Copyright (c) 2007-2024 THE THRASH METAL GUIDE


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

BLAAKYUM (LEBANON)

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

BLACK (USA)

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

BLACK ABSENCE (GERMANY)

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 around and the following "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 progressive semi-ballad "Lost Soul" that 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

BLACK ABSINTHE (CANADA)

Based on “On Earth or in Hell”, this outfit provide mellow friendly modern power/speed/thrash that gets rowdier on the vivacious semi-headbanger “Dead Queen”, the proto-deathy “Call of the Void” an unheralded more aggressive showing. The title-track is a decent speed metal tune, and “Essentially Fucked” is an intriguing belligerent cut with alluring Oriental licks. The singer is quite diverse, but his gruff semi-deathly antics seem to occupy the biggest space as opposed to his more acceptable cleaner croons.

Augusta EP, 2012
Noise Complaint EP, 2014
Early Signs of Denial Full-length, 2016
On Earth or in Hell Full-length, 2024

Official Site

BLACK ABYSS (GERMANY)

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 breaking 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

BLACK AGGRESSOR (FRANCE)

Apart from one of the worst sound qualities 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

BLACK ANVIL (USA)

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 doom 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's 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 isn't anything too striking by any standards seeing an act randomly mixing styles without bringing the best out of such amalgams.
"Regenesis" is a more brutal showing, the guys favouring the black metal idea way more this time, the timid doomy "8-Bit Terror" an awkward phenomenon, if we also exclude the peaceful semi-balladic "Silver & Steele" and the moody anti-climactic "NYC Nightmares". For the rest one has to have the endurance of a hardened beyond-headbanger in order to pass through it.

Time Insults the Mind Full-Length, 2008
Triumvirate Full-length, 2010
Hail Death Full-Length, 2014
As Was Full-length, 2017
Miles EP, 2019
Regenesis Full-length, 2022

My Space

BLACK APRIL (USA)

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 doom 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

Facebook

BLACK ART (USA)

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", is a cool more intense piece with classic reverberations.

Black Art Demo, 1995

BLACK ASYLUM (AUSTRALIA)

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 predictable 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 sparse clean vocals.

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

Official Site

BLACK BARREL SMOKE (SWEDEN)

This is modern thrash/death quite close to the so well established 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

BLACK BLADE (GREECE)

Three 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

BLACK BREATH (USA)

The EP: four 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 doom 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 instalment 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 second half. Still, "Burning Hate" near the end death/thrashes with force and will please the moshers 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

BLACK BURN (GERMANY)

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 isn't on a very high level the guitars having a strong abrasive edge which isn't very appropriate for the slower material, like the fairly good ballad "Black Burn", the highlight here showing the lead guitarist in a brighter light. The singer delivers a very guttural death metal timbre, and most likely he's been replaced on the aforementioned ballad since the vocals on that one 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

BLACK BURN (ITALY)

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 closing "Evil Prophecy" is more "evil" with more aggressive thrash 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

BLACK CANVAS (NORWAY)

Heavy doomy thrash/death with deep low-tuned vocals; good music, quite atmospheric, with nice guitar work, especially the leads, but there's 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

BLACK CHAMBER (USA)

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 vigorous 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/thrash closer "Vanquished Dishonor". Some of the musicians are also active with the black/death metallers Goatflesh.

Wormhole Full-Length, 2017

Official Site

BLACK CLOUD (CANADA)

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 isn't 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

BLACK COMEDY (NORWAY)

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

BLACK CYCLONE (SWEDEN)

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

BLACK DAWN (USA)

Based on "Absence of Time", this act specialize in generally friendly post-thrash which only occasionally gets angrier ("February") although the 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

BLACK DEAL (ITALY)

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

BLACK DEATH (ITALY)

Based on the "Afraid" demo, this act specialize in retro power/thrash which straddles between raucous belligerent pieces ("Hard-Core Marines", the wild "Paradise Lost") and crunchy mid-paced shredders ("Born to Suffer"), the stylish lead sections gracing every composition here, including the more complex progressive closer "...After".

