanic thrash in the beginning, quite a typical sound for the South American metal underground. The guys bash with vigour scoring high in the lead department, and later on some black metal ("Eternal Destruction") can be heard alongside the crisp thrashy riffs recalling Nocturnal and Alastor. "Obscure War Metal" notches up the aggression with brutal death metal-ish guitars giving a fairly aggressive push to the proceedings which near the end are more within the blasting spectre the hellish raven-like "croaks" the perfect vocal support to the musical mayhem.

Antichrist Assault EP, 2012
Obscure War Metal Full-length, 2014



Based on the EP: very raw, brutal slab of thrash which will make even early Sepultura and Sarcofago sound like a lullaby. It's so absurdly vicious that it reminds of the grindcore monsters O.L.D. One of the most brutal and uncompromising pieces of metal made in the 80's; definitely not for the faint-hearted. Some of the band members are also active with the black/thrash formation Ramf1'f3n.
"Dioses/Humanos y Bestias" shows a much more controlled act with a sound closer to the thrash/death metal hybrid without many blacky insertions. Consequently this is way more listenable although the cuts come in a varied quality as though having been recorded during different stages of the band's career. Near the end gloomy doomy black appears to spice the approach the last few pieces recalling early Celtic Frost and Bathory. This is an evil brutal recording showing an act reluctant to make any compromises with their wild primal style.

Guerra Total EP, 1988
Guerra Total Full-length, 2005
Dioses/Humanos y Bestias Full-Length, 2013


Based on the "Headthrashers Live" split, Blasphemer are typical representatives of the early brutal black/death/thrash metal wave from Brazil: fast, energetic music with the traditional for the scene raw and "enthusiasm-over-skill" delivery.

Headthrashers Live Split, 1987
Blasphemer Single, 1993


A fairly satisfying debut of 80's Germanic thrash reminiscent of early Destruction and Necronomicon; good stuff, in a fast energetic tempo with cool, both more melodic and more technical deviations ("No Compassion To Destroy"). Heads down for the commitment the guys have to the classic days of the genre providing high-octane speed/thrash metal gems along the way: the excellent more speed metal-based "Dead Killer" and "Recorded Prints", the uncompromising intense thrash bombs "God Slave" and especially the blitzkrieg closer "True Existence". There is only one filler: the more hardcore-influenced "Soul Hunter", but it's hardly a distraction from the smashing sound of the rest.

Executioner Full-length, 2008

My Space


This unholy recording is one of the most primal amateurish efforts to ever come out the Scandinavia which has hardly been the best synonym to "sophistication" through the years. The Hellhammer "atrocities" are a close soundalike, but here the guys try to speed up at times to very confusing messy results which are assisted by some of the most horrible shrieky vocals to ever grace the scene which are plain hysteria for most of the time, and will make quite a few fans roar with laughter due to their sincerely high-strung qualities. The rest, as they say, is history...

Voice Of Dead Babbs Demo, 1986


Based on the "Blasphemia" EP, this act offers dark thrash/death in mid-pace, with heavy riffs and brutal low-tuned vocals. The music is also melodic with a pinch of doom/gothic, and it's only on "Guerreros Poetas" where the guys really start thrashing with speed; the focus on the rest is more on atmosphere which is well created without stifling the sharpness.

Culto A La Oscuridad Demo, 2001
Viaje Demo, 2005
Blasphemia EP, 2005

Official Site


The band name my prepare you for a black metal attack, especially when the 2nd wave of this style was in full swing at the time, and that's why the disappointment would be big when the fan hears melodic soft thrash/crossover, often sticking to classic heavy metal, the ballad and even rap ("Detroit Crack For Clap Rap"). The approach to the sub-genre is original, but there is neither sharpness nor heaviness to oppose to the many eclectic offbeat elements which completely overshadow the thrashiness on quiet a few times.

Groovin' With The Mutants Full-length, 1991

My Space


Based on "The Rise of Marduk", this band play hyper-active black/speed/thrash with not very overt death metal tendencies incorporated ta times. This is surprisingly uplifting, merry stuff with soaring melodies galore recalling Night in Gales and early Children of Bodom also offering several addictive melodic hooks ("The Storm God") not to mention the inspired lead guitar work. The vocals are of the semi-declamatory unobtrusive variety and they simply assist the very energetic music which is also enhanced by the odd blast-beat here and there.

Rest in Pieces EP, 2006
Black Winter EP, 2007
Diabolical Kingdom Full-length, 2009
Battle of the Ancients Full-length, 2012
The Rise of Marduk Full-length, 2015

Official Site


A fine slab of aggressive thrash/death metal; the vocals are of a dual nature, and create the impression that two different bands have been put together: meaner, Mille Petrozza-like and grunting death-metal ones. With the latter the music also changes its tone and sounds more sinister, death-like. And while you are wondering which band Blasphemy's music resembles, here comes "Black Magic": yes, the Slayer immortal hymn. Slayer is only one side of the band's influences and doesn't accurately describe the band's sound; there is also a "Pleasure To Kill"-like aggression, and more.
"Guerra AsimTtrica" is another worthy effort showing the guys thrashing hard this time with a less overt deathy edge, and although the tempo is fast almost every track is "ornated" with slower pounding sections, but the latter only grow into a full-fledged number on "Hipocriteus" which is a more laid-back power/thrasher nicely assisted by the following "5mm" which is an intense Bay-Area headbanger. Two covers are also included: Ratos de Poraos' "Beber Hasta Morir" which is taken from the Brazilians' early more crossover-based works; and Nuclear Assault's "Game Over", done fathfully with a cool sharp edge; both songs are split by the aggressive shredder "La Venganza De La Bestia", a maddening speed/thrasher with sparce blasting tendencies. The closing "D=sis De Odio" is another vigorous piece with good melodic hooks and lashing riffs the former contrasting to the rough semi-shouty vocals quite a bit.

The Revenge of the Beast Full-length, 2003
Guerra AsimTtrica Full-length, 2009

Official Site


The blasting band name doesn't quite do them justice since the music aon display is more intelligent: this is classic power/thrash on the heavy dramatic side which doesn't speed up a lot, and when it does, this happens with a hefty doze of gallops ("Hard Punishment"), or with short sweeping speedsters ("Blinded"). The officiant tone of the album may attract the power metal crowd more (think more recent Iced Earth), but it has its edgy moments when the fans will start moving around in unison. The vocalist is quite good with his versatile voice which adroitly switches between styles and moods depending on the music swings. The band members are also involved with the heavy metallers Leviathan, and the post-thrash formation Innerself.

They Destroy Our World Full-Length, 2012

Official Site


Modern thrash with shades of hardcore with a crisp, sharp guitar sound, and energetic tempos, if we exclude the obligatory groovy slower breaks, and melodic alternative passages.

Find your Way Demo, 2005

Official Site


These Colombians offer raw primal thrash of the old school with a few proto-death qualities the vocals being strictly death metal and the drums being very annoying hollow-sounding. The band bash with no mercy leaving some doubt in their actual skills since the delivery is very simplistic and there is very little difference form one song to another all blending into one big thrashy melee the more memorable moments coming on the longer "Une Vez Mas" which is more serious and contains a few more lyrical semi-balladic passages.

Vida Perdida Demo, 2012

Official Site


The "Chaotic Noise" EP: quite good technical thrash with excellent guitar work and fast tempos, similar to Paradox's "Heresy" and Kreator's "Extreme Aggression". The Turks are more technical, and the concentration is clearly on technicality, rather than high-speed. The vocals could be a disappointment to some, belonging to the death metal camp. The leads are not bad, but are not given much space, which is compensated by the overwhelming riffs. There are so many amazing riffs here that you would listen to this masterpiece again and again without doing anything else: "Speed Till Death" is one of the finest instrumentals for the past ten years.
It may come as quite annoying for one to find out that the band have receorded their debut EP under a different title a year later. Still, afew surprises have been left out from the "Chaotic Noise" EP: the short balladic instrumental "In Memory(Of the Past)"; the very good cover of Death's "Crystal Mountain" graced by great technical guitar work; and another classy cut "The Slave": a speed/thrash fest at its best with fabulous guitar pyrotechnics.

Blaster EP, 2002
Chaotic Noise EP, 2003

Official Site


These Czechs indulge in playful modern post-thrash which suffers quite a bit from the buzzy guitar sound. Otherwise the guys try to play in a dynamic way with a varied pace picture which is not a "stranger" to the odd wilder headbanging section ("Metal Song" which is indeed a "metal song"). The vocalist is a detriment with his unsuitable brutal death metal semi-shout although he is quite comprehensive for most of the time.

First Blood Demo, 2008

Official Site


This is primal thrash/crossover ala Broken Bones and later-period The Exploited, with a clear punk shade, including in the expressive shouty vocals. In other words, expect uplifting unpretentious music played just for the fun of it with the Motorhead spirit also strongly present ("Working Class Blues").

National Policy Full-length, 2009

My Space


If we exclude the last track ("When Will They Fall"), which is a bad punk-ish one, the rest is raging thrash of a very good quality. The vocals lean towards the crossover side reminding of Kurt Brecht from the crossover legends D.R.I. There is a certain hardcore vibe going through the album, and the music simply crushes, being fast and sharp all the time without any slower or lyrical deviations, going even for the death metal aggression for a while ("Lament I.M.F.").
"Violence Just For Fun" is even more furious hardcore-ish thrash, quite aggressive, often reaching even Wehrmacht and the Spanish Storbais in terms of speed. Again, not a single attempt is being made in the slower department, if we exclude the odd balladic interlude on "Collective Suicide": this is a merciless relentless attack coming as one big fist in your face and would please all fans of more extreme thrash, hardcore and even death metal.

No Traces Left Behind Full-length, 2005
Violence Just For Fun Full-length, 2008

Official Site


The full-length is melodic old school power/thrash metal in the spirit of Liege Lord (think "Master Control", above all) and Laaz Rockit. The music is both fast and melodic, and the songs are more speedy and more thrashy in the beginning losing the intensity bit by bit, and the dominant tone in the middle is mostly mid-tempo. The 2nd part serves "Hourglass" which is a nice little headbanger with great lead guitar work assisted by the bonus track "Nine Days Wonder", a cool slab of hard-hitting classic thrash with again fine leads. Still, the prevalent tendency is more on the mellow mid-paced side as well as the singer who actually does a good job with his clean mid-levelled tember containing both an edge and a shade of emotion. Some of the guys are also busy with the black metallers Dreamscapes of the Perverse.
"The Harbinger" offers a more modern sound with shades of post-thrash now, but the prevalent power/thrash hybrid is evident all over even trying to bang the head ("Knives", the closing short speedster "Born In A Body Bag") on occasion, also doing it the doomy way (the overlong dragger "Quench") to less impressive results. The vocalist is now gruffer and less melodic with a less inebriate hardcore-ish flair.

Blatant Disarray EP, 2002
Everyone Dies Alone Full-length, 2010
The Harbinger Full-Length, 2014

Official Site


Competitors to Cryptic Slaughter in the aggrressive, super-speedy sector; this is ultra-fast brutal music with hysterical shouty vocals which comes as one compact fist in then listener's face despite the very muddy sound quality. This was the early home of Jimmy Bower, the drum wizard who later graced with his presence famous acts like Down, EyeHateGod, Crowbar, Corrosion of Conformity, etc. Those Louisiana swamps... what other mysteries they can possibly hide...

Demo Demo, 1986


Thrash/crossover with short energetic tracks reminiscent of early D.R.I. and Prong; "Not Empty" is a cool full-blooded intense thrasher, but the rest is closer to hardcore.

No Pain, No Gain Full-Length, 1992


Based on the "Abstract" demo, this band play a blend of thrash and doom/death metal; so don't expect any fast thrashing: this is heavy, mid-paced crushing music with a brutal grindcore section added on "Born Hatred" to spice things up.

Pieces of Elizabeth Demo, 1990
Abstract Demo, 1991
Blatherskite/Natural Cause split 7" Single, 1992
40 Daze and 40 Nights Demo, 1993
Blatherskite Best of/Compilation, 1994


The EP: except for the last track, which is a joke, these guys pull out awesome thrash of the classic school with a certain technical edge which recalls the one-album-wonder Deztroyer; too sad that apparently they're no more. "Terror Australis" will blow you away with its intense steel riffs and fast tempo: speed/thrash at its most shining best. "Bleaten" follows suit, and gives the EP another fast-paced push, by adding a more technical edge to the guitar work at the same time. "Portrait" pauses for a break with crushing mid-paced guitars, and is virtually an instrumental if we exclude the samples from films included. The remaining three songs carry the bigger technical charge: the fast "Spare Hell", which at some stage offers wonderfully abstract stylish riffs; "Alemeant", which starts with a hectic choppy rhythm before it explodes into another furious speedy riff-fest, again broken by a choppy section later on. "Freedom Of Choice" is the already mentioned odd, joke crossover number at the end.
The demo has already been polished, and the unique technical sound has been well epitomized the opening instrumental "Titan" thrashing till all else fails creating a great headbanging atmosphere which gets lost nowhere even on the more complex material, like the jumpy shredder "Chainsaw Rape". There's seldom mercy shown with fiery pieces like "Lamedent Of Sir Bedevere", and especially the ultra-brutal lasher "Brain Damage" "flying" around. The closing "Cuntspace" is a nice take on progressive thrash with heavy guitars, clever technical arrangements, and a few more brutal death-laced passages. This is classic thrash done right at a time when most of the practitioners were shying away from it.

Blathudah Demo, 1992
Spawnography EP, 1995


There are two styles at display on these three demos: the first two are heavy, technical thrash in the Nasty Savage-mould; the last demo is technical death metal similar to Death's "Human". The band are equally expert in dealing with both styles in a sure-handed way. Despite the unquestionable talent shown, Blaylok remain one of the many lost treasures of the metal underground.

No Exit Demo, 1989
Back to Reality Demo, 1990
Loosing my Mind Demo, 1992


Based on the "Disco Sencillo" EP, this act pull out energetic thrash in various paces suffering a bit from the nosiy guitar edge and the not very interesting semi-shouty vocals which try to sound more attached and cleaner, but to not such a big success.

No Podr'dfs con El/Death Machine EP, 1985
Disco Sencillo EP, 1988
Cancerbero EP, 1989
Six Feet Into Reality Full-length, 1998
Blaze Full-length, 2002


Veterans from the Russian metal scene (Bludniy (D.I.V., E.S.T., etc.); Mikhail Svetlov (Black Obelisk); Leonid Fomin (Master, Valkyria, etc.)) have gotten together for the production of this pleasant, radio-friendly post-thrash which relies on nice, melodic guitar lines and frequent balladic adherences. There is some heaviness in the guitars ("The Brocken Chain") to be heard, but generally the band aim at the more refined crowd, especially with the romantic blues/balladic closer "Too Too Too Do". The singer has an attached clean tember which suits the mellow musical approach just fine.

Shadow of Your Life Full-length, 1996

My Space


Based on the "Cancerbero" EP, which is only 2 tracks, these guys pull out brisk old school speed/thrash with simplisitic guitars, screaming leads, and raw unrehearsed semi-clean vocals. It would have been better if the guitars had been heard clearer...

No Podr'afs con El/Death Machine EP, 1985
Cancerbero EP, 1989
Six Feet Into Reality Full-length, 1998
Blaze Full-length, 2002


The presence of Leonid Fomin, who served in renowned thrash acts, like Master and Valkyria, and Mikhail Svetlov from Black Obelisk may raise the hopes high, but here the guys are content enough to offer uninteresting modern power/thrash metal hesitating between the mid-period Machine Head period and 90's Flotsam & Jetsam. This is light-hearted, unpretentious stuff, apparently played for the guys to just kill the time while not working on anything else with their other colleagues.

Shadow Of Your Life Full-length, 1996

My Space


Modern thrash which operates on full-throttle at times ("Her Pain Her Curse"), but those moments aren't too many as the groovy "cloud" is just too thick to be penetrated by the isolated bursts of aggression among which one should also count "Get Lost In My Eyes", a short blitzkrieg headbanger. The vocalas are harsh, blacky semi-declamatory ones coming with a witch-like hiss at times.

Rise of the Evil Spirits Full-length, 2017



Modern, abrasive thrash of the pounding mid-paced type; the singer is a forceful semi-reciter who strains himself to an extent on the more intense material ("Blood Ashes", the cool galloper "Suffocate"), but generally leaves a positive impression his antics not disrupting the environment too much. Cool semi-balladic lyricism can be caught on "Obelisk" assisted by nice melodic tunes, but on the rest the riffs are heavy and stomping with a great bass bottom "lurking in the shadows". The closer "Hate March Kill" is also worth mentioning with its nice speedy crescendos suggesting at a bigger progressive potential. Some of the musicians are also active with the black/death metal outfit Ritual Genocide.

The Hatred Inside Full-Length, 2015


Modern thrash which "flirts" with death metal where also the growling semi-shouty vocals belong. The tempos vary as both the slow and the fast side are covered on almost every track. "Retaliation" is a brooding pounder with cool semi-technical riffage, and "Prohibited" is a raging headbanger which annuls the softer semi-balladic overtones on "The Fall" those disappearing for the more intense closer "Within the Machine" which still provides a few breath-taking melodies.

Chaos Impact Full-Length, 2017


The classical intro "Psycho Denied", which is taken from the work of a Russian composer (Mussorgski, if I'm not mistaken: Mekong Delta used it first on "Classics") is followed by less classically-trained thrash/death, still classic-sounding, relying more on melodic hooks rather than sharpness. The guys put two-and-two together near the middle, the first sign being the nice up-tempo thrasher with a technical edge "Wrong"; the slower, but more technical "Victims of Society", a riff-fest no worse than any song on Death's "Symbolic". "Anarkoblacks" is a mish-mash of brutal grinding breaks and dry industrialized noisy tunes, all this cancelled by the excellent leads. The bonus track is a winner, though, returning to the more technical patterns, producing an appealing cocktail of melody, technicality, a beautiful balladic interlude, and a not very necessary brutal death metal passage near the end. The singer is really bad with his unrehearsed death shouts, and at times one can not help but notice that his pitch is not enough to handle a longer, more complex section.

New Blood... More Victims Full-length, 2005

My Space


Modern thrash with a shade of hardcore; the guitar sound is heavy and pounding, and sparsely really stylish leads could be heard. When the band feel like thrashing, they come up with good headbangers ("Where Is The Man?"), and they should stick to this side more frequently for the future.

The World is Falling in Tragedy Full-length, 2007

Official Site


Based on "Flawless Execution", this act deliver modern/classic thrash blend which hesitates between the melo-thrash tendencies of the Swedish movement ("The Realist") and the rigorous Bay-Aresque mosh ("The Habit Has Reclaimed Itself") the latter coming with interesting more technical embellishments. The approach becomes more complex towards the middle where slower, more pensive compositions ("Defiance", "Cosmic Constellations") have their voice heard more often, also bringing a lot of melody with them including a few lyrical, balladic moments on the closing "Reach From Beyond".

Bleed the Victim EP, 2014
Flawless Execution Full-length, 2016



Based on "Martyrs Throne", this band play fast ripping modern thrash/death with not very pleasant shouty death metal vocals. The music at times acquires more technical tendencies ("Everyone's a Target"), but generally this is moshing stuff of the brutal, more death metal-ornated type.

Rise of the Godless Full-length, 2010
Martyrs Throne Full-length, 2016

Official Site


Based on the "A Part of our Time..." demo, this obscure act offers intense proto-death tinged thrash, but on the other hand "Labyrinth" is a pure speed metal delight. The music is quite speedy sometimes also branching out into less controlled thrashcore ("Blind Hate"), and the guitars have this characteristic dark sound typical for Infernal Majesty's "None Shall Defy". The singer is not very rehearsed and loses his voice here and there, and his dramatic semi-clean delivery could have by all means benefitted from more time spent in the studio.

Thrash Till Your Asshole Bleeds Demo, 1989
A Part of our Time... Demo, 1990


Based on the full-llength, this act are a very pleasant surprise: this album is a marvellous rendition on the Depressive Age legacy; in other words, we have excellent progressive thrash with hard-hitting riffs, quirky arrangements, and very good emotional clean vocals with the staple for their peers memorable choruses. The opener "Behind Transparent Walls" is the forgotten track from "The First Depression", a consummate progressive thrasher which doesn't exactly set the tone for the rest since right after the guys relax with a more atmospheric power metal semi-ballad ("Fading World"). More impetuous semi-thrashing with "Humanoluminiscence" after which a string of pieces with a semi-balladic flavour follow suit "courting" "Symbols for the Blue Times" rather than the Depressive's debut. "Madness" comes to bang the head once again followed by the creepy shredder "Infinite Jest". The 2-part closer "Solitude", part 1 being just a short acoustic instrumental, is a nice dynamic number with sharp riffs surrounding mellower balladic sections to an enchanting effect the encompassing saga lasting for 10-min, finishing this fairly cool effort with the style it richly deserves.
"Elementum" is another grand recording starting with the brilliant surreal progressive thrasher "When They Come", a delightful compendium of hard thrashing and outlandish atonal breaks, not to mention the excellent vocal performance which leads to a couple of nice memorable choruses, a number Depressive Age would have been proud to have in their repertoire. "Heir to Apostasy" marches along with darker progressive power/thrash metal colours a few less linear breaks keeping the intrigue together with sparse less controlled, fast-paced outbursts. "Immortal Projection" is a nice combination of hard-hitting riffs and more lyrical, balladic deviations the latter growing into a couple of more officiant epic passages. "Paranoia" is a 9-min progressive opus which largely operates within the doomy/semi-ballaic parametres with more dynamic embellishments arriving in the second half to stress out the listener. "Macbeth" is a dramatic stomping shredder with a lot of pathos poured from both the music and the vocals, with the obligatory speedy excursions those great reminders of "First Depression" again with a couple of jarring choppy breaks thrown in the middle. "Sense and Science" starts with an enchanting balladic etude, but the engaging thrashing resumes on full-throttle before long the band weaving fascinating, more complex soundscapes where quite a few nice melodic tunes can also be come across alongside more memorable choruses. "Embers" emphasizes on the melody with more balladic motifs introduced, but expect more intricate, also eccentric decisions which turn into aggressive crescendos without any warning greatly helped in their cause by excellent virtuoso leads. The title-track is a superb short bursting thrashing instrumental with a characteristic melancholic vibe the guys moshing in oblivion amongst melodic additives, dazzling lead pyrotechnics; a stunning display of musical mastery that goes on unabated on "Shipwrecked", the closing slab of first-rate atmospheric progressive thrash which also brings to mind another classic from the past, their compatriots Lost Century's "Complex Microcosm", with alluring serenities and more fabulous lead guitar pirouettes taking turns to entertain the listener who will also come across heavy pounding passages with a shade of doom on this encompassing, compelling saga. This is another impressive showing from these talents who are easily one of the most pleasant phenomena on the scene in recent years.

Bleeding EP, 2012
Behind Transparent Walls Full-length, 2015
Elementum Full-length, 2017

Official Site


Based on the full-length, this band play abrasive modern-ish thrash/post-thrash which alternates between fast and slow tracks the former not far from pure hardcore at times. "Mechanizer" and "Kill" are cool retro headbangers giving a big boost to the album in the second half turning it into a dynamic roller-coaster the tracks there also acquiring a more attractive classic aura. The vocals are hoarse semi-shouty, but their authoritative delivery makes them a fitting adition to the music.

Beer Hate Blood Demo, 2006
Demo Demo, 2011
H.A.T.E. Full-Length, 2015

My Space


Raw aggressive hardcore-ish thrash reminiscent of Wehrmacht in terms of speed and intensity, but in execution this is far inferior. The "Macabrum Bestia Ex Abyssus" EP is only two tracks of brutal abrasive industrialized noise reminiscent of the Australians The Berzerker, closer to grindcore than thrash.
The "Devil's Ferox" EP serves another portion of grinding noise spiced with the casual atmospheric doom/blacky section, with thrash almost nowhere to be heard. The guys eventually calm down for the heavily industrialized cover version of Death SS' "Black and Violet" at the end which is a belated "oasis" after the exhausting aggressive material preceding it.

In Your Face Demo, 2006
Immortal Hate Full-length, 2006
Funeral... (Second version) EP, 2007
Bestial Kruzifix666ion Full-length, 2009
Macabrum Bestia Ex Abyssus EP, 2010
Devil's Ferox EP, 2011

Official Site


Epic battle-like thrash/death which is characterized by heavy seismic riffs, unobtrusive keyboard support, and growling death metal vocals. brutal outrages like "Beloved By Artemis" and "Seeds Of Distrust" are a rarity although a few faster-paced escapades can also be heard alongside bold nods to doom ("Tripled Anger", "Hera's Orchard") and addictive melodic variations (the enchanting closer "Hound Of Hell"). Some of the musicians were also involved with the thrash/death formation Debauchery, among other purveyors from the death and the black metal camp.

Shepherd of Souls Full-length, 2015
Dodekathlon Full-length, 2018

Official Site


Gothic-tinged, dark modern thrash/post-thrash sounding like an edgier version of Sentenced's "Amok". The approach is peaceful and mostly mid-tempo with abrasive, slightly noisy guitars which come with a desert rock ("No Way Back") vibe at times the latter vibe very aptly matched by the cool inebriate, semi-clean vocals ala Monster Magnet.

Lost Integrity Full-Length, 2015

Official Site


Modern/classic thrash with brutal death metal vocals; there are hardcore elements in the sound which are not bad since this is when the music picks up speed above the dominant mid-pace. The overall approach will remind you of early Pro-Pain with a more modern attitude, and Hellbastard in the more classic parts.

Lifeless Full-length, 2004

Official Site


Modern speed/thrash ala early Children of Bodom and Night in Gales with throaty death metal vocals and occasional references to death reflected in short spasmodic blasts. The band play fast'n tight relying on sharp cutting riffs and several soaring melodies. The slower deviations are not very impressive ("Thoughtcrime") losing the dynamics pounding with much less imagination except for the dramatic machine-gunner "Goddess of Black" near the end which shoots you with some of the heaviest riff around. The singer doesn't really shine with his traditional husky mid-ranged tone which is still quite intelligible.

Evolution's Crown Full-length, 2012

Official Site


The debut: modern thrash/death is offered by these young Germans who sound as though coming straight from the centre of Gothenburg, but with a more expressive thrashy edge also reminiscent of their compatriots Dew-Scented. This is right as rain stuff which offers nothing new to the ears, but makes up with dedication and proficient execution.
Darkest Potency produces no surprises the band death/thrashing in the familiar fashion adding more impetuous blast-beating passages this time. Heavy mid-pacers are also inserted ( This Is Where We Die) occupying the middle mostly, but they're buried under the wall of fast blitzkrieg rhythms which ends with the more engaging closer "Nighttime Divine" that gives a not very typical progressive nuance to this otherwise pedestrian effort.

Demons To Some, Gods To Others Full-Length, 2012
Darkest Potency Full-Length, 2014

Official Site


These are the same guys who, under the name Devastator, released three demos in a quick succession a few years back. The style here is pretty much the same: vigorous classic thrash in various tempos, entertaining intense stuff seismic hammering riffs. The assault is mostly in the form of heavy steam-rolling guitars in the 1st half with frequent, but never very long, faster breaks the overall approach very close to the British legends Cerebral Fix. "March of the Wicked" raises the headbanging flag high and remains a pretty speedy affair all through its more than 6-min. This great cut is followed by a short acoustic interlude ("Carpathian Mist") after which "Rise of the Undead" mixes heavy, hypnotizing riffs with raging fast ones. "Feasting Witch" shows some technical pretensions which are well translated on the perennial mosher "The Devil's Mark" which is vintage Nasty Savage blended with early Coroner. A bigger complexity awaits you near the end, on "Eternal Hate/Blessed Curse" and "Burn the Beast" which are more cleverly concocted diverse atmopsheric songs. The end is a cover version of the Sabbaths' "Symptom of the Universe" done quite faithfully including in the rougher sound department which betrays the crystal clear quality of the preceding material. The singer is a forceful deathy semi-shouter and does a good job to support the very good music which sees a rising star on the thrash metal circuit whose best days are yet to come.

Blessed Curse Full-length, 2012

Official Site


A legendary speed/thrash metal band; the debut is not all-out thrash, closer to Destructor's "Maximum Destruction" than Exodus' "Bonded By Blood"; it still delivers the goods mixing energetic, enthusiastic speedy tracks with slower power metal ones. Two years later the guys were ready to compete with the best with the excellent "Destined For Extinction", which boasted stupendous technical guitar work, as well as unholy high-pitched screams which could make some of the more faint-hearted pass out, although they didn't sound inappropriate, considering the intense uncompromising nature of the music. "Digital War" is a great opener, fast and aggressive, still conventional, with no hints at more technical times. "Pain Killer" thrashes even harder bringing forward more stylish guitar work. The remaining songs follow the model, mixing aggressive and more technical riffage reaching the summit on the furious thrashterpiece "Pray for Death" which sees the singer reaching impossible heights (yes, he indeed "prays for death" here) with his scary screams which you might find hard to experience even on the goriest horror films so be prepared to see your neighbours at the door, rushing to help you. The band decrease the intensity on the following two tracks which are cool more laid-back speed/thrashers.

The band were ready with a material for a third album, but the usual problems accompanying the metal underground, took their toll. It was in 2006 when this 3rd album finally became a fact. Featuring mostly songs recorded in the late 80's, one shouldn't wonder how close to the band's previous efforts this new release is: another commendable classic speed/thrash metal work. However, if you expect the non-stop thrashing madness of "Destined For Extinction", you might be left quite disappointed, especially in the beginning. "Fallen Walls" is a pure ballad, albeit quite good, and is probably not the best way to open a comeback release. "Your Are Nothing" already sounds like an "apology" with its much faster and aggressve approach, but all this gets lost for another two songs, one of which is another ballad ("Black Snow Sky"), this time heavier, but still... "Black Snow Sky" comes right on time, to keep the CD in the player, and what follows is even better: watch out for the raging thrashing number "Atomic Fear", and the mighty speed/thrash metal killer "Born Dead" in the Angel Dust vein which finishes the album. Larry Portelli (the singer) spares his voice here, very seldom unleashing his notorious horrifying screams ("Terminal Rage" and "Born Dead" are probably the only two times when he could scare the listener).

Kill Or Be Killed Full-length, 1985
Destined For Extinction Full-length, 1987
Hour of Pain Full-length, 2006

Official Site


Based on the full-length debut, these folks pull out brisk optimistic speed/thrash of the old school pressing all the right buttons unerringly: the guitars are cutting and sharp, the songs are varied with interesting more technical sections inserted, the vocals are of the high-strung clean variety reminiscent of Mark Antoni (Realm), and the leads are great, blazing and melodic. The band alternate the tempos as the longer speed/thrashing sagas contain the more elaborate, and arguably better, material ("Dead and Road"). The guys slacken near the end reducing the hard-hitting guitars turning towards power metal for inspiration to mixed results. Despite the really promising beginning, this album could have scored higher if it had betted on consistency more rather than on diversity.
"Gruesome Masterpiece" is a diverse affair the band mixing moderate with fast blitzkrieg songs as the approach is quite modern this time overwriting the old school feel from the debut to a large extent. Ironically, one of the best tracks is the ballad "Mistress Of The Damned", but the remaining material hardly differs too much from its laid-back delivery the exception being the energetic power/thrasher "Twist The Knife", and the short ripping "Fucked Up Avenue". The best job is seemingly done by the vocalist, the girl Peggy Meeussen whose passionate semi-clean tember soars above the not really impressive musical scenery.

Bliksem EP, 2010
Face the Evil Full-length, 2013
Gruesome Masterpiece Full-Length, 2015

Official Site


A US trio who provide friendly power/thrash with a doom/stoner vibe slightly marred by the muddy sound quality. "Immortal Gods" is a more intense galloper, and "Everyone Arise" is a cool epic power metal arouser: the closing "River Of Darkness" is also not bad with its ripping aggressive riffage. The singer has a cool high-ish tember ala David R. White (Heathen) and does a fairly good job all over.

First Blood Demo, 1995


A power trio from Nashville, of all places, brings us this modern take on the power/thrash metal mix with an alternative flavour and the ususal vocal duel (gruff vs. clean) the latter hardly an asset since the gruff part is pure death metal, not suiting to the music at all. The music wears thin at some point being repetitively heavy and semi-jumpy.

Prelude To The Death March EP, 2010

Official Site


The band started their career right on time to keep German speed metal afloat after the genre began to seriously lose its initial positions in 1988: Iron Angel and Warrant had already split up; Steeler released a shocking radio-friendly poppy album ("Undercover Animal"); Helloween and Tyrant were slowly heading in a similar mainstream direction with respectively the 2nd "Keeper" and "Ruling the World"; Risk were still pretty much a heavy/power metal band at that stage; and Living Death had turned into a full-fledged thrash metal act with "World Neurosis". It was just Running Wild who were holding the flag relatively high, but that didn't seem to be enough for the genre to evade the creative cul-de-sac in which it was falling slowly, but surely. Then appeared "Battalions of Fear", the excellent Scanner debut "Hypertrace", and Not Fragile with the short explosive speed/thrashterpiece "Who Dares Wins". If the Scanner approach was a bit more melodic and pompous with strong sci-fi undercurrents, and the Not Fragile effort could be slightly left aside in the margin area being just an EP, it was the Guardians' work which threw the much needed "safebelt" to stop the genre from sinking into oblivion with their charmingly naive, rough-around-the-edges, but compulsively inspired approach. If Iron Angel's "Winds of War" is the more melodic, mainstream version of "Walls of Jericho", this album here is its more aggressive, thrashier, and arguably more preferrable, rendition.
1989 saw Angel Dust surrendering as well with a fairly laid-back delivery on their sophomore album, but things got back to normal first with Paradox's "Heresy", and then with "Follow the Blind". I guess quite a few were those back then who were more than willing to "follow the blind" after hearing this compulsive piece of epic speed/thrashing madness. All fears that the band would follow their peers on the path to mainstream stardom were cast aside seeing the Gardians having chosen the thrash metal idea to pursue all the way. This remains the band's most brutal effort in their very long discography, from the epic speed metal on the opening "Banish from Sanctuary", to the brutal thrash on "Damned for All Time", to the multi-layered arrangements on "Follow the Blind", to the great melodic pyrotechnics on the instrumental "Beyond the Ice", to the excellent intense thrashy cover of "Don't Break the Circle" of the British heavy metal legends Demon, down to the only unmitigated drawback at the end: the playful rock'n roll rhythms on the crosscover of The Beach Boys and Little Richard ("Barbara Ann/Long Tall Sally"): this effort is arguably the guys at their most inspired and best. Epic and power metal took over later on and formed the band's staple style leaving this album "the sore thumb" in their catalogue.

Battalions of Fear Full-Length, 1988
Follow the Blind Ful-Length, 1989

Official Site


Based on the debut demo, these obscures provide brutal aggressive thrash/death metal which is pure death metal madness for at least half the time the guys knowing their craft quite well serving fast sharp riffs seldom blasting ("Damnation") with passion. This is a well-deserving to be heard precursor to the death metal onslaught which stormed the scene a few years later. The singer is another valuable addition with his authoritative mid-tanged semi-shout sitting somewhere between John Tardy (Obituary) and StTphane Buriez (Loudblast).

Demo Demo, 1990
Depart the Flesh Demo, 1991


This band achieved cult status after the release of their only album, and well deserved at that. "The Sane Asylum" is actually the second serious attempt at progressive thrash from the American metal scene after Watchtower's "Energetic Disassembly". Blind Illusion are more melodic, but no less adventurous with their roots firmly in Bay Area thrash, but they stray from them quite a lot, with nods to the progressive rock scene (Rush, Pink Floyd), all this developed on a heavy bass bottom courtesy of Les Claypool: one of the true masters on bass who later formed Primus along with another Blind Illusion member- Larry Lalonde. For the average thrash metal fan the shorter, more direct numbers will definitely work better ("Blood Shower", "Smash The Crystal"), and maybe the wild combinations of straight aggressive thrashing and more quirky riffage ("Vengeance Is Mine"), but the experimental spirit of the multi-layered progressive "Death Noise", the dark doomy "Vicious Visions", and the melodic "Kamikaze" will be harder to swallow. "Metamorphosis Of A Monster" will be a delight to all, an awesome heavy technical thrasher with more eclectic passages. This is a unique work of thought-out metal which apparently the band were not willing to mess up with a follow-up thus leaving it their sole contribution to the genre.
Actually, there were plans for a sophomore, but those sketches never materialized bits and pieces of them featured on the demo, mostly instrumental variations among which "Slow Death" is an admirable speedy shredder, and "Malpractice" is a vocal track of a more laid-back progressive nature with a pronounced bass bottom and quirky riff applications in the second half. "For Me I Am" is a strange semi-balladic heavy metal number followed by several instrumental pieces which thrashy character is debatable as they circle around a volatile funky progressive core.
"Demon Master" is one of the biggest humiliations on the scene, an awful bluesy rock fest which simply should have been released under a different moniker. Now even the great debut sounds sloppy and dubious after such a grand delusion... to be avoided at all costs.

The Sane Asylum Full-length, 1988
Psychedelic Symphony Demo, 1989
Demon Master Full-length, 2010

My Space


Based on "More Than Human", this band play heavy groovy post-thrash with alternative elements. This is jumpy stuff with noisy, abrasive guitars whihc manage to sound curiously technical ("Allegiance In Defiance") at times, but this doesn't happen very often. The vocals are harsh and shouty intercepted by much more convincing clean ones on the mellower, balladic moments.

Psychobabble Full-length, 2008
More Than Human Full-length, 2009

Official Site


Based on "Sax & Violins": there is sax, there is violins, there are also death metal vocals. So... is there any thrash metal at all? Yes, there is; it's of the choppy semi-technical nature with surprising tempo changes. The violins especially give a nice, surreal touch to the music, and this approach has definitely been an influence on many gothic and doom metal bands later. Some of the compositions, those where the violins are only used sparingly, have a slightly mechanical, dry sound, typical for the late 80's works of Metallica, and early Meshuggah: "Down We Go", "Relief", and are quite good, albeit complex, with weird time changes and very heavy, crushing riffage. "Suffer" fits this definition as well, but there the violins are present all the time, and create a nice contrast with the smashing guitars. On the other extreme we have the aggressive, death metal-laced "Mother's Nature", which sounds like an almost different band, and kind of doesn't serve the band's original approach right. "Time's Ticking" is the highlight here with its fast pace and the harmonic play between the guitars and the violins; a really interesting take on the good old thrash as a whole. One may find it surprising to find out that the band members had come from the hard rock outfit Highway Chile with whom they kept themselves quite busy releasing a string of EP's and full-lengths.
"Hurt" sees the bad already transformed into another modern post-thrash act and although the sax and the other quirky gimmicks have been preserved to an extent the music doesn't strike a cord the whole time. Still, it's well above the average groovy act at the time pulling out some cool intense riffs ("Reality-v") which along with the saxo-isms make up for an intriguing, albeit kind of uneven, listen.
"Lost in All": 10 years after their surrender to the new trends the band are back with another modern affair which starts with the insipid alternative rock title-track. The diehard thrash metal fans may want to leave right after it, and would do the right thing since what follows later is some really bad post-thrashy mish-mash which stretches into all possible directions seldom bringing back the best from them. A reunion like this is absolutely unnecessary, and hopefully the guys will take it easy for the future if they would carry on producing such senseless recordings. Well, at least there is a capable cover of The Prodigy's "Breathe" towards the end called "Play My Game" done in an acceple jumpy quasi-industrial fashion, but this is the only more entertaining moment here.
The "Brain Freeze" EP may be a new beginning for the band, but at least style-wise this effort isn't a radical departure from the what they used to do on the last recording. In other words, this is post-thrash with several progressive quirks reaching Voivod-esque abstractism on the spacey "Shape Shift"; and a more aggressive, thrashier approach on the intriguing closer "L.O.O.H." which also comes with a tasty crossover flair.
The "It's Dark" EP continues with the modern progressive post-thrash infatuations of the band, the final result this time not that impressive with funk, blues, and balladic strokes all meshed together to produce the guys' weakest offering at this stage with only the final "Told You So" restoring some dignity with its sprightly quirky jumpy rhythms.

Sax & Violins Full-length, 1992
In Equilibrium... Full-length, 1994
Pissed EP, 1995
Hurt Full-length, 1996
Lost in All Full-Length, 2006
Brain Freeze EP, 2014
It's Dark EP, 2017

Official Site


Based on the demo, this outfit specialize in complex, progressive power/thrash which suffers from the bad production and the flat, unemotional unrehearsed vocals. Otherwise the music delivers on all counts the opening title-track weaving "dreamy", labyrinthine structures built on melodic excursions and more intense galloping passages. "Under Pressure" is "under pressure" to offer the same elaborate landscape and manages to thrash quite hard amidst the vortex-like melodic motifs; very sparse participation of the vocals here. "Immensity of a Moment" is the next in line progressive opera which "flirts" with the classical heritage quite a bit resulting in a composition not far from the grandeur of Helstar's "Nosferatu" enhanced by a nice balladic break in the middle. "Into Nowhere" slows down in terms of both tempo and intricacy being relaxed and semi-balladic save for the dynamic exiting tunes. All the tracks are featured on the full-length, but the new material there is way inferior to the one on offer here being mild progressive metal.

Dreams Demo, 1992
Still Blind Full-length, 1994


Classic-sounding power/thrash metal, both heavy and semi-technical, with good clean high-strung vocals with an expressive dramatic blend. The approach recalls Sanctuary's "Into the Mirror Black" on the darker moments, and the acts from the newer more progressive Swedish power/thrash metal school (Abstrakt Algebra, Memento Mori, Fifth Reason, Pathos, the last Hexenhaus album) most of which haven't showed up at this stage yet. The problem is that, despite the proficient level of the musicianship and the vocal performance, the music may wear out at some point simply because the same patterns have been repeated over and over: dominating heavy crunchy, frequently hectic, guitars come intercepted by very sparse faster galloping moments the latter also reminding of the 80's American metal heritage. The lack of dynamics isn't very well compensated here, and despite its definite classic nature which was always good at those troublesome for the genre times, this album leaves a bit to be desired with its dark brooding, but also repetitive, delivery.

Blueprints To Maddness Full-length, 1996

My Space


Your average modern melodic Swedish-style thrash/death metal with Dark Tranquillity and early In Flames the prime targets for worship; the keyboards implements are not bad and remind of Dimmu Borgir's "Enthrone, Darkness, Triumphant" more than now and then. Shades of their compatriots Children of Bodom can also be found ("Shotgun Symphony"), but when the band steps on the pedal, things get serious: the sharp thrash/death pieces "My Black Letter" and "Central Theory"; but the clean vocals ala Depeche Mode may pull you back on both.

The Reborn Genius EP, 2004
Symphony of Delusions Full-length, 2005

Official Site


A good demo of old school speed/thrash which is not miles away from Flotsam & Jetsam's "No Place for Disgrace" having the same dark sound with a similar deep bass bottom although the songs are shorter. The music crosses over all tempos, staying mostly in the mid-paced sector. The guitars are crushingly heavy, but sometimes have the same buzzying sound close to the one on the aforementioned Flotsam's album, and the singer also has a clean voice, but unlike Eric A.K., he never tries to high-pitch scream, and is not as good, and as a matter of fact he sings on all songs with the same blend, except on a few occasions. "Peace Talks" starts with an awesome bass intro: something which even Cliff Burton (R.I.P.), or Jason Newsted, would have liked.

Split Decision Demo, 1988


Based on the full-length, these folks serve fast dynamic retro thrash in the best Germanic tradition shooting short maddening headbangers ("Toxic War", the exemplary "mosher" "Moshing Maniax"). "Rebels Die Hard" is a rousing crossover hymn, a sing-along piece which leads another similar one after it: the merry-go-rounder "Welcome to the Thrash Party", a cool nod to Suicidal Tendencies. The closer "Feast of Blood" is a long serious composition which speed/thrashes in a frolic, but engaging fashion with a wide gamut of time and tempo-changes bordering on the progressive.

Headshot! EP, 2013
Into the Slaughter Full-length, 2014

Official Site


Based on "Cultura Del Miedo", this Cuban act specializes in abrasive modern, semi-industrial thrash with dry, mechanical guitars which get intercepted by stylish operatic decisions ("Mundo Convulso", the closing "Autorepresi=n", where male operatic choruses can be heard as well) which excel in the keyboard department without overdoing it. The leads are also on a high level, "duelling" with the heavy, dispassionate riffs and the brutal low-tuned death metal vocals.

Transhumanos Demo, 2000
Opcion Cero Demo, 2001
Cultura Del Miedo Demo, 2007

Official Site


This band is actually another quality thrash metal outfit: Crotalus, who have decided to change their name, but not their style which is competent technical thrash in the Metallica and Testament vein. There are tracks ("1981") which bring Megadeth to mind, too. In other words, fans of the great American thrash bands of the 80's, here is a band who give you all of them in one single album... What more can you possibly want? There is a nice cover at the end as well: Judas Priest's immortal "Electric Eye". The band now operate under the name Graveheart (apparently they like "shedding their skin" now and then), and have one cool 4-track promo released in 2008.

Blistered Earth EP, 2000
All Thrashed Up and Nowhere to Go EP, 2002
Blistered Earth Full-length, 2004

Official Site


This outfit indulge in heavy atmospheric, semi-progressive thrash (the longer material) with dark overtones the longer numbers intercepted by much simpler bashing ones (ldblquote F.T.C. (Fuck The Church)rdblquote , ldblquote Take My Handrdblquote ) which are closer to death metal, but stir the monotony created by the more serious, and slightly sleepy, side. The singer recites in a forced shouty, deathy tember, and his strained performance is the downside here.

No Escape Demo, 1991

My Space


This Australian trio indulge in intense vigorous thrash/death hesitating between short numbers delivered with a hardcore intensity, and longer ones which are slower and kind of clumsy and undeveloped. The guitars are a bit buzzy, and the singer is a scary low-tuned death metal growler. The band changed their name to Goregod later in the 90's and started playing black metal.

Holy Inscription Demo, 1991


To call this a real thrash metal album might be a kind of an overstatement. However, it has the requisite raw aggressive attitude; it's just that the music might not strike you as such. Shades of punk, even glam-metal meet heavier, semi-thrash riffs bringing this band closer to bands like the Scotts The Almighty.

Saves Full-length, 1991


This is another one of female-fronted German metal bands who were quite typical for this country in the 1980's (Warlock, Holy Moses, Wardance, etc.). This act here is closer in spirit to Wardance with its versatile blend of power, speed and thrash metal the musicians giving an equal share to each style speed metal leading the pack with a shoulder or two recalling warrant, Tyrant (Germany, of course), and early Living Death. The numbers are catchy with memorable shoruses and riffs topped by very good both melodic and screamy leads, and passionate high-strung vocals courtesy of madmoiselle Kerstin Radtke whose antics are reminiscent of the Canadian heroines rather than the German ones: Lee Aaron and the Messiah Force vocalist Lynn Renaud. The tracks in the 1st half are short and direct, whereas the one sin the second half are longer and not as edgy clinging too much towards the heavy/power metal side. The instrumental "EL 34" brings back the energy and the passion along with the finest lead sections on the album. The dessert is served in the form of a nice up-tempo cover version of Alice Cooper's "School's Out"; and a rough power/thrashy closer named "Run For Your Life" which elevate this effort to a higher level. So "come on, let's doo the blitz..."

Do the Blitz Full-Length, 1990

My Space


Motorhead is the primary influence on these guys. Thrash metal would be perhaps a loose description for their sound, although it reminds of some of the 80's heroes- Vectom, Exciter, to name a few; simple and basic, but enjoyable. "The Roaring Tanks of Armageddon" offers the same jolly uplifting very simplistic proto-speed/thrash metal also recalling the UK veterans from the NWOBHM wave Tank. Again thrash would be a far-fetched description, but this stuff could be a nice background for many activities (sex, drinking, driving, even studying, if you like).
"Rock 'n' Roll Overkill" says everything from its very title: this is jolly, uplifting proto-thrash'n roll with plenty of heavy metal and blues moments as well. This is mellow stuff which, apart from the main idols Motorhead, also touch another rock legend: AC/DC ("Killed by a Blizzard"). The singer sings in a gruffer, almost death-ish, manner, distantly recalling the Peter Steele (R.I.P.) vocals on the Carnivore albums. Not many will be the thrash metal fans willing to check this effort out, having in mind the soft material offered on the band's previous albums, but this new offering shows them going even deeper into rock-ish terrirories.

Hellish Rock'n'Metal EP, 2000
Pure Filth and Mayhem Full-length, 2001
The Roaring Tanks of Armageddon Full-Length, 2009
Rock 'n' Roll Overkill Full-length, 2011

My Space


Members of Blind Illusion and Possessed had taken part in this short-lived act who, based on the 2nd 1984 demo, indulge in pretty cool speed/thrash metal, a pretty aggressive sound at this early stage, not far from Slayer's "Show no Mercy". The guys thrash with a surprising conviction playing fast and tight witth the casual slower pounding break topped by forceful semi-clean vocals. The sound quality is expectedly a bit muddy, but doesn't stand too much on the way of the sweeping guitars which also acquit themselves with the odd more stylish lead section.

Demo #1 Demo, 1983
Demo Demo, 1984
Demo 2 Demo, 1984


Based on the full-length, this band play classic power/speed/proto-thrash moved forward by impetuous speedsters like "Masters of Lightning" and "Gone Wild" which will recall the exploits of veterans from the German scene Tyrant and Liar. The closer "Skid into Death" is a heroic anthem in the vein of early Metallica accentuated by the excellent high-strung clean vocals which are close to being the highlight on this very cool, energetic effort. Some of the guys were also part of the short-lived outfit Thrashtanica (guess the style on this one!).

Time Machine EP, 2015
Genesis Reversed Full-length, 2016



The debut features intense fast-paced modern thrash/death metal, bearing no surprises, but the big amount of energy put behind the music makes up for the lack of many original ideas. The heavy slower smashers, which take half the space here, carry more melody ("King Of Karnage", "Inkblack Sky") and are kind of more appealing giving the guitarists more chances to display their talents: check also the cool epic piece ala Amon Amarth "Panzer Storm", and the 8-min doomy closer "Bloodstains".

Blo.Torch Full-length, 1999
Volatile Full-length, 2004

Official Site


Heavy, groovy thrash mixed with death metal and hardcore in a way not dissimilar to the last few Pungent Stench efforts.

Head on Charge Demo, 2004

Official Site


Modern thrash with elements of metalcore; this is melodic stuff with the staple overshouty hysterical vocals, with strong progressive pretensions as each composition reaches the 6-min mark with ease although hard thrashing is nowhere to be encountered. Consequently, regardless of the lengthy cuts the approach is pretty one-dimensional the several melodic ornamentations saving the album from being a complete flop.

Abbys Full-Length, 2016


Noisy abrasive modern thrash which easily switches to death metal and quasi-doomy groove at will providing a diverse cocktail of industrialized sounds which come assisted by mean semi-whispered, heavily synthesized vocals. This is fairly dynamic stuff with plenty of fast headbanging moments and several more clever, technical decisions ala mid-period Meshuggah which are marred by the very fuzzy guitar sound.

Ossuary Full-Length, 2011


Based on the "Heavenward" demo, this band offer melodic, slightly gothic-tinged thrash recalling mid-90's Paradise Lost ("Without Resort To Bad Force"), or more aggressive Motorhead ("Snakes in the Air"), or even Lake of Tears ("Crow of Hate"). Every song sounds different from the others creating a somewhat disjointed impression as though the guys at that stage were still looking for the most fitting for them style.

Agony Demo, 1992
Entire Despair Demo, 1994
The Other Way Round Demo, 1995
Heavenward Demo, 1998
Heavenward II Demo, 2001
Follow Through Best of/Compilation, 2002

Official Site


The full-length: these Dutch metallers acquit themselves with dry sterile modern thrash which is heavy and jumpy without any technical pretensions. The music switches from fast to slow, and the dynamics is guaranteed also reflected in sparse blast-beating sections ("Rise to Ruination") which aggravate the intense picture to almost deathy proportions. Still, the industrialized nature of the guitars should keep a wider group of fans happy including those who fall for the Fear Factory histrionics.

Momentum EP, 2010
Rise to Ruination Full-Length, 2013

Official Site


This solitary effort was made by the former Rigor Mortis members Casey Orr (also ex-Gwar, X-Cops) and the master guitarist Mike Scaccia (who is also a full-time guitarist in Ministry). The music here is strictly played for fun being melodic punk-ish thrash/crossover sounding like a thrashy mix between The Offspring and Motorhead.

Leave it to... Blohole Full-length, 2002


Based on the full-length, this 2-man band offer prototypical modern thrash which borrows from all the staple tricks heard for the past 10 years including the clean-brutal vocal duet. The trite musical delivery bears some "fruit", though: the heavy shredder "Awaken" which also features a cool female vocal inclusion. "Sword Of The Fallen" is a nice moderate semi-galloper, but the real highlight seems to be the rousing speedster "Lionheart", with the creepy atmospheric "Only I Remain" a close second the latter again comprising the aforementioned female singer now playing a more prominent role.

Time to Fight Full-length, 2007
Deathwish EP, 2009


Modern industrialized thrash with dry mechanical guitars, not so bad with dynamic rhythms, frequently changing tempos often reaching the up levels creating a cool headbanging atmosphere. The vocals are badly shouty and synthesized, but kind of fit the frantic music.

Thoughts Like Daggers EP, 2009



Based on the "The Unmarked Grave" EP, these guys play heavy, crushing thrash/death metal reminding of Bolt Thrower and Amon Amarth at times, and Morbid Angel in the more technical and faster moments ("Infernal Damnation").

Bloodlust EP, 2004
The Unmarked Grave EP, 2006

Official Site


Based on the split, this band play really good retro thrash in the Bay-Area tradition, in brisk speedy tempo. It starts in a fairly exciting manner with the intense speed/thrashers "First Act Of Brutality" and "Soldiers of Misfortune" (which is not a Sacrifice cover). Later on the speed is replaced by a heavier, slower approach on "Soulburn", but only for a while: "Cult Of Shadows" will smash your skull with its fast pace, before the final "Equiem To Sanity" quietens down again featuring a nice balladic lead-driven section and a very surprising speedy closing outburst.

The Heir Of The Crown Demo, 2006
Mercyful Destruction Demo, 2007
Thrash Clash Volume 3 Split, 2008

My Space


A band whose passion for metal must have been aroused after having listened to Slayer's "Reign In Blood". And indeed, Blood Feast try to play aggressive thrash in the vein of Slayer on their debut with proto-death sections, and while at times the music hits the mark, more often it sounds like a failed attempt. "Chopping Block Blues" is a huge improvement showing the band as much better musicians with excellent guitar work and a less derivative song-writing. The instrumental "The Last Remains" is a great way to open the album: a stomping piece with a nice haunting keyboard background, giving way to the aggressive thrashing on "Hunted, Stalked & Slain" which translates the aggression from the debut in a more controlled, musical way; again time found for another keyboard section; this is probably the first extreme act to introduce such moments in their music. The title-track isn't exactly a "blues", but is another slab of forceful thrash of the more moderate type. "Hitler Painted Roses" adds more style to the proceedings: a slower, more melodic number with a cleanly-sung catchy chorus. "Dropping Like Flies" makes up for the lost aggression with fast sharp riffs. "Born Innocent" is another pleasant surprise with smart technical riffage and melodic leads without losing the aggression. "The Chemically Imbalanced" is vintage Slayer, the fastest and most brutal track here followed by the similarly raging ones "Spasmodic" and the closing "Remnants". The guys seemed well set to make a few more pieces of the same, but like quite a few of their "colleagues", who felt that the days of thrash were numbered, folded soon after.
"The Future State of Wicked": well, the days of thrash are innumerable once again, and the band are back for another spell with the music industry. And they haven't forgotten how to mosh with might as evident from the openng "INRI", a raging headbanger which still pales before the more melodic and more intricate "Off with Their Heads". "Brethren" is another fast-paced piece which paves the way for the arrival of "The Underling", a brilliant progressive thrasher covering a wide gamut of tempos thrashing furiously at some stage as well. "Last Rites" reaches near death metal-like intensity, but "Who Prays for the Devil" pacifies the situation once again with more moderate rhythms initially, but later on the guys thrash on with all the energy they can muster producing an array of compelling speedy crescendos. "Nein" is an excellent semi-technical thrash/deathster ala Messiah engaging the band in more proficient execution which also stays around for the marvellous closer "The Burn", an energetic roller-coaster with a perennial thrashing engine the shadow of death appearing on the more melodic "excursions". This is a brilliant return for these veterans who may as well find the way to walk with the finest if they stay around longer this time.

Kill for Pleasure Full-length, 1987
Chopping Block Blues Full-length, 1989
The Future State of Wicked Full-length, 2017

Official Site


Based on the full-length, these islanders/Icelanders play intense modern thrash which is infused with numerous melodic hooks giving the album a curious epic "colouring". The tempos vary and the album sounds diverse in a way not far from the early works of Dark Tranquillity and In Flames. More playful rhythms ala the Finns Gandalf sneak on the final "We Own The Night" which is a more engaging epic saga realying more on melody. The singer is the staple deathy shouter modelled after... well....

Adjustment to the Sickest EP, 2008
Hiding Behind the Light Full-length, 2012

Official Site


Typical modern thrash/death, nothing really special, albeit professionally done with numerous corey breaks and shouty hysterical death metal vocals. The band vary the pace constantly and manage to eventually come up with something more interesting "Abandoned Eternities" on top of the dominant noisy environment.

Headcrush Hotel Full-Length, 2015

Official Site


This Danish outfit pull out competent, albeit hardly exceptional, modern thrash which obeys all the canons of the genre mixing fast with slow songs seldom adding short furious blasts. Things get interesting on the more technical cut "The Depravation of the Human Race", but overall this is straight bash topped by shouty death metal vocals. Some of the musicians take part in the death/thrashers Afskum, and the death metal brigade Dawn of Demise.
"Skeletons" is heavier and more officiant now circling around doom/death quite a bit. The lack of too many speedy riffs may tire the listener at some stage, but the dramatism of swirling madnesses like "Paranoia" should make his/her day. The steam-roller riffage is nicely interrupted on the industrial fast-pacer "Stuck in Limbo" which later finds its match on the short "explosive" sterile headbanger "Explode". The delivery takes more balladic proportions towards the end, but the final "The Black Arts" takes care of the exit with a nice symbiosis between fast edgy guitars and seismic doomy ones the latter recallling Soulstorm and even Godflesh.

Blood Label EP, 2010
Existence Expires Full-length, 2011
Skeletons Full-Length, 2014

Official Site


4 songs of faithfully delivered "Show No Mercy"-like sound; the music is very obviously influenced by early Slayer, but the singer tries more things, like screaming sky-high and generally sounding fairly more agonizing than Tom Araya. This is good stuff, catchy, simplistic, in up-tempo, with no surprises held for those who know the aforementioned Slayer album by heart.

Suicidal Mission Demo, 1986


A live album consisting of five songs of aggressive 80's thrash akin to Hallows Eve, or Slayer ("Death March") and more temperate power/thrashers not too far from Meliah Rage ("Moida").

Live from Just Bills Live album, 2005

Official Site


A good short-lived early British thrash metal band whose style is very catchy with memorable tracks, still rooted in the NWOBHM-wave. Most of the time the guys manage to pull out nice speed/thrash metal riffs, not too far from Agent Steel's debut, but there are songs which are in mid-tempo with a simplistic, basic sound, but also enjoyable. "Red, Raw and Bleeding" is probably the better and more aggressive effort, with nole energetic speed/thrashers: "Death Heavy", "Gor", "K.Z.F.E.D.K.", "Metalyzed" (this one is a great speed/thrash metal hymn), the speed killer "Stormer". The slower, more power metal-based tracks are by no means worse, and are very catchy, with their infectious choruses and simplistic, enjoyable riffs: "Deathstiny". "Lazarus" is a great track, up-tempo with an epic atmosphere, created mostly by the excellent dramatic, semi-high vocal delivery (Danny Foxx remains one of the most unique voices in metal, and is the main asset of the band).
"Battlescarred" still retains some of the energy and speed of the debut ("Atlantis", "Battlescarred", etc.), but the guitar work is not as sharp and the sound smells speed metal most of the time with some really worthy pieces: "Shapeshifter", sounding close to Destructor and the Blessed Death debut. Still most of the tracks are catchy and memorable with Fox sounding jollier and higher here. "Charnel House" comes with slower, but more intense, heavy riffage, and is an awesome galloping thrasher followed by the fine speed/thrashing "Mutant". Like quite a few of their colleagues, this band called it quits after just two albums; Foxx later formed several acts, with no ties to thrash, except the one under his own name with whom he recorded just one demo.

Red, Raw and Bleeding Full-length, 1986
Battlescarred Full-length, 1987

Vibrations Of Doom


This band specialize in a soft form of speed/thrash infused with shades of heavy/power metal. The guys play with the appropriate dynamics required for this blend, the soaring rhythms topped by attached high-strung clean vocals. Deviations from the speedy path are inevile, and here comes "Without Fear" with its heavy galloping riffs to remind the lstenr of times long gone when acts like Attacker, Omen, and Liege Lord ruled the prairies. A good taste of melody is evident as well which also goes well with the more aggressive riffage on harder hitters like "Symbols Of Man". The end is strictly preserved for galloping longevities, three in a row, where the speed/thrashing comes epic and progressively-ornated to a pretty positive effect the guys showing all their skills without showing off or overdoing it. Some of hte musicians play more aggressive old school thrash with H.M.P.

Starvation Full-Length, 2013



This is an intense short effort (the EP, of course) full of hard ripping old school riffs quite reminiscent of the hammer-like approach on "Shotgun Justice". The delivery here is a tad more melodic and with a pinch of modern thrash which doesn't spoil the fun, but gives the music a boosted updated outlook which also comes from the forced shouty death metal vocals.
The full-length is an all-out attack on the senses dripping with malice and intent. The guys thrash on with conviction inserting the odd more brutal deathy riffage ("Illuminator of Flesh") here and there; the speed at times is so big ("Black Dawn") that the whole thing threatens to fall apart; fortunately, slower relievers ("Masquerade of Plagues", the closing doomster "Unhallowed") are provided on occasion which makes this downpour more tolerable. The annoying part would be the very boosted modern production which makes the guitars too noisy making them hiss at times.

Leave You to the Flies EP, 2012
Black Dawn Full-Length, 2014

Official Site


A long, 8-track demo which pays tribute to the glorious 80's German scene with a pinch of hardcore on the shorter material. This is intense fast music with raspy early Mille-like vocals, and occasioal more violent references to proto-death ("Bodymelt"). A nice surreal, Voivod-ish shade can also be felt on the closing title-track.
The full-length contains more serious thrash which even slows down at times which certainly doesn't happen on the short explosive "Pure Thrash Assault". Near the middle longer more elaborate songs appear, but the bash seldom gets interrupted the direct simplistic riffs acquiring a more frolic Motorhead-ish edge ("More Bullets") at times to a positive effect. This is roller-coaster party stuff which would also appeal to hardcore fans with its frank, aboveboard attitude.

Blood Patrol Demo, 2010
From Beyond And Below Full-Length, 2013

Official Site


This Russian trio plays thrash/crossover of the old school, simplistic, jolly and unpretentious. The music is energetic, not very intense, except for the hoarse drunken vocals (remember early Cronos), and often does it move towards the territory occupied by the Tom Angelripper side projects (Desperados, the one under his own name), Motorhead, and Venom on the heavier moments ("Devil Muscle Car", "Death Possession"). The bass stifles considerably the other instruments leaving just a little room for the short screaming rock-ish leads.
"Metal Zombies" is quite similar music-wise, uplifting thrash/crossover, this time maybe sounding more hardcore-ish and less serious. The bass now takes a second seat giving the guitars a chance to be heard more clearly although they do not offer too many hard-hitting riffs.
"Cheap & Loud" expectedly provides "cheap & loud" music with a carefree tone which is a total Motorhead worship for most of the time, to the point of losing the thrash metal idea here and there with bland bluesy pieces like "Abuse Love Blues". Still, this album would be a perfect background stuff for everything you do: from writing your PhD thesis in your study, to seducing the neighbour in the back yard, to...
"Raw Sovereignty" nothces it up a bit in the speedy department, but the frolic carefree attitude from the older works remains all over with fast and slow tracks taking turn in a predictable, but lively manner. "Monster Trucks Gone Wild" is a wild energizer, and the closing "Tribes of Doom" is nothing like doom, but is another distorted "drunker" with a happy-go-lucky speed metal attitude.

Armed You! Full-length, 2009
Metal Zombies Full-length, 2010
Cheap & Loud Full-length 2011
Raw Sovereignty Full-Length, 2015

My Space


Based on the "Molten Mortals" demo, this is good modern/classic thrash with touches of power/speed metal, but not of the cheesy type, but more along the lines of the early efforts from the German scene. The music is speedy with cool melodic leads and harsh, death-ish vocals. There is also a cool, more up-tempo cover version of Judas Priest's hit "Breaking the Law".

Demo Demo, 2004
Molten Mortals Demo, 2005

My Space


This act evolved from the progressive power metal outfit Vernissage, who released one full-length in the late 90's. The style here is a cross over the whole thrash metal spectre, with not too many borrowings from other genres; you can find moments from the 80's thrash scene as well quite a few from the modern one. The closest soundalike would be the Kreator works from the new milennium or 90's Testament, but still the old school sound is present quite strongly. "The Language of Hate" is perhaps the band's finest achievement, with a sound closer to the old school, lacking the slightly mechanized sound of the guitars acquired on later releases. The band are not very fond of fast, aggressive play, so there is quite a variety of tempos on their works, and they even mix things with playful, punk-ish tunes ("Frontline" from the debut).
The beginning of "Abyssland" will remind you strongly of Judas Priest's "Painkiller", but the opener "Ceremony Of The Condemned" evolves into a more thrashy affair, still with a solid pinch of speed. "Revelation" is the traditional for the band mix of slower and faster parts, but after it the sound gets dynamic with more frequent adherence to speed for a string of songs, but then comes a less striking string of clumsy laid-back ones, finished with the good ballad "Dead End Corridors". Then the guys find it hard to go back immediately to the faster patterns, producing a semi-ballad and one crossover piece in the process. The end sees them finding their way back, thrashing in a more intense, but also a modern manner ("Leaders In Disguise").

The Language of Hate Full-length, 2000
The State of Insanity Full-length, 2001
Crime entertainment Full-length, 2004
Abyssland Full-length, 2008

Official Site


A 4-track demo of plodding groovy, one-dimensional thrash, following closely on the steps of Pantera and Machine Head. 15 years ago this kind of music could have struck a chord; now it just sounds trite and generic.

Demo Demo, 2008

My Space


Based on the full-length, this band provide speedy retro thrash which linear approach is spiced by the odd more technical hook ("Madhouse"), or with the more atmospheric moody mid-pacer ("Killed With No Reason"). The band kind of abandon the fast-paced delivery in the 2nd half opting instead for more flexible, progressive structures ("No Man's Land") which still deliver the goods especially with the addition of several more brutal aggravations (the closer "March or Die") the latter also coming from the intense semi-shooty, semi-death metal vocalist.

Feel the Pain EP, 2013
Trommelfeuer Full-length, 2015

Official Site


Based on the demo, this outfit indulge in ordinary, dragging groovy post-thrash which could be tolerated on the shorter material, but on longer pieces like "Give a Fuck" the situation becomes too boring and monotonous to be too attractive. "Desolate" is a cool fresh headbanger, but "Thrash Divine" makes fun of our favourite genre being a total doomy groover its sleepiness compensated by the more dynamic closer "Dinner at JD's" which flirts with tunes from the Americans Bloodgood's brilliant ballad "The Messiah".

Redemption Denied Demo, 1997
9 Minute Moshpit EP, 2001
Conflicts of Interest Full-length, 2007

My Space


A 3-song demo of groundbreaking, for the time of release, thrash/death metal (more death than thrash, guys; no kidding), a pretty brutal affair coming as Merciless' "The Awakening" on steroids (seriously!), also featuring more stylish technical insertions which nicely manage to develop beyond the casual throw-in since the compositions are long (9-10min). It's pretty amazing to hear how the guys lash fast and hard throughout the whole numbers creating a lot of dark oppressive atmosphere along the way without toning down their merciless approach; if you can imagine a more stylish elaborate version of Protector's "Misanthropy"..., also graced by very cool melodic leads. Yes, it "buries" in the dust the first two Death albums in terms of death metal, and is very close to doing the same with the aforementioned Protector album even. The singer is very well suited to the brutal music being one of the first genuine death metal vocalists, low-tuned and growly, but comprehensive. This is a very well-kept secret, but is essential to those who want to find the very spring from where the brutal side of metal had started, brought with a surprisingly high level of musicianship as well.

Demonic Plague Demo, 1988


Blood Storm will probably remind you of their compatriots Usurper, with their penchant for heavy, stomping riffs ala Celtic Frost, but whereas Usurper go quite often into death metal territory, these guys prefer to insert old school black metal, and as a result we have a potent fusion of mid-tempo material which is not too far from early Sodom, or the Canadians Slaughter (there is a very cool cover of that same band on "Ancient Wraith Of KU": "The Curse"), and a slower, crushing one in the tradition of early Celtic Frost.

The Atlantean Wardragon Full-length, 1997
Pestilence From The Dragonstar Full-length, 1999
Ancient Wraith Of KU Full-length, 2001
Sirian Storm Full-length, 2005

Official Site


Based on the first demo, this is brutal death/thrash metal, one of the early examples of the genre, with the already well shaped death metal vocals, and short 1.5-2min tracks. The musicianship is pretty basic, and there is very little to be heard here except brutal merciless bashing.

Demo Demo, 1988
Attendant Upon God Demo, 1989


The black metal icon Faust (Emperor, Thorns, Zyklon, etc.) tries his hands on thrash with this new act. The debut album-title says it all: this is thrash metal which walks the line between the classic and the modern school. Some of the solo work goes even beyond thrash into power/speed metal territories, and is quite impressive. The album flows in almost the same energetic, but not aggressive, thrash pace till it hits "Godbeater"- a 10-min. instrumental which is clearly the highlight of this good, but not exceptional, debut.
"Grand Feast For Vultures" bears no surprises thrashing in a similar to the debut vein on the first two songs, until it reaches "Personal Exorcism" which is a cool black/thrash opus with the Emperor references more than obvious; nice melodic tunes and a lot of atmosphere. "Grand Feast for Vultures" adds death metal aggression later, but the real surprises are yet to be heard: "Horsehead Nebula": a colossal 13-min instrumental which is an achievement for which alone this album is a must-buy; plenty of hooks and melodies, with the guitar players leaving their souls on this one. After such a climactic composition the album should better be finished, but the guys try something more epic again, and fail: the closing "One Step Closer to the Grave" is an atmospheric domy/gothic/thrashy number which lasts for more than 10-min without offering anything too interesting compared to its predecessor. With this flaw left aside, this effort sounds way better than the pedestrian debut, showing the band capable of pulling out much more varied and satisfying music by adding a few more extreme styles without losing their appeal to the thrash metal audience.
"For Faen!": the Faust horde is here again, but the guys are not very seriously inclined this time mixing more engaging thrashers with shortet, almost hardcore-ish, crossover joys. Still, one would hardly resist to this spontaneous slab of energetic old school music which moves forward in a relentlless speedy manner "gravely desecrating" a death metal ground with the brutalizer "Grave Desecrator". Those who expected the more complex tendencies from the previous album to be elaborated on apparently will have to wait until some later time: at this stage the band feel too light-hearted and party-prone to produce any complicated progressive landscapes.