Destruction in My Mind Demo, 1990
Afraid Demo, 1991
Maybe... Demo, 1993

Official Site

BLACK DEATH (NORWAY)

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

BLACK DENIM RAGE (USA)

The debut: decent old school speed/thrash is emitted here, the guys racing forward with valiant impetuous flyers ("Street Metallians", "State of Emergency"), breaking their stride with the odd more moderate mid-paced march ("The Last Breath"). The vocalist is a hoarse semi-clean reciter, lightly marring the otherwise cool cover of Running Wild's "Soldiers of Hell", the latter followed by the brief proto-death outrage "Controlled Opposition" and the sprightly Destruction-esque spin-arounder "Rage Militia". The guys are also busy with the heavy metal formation Living Fast.
"Chaos of War" offers the same kind of entertainment, fast impetuous riffs with the right amount of melody (the title-track) applied, the speed/crossover relaxations of "A Shredder's Dream" a welcome goofy respite. "Executor's Reign" comes marching with more technical riffage, those staying around for the enjoyable roller-coaster "Troops of Hate" and the speed/thrashing hurricane "Selected to Die", the mild power metal anthem "Hero's Journey" softening the proceedings towards the end.

State of Emergency Full-length, 2023
Chaos of War Full-length, 2024

Official Site

BLACK DETHE (USA)

A cult thrash/proto-death metal band whose ferocious thrash in the Slayer/Possessed-mould should have put them stronger on the metal map back in the old days. The "Mary's Blood" demo nicely captures the band's manic delivery the title-track being pure "Darkness Descends"-esque madness while "Sheen Of Annihilation" is very close to the first genuine death metal models with its unbridled rhythm-section. The instrumental "Distributing Pain" attempts something more intriguing in the riff department with echoes of late-80's Metallica even; and "Evil Prayer" is a slightly modified cut from their debut demo, an insane basher with very little musical merits, the crazy shouty vocals matching the frenetic musical approach every bit of the way.

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

BLACK EMERALD HELL (MEXICO)

Based on the full-length debut, this act provide rough old school thrash which clearly prefers the non-fussy bashing side of the genre, the impetuous skirmishes “Alcoholic Prophecy” and “Fucking Nightmare” clearing the posers in no time, setting the scenery for the arrival of “Destruction of the Human Society”, the definitive crusty headbanger, “Swordgaizer” serving the same remorseless melee, but with a fine sophisticated twist in the second half, that also benefits quite a bit from the presence of the vociferous hardcore vocals.
"Thrashing Attack of the Beast": a promisingly-titled effort this one, the barrage literally endless, the militant rhythms of "Taste Your Flesh" instigating the pogo which on "Mountains of Madness" turns to pure grindcore for a bit. "Estado Etilico" is a crusty mid-paced respite, and although "Putrefied Age" is a marginally more controlled thrasher, the delivery in the second half remains on the hyper-active side, "Carnage Machine" sending all the posers to hell and beyond with another vicious proto-death gust of musical violence... decidedly not for the squeamish.

Biological Disaster EP, 2014
Annihilation by Radiation Full-length, 2020
Taste Your Flesh EP, 2023
Thrashing Attack of the Beast Full-length, 2024

Official Site

BLACK EMPIRE (MEXICO)

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 legends 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 that also has a certain epic flavour. The singer is a sinister blacky rasper, but fits the misanthropic delivery which certainly has its biting thrashy edge (the title-track).

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

Official Site

BLACK END FUTURE (USA)

This is some really wild chaotic stuff which crosses black, thrash and death metal where the more stylish technical moments (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 ending with a compilation of several Kreator songs, all of them easily recognizable ("Time to raise your flag...", etc.), the screechy brutal black metal vocals somehow managing to channel the early rendings of Mille.

Suicidal Heaven Demo, 2006

My Space

BLACK EPIPHANY (USA)

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, original touch are the surreal abstract leads which are pretty much one-of-a-kind, and give the album a strange, inimitable 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 completely 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

BLACK EYED CHILDREN (USA)

Based on the debut: intense old school black/death/thrash which seldom develops beyond the brutal primal bash. The vicious husky black metal 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.
"Utopia" is an even more vicious, more brutal offering the guys blasting with little restraint, favouring the winds of black, above all, the hyper-blasting pervasiveness of "As Foretold By The Cards" and "Gates Of Astral Blackness" mixed with deep atmospheric etudes, the dirgy funereal aura of the final "Invocation Of The Old Ones" bringing fond memories of early Celtic Frost.