Thrash Metal Full-Length, 2007
Castle Of Skulls EP, 2009
Grand Feast For Vultures Full-length, 2009
For Faen! Full-Length, 2013

Official Site


Based on "Alphakiller", these Serbs play modern thrash/death without straying too much from the well trodden path except for a few sprawling slow breaks with an abstract feel in the middle. Then they call groove for help in the 2nd half, and things get boring and annoying also strengthened by the bad shouty hysterical vocals.

Beast Enough to Stand This Hate Full-length, 2008
Rotten Leaders Full-length, 2010
Alphakiller Full-length, 2013

Official Site


Based on "Toxic Death", this is brutal thrash/death which will catch you completely unprepared with its uncompromising, merciless attack aggravated by the fact that this comes from a very obscure band, and in the early stages of the death metal genre: a good companion piece to the Swedes Merciless' debut and early Massacra despite the bad, buzzyng sound.
"Traumatic Memories" opens with an excellent imposing orchestral intro imitating the similar patterns from "Testimony of the Ancients", which serves as a nice warm-up to the first-rate technical thrasher "Traumatic Memories": a haunting atmospheric number in the best tradition of the aforementioned Pestilence album (which is the main influence) and Death's "Human". The music is more controlled and not as aggressive compared to the demo, and those orchestral interludes can also be met at other places throughout the album ("Pathological Alternative"). The tempo is up with frequent heavy mid-sections and a certain keyboard background can be felt here and there. "Brutal Reality" is hardly anything too "brutal", but is the most intense number on the album with "Psychopathic Mind" a close second despite the great melodic lead hooks in the beginning and later. The singer doesn't hide his fascination with the early Chuck Schuldiner's (R.I.P.) singing style, but this is just the perfect one for the music delivery. As a whole the Serbians have done a great job producing a sure-handed slab of technical thrash/death metal following the very high examples from the previous year.

"Frustration" is so bad that one may want to check whether this was the same band who released such a strong album less than a year earlier. This is bland boring heavy groovy doom/thrash which sounds bad even by the 90's standards. The guys decorate this mess with numerous melodic leanings, including a couple of balladic breaks and a few faster hardcore moments. At least the title is very well chosen: this is really a "frustration", and a very big one at that.

Toxic Death Full-length, 1989
Traumatic Memories Full-length, 1992
Frustration Full-length, 1993


Based on the "Grounds For Violence" demo, this is excellent heavy semi-technical thrash along the lines of Nasty Savage's "Indulgence" and Infernal Majesty's "None Shall Defy". The heavy music creates a somewhat gloomy dark atmosphere, and it has its fast aggressive moments ("Inner Burning Pain") with nods to Slayer as well as a more melodic crossover side ("Midnight Snack"), but it's the pounding technical aspect of the other tracks which make this demo a recommended listen.

Plead Or Bleed Demo, 1988
Grounds For Violence Demo, 1989


This band, who were previously known just as Bloodbath (see the review above), play superb technical thrash with heavy moments ala late 80's Metallica and mighty riffs, and a nice crossover closer "Scared To Death". With just one demo these guys managed to create an impression which is hard to achieve by bands with a few full-length albums in their discography.

Erase Your Face Demo, 1991


Based on "Out for Blood", this act pull out intense modern thrash/death which delivers the goods without breaking any new boundaries: at times the heavy battle-like approach of Bolt Thrower ("Fuck Or Die") seems to take the upper hand, at others the moshpits are guaranteed with more aggressive shredding ("Mutilator", "Out For Blood") offered. The singer is a throaty death metal semi-shouter who gets the message through with his authoritative rendings.

Bloodlust Full-length, 2012
Out for Blood Full-length, 2014

Official Site


Ex-members of the extinct death/thrashers Wotan have decided to give themselves another chance here, and they thrash their hearts out with this primal slab of retro thrash accompanied by harsh shouty death metal vocals. The venomous approach comes decorated with the more brutal deathy leaning the final result quite close to something which acts like Torture Squad or Defleshed would have produced. The band eventually serve the full-blooded exercise in death metal here called "Medical Skull", but thrash returns in the 2nd half for a string of shorter cuts among which the closng "Demonic" is a surprisingly stylish technical shredder which promises more niceties of the kind in the future. Some of the musicians are also involved with the brutal death metal formation Triopus.

Murderous Art Full-Length, 2016

Official Site


4 tracks of layer/Sepultura-sque (their more updated works of the mid-90's) thrash graced by cool Max Cavalera-like vocals. The songs are varied with slower and faster sections taking turns with the former given more space where the sound acquires better "South of Heaven"-esque dimensions: the excellent atmospheric cut "Buried Alive" which produces the most infectious riffs on this effort.

Demo Demo, 2011


Brutal thrash metal obviously influenced by Slayer's "Reign In Blood" and Dark Angel's "Darkness Descends"; some jokes thrown in, too ("Happily Married"). Speed and energy aplenty- what more could you wish for?

Death by a Clothes Hanger Full-length, 1988

My Space


Fast retro thrash/death metal quite close to early Deathwitch and their compatriots Ravage; the brutal blasting sections are very frequent making this effort sound like a full-blooded death metal affair more than just now and then also recalling the early practitiotners from the Floridian scene.

Metallic Warfare Full-length, 2007

Official Site


This is some "infectious" modern thrash from Italy which come sspiced with more aggressive death metal leanings which will keep the Gothenburg sound lovers, above all, mostly those who prefer the fast-paced side of the style. The title-track hints at a more progressive performance, but those aspirations are more of a wishful thinking at this stage. Still, the more elaborate arrangements stay around till the end, the very "end" coming as "...The End" which is a full-blooded thrasher, all-instrumental lacking the good high-spirited semi-clean vocals, with hard-hitting riffs and a few melodic tunes.

Infection Full-Length, 2013

Official Site


This is crunchy abrasive modern post-thrash with heavy monotonous riffage and some more interesting balladic moments ("Wasted") where the musical proficiency is way higher. "Temple Of Flesh" is a curious more intricate shredder, and "To End A Life" is not so bad with its creepy sinister guitars, but the muffled production qualities and the unimpressive low-tuned vocal performance are obstacles beyond which is hard to really pass.
The second "Deletion" is way better production-wise, and the band notch up the atmosphere the final result now recalling a more lyrical and a tad more dynamic version of early Godflesh. The vocals are completely gone, and this time there's only music to be savoured which may drag at some point since the doomy/sludgy quasi-industrial aesthetics are seldom abandoned ("Medical School" comes to mind with its more intense dramatic arrangements). The whole album has a kind of an operatic aura with its monolithic, not very changeable, character, but would have a little value for the regular thrash metal lover.

Deletion EP, 2012
Deletion II: Aggression Designed Full-Length, 2013


Based on the "Autophobia" EP: intriguing, somewhat semi-technical thrash do these Austrians offer here, accompanied by a dual vocal death metal attack, and a heavy, mostly mid-paced, rhythm section. The lead guitar wins it all, especially on numbers like the progressive smasher "Guardian Angel". The riffs crush majorly, but the lack of speed turns this effort into a one-time listen, simply because there is not much for which you would like to go back. The guitar work takes off sometimes, but instead of adding more dynamics, it evolves around the same mid-tempo patterns. Two well recorded live tracks are featured at the end, showing the band's more brutal side, which was apparently dominant at some earlier stage of their career.

Dead but Dreaming Full-length, 2003
Autophobia EP, 2005

Official Site


Retro thrash with a more abrasive sound than what usually goes with the style; anyway, the band do a decent job regardless of the noisy, boosted guitar sound. The band change the pace never going for the speed of light also trying something more stylish and semi-technical ("Gluttony"). The vocals are rough semi-death metal ones of the more forced shouty type.

Sinners or Liars Full-length, 2016

Official Site


Based on the debut, these guys play a quite enjoyable, but also aggressive, mixture of grindcore and thrash not too far from bands like Ghoul and Frightmare. The songs are blasting, short; worth of note is that the lyrics are based around the works of some of the greatest science-fiction writers (Arthur Clarke, Isaac Asimov, John Tolkien, George H. Wells, etc.), infused with a great doze of humour.

Necrotic Bibliophilia Full-length, 2001
Hell Bent For Letters Full-length, 2006

Official Site


Typical modern thrash/death ala The Haunted and Carnal Forge with more melodic leanings which will also remind you of early In Flames; the music is fast and energetic with blast-beats included ("Nightmare") and one cool melodic track ("My Angel My Deamon").

The Final Betrayal Full-Length, 2007


Modern thrashcore with an industrial edge trying to imitate Fear Factory at times, but it's good that the guys adhere to pure bashing for at least half of the time making this effort fairly dynamic and intense. Relatively short (2-2.5min) songs are served with simplistic guitars and gruff shouty vocals.

I Told My Wrath, My Wrath Did End Full-Length, 2010


Thrash/crossover of the most extreme type, think early Cryptic Slaughter, with clear nods to grindcore with the shortest tracks around barely going over 1-min), and strongly industrialized, not far from The Berserker in this sense. There is an overuse of dialogue/narrative samples, which end up being longer than the songs themselves.
The full-length is another big joke the guys just bashing without too much sense making fun of numerous stars and bands along the way in the form of short remastered excerpts from songs, recitals, speeches, etc. The songs are the shortest one would encounter on the scene the longest barely reaching the 1-min mark usually blends of crossover, thrash, and hardcore with the more or less expected "wink" at the grindcore heritage.

Doctor Who Done A Poo On The Cyberman's Metal Head Demo, 2011
We Can't Wait For Jeremy Kyle To Fuck Off & Die! Full-Length, 2012


Based on "This Machine Runs On Empty": the base is typical modern thrash metal with a certain Gothenburg influence, and some hardcore thrown in (the vocals), but these guys insert stylish guitar melodies not heard on the albums of the other representatives of the wave (except only on the works of Arch Enemy). They should be, however, more frequently present on their works, if they really want to stand out; most of the time their music sounds like many other acts around.

To Bleed The Demo Full-Length, 1999
Born in Hell, Raised in Jail Full-Length, 2001
Leave This World Breathing Full-Length, 2002
This Machine Runs On Empty Full-Length, 2007


Fast energetic thrash metal which sounds surprisingly classic for the year of release; the sound quality is a bit muddy, but the fast-paced riffs deliver, and produce nice headbanging winners: "Evil Min", "Oxygen". Things get out of control on the short blasting numbers "Devastation" and "Despair" which are uneven blends of thrash (very little), death and grind. "No Thoughts" partially restores the thrash metal domination, but some blasts still remain ("some pain will last..."; it's inevile). "Thread Of Life" is an all-out thrash riff-fest, with a cool quiet twist at the end. "Demise" is exemplary furious thrash ala Necrodeath and Hypnosia. The assault continues on the closer "Cry Of Anguish", which brings about more technical guitar work and breaks for about 3-min, before abruptly switching onto an overlong balladic/ambient outro, which could have been shortened, if not even removed completely.

From Nowhere Full-length, 1996


Based on "Evil Origins", this Swiss trio pull out intense old school thrash along the lines of more recent Sodom spiced with more aggressive outbursts akin to Slayer. ("El Diablo"). "The Doors" is the obligatory tribute to The Doors... kidding, of course, but this is the calmest cut here, a stomping mid-pacer, followed spirit-wise by the playful rhythms on "Legion from Hell". The album brings back the speed and brutality on the last string of tracks the cutting guitars greatly helped by the very clear sound quality.

Hellcome Full-length, 2008
Trashell Full-length, 2011
Evil Origins Full-length, 2015

Official Site


The demo: two evil guys, one of whom is the notorious Disaster also taken art in numerous other acts around the globe, like Impiety, Shrapnel, Choke, Pagan, Nervecell, etc. are in charge here for the recording of these three songs of decent retro black/thrash in the vein of early Witchery and Vesen. So expect mostly fast riffage without too much variety topped by evil raspy black metal vocals and appropriate raw underground production qualities.
The full-length is a more aggressive roller-coaster the more intense moshers ("Deadly Force", "Black Hymn to Death") easily bordering on proto-death. The album also has its more serious side reflected in the longer, more elaborate pieces "Freak of the Night" and "Shadows of the Black Sun" which is a nice diverse progressiver.

Thrashing Black Devil Worship Demo, 2011
At the Devil's Left Hand Full-length, 2017

Official Site


A Colombian trio who specialize in vigorous old school speed/thrash which crosses the clever sweeping anger of early Angel Dust with the more pristine bashing of Vectom. Things become more aggressive on the purely thrashy "Lucifer's Revenge", and later on one will come across vintage speed metal hymns, like the aptly-titled "Speed Metal Chainsaw", and the Swedes Cranuim's cover of "Full Moon Fistbanger". The sound production is suitably raw and primal, and the singer is a shouty highly-strung semi-banshee who unleashes his antics with panache, but with a little vocal talent.

Sex, Violence and Blasphemy EP, 2013

Official Site


Based on the EP, this band offers quite cool retro thrash sounding more American mixing the Bay-Area sound with the more traditional power/thrash metal style of Helstar, Liege Lord and Attacker. "Behind" is an excellent smashing technically-charged thrasher in the best tradition of Helstar's "Nosferatu". "Emergency" is heavy and slower, a dark atmospheric number with nice leads. "Intuition" is purely instrumental, again not as dynamic, but the sharp stylish riffage and the fine leads make it worthwhile. "I`m Not Afraid" is a short semi-doomy track with a crushing rhythm section reminiscent of late-80's Metallica.

Behind... EP, 1993
Kawaboonga Full-length, 1995


This EP presents intense aggressive classic thrash/proto-death sustained in a fast ripping pace with touches of speed metal on the cool technicaller "Awakened for this Nightmare". The guys do a good job also adding the stylish lead section wherever needed and the majot annoyance would be the throaty death metal vocals which shout in an apocalyptic unmelodic manner. "The Prophecies of the Antichrist" is an iimposing closer bringing the technicality and the speed together in an impressive way assisted by really good melodic leads and a portion of Oriental hooks which give a nice characteristic aura to this promising beginning of s hopefully lustrous career.

Prophecies Demo, 2012

Official Site


The band's style is very similar to Abattoir (both bands shared a singer, Steve Gaines)- power/speed metal with touches of thrash. Bloodlust's music is perhaps a bit more aggressive; not bad, but the metal world at that stage was expecting something more.

Guilty as Sin Full-length, 1985
Terminal Velocity EP, 1988

Official Site


Furious, bombastic black/thrash which is quite long on the blast-beats the latter stifling the timid attempts at retro thrash. regardless, "Torture with Life" is an energizing short thrasher, and "My Hell" is a brutal black/thrasher crossing Impaled Nazarene with Slayer. The fascination with the Americans is further cosnolidated near the end with the highly dynamic cover of "Evil Has no Boundaries".

Bloodrain V: Adora Satanae Full-Length, 2016


The "Under the Black Flag" EP: modern thrash/death metal with various tempos and interesting riffs; could serve as a foundation for a good full-length.
"Lifebound" is a pedestrian modern thrash/death affair which has all the expected gimmicks to pull it through, regardless of the fact that it all has been done thousands of times before. A few quiet mid-breaks are a nice touch, but the contrast offered is mostly in the mid-paced parametres the guys seldom speeding up which could have been advantageous; now this effort sounds like a washed-down copy of Dark Tranquillity's "Haven" with a more forced shouty singer.
"Where the Oceans Burn" begins very ambitiously with the gigantic 10-min opus "The Greatest Time Of Change", and should have ended here since this composition very nicely sums up the whole album: modern melodic thrash/death with soaring epic tunes bordering on 90's speed metal ("There Will Be Blood") on occasion and generally the energy is quite high all over including on the other larger-than-life piece, the closing "Memento Mori", another 10-min or so saga. If we exclude the higher ambition shown with these lengthy cuts the rest is just too predictable and tedious to capture the attention.
"Heal" is another pleasant feelgood melo-death/thrash proposition which this time sounds too cheesy to be a recommended listen to the diehard thrash metal fan. Infectious melodies fly from all sides stifling the several attempts at a more aggressive play ("Remnants") making this opus a really mellow friendly listen.

Relevant Annihilation Demo, 2006
Under the Black Flag EP, 2008
Verdict EP, 2009
Deviant Grace EP, 2010
Lifebound Full-length, 2012
Where the Oceans Burn Full-Length, 2015
Heal Full-Length, 2017

Official Site


The EP: Bloodride need very little to become the leaders of the Finnish thrash metal scene. This is a promising beginning on the way to the top: classic, aggressive thrash at its best with razor-sharp riffs and clever more technical twists.
The full-length debut is finally a fact, and the guys rush to convince the listener that nothing has been lost from the EP's primal energy with sharp headbanging riffs flowing from all sides, this time accompanied by slight unobtrusive modern leanings. There's a certain crossover element ("Promised") present as well at times, and the singer brings more variety with his forceful death metal tember akin to Jan-Chris de Koeijer (Gorefest). Some of the band members also take part in the gothic metal outfit Unshine.
"Planet Alcatraz" carries on in the same direction, maybe coming with a more dissipated abrasive sound which still is not an obstacle for the guys to shred with passion. The headbanging community will by all means be happy and intense moshers like "War In Me" and "Baptizing Demons" will easily find their audience. The more relaxed atmosphere of cuts like "Grave Is Calling" is also more than welcome alongside the epic battle-like sing-along choruses of the closer "Marching Off To War".

Bloodridden Disease EP, 2004
Crowned in Hell Full-length, 2011
Planet Alcatraz Full-length, 2016

Official Site


The debut: a ripping blend of modern and classic thrash comes from Belgium comes to rock the fan's world, and the listener won't be disappointed to hear this constant speedy barrage which doesn't score very high in terms of variety, but will please the headbangers big time with its perennial adherence to fast rhythms: check out the wild deathy shredder "Violent Vortex" as well as every other number. The vocals are on the comprehensive semi-shouty side coming with a more aggressive hardcore flavour at times.
"Disaster Strikes Back": the "bloodrocuters" are back with the high speed bashing which now is boosted to the skies with very modern production. Nothing else is new, the band have epitomized their energetic style quite well and seldom deviate from the formula, and when that happens, it does with a nod to the death metal achool ("Human/Beast"; the bonus track "Rise ov Evil").
"For the Dead Travel Fast" is an even more aggressive affair with overt shades of death metal ("The Leper and The Whore"), but also with more intriguing semi-technical decisions ("Perversion of Purity") the latter making the delivery not very predictable at times. The title-track is an imposing atmospheric stomper, but the rest of the material tries not to betray the guys' staple hyper-active repertoire.

Doomed to Annihilation Full-Length, 2013
Disaster Strikes Back Full-Length, 2015
For the Dead Travel Fast Full-Length, 2017

Official Site


6-song demo of cool retro speed/thrash in the Bay-Area mould; the first "Bloodrunner" is more speed metal-based, in the spirit of early Overkill and Exciter, but "Fears-Sentence Of Death" thrashes with no mercy for 6-min, graced by nice melodic leads. The pace remains quite energetic till the end finished with the total Metallica ("Kill'Em All") worship "Unstoppable Force" (no, folks, this is not an Agent Steel cover).

Bloodrunner Demo, 2007
Total Annihilation Full-length, 2008

My Space


This is heavy modern 90's thrash/death which mixes the tempos with more attention to the faster parametres which also come with some classic flair. The sound quality is a bit muddy deafening the guitars, and the singer is a brutal death metal semi-shouter who is obviously influenced by Chris Barnes (Cannibal Corpse).

Overthrow Demo, 1995


Surprisingly well done thrash/death of the classic school, coming from a not very likely place for metal. The guys thrash with no mercy ("Broken Mirror", "Deadborn", the 2-min raging wonder "Relentless"), adding a nice technical edge to the intense delivery ("Eye Of The Pessimist"- a marvellous piece, spiced with a great flamenco guitar which keeps pace with the other raging guitars; the technical death/thrash masterpiece "Mulat", which would make Atheist, Cynic, and Pestilence proud with its twisted riffs, superb, but short leads, and a great jazzy section in the middle), wherever necessary. The guys also have another, equally as impressive side: the brilliant mid-paced techno-thrasher "Treacherous Ways", or another technical delight: the Carcass-like "A.D. 36" which would fit perfectly into "Heartwork" with its choppy riffs, great melodic leads, and sudden blast-beat sections. More modern, Swedish-styled sounds can also be heard: "No Words", as well as clean vocals on the dark "Beyond Definition", as opposed to the main, Kelly Shaefer-esque unholy snarls. This is an impressive debut which alone says a lot about the progress of the metal scene in the Phillipines.
"Spare No One" is another commendable effort starting with the explosive opener "This Lifelong Enmity"- a technical thrashfest of the highest order akin to Hellwitch and Dead Head's "Depression Tank" the latter album sounding quite close to the one here, only less technical. "Collective" is a brutal mix of speed and technicality with nice mechanical breaks ala Voivod. The mixture remains for a couple of tracks among which "Leading the Dead" is a wonderful complex opus with great jazz implements. More laid-back and more straight thrash comes on "Beast 696" and "Spare No One" the latter descending to mid-pace, but "This House of Termites" goes up the speed level and is a compelling slab of technical thrash ala Coroner with again a couple of interesting dry decisions which can not possibly work better combined with the hectic ever-changing rhythms and the playful flamenco insertions. "And They Thought of Pastures" is 2-min of fast intense thrash, but "Destroy Heaven" breaks all speed records being a furious grinding number. The closing "Point Blank Target On God" is a symphony of technical thrash/death metal with fast and technical riffs creating a very dynamic constantly changing picture. Another great shot at glory have these guys made making them with just two albums released, one of the leading representatives of the movement in the Far East.

Eye of the Pessimist Full-length, 2007
Spare No One Full-length, 2009

Official Site


Based on "Demons", this act serve typical modern thrash with the staple angry shouty death metal vocals. The guys play with a good sense of speed although "Unified" tries to break some sound barriers at some point also providing a cool progressive break in the middle on top of the fine melodic tunes scattered througghout mostly in the lead department. Speed is pretty much the order of the day later on as the mosh never ends even reaching blast-beating proportions on "Black Hole Infinity" which bring the winds of death metal with them, and the sound gets more aggressive except again for a couple of spacey progressivisms on "The Image Faded" where a cool keyboard background is also amply provided. Some of the band members are also active with the death metal formation Karmyne although at this stage they only have one demo released in 2006.

Slaves to the Lie EP, 2011
Bloodshot Dawn Full-length, 2012
Demons Full-length, 2014

Official Site


Based on "Expect the Unexpected", these guys unleash a fast intense blend of thrash and death metal with a modern flavour with several stylish technical insertions which work way better than the more frequent metalcore breaks. Still, fans of hectic busy techical music in the vein of Necrophagist will rejoice as well as those who like the Gothenburg school. There is very good lead guitar work throughout the whole album.

Without Any Remorse Full-length, 2004
An Unrelenting Assault Full-length, 2006
Expect the Unexpected Full-length, 2010

Official Site


Your average 90's post-thrash, unimaginative boring music with funky, balladic, alternative, grungy moments, and more "delights" of the kind.

Red Harvest Full-Length, 2007


Based on the 1st demo, this band plays one of the rawest and most amateurish metal of the 80's. There are shades of Hellhammer, but the singer tries to grunt worse than the neighbour's pig although his attempts in this vein are clearly better than the very bad music: there are no drums to be heard, only a fuzzy guitar mixing slow doomy sections with ultra-fast ones. Reportedly on later demos the guys have managed to miraculously produce something more listenable, and those demos could be considered one of the early efforts in death metal to come out of Europe.

Rehearsal 06-1986 Demo, 1986
Cannibalistic Massacre Demo, 1987
Rehearsal 01 Demo, 1987
Rehearsal 06-03-1987 Demo, 1987


2 songs of vicious blasting black metal ("Death Bells") with timid nods to thrash, and shades of both epic and hardcore ("Burning Hate"); quite a lot in just two tracks, isn't it...

For darkness is near... Demo, 2003

Official Site


Right as rain modern thrash without any surprises; the band vary the tempo as the faster side is way more attractive ("Answer My Fall", the diverse headbanger "Lifeless Flesh"), but the guys are insistent on a balance kept between the two sides so there will be a drag here as well in the form of an overlong (5-min) peaceful "acoustic vs. leads" instrumental ("Venus") as a finishing touch. The singer is the staple for the style shouter, maybe a tad more brutal and lower-tuned.
"By the Horns": the modern thrashisms continue unabated here this time served with a pinch of hardcore. The guitar sound is a bit abrasive, but boosts the fast-paced passages which aren't that many, but lift up the mood ("Enter the Gray") when around. The singer doesn't shout so much this time, and his rendings are even tinged with emotion at times.
"To the Marrow" serves more choppy, semi-technical rhythms on the opener "The Act of Fame", but the disillusionment won't last for very long as a string of not as impressive, slower cuts lie in wait. Nevertheless, the title-track is a major death/thrashing ripper, and "The Feast of the Leading Needs" is an invigorating headbanger with bold death metal leanings. "Average White Running Caverns" is another more intense offering boosting the closing "Lower the Cut" which is an abrasive mid-tempo "sleeper".

Embrace The End Full-Length, 2011
By the Horns Full-Length, 2013
To the Marrow Full-Length, 2016

Official Site


These guys play industrially-tinged thrash somewhat along the lines of Ministry, but with a more uplifting playful attitude which would also remind you of Motorhead. There are also slower doomy passages; quite a diverse listen. Their debut could pass for their best effort epitomizing their style quite well adding a nice brooding quality to the songs not far from early Celtic Frost ("Dawn") which, despite the stark contrast to the dominant more optimistic Motorhead-ish delivery, is a desirable addition. The prize, however, goes to the moody highly atmospheric rendition of the Italian progressive rockers Goblin's (the same ones who provided Dario Argento with probably the best horror film soundtrack ever for his masterpiece "Suspiria") "L'Abla Dei Morti Viventi" which influences the doomy industrial offered on the next "Ten Thousand Years" which is another sure hit in the target, despite the miles away turn from thrash. One would have enjoyed another piece of the same, but the band are determined to liven the spirit up bringing the merry Motorhead sound for the closer "World is Dead". The singer comes as a more industrial version of Lemmy, and his drunken tone fits the more energetic tracks, but it hardly does justice to the more atmospheric material, which here is the superior one.
"Anytime, Anywhere" is strictly for the industrial fans now and can fit perfectly into the mechanical futuristic picture of the early-90's when the industrial trends used to rule with full force. Still, the more energetic thrashy patterns roam around for a couple of more aggressive pieces (the title-track), but the electronic elements have taken a hold of the sound quiet a bit culminating on the larger-than-life industial/orchestral doom opus at the end "Scanner" lasting for 12 whole min, similar to what Laibach were doing at around the same time.

Bloodstar Full-length, 1990
Exterminator 666 Does Not Answer EP, 1991
Anytime, Anywhere Full-length, 1992
Back From Hell EP, 1999

Official Site


Primal old school thrash/death this way comes all the way from Singapore to shatter your senses wit raging riffs, tasteful solos, and husky semi-declamatory vocals. The guitar work is curiously semi-technical ("Johnny") even recalling the legend Mike Scaccia (R.I.P.), not to mention the proficient leads again. "Curse Of Existence" is a direct in-your-face cut, but elsewhere the band show bigger ambition with the pounding quasi-speedster "Born Nefarious" and the imposing steam-roller "The Piledriver". Those are exceptions, though, as the guys thrash their souls out on the remaining cuts with inspired speed/thrashing on the last string of songs which is wrapped up with the stripped-down brutalizing title-track.

F.T.W. Full-Length, 2016

Official Site


Based on "Breaking the Pyramid", this outfit serve typical melo-thrash/death with a Swedish "sting" so surprises aren't provided amply if we exclude the cool clean vocals which spring up from time to time. The guys try to enlarge their appeal by inserting quite a few orchestral arrangements including an wakward version of Coolio's hit "Gangster's Paradise" here called "Metalhead's Paradise". Cheesy stuff as a whole...

The Coming Storm Full-length, 2011
Breaking the Pyramid Full-length, 2015

Official Site


Based on the "Scarlet" EP, this band pull out a decent mix of styles with thrash metal being represented in two cool up-tempo numbers with good guitar work, more on the melodic side. "Revenge Not Hate" is a soft heavy metal number, and the last "Alone Once More" is a gothic/doom opus ala mid-period Paradise Lost and Cemetery, lasting for more than 10-min.

Scarlet EP, 1999
Black Storm Harvest Full-length, 2002
Death - Hate - Speed EP, 2005

Official Site


Based on the debut: fairly good speed/thrash metal debut akin to the first two Destruction full-lengths and the Brazilians Bywar, with a slight shade of the Gothenburg sound and a sparce use of blast-beats ("Winds of Death"). The music is fast with nice leads and black metal-tinged vocals. Ironically, the only song which slightly betrays the fast-paced approach, is the one titled "Thrashing Madness", which comes with a slower mid to up-tempo guitar work.
"Sanctity Denied" spreads its wings wider now epitomizing the death metal elements more although the Germanic speed/thrash metal moments still predominate making this effort another classic roller-coaster from beginning to end: this is speed/thrashing madness at its best even reaching for the speed of light at times similar to the Japanese Fastkill, also blasting out for a while on "Void Inferior" and "Rage of the Dogs". The singer (if it's the same one) has adapted his style slightly now sounding more death metal-like. Some of the band members also try their hands on more direct death metal in Firing Squad with whom they have two demos released.
The EP offers 4 tracks in the same blistering vein of speedy retro thrash done by-the-book without any more aggressive elements with only the vocalist preserving his subdued death metal style.
"Chalice of Contempt" is a more brutal "beast" the band now sounding angrier and more on the death metal side at times as reflected in wild chaotic violators like "No Way Out of Hell (Emptiness of Dying)" and the title-track. Still, there's plenty of room for melodic escapades as well as for more frolic speed/thrashers ("Militant Nihilism"). The closing "Imaginary Reasons" tries to make a slifght compromise with the band's staple intense delivery by serving a certain portion of slower epic-tinged riffs, but this effort is all about "extreme aggression", and as such it shouldn't disappoint.

Let Him Die Full-length, 2007
Sanctity Denied Full-length, 2009
Zadza Krwi EP, 2011
Chalice of Contempt Full-Length, 2014

Official Site


A primal underground recording which contains only one original song: "Unknown" which is on the fast brutal side of the spectre recalling the early "atrocities" of Messiah and Massacra; messy, noisy stuff as a whole without any musical merits with forced semi-death metal vocals which can be heard much more clearly than the instruments. There are 2 cover versions: the legends Hellhammer's "Triumph of Death", done surprisingly well preserving the brooding twisted qualities of the original; and Slayer's "Black Magic", not as capably done with a mish-mashy chaotic guitar sound, but still recognizable.

Rehearsal Demo, 1986


This is modern thrash/death with jumpy quasi-progressive tendencies. The guys shred with competence never speeding up beyond the mid-pace hampered a bit by the abrasive guitar sound. The singer is a low-tuned growler, but his presence is not very stronly felt the concentration being on the musical delivery which becomes larger-than-life on the closer "Your Bloody Remains" the band overdoing it on this one with the wide gamut of moods and influences.

The Limits of Flesh EP, 2011

Official Site


Based on the sophomore album: a good fusion of thrash, black and death metal; the concentration is clearly on thrash although there are quite a few atmospheric black metal moments as well as blast-beats. Energetic and fast with a strong classic edge, this album will definitely find its way to the hearts of many metal fans.
The "Whore" EP is 4 songs of well-constructed blitzkrieg speed/thrash metal with a very good sound quality which makes the guitars cut like a knife; the 3 new songs are supported by a live version of the "Iniquity Intensity Insanity" opener "Taste of Insanity". "Return to Tortuga Bay" at the end is a purely instrumental piece, an excellent brisk speedster with a very good bass bottom.
"Thrashin` Fury" is built around the songs from the "Whore" EP, and the other material presented doesn't mislead staying true to the classic speed/thrash metal aesthetics of those numbers. It even comes with an "overdose" of hyper-thrash on the bullet-like "Bullet Overdose". "Zombie Survival" is a nice mix of stomping and furious speedy passages, but the rest is pretty much "thrashin' fury" all the way, like on the aptly-titled "Thrashin Fury" with the closing "Watch the World Burn" again showing a bit of mercy with a more restrained mid-tempo approach. The singer acquits himself with raspy subdued vocals crossing early Mille with more expressed black-ish tones at times.

Pages in Blood Full-length, 2000
Iniquity Intensity Insanity Full-length, 2008
Whore EP, 2010
Thrashin` Fury Full-length, 2010

Official Site


This is the band where Vince (R.I.P.)- the singer who sang on Infernal Majesty's fabulous debut "None Shall Defy" and on several demos after that, found shelter after his "flirtation" with heavy drugs excluded him from the other band. Based on "Transalvation", Bloodwurm are miles away from Infernal Majesty opting for modern heavy/thrash metal spiced with alternative and heavy stoner/doom moments.

Transalvation Full-length, 1999
Blasphemetized (Last Call) Full-length, 2000

Fan Site


Based on the debut: classic thrash mixing Sepultura and Slayer influences; imagine a combination of "Arise" and "Seasons In The Abyss"; well done with heavy meaty riffs and good vocals which sound like a lower-pitched Max Cavalera.
"Engines of Sin" is a very good follow-up this time offering entertainment of the Bay-Area variety by preserving the Slayer influences. The band thrash with intensity and competence providing headbanging fests of the highest order, some coming with heavy pounding riffage, not miles away from late 80's Metallica without the technical leanings: the excellent "No Pay, No Gain". Be prepared for the raging "Kill The Order" which comes right after this one and is vintage Gammacide, or Devastation with its brutal relentless riffage. The sound gets slower relying on a stomping, punishing rhythm section for a couple of songs, until "Forsaken By The Gods" which thrashes with the best once again. "The Outcome" is great aggressive moshing, followed by the only attempt made at a more technical play: "Immortal Rage", and quite well done at that, featuring stylish sections, amidst the more direct intense thrashing. "Chaos Empire" is an encompassing closer summing up the whole album offering both speedy and slower sections, even trying something in the technical sector for a while. The vocals remain in the Max Cavalera camp seldom adding angrier notes ala Phil Anselmo.
"Bloody" adds more modern touches to the classic proceedings, but the approach remains equally as intense and the riffs squash all the same "Cancro" helping with a hefty portion of impetuous speed metal arrangements. Later on the band incorporate heavy volcanic passages also reducing the number of the fast-paced sections, and tis is where the modern flair becomes more prominent again recalling mid-90's Sepultura.

Slow Death Full-length, 2005
Engines of Sin Full-length, 2008
Bloody Full-Length, 2015

Official Site


Based on "Kingdom of Hatred", these folks pull out generic modern thrash/death metal which at least doesn't follow the Gothenburg models blindfolded, but opts for for a more rigorous epic sound which may recall Amon Amarth on the more officiant material ("Insanity Chaos"). The problem is that the guys seem to like this particular approach too much, and except for the invigorating title-track there isn't much overt aggression to be come across.

Insanity Chaos EP, 2016
Kingdom of Hatred Full-length, 2017

Official Site


Very good and fashionable at the time combination of thrash and death metal in the "Spiritual Healing" and "Beneath The Remains"-spirit. The guys play energetically and fast, with sharp, but also heavy guitars. In a pattern similar to Death, the leads start all of a sudden, and are quite good, albeit short. Although the songs are not very aggressive affairs, seldom do the guys bash with passion ("Remains From The Past", "Death From Condemnation"), but then show skills in the more technical department, with the slower "Forever" which also boasts great bass performance. "I'm Fucking Drunkard" is the obligatory joke song, thrown in the middle, and it's something you can easily live without.

Uncover the Justice Full-length, 1994


Run-of-the-mill modern thrash with shades of groove with brutal deathy vocals; the guys try to play with energy and succeed at times, but they also pay tribute to metalcore later on as well as attempting jumpier, more technical rhythms ("Use My Name") from time to time.

No Tears For The Victims Full-Length, 2011


German speed/thrash metal close to Toxic Shock's debut "Change From Reality"; lyric-wise Bloody Cross belong to the Christian metal world, but are not as preachy as other bands. The guys don't steer away from the standard speed/thrash formula, and although it all works fine for the moment, there would be little left in your head to remember later. The album actually starts quite intensely, with the speedy, and occasionally quite brutal thrasher "God Hates ITX", but later acquires much softer, and less appealing speed/thrash tendencies, even reducing the speed considerably, on more power metal-based numbers ("Kids of God"), the soft, but cool power/thrasher "Nightmare", and the Motorhead-influenced "Choose". A mixed bag as a whole; would have a wider appeal than a full-fledged thrash metal release, but even as such doesn't deliver the goods that well.

Coming Again Full-length, 1990


The demo: dark heavy thrash/death metal of the mid-paced variety with one more aggressive outbreak at the end: "Lunatic", a fierce thrasher with great Oriental implements and a haunting doomy lead-driven outro. The singer is your average low-tuned growler.
The full-length is a major ripper with lashing heavy riffs staying in the faster parametres for at least half the time. The balance between thrash and death is well found, and "excessive" blast-beating passages (the exception "Excessive Bleeding") are not such a common occurrence. Cool Oreintal melodies can be caught ("Political Misery", "Remnants of Voracity") at times giving the album a wider appeal. A string of slower mid-tempo numbers give way near the end to the more energetic "Wrathful Ascent", but the final cut "Path of Deliverance" is all doom and misery, but in an officiant imposing way.

Creator of Hate Demo, 2009
Vengeance of the Enslaved Full-Length, 2013

Official Site


This act pull out classic thrash reminiscent of more recent Kreator with the obligatory more melodic, slower descents ("The Right to Decide") which don't sit too well with rigorous shredders like "Schizoul" and "Killing Flaites". "Liquid Hell" raises the flag of speed metal sky high, an infectious sing-along hymn while "The Mind Disease" moshes in a more intelligent quasi-progressive manner. The vocalist is a shoury, even screamy at times render not miles away from early Mille.

The Culture of Fear Full-Length, 2017

Official Site


The demo: These Chileans pull out competently-played classic thrash ala Exodus with shades of the more evil Possessed-like delivery. The band know their craft, but their real power lies in the more stripped-down, direct approach: "10 Gr.", where Slayer are touched with ease. The vocals are of the mean, semi-declamatory variety, and are just decent support to the more appealing music.
The full-length offers a similar brand of classic roller-coaster thrash without any particular adjustments except for the inclusion of several tasteful lead sections. "Neoalquimia" is a pleasant more lyrical deviation showing signs of a more serious song-writing which is also handsomely dispayed on the atmospheric progressiver "The Black Mirror". The rest is more on the immediate, bashing side with more aggressive and mellower passages taking turns.

Aggressive Distortion Demo, 2010
Road to Nowhere Full-Length, 2016

My Space


Based on the "Bitch Needs Psychotherapy" demo, this band play classic thrash with crossover elements recalling D.R.I.'s more thrashy period, or late 80's Overkill ("Under the Influence", in particular). The tempo is mostly mid-paced, but tracks like "You Were Me" speed up admirably with fast thrashy riffs.

Blood and Distortion Demo, 1990
Bitch Needs Psychotherapy Demo, 1991
Raped Ape/Bloody Mary Split, 1993
Blood Core Demo, 1993
Five Years of Blood Bruises & Balls-An Anthology Of Agression 1989/94

My Space


Based on the "The Ultimate Rebellion" demo, this band play intense speed/thrash crossing Sentinel Beast with Rigor Mortis. There's a lot of fury incorporated the guys bashing with vigour also recalling Slayer's debut with the aggressive speedster "Cursed By Hate" which is a nice cut with some vitriolic screamy leads. The singer is an intense semi-reciter, but his attached antics are suile, albeit too high up in the mix stifling the other performers at times.

The Ultimate Rebellion Demo, 1986
The Die Is Cast Demo, 1990


Based on "Executioner from Hel" this guy, whose pseudonym is Grim Reaper, provides intense crusty, "grim" black/thrash which gets the message through with constant speedy barrage which occasionally metamorphs into pure grindcore ("Fallen Woman Of Unforgiving Sins") and generally remains on the noisy side of the spectre the "horror" further enhanced by aggressive death metal vocals which surprisingly carry a more comprehensive note. This is stuff which should enchant fans of early Venom, the obscure British crusters Axegrinder, Carnivore and those who embraced the more recent Darkthrone incarnations.

Degenerate America EP, 2013
Hell Is Life Full-length, 2014
The Night of Death EP, 2014
Executioner from Hell Full-length, 2015

Official Site


Based on the "Abyss of the Thousand Cries" demo, this formation provide deeply atmospheric thrash/death laid out in long compositions where hard-hitting passages intercept with quiet meditative ones. At times the approach swings towards the doom/gothic field ("Clavicula Salomonis Regis/Monastery Of Celebration") in the vein of Cemetery; but one shouldn't ignore the epic thrashers ("Immortal Sins") which also "roam" around. The vocalist is a deep guttural deathy shouter who complements the morose music just fine.

Knowledge of Shadow Demo, 1992
Abyss of the Thousand Cries Demo, 1994


Tamas Schmiedl, the Moby Dick vocalist, gives a better more aggressive shade to thrash with this side-project of his which sounds way more appealing than the tired approach of his other band. Fans of Sepultura won't hear anything along the lines of that act's album of the same title as the band's name: this is a nice potent blend of classic and modern thrash akin to more recent Annihilator. The guitars are both edgy and melodic the leads leading the pack with their virtuoso leanings. The 2nd half drags a bit leaving the faster delivery a bit aside for the sake of heavy pounding rhythms with a doomy touch which are again overshadowed by the stylish lead guitar work. Still this effort doesn't sound trite or repetitive although Schmiedl sings in exactly the same way as the one on the Moby Dick albums.
"Az -gTretek FldjTn" is another worthy tribute to the new school the guys thrashing with competence varying the tempos well as the headbanging sections by all means predominate and make this offering quite a roller-coaster in the long run. The band will break your neck on instant hits like "NTpek Utj" and "Tretek FldjT" which will make you jump around till you drop. The fun here never stops even on the slower material which is a tad more playful offering some really catchy choruses (check out "J Menedk"). The bonus tracks are also worth mentioning: "Kiv'dflasztott" is jolly crossover with great merry rhythms and a nicesemi-technical twist; "Refuse Resist" and "Roots Bloody Roots" are, of course. Sepultura covers both done faithfully although hardly fitting the much more volatile approach on the original material, the singer also acquiring angrier tones to fit the aggro-delivery of those songs. It's still quite hard to relate this band to the renowned Brazilians music-wise...

Isten KezTben Full-length, 2010
AzgTretek FldjTn Full-Length, 2012

Official Site


Based on the "False Flesh" demo: this band provide aggressive thrash/death of the old school with bad, undeveloped growly vocals, which are put up front on the mix and don't give much space to the instruments; not that they deserve to be better heard: this is very simplistic raw, semi-amateursih, stuff.

TenyTsztTsre Nem Javasolt Demo, 2004
False Flesh Demo, 2005

Official Site


Based on "Ambiguity", this act provide noisy modern thrash with classic references which is full of energy and enthusiasm, and eventful cuts like "Mouth of Heaven" should keep the fans entertained. "Core Empire" is a serious semi-technical piece contrasting with the surrounding shorter material the latter quite close at times to the thrash/crossover wagon. Nice melodic tunes will one catch on the closing "Reign of Profit" which rages on as a finishing touch. The singer rends his throat shouting forcefully with a strong death metal blend and is a fitting "company" to the inspired musical picture. Some of the band members also take part in the technical death metal outfit The Cranium.

One Shot Left Full-length, 2008
Ambiguity Full-length, 2013



Pascal Collobert from ADX plays guitar here, and his characteristic melodic blend is instantly recognized on the intro to the demo which later transforms into a nice intense dark thrasher (the title is "Bloody But Fascinated Game (B.F.G.)") well supported by the cool rough semi-clean vocals which are put too up front in the mix, to the point of semi-shouting at times, and these are the moments when they will remind you of Mike Muir (Suicidal Tendencies) quite a bit. The sound quality is very good to produce capable classic thrash metal recalling Onslaught's "The Force" and Deathwish's "At the Edge Of Damnation" (all Brits here) on the faster passages. The guys thrash with conviction spicing things up with a couple of moody doomy moments ("Prediction") very well embedded into the overall appealing picture.

Choice of Reason Demo, 1990
Blowdead EP, 2002

My Space


Heavy doomy post-thrash with soulful clean vocals with a synthesized blend. This is slow trippy stuff which later found a fuller realisation on the continuation of that band named Loincloth where the guys produce all-instrumental progressive metal with one EP and one full-length released.

Motored Esophagus Demo, 1996


A cool entry into the classic thrash metal catalogue of the UK, which has grown quite a bit, both in quality and quantity, in recent years. A good sound quality boosts the guitars which cut like a knife producing fierce bombastic pieces along the way: "Maniac" is a nice thrashing galloper, and "Total Recall" is aggressive in-your-face thrash (could be a tribute to the Paul Verhoeven cult film of the same title) to the bone. "Submerged By Death" is another thrashy joyride which sees the band ready to shoot on a wider scale not too far ahead. The singer has a cool meanish semi-clean tember, which has enough emotional charge to fit the intense musical delivery.
The full-length is a sweeping slab of aggressive Slayer-esque thrash which will make you mosh till oblivion. There are quite a few nice melodic licks along the way, but they make this cool effort sound more appealing. "Powerhouse" suggests at more technical things to come, but later on the guys continue with the "massacre" thrashing wild and free reaching the speed of light on the bombastic "Voyage Beyond The System". The final "Conjure The Dead" is more controlled and more serious, but is still a pretty moshy thrasher which shows the guys fulfill all the promises from the demo, and beyond. All this comes served with a very good sound quality, and even better this time mean Schmier-like vocals.

Bludvera Demo, 2010
Terrorform Full-Length, 2012


One of the better attempts at aggro-thrash from the 90's and beyond; the band play with dynamics and inspiration thrashing hard on quite a few moments (the dramatic steam-roller at the end "Sexual Morality") the overall approach strangely reminiscent of same year's Machine Head's debut with the main difference that here the guys aim at a more technical delivery (the choppy "Linear Engine"; the mechanical Prong-esque puzzler "Soul Crutch"), but not at catchiness. The singer is an attached shouter who possesses more emotion of Rob Flynn, but can't quite match the vitriolic "recitals" of Phil Anselmo.

Think Tank Full-Length, 1994


Wild bashing thrash with a few more controlled moments; for most of the time the band cross hardcore with purer thrashy outbreaks which get intercepted by the odd slower inclusion. The singer is a not very angry semi-shouter who carries melody and just a bit of passion in a way no worse than M.S. "Scruff" Lewty (Hellbastard).

Gunman Demo, 1990


Based on the debut demo, this act pull out fast intense thrash whihc sits right in the middle of The States between the West and the East Coast as in their approach both shades of the Bay-Area and Anthrax can be traced with a slight thin speed metal-ish "sting" ala the German movement also sneaking in ("No Sin"). THe guys' admirable efforts are kind of hampered by the very noisy sund quality which makes the guitars hiss like a horde of snakes at times. Regardless, this is really cool headbanging stuff which never lets the pace off the singer giving his fair share to the positive impression with an assured attached semi-clean tember.

Creature of Habit Demo, 1989
Promo Demo, 1992


These guys are helped by Felix Griffin- the drummer of the legendary crossover legends D.R.I. The style is vintage late period D.R.I.: fast-paced energetic, not very edgy music with explorations of the slower side of the genre: "Portrait of Efficiency". Certainly the adrenalin goes up on all-out speed/thrashers, like "Legislate" and "Uncommon Heroes", and overall this is a good reminder of the glorious 80's: simplistic, direct and entertaining.
"Hatred for the State" raises the speed level higher, and thrash has taken over in the 1st half with screaming bullets like "Hatred for the State" and "Brutal Fucking Truth". There's no mercy shown later on, although the tracks become a bit longer, some of them being more direct exercises in hardcore: "Modes of Control", "Revolution" recalling old heroes like Bad Brains and Agnostic Front. The last 3 tracks will be a delight to the hardcore fans, being covers of Bad Brains ("We Will Not"), D.R.I. ("Madman"), and Minor Threat ("Straight Edge").

Good Morning America... EP, 2007
Hatred for the State Full-length, 2009

My Space


Energetic mix of hardcore, thrash and melodic death metal which at times is surprisingly lyrical and romantic (the semi-ballad "Es kommt die Zeit", the more light-hearted crossover "Find Him"), but most of the time it's fairly aggressive ("Sichten & Vernichten", and the rest).

Sichten und Vernichten Demo, 2008


A typical for the Dutch metal scene at that time mix of thrash and death metal; this band are one of the better representatives of the genre with stronger thrash presence in the guitar work. The "Suffer Within" EP is a very cool combination of furious death/thrashers and slow, almost doomy, tracks (two each) which in its turn come with the better and more melodic guitar work.
"In My Embrace" is a nice thrash metal effort again often shaking hands with doom. The riffs from the opener "Rancid Orchid" will remind you of Candlemass' "Dark Are The Veils of Death" on the calmer escapades. Later the music picks up speed with the aggressive "Corrupt Fairy Tale", but is dissipated by the heavy, doom-laden guitars which, when combined with heavy thrash riffs produce the best results on this album ("Soul of Cain", "Christian Herd Conformity"). The epitaph "Version" would be a big surprise, maybe not a very good one at that, for the fans being a complete electronic/techno discotheque anthem, totally off-context, and a serious spoiler on this otherwise perfectly acceptable entry from the voluminous early-90's Dutch catalogue. The vocals are high-pitched snarls and might be a pullback to some because of their vicious hysterical nature.

Suffer Within EP, 1990
In My Embrace Full-length, 1992

Fan Site


Based on "Punishment Unfolds", these guys play uplifitng melodic modern power/thrash which is seriously marred by the unsuitable brutal death metal semi-shouter behind the mike. Otherwise the guys know their craft indulging in infectious melodies at every opportunity (check out the melo-favourite "Never for the Fallen") adding the odd more aggressive death metal-infused section ("As Punishment Unfolds") more or less appropriately. This is mostly mid-paced music which sacrifices the hard-hitting riffage for the sake of the more lyrical side of the genre.
"Liber Sum" is more aggressive and energetic than the band's previous output to the point that at times the guys sound like an entirely new act. More melodic progressivisms roam around ("Barbarians") killing the speedy approach to an extent, but the title-track brings things back to normal with a portion of brutal proto-blasts the latter also gracing the final cut, "Invictus", which is a more engaging melo-thrash/deathster.

The Enemy Full-length, 2010
Punishment Unfolds Full-length, 2012
Liber Sum Full-Length, 2015

Official Site


Based on "The World Hates Me", these guys mix poppy metal (including ballads and female vocals) with excellent technical thrash ala Megadeth (the band pay tribute to Dave and his gang with the cover of "In My Darkest Hour"). With a bit more focus on the thrashy side, these guys could easily conquer the thrash metal arena in their homeland.
"R-Existence" follows the Megadeth-worship tendency aiming at the Americans' more laid-back period ("Youthanasia", "Cryptic Writings") the chosen path aptly reflected in numerous balladic/semi-balladic moments. As a whole there is not much pure thrash to be encountered the music staying within the power/proto-thrash confines with the vocals having this characteristic hoarse semi-clean blend recalling Mr. Mustaine quite a bit.

Rust of 99 Full-length, 1999
All Clear For Lies Full-length, 2001
The World Hates Me Full-length, 2007
R-Existence Full-length, 2012

Official Site


The debut: this outfit provide noisy industrialized post-thrash with merry rhythms incorporated occasionally, and more frequent crusty escapades which go well with the groovy passages. At times the approach becomes too heavy with allusions to death metal even, but watch out for the lyrical romantic moments (the short "Intermission") which show that the guys aren't strangers to some impressive musicianship which sadly can't be encountered elsewhere.
"The Baconing" is the same abrasive modern post-thrash story which is again dissipated by the odd more optimistic tune, and in this case by the casual more aggressive melo-death hook ("Rebel Slave"). Elsewhere the delivery is mid-paced and not very exciting if we exclude the excellent technical instrumental surprise "Of Mice And Men", and the quirky funkisms on "Not Gonna Get Us". Quite a few of the tracks are short and kind of unfinished, especially those in the 2nd half, creating the impression taht the guys are just jamming without any serious intentions towards their musical career...

The Aporkalypse Full-Length, 2011
The Baconing Full-Length, 2014

Official Site


Based on the "Pestpsalm" demo, this band play chuggy modern thrash with very abrasive riffs and an unpleasantly shouty deathy singer. This is very heavy, mid-tempo stuff which never changes towards the faster parametres, also recalling industrial groove heroes like Grope and Puncture.

Pestpsalm Demo, 1999
Bodai 39 Crew Demo, 2002


This band's line-up includes Rikard Stjernquist, the drummer who has also done service in other bands: Jag Panzer, Ballistic. This is modern groovy post-thrash, strictly rooted in the 90's, with a sound not too far from mid-period Machine Head including these annoying clean vocals, and Accuser's "Taken by the Throat". "Body of Scars" is a cool doomy number which will remind you of Phil Anselmo's act Down.

Body Of Scars Full-length, 2007

Official Site


Pounding modern/classic thrash metal coming as a more energetic and diverse version of Pantera with a few borrowings from Lamb of God. "White Collar Crime" is a pure proto-classic thrasher, fast and vigorous as well as "Smile, You're on Fire" which is a smashing Slayer-esque number. The singer doesn't hide his fascination with Phil Anselmo giving a more brutal deathy colouring to his delivery from time to time. The guitars are sharp letting loose a bit on the stylish melodic leads.

Killing Without a Motive Full-length, 2005


Heavy rough retro thrash which is a bit too sluggish to reach the crushing urgency of the Cerebral Fix works, but pices like "Boot Bruise" and "Scumfuck" will have no problems moving the fans around with their more dynamic rhythms. The final "Stack 'Em High" shows some admirable diversity completely lacking froom the remaining material, but the vivid riff-patterns there alongside the constantly shifting bass bottom show a more proficient side of the band who don't gain much froom the hoarse shouty aggro-vocals.

Never Ending Penchant for Blood Full-Length, 2016

Official Site


3 songs containing some of the most primitive sounds (no pun intended) recorded in the new millennium. Seriously, if these guys were looking to shock the listener with primitivism and lack of musical skills, they have succeeded admirably. What will one hear here is vicious thrash/death metal made by only two people with only two instruments involved: a very buzzy guitar and impotent hollow-sounding drums. The singer screeches his lungs out to produce some of the most agonizing sounds behind the mike: imagine Mille Petrozza at his most painful and hysterical state, and he completely stifles the very amateurish music. 20 years ago this piece could have been a cult in a way not too far from the Hellhammer demos, but now it will only make a few fans laugh.

Primitive Sounds Demo, 2006


Nice hard-hitting heavy thrash, deeply immersed in the 80's school, changing tempos from one song to another with nice exceptions: the fine galloping thrasher "Out of Order", the furious Bay-Area piece "Time to Escape", which are fast and intense all the way. "The Actor" is an excellent reminder of Metallica's late-80's period, although it is shorter, but these 10-ton riffs smash, folks. "Solitude" is a cool semi-ballad, again trying to follow the Metallica models in the trend, but everyone will wake up on the raging thrashing closer "The Meaning Never Found", which comes with a nice crossover shade.

Boixos Nois Full-length, 1995


Based on the "Gar Nicht" demo, this band play classic thrash/crossover which is on the more brutal side of tehn spectre, think Wehrmacht and Spazztic Blurr. There are a couple of catchy melodic tunes thrown in, and "Cry of A Child" is a fairly serious attempt at more rigorous thrash, but otherwise the guys just have fun bashing with vigour, coming out with all the guns blazing on the more complex shredder "Voice of Schizophrenia", and partially on the aggressive proto-deathster "Red Pigs" which matches the gruff shouty deathy vocalist.

Gar Nicht Demo, 1991
Day Off Demo, 1993


This is a side-project for the members of FR8 (or is it the other way around?). The style is almost identical to the other band: groovy modern thrash, with Machine Head and Pantera the primary targets for worship.

Omnicide Full-length, 2006

My Space


Modern thrash of the more mechanical drier variety; at some point the sound acquires more dynamic tendencies (the cool galloping "I Am"), but there are plenty of heavy pounding riffs to smash your skull, a further damage done by the low-tuned death metal growls. And watch out for those excellent melodic leads which will make any Shrapnel hero proud.


My Space


These Chileans pull out a heavy mix of modern and retro thrash, something which bands like Sepultura (Chaos AD"), Cyclone Temple ("I Hate Therefore I Am"), Dearly Beheaded ("Temptation"), and Exhorder ("The Law") have done in a better way ages ago. The highlights are the band's deviations into more intense thrash ("Fucking Misery") where the speed is admirable despite the thin guitar sound and the screamy leads. Still, the dominant tone is more modern and not as dynamic, a good reflection of which is the somewhat clumsy version of Sepultura's "Territory" at the end where the deathy quarrelsome vocals try their best to match Max Cavalera in terms of intensity to mixed results.

Road To Hell Demo, 2010


Groovy playful post-thrash which suddenly switches onto much faster music with a hardcore edge; nothing out of the ordinary happens on those fast moments, either, although the guys pull a few unexpected musical decisions adhering to funk, grunge, punk, etc.; even pure intense headbanging thrash can be encountered at times, but only in the form of a short inclusion.

Black Wishing Well Full-Length, 2008


Good intense classic thrash with slight crossover (but definitely not suicidal) tendencies relying on up-tempo numbers with straight sharp riffs, with more melody added on the closing "White Chapel" which is a cool more melodic speed/thrasher.

Inquisition EP, 2008

My Space


Modern industrial thrash, but not very exciting, with repetitive mechanized riffs sounding like a poor man's Skrew, the most obvious influence on the band also reflected in the band name. The tempo is expectedly mid-paced and the vocals are more aggressive than the usual ones for the style being gruff death metal ones with a synthesized blend. The guitar work is more sensible than on many other indistrial metal works, but the lack of dynamics undermines the guitarists' performance. The closing instrumental "Reign Of The Sharks" is a brilliant piece of musicianship, where the guitar players let theit talent loose to produce some of the finest leads around; on another band, with a more guitar-driven music style, these guys could have easily been stars of the show.

Reign of the Sharks Full-length, 2005

My Space


Based on the first two albums: the debut is pure Exciter-worship featuring also a cover of that band- "Long Live The Loud" with cheesy moments ("Metalni Bog"). The sophomore effort is more thrashy, again with pop-ish tracks ("Princeza"), but with a much more powerful sound and sharper riffs.
"Okot iz Pakla": the guys are still alive and well, and this effort shows them kicking with something to spare. To begin with, the delivery is much more aggressive speed/thrash as evident from the explosive opener "Graditelj Hrama". Later on more melodic tricks pop on the surface "Epitaf" being a cool melodic proto-galloper; and "Spaljen" recalling their earlier exploits with its heroic rhythms. "Sam Protiv Svih" is another glorious speedster, and things only get better in the 2nd half with the smashing semi-technicaller "Da Ti Glavu Srubim Psecu", and the raging shorter "Okot Iz Pakla" which almost reaches proto-death dimensions. "Dolina Smrti" again "flirts" with a more technical play leaving the more immediate riff-patterns for the remaining two cuts one of which is a handsome cover of the veterans Koldbrann's "Ðavolja Vršalica". This is a real comeback for the guys who should carry on in this vein to establish themselves on the front echelon of the European speed/thrash metal movement.

Speed Kill Full-length, 1989
Bez Milosti Full-length, 1991
Crni Dani Full-length, 1995
Ko Sam Ja Full-length, 1997
Ledena Krv Full-length, 2003
Okot iz Pakla Full-Length, 2016

My Space


Based on "Accuracy by Volume", this band play a modern brand of death/thrash which varies the pace from one song to another as the leads are on a consistently high level the whole time. "High Explosive Rainfall" adds cool Oriental motifs into the otherwise rigid picture which is largely "drawn" by sterile, mechanical riffs with a noisy, abrasive edge the exception being the excellent more technical shredder "The World Is An Ugly Place" which also notches up the speed to death metal proportions. On the opposite side we have the surprising lyrical ballad "Touch Me", and the very good cover of Carcass' "Rot'n Roll".
"No Excuses for the Living" is a weird eclectic recording the band spreading their wings more widely with wild speed/thrashers ("Crippled Traumatized Or Dead") taking turns with unbridled brutal death/black metal outrages ("Tombstones") and frolic rockish Motorhead-ers ("Hades' Brails"). Diversity is the name of the game here, but this larger-than-life concoction doesn't seem to deliver as well as its more homogenous predecessor.

Deadly and Virile Full-length, 2015
Accuracy by Volume Full-length, 2016
No Excuses for the Living Full-length, 2018

Official Site


Two Chileans are behind this noisy blacky speed/thrashcore. The duo bashes with no remorse emulating Motorhead quite a bit, except in the vocal department, of course: the "singer" is an unholy subdued semi-shouter, who overtakes the whole space when in action. Despite the constant speedy boogie this isn't very aggressive stuff the guys even managing to come up with the odd merry punk track: "Bite It You Scum".

First & Last Demo, FUCK OFF!! Demo, 2010


Old school thrash/crossover joy which ranges from all-out bursters ("Damn Negative", the very appropriately-titled "Demolition") to marginally more relaxed speedsters ("League for Cancer", the semi-technical shredder "The Man With No Name"), to shorter exercises in less bridled hardcore ("Provider of Hate") the latter not far from the Cryptic Slaughter outrages. "Witness Hell" is a carefree power/speed mteal roller-coaster, and "Assembled to Thrash" is an appetizing assembly of more serious thrashisms sustained in a more controlled mid-pace.

Sommation Full-length, 2018

Official Site


An obscure release of "bombastic" brisk thrash/crossover with sharp riffs, fast tempos and gruff semi-death metal vocals; "remnants" from the band's punk/hardcore past when they were known under the name Die Ausgebombten, can be heard on the shorter tracks, but for most of the time this is pure headbanging thrash close to the mid-works of the Brazilians Ratos de Porao and the Spaniards Storbais.

Bombers from Burundi Full-length, 1989


Some would expect that these guys, who come from Quebec, would belong to the technical fraternity with which the name of this province is connected, but no: based on the demo this is energetic very simplistic thrash/crossover with short 2-3min songs, in fast, sometimes too fast ("Tsar Bomba"), tempos. The guitar work is repetitive, but music of the kind doesn't require too much variation. The last song "Predator" nicely mixes brutal blast-beats with cool Destruction-like riffs, and is the highlight on this otherwise pretty ordinary offering.
"H.A.Z.M.A.T." elaborates on the sound heard on the demo by adding more thrashiness and aggression, but the simplicity remains, and to listen to 17 whole tracks offering very little variation from one another, may be a bit of a tiring experience, at least to those who are used to variety and change. But rest assured that some furious thrash will by all means catch your ear: "Nuclear War", "R.I.P. Mankind", "Predator" (already heard on the demo), etc., and the fact that the guys seldom slow down is an indication that the listener will mosh around in oblivion right until the closing acoustic short instrumental "Pre-Nuclear Moose".

"Crossovered with Rage" is not a very distant departure from its predecessor moshing out in a straight stripped-down manner the whole time crossing early Slayer with pure speed metal to a cool headbanging effect. On the shorter tracks the sound turns to all-out hardcore, or even grind ("Phospho Sasquatch"), but there's also one attempt at a more serious diverse song-writing ("Mental Room") although it would hardly be noticed being just one isolated example amid 13 "metal thrashing mad" offerings. Some of the musicians play similar stuff in Fuck You All.
"Night Invasion" is a classic thrash/crossover joy reflected in whole 18 numbers, seldom going over the 3-min mark, all sustained in a brisk headbanging fashion the more aggressive moments ("War Beer Warrior", "Blackout without Stout") boldly venturing into a Slayer and proto-death territory. "Kreator's Destruction of Sodom" is a nod to the German "holy three", well played more serious thrash staying closer to early Destruction.

Atomic Animal Anihilation Demo, 2008
H.A.Z.M.A.T. Full-Length, 2009
Crossovered with Rage Full-length, 2010
Night Invasion Full-Length, 2014

My Space


Atmospheric dark modern thrash assisted by rough death metal vocals; the dominant mid-pace is nicely interrupted by more energetic cuts like "Dormancy", and especially the raging short headbanger "Icon of Sin", the more intense elements also roaming around on the more elaborate material ("Psykillogy") which also includes the choppier, not very predictable closer "Host".

T-Minus Full-Length, 2017


Based on "Born into This", this band plays intense speedy thrashcore with proto-death and grindy overtones. Don't expect variety or a high level of musicianship; this is crusty one-dimensional stuff expressed in the form of short 1.5-2min tracks and shouty hysterical vocals. The guys run two other projects: the death/grindcore outfit Scurvy, and the retro thrash metallers Gallow.

Kaos och DjSvulskap Full-length, 2002
Livets Lsga Slocknar EP, 2003
Ockel EP, 2007
Born into This Full-length, 2007

My Space


This formation was previously known as Wild Thing where they were blending hard rock, heavy/power and thrash metal to mixed results. On this only demo the guys do a better job sticking to peaceful modern 90's post-thrash with strong balladic leanings. The riffs weigh, and the singer is not bad with his clean mid-ranged delivery, but it's all too unmemorable in the long run offering no highlights whatsoever.

Bonarges Demo, 1997


The band's name will throw you into an Exodus' direction, but this could be a bit misleading. This band's music has few traces from the Exodus legendary debut; it has more in common with "Fabulous Disaster" which is also a very good reference (might be even better to some) point. The guys do a nice job playing a more technical version of the Bay Area thrash, also bringing to mind Forbidden and the Germans Red To Grey. The bonus track is a jolly crossover number.
"Feed the Beast" is a direct thrash attack, without the technical decorations of the EP, and as such justifies the band's name, although the approach is closer to Vio-Lence (think "Eternal Nightmare"; there are certain vocal similarities with this band as well), rather than Exodus. The music is mostly fast-paced reaching some fine extremes ("Psychotic Pulse", "Necropsy"), rivalling even Slayer and Dark Angel from the mid-80's. "The Evil Within" is more controlled providing a more complex, semi-technical play, but is the only attempt in this direction. The rest is uncompromising headbanging thrash, well executed, finished with a nice short thrash/crossover take on the main theme from the "Teenage Mutant Ninja Turtles" TV series.

"Exiled to Earth" is a logical continuation to the band's previous efforts, but to these ears it sounds way better: the style is the expected Bay-Area influenced thrash with the guys thrashing far'n wide, this time served with a more technical ado, adding the odd speed metal flavour ("Prison Planet") whenever needed. There can be no complaints here some of the more vigorous thrashers of recent times being featured: the energetic opening "600 A.B. (After the Bomb)"; the aggressive, but also technical "Genetic Encryption"; the great lashing mix of speed and thrash "Exiled to Earth" sustained in the best tradition of early Forbidden, also adding a nice technical twist to the proceedings; the ultra-speed thrasher "Parasitic Infection": a short less than 1-min bomb; etc. The band inevily get tired moshing hard at some point, and here comes "Desolate Future" and the crossover-laced "Sector 87" to give room for some "rest". Spare some energy, though, for the headbanging closer "Cross-Insemination" which also brings excellent lead guitar work and a couple of more intriguing complex riffs again recalling Forbidden ("Twisted into Form"). As a whole the fans get a high-octane entertainment which can easily pass for the band's finest hour nicely combining the vigour and energy of the previous effort with the more technical leanings of the debut EP.
After the fairly good preceding album the guys relax with a more simplistic delivery with a few sparkles of their more creative days (the stylish "The Aftermath"). "Crawling in the Shadows" and "In a Wake" are short energizing headbangers, but the 2-min explosion "Among the Vultures" beats them all with its ripping proto-deathy riffage. As a whole the energy is pretty big all over even on longer more thought-out compositions ("Show no Fear", "Left Behind"), and the oly actual pullback would be the ill-fated cover of Rage Against the Machine's "Killing in the Name" which is done quite faithfully without any more aggressive thrashy decorations sounding in/appropriately grungy and jumpy. The band haven't gone over their abilities, intentionally or not, and now they sound like just another contemporary run-of-the-mill retro thrash act. Still, with them one never knows when they would decide to show more class... so stay tuned.

Extinguish the Weak EP, 2007
Feed the Beast Full-length, 2008
Exiled to Earth Full-length, 2010
The Aftermath Full-Length, 2012

My Space


Modern thrashcore with a few groovy implementations; rough but also quite dynamic stuff which also "flirts" with the melody, but also with the brutality on the short explosive "Ursinho Diferenciado". The versatile vocals are arguably the most attractive side changing from cool clean to shouty and angry, to gruff and death metal-ish throughout.

O Ataque Dos Headbanger Virjro Full-Length, 2016


A melodic mix of thrash and death metal "courting" both the classic and modern school. The delivery is playful with a nice crossover atmosphere, the latter created mostly by the covers: Gehennah's "Discodeath", and the Japanese Sabbat's "Baby Disco Is Fuck". The guys like singing about disco, but in their music traces of this genre are impossible to find... The band members are involved in a myriad of other formations: the black metallers Ad Noctum and Livjatan, the death metal outfit Phrenetic, the speed metal heroes Serpent Saints, etc.

Live the Morbid Studio Demo, 2010

My Space


Based on the "The Hedonist Way Of Being" demo, these guys provide fast energetic retro thrash not far from Exodus' legendary debut nicely balancing between all-out speedsters ("Alcoholic Avenger") and stomping moshers ("Orgastic"), the latter always coming with a few faster sections. The guitar work is cool bordering on the semi-technical ("Bonebreaker") at times, and the vocals are scary brutal death metal semi-shouts.

Alcoholic Thrash Metal Demo, 2007
The Hedonist Way Of Being Demo, 2009
Heavy Metal Attack-Warriors of The Night Demo, 2011


Based on the "Sonic Diarrhea Holocaust" demo, these guys specialize in evil raw, old school black/thrash with vicious, witch-like vocals. The approach is very simplistic and stripped-down nodding to both Venom and Bathory, crossing faster and slower tracks the former also sharing some of the Motorhead-ish light-heartedness, especially in the thin lead department.
The full-length debut is finally out, and the delivery is almost as wicked as the one on the EP's and the demos. The "Motorhead meets Bathory" blend works well on every cut with touches of Exciter "Symbol of the Curse") on the more vigorous numbers. "Symbol of the Curse" is pure black metal outrage, but "atrocities" of the kind are kept to the minimum, including doom-laden stompers like "Succubus". The singer croaks like a sick raven and at times could pass for early Quorthon (R.I.P.): check out his antics on the closing title-track.
"Sexual Panic Human Machine" contains no surprises as the guys continue with their staple barrage which at tmes comes with weird psychedelic vibes ("Digital Evil", "Doom Desire", which has no shades of doom whatsoever). The speedy Motorhead-ish boogie is seldom interrupted save for the stomping battle hymn "Spectre of Sex Vengeance", a nice reminder of Bathory's immortal "Raiise the Dead".