Until The Void Consumes Us Full-Length, 2018
Eternal Black Within the Void EP, 2018
Utopia Full-length, 2021

Official Site

BLACK FAST (USA)

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 deathly 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 disappointment to the thrash metal fans; it's heartbreaking to see one of the brightest hopes on the horizon fade away in such a downbeat fashion. The style has shifted to much less ordinary modern melo-thrash/death which hasn't a single shade of technicality developing in a similar 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 deathly leanings. Well, the debut was simply too good to be true, and indeed the band show 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.
"Spectre of Ruin": the band continue with the less exciting, much less technical sound from the preceding showing, the approach now recalling Darkane ("Cloak of Lies") on the more entangled moments, but such desirable deviations are rare the album switching to an abrasive, mid to up-tempo quasi-progressive mode the instilled, not very eventful miasma seldom pricked by more stylish occurrences one of which are the lively semi-gallops on "Famine Angel", with the more entangled shredder "Husk" at the end another relative highlight, the guys echoing the eponymous debut with a portion of ingenious intricate riff-knots.

Black Fast EP, 2011
Starving Out the Light Full-length, 2013
Terms of Surrender Full-Length, 2015
Spectre of Ruin Full-length, 2018

Official Site

BLACK FIRE (PERU)

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 installs "thrash patrols" on every corner, especially with the shattering "Thrash Patrol". Some compositions are merrier and not as fast, but there'll 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

BLACK FOREST CAKE TRADE (CANADA)

Intense violent thrash/proto-death barrage which is simply one pummeling wall of sound, the semi-declamatory punky singer racing along one-dimensional, also one-syllable, melees like “One Syllable Words” and “Addictive Entrapment”, the more sensible “Thrashing for Dollars” manifesting as one super-heavy slab of boiling steam-rolling drama, presiding over the remainder that easily goes towards grindcore on the final “Kill the Poser”.

500 Litres of 2% Milk Demo, 1987

BLACK GHOST (FRANCE)

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

BLACK GRIFO (ITALY)

Intense bashing thrash/death which out 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

BLACK HAMMER (FRANCE)

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

BLACK HAMMER (PORTUGAL)

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 doom seismicity of early Celtic Frost with a raw buzzy sound that only deepens the gloom to a generally positive effect. So expect thundering doom-oriented 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

BLACK HEARTS (POLAND)

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 unleashing a more throaty deathly tone at times.

Don't Afraid Tomorrow Demo, 1992

BLACK HOSTS (POLAND)

Based on the full-length, these folks pull out retro thrash/death which can be quite wild and unbridled ("Sanity Ends", "Lethal Virus"), the vicious screamy vocalist additionally aggravating the approach which is quite close to the one of early Sadus and Morbid Saint, excluding the truly deathly extrapolation "Warriors of Leather" and the more diverse choppy drama "The Castle". Some of the band members are also occupied with the death/thrashers Sexmag and the black/speed metal formation Nekkrolüst.

Times of Eternal Torture Full-length, 2019
Onward into the Abyss EP, 2021

Official Site

BLACK INHALE (AUSTRIA)

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 mosher 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.
"Resilience" clings more towards then modern melo-thrash movement, and as such is a more entertaining affair the dominant mid-tempo stride tolerating both short lyrical instrumental etudes ("Absorbing Energy") and surprising fast-paced extortions ("Jaded"). The closing "The Cube" is a notable more ambitious attempt, a modern progressive thrasher with echoes of Biomechanical.