Black Samurai Demo, 2011
Sonic Diarrhea Holocaust Demo, 2011
Turn Up the Evil EP, 2012
Sex & Necromancy EP, 2014
Evil Triumphs Again Full-Length, 2015
Sexual Panic Human Machine Full-length, 2017

Official Site


A not very apt mix of modern and retro thrashcore which still produces a few nicer surprises: the furious deathy "Apocalyptic Warrior". Otherwise the music constantly hesitates between merry roller-coasters ("Lonely Death") and heavy aggro-pieces ("666"), the former kind of ruined by the unsuile hoarse semi-death metal vocals.

Bones Full-Length, 2011


This Polish outfit offer modern semi-technical power/thrash with awide array of riffs and some very tasteful melodic decisions all well displayed on the encompassing opener "This Is War". "Feel So Alive" is a sprightly lively shredder, but "In The Heart Of Darkness" is a nice romantic ballad. In other words, there's quite a big diversity witnessed here leading to a couple of more intriguing progressive numbers ("Seduction", the galloping delight "Anvil That Kills") graced by not very suitable harsh shouty semi-deathy vocals.

Welcome To The Valley Of Slaughter Full-Length, 2017



This Finnish act pulls out modern thrash/death metal of the more interesting semi-technical variety with the leads scoring particularly high. Otherwise the guys vary things from heavy slow to fast blitzkrieg passages the whole time the former taking the upper hand delivering especially well on the atmospheric doomy closer "Waiting" which also brings forward nice keyboard arrangements.

Pathological Demo, 2005

Official Site


Based on "Written In Stone", this is enjoyable thrash/crossover coming from the more melodic side of this sub-genre. Reportedly, their style changed into metalcore on subsequent releases.

Written in Stone Full-length, 1993
Abandoned Full-length, 1994
Shadow of Doubt Full-length, 1995


A not very convincing imitation of Machine Head's "Burn My Eyes" with the opener "Retribution" stealing riffs directly from "Davidian". Later on things don't sound too bad, actually, with the creepy semi-technicaller "Rhyming Extremist" and the surprisingly lyrical acoustic instrumental closer "Saved Visions". The rest is groove, groove... and groove again with the staple for the style shouty aggro-vocals creating additional noise.

No Prescription Demo, 1995


Hard-hitting thrash/crossover, not too far from the Americans Hatrix on the more aggressive moments ("No Conformity"), and even Cryptic Slaughter ("Asshole") when the guys speed up. There are modern 90's elements as well as funky experiments ("Booby Trap"). Sometimes do the guys just thrash simply and directly ("Take The Power", "Brutal Intervention"), but they don't forget about the less serious, more laid-back, punk-ish side of the style: "Smells Like Shit", which is actually a fairly disrespectful treatment of Nirvana's "Smells Like Teen Spirit", but works.

Brutal Intervention Demo, 1994

Fan Site


This is a surprise: from the icy shores of Iceland comes a band who plays melodic power/thrash metal. The music isn't very aggressive and has a certain crossover shade (the songs' length, too, recalls this style) resembling C.I.A., but these Icelanders vary things quite a bit and not in a very convincing way with hard'n heavy numbers ("Stairway to Hell"). Fortunately, cool thrashers like "WC Monster" (stay away from the public toilets from now on!) and "Whatever You Like" carry this album in the right direction, and the final impression is more on the positive side.

W.C. Monster Full-length, 1989
Bootlegs Full-length, 1990

My Space


This is cool thrash/death metal of the modern type recalling Arch Enemy, but with a more stereotypical guitar work. The self-titled EP doesn't take a new direction music-wise, but offers the same stuff: typical modern Swedish death/thrash metal, now sounding more melodic touching pure speed metal ("March Of Zombies") or "courting" the old school ("Dropped In The Trash") in a cool vigorous manner.

Demo 2005 Demo, 2005
Demoralization Demo, 2006
Border of Insanity EP, 2009

Official Site


Heavy volcanic modern post-thrash which is too stoner/doomy to bang the head too often recalling Metallica's "Load" in more ways than just one. The vocalist at least has a cool mid-ranged clean croon which suits well the inebriate nature of the music.

The Present Day Full-Length, 2015

Official Site


Based on the "Before You Die" 3-track demo, this band plays aggressive Slayer-esque thrash with good intelligible guitar work, and vocals which recall Max Cavalera, but lower-pitched and less comprehensible.
"Whose Fault", despite the rough abrasive guitar sound, is a very good elaboration on the music from the demos, adding a nice "Beneath the Remains" touch to the Slayer influences. The singer here sings in a more open death metal manner better suiting the bold entry into technical death metal territories "Crying World". The real album is only 4 new songs (!?), actually, the rest being the first demo added with a slightly better sound quality. The guys had spread their wings wide during the 90's with 3 more acts: the death metallers In the Dark Pit and Abysal, and the power/thrash metal outfit Battery.

Before You Die Demo, 1992
Live in Kutno Demo, 1992
Whose Fault Full-length, 1993


This outfit indulge in quite interesting, varied classic power/thrash with both epic and technical tendencies, but with also a more aggressive thrashy attitude as expressed on invigorating cuts like "Criminal Love" and "Dreaming Bad Things", the latter also ornated with more intringuing semi-progressive quirks. One wouldn't be surprised with the highly stylized delivery if he/she knows that one of the "culprits" is none other than Gabriele Pala, the guitar player who is also behind the eccentric exploits of acts like Goldenseed and Karnak. "Ghostrider" offers choppy semi-technicality in league with very good melodic leads; and "Fuck You Bitch" is a nice short technical speedster wiht a surreal creepy mid-break. "Spectre of Justice" is exemplary progressive speed/thrash where the very good clean emotional singer pulls out more dramatism to make this piece the highlight of the album. "Shit Life" goes abot over the edge with brutal death metal sections, but the weird technical break in the middle will delight anyone. "The Realm of the Rising Mist" is a spastic cut with very fast passages taking turns with officiant doomy ones to a pretty dramatic effect. The closing "War" is a standout stylish headbanger finishing this excellent offering with aplomb, and promises for other high quality exploits in the future.

Unprecedented Atrocities Full-Length, 2016


Energetic modern thrash which thrashes with no mercy on a few moments ("Temptation By The Snake"), and generally the sound is quite heavy and sharp providing numerous headbanging passages. The music is not too far from the one of Swedish acts like Corporation 187 and Terror 2000. The end kind of disappoints: "The City" is more of a thrash/crossover track, and the last "Force The Right Path" is soft mid-paced groove.
The "Path" EP is more relaxed sticking to the crossover formulas for most of the time producing as a result merry uplifting music with a big headbanging potential. The tempo is fast with the obligatory slower core-y breaks, and the guys have a lot of fun emitting memorable choruses all over the main singer often assisted by his comrades. Near the end the band speed up to pure hardcore, but produce the most enjoyable moments: the closing "Innocence Lost" which lasts for whole 4-min (!) offering plenty of catchy rhythms plus a nice spacey balladic mid-break.

No More Days Like Yesterday Full-length, 2009
Path EP, 2010
Logout EP, 2011

My Space


Cool intense classic thrash steam-rolling in a crushing mid-tempo in the beginning with both sharp and heavy guitars which are boosted by the very clear sound quality. Things get more aggressive on "Why Don't You Change" which is a cool more technical headbanger, followed by the shorter, but almost equally as dynamic, "Disgraced Individuality". "Valley of Death" finally matches the intensity of the forceful death metal vocals eliciting powerful proto-deathy riffage ala early Death.

Decline Of Humanity Demo, 2011

Official Site


This act provide energetic modern thrashcore which is quite close in execution to Hatebreed, maybe a tad less intense and not as angry. The band mix the pace even "fliritng" with industrial ("Kampfbereit") to mixed results. In the 2nd half the album becomes a mixed bag the guys incorpotating numerous influences turning their efforts into a metalcore/industrial/groovy/post-thrashy mess which should better be forgotten. The singer at least shows some nerve singing in an attached forceful shouty manner.

The New Future Full-Length, 2012


This super group, consisting of ex-members of renowned old Swedish, mostly death metal, acts (Unanimated, Entombed, Dismember, Carbonized, Murder Squad, etc.) has produced these 2 tracks of old school thrash/death which is a deadringer for the early-90's Swedish wave so expect mostly death metal with sweeping melodies, fast tempos and forceful throaty semi-shouty vocals courtesy of Mr. Dim from the stoner/doomsters Harms Way.

Chosen by the Gods EP, 2001


These Brits offer jumpy groovy post-thrash of the more dynamic angry variety with a very clear sound quality. The guitars whip and lash in a solid mid-pace creating an almost industrial intensity akin to Misery Loves Co.'s debut and Swamp Terrorists. "Know Your Place" is a brutal shredder with pure thrash overtones, and the following "Hellbent On Revenge" assists it well for the production of another portion of sharp hard-hitting entertainment. The vocalist is predicly angry and shouty rending his lungs the whole time to a nearly hysterical pitch at times.

Born Of The Jackal EP, 2013


Quite cool retro speed/proto-thrash with vigorous gallops on the battle-rousing "Born To Kill", and with more aggressive headbanging riffs on the crossover-prone "Rush To Battlezone". The singer is an attached high-strung semi-cleaner who dows a job no worse than Larry Portelli (Blessed Death).

Born to Kill EP, 1990


A diverse mix of heavy, power, thrash metal, stoner/doom and hardcore; the sound quality is quite good for a bootleg, and the guys know their stuff coming up with a few fast intense thrashy sections.

Studio Bootleg Demo, 2009


Based on the "Stanice Smrt" demo, this band play a mix of power, speed and thrash metal reminiscent of the German acts Vectom and Tyrant, or the Polish Hunter.
"...Za Svetlem!" is an enormous disappointment being ultimately dragging boring sludgy post-thrash whcih livens up on occasion for the odd hardcore outbreak which makes things even more confusing and unlistenable. The singer shouts all over the place deafening the instruments quite a bit, but this is probably for the better in this case.

Stanice Smrt Demo, 1989
Komando Death Demo, 1990
Milosrdn'af Pr'afzdnota Demo, 1992
Society Demo, 1996
...Za Svetlem! Full-length, 1997
Nenecham se zkrotit! Full-length, 2001

Official Site


This band offers modern melodic thrash metal with hysterical screechy vocals. The music is heavy mid to up-tempo with a few proto-groovy breaks, and the melodic hooks are catchy and memorable sometimes coming with a more classic edge ("Ahorcado").

Fantasma Full-length, 2008

My Space


A mix of classic thrash with Bay-Area overtones and a bit of the modern sound; the guys try to keep an energetic tempo throughout and produce cool results: the "leftover" from Exodus' "Bonded by Blood"; the more technical, but equally as intense "Disorder World"; the shredding riff-fest "Alone as Death" which also has a melodic lead-driven mid-part. The singer is a bit gruff sounding close to the early "exploits" of Peter Dolving (The Haunted).
"Naked Flesh": the classic/modern blend is here again, but now the sound is quite scattered with less focused musicianship comprising short hardcore bursts ("Main Actor") among other distractions from the prevalent Bay-Area delivery. The 2nd half is much less exciting with pointless mid-pacers ruining the impression the situation partially saved by the chaotic semi-technical closer "The Will To Kill".

No Way Out Full-length, 2009
Naked Flesh Full-Length, 2015

Official Site


Based on the sophomore, these folks serve retro thrash along the lines of early Slayer (think "Show no Mercy"). This is simplistic intense stuff which doesn't rely on constant speedy histrionics the whole time, but varies the tempos throughout as the real winners are the more immediate bashers like "Mentes Enfermas" and "Pecado Infernal". The vocalist is a not very rehearsed shouty semi-reciter quite reminiscent of the early Tom Araya "singing" exploits.

Arma Blanca Full-length, 2015
Bothrash Full-length, 2017

Official Site


Based on "Steadfast", these folks provide groovy post-thrash which comes accompanied by healthy doze of stoner/doom which stifles the more energetic rhythms witnessed on cuts like "The Cleansing". The singer is a cool inebriate throat who semi-shouts without a tad of melody, but kind of suits the heavy, strangely uplifting musical delivery.

Aftermath Full-length, 2013
Steadfast Full-length, 2015

Official Site


This is mostly a crossover band, with "Behold The Iron Cross" being a really good thrash metal album of the energetic faster type, spiced with cool epic moments (Siegfried"). The tracks are longer and some of them are excellent uncompromising speed/thrashing pieces ("Fight On"); others are heavy, slower, but the riffs there will simply crush you ("To Untamed Lands We Sail", which is almost an instrumental, if we exclude the weak ending where some rap-ish vocals spoil the picture a bit). Certainly genuine hardcore/crossover moments are also present in the middle ("Teutonic Uprise", the punky, Sex Pistols-influenced "Back to the Fatherland"), bringing jolly uplifting melodies with them. The second part is lighter, containing softer tracks spiced by nice folk-ish/celtic tunes ("Divided by Hatred") ala Skyclad, the bluesy "My Honour Is True". Still, the closing "Prelude to Stalingrad" will smash you with the aggressive fast-paced riffage: an awesome number with a genuine pagan atmosphere in the best tradition of the Brits Sabbat.

The next two albums returned to the hardcore/crossover formula, but with "Hate Train Rolling" the guys grabbed thrash metal for the throat once again, albeit not as tight as with "Bound for Glory". The style is more along the lines of early Pro-Pain, maybe more thrashy and faster. The music is lighter, not as intense, but delivers the goods with its speedy, energetic delivery. "When Nothing Remains" and "Hymn Of The Conqerors", for example, are nice fast-paced thrashers which could very well fit into the previous work, but the rest is feelgood thrashy crossover. "Jesus Hitler" is a cool cover of Carnivore as you can guess by the title.
"Feed the Machine" is the comeback album of these crossover stalwarts, after a huge 12-year hiatus, who here pull out merry uplifting stuff which doesn't have too many thrashy merits, but is a satisfying slab of the good old crossover with catchy melodies, infectious choruses, a few more intense numbers ("Feed the Machine", the blitzkrieg shortie "We Are!") with a more open thrashy attitude, and pleasant "winks" at the classic heavy metal heritage ("Renegade"). The closing "The Beast", despite its "beasty" title, turns out to be a pretty good tender ballad, the band's most lyrical "offspring" so far, featuring a nice lead motif.
"Death and Defiance" is another slab of heroic uplifting merry semi-thrash/crossover which is again on the mellow side with rousing choruses and a lot of party "tricks". The thrash metal fans may not stand through those mild rhythms till the end, but this is cool optimistic stuff which scarcely becomes aggressive (the imposing speed metal hymn "Brick by Brick", the short explosive "1956").
"Ironborn" is "ironborn" heroic power/speed metal for a large portion of the time, and alrthough it delivers with its uplifting roller-coaster attitude (check the infectious sing-alonger "The Last Waltz"), its ties to thrash are almost non-existent.

Bound for Attack Full-length, 1994
The Fight Goes On Full-length, 1994
Behold The Iron Cross Full-length, 1996
Never Again! Full-length, 1996
Glory Awaits Full-length, 1997
Hate Train Rolling Full-length, 1999
Feed the Machine Full-Length, 2011
Death and Defiance Full-Length, 2014
Ironborn Full-length, 2017

Official Site


Prety effective classic/modern thrash with both technical, quirky and death metal elements. The corrosive edge of the guitars comes interlaced with brutal blasting, short outbursts on almost every track. "Wallowing-Anguishing" is a wonderful surreal shredder with angular Voivod-ish riffs which can also be encountered on the shorter stylish ragers "Separatist" and "Skepticism and Animal Faith". Things go more towards the technical death metal realm on "Inveigher" mixed with more relaxed hardcore-ish aesthetics the latter staying around for the even more impressive semi-abstract shredder "Schandmaske". "What Transcends the Agony" is a more laid-back progressive all instrumental composition, but after that the guys step on the pedal and provide a string of brilliant technical speedsters which clever riffs meander around circling more aggressive deathy rhythms the closer "Et Vers La Terre..." shifting from the norm serving the final portion of futuristic dissonat landscapes reminiscent of Gorguts' "Obscura" dissipated by some of the finest leads of the past few years at the end, a majestic way to end this truly impressive album also thanks to an exiting operatic passage.

Warhorse Full-Length, 2015


Energetic speedy thrash metal of the old school, pretty wild aggressive stuff not far from their compatriots Storbais and the Finns Solitaire. The band mosh out with short 2-3min tracks in the beginning, but things get more serious in the middle with a couple of more moderate, but equally as effective, numbers ("The Executioner", "Trapped Under Ice", which is not a Metallica cover) where the fast thrashing comes served with a portion of heavy semi-technical riffs and a few nice melodic hooks. "Sounds Of War" is a prime ultra-speedster with crossover decorations, and "Thrash Attack!" is more in the speed metal camp again, but is a worthy headbanger all the same. The closing "The Day I Kill You All" is a digression into a more laid-back slower delivery in a galloping mid-pace, but is a welcome change from the fast downpour encountered before that. The singer does a good job with his melodic high-strung tember, and the only complaint may be the fuzzy guitar sound which stifles the riffage and makes the short sparce leads too screamy.

"Strike Back" arrives shortly after the demo to provide another 8 blistering retro speed/thrashers which this time carry a shade of hardcore: "Kill the Police", or branch out into a less controlled Slayer-esque thrash: "Back from the Grave".

Missing In Action Demo, 2011
Strike Back Full-Length, 2011


On their only album this very obscure band offer a curious, and not a very convincing mix of thrash/crossover, modern 90's groove and jazzy/funky elements. The music is not very hard-hitting, mostly mid-tempo, but slows down at times, and the addition of some rap moments (the vocals, too) make things even more confusing. Infectious Grooves a few years earlier did a much better job combining the aforementioned styles.

Way Out Full-Length, 1995


The band name already hints at forgotten past glories: yes, indeed, these are former members of Vendetta and Paradox who have joined forces again to remind us of the good old 80's. The truth, however, is that there's no technically-engaging thrash on display here although the material is way superior to the last few lacklustre Vendetta offerings. The style is a mix of speed and thrash metal the guys having a good time alternating the tempos galloping with the ebst out there on "Bite", or speed/thrashing in the early Metallica spirit on "Born to Lose". Shades of power metal cover the semi-baladic "The Fall", but the following "Shooter" will "shoot" you straight to the moon with its raging guitars. The "heavy", more progressive "artillery" comes near the end with two long compositions "Arachnophobie" being an eventful dynamic instrumental, more on the power metal side; and "revenge" which is a relaxed shredder with a few tasteful leads. The singer, who is none other than the old Vendetta throat Michael "Micky" Wehner, delivers his staple hoarse semi-clean tirades without stretching himself unnecessarily.

Born to Lose...Live to Win Full-Length, 2014

Official Site


The demo: This is distorted primal thrash of the old school mixed with a more carefree hardcore aesthetics. The sound quality is simply awful constantly providing a noisy fuzzy background from which only the shouty death metal vocals stick out. If it wasn't for this big pullback, the listener could have enjoyed this messy, but captivating at times, stuff which resembles early Slayer quite a bit coming up with a handful of cool memorable riffs with echoes of "Show no Mercy".
The full-length arrives eventually, and it shows the guys hungry for more retro thrash. However, their skills have grown considerably from the time of the demo, and the opener "Falsos Profetas" shows an act with a oenchant for the more serious and ambitious wiith virtuous melodies embedded into the hard-hitting structure. Still, speed and aggression rule with full force on ragers like "Muerto En Vida" and "Thrash Around" which is a Ray Charles cover played quite intensely trying to preserve the merry spirit of the original. "Manipulacion" sees the band slowing down producing something more progressive on a sinister, brooding base. The other attempt in this direction, "Vientos De Guerra", is a clumsy semi-balladic mid-pacer whicn pulls the album down in the 2nd half.

Demo Demo, 2012
Nación Infect Full-Length, 2016



Modern-ish power/thrash which opens very ambitiously with the 10-min instrumental "Inheritance", but later on nothing too engaging happens the guys playing in a friendly, relaxed manner notching it up complexity-wise on the folky Skyclad-worshipper "Insurrection" and the epic doomster "Arab Spring" which is another gigantic (11-min) track. It's quite an uneven effort as a whole and it would have a much wider appeal than the regular thrash metal fan.

Inheritance Full-Length, 2015


This is a mix of modern and classic thrash with a boosted modern production which makes the guitars sound too noisy; the music is closer to the classic trends, but the modern production "betrays" the retro riffs. The delivery is mostly mid-paced in the 1st half, with a steam-roller-like delivery not too far from the Brits Cerebral Fix, but in the 2nd one one can hear quite a few faster twists ala the Bay-Area ("Return Of The Flesh") or Slayer (the aggressive bomb "Struck In The Honour (September 11 2001)"). The closing "Deep Vortex" nicely combines the two tendencies crushing with heavy meaty riffs speeding up whenever appropriate.
"Menace from the Sickness" clings closer to the classic school, and as such is a more convincing achievement. The pace varies and the compositions are now longer with more variety offered within "Another Way" being a clever headbanger with nice melodic hooks which influences a string of tracks after it. The all-out thrashers arrive near the end "Final Truth" being a major ripper totally overshadowing the shaky rock-ish closer "Total Despair" which is a not very dignified epitaph for this otherwise decent effort.

In the Deep of Vortex Full-length, 2008
Menace from the Sickness Full-Length, 2013

Official Site


A really good cross between Death's "Spiritual Healing" and Devastation's "Idolatry": mighty, fast tempos, but not ultra fast (with the only possible exception of "Twisted Souls"), great crushing riffage and nice leads. The vocals are deep low growls coming as a mix between early Chuck Schuldiner (R.I.P.) and Martin Van Drunen.

From The Ecstasy Full-length, 1992


The debut: intense ripping old school thrash touching quite a few of the old timers: Slayer, Vio-Lence, Torture, Forbidden, Heathen, etc. So expect fast-paced anthems topped by very cool clean high-strung at times vocals which unerringly follow the music shifts the latter indulging in a couple of more frolic galloping rhythms on "Dread Of Shame" which is a consummate speedster ala Attacker's "Second Coming", the closer "Sent To The Fire" another almighty cut with dramatic galloping sweeps. The band have done a very good job resurrecting the not so dormant nowadays retro thrash spirit, and their diverse amalgam should please fans outside the mere thrash metal spectre.
"Disaster Ahead" contains a similar entertaining mixture of the earlier mentioned styles blending moderate semi-technicallers ("The Flight Of Oderus") with more complex progressive speedsters ("De-Reality") the latter excelling in melody both in the lead and the riff department to a fairly positive, catchy effect. "Disaster Ahead" is a dramatic galloper, and "Last Obsession" is a more elaborate mid-tempo power/thrasher. "War" tries something more technical again also speeding up admirably with vivid exhilirating riffs. "Panic" is very cool speed/thrash with slower breaks along the way plus nice melodic lead sections. The final "Brain Dead" is another moshing speedy cut with soaring melodies crossing with more aggressive thrashy passages giving a healthy boost to this very strong addition to the metal side of the music scene in 2016.

Indoctrinator Full-Length, 2014
Disaster Ahead Full-Length, 2016

Official Site


The debut: these folks offer specialize in moody mid-tempo thrash with atmospheric doom/death aesthetics the latter greatly helped by the expressive, albeit a bit unrehearsed, guttural death metal vocals. The guys wake up here and there for the casual faster section ("Follow My Steps", the intense death metal passage on the closing "Beyond Rationality"), but generally this is morose stuff recalling the Dutch Beyond Belief quie a bit. The leads are quite good, melodic and technical, and this guy may look for other venues to display his talent: this minimalistic undemanding musical delivery just doesn't require such proficient performance.
"Condemned to Extinction" comes with a much more modern sound, to these ears by all means for the better although the atmospherics are all here sounding even more attractive on the more sterile background ("Consequences"). "Life Is..." is a stylish mechanized shredder, and "Simulated Reality" is a moody creeper with more technical accumulations. Not bad at all at this stage "Condemned To Extinction" even introducing sparse death metal"skirmishes" again of the more technical variety. "In the Name Of Science" is a jumpy Meshiggah-esque nerve-stretcher, and "Preservation" is a dynamic hecticer with interesting meandering modern technicality swirling around. "The Pale Blue Dot (Part I)" is a proto-industrial headbanger recalling Annihilator's more sterile material, and part II is an even more aggressive cut with echoes of the old school and morose quieter passages recalling the Italians Glacial Fear. "Industrialize" is more than a worthy closer to this really captivating saga with intriguing melodic quirks taking turns with sudden intense technical death/thrashy crescendos the futuristic rifforama going beyond the mid-period Voivod histrionics. This is a very promising sophomore effort which should expose the band to wider audience.

Bloody Death Fields Full-length, 2012
World Sickness Devastation Full-length, 2013
New Bloody Fields EP, 2014
Condemned to Extinction Full-length, 2017



This is an interesting band: the music is a strange, but listenable mix between more conventional thrash/death metal akin to the French Agressor, or Carcass' "Necrotism" (but without the grinding parts), and modern industrialized elements, not too far from 90's Prong, or Fear Factory. The final result is probably more on the modern side, but there are plenty of sharp riffs to headbang to, as well as weird noisy ladnscapes, usually near the end of the longer tracks. On top of that we have really good melodic leads. The tempo is mid-paced to fast, and changes quite often, seldom reaching a blast-beat intensity. The band were well equipped to leave a more lasting impression on the 90's scene, but they decided to continue under a different name: Acting Out, and to change their musical approach a bit.

Animacule Hydrocarbone Full-Length, 1993


The EP: 3 songs of violent chaotic modern thrash with elements of hardcore and death metal inserted; the music is quite vivid, even messily technical at times (check out the short exploder "Cunning Bondage") the latter tendency nicely enhanced on the much longer diverser "Ingest" at the end which switches from wild unbridled passages to more controlled ones in no time also finding time for the odd stylish melodic lead. The singer is a scary deathy rasper not far from Mr. Jeff Walker (Carcass).
The full-length is mostly violent, aggressive thrashcore with clear shades of grind even... the odd melodic hook ("Wallow at the Lower Rungs") gets thrown in, but generally this isn't music for the squeamish the band raging on again in a fairly chaotic fashion the quirkiness of the demo mostly captured on the several longer numbers ("Personal Violence") in the 2nd half.

Brain Famine EP, 2011
Exploding Paranoid Universe Full-Length, 2015

Official Site


Based on the EP: excellent aggressive thrash in the vein of Sepultura's "Beneath the Remains" (please note that this demo has been released a whole year earlier), and Slayer's "Reign in Blood".

Liquidation Demo, 1988
Sandgrains EP, 1989


Based on "Drain", these guys offer typical modern 90's post-thrash with a certain industrial edge, quite heavy and hard-hitting, moving towards Fear Factory-like intensity at times, but staying firmly within the confines of thrash metal.

Bullet EP, 1993
Drain Full-length, 1993
Fuel Full-length, 1994
I'll be Dead at Wednesday EP, 1995


This is raw aggressive thrash/crossover the guys often grinding with passion the overall style coming close to early Cryptic Slaughter and The Accused. This is brutal stuff expressed in very short tracks and shouty choruses played at the utmost intensity the merciless delivery calmed down on the last string of songs which acquire more restrained hardcore tendencies.

Dead Full-Length, 2011


A 4-song EP of intense old school thrash which suffers from the fuzzy guitar sound and the awful unrehearsed shouty vocals which on top of that overtake the whole space at times. Otherwise the guys play with gusto sticking to direct simplistic riffage spiced with short screamy leads.

Cazador Demo, 2011

Official Site


The full-length sees a band playing fairly cool melodic power/thrash metal with sharp guitars and very good clean mid-ranged vocals. The pace is mid to up, and the overal approach is very close to Mordred's "Fool's Game". The title-track opens the album in a jolly classic heavy/power metal fashion, but "Angel Dust" is already edgier and faster although it never reaches the speed of the early works of the band "courted" with the title. "Forgotten Heroes" is a fine blend of heavy doomy and fast intense passages, a forceful diverse thrasher. "Mania" is a nice turn to more technical thrash without losing the speed, and "The Dream" is the ultimate mid-tempo lasher graced by really cool melodic hooks. "Fuck Me!" despite its silly title, delivers on all counts being a varied up-tempo instrumental with excellent lead guitar work which may indeed make someone get you laid; it's that good. "Freedom of Speech" is a smashing Bay Area-sque headbanger, but "Is it All Over?" is on the opposite pole being a thought-out less intense song with more complex arrangements before the closer "Doomsday" nails you down for the last time providing another feast for the moshers. This is a very obscure, but totally worthy, entry into the early 90's catalogue of the German thrash metal scene which at that time produced some of its finest one-album wonders (remember Deztroyer, Of Rytes, Salvation, etc.).

Brainamputated...But Good! Demo, 1989
Can't Get Enough Full-length, 1991


Perfectly executed industrial thrash, one of the highlights of the genre which shouldn't be a surprise since the man behind this project is none other than Scott Albert, or the way he is more known in the metal circles, as Klayton, the frontman of the industrial metal wizards Circle of Dust. "Brainchild" is actually the title of the best Circle of Dust album, and this effort here comes quite close in capturing the ferocious intensity of its "godfather". The music, as expected coming from the hands of Albert, has a lot in common with Ministry (check out the opener "Cranial Tyrant"), but sometimes the guitars take a more melodic dance-y edge, not miles away from KMFDM ("Telltale Crime"). Some songs are slower and longer with intense heavy riffage strengthened by numerous, but very effective industrial effects ("Regressor", "Course Of Ruin"). "Descend" is the obligatory deviation into techno experimentations, still graced by cool guitar implements, followed by the smashing thrashterpiece "Deviate". "Pale Reflection" is a nice atmospheric minimalistic number with slow doomy guitars along the lines of Front Line Assembly's "Hard Wired". And, certainly, there's a mix at the end of one of the songs from the album made exclusively electronic: something which has always been the most annoying part from the works of the industrial metal performers, and the only drawback on this strong release.

Mindwarp Full-Length, 1996


The band's early demos, and especially the really forceful and still quite original for the time 3-song EP "Watching the Bleeding Mouth", were high quality classic semi-technical thrash pieces, quite heavy and intense at times, and raised the hopes really high. The band's debut is arguably the only one which has any full-fledged relation to the genre; the style has abandoned the more aggressive tendencies of the demos, but has increased the technicality in an impressive way (well, this depends on the taste as the demos still have quite a few fans who prefer them to the debut). The style here is quite original Voivod-ish progressive thrash (the Japanese Doom are another close soundalike as well) with abstract melodies, weird time changes and, of course, a nice technical play. The guitars sound almost surreal, and jumpy, with very few straight headbanging sections ("Watchin' The Bleeding Mouth" is an example of the latter). Some passages might sound as total chaos ("Downfall Of Free Enterprise") with discordant illogical guitar work, a feeling further aggravated by the sudden inclusion of very stylish leads ("The Veil Has Fallen") at the least expected time. There are plenty of similar non-conventional decisions on this album (like the weird, but very effective mixture of doomy, atmospheric riffs and super-fast ones on the progressive thrashterpiece "Nocturne"), but those one could discover for himself when listening to it.
After the impressive start, "The Turning Point" might come as a shock to the band's fans with its U-turn from thrash metal into a very avantgarde/progressive form of rock/metal which was again following on the steps of late-80's/early-90's Voivod, but this one here is more eclectic.
"Collapse" hits harder with a more aggressive, but also much more standard, sound the band raging in a modern groovy mode with a more abstract progressive edge on occasion, plus a few more oblivious balladic sections. "Blind Inside A Tank" thrashes with more passion near the end, and the reworked versions of old works from previous albums bring the requisite eclectic touch.
"The Impostor" is a full-fledged classic thrash affair, to the band fans' utter surprise. The guys have a good time moshing out in a cool later-period Testament-esque fashion the wild title-track opening the album in an aggressive, unbridled mode. "Watching the Bleeding Mouth" is a more restrained technicaller which is actually a reworked version of the song from the debut; and "Hellish Glare and Inference" brings back the more recent groovy metamorphosis with a headbanging twist. "Second Inhuman Coming" is more on the atmospheric side with excellent elusive passages, but comes "Steerpike", and all hell breaks loose with the lashing, bordering on proto-death, riffage; before the closing "The Mound" reminds of the early exploits of the band with its more refined technical/progressive approach. This is a curious, not very expected, product from the band, but well worth hearing with its steadfast read of the old, a bit updated, canons.
"War Against the AlMighty" is a masterpiece seamlessly blending the rougher, more aggressive delivery of the preceding effort with the more complex, mind-scratching one of the debut. The opener "As Fool as God Is" is more on the noisier, industrial side also recalling mid-period Prong, but "Full Range Oneiric Activity" is already the twisted surreal thrasher expected from the band also featuring a mind-blowing proto-deathy technical section near the end to a jaw-dropping effect. "Korman the Map-Maker" is a sure leftover from the debut, outlandish modern thrash with an oblivious mid-break of the alternative variety. "Not One Step Back" is the next in line avantgarde thrashing anthem serving another unexpected fast-paced passage in the 2nd half to the headbangers' delight. "Hust Before Being Wiped Out" is 2-min of weird futuristic instrumental variations, a tendenncy partly followed on "From Stalingrad to Stamfordbridge" which is bizarre hard-hitting thrash which would even give Mekong Delta a run for their money, not to mention the sudden female vocal inclusion to side with the main gruff semi-shouty vocals all this packed within less than 2-min. "Against the Almighty" is a more meditative semi-balladic cut, but expect more dramatic technical riffage later on as well as very good cleaner vocals. "Remains of Divine Failures" is an intense thrasher reminiscent of the early E-Force exploits with a stranger vibe ala DBC's "Universe" and of course Voivod. "Proximan God Asking for Salvation" is the biggest mind-scratcher here, totally surreal thrashism with intriguing more quiet breaks the latter more strongly accentuated on the following "Man from the Town at Sunset", another nod to Prong, but a lot more stylish. "Eternal Life" is the lost Voivod track drom "Dimension Hatross" which works well with the last exercise in schizophrenic metal, "Red Empress", a cacophony of hectic dissonant rhythms and spacey more moderate passages. To some this effort could even be the better alternative to the debut due to its more diverse nature and a wider range of influences all of them very appropriately applied; again, a masterpiece.
"The Downfall": yes, the guys are back after another several-year break. So what's in stall for us? The band have never actually stumbled, and chances are slim they would do that on a comeback album. And they don't; just listen to the opening cavalcade of surreal, outlandish rhythmic patterns on the opening "Substituting Forgiveness with Mass Destruction" sounding like the continuation of Voivod's "Target Earth". One may get tired by just pronouncing the titles; here's one more for you: "God Granted Your Prayers Through Nuclear Warheads", a more hard-hitting number reminding of the hard course taken on "The Impostor" served with a more technical flair. "She Can Smell the Blood of a Surrendering Race" is brooding quasi-industrial with very good leads, and "I Owe You a Billion Years of Terror" is another exercise in intense futuristic thrash, again with a brilliant technical exit ala Coroner. "Subhuman's Towns Merciless Obliteration" is a return to an abstract Voivod territory on an urgent jumpy base. "Queen Acadienne's Floating Mirrors and Tarots" is an impressive blend of slower and faster sections overshadowed by the next "Last of the Kings, First of the Slaves", a beautifully concocted mid-paced piece with some adventurous riffing and a great balladic mid-break which is superseded by a smashing speedy exit. "The Shadow That I Cast Is Yours, Not Mine" is an abstract stop-and-go shredder which marches forward in a not very predictable fashion; and "You Nailed My Soul I Burned Your Flesh" is the definitive robotic headbanger of the new millennium, a hard thrashing mechanizer which translates its energy onto the closing "The Downfall Is Here to Stay, I Shall Fight Until the End", 7-min of advanced sterile thrashing alternating tempos at will finishing with aplomb with an exiting portion of violent abrasive riffs. Apart from serving the longest line of song-titles in the history of metal, the band have acquitted themselves in the best way imaginable, creating the definitive template for the modern progressive/technical thrash metal acts to follow, squeezing arguably the last bit of originality the scene has to offer in its oversaturated present state.

Signal De Revolta Full-length, 1993
The Turning Point Full-length, 1996
Collapse Full-length, 1999
War Against the AlMighty Full-length, 2005
The Impostor Full-Length, 2009
The Downfall Full-Length, 2016

Official Site


This band includes Jazzi, a former drummer of more renowned Swiss Bands (Messiah, Poltergeist). His new formation has taken the right direction to secure themselves a place under the metal sun. The music doesn't really sound like any of Jazzi's previous bands. Based on "Crossing The Device", the band play stylish thrash of the heavy mid-tempo variety forging a unique sound which is hard to be compared to anything out there. The mighty Celtic Frost come to mind and more specifically, their last legacy to the thrash metal world "Vanity/Nemesis".
"The Next ShowDown" is inferior to the debut, albeit faster and more dynamic with a definite modern sound, still avoiding the groovy "traps" along the way coming with sharp edgy guitars of the stomping variety. Even a couple of headbangers "roam" around: "Thrash Metal Song", which actually deserves its title thrashing with a nice energetic retro edge; its intensity is, however, fully compensated by the doomy "monster" "Silence Is My Friend" which is an otherwise cool take on the gothic/doom idea. "Fighting For My Way" is another speedy surprise ably assisted by the bonus track "Afraid Sweat" which adds more energy to the already appealing picture which doesn't have the dark solemn charm of the previous album, but holds together throwing a fine bridge between the classic and the modern school.

Crossing the Device Full-length, 2002
The Next ShowDown Full-Length, 2004
Disturbing The Peace Full-length, 2008

Official Site


Aptly concocted classic thrash with good melodies and not bad attached deep clean vocals; the band thrash with technicality not far removed from mid-period Nevermore and the riff-section cuts flesh regardless of the numerous melodic hooks flying around. The virtuoso guitar performance reaches Shrapnel heights on the brilliant cut "Absence Of Sight" which is a prime shredder with impeccable riffage and furious headbanging passages. This is a really good piece of perfectly-composed old school stuff and it's a pity that the the band disappeared without a trace soon after.

Darkness Wins All Demo, 1993


Based on "Shut Up & Kill Yourself", this band play old school death/thrash of the more complex, progressive variety reflected in lengthy elaborate compositions ("Debauched Beauty") where quite a few elements can be come across. "Home" is an encompassing saga, a cool labyrinthine thrasher with more brutal deathy additives the latter accentuated by the intense semi-shouty death metal vocalist.

Choke Slam EP, 2005
Shut Up & Kill Yourself Full-length, 2007
Behind the Mask of Sanity Full-length, 2012

Official Site


Cool old school thrash, catchy and enjoyable reminding of Sacrifice's "Soldiers Of Misfortune" and early Destruction, among other influences. Like Sacrifice, the guys never jump into all-out speed keeping things into the moderately fast limits as evident from the dynamic opening title-track, the singer ruining the setting a bit with his intense, quarrelsome overshouty baritone recalling Simon Forrest(Cerebral Fix). "Servant of the Flesh" is a sure leftover from "Infernal Overkill", a rigorous headbanger that will set any moshpit on fire, but "Tortures of Me" is a more complex number with heavy stomping rhythms and impetuous speedy crescendos. "Violator" is another demented blitzkrieger with sharp lashing riffs, but the alternation between the two sides goes on with "Devil in Disguise", a more varied proposition with a couple of nice melodic hooks adding to the mostly mid-paced cavalcade. "Labyrinth of Death" is a more energetic piece trying to preserve some of the officiancy of its predecessor, but the headbanging moments provided come handy with "Shattered Youth" even inserting a more stylish, semi-technical, also progressive, flair into the proceedings with more flexible guitar work reminiscent of the one from "Forward to Termination" (Sacrifice again). The closing "Thrash Attack" is more of a speed metal attack the guys relaxing with more immediate, also mellower arrangements at the end. There isn't a single filler here, nine songs of decently executed classic 80's thrash metal.

"Born From Damnation" shows the band alive and well, and capable of producing another slab of good old school thrash which this time comes with throatier vocals, more in the proto-death metal camp. The energy is already high on the opening "White Death", but things get really serious on "Sedated" which is a Slayer-esque ball of fury with a touch of early Sacrifice. "War, Hate, Greed" adds a few more stylish riffs to the speedy approach which reaches its culmination on the relentless title-track. More pounding rhythms have been added later on a couple of tracks as well as more straight speed metal moments ("Dead Visions"); all this summed up well on the closing "Demonize the Core". This is a good comeback for a band who are yet to reveal their full potential if, of course, they decide to become a more regular presence on the scene.

Hang 'Em Highschool Full-length, 2005
Born From Damnation Full-Length, 2011

Official Site


Members of Blasthrash entertain themselves here playing similar intense fast-paced thrash metal, but cleared off the hardcore ornamentations opting for a pure thrash sound quite close to Morbid Saint and early Sadus. The guys lash with no mercy all the way producing some of the most violent very speedy thrash of recent years: check out the closing "Warlike Industries" which is a pure explosion with some of the fastest riffs around; it's amazing that the approach never falls over the death metal side; or does it...

"Crossing Over The Pit" is here supported by all the tracks from the demo so expect brutal lashing thrash with death metal "decorations" and high-strung screamy vocals. Songs like the calmer, mostly mid-tempo, "To See The Fire" are a rarity, the casual spark of technicality ("Thirst Of Vengeance") also a not very common phenomenon. Yes, indeed, the guys try to play "faster than a bullet", like the title of one of the compositions suggests, although to talk about "technodeath" on the short shredder of the same title is a bit farfetched. "Thrash The Bastards" will thrash not only the "bastards", but everyone around them within a 10-mile radius. This is one admirable fist in your face which will keep you with a fairly wide smile on it the whole way through, and sees this project easily overshadowing the musicians' main occupations if they choose to carry on in this uncompromising direction.

State Of Fear Demo, 2008
State Of Fear (Re-recording) Demo, 2009
Crossing Over The Pit Full-length, 2012

My Space


Based on the "Visions Of Terror" demo: these guys come up with one of the worst sound qualities to ever grace the metal underground. The very noisy guitar sound and the pounding drums leave little to be enjoyed. Those of you, who have the patience and nerves to stay longer with this recording, will come across aggressive thrash along the lines of early Agressor and Loudblast with vicious, hardly intelligible proto-death vocals. It could have probably had a wider appeal if the sound were better because it is obvious that the guys have the right attitude and inspiration to make straight headbanging thrash. The last song "Slow Malmatien (Melmack Summer Tube)" is a brutal grindcore joke.

The Nameless One Demo, 1989
Visions Of Terror Demo, 1990


Aggressive thrash of the old school with elements of death metal, quite well done, along the lines of Devastation and the Swedes Merciless. So expect a fast aggressive assault from all sides topped by brutal death metal growls and chaotic leads ala Kerry King. "Thank You" (thank you, guys, for this one!) is a nice more complex track with cool atmospheric passages which are very well embedded in the aggressive parts. "Egyszer Egy Kutya" is a chaotic doomy closer with noises and voices inside.

A Good Day to Die Demo, 2003

Official Site


This is actually the early incarnation of Kinetic. The style here is a cool take on the power/thrash metal idea supported by more ambitious elements bordering on the progressive. The music is more on the heavy mid-paced side, but speed is not completely missing (check out the energetic lasher "Brain Fade"), neither is the good vocal performance in this case a clean high-strung tember ala Jeoff Tate (Queensryche) and Tom Edward Malicoat (Lethal).

At Last Demo, 1994
Promo Demo, 1996


Cool old school thrash will meet you here which also features a good heavy ballad with the not very pleasant title "It's Your Problem (Fuck You)" as well as one edgy Bay-Areasque instrumental ("Poetry of Pain"). Another cool hard-thrashing instrumental ("The Death Of A World") comes later, followed by the vocal version of it with a much worse sound quality after which several badly produced live tracks follow suit where the musicianship is on a much lower level diminishing the positive impression from the sure-handed beginning.

Dark Raisers Demo, 1993


Before his involvements with any other formations, Tim "Ripper" Owens was a thrasher, and he does a very good job on this EP. Brainicide had all the chances to become one of the true greats of thrash metal, but for reasons unknown they never left the underground. Their music is capable technical thrash, similar to Forbidden's "Twisted Into Form" and beyond. These guys were one of the undispule masters of long, technical songs: check out the great, 10-min monster track "2 Minute Hate...Room 101", with not a single dull moment. Seldom do the guys adhere to more speed metal-based passages ("Alone"), but most of the time they thrash both with aggression and technicality. "Payment in Blood", a song which was written for the "Heavy Artillery" compilation, is a superb technical thrash piece ala Artillery (a well chosen piece for the compilation music-wise). Owens here sounds more like Bruce Dickinson, rather than Rob Halford, with very rare reaches for the high notes.

Brutal Mentality Demo, 1990


The debut is the better effort with a sound strongly reminding of the last two Sacrifice works, especially "Soldiers of Misfortune". The vocals recall Kerrmit from their compatriots Tyrant with a pinch of Schmier. Most of the tracks are fast and intense, but pieces from the other extreme could also be found: the doom-laden 7-min "Silent Scream" which strangely reminds of Headhunter's later efforts.

"Reality Hurts" is slower, heavier, decidely more modern and groovy, exiting the thrash metal field on quite a few moments ("Afflicted", "Dream Wolrd"). Still more energetic old school riffs could be heard ("Terrified"), but they can't lift this work to the level of the much better debut.

Brainless World Full-length, 1992
Reality Hurts Full-length, 1999


Hardcore and thrash (and punk, and even grind) shake hands on this album, making it quite an intense, and a frequently brutal listen. Intense short, fast-paced tracks take turns with lighter slower ones, but the aggressive riffage is truly the dominant one.

Defenders Of Ignorance Full-length, 2008

My Space


This is simplistic merry thrash/crossover with direct up-tempo riffs and a badly disguised hardcore attitude. The singer is vintage Tommy Victor (Prong), perhaps a tad more emotional and helps the proceedings with the odd more melodic line, well reflected in several catchy choruses.

Brains No More Demo, 1994


2 songs of abrasive thrash/crossover od the heavy, more of a mid-paced, variety, not far from Hatrix: cutting sharp guitars on a buzzy background, and a singer who sings in a forceful semi-clean manner.

Ataque Zombie Demo, 2011


An obscure release which which shows a dedicated act who serve classic power/speed/thrash the opening "Echoes Of Insanity" summing up evverything which will follow later. "Riddles" is a moody creeper ala the Nasty Savage debut, and "Hopeless" is a long epicer. "Vipers Under Human Skin" is an intense galloper ala Helstar, but "Do You Obey?" is a more relaxed semi-speedster so there's diversity here including a closing balladic instrumental ("Beyond the Storm") as a finishing touch. The singer has a clean comprehensive tember which he doesn't strain at all, but provides the requisite quasi-dramatism which this album by all means needs.

Brainstorm Full-Length, 1996


Based on the "The Nightmare Continues..." EP, this band play intense crusty thrash/crossover along the lines of early Hellbastard and Ratos de Porao. The sound quality is quite noisy the whole barrage unsurprisingly finished with a live cover version of Discharge's "Warning" played quite faithfully with panache.

The Nightmare Continues... EP, 1990
Milosaevic Is Dead Full-length, 1995


Based on the demo, this band plays cool death/thrash along the lines of the French acts Massacra and Agressor. The songs are divided into two groups: intense thrashers ("Russian Roulette" which is, of course, not an Accept cover; "Insanity Unleashed") with a pinch of hardcore, and pure death metal numbers ("Domestic Violence", "Storm Of Obliteration"). The vocals are harsh semi-death/semi-hardcore ones.

Ultraviolent Raids Demo, 1992
The Heralds of Oblivion vol. 1 Split, 1993


Based on the full-length, these folks serve brisk retro thrash which boasts very crisp production and biting sharp guitars. The shadow of Testament looms over the album with intense semi-techncal headbangers like "Die Right" and "Major Mayhem". "Kannibal Clock" slows down with heavy pounding rhythms, and expect a virtuous fast-paced surprise in the second half. "Big Bitch" is a strange stomping mid-pacer, and "Thanatomania" is the ultimate headbanger with the speedy guitars and the no-bars-held attitude. The latter sets the tone for the remainder which ends with the title-track, a fitting moshing epitaph to this entertaining roller-coaster.

Mental Kombat EP 2012
Brain Rangers Full-length, 2017

Official Site


First-rate thrash metal along the lines of Toxik's "World Circus" and Forbidden's "Forbidden Evil"; the music is quite fast most of the time, except on the excellent stomper "I Can't Help", with a nice technical blend, but the rough semi-hardcore vocals ruin things a bit.

Demo Demo, 1989


The debut: a surprisingly fresh offering of brisk classic Bay-Area thrash comes from these Poles and it comes with a crystal clear sound quality. The band are well versed in the craft and pull out sharp cutting riffs with a sophisticated technical edge, which grows into a more serious delivery on the 8-min "I, Leader". The other songs are more relaxed complexity-wise and are worthy affairs full of catchy rhythms and soaring leads, the latter really on a high level. "Beast Within Me" in the middle is a splitting technicaller with echoes of Forbidden and Testament, but the following epic "monster" "Give Me Your Blood" is another more elaborate thrasher with its more than 8-min of wild riffage and screaming leads, on top of a few more laid-back proto-groovy breaks. "Breaking The Chains" will break not only your "chains", but also parts of your body with its aggressive guitars which "spit" rapid fire for 6-min. Despite the fair length of most of the tracks the band never lose focus and manage to thrash with passion the whole time wrapping it up with the perennial headbanger "Last Breaths" at the end. The singer may disappoint a bit with his gruff semi-clean tember which sits the closest to the Chuck Billy attempts at singing more brutally on "Demonic" and "The Gathering". This is a really promising beginning for the guys and hopefully they will manage to preserve the high quality displayed here on future recordings.
"Reasons to Go Insane" arrives after a lengthy 5-year hiatus, and the band seem to have lost their penchant for memorable Bay-Area inspired hooks so this opus may not be a supe pick for their old fanbase. Numerous more modern implements in the guitar department (a drier, more clinical sound, proto-groovy rhythms) are by all means questionable, as also are the increased amount of balladic passages ("Lies Of The Future Past") making this album sound too bland and insipid at times. The genuinely headbanging moments are a rarity, and one will lose his/her patience with this unimpressive piece of music quite fast; a true disappointment from a once promising band...

Wrecked Full-length, 2011
Reasons to Go Insane Full-Length, 2016

Official Site


Based on the debut self-titled demo, this band offer 3 songs of heavy, but at the same time quite intense thrash, "courting" both Slayer ("Automutilation") and Kreator (the fast, furious "Ostracize"); the last track ("All Life Will End") is slower, stomping, recalling the doom/death metal scene from the same country.

The "All Life Will End" demo is much better being cool semi-technical thrash/death metal with nods to their renowned compatriots Pestilence and mid-period Death (the song of the same title from the debut demo isn't present here). The music is a diverse mix of raging fast and stomping more technical riffs, the latter culminating on the complex "That Will Cause...". The other songs are shorter, more prone to speed although the guys constantly mix things creating a lot of dynamics in the process without any blasting extremes.
The "Suffering" demo is only two songs both being dynamic technical shredders wiht more or less predictable gimmicks inserted recalling Atheist even the gruff screechy singer another reminder of the Americans. The riffs change in quick succession creating a lot of dramatism which is particularly untamed on the wild title-track which is closer to death metal.

Brainwashing Demo, 1992
All Life Will End Demo, 1993
Suffering Demo, 1994


Based on the second demo, this band play still classic-sounding power/thrash metal which develops in a consistent mid-pace with hard sharp riffs, moving balladic passages and good, albeit, short lead sections. The sound quality is not great making the guitar too thin and muddled, and the singer is not a very big asset, either, with his strained hoarse semi-clean delivery.

Promo Demo, 1992
Flower of Destruction Demo, 1993


There is only one person behind this energetic take on the 90's groovy post-thrash, and it's a cute girl who bears the same pseudonym as the band name. The girl acquits herself with vibrant rhythms which never leave the mid-pace, but are varied and seldom pose for something tedious and one-dimensional. The compositions are lengthy (6-8min), but hardly offer anything too complex for the ear the guitars following familiar patterns having a peculiar abrasive echo which is a constant presence, but is not annoying. The girl sings in a fairly aggressive manly fashion, and one would have problems recognizing the woman behind this rough quarrelsome voice.

Well Come to the Galaxy Full-length, 1997

Official Site


A Canadian trio who pull out intense modern thrash/proto-death with a few clumsier corey breaks, but when the guys feel like thrashing, they take no prisoners: "Trapped", "Hypocrite", etc. Still, more than half of the cuts are ornated by groovy passages and core moments so the headbanging fun won't be sustained all the way through. The singer is an angry death metal semi-shouter who tries his best at times to outshout the noisy musical environment.

Among the Mad Full-Length, 2013

Official Site


Angry, groovy post-thrash full of seismic, squashing guitars which receive the casual more dynamic attention ("Army Of The Dead"), but generally this is almost doomy stuff which would satisfy fans of Crowbar and EyehateGod, above all. BrandOn unleashes an angry quarrelsome, semi-shouty baritone, and also pleasantly surprises on the final two cuts, with jumpy technical rhythms on "Pull The Trigger", and with dramatic deathy accumulations on the closing "Look Down On Us".

2015 Full-Length, 2016

Official Site


This is laid-back power/thrash which develops in a kind of predicle mid-tempo without any major highlights. "The Window" is a good steam-roller with epic overtones ala Drifter, and very cool bass implements; that approach gets elaborated right after on "The Conforntation" which is a cool progressive composition with a fast speed metal ending. The closing "By Silence Betrayed" is a very good acoustic tune which is actually side 2 of another same-titled track in the middle which is 1.5-min of less serious rock-ish metal, also instrumental-only, with marching overtones (could have been taken from somewhere).

By Silence Betrayed Demo, 1989


An attempt at heavy modern thrash done with the appropriate dynamics by avoiding the groovy pitfalls also providing a very expressive death metal vocalist. The overall delivery will remind you of later-period Massacra if we exclude the noisy guitars which may get on your nerves at some point. There is also thrashing with gusto ("Hombres De Hoy") near the end providing the necessary more classic twist to this decent representative of the modern 90's trends.

Brazo Armado Demo, 1997


A modern mix of thrash,post-thrash, and hardcore which is mostly sustained in a heavy steam-rolling fashion with several galloping delights ("The Dead Ends") provided along the way. The vocal duel between hoarse semi-slean/semi-shouty and cleaner, more emotional vocals is well presented suiting well the not very eventful, mostly mid-tempo, delivery. "Last Sunrise" is an entertaining spacey doomster, and "Mortal Coils Unwound" is an avantgarde progressive composition with a few not very suitable brutal deathy shouts.

Numbered Days Full-Length, 2017


Quality thrash metal albums coming out Brazil are something quite common these days, but this one is really worth your attention: awesome retro thrash which starts crushing from the get-go with the opener "And The Attack Doesn't Stop", without losing the intensity for a single minute; the "attack" never stops here, folks; every track is a gem of all-out 80's thrash; the guitar sound is crystal clear and quite polished, but this serves the razor-sharp riffage right. The singer is a bit awkward with his gruff, low tuned Lemmy-like delivery. The music sometimes takes off towards more melodic speed metal grounds (the brilliant short bomb "War"), but this adds a nice spice to the rest of the material. Slower stomping sections can still be heard ("Traitor"), but it's relentless speed/thrash masterpieces like "Nuclear Warchild Victims" and the mighty 6-min of non-stop speedy shredding "Time To Kill" which elevate this album right next to Violator's "Chemical Assault" as the two arguably strongest achievements of the South American thrash metal scene of the new millennium.
"Desorder & Unprogress" is actually a full-blooded full-length with 10 songs present. The style is almost intact from the debut the band lashing a riff after riff with the utmost intensity sounding a bit more technical and complex on more serious and longer speedsters like "Mutant Personality" which comes very close to the stylish "excesses" of mid/late-period Death. Other tracks are sincere, all-out speed/thrash ("Misantrophic World", the raging shredder "Nuclearwarchild Victims") while "Time to Kill" is an excellent technical thrash/proto-death with some great virtuoso guitar work. At the end there are two live tracks which are messy and buzzy with a much worse sound quality and don't do this worthy effort justice. The singer now sings in a more brutal death metal-like manner and this shift is a more fitting one to the speedy uncompromising musical delivery.

Time to Kill Full-length, 2007
Desorder & Unprogress EP, 2008

Official Site


The debut: cool modern/classic thrash with smashing meaty riffs and gruff death-ish vocals; without speeding too much the guys come up with a crushing sound recalling the early works of No Return, but less technical (compared to "Contamination Rises"), and with very few leanings towards death metal mixed with mid-period Sepultura (think "Chaos AD", above all). "More And More" spices things up with both more aggressive death metal riffage and modern groovy parts. The straight classic thrashers are the more attractive side ("The Malignant", "Mutilated Earth"), and "Bitter Prayer" is a nice more melodic instrumental with very cool leads which are almost nowhere to be heard on the other tracks.

"Baleful World" is in a similar vein the sound now more modern and less intense even clinging towards post-thrash ("Fuck You,Shut Up,Listen or Go!") at times. Some more inspired epic thrashing comes with "Mother Will Kill Us All" and the melodic speed/thrashing winner "Bloody Puppets" the culmination reached on the Paradox-esque shredder "Lost In My Dream", and partially on the slower hypnotic semi-technicaller "Dark Side of Human Spirit" which also boasts cool melodic lead guitar work.

Mutilated Earth Full-length, 2007
Baleful World Full-Length, 2013

Official Site


The guitar player Paul Konjicija (Dark Arena, Antithesis), the vocalist Greg Wagner(Archetype, ex-Breaker, ex-Shatter Messiah) and other luminaries from the American metal arena have teamed up here for the production of this heavy seismic, power/thrash blend which may be quite a disappointment for the fans of the aforementoned acts since there's no technicality to be encountered, just heavy rehashed guitars often calling blues and doom for help. There's certain dramatism involved on super-heavy shredders like "D-Day", but its' all too tedious and uninspired to make too many people pay attention.

Atlas Full-Length, 2016

Official Site


This French trio pulls out retro thrash/crossover in a playful optimistic attitude although the gruff semi-death metal singer spoils the mood a bit. The guys mix slower and faster rhythms seldom thrashing with passion and consequently the approach is more on the melodic side "giving birth" to the cool semi-ballad "Shade Of Death" which surprises with a raging exiting passage which ironically remains the most aggressive part of this effort slightly influencing the energetic headbanging closer "The Human Virus".

Fire That Burns Your Veins EP, 2010

My Space


A modern power/thrash affair, quite reminiscent of the one served by their compatriots Perzonal War, put together by these youngsters who show their early talents shredding with conviction, but without too much edge since their orientation is towards wider audience who should be able to enjoy the infectious melodic hooks on "Dare to Fail ", or the urgent headbanging intensity of "Suffering Insanity" and the closing "Vengeance Unleashed", or the early speed metal aesthetics of "Pedal to the Metal". The singer is not bad at all with his assured clean mid-ranger tone, and generally the guys are on the right track to reach the upper fronts of the German metal scene, and make the desirable "breakthrough".

Against All Full-Length, 2014



Luminaries from various, mostly black metal, acts have gotten together here to spice their venomous approach with some retro thrash. The "therapy" works fine next to less bridled blast-beats that constanly tear the air although ne can't underestimate the vigour of moshers like "Ascension of the Malignant Spirits" and "Hellraising Degenerates" as thrash is featured more or less prominennlty on nearly every cut here. The singer is a dramatic death metal shouter, and fits the intense music like a glove.

Gospel of Annihilation Full-length, 2017



Apart from sunny beaches and wild techno parties, Majorca also boasts cool thrash metal acts, and here come Breathless to prove that. Based on the debut, the band play fast and tight sticking to the classic models starting with the stylish semi-technical "Nuclear Seas" before moving onto a more immediate faster approach with "Thrashumancy". "Slavery of the Masses" is another major headbanger, but comes the instrumental "El 5'aa Mafioso", and things become both slower and more technical again; this one is a compelling diverse piece with fine shredding guitars and alternating paces. "Among Two Worlds of Lies" is an excellent speedy thrasher with Bay-Area overtones, and "Anoxia" is a great sweeper with both sharp and melodic riffs, a fast blitzkrieg number. Then the guys slow down again for a string of songs, until another instrumental: "Ramiro Has a Gun", a sure-handed display of thrash metal mastery with another portion of time and tempo changes. The closing "Storming for Vengeance" is a cool take on early Whiplash, a speed/thrasher of the direct non-gimmicky kind, followed by the excellent 2-min speedy lead-driven outro "Deadly Sessions". Classic thrash metal is not a rarity on the contemporary Spanish metal scene, and this young promising act is well set to play an important role on it in the future.

"Return to Pangea" rips the air with brisk sharp guitars which raise the flag of old school speed/thrash high with flying hymns like "Introspective Nightmare", "Return to Pangea", and the "spinning" closer "Spinning Metal". Time for romantic tenderness with the more lyrical semi-balladic "Beyond the Ritual", but "oases" of the kind aren't offered aplenty the guys carrying on with their sophisticated melodic "carnage" "killing" the listener "softly" for whom the harsh shouty death metal vocals may come as a bit too much at some point.

Thrashumancy Full-length, 2011
Return to Pangea Full-Length, 2015

My Space


Two people practice simplistic thrash/crossover with an open punk/hardcore attitude. Still, they offer a more interesting, not often heard, side of the style with mostly slow to mid-tempo tracks (!), mostly short (1-2min), the longer ones coming with genuinely atmospheric passages. The guitar work, however, remains on a very basic level throughout as well as the vocals which are most of the time plain declamatory or semi-whispered. Still, hats down for the original self-explanatory, story-telling album-title.

The Fallen Corn Messenger of Doom IV aka Return to Bobbler's Index Full-length, 2006

My Space


Based on "Another War", this act provides a diverse blend of post-thrash, stoner/doom, and spasmodic breaks of raging retro thrash ("Hellride"), the latter a very rare occurrence. This is peaceful, almost meditative music which possesses a genuine doomy vibe with a cool playful flavour. "Equilibrium" is a merry speedster which springs up out of nowhere in the middle recalling the early exploits of Pro-Pain. The singer is a not bad semi-shouter carrying a bit of melody as well suiting the musical approach just fine.

Breed Full-length, 2007
Another War Full-length, 2010

Official Site


Based on "Oculus", this act indulge in fast intense thrash/crossover which at times reaches "Reign in Blood"-like aggression ("Bonapapst Syndrom") also covered with vestiges of death metal, but expect marginally more serious cuts ("Fatal Consequences") with a semi-technical, more abrasive edge thne other extreme being the short grinding outrages ("9 Heads, 9 Lives"). The singer rends his lungs out to a damaging effect, but this is the most fitting style to this brutal music.

Liberalia Full-length, 2011
Oculus Full-length, 2017

Official Site


A power trio from Canada who manage to bang the head even with the subdued brand of modern post-thrash which they have chosen for their field of exploits. The music is quite dynamic with progressive arrangements and plenty of more stylish jumpy rhythms suddenly branching out into something seriously aggressive (the headbanging cut "Blood", "Soul Extinction"). This interesting delivery should expand into a longer format: there are also quite a few captivating melodic guitar hooks, intriguing song-structures, and last, but not least, expressive forceful semi-shouty vocals which keep the dramatism high even coming with a pinch of melody at times.

Blood EP, 2012

My Space


Based on the full-length, this is 90's groovy industrial post-thrash, melodic and one-dimensional, which livens up on a couple of tracks where the sound acquires a jolly crossover feeling and, of course, speeds up. There are bad funky and rap moments, plus a cover version of Uriah Heap's "Lady in Black" which could have been at least passable, and even original if it wasn't for the awful computerized unemotional vocals.

Two Sides EP, 1995
The Chase Is One Full-length, 1996


This is the first band where the legendary Dan Swano made claims at metal greatness. He plays drums as well as sings here, and the rest assist him quite well to produce cool thrash/crossover in the tradition of early Nuclear Assault and Tankard, and more aggressive outbursts ala Slayer: "Ugly Hitler": in every song title from all their three demos there is the word "ugly" present. "Ugly Defense", on the other hand, shows the more entertaining, jolly side of the band with a nice catchy chorus, but with another doze of hard-hitting riffage as well.

The First Demo Demo, 1988
Ugly Tape Demo, 1988
Born Ugly Demo, 1989


Typical American power/thrash ala Liege Lord, Savage Grace, and early Nasty Savage; the music stays within the mid-paced dramatic parametres the guys trying soemthing more lyrical and progressive ("Bane And Ecstacy") at times, but then inexpressive indifferent clean vocals are a detriment rather than an asset. "On The Eve Of The Distant Past" livens up with isolated more dynamic gallops, and "Winter of My Sorrow" makes moderately successful attempts at some more energetic speed metal at the end.

Signs of the Affliction Demo, 1988


Power/thrash metal similar to Meliah Rage; at times the music loses its edge and goes heads-over-heels into classic heavy metal territory. The album certainly has its faster, thrashy moments ("Eerne Divadlo", "Vahy"), but this is compensated by ballads and soft hard'n heavy hymns.

Kelem Ke Zdi Full-length, 1991


Based on "I Won't Live The Lie", this is a modern groovy thrash metal band who, when adding more speed to the proceedings ("Pain My Friend"), come up with something more than just a Machine Head/Pantera-like riffs. Still, those very few tracks of this variety get easily lost in the sea of groove and rehashed riffs.

I Won't Live the Lie Full-length, 2002
Rebuilt Full-length, 2003
American Currency Full-length, 2005

Official Site


This act provide repetitive and not very exciting modern post-thrash which evolves around heavy volcanic riffs done with very little imagination getting repeated on every track topped by brutal shouty death metal vocals ala Fred "Death" Duval (Massacra). There is some hardcore intensity to be felt here and there, but all this is too boring to really make someone pay attention.

Severed Ties Full-Length, 2011


The band's style on both demos is mostly traditional/power metal with thrash elements sneaking into the band's sound on the second demo. The guitar wizard Jim Dofka had been a part of this band.

P.O.W. Demo, 1989
Rise Or Fall Demo, 1990

My Space


Based on the full-length, these folks provide modern power/thrash with nice melodic guitar work. The approach picks up speed ("Drops of Rain") at times, but this isn't the guys' most urgent agenda as the dominant delivery is mid-paced with stretches towards the classic heavy metal heritage ("Clown of the Seasons"). The singer has a cool attached clean timbre which accompanies the musical proceedings without straining himself too much.

Creativity in Captivity EP, 2012
Of Sinners and Madmen Full-length, 2017

Official Site


This is rough simplistic thrash/crossover with punk and hardcore also present in healthy dozes. The guys bash in a comprehensive manner, accentuating on the screaming leads which are by far the highlight. There are attempts at edgier, more aggressive thrash ("Pedophile"), and generally the tempo is up with the obligatory heavy, slamming breaks. The singer semi-recites throughout trying to sing in a more attached manner here and there.

Demo Demo, 1988


2 songs of calm mid-paced power/thrash with aggressive deathy vocals and a few imposing doomy passages ("World of Lies"). One-dimnesional, a bit boring stuff as a whole...

Demo Demo, 1992


Based on "Let the Burning Begin", this act provide ordinary modern post-thrash with all the groovy "traps" and corey breakdowns the delivery not completely devoid of energy, but seldom shredding with passion the doomy side of the album sounding better (the cool traditional doomster "The Bait I Won't Bite"). The tempo becomes too sleepy near the end the band even adhering to blues on the sleepy closer "Hate Will Grow" its slumbering qualitites solely dissipated by the forceful angry vocals. The band members are also involved in the modern thrash gang Shotgun Corporation where the style is more aggressive, and the gothic metallers Tunes of Grey.

Hate Will Grow EP, 2011
Let the Burning Begin Full-length, 2012

Official Site


This ledendary band was founded by two members of another more legendary act: the punk rockers Discharge- the Roberts brothers (Tony and Tezz), and their early days are not too far from the punk/hardcore-based style of Discharge. The guys played with energy and force, and it was obvious that sooner or later they would have to embrace the thrash metal idea which happened on "Bonecrusher", probably the 1st genuine thrash/crossover effort. While acts who "joined the army" later, like D.R.I., Suicidal Tendencies and Prong were having a hard time bidding farewell to their punk/hardcore roots, Broken Bones added the speed of the Metallica and Slayer debuts to their already energetic stripped-down punk delivery, and came up with an entertaining crossover affair which gave the "face" to the whole sub-genre.

"F.O.A.D." (aka Fuck Off And Die) didn't sound as revolutionary anymore even seeing the guys sticking to a more direct hardcore approach, leaving the thrash implements behind, consequently missing the point in consideration of what was going on the scene at the time. Still, there was plenty of speed and energy involved to satisfy the fans, who got another portion, this time of much more thrash-fixated crossover, just a few months later, with "Trader in Death". This EP was one ball of fury with no slower breaks (except for a few moments from "Trader in Death"), just intense bashing thrash/crossover sounding even more appealing "assisted" by the characteristic semi-clean vocals.

"Losing Control" abandoned the hardcore/crossover tendencies quite a bit and featured pretty decent thrash metal, not as uncompromising and speedy the whole time, but entertaining all the way through. The album begins in a heads-down manner with the fast "Killing Fields" & "Last Breath", before "Losing Control" slows down with heavy meaty riffs. "Jump" exits thrash being a merry heavy metal anthem, but the guys make up with the following "Going Down" which is again more mid-paced. The speed is gone in the middle for a couple of similarly-styled tracks before "Life's Too Fast" justifies its title at the end with some furious riffage. "Bitching" is a cool speed/thrasher recalling Pile Driver's "Stay Ugly", and "Mercy" is even "merciless" thrashing hard in a brutal Slayer-esque manner. "Maniac" calms down taking a bit off the pressure from the closing "Lesson" which is another intense "lesson" in violent thrash metal.

"Stiched Up" is another commendable effort carrying on in the same thrashy way even trying something dissonant and technical on a few times in the spirit of Voivod's "Killing Technology" (check out "Propaganda"), increasing also the melody mostly reflected in the lead guitar work. The first three songs are well-constructed mixtures of faster and slower sections, never speeding too much, with clever guitar decisions. Then "Wasted Nation" comes with crushing, almost doomy, riffage, influencing the compositions in the middle which again unclude one more melodic heavy metal number: "In Fear". "Bring'em Down" puts things back on track thrashing far & wide, and "Limited Greed" even hardens the course raising the intensity higher with a couple of smashing riffs which stay around for the final "Sick Wolrd", a more laid-back mid-paced track.

It was interesting to see how long the band would stay thrash-put with the genre falling into oblivion quite fast in the early 90's, but after the release of the softer heavy/power metal-oriented "Religion is Responsible" EP, the guys called it quits. Almost ten years later they got together, and "Without Conscience" does a lot to bring thrash/crossover back on the metal map. The album is quite diverse showing the band crossing over their whole discography, at times sounding quite angry and thrashy ("Cleansing" which even blast-beats for a while), at times mild and punky ("Random"), at times openly hardcore-ish ("Hidden Corner"), at times more heavy/power metal-inclined (Descend"), but most of the material is the good old thrash/crossover sounding well more thrash-based and fast: "Misfits", "Co. UK", "Entity", the slower steam-roller "The Path", the explosive Slayer-esque "Jacob's Ladder".