Inner Pain EP, 2010
Rule of Force Full-length, 2011
A Doctrine Of Vultures Full-Length, 2016
Resilience Full-length, 2020

Official Site

BLACK INSANITY (GERMANY)

Based on the "Nightmare Collection" demo, this act serve rough blitzkrieg old school thrash which comes death-decorated ("Atomic Holocaust") on occasion, also thanks to the gruff guttural vocals. "Slash the Slow" is a catchy mid-pacer, somewhat off-context, and "La Bamba" is a not very venerable version of Richie Sambora's evergreen. Elsewhere the band stick to their aggressive guns, even producing something more complex and melodic on the eventful all-instrumental piece "Fly High".
The "The Suffer" demo is strictly more death-oriented, "Welcome Dreamer" being a short violent basher, and "Let´s Die Religion" is a more relaxed death/thrasher, contrasting with the virulent tornado stirred on the very fittingly-titled "Death Before Disco". The sound quality is really poor, hampering the guys' efforts on a couple of occasions, especially the lead guitarist.

Nightmare Collection Demo, 1989
The Suffer Demo, 1991

Official Site

BLACK JACKAL (USA)

Retro speed/thrash graced by raspy very shouty death metal vocals; this is very close to the early-80's German patterns, so expect rhythms reminiscent of Vectom, Warrant, early Destruction as well... "The Outer Dark" surprises with wilder proto-death riffage but such rude behaviour is a rarity, the pleasant speed metal anthem "How Heavy the Hammer" a welcome remedy. "Ripping Void" is a raucous crossover addition, and "Between the Sickle and the Scythe" is an inebriate Motorhead-ish closer.

Forever War Full-length, 2021

Official Site

BLACK KREEK (CANADA)

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

BLACK LEATHER (CHILE)

This is the project of just one musician, the alias The Machete, who pulls out (based on "Ride Over Death") cool classic power/speed/thrash which he supports with gruff semi-declamatory death metal vocal extrapolations. The approach swings between calm mid-paced strolls ("Burning Desires") and speedy exploders ("Anhedonia"), the former side covering a wider ground, although the highlights by all means belong to the dynamic sector, like the fast-paced delight "Metal to the Core" and the semi-galloping quasi-progressiver "My Freedom".

State of Freedom Full-length, 2013
Sin cuerdas Full-length, 2015
The New Liberty Full-length, 2017
Ride Over Death Full-length, 2022

Official Site

BLACK LIGHT (SLOVAKIA)

Based on the full-length debut, 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.
"Privilege Of Choice" retains the dynamics from its predecessor although epic stompers like "Dangerous Children" restore some balance for the sake of abrasive, crusty moshers like "6 Walls" and "Virus (Humanisease)" those coming in quick succession, the noisy production ruining the positive impression a bit, creating somewhat hardcore-like atmosphere excluding the final "Privilege of Choice" which is a nice attempt at more carefully-plotted thrashing.

Black Light EP, 2015
Name of the One Full-length, 2016
Privilege Of Choice Full-Length, 2018

Official Site

BLACK LIKE VENGEANCE (AUSTRALIA)

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

Facebook

BLACK MACHINE (ECUADOR)

Pretty decent old school speed/thrash with very sharp, but also melodic guitar work with a couple of interesting progressive developments ("Codicia (Avaricia)") on top of the staple fast-paced pieces ("Lujuria (Demencia Sexual)") and the casual more epic anthem ("Pereza (Desidia)"). The vocalist is a not bad clean mid-ranger who loses depth especially on the more aggressive material ("Ira", "Envidia") but his involvement isn't a detriment, and overall the band have done a good job raising the spirit of retro metal in this part of the world.

Los 7 Pecados Capitales Full-length, 2020

Official Site

BLACK MAGIC (NORWAY)

The debut demo: three tracks of amusing retro thrash of the early German school sounding very close to Destruction's "Sentence of Death" (two 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 two high-octane doom cuts, the Saint Vitus-worship "Possessed" and the atmospheric 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

BLACK MAGIK (USA)

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 drama 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/power 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 trajectories 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 two 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 should 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 canceled by rigorous moshers like "Blood Money" and "The Riverman". A sorrowful epitaph comes at the end, though, in the form of the closing "Viaticum", a semi-balladic doomster with great melodic leads.
"The Arc of Descent" changes the course towards mellower waters once again, but few will be the disgruntled although even the shorter material ("Murder-Suicide") is performed in a more laid-back manner. "Hate Has a Home Here" is an exception being a less bridled headbanger but the focus is strictly on more serious compositions like the pounding quasi-doomy "Repay" and the melodic, also dramatic power/thrasher "Ghost of Violence".

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
The Arc of Descent Full-Length, 2018

Official Site

BLACK MARCH (FRANCE)

Based on the "Gloria in Ruinam" EP, these folks pull out brutal black/thrash which doesn't shy away from hyper-blasts ("Psalmody for the Lepers" whenever necessary, the experience being full-fledged black for at least half the time, with thrash trying to sneak in on the longer more contrived saga "Dies Irae". The singer is a pure black metal rasper, a shouty near-hysterical presence.

Oderint Dum Metuant EP, 2014
Praeludium Exterminii Full-length, 2017
Gloria in Ruinam EP, 2020

Official Site

BLACK MASS (BRAZIL)

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

BLACK MASS (USA)

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 debut 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.
"Warlust" is more on the German speed/thrash metal side this time the delivery quite close to the one of heroes like Iron Angel, Vectom and early Destruction. "High Priest in Black" and "Graveyard Rock" are frolic speedy roller-coasters but "Hellhounds" means more serious business, an intense thrash/deathster that conflagrates the second half the latter shooting the more brutal "bullet" "Bible Stomp" and the Motorhead-ish thrash/crossover hymn "Fueled by Drugs".
"Feast at the Forbidden Tree" acquires a gruffer thrashier tone again, the band still holding onto the German models but thin early Destruction Necronomicon this time, the moshing character of pieces like "Dead to the World" and the proto-death exploder "Nothing Is Sacred" vehement enough to conflagrate any stage around the world. "They Speak in Tongues" is a more laid-back heavy stomper, but lengthy epic speedsters like "Betrayal" and "Blood Ritual" generate enough power to bring the delivery back to more dynamic times with vitality to spare.

Demo Demo, 2012
The Second Coming EP, 2013
Ancient Scriptures Full-length, 2015
Warlust Full-length, 2019
Feast at the Forbidden Tree Full-length, 2021

Official Site

BLACK MASS LEGACY (BOLIVIA)

Cool old school thrash from this not very expected place on the metal map; the guys provide long elaborate compositions with a wide range of tempos, bordering on the progressive (think late-80's Metallica, above all) on thought-out pieces like the semi-balladic slow-burner "Eyes from Hell" and the epic closer "Weapons of Death" where some hard thrashing meets lyrical balladic arrangements, those a bit overused throughout the album, to a really poignant at times effect. The vocals are steady clean mid-ranged ones, and could have tried a few more passionate croons to match the intriguing musical delivery.

No Fear Full-Length, 2018

Facebook

BLACK MASS PERVERTOR (FINLAND)

This is a noisy roughly-produced black/trash amalgam that takes no prisoners on uncompromising bashing exercises like “Gathering of the Sodomites” and “Of Satanic Pandemonium and Carnal Desecration”, but the brooding minimalistic vistas drawn on “The Return of the Outsider God” bode a different setting for a bit, the harsh raven-like vocals presiding over this intimidating ceremony, the final “Lust of the Flesh” calming the ball down a bit with a more streamlined speed/thrash veneer. Some of the band members are also engaged with the doom metal wizards Fall of the Idols.

Sodomiittien Seura Full-length, 2021
Lex Sodomiticum EP, 2021
Herpetic Verses EP, 2022
Dionysian Rite Full-length, 2023

Official Site

BLACK MONOLITH (USA)

The self-titled demo: just one song of abrasive crusty thrashcore in up-tempo becoming blasting fast in the second half where an open black metal attitude sneaks in. The singer is a raspy shouter often stifled by the lashing musical landscape.
The second demo: the music is more 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 thrash patterns. The vocals are more hysterical and screamy now deafening the instruments when in action.

Black Monolith Demo, 2011
Demo Demo, 2011

BLACK MOOR (CANADA)

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

BLACK PANTERA (USA)

Modern thrashcore which has the bass as a major weapon to lead combatant energizers like “Padrao e o Caralho” and “Delírio Coletivo” forward, the more playful trots of “Fogo Nos Racistas” erased by the bouncy bellicose riffage of “Nao Fode o Meu Role”. “Revolucaoe o Caos” is an abrasive tribute to Motorhead, and the funky “Eviulcred” ala Suicidal Tendencies and Infectious Grooves give the gruff semi-death metal vocals a chance to rap in a more acceptable, more courteous manner.