"Time For Anger, Not Justice" is another capable thrash/crossover affair, this time sounding more "back to the roots", with more nods to hardcore. The speed hasn't been lost, but the sharp thrashy edge of the guitars has been decreased, and the overall sound is more simplistic and direct. Still, "Thriller Killer" is a cool chaotic thrasher ala early Voivod, and "No-One Survives" is a fine tribute to the speed metal scene. "Fucked Up Today" is actually their biggest hit "F.O.A.D." played note-by-note with changed lyrics.
"Fuck You and All You Stand For!" is another admirable achievement the band not betraying their staple highly energetic delivery "Death by Demand" inauguratig the mosh which becomes more and more crossover-ish, "Enemy Within" touching the speed metal movement for a bit before the thrash/crossover "carnage" resumes on full-throttle, becoming more openly hardcore-prone towards the end.

Bonecrusher Full-Length, 1985
F.O.A.D Full-Length, 1987
Trader in Death Full-Length, 1987
Losing Control Full-Length, 1989
Stiched Up Full-Length, 1991
Religion is Responsible EP, 1992
Without Conscience Full-Length, 2001
No One Survives EP, 2003
Time For Anger, Not Justice Full-Length, 2004
Death Walks the Streets EP EP, 2009
Fuck You and All You Stand For! Full-length, 2010
Dead & Gone EP, 2014

Official Site


Ordinary laid-back post-thrash metal with rough brutal death metal vocals; the music becomes more vivid with a few more energetic Swedish implements thrown in, but the groove is all over the place obstructing the sparce more stylish efforts of the guitarists to produce something more meaningful.

Trapped in my Head EP, 2010

My Space


Based on the full-length debut, these Frenchmen offer a style which is a direct take on the Pantera and Machine Head heritage. In other words, we have heavy groovy thrash with a more agressive attitude than the aforementioned acts.
Their EP "Hate" is more diverse with shades of the classic school and cool semi-technical riffs, but the modern 90's post-thrash tendencies have comfortably sneaked into the band's sound taking the upper hand.
"Kaos/Fear" is a diverse affair "flirting" with both the groovy trends and the more intense modern thrash school (think The Haunted and Dew-Scented), but the balance is not very well achieved the groove taking the upper hand more than just now and then. The highlight is perhaps the cool heavy semi-ballad "Leave Me Alone" which contains a faster section at the end to enhance its appeal. The singer shouts in a dispassionate computerized way not creating too many emotions, but the trite musical delivery here hardly deserves any.

The New Century EP, 1994
Hate EP, 1995
Nofamenonamenoshame EP, 2000
Obey And Conform! Full-length, 2002
Kaos/Fear Full-length, 2009
Unleash My Soul EP, 2012

Official Site


Based on the full-length, these folks serve melodic feelgood modern power/thrash which establishes the dominant mid-pace from the beginning, and seldom breaks the formula. This is peaceful, not very eventful music which still delivers thanks to the consistent heavy rhythm-section, the melodic hooks, and partially the cool dramatic semi-clean vocals. In teh 2nd half the listener will come across the galloping delight "Freedom", the lashing shredder "Fall Of Serenity", and the more engaging progressive opus "Take You Away".

Rising to the Dream EP, 2012
The Bridge Between Full-length, 2015

Official Site


This band is the next, and so far the last, stop for Norm Leggio and Steve Cox, colleagues both from Psychotic Waltz and Teabag. Their new project pulls out an interesting mix of technical thrash/death metal and groove. Cox steals the show with his exemplary guitar pyrotechnics, but after all he needs to make up for the awful hardcore singer behind the mike. The transitions from very technical fast parts to much less impressive slower groovy ones are not very smooth and this creates a somewhat disjointed feeling. Still the final impression is on the positive side, and it's the shorter numbers where the guys have found no room to insert the detrimental groovy sections, which deliver the goods in a better way ("Slaughter The Species", "Join The Grave", and especially the mighty headbanger "Crossed Paths"). The music is quite dynamic, and seldom relies on the groovy parts to pull it through although the calmer side isn't bad at all, either: the moody atmospheric "Bleeding Bond". The end is preserved for one aggressive technical death/thrasher: "Born Against" which finely puts an end to this enjoyable work. But you have to hear the guitars: Cox is simply amazing; he's never been better lashing with full force both in the riff and lead department, a true guitar virtuoso who is yet to be recognized.

Broken Foundation Full-length, 2006

Official Site


Based on the debut, this band play crunchy power/thrash with sparce more intense Bay-Area insertions. The title-track leads the show with its creepy technical riffage and dynamic galloping passages, but there are other noteworthy pieces, like the cool romantic ballad "Someday", the progressive "labyrinth" "Mindless Transparency", etc. "Promised Time" at the end is a clumser, though, dragging for over 10-min, and despite the several more dynamic throw-ins it remains on the duller side regardless of the good emotional vocal performance.

"Withdraw From Reality" offers a more interesting mix of progressive, thrash and power metal which would still appeal to progressive metal fans more simply because the music doesn't have enough edge to survive a difficult thrash test despite the presence of the edgy shredding opener with the tender title "Lady War". That song's intensity is never matched later if we exclude the short headbanging passage on "A Foot in the Grave". "The Legion" is a fine progressive opus, and "Still Life" is another more dynamic piece with ripping guitars, but the end is underwhelming with balladic compositions shifting from the hard-hitting pattern which is further alienated with the cover of Kiss' "I Love It Loud" at the very end.
The demo is an auspicious start the guys already setting the more complex patterns as evident from the heavy Bay-Areasque stomper "Rights Of Your Pride", and the dark mid-pacer "Walkin' The Line". "Abstract" is a short balladic respite, but "Total Despair" is another mid-tempo complexer influencing the remaining cuts among which the closing "Broken Silence" is the most technical exercise reaching Realm and Toxik heights. The singer at this stage is more on the thin, not very developed side, but his emotional clean croons are clearly audible for most of the time.

Broken Glass Demo, 1990
Divine Full-length, 1991
Withdraw From Reality Full-length, 1992
Solitude EP, 1994



Fast, energetic thrash similar to Forbidden's "Forbidden Evil" and Vio-Lence's "Eternal Nightmare" plus very good Chuck Billy-like vocals, and excellent lead guitar work. The music is quite aggressive at times, but there are moments when a more technical and serious song-writing takes the upper hand (the 7.5-min of clever, intricate shredding "The Truth").

Absolution? Demo, 1990


This young Swiss bunch serve modern progressive thrash which isn't totally devoid of speed and intensity as evident from the impetuous opener "Chronophobia". The guys also thrash with a lot of melody ("Buy The Lie") this aspect of their delivery siding them with the swedish melo-death school. "Endless Terror" is the highlight, a nice spastic technical death/thrasher with traces of Atheist. The vocalist is a shouty deathster who strains his throat too much at times.

A Prompt And Utter Destruction EP, 2017


This is carefree, free-thinking speed/thrash/crossover of the old school with a hardcore-ish vibe which develops in a samey pace seldom slowing down, with all the cuts being within the 2-3min range. The vocals are happy clean croons, not really singing, but mostly on the semi-declamatory side.

Born To Party Full-Length, 2016


This Indonesian trio plays a mix of thrash, death and power metal which is kind of scattered, each song belonging to one genre strictly, the guy mixing thing up not very aptly which comes on top of the not very good sound quality, which in its turn gives a big boost to the bass at times. It may be something like a compilation of the band's past and present (and future) efforts thus justifying its diverse status. The singer is an awful blacky screamer "relieved" at times by a more brutal, but kind of more suitable, death metal growler.

Habis Perkara Full-length, 2004

Official Site


Based on the "Serangan Thrash Pin666iran" EP, these Indonesian boys offer rough modern thrash which comes with a strong shade of hardcore and screechy, hysterical vocals which belong more to the black metal genre. Things are pretty fast at times going over the border towards grind ("Nikotin"), the not serious attitude also reflected in the short length of the songs.

Sub Urban Thrash Attack EP, 2007
Serangan Thrash Pin666iran EP, 2009

Official Site


2 songs of intense crisp classic thrash not very suitably assisted by growly death metal vocals. Otherwise the music rips coming with a more bashing hardcore attitude at times, but excellent proficient leads would save this tiny effort on any day. This is fast aggressive music with a pinch of death metal reflected in a couple of not very appropriate hyper-blasts.

Necrogenocidas Demo, 2012


Still classic-sounding stuff with nods to the New York area (Anthrax, mid-period Overkill) and a few references to the growing aggro-movement as well; the guys thrash with gusto sticking to the up-parameters, but the crashing breaks are also quite a few recalling Pantera's previous year's offering ("Cowboys froom Hell") at times. The sound quality is a bit muddy, and the singer shouts in an attached quarrelsome manner recalling an angrier version of Russ Anderson (Forbidden). The closing "One Long Walk" is a brutal hardcore-ish outbreak, another sure-handed "nail" into this cool obscure effort.

Demo Demo, 1991

My Space


This is a true find: outstanding progressive power/thrash done by a bunch of complete unknowns who disappeared straight into thin air right after this recording. To the music: enters the opener "Status: Oligarchy", a mazey hallucinogenic thrasher with vague doomy intentions the latter also found on the following "vs.". Comes "Night Of The Jackal" and the situation improves from the speedy side the guys now thrashing with a hefty portion of jazzisms this eclectic symbiosis lasting for whole 8.5-min. But that's nothing; arrives the title track, a larger-than-life 13-min saga which is the ultimate encyclopaedia of engaging, very elaborate shredding which alternates hard-hitting thrashy sections with meditative quiet ones to a fairly positive impression. The closing "Wheres Your Messiah Now" is another delight being a more accessible power/thrasher with cool melodic riffs. The singer fits the high quality music like a glove with his high-strung pitchy clean tember recalling Mike Sanders (Toxik) and John Leone (Attacker).

Helm's Deep Full-Length, 1990

My Space


A trio from Slovakia who provide modern thrash with dry abrasive guitars and almost no groove the latter timidly showing its head here and there. The riffs march forward in a consistent mid-pace without changing the established approach too much which goes on through all the 12 tracks (!). The singer isn't very impressive, either, with a semi-clean hoarse tember which tries to take some higher notes from time to time to varying success.

People Demo, 2002

Official Site


This fairly short (it closes on just over 20-min, and could be viewed as an EP) effort comprises really cool catchy classic thrash numbers which are built around fast-paced rhythms reflected in relatively short tracks (2-3min) which also contain hints at technicality (the excellent short twister "The Damned Priest"; the more controlled semi-stomper "We Recommend You Start With Heroin"). Wild shredders like "Y.A.D.T.L.W.O.S" and the brutal proto-deathy "Skinnbanjo" will make your fillings shake, but the closing "Bitch" will make you listen in wonder to the clever twists and turns inside which manage to co-exist with the speedy sections just fine making this song the highlight on this fairly impressive offering which shows these young "monkeys in uniforms" intent on playing a big role even on a saturated scene like the one we're enjoyng at the moment.

Monkeys In Uniforms Full-Length, 2013


Based on "SINderella": this band, which consists of one full-time musician only, plays industrialized modern thrash of the more intriguing, technical type, and the cold mechanized riffs will keep quite a few out there happy. Certainly this would be of no interest to classic thrash metal lovers although tracks like "Adorn" contain enough energy to bang their heads. More aggressive thrash can also be heard on "Nocturnity", and especially on the explosive "The Literary Icon" which also comes served with a nice quiet interlude. The complexity is never overwhelming although the hallucinogenic "Salient Fidelity" is hardly the easiest to swallow piece. "SINderella" is directly taken from the works of mid-90's Voivod, and is a superior dry technical opus. The vocals are horrible, though, and this guy sings in exactly the same way from beginning to end without changing the pitch even for a split second, shouting unpleasantly the whole time: poor man's Al Jurgensen would be quite a fitting description to his style.

Crepuscule Full-length, 2007
SINderella Full-length, 2008

My Space


The band don't really deserve their "brutal" name since the music they offer is old school thrash of the less aggressive variety, reminding of their compatriots Korzus and the Canadians Sacrifice. The pace is moderately fast, but there are numerous mid-paced breaks, and the riffs lack sharpness except on "Damned Lands" which pulls all the stops for a while near the end with a very fast proto-death section. The singer is the highlight with his piercing devilish proto-black screams recalling Jason Kuhnen (Bluuurgh).

Religious Destruction Demo, 2004

My Space


This band could be viewed as a side project of Claudpo from Sextrash. The style here is more controlled, and is actually a good mix of thrash and the British death metallers Benediction. The tempo is energetic, but never brutal, and the guitars are heavy, but also quite melodic at times. The vocals are not too far from Dave Ingram (Benediction again), maybe a bit lower.

Cadaveric Symphony/Fornications Split, 1990


Based on the "Guerra Dos Mundos" demo, this band plays straight-ahead retro thrash/crossover with unpleasant shouty death metal vocals. The guys slow down in the 2nd half to produce a more seismic steam-roller sound, but all is "forgiven" on the misplaced closer "Escolido" which is a mild heavy rocker with epic/heroic shades.

Planeta Cobitado Demo, 2006
Guerra Dos Mundos Demo, 2008

My Space


This band was the next stop for Debbie Gunn- the girl who graced with her presence acts like Ice Age, Sentinel Beast, and especially the great Znowhite. She takes part in the band's first demo, but surprisingy her performance is below par; she sounds a bit tired and uninspired (well, after all, this is her 4th band; she could be excused). The other member who might be familiar to you, is Darren Minter: the drummer who had taken part in Heathen and Angel Witch. The band richly deserves its name which is a big surprise for such an early entry from the 90's. The music is heavy groovy power/post-thrash preceding the future sound of the 90's which would later find its full realisation in the works of Flotsam & Jetsam, 90's Chastain, and many others.
For the 1992 demo Debbie Gunn steps down from her vocals duties, but the guy who has replaced her, has done a fairly good job with his mid-ranged, semi-clean tember. The music is way better without being radically different from the first demo: the pace is still not very fast, but the riffs are heavier, and the songs are more complex and longer ("Vicious Compulsion" alone is over 7-min long); the sound is thick and pounding along the lines of Heathen's "Victims of Deception" and Cyclone Temple's "I Hate Therefore I Am".

State of Execution Demo, 1991
Demo 1992 Demo, 1992


Modern post-thrash/post-death with angry semi-shouty death metal vocals; the music is both heavy and melodic: just check out the infectious melodic tunes on the title-track. "Soldiers" is an ambitious progressive opus, and "V 4 V" is a piece of jumpy dynamics, but the rest very seldom goes beyond the friendly groovisms which were such a common phenomenon on the not "brutal" at all 90's "horizon".

Burn In The Fury Full-Length, 2015


Based on the debut demo, thic formation provide a cool classic aggressive blend of thrash, hardcore and a bit of death metal the attached brutal deathy vocals a particularly good asset. The guys mosh with force varying the pace all over reaching Slayer-esque extremes with ease slightly overdoing it on a couple of more extreme blasting sections. The longer compositions ("I.N.R.I.") are fairly eventful cuts with more intriguing moments with quite a few tempo changes also featuring a few modern insertions (proto-groove, etc.).

Demo Demo, 1993
Demo Demo, 1996
Rage Uncontrolled Full-length, 2003

My Space


The band's debut is an original, albeit not very even, slab of progressively, also occasionally crossover-tinged thrash, reminding a bit of Terrahsphere and Dead & Bloated in the more frenzied sections. The album opens with the cool ambitious 8-min track "Death is a Damn Good Solution" which is quite aggressive and fast with furious guitar work. The speed has been preserved for the later tracks even going for a more brutal, proto-death sound ("It's Cruel") at times, but the interesting riff-patterns remain throughout. This is an intense and engaging listen reaching its culmination on the album closer: the fine technical thrasher "Useless Immortality" which boasts great riffs and a magnificent bass performance (the bass work is standout on every track, and could be considered the highlight here). The singer is a bit of a letdown with his impassionate, semi-declamatory tember recalling Denis "Snake" Belanger (Voivod).
The follow-up is a slightly weaker effort with not too many traces of progressive musicianship; it not very evenly mixes hard-hitting straight thrashers with softer crossover/punk jokes, adding the odd quirky riff here and there. On top of that there are peaceful balladic interludes which largely serve to confuse the listener even more as it doesn't become very clear what kind of "dish" the guys have decided to cook this time.

It's Because Of The Birds And The Flowers Full-length, 1989
Demo Series EP, 1990
Dream Out Loud Full-length, 1991

My Space


Based on the demo: this Brazilian trio pulls out dark thrash/death metal of the old school with a weird bass-dominated sound which leads the show to the point of completely deafening the guitars at times. The guys play with competence mixing the pace, also trying something more complex ("Utero Insano") with a stronger shade of death metal.

Ossos Demo, 2003
Bruxos de Gadara Full-length, 2006

Official Site


These Mexicans pull out an uneven blend of thrash and power metal, with a pinch of hardcore coming up at times. The power metal chords kind of dominate and don't quite suit the harsh death metal growls of the singer. "Necrocoprophilic" is a nice galloper leading the 2nd half towards brighter lights "spawning" the aggressive headbanger "The Night Of The Living Dead" and another galloping delight: "Motor Suicide", alongside a few other more dynamic cuts.

Obliteration Full-Length, 2016


A very bad sound quality mars this otherwise energetic thrashcore which is constantly bashing topped by shouty death metal vocals. Simplistic stuff with noisy guitars and short, maximum 2-min long, tracks.

Brutal Terror Full-length, 1999

My Space


Based on the debut, this act pull out modern aggro-thrash metal ala Pantera with touches of hardcore. The approach is surprisingly dynamic with sudden fast outbreaks and stylish lead inclusions which lead to a few more technical decisions ("Joy Finished") the latter still not holding a candle against the super-heavy groovy passages. Still, there'll be plenty of fun here with energizers like the headbanging winner "Secrets Kept In My Mind That I Can't Feel", the furious blasting sections on "Matanza Nacional", and the crossover joy at the end "Nubes de Muerte". The singer shouts in a drunken quarrelsome manner for most of the time, but occasionally shows his more tender cleaner side.

Matanza Nacional Full-length, 1996
La Cultura del Miedo Full-length, 1997
Tercera Comunion Full-length, 1999
Nuevo Catalogo Sobre Demonologia Moderna Full-length, 2005

My Space


Thrash metal mixed with "Painkiller"-like power/speed metal; well done despite cheesy moments from the 90's power/speed metal scene present, but way less intense than the 4 demos the guys released in the mid/late-90's under the name Profanity. The tempo is expectedly fast and energetic with good semi-clean mid-ranged vocals. The guitar work isn't very flashy and more sharpness in the riffage would have been better. Still, intense speed/thrashers, like "Metal Commandos" and "Terminal Breath", are hard to be ignored. On the other side we have the laid-back power metal tracks "Down In The Sewers" and "Flesh". "Brutaliator" deserves its title being another cool thrashing piece, but it's beaten by the short, 2-min explosive "Vultures", which will definitely convince you in the hard-hitting nature of this album, in case of you've had any doubts before that. The closing "Blue Turns Black" adds more "fuel" to the brisk spontaneous character of this commendable debut staying close to the speedy patterns explored previously. The band are no more, though, with some of the musicians seen in the death/drindcore outfit Obligatorisk Tortyr.

Brutaliator Full-length, 2003

Official Site


These Chileans offer vigorous energetic old school thrash metal boasting headbangers' hymns like "Headbangers" and the more technical and longer "Mas Alla De La Realidad", a nice nod to the Bay-Area. "Maldito Credo" is another short more immediate lasher with cool melodic leads, and brave ventures into death metal. The closing "Sentencia De Muerte" is a revelation being an ambitious technical composition featuring a fine orchestral mid-break, a bit overlong, but an original ending to this pretty cool debut demo which also comes with a very good sound quality and vicious black-ish vocals.

Salud de Fierro Demo, 2008

My Space


Surprisingly good old school thrash emits from this obscure release seeing a band mixing power and thrash in a clever, engaging manner with a "wink" at the progressive/technical movement ("Medicine Man"). "D.M.M.D.I." is a display of the musicians's more aggressive nature being straight-ahead speed/thrash, but the other 3 songs are more elaborate offerings "Ten Ton" thrashing with full force with a nice technical edge and hard "ten ton" riffs; The final "Chemical Straight Jacket" passes the test for Paradox's "Heresy" in flying colours thrashing with might seldom slowing down to a heavy steam-roller pace. The singer has an expressive semi- declamatory tember akin to Milo (Deathrow), and the sound quality isn't bad at all the slight pullback being the abrasive edge of the guitars.

Brutality Demo, 1990


These Brazilians pull out merry optimistic modern power/thrash which is surprisingly reflected in lengthy compositions where nothing really aggressive occurs except on a few isolated short bursters ("You Can't Deny Hate") and the cool roller-coaster "I, The Scoundrel" near the end. The vocals are cool emotional clean ones which hit the higher registers quite often in a way not far from Tim "Ripper" Owens even.

Blow on the Eye Full-Length, 2015

Official Site


Based on the demo, this is an aggressive blend of thrash, death metal and grind. The guitars have a nice technical edge, but the thrash breaks are not that many and the guys often blast their hearts out although the music never degenerates into mindless bashing.

Carnage Torture Demo, 2005
Carnage Torture Full-length, 2005
Seven Deadly Tracks Full-length, 2009

Official Site


This band was previously known as Sacrilegio, and the style here remains pretty much the same (based on the demo): aggressive retro thrash/death metal, maybe a tad more thrash-oriented and softer. Still, there's plenty of energy involved (check out the explosive "Biocide") as well as a couple of more modern groovy moments ("This Is Not A Drill").

Demo Demo, 2006
Only Way Out Full-length, 2008

My Space


This is intense classic thrash which blends fast and slow tracks into one not very ably produced melee the guitars having a not very expressive buzzy edge, and the singer not adding too many positive traits to the recording with his rough death metal shouts; which is a pity since at times the music seems to take off with a couple of sincerely energetic headbanging sections.

Mundo Destru'eddo Full-Length, 2011

My Space


Raw abrasive old school thrash with a noisy background ripping the listener's ears in a not very pleasant manner. The music isn't much to talk about sticking to heavy seismic riff-patterns (check out the closing doomster "Old Witch") with a few more dynamic adherences which are ruined by the screamy amateurish leads although the gruff forceful Tom G. Warrior-esque vocals are truly an asset with their macabre sinister qualities.

Old Witch Full-Length, 2011


Based on the debut, this band play very raw and undeveloped thrash/crossover with death metal vocals, surprisingly not very aggressive with clear punk overtones "(Odio", "Punk e Desordem"). Reportedly on later works the style has turned into death metal.

Ataque as Hordas do Poder Full-length, 1988
Orfpos da Natpo Full-length, 1989
Extreme Convictions Full-length, 1992


Intense thrash which "marries" the aggro-sounds of Pantera with the classic Slayer period. Both tendencies are equally given share with the Slayer ones giving the demo a better push, not without the help of the good faithful cover of "Raining Blood" at the end slightly spoilt by the angry shouty vocals.

Act Of Rage EP, 1996

Official Site


Modern thrash with gruff semi-shouty death metal vocals; this is heavy volcanic stuff built on remorseless steam-roller riffage which seldom interrupts its march, adhering to the fields of doom ("Nothing but Bones", Lion") the squashing suffocating atmosphere solely dissipated by a couple of more dynamic moments on "Calling Hours".

Killing The Dream Full-Length, 2017

Official Site


These lads play a flamboyant bombastic brand of modern speed/thrash/death which is obviously enamorated with the commercial potential of acts like Children of Bodom, Mercenary and Lost Horizon. The tempos vary, especially in the beginning, as at times they stand within the mid-pace for way too long creating boring landscapes still achieving the best balance betwen a fast and slow play on the encompassing saga "The Cleansing Fires". The vocals are of the expected shouty death metal type, but manage to sound attached and authoritative with a little help from some cleaner inclusions.

Built Upon Ruins Full-Length, 2013

Official Site


The EP: a 4-piecer of intense invigorating thrash, more on the classic side, with varied paces and an overall dynamic approach with a boosted angry vibe not far from Panteta on the aggro-tribute "Pure". The rest is faster with ripping guitars, a few nice melodic leads, and dry semi-shouty vocals.

The full-length is way inferior to the EP featuring uninspired groovy post-thrash with a few more pleasing, dynamic moments ("Pyongyang", the ripping shredder "Traidor"), but the overall feeling is one of triteness and a settled conformity with the prevalent tastes of the metalcore crowd.

Te Odio EP, 2012
Elefantes Full-Length, 2015

Official Site


Based on "Enraging the Beast", this band pull out modern melodic thrash/death which is not far from the intelligent exploits of Carcass' "Heartwork" spiced with the odd softer power/thrashing cord ("Dawn Of Disease"). "4125" also touches the Gothenburg trends, but thrash comes back with the stomping "Bite The Nail (Reborn)", and before the end manages to produce the raging "System Shocker", and the more lyrical closer "Lone Ember" which still thrahes with the finest out there as a finishing touch. THe vocalist is a holy shrieker coming close to recent Mille with a pinch of Jeff Walker (Carcass again).

Scatter the Ground Full-length, 2012
Enraging the Beast Full-length, 2016


Merry optimistic thrash/crossover, both mid-paced and faster clinging more towards the former although those tracks come with a couple of heavy meaty riffs. Still, the attitude is playful and carefree recalling less intense Madball and early Pro-Pain on the more catchy moments, similarities with both acts in the vocal department as well.

From Heartache To Hatred Full-Length, 2010


This is just one song (the demo, I mean), "Virus" is the title as you have already guessed, of laid-back punk-ish thrash ala Carnivore with a few modern groovy throw-ins and flat unemotional gruff vocals.
"The 1st Paragraph" would be a disappointment offering little for the thrash metal fan containing laid-back power/thrash metal with shades of classic heavy metal and ballad. "Burning Inside" is an utterly surprising outbreak near the end, followed by the nice thrashy pounder "Exorcist", but their arrival comes too late to save this unimpressive offering.

Virus Demo, 2004
The 1st Paragraph Full-length, 2010

Fan Site


The first thrash metal band from Italy, Bulldozer are actually the first metal act from that country, having started in the distant 1980. They had an inauspicious start with "The Day Of Wrath": raw, badly produced thrash along the lines of Venom. The Venom influences were decreased on later efforts and with a better production these guys started playing better music. Their style reached its perfect realization on the last two albums: it remained of the simple type, but the riffs were much sharper, the music was faster and there were original touches like the use of keyboards (something rare for thrash metal back in those times, and even now) and shades of a new form of black metal which would later find its complete form in the 90's.

Their swansong- the EP, richly deserves its obscure undergrpund status containing 3 awful fusions of rap and thrash (this is quite subjective), plus one pure techno-electronic delight. Even if intended as a joke, this is so bad that it was no wonder why the band hid so deep underground after its release; some metal fans can go well beyond mere criticism to retaliate against such shameless humiliation of the scene. Yes, indeed, even the dancing crowd will easily get "sick" of this...

"Unexpected Fate" is not such an "unexpected" effort having in mind that the comeback releases usually see the bands sticking to their roots, rather than experimenting with the new trends, and Bulldozer in this sense will almost completely erase the "stain" thrown over their name with the last disgraceful EP. The band is a trio again, like in the old days, with only the drummer Manu being a new "face", the same one who also hits hard for one of the rising thrash metal stars from Italy Death Mechanism. What's on offer here is really good old school thrash/proto-death, a tad more aggressive than their last 2 full-lengths and more proficient music-wise. The albums starts in a smashing fashion with fast uncompromising tracks, inside which some will hear sparce short references to their keyboard/orchestral arrangements of old. It's towards the middle when the sound gets mellower, with "Micro Vip" which is a kind thrash/crossover piece. It apparently is the obligatory "pause" since later on the thrashing assault carries on with "Bastards" which still has melodic hooks left from the previous song; the great galloping speed/thrashterpiece "Buried Alive By Trash", which offers standout guitar work bordering on the technical; the extreme death/thrash on the Rigor Mortis-like "The Counter-Crusade", where one can come across fine addictive melodic hooks as well as a nice peaceful closing lead-driven section; "In The Name", which exits the album in a more moderate manner with heavy mid-tempo semi-epic riffs, and a great fast final passage. Played with inspiration and confidence, this effort will easily overshadow both the new and old (Necrodeath) representatives of the Italian scene in 2009 and may even place the band higher in the ranks than their old works did.

The Day of Wrath Full-length, 1985
The Final Separation Full-length, 1986
IX Full-length, 1987
Neurodeliri Full-length, 1988
Dance Got Sick! EP, 1992
Unexpected Fate Full-length, 2009

Official Site


The debut: another international collaboration pays tribute to the good old retro thrash quite reminiscent of the style practiced by the Italian side of the partnership, the classic thrashers Anguish Force. "Chemtrails" shifts from the formula into not very charted brutal thrash waters, but the guys seldom attempt such exploits if we also exclude the speed/thrashing roller-coaster near the end "She Devil", and the splashing title-track which closes the album. The vocals are handled by the former Anguish Force vocalist so expect the same hoarse semi-clean delivery there.
"Forsaken One" would be a more pleasant surprise with its fairly energetic delivery with the opening "Might Makes Right" and the title-track, and although later on the band reveal their softer nature, the guitar work remains on the more intense side excluding a couple of friendlier heavy rockers ("I Was Wrong"). "Abandon" is an awesome shredder single-handedly lifting the level up, and "Lust" is a carefree galloper with speed/power metal tendencies. "Revolution" "shoots" hard again, and the final "Little Boy" is a more diverse progressive piece with a great atmospheric balladic passage.

De-Generation Full-Length, 2015
Forsaken One Full-length, 2017

Official Site


Based on the full-length, this act indulge in aggressive black/thrash metal which consists of short blitzkrieg numbers and longer with a surreal abstract edge ones the latter sure-handed delights with great melodies and technical variations. The middle is represented by the jocund cover of the punk veterans No Tag's "Mistaken Identity" after which follow two other thought-out takes on modern black metal without too much thrash present; regardless, this is very good music well executed with a lot to be savoured including the apocalyptic devilish shouty vocals. Some of the musicians also play in the classic heavy metal formation Red Dawn.
"Rise of the Banshee" is more brutal than its predecessor in the beginning adhering to black metal initially, but later the approach becomes more moderate: "Murderer's Collar"; and clever: the thrash/crossover joy "Sniper"; the calm lyrical "Minnie Dean"; the epic-sounding "Black Banshee", etc. This is well executed music which crosses the more extreme and more moderate side with ease creating a lot of dark, almost gothic-like, atmosphere in the process.
"Nine Centuries" offers a similar, if not even wider, "cocktail" of moods and influences as there's some epic undercurrent running underneath also reflected in friendly mild rockers like "Haegtessa", and symphonic hyper-active bombasters like "Dethrone" in the best tradition of Bal-Sagoth. "Orpehus" goes over the borders of the good taste, introducing hyper-blasting black metal the guys overdoing it a little bit with a wild amalgam of styles that don't sit too well when put together.

The Black Army Stands EP, 2010
Writhe and Ascend EP, 2011
Down in the Cold of the Grave Full-length, 2012
Rise of the Banshee Full-Length, 2014
Nine Centuries Full-length, 2018

Official Site


This band is a project of the musician Vincent Wisehoon who also takes part in the doom metal formation Poisoned by Life. This 4-song demo shows the guy branching out into intense classic thrash with a certain technical/semi-technical flair not far from the debut effort of the Canadians Mastery. This is all-instrumental stuff with vitriolic fast-paced passages "crushing" with a tad more complex sections which are curiously abstract and almost progressively surreal on "Midnight Sun", and more straight-forward on the Bay-Areasque ripper "Bulletface". Vincent does a good job on the lead guitar and it would be interesting to hear how such a material will hold on a full-length.

Universal Magnitude Demo, 2014

Official Site


A more aggressive version of the modern thrash/death metal patterns practiced by The Haunted and Carnal Forge with touches of Testament's "The Gathering" and a certain presence of hardcore.

Incarceration Full-length, 2003


Crusty energetic thrashcore with an edgy thrashy mood reflected in short direct up-paced tracks which never stray from the stripped-down path "graced" by expressive low-tuned death metal vocals. And also, hats down to the guys for coming up with the longest album-title of all times...

Songs Written Before Jumping Out Of An Eight Story Window Full-Length, 2009
Upbeat Noise for Downtrodden People Full-Length, 2011


Based on the "The Apokalypse" EP, this act offers intense modern semi-technical thrash/proto-death which is pretty wild at times ("1000 Deaths"), but a lot of melody has been infused in the lyrical gothic/thrash metal opus "Alone In The Dark" where cool clean vocals can also be heard as opposed to the more aggressive death semi-shouts. Musicians from this formation also take part in the gothic metallers Myrah, and the black metal "monsters" Hellavator.
"Numb" provides "numb" modern thrash which is stripped off the death metal side, and also from the technical elements which now are very few. Consequently the excitement wouldn't be very big the guys not bothering to accelerate a lot: "Eyes of the Blind" is an exception with its hard-hitting speedy rhythms. The rest is too monotonous and uneventful to make the listener think about tracking down the previous efforts.
"Pansar" is by all means a more impressive effort the band thrashing with gusto and also with a good sense of melody on the opening rager "F T W", and despite the presence of several heavy groovers later one can't deny the headbanging immediacy of cuts like "Legion of Chaos" and the perennial mosher "Genocide". "Enslaved Humanity" is a death/thrashing "monster" with ripping riffs leaving the more lyrical deviations for the closing "Blackhole Village" which is an imposing, operatic doomy "idyll" with a sudden blitzkrieg ending.

Bulletsize Full-length, 2008
The Apokalypse EP, 2009
The Apokalypse Full-length, 2011
Numb Full-length, 2013
Pansar Full-Length, 2016

Official Site


Cool intense thrash/crossover with short tracks which get their message through thrashing in a crunchy mid-paced manner recalling Anthrax, the resemblance with that band also coming from the expressive shouty choruses with a couple of faster more intense pieces thrown in where the sound becomes pure hardcore.

Demo Demo, 1990


One musician, the name Thomas Fassler, is behind this melodic form of the modern thrash metal sound which suddenly switches from a more technical approach ala recent Annihilator to straight bashing Gothenburg death metal and vice versa. The former tendency is more widely covered, including the Canadians (or Canadian's) "flirtations" with many styles (power metal, alternative, ballads, etc.). Stylish bagpipe tunes are inserted ("Reap What You Sow"), but pointless groovy exercises ("You Like To Break My Will") serve to no purpose except to spoil the impression from a preceding better moment. "Bloodied Skies" is a cool headbanging track, and "I Am My Worst Enemy" is a nice nod to At the Gates, but highlights of the kind aren't too many and the guy has a certain room for improvement also in the vocal department: those indifferent semi-shouts can be toned down a bit for the future, and sticking to the Swedish patterns more music-wise might be more beneficial.

Variance Full-length, 2009

Official Site


Based on the debut demo, this band come up with brutal, grindcore-ish thrash/proto-death metal with short, 1-1.5min tracks; the guitar sound is very buzzy so most of the time what one would hear would be buzzy noise, accompanied by very fast drums and brutal death metal vocals. Still, their music makes more sense than, say, early Napalm Death and their clones.

First Attack Of Bundeswehra Demo, 1989
Totem Demo, 1991
Necro Spell/King's Return Split, 1993
King'aas Return Demo, 1994


Intense rigorous thrash of the old school which is close in execution to the style epitomized by the other acts with which the guys are involved, Them and Thrash Attack. The uncompromising speedy assault is seldom broken save for the more varied stomping "Real of Fantasy" and the late-80's Salyer-esque brooder "New World Order". For a large portion of the time the listener will be cowering from the fast-paced bullets like "The Valley of Death" and "Insanity", the cannonade assisted by forceful shouty semi-deathy vocals.

The Decline of the System Full-length, 2017

Official Site


The EP: this act plays playful rock-ish speed/thrash metal of the old school not too far from the Swedes Bewitched accompanied by the obligatory carefree spirit of Motorhead the latter slightly overshadowed by the gruff underground black metal vocals. The last two tracks abandon the roller-coaster approach for the sake of heavy doom-laden riffs which will bring early Celtic Frost and Barathrum to mind. Some of the musicians are also involved in the death/thrash metal outfit Traumagain.
The full-length continues in the same frolic spirit producing merry proto-thrashy rhythms with early Exciter now springing to mind quite often if we exclude the surprising piece of brutality "Institor" which even introduces blast-beats into the "idyll". On the rest the joy is really big the throaty semi-death metal singer also tying to sound happier to mixed results.
"Screaming Rock Believers": yes, indeed, this is more along the lines of "rock screaming" (the album-title is possibly a reference to the Scorpions' early classic "Steamrock Fever"); not much thrash here although the frolic Motorhead spirit is alive and well leading the pack, its march enhanced by a portion of brutal blasts here and there. There are obligatory descents to radio-friendly heavy rock('n roll), but at least the speed metal tag is well deserved thanks to passionate headbangers like "(She's got) Demon Eyes", "Rulin' Like a Tyrant" (possibly a nod to Accept's immortal "Breaker", the song), and especially the explosive closer "Night Demon" which goes a bit over the good old speed metal even.
"Chained Down in Dirt" hardens the course with a blacky vibe sneaking into the proceedings, disrupting the energetic speed/thrashy melee, the overall approach not far from the Portuguese Alastor and the Germans Hellish Crossfire. "Taken Under the Spell" suggests slower, more moderate developments, but those never materialize fully as the focus is strictly on the good old headbanging speed/thrash which still carries the familiar Mototrhead-ish vibe ("Evil Wings").

Out of the Bunker EP, 2009
Infernal Interceptors Full-Length, 2012
Screaming Rock Believers FullLength, 2014
Chained Down in Dirt Full-length, 2017

Official Site


Heavy modern power/thrash with brooding atmosphere created by the consistent mid-tempo delivery topped by cool semi-clean vocals whhhich carry the album forward although a more attached, cleaner singing style would have been more appropriate on epic cuts like "Shades f Grey". The thrash metal idea gets lost here and there (the semi-balladic " Alexithymic") the music acquiring more officiant, almost doomy characteristics.

Thresholds Full-Length, 2016



A classic mix of hardcore and thrash, well done, energetic and dynamic, maybe a bit one-dimensional, not miles away from Lawnmower Deth or the Tankard efforts from the 90's.

Violent Storm Full-length, 2006

Official Site


Good (based on the EP) laid-back modern thrash metal without any pretentions in both the more aggressive or the more technical spectre. The metalcore vocals might pull you back, though, but not much.

The full-length is another cool, energetic take on the style mixing classic and modern riffs topped again by the slightly irritating shouty vocals. The pace is not fast all the time, and longer slower compositions ("Perfect Family", the excellent multi-layered closing death/thrasher "Hexed") can also be found.

Salvation EP, 2004
Anno-Dominator Full-Length, 2008

Official Site


This act indulge in less ordinary classic thrash/death with dark overtones which is intercepted by more dramatic passages (the massive mood build-ups on "Crowned by Pestilence") as well as several doomy arrangements ("The Spiral Black Hole") which still pale before the sparce more technical temptations (the short exploders "Gemonias" and "Walk Over the Crushed Skulls"). The finishing line is another highlight comprising the jumpy more controlled technicaller "Enough" and the ambitious progressive saga "The Rising" which is full of twists and musical mastery promising a lot of exploits from the guys on future releases.

The Spiral Black Hole Full-Length, 2012

Official Site


Based on the "Optical Mass" demo, these Brits serve twisted Floridian thrash/death ala early Morbid Angel with a pinch of Possessed and Infernal Majesty. There's a capable mix of fast and slow riffs on every track as the delivery goes more towards the dark, even doomy side on the brooding "Ice Enshrouded Walls" which morose atmopshere is aggravated by the deep growling, also semi-shouty at times, death metal vocals.

Void in Time Demo, 1991
Optical Mass Demo, 1992
Effigy EP, 1992


This is noisy messy post-thrash of the groovy aggro-type. Things get just a bit more interesting on the couple of more intense death metal moments ("Born Into Extinction"), but the boring groovy chugga-chugga riffs are everywhere not generating much excitement in the process; neither do the one-dimensional quarrelsome vocals which miraculously attempt some actual singing on the bonus track "Cries Of Chaos" at the end the latter a surprisingly dynamic cut with vivid guitars and cool screamy leads.

Born into Extinction Full-Length, 2003


On their only demo the band stir quite a cocktail consisting of thrash, death and black metal. The base is the aggressive thrash riffage ala Slayer, but the guitar players' skills extend beyond that, and one could hear nice technical passages reminiscent of Death and Pestilence. Add a couple of brutal black metal sections, and you'll get the picture. Apparently the guys are not very certain which direction to take, but this mixture needs just a little refinement, and with a better production they could make their name known.

Burial in Sulphur Demo, 2003

Official Site


Based on "Spoils Of War", these guys offer competent old school thrash with a pinch of hardcore. Sparcely modern implements could be caught, but most of the time the music is heads-down retro thrash, sounding quite close to Sacred Reich's "Ignorance", a reference also strengthened by the solid Phil Rind-like vocals. The aggression comes too much on some tracks, like on the furious "Extreme Paranoia". "Hate From Within" softens the course, serving more melodic crossover hooks, but is completely cancelled by the short, less-than-2min ball of fury "Lost". Time for calmer music once again, with the longer mid-paced atmospheric number "A Storm Has Broken Up Inside", which boasts a very cool acoustic interlude, after which the intense thrashing takes over once again. The last track "What A Fuck" isn't a joke song, "promises" made with the title, but is quite cool speedy thrash/crossover, moshing out for a bit more than 2-min.

Spoils Of War Full-length, 1999
Welcome to Reality Full-length, 2001

My Space


Notable black-ish thrash metal, quite aggressive with a few death metal blast-beats thrown in. There is a considerable technical edge to the music at times, not too far from Necrodeath, or even Hellwitch. Some songs are played very fast, also recalling Impaled Nazarene, but with a more technical edge ("The Beast Rules Me", "Buried God", "Eyes of the Gorgon"). On the other hand some melodic insertions are simply brilliant (again "Buried God"), and "Ruins of Pantheon" is a great heavier technical piece with a raging middle blast-beat break. A smashing combination of both melodic and technical guitars can also be heard on the title-track. In the middle there's a cover version of the US power metal legends Griffin's "Hunger" from "Protectors of the Lair", done in a faster and more technical way.

"Sacrificed" is another small portion of the same; the sound is more rooted in thrash with no brutal death metal parts, and it reminds of Slayer quite a bit, both in the speedy and the heavier sections. "Fadlan's Tale" is a cool exercise in lightning speed, and the following "Trust In Nothing" is a more light-hearted piece with a crossover-vibe. The last song is a cover of Slayer's "Aggressive Perfector".

Dark Revelation Full-length, 2003
Sacrificed EP, 2004


Standard modern thrash/death metal in the spirit of early Dark Tranquillity, fast and sharp, with not very good hysterical semi-black metal vocals at times intercepted by better more brutal low growls. The guys bash with no mercy, and because of the not very good sound quality the guitars at times come with a noisy chainsaw-like sound.

Buried With Children EP, 2009


Thrash/death metal of the Swedish type, made in Brazil; this band are more vicious and aggressive, with a frequent adherence to blast-beats, and reach towards the more extreme side of black metal even. Still some tracks thrash with gusto and confidence: "Only Salvation For Us", but the rest is less impressive aggravated by the very brutal, low-tuned death metal vocals which are sometimes interrupted by higher, snarly ones.

Only Salvation For Us EP, 2008

My Space


You'll be buried "under the waves" by this album which reveals an act occupying the more epic, slower section of the genre where acts like Bifrost and early Skyclad reside. Certainly, there are headbanging moments ("Spear of Destiny") to be savoured, but the focus is by all means on the more officiant side the main detriment being the hysterical shouty death metal vocalist who plainly obstructs the other musicians' endeavours deafening the music on quite a few times. "Oedipus" is a relaxed thrash/crossover winner, and the final "Spartan" is a slightly messy epicer which simply can't overcome the very muddy sound quality accompanying the whole recording.

From Under the Waves Full-Length, 2014

Official Site


Old school thrash metal with black-ish vocals; comparisons with Alastor from Portugal are inevitable, but Burn To Black adhere to death metal elements at times and their sound as a whole has more punch. Another closer soundalike would perhaps be the Dutch Occult. Although this sub-genre has started to fill up with bands recently, Burn To Black have no reasons to worry that they will pass completely unnoticed.

Mach 666 Full-length, 2006

My Space


All-instrumental extreme metal the base being a mix of thrash and death; the tempos change all the time, and there are some pretensions at progressive, but the switches from a furious thrash/death section to a very peaceful meditative one are quite awkward at times. Those quiet passages are often overdone crossing over the acceptable, good-taste limit. There's a lot of aggression, but it sounds as though it has been done for the sake of it without certain focus. The guitars bash directly without any technical leanings whatsoever, and it's only the final "Bonus Track Final" which is a full-fledged guitar-driven entertainment, but it sadly abandons the speed settling for a not very attractive mid-paced chugga-chugga delivery.

A Tale of Modern Ruin Full-Length, 2009


This is heavy, but at the same time quite jolly thrash/crossover reminiscent of acts like Broken Bones, Lawnmower Deth, and perhaps a more melodic Rumble Militia. "John the Thrasher" is a more aggressive faster piece, but the rest is more up to mid-tempo.

Go to the Party Demo, 1989


Based on "Chains, Leather and Hell", these folks serve crisp roller-coaster old school speed/thrash with echoes of Alastor (Portugal) and Inferno (Norway), with hellish raspy deathy vocals. "Aggressive Possession" is an "eagle fly free" hymn which could be perfectly fitting on "Walls of Jericho", for instance, and "Headbangers' Escape" is vintage early Destruction, the only stop from the remorseless mosh being "Hollow Masses", a cool atmospheric doomster.

Infernal Steel EP, 2011
Blasphemy EP, 2015
Chains, Leather and Hell Full-length, 2017



The demo: modern semi-technical post-thrash which lacks the necessary amount of energy and meanders in mid-pace with unexpected jumps into a more intense territory ("Salem") those decisions not very well calculated despite the few proficient passages mostly of the lead-driven type. The singer semi-shouts in an attached clean manner and his performance remains the highlight on this not very focused offering whcih sees the band a long way to go before being able to capture the technical magic for which their homeland has been renowned.
The full-length is more thrash-fixated and actually crushes quite admirably at times (the promising opener "Pit and The Pendulum"), and the other good news is the presence of atmospheric sections ("Dirges In The Dark") which even touch Opeth on the more stylish moments. Still, the majority of the material offered is in the form of shorter intense pieces which raise the flag of thrash metal high by also keeping numerous melodic touches flowing to an imposing epic effect (the title-track).
The EP is a more elaborate affair, but the speed has been lost as a result although the influence of the Swedish school has somehow been increased ("Deviant"). "Maelstrom" is a melo-speedster in the spirit of early In Flames and Dark Tranquillity, and the closing "Engrave Us in Stone" is another nod to the guys' Scandinavian counterparts with a wider arsenal ot tempo changes and cool emotional clean vocals.

Burning Effigy Demo, 2011
Salem Full-Length, 2014
Lost Serenity EP, 2017

Official Site


These Slovenians provide the listener with melodic modern thrash/death metal with quite good guitar work touching Death on the more inspired moments ("To End Life", "Slave to the Curse"). The band aren't fond of speed too much and the overall pace is mid with a couple of interesting semi-technical hooks (check the aforementioned songs, plus "Controllin Existence").

Controlling Existence EP, 2007

My Space


The EP: this young talented act acquit themselves with fairly good retro thrash which comes with a thick crunchy guitar sound which stays true to the Bay-Area canons on the fiery instrumental opener "Enter The Fire". "Time for thrash" with the next "Thrash Time" which is another energetic number which will also recall the heroes from the other side of the US Anthrax and Overkill. The rapid-fire approach remains till the end wrapped up with the more complex opus "Pyromania" which mixes wild thrashing with a virtuous more laid-back lead-driven section. The singer uses a forceful semi-declamatory tone sitting somewhere between early Bobby "Blitz" Ellsworth (Overkill) and Sean Killian (Vio-Lence). This is a promising start on which the guys should be able to capitalize soon.
The full-length is a sure ripper the band preserving all the winning elements from the EP acquitting themselves with cleverly-arranged tracks not far from the first two Forbidden albums the main difference coming from the shouty choruses which in their turn will recall Anthrax. "Lying Until the End" is a more technical offering, but overall the delivery is right as rain, no-bars-held Bay-Area thrash which reduces the tempo near the end, on the more complex progressiver "Nemesis, the Death Star", before the final "Turned to Ashes (Nothing Stands Still)" rips you apart with the exiting portion of fast lashing guitars which will keep the listener on his/her toes for 6.5-min with its intelligent build-ups and impetuous headbanging passages. The singer is a match to the dynamic musical approach with his high-strung semi-clean blend which now resembles Russ Anderson (Forbidden again) more than the two previously mentioned vocal heroes.

Pyromania EP, 2012
Molotov Full-Length, 2014

Official Site


Based on "Nowhere Is A Destination", this band offers modern thrash/death metal with sparce technical implements. The music is mostly mid-paced with faster outbreaks on the longer compositions ("Machete Suppository", "Thirty Stairs") which are also the more technically-charged, and consequently the more interesting. The shorter material is nothing too special, a bit boring with borrowings from gothic and even alternative, with only the closer "Norwalk" speeding up in a less restrained Gothenburg-esque fashion.

A Small Little Shack in a Big Wet Messy Nothing EP, 2006
Nowhere Is A Destination Full-length, 2009

Official Site


These Canadians pull out modern post-thrash with vivid dynamic riffs and some sudden headbanging sweeps ("Verbal Aggressor"; the unexpected classic thrash/crossover joy "You Can't Hide"). Even the angry groovers later on sound interesting and not as stale: check out the ripping "Mute" with its face-tearing shreds; check out the melodic leanings on the closer "Shoot, Reload, Repeat". Everything is suitably angry here, even the expressive shouty vocals which lead the pack with confidence and panache.

Verbal Aggressor Full-Length, 2013


This is modern thrash with more melodic overtones and casual shades of death metal, again of the more laid-back type. The band mosh in a steady mid-tempo adding a more intense steam-roller sound ("Repressao") here and there, as well as the more stylish technical hook ("Tempestade De Horror"). The singer is a gruff death metaller who rends his lungs in an authoritative, comprehensive fashion.

Guerra e Destruição Full-Length, 2016

Official Site


3 songs of melodic Gothenburg-influenced thrash/death metal with several proto-alternative elements; still, when the guys lash it without too much ado ("Gorgon Killer"), they do a better job. The sound quality is pretty clear, and the guitars have the necessary edge being superior to the pedestrian gruff shouty vocals.

???? EP, 2010

My Space


Based on the full-length, this act offers very typical for the time heavy groovy post-thrash which comes with a playful edge and cool hoarse, semi-clean vocals which sound both aggressive and attached. The song-structures, however, aren't very interesting evolving around clumsy repetitive heavy patterns with a tad of melody.

Rituals EP, 1993
Malice Aforethought Full-length, 1995


A very unknown band from the heydays of the genre playing quite average crossover/power/thrash recalling their compatriots Liege Lord, Aftermath and early Helstar on the best moments which are not that many actually. "Twizzler" is an appropriate opener, dynamic, sharp and even semi-technical followed by the aggressive thrasher "Fase Death". Then suddenly the sound comes down to melodic thrash/crossover and remains there for two whole songs, before "Busted" offers some relief with more energetic hardcore-ish guitars. The uneven mixture continues throughout the rest of the album although it's only "Swirling Whirlee" which thrashes harder later the rest being soft unmemorable thrash/crossover of the unexciting mid-paced type.

Nature Gone Mad Full-length, 1987

Fan Site


These guys mix speed/thrash ala early Whiplash with monotonous mid-paced thrash which could have been influenced by Venom, but is more boring and repetitive. The combination doesn't work too well regardless of the presence of Chris Reifert (Death, Autopsy). A riff from "The Dead Walk the Earth" has definitely impressed Destruction a lot and they may have stolen it for "Curse the Gods". The aforementioned track, which is an instrumental, by the way, is a very good number, speedy with nice leads and memorable riffs, by far the highlight on the demo.

Frightmare Demo, 1985


The debut is mostly fast-paced brutal basic thrash with shades of death metal, obviously influenced by Dark Angel and Slayer; not bad despite its slightly chaotic nature. "Walk of the Dead", which comes after a very long, 9-year break, is a much better effort: the sound is not as aggressive and fast anymore, and the guitar work has become more technical; the songs are longer (some of them are within the 7-8min range: "The One"), and more interesting without any big technical complexity. Death metal has sneaked through even more than on the debut, and combined with some slower elements, the music at times comes close to the Dutch Asphyx on the more stomping parts, but the Slayer influences are still around, although this time taken from their late 80's period. A cool cover version of the Venom's immortal classic "Black Metal" awaits you at the end.

Burnt Offering Full-length, 1989
Walk Of The Dead Full-length, 1998

Official Site


Based on the EP: this band comes up with quite heavy and punishing modern thrash with nods to early Pantera, but the straight thrashy sections here are more frequent ("Killing Of Me", which has a slight death metal colouring even) as well as the dragging groovy tunes ("Bludgeoned").

One Last Breath Demo, 2004
Await The Destruction EP, 2006

Official Site


3 tracks of cool thrash/crossover with sharp energetic guitars and melodic balladic intros to every song; the tempo is up ably "assisted" by forceful semi-hardcore vocals, slightly recalling Mike Muir on the more melodic leanings.

Burst Demo, 1992


Industrial thrash with an abrasive guitar sound, but with good dynamics and memorable tracks; shades of alternative ala later-period Mysery Loves Co. can be caught, but there are also more straight thrashy sections of the Swedish melo-type and the French Lyzanxia, where the sound acquires energetic mid-tempos, again recalling the aforementioned Swedes. The vocals range from angry semi-death to clean ones, both having a characteristic hoarse tone, obviously delivered by the same person.

Oblivion Full-length, 2011


Similar to the other band featured on the split, this band play a frenetic brutal mix of thrash, hardcore and grind; a low level of musicianship, wild attitude- only for completists.

Thrash Brigade & Burst Up Split, 2007


Brisk, energetic retro thrash from France this way comes. The guys thrash with conviction adhering to the tricks from the Bay-Area arsenal with a pinch of technicality akin to Testament and Forbidden. There's energy to spare here even on the more complex material ("Kill to Live") and the slower moments are surprisingly offered on the shorter tracks: the pounding seismer "Violent Rape". The end is a revelation in the form of the clever technical headbanger "Suicide" which is mostly instrumental; and the stylish "Holy Lies" which is "unholy" fierce thrash with great leads. The actual closer is the short "Masturbation" which is top-notch "masturbating" shred packed within less than 3-min nicely wrapping things up. If we exclude the rough inexpressive deathy vocals everything else here is nearly perfect making these youngsters one of the tougher propositions from the contemporary French metal scene.

The Price of War Full-length, 2012



This young French act play heavy steam-roller modern thrash characterized by brutal death metal vocals and an ultra-heavy rhythm-section which seldom abandons the mid-tempo, but is compensated by the odd stylish lead guitar work ("Fight"; the more twisted leads on "Angel's Song") and the casual nod to the old school: the creepy dark "Kill" which bears some of the Cerebral Fix stompiness, albeit delivered in a slower, almost sludgy, manner. The sound quality is not bad giving the necessary boost to both the guitars and the singer.

Demo Demo, 2012



This is a fairly diverse offering which is based on modern post-thrash and doom metal the other influences coming from ballad, blues, a bit of jazz, alternative, grunge, and more. The musicianship at times is admirable, and at least a few sections on the ambitious 10-min closer "Echoes Of The End" will manage to bang your head for a bit. The singer is quite versatile, too, using a few styles along the way his main one being semi-clean mid-ranged recalling Kerrmit (Tyrant, Germany) and Heinz Mikus (Risk).

Bushwhacker Full-Length, 2011

Official Site


These Spaniards play intense retro thrash with both speed and death metal elements thrown in. The guys lash vitriolic riffs with passion sticking mostly to fast tempos those being abandoned on the longer diverse "Satan's Bitch" which "flirts" with progressive retouching the aggression to an extent. The end would lift the mood up, though, with the invigorationg "Of Thrash Of War", a prime headbanger followed by an interesting atmospheric outro. The singer semi-shouts in a harsh hardcore-ish manner ala Simon Forrest (Cerebral Fix) seldom acquiring a more melodic pitch.

Undead Nightmare EP, 2012


A not very known entity who deliver quite good progressive thrash of the old school. The opening "Imminent Danger" provides infectious melodies aplenty before jumpy scratching rhythms take over replaced by intense galloping sections neer the end. "The Circle" is a choppy mid-pacer with more melodic, also more dramatic, developments in the second half plus a portion of stop-and-go riffs ala Watchtower and Coroner. "Inside Of Evil" is an outstanding short, technical shredder providing a pleiad of tempo-changes within just 2.5-min. An absolutely stunning composition which could become an addictive listen even to the more linear headbangers. "If It Were Tomorrow" has a sprawling baladic beginning, but the technical drama soon commences as well as the mind-scratching riffage which never leaves the mid-paced confines, but the vortex-like crescendos at the end are a wonder to listen to. "Play God" is graced by a brilliant lead-driven start, but the guys unleash the technical guitars which here have a somewhat epic "colouring" not far from Helstar's "Nosferatu", virtuous melodies appearing later to make this composition a consummate progressive thrasher. The vocalist also helps a lot with his versatile performance covering several gamuts recalling both James Rivera (Helstar) and Franz Herde (Sieges Even). Some of the musicians are active at the moment with the groovy post-thrashers Bonesaw.

Busted Wig Demo, 1993


An international cast without any major renowned performers have gotten together for the creation of this modern progressive thrash affair which crosses hard-hitting passages with sprawling, but enchanting, dreamy interludes the latter accompanied by very cool angelic female vocals. The blend works although some may lose their patience a bit on the lengthy quiet sections. Still, when the wild thrashing comes, it would be truly satisfying with the clever technical decisions and the stylish tempo shifts.

...But a Thought Full-Length, 2014

Official Site


Despite the sinister name, this band are not aggressive thrash or death metal, but progressive thrash with classically-trained guitar players whose pyrotechnics are quite impressive. "Quest" is a magnificent technical thrash number (this same track is remade at the end, as just an instrumental piece), and is the finest representative of the band's striking style which would fit the description "Yngwie Malmsteen meets thrash" quite well. The lead guitar work is state-of-the-art, and overshadows the riffage; but when the guys feel like thrashing, they do quite a damage with razor-sharp guitars and intensity ("Tryout": check out the bass performance on this one). There is one filler, though: the funky, light-hearted "Stop" (yes, guys, please stop!). With only one album in their discography, Butcher rank among the finest metal bands from Brazil.

The demo is 3 songs which sees the guys still on a fairly primal musical level thrashing roughly the title-track acquitting itself with a portion of more stylish riffage; the majority, though, is more on the bashing side recalling their compatriots Holocausto and Dorsal Atlantica's early efforts. The vocalist creates the best impression with his forceful semi-shouty/semi-declamatory performance.

Way of Darkness Demo, 1989
Astral Karma Full-length, 1993

Official Site


Based on the full-length, this act, which only consists of one member the name Diego Pereira, indulge in simplistic intense thrash of the old school with frequent more carefree crossover references which at times "grow" into spasmodic computerized blasts those compensated by the odd heavy doomy opus ("Punished"). The singer's a gruff semi-whisperer who, when he tries to really sing, touches early Tom G. Warrior (Celtic Frost). The last song is a cover version of "Boneyeard" of the grindcore veterans Impetigo surprisingly done in a more subdued, less brutal manner.

Embraced By Madness Full-Length, 2012
Warbreed EP, 2012


The EP: modern post-thrash with playful rockish tendencies; the guys and a girl (the vocalist) stick to crunchy jumpy riffs which have the necessary heaviness to satisfy the groove lovers for which the girl also provides the odd higher-pitch scream, but her main singing style is powerful, attached and clean. This is light, but well executed tribute to the still roaming around 90's trends.

"Goliath" is more dynamic, but clings too much towards the metalcore arena despite the hard-hitting riffage involved and again the really good female vocal presence. Some tracks in the middle acquire a more playful rock-ish tone, but this album is all about variety and in this train of thought the listener should be entertained especially when he's given a chance to bang his/her head with passion on the more intense shredder "Give Me Reason".

"Take It Like A Man" is pretty much in the vein as the other two previous efforts, and as such hardly brings any surprises on the table. The band thrash hard with frequent lyrical moments inserted ("Monsters Ball") those at times accompanied by very cool clean female vocals. The grooves roll on, but their nature is rather dynamic than plodding and the moshers should have their fun on rigorous stompers like "The Butcher" and "Gravemaker". The 2nd half is a sloucher, though, with clumsy repetitive tracks regardless of the bigger presence of the aforementioned female singer, excluding the closing brutalizer "Dead Man Walking".

"Lilith" offers a more industrialized, less aggressive sound the overall delivery more playful and kind of less serious. The jumpy friendly rhythms never break any sound barries, but take care of several dancey hits ("Headspin") along the lines of more recent KMFDM.
Butcher Babies EP, 2012
Goliath Full-Length, 2013
Take It Like A Man Full-Length, 2015
Lilith Full-Length, 2017


One of the least known acts from the French thrash/death metal scene which started at the end of the 1980's; the music isn't miles away from the early efforts of Loudblast and Agressor, the tempo is in the same fast vein, but the guitars are more melodic, even too melodic for the style at times creating a somewhat surreal atmosphere on the more aggressive (drum, vocals) background, but are quite a nice touch, if you manage to ignore the bad shouted throaty hardcore/death metal vocals.

New Reality Demo, 1988


The Demo II offers speed/thrash metal ala early Whiplash and Possessed's "Seven Churches", but with a very raw and primitive sound quality. The guys lash in the same way from beginning to end, providing a slight crossover touch to the proceedings on the milder "Necrology". The singer doesn't bother much, either, shouting in a rough drunken tember akin to Wattie (The Exploited).

Demo Demo, 1988
Demo II Demo, 1989


Rehearsal is rehearsal so don't expect any beautiful musicianship here; the guys play raw intense thrash/proto-death which fits fairly well into the late-80's Brazilian scene from where originated some of the most brutal sounds of the time. The instruments can be heard relatively clearly except for the thin screamy leads which aren't very aptly carved into the wall of sound. "Sepulchral Face" is a surprisingly mild number compared to the rest: a mid-tempo stomper with a more clear riff-section. The singer semi-recites in a grumpy low-tuned manner and can be distinguished for most of the time.

Rehearsal Demo, 1988


Based on "DemonArchia", this band plays a mix of energetic modern thrash and stoner/doom. The problem is, like with most blends of the kind, that the speed goes missing more than just now and then, and at some point the music gets totally overcome by the slow riffage. Consequently this effort would be not so intriguing for the thrash metal fan since the approach at its best comes close to Corrosion of Conformity's "Blind".

"Radio dla Polakow" is a mild laid-back post-thrash affair; even the "post-thrash" tag may be a bit farfetched at times since this is really soft with leanings towards doom and the ballad.

Butelka Full-length, 2003
Radio dla Polakow Full-length, 2005
DemonArchia Full-length, 2008

Official Site


This is the early incarnation of the death metal act Seance and the less known death/black metallers Algol. Based on the "...War Kills..." demo, the guys used to play heavy dark thrash/crossover with more foreboding doomy overtones at times marred by a very muddy sound quality. The demo contains 11 whole songs so expect a good alternation between the fast and the slow side the former often bordering on hard, and even grindcore on a couple of very short (barely 1-min) cuts near the end.

...War Kills... Demo, 1990
Rehearsal Tape Demo, 1990
Urcemurcel Turkus Demo, 1991

Official Site


An all-female formation who specialize in heavy hammering modern thrash/proto-death the girl behind the mike emitting unholy apocalyptic growls way more aggressive than the ones of Sabine Classen (Holy Moses), for example. The fast blitzkrieg sections alternate with squashing groovy ones to a slightly disorientiing effect. The raging side of the girls' repertoire is more appealing where intense pieces like the dramatic deathster "Angeis Bleeding" belong; but the remaining tracks are mixtures of both sides the band still managing to pull out more impressive moments out of this concoction if we exclude the dragging mid-paced, and overlong for the band's standards, closer "The Atrocious Green".

Buzz Cult Full-Length, 2000


A diverse little offering featuring punk, crossover, alternative, and wild thrash of the modern kind; it may startle the listener at first with its unexpected abrupt jumps from one style to another, but with a bit more refinement in the music department mostly (the vocalist's sincere punkish delivery can be worked with a tad as well) on future works may turn this outfit into something even less ordinary.

Damned by faith EP, 2010


Based on the full-length debut, these guys offer an interesting, albeit a clumsy, blend of post-thrash and stoner/doom, recalling Phil Anselmo's Down quite a bit. The thrash metal fan will not be very delighted, simply because the thrash metal present is of the groovy unexciting type, despite the presence of stylish, abstract, Voivod-ish riffs ("Splinter In My Eye") here and there.

Hate Box EP, 1992
Wound EP, 1992
To a Frown Full-length, 1993
Sore Full-length, 1994
Unwilling To Explain EP, 1994
The Gospel According... II EP, 1997
Useless Single, 1997
...At a Loss Full-length, 1998

My Space


3 songs of quite good old school thrash/death metal thrashing relentlessly the whole time with the odd technical section ("The Discord Of War") springing up. The guitar sound is sharp and tight the only drawback coming from the singer whose gruff hardcore shouts are hardly a very valuable addition.

Demo Demo, 2004

Official Site


A modern death/thrash metal band with nice twists towards the Meshuggah camp and Darkane; it would be better, though, if the guys manage to shake off the The Haunted influences for the future which sneak here and there.

Burn the Flags Full-length, 2005
A New Shape of Desperation Full-length, 2006

Official Site


The EP: a 4-song EP of nice epic black/thrash/death metal not far from Amon Amarth and late-80's Bathory; the music is mid-paced with a very sharp guitar sound. "Lord Victorious" at the end breaks the pattern, offering slightly faster pounding riffs in the spirit of Cerebral Fix.

The full-length is a potent, interesting mix of black and thrash metal which is again mostly on the slower epic side ("Night of Damnation", the doomy "Desire", the excellent balladic closer "Skull of God", etc.), but the songs are varied without sounding dull or repetitive with hard lashing riffs which are also not deprived of melody. There's only one blasting track: "Black Earth" which is pure black metal and suits best the low-tuned gruff black metal vocals, but the rest is clearly on the classic thrash metal side with mid-period Bathory being again the most obvious influence.

"Of Death" shows the trio (there are three guys in the band) back in action, and the furious opener "May The Dead Rise" promises a lot of headbanging fun, but "Eye For An Eye" is already the atmospheric epicer expected from the band. The epic side is all over, but almost every track this time features an intense faster blacky passage which makes this effort a much more dynamic affair. In the middle one will be stunned to come across "Full Force Rage": a short speed/thrashing ball of fury, and the level keeps going higher, with the excellent hectic technical piece "Shadow Of Fear": smashing retro thrash at its best. All heads will stop banging, though, on the meditative, ambient Summoning-esque "Sorgh" which sets the tone for the doom epic closer "All Gods Are Gone", which could be a leftover from Bathory's "Nordland II". This is a pretty diverse offering which by all means has its charm, and serves the band right by showing their more brutal, and yet to be evolved, side.

Byfrostmetal EP, 2008
Black Earth Full-length, 2010
Of Death Full-length, 2011

My Space


Based on the "Civilization" demo, this act plays intense hardcore-ish thrash with touches of Slayer on the more aggressive parts, even trying something more technical ("Stigma") on occasion. Some songs are longer ("Lonely") and more varied, but the bashing side of the guys' music is more attractive where the shouty hardcore-ish singer fits just perfect. Later the guys changed the name to Ministry of Terror, and the style a bit to a more aggressive blend of thrash and death metal, finally getting to the full-length stage with one album ("Fall of Life") released in 1995.
The debut demo is another bashing, roughly produced, "beast" with hardcore playing a more prominent role as well as a more heroic speed metal flair ("Searching") shown at times. This is highly energetic, albeit fairly unpolished, stuff strengthened by the good expressive semi-clean hardcore vocals ala Kurt Brecht (D.R.I.).

B.Y.O.B. Demo, 1988
B.Y.O.B. #2 EP, 1990
Civilization Demo, 1991


This power trio unleashes a frantic, technical mix of thrash and death metal with sharp, but also melodic guitars. The tempo changes all the time, never staying the same for a long time which happens within short song-structures. The overall approach could be described as "Meshuggah meets the Gothenburg school". Haunting intros precede almost every song except on the last three where the musicianship goes one level up in terms of complexity, the culmination being the closing "The Collapse Of The Tangent Universe": an eclectic mix of ambient, harsh riffs and jazzy sections all this lasting for more than 16-min (wow!).

To Create Rather Than Destroy Full-Length, 2003


Hardcore, thrash and grind shake hands here to a muddled not very impressive effect, by far the inferior side of the split; short fast songs with shouted semi-clean vocals, a distant echo of John Connely (Nuclear Assault).

Evil Army/Bury the Living Split Album, 2004


A great thrash metal band whose style is strongly Destruction-influenced and works just perfect; there are also more intense sections where the band adhere even to blast-beats, but they're used tastefully and this is some of the finest classic thrash metal one could come across these days.

These retro thrashers are back with "Abduction" which shows them acquiring a slightly more modern edge on the guitars which suits better the longer, more complex compositions ("Abduction", the clever more technical piece "Another Crusade", both cuts recalling Paradox's "Heresy"; the non-stop thrashy barrage on "Behind the Pain") which deliver on all counts with their bigger sense of melody and progressive leanings. Still, no complaints on the shorter material: the furious melodic speedster "Handful of Evil"; the short blitzkrieg "Starchildren"; the speed/thrashing roller-coaster "Black Spirals of Death", and the closing whirwind of sharp and melodic guitars "Consciously Dead". The accentuation on melody has become bigger as well as the more elaborate arrangements, but this has only increased the band's appeal now having a more individual face, straying away from the Destruction-worship to a more accomplished speed/thrash metal outfit who continues to walk with the finest now even more deservedly.

Invincible War Full-length, 2002
Heretic Signs Full-length, 2003
Twelve Devil'a6s Graveyards Full-length, 2007
Abduction Full-length, 2011

My Space


This band try to give a more interesting edge to modern thrash, but the diversity of influences displayed throughout their career, might come as too much to some. The base for their style is the Pantera, Machine Head sound of the 90's mixed with mid-period Meshuggah. There are moments where the music seems to take off, mostly on "The Fundamental Component", but industrial, alternative, and even metalcore elements start sneaking through, and the final result is debale (depending on the taste). There is heaviness aplenty, and some moments are stylish, bringing to mind acts like Obliveon and Baghead, and a more compact, less scattered sound for the future might take them somewhere.

The self-titled album carries on with the larger-than-life delivery, but the music strangely packs a punch for most of the time containing a big amount of energy reflected in heavy dramatizers like "Soul Eraser", or atmospheric technicallers like "Efficacy". The quasi-industrial mechanical ambience of "Forged in the Heart of a Dying Star" is close to being the highlight with its dissonant chords and abstract leads, although the more energetic technical headbanger "Caldera" is not too far behind as well as almost every other song. This is a cool tribute to the 90's done with professionalism and understanding seeing the band as one of the most distinguished purveyors of this style in the new millennium.

Broadmoor EP, 2003
The Fundamental Component Full-length, 2004
...And They Shall Take Up Serpents Full-length, 2005
Oblivion Beckons Full-length, 2008
Byzantine Full-Length, 2013

My Space

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