Ascensao Full-Length, 2024

BLACK PHANTOM (USA)

Based on "Expiration Date", these folks pull out fast blitzkrieg retro thrash which clearly has no expiration date, and will bring a lot of delightful moments to fans around the world. The mosh never stops here with ripping headachers like "I Am the Wolf" and "Blood Oil" amply provided. The more epically-executed title-track and the power/thrash hybrid "Dreading the Witch" bring the requisite variety, but the focus is by all means on short violent bashers like the proto-death madnesses like "Savage Nature" and "K.W.P.", the overshouty vocals trying to race with the uncompromising music every bit of the way.

Black Phantom Full-length, 2017
Expiration Date Full-length, 2018

Official Site

BLACK PROPAGANDA (USA)

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 hardcore shouter of the angry expressive type.
"Psychological Subjection" is decidedly better and the opener "Acid Rain" already suggests at the bigger musical metamorphosis that 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 brutality is quickly tamed by the next "Hand of God" which is a mid-paced pounder. The more progressive variations on the last two compositions are a bit on the clumsy side, but many will rise on the final headbanging moments from the final "System Down" which close with style this decent effort which again shows unnecessary restraints in the technical department.
The "Modern Prometheus" EP: the band are back after a decade of hibernation, but the modern thrash fiesta that they were exercising earlier is pretty much intact, the corey round-about "Mother Prometeus" establishing the angry raucous approach, the other cuts following more or less obediently, the sharp lashing skirmishes on "Holodomor" merging into the sterile semi-technical reverberations of "K141", before "Hit the Mass " enters with friendlier but still equally vicious riffs, the vocal accompaniment remaining within the shouty hardcore perimetres.

Black Propaganda Full-length, 2011
Psychological Subjection Full-Length, 2014
Modern Prometheus EP, 2024

Official Site

BLACK RABBIT (HOLLAND)

Based on the full-length, this act pull out dynamic classic death/thrash which lashes riffs to no end with "Neverending", but becomes nicely technical on the puzzling "Culmination of Hate", the insistently dramatic "Hollow Eyes" also keeping the audience on their toes with its effective thundering guitars. "Fake Blood" wishes with moderation, and "Parasite of Minds" is an arresting melodic anomaly, the total opposite to the confrontational guttural death metal vocals. Some of the musicians are also occupied with the death metal formation Warborn Waste.

Warren of Necrosis EP 2020
Hypnosomnia Full-length 2023

Official Site

BLACK RAMSTEIN (INDONESIA)

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

BLACK REAPER (SLOVENIA)

The debut: 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.
"Birth of Extinction" comes with a boosted, also more technical sound ("Dead by Sunrise") although the core of the album are again the speedy roller-coasters like "Induced Hatred" and "God ov War", short concrete moshers with very good melodic lead guitar work. "Flames of Armageddon" is a somewhat unexpected sprawling mid-paced epic which influences the delivery in the second half, the guys adding more slower passages the latter's significance erased by the shattering headbanging closer "Demonic Wings".
"Under the Dying Sun" is both a more complex and more melodic offering, with death metal more widely covered this time as well, the band diversifying their palette on a nearly track-by-track basis, the hectic death/thrasher "Blinded by Greed" a sure highlight, its blitzkrieg intricacy later matched by the At the Gates-esque "Eclipse" and the choppy roller-coaster "Age of Intolerance". "Inner Prison" is a more moderate progressiver, the band showing several faces here, all to the listener's liking.

Blood Moon Rising Full-length, 2017
Birth of Extinction Full-length, 2018
Under the Dying Sun Full-length, 2021

Official Site

BLACK REDEMPTION (INDONESIA)

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 material. 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

BLACK REIGN (AUSTRALIA)

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's 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 title-track "Sovereign" hits with full force. Then the band wake 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 isn't the end, though, 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" that 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. 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

BLACK RITUAL (USA)

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

BLACK RIVER (POLAND)

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's 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

BLACK SACHBAK (ISRAEL)

The debut: the Jewish contribution to the genre hasn't been very profuse 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 isn't that big the guys just relaxing with mild unpretentious tunes for most of the time.
"Black Sachbak vs. the Future": this act with the Black Sabbath-parodying moniker have decided to present themselves as more passionate moshers the riffs flying more aggressively this time be it disguised as punky hardcore or as more seriously-woven thrash ("Time Quest Assassin"). "The Michael Jackson Job" is certainly a joke song with the theme from "Black or White" turned into a party-like funky vaudeville, and "Feast of Aurora" is a very surprising turn towards nearly progressive thrash, an enjoyable diverse roller-coaster which pairs well with the speed/thrashing frolicer "Fight Against Sobriety".

No Pay No Gain Full-Length, 2013
Black Sachbak vs. the Future Full-Length, 2019

Official Site

BLACK SHEPHERD (BELGIUM)

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

BLACK SKIES BURN (UK)

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 drama with their forceful, sometimes even hysterical, rendings.

To Punish and Enslave Full-Length, 2013

Official Site

BLACK SKULL (MALAYSIA)

A Malaysian trio this one, specializing in traditional classic speed/thrash the delivery swinging between all-out speed metal ("Rule The Game") and atmospheric semi-balladic ("Lost in Lust") pageants. "Destiny" is by all means the highlight, an elaborate multi-layered thrasher with echoes of Heathen, with "Silent Pain" a very close second, another notable less ordinary shredder. The crossover joke "Don't Be A Shit Crowd" is the only unmitigated setback if we also exclude the harsh semi-shouty death/hardcore vocals.

Blind Side Still Remain Full-Length, 1994

BLACK SOUL BLADE (RUSSIA)

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

BLACK SPUTUM (SWITZERLAND)

Based on the demo, this act provide three 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

BLACK SUN BROTHERHOOD (NORWAY)

Classic thrash/death which is mostly a steady heavy, battle-like mid-tempo march not far from later-period Bolt Thrower. "Vengance is Mine" pours some energy into the dominant officiant layout, but "Leviathan" easily touches the fields of doom, the second half coming alive thanks to the short ripping headacher "Love is a Demon" and the volatile jump-arounder "Sol Invictus". The singer has a comprehensible death metal throat which he displays at every opportunity, leading the show with warrior-like authority. Some of the band members also play with the death metal cohort Infanticide.

God & Beast Full-length, 2020

Official Site

BLACK SUN OMEGA (GREECE)

Not bad retro power/speed/thrash ruined a bit by the gruff semi-shouty death metal vocals. The music delivers due to its impetuous nature, and "Ground of God" and "Start Your War" are no-jokers with their hard-hitting veneer whereas cuts like "The Arena of Souls" and "The Score" reveal the more thought-out side of the band's repertoire, the one that borders on the progressive. "The Whore of Babylon" is an atmospheric academic doomster, but deviations of the kind are not generously provided here.

The Sum Of All Fears Full-Length, 2019

Official Site

BLACK SUNFIRE (GERMANY)

Shredding modern-ish thrash which has both a playful ("Drone Control") and a more pronounced moshing ("In Our Hearts") veneer the intense semi-shouty vocals doing a good job in intensifying the environment with their effective semi-shouty spat-out antics. "Trash Society" is an interesting attempt at a more progressive song-writing, but the lads are more infatuated with the headbanging aesthetics more at this stage.

Resist Exist Full-Length, 2019

Official Site

BLACK TALON (UK)

This is a 3-song EP which offers abrasive modern thrash with sparse 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 timbre, 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 second 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 doom passages with plenty of atmosphere "roaming" around.

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

Official Site

BLACK TALON (USA)

Groovy 90's post-thrash with abrasive synthesized shouty vocals; Pantera emulators, above all, "Rage" ironically being the softest cut here, a semi-balladic groover which pounds its way timidly, "Red Sky" sounding way more boisterous, even attempting something more overtly thrashy, the stoner/doom extrapolations on "Stand Up" pacifying the situation again at the end.

Demo Demo, 1994

BLACK TASK (USA)

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

BLACK THORN HALO (USA)

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 second half elevates this effort well above the average not to mention the convincing dramatic vocals which are suitably angry without being annoying.
"The Horde" continues to surprise pleasantly as the post-thrashy fiesta never becomes annoyingly groovy with "The Rising" and "Kill the Pain" parading as full-fledged thrashers, the title-track galloping formidably overwriting the timid aggro-thrown-ins ("The Swarming") also with the help of "Into the Unknown (On the Razor's Edge)", a dynamic speed/thrashing piece which sticks among the heavier steam-rolling cuts in the second half.

Texas Fucking Metal Full-length, 2012
Deadline Full-length, 2016
The Horde Full-Length, 2019

Official Site

BLACK THOUGHTS BLEEDING (GERMANY)

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

BLACK TOOTH (TURKEY)

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 second 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

BLACK TORMENT (MEXICO)

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 compilation, 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 a truckload 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 black metal 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 either, 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

BLACK TRIANGLE (USA)

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

BLACK TRINITY (GREECE)

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 doomy Barathrum-esque spirit.

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

Official Site

BLACK TRIP (MEXICO)

This EP offers three 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

BLACK UNIFORMS (SWEDEN)

Relaxed Motorhead-ish 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 future members of At the Gates and Virgin Sin involved.

Faces of Death Full-Length, 1989

Facebook

BLACK VIRGIN (USA)

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 second half arguably the more enjoyable one. The singer does a decent job with his gruff authoritative timbre crossing Tom G. Warrior with early Peter Steele (R.I.P.).

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

Youtube

BLACK WYTCHE (USA)

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

BLACKEND (GERMANY)

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

BLACKENED (BRAZIL)

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 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 in nailing 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

BLACKENED (CANADA)

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

BLACKENED (FRANCE)

The debut: this is intense ripping old school/modern thrash which is constructed around speedy blitzkrieg configurations reflected in moshing delights like "Dead End" and the nearly death-prone title-track, the shouty death metal vocals ala Martin Van Drunen (Pestilence, Asphyx, etc.) doing their own damage on the side. "The Dark Side" is another prime direct headbanger before "Twisted Mind" complicates the environment with more contrived riff-patterns recalling "Testimony of the Ancients".
"Voices from the Void" follows a similar trajectory to the debut, with bigger complexity exhibited on a few longer more entangled compositions ("Blackening", the moody downbeat "Tomb of Horrors"), the equally atmospheric title-track helping with the gathering darkness. The short explosive "Mind Flayer" is more than welcome to pour fuel into the furnace, "The Spider's Embrace" another exposition of high velocity on a more intricate base, wrapping on the album with a desirable more ambitious flair.

The Aftermath Full-length, 2018
Voices from the Void Full-length, 2022

Official Site

BLACKENED (ITALY)

The "Time Out" demo: these folks provide energetic old school thrash that clearly has progressive pretensions, and not only due to the lengthy compositions. "Another World" is a heavy dark atmospheric thrasher, and the title-track is a cool stomping instrumental with weird melodic leads. "Corruption (The True Meaning of Money)" courts the Bay-Area with fierce gallops and more flexible arrangements, and "Mental Derangement" is a near-consummate progressive thrash roller-coaster with a pleiad of nuances and tempo-changes, not to mention the extended virtuoso lead sections. "Surprise! You're Dead" is... naturally, a Faith No More cover, but is a disappointment, sloppily performed, mot matching the loftier complex flair of the original material. The vocals aren't much to talk about, either, flat unemotional semi-declamatory/semi-clean, and it's good that there are long passages without their participation.
The "So Real" demo offers the intriguing combo "Intro/So Real/North of Hereafter", a pure progressive thrasher with choppy irregular rhythms and a frequent change of pace, the brief non-fussy "The Path of Life" another stroke of tight complex shredding, the excellent lead-section calling some of the Shrapnel heroes to mind even. "Cross That Line" is an admirable dynamic speed/thrasher with Bay-Areasque overtones, think Megadeth, above all, but this it more surreal, with psychotic overlapping rifforamas dancing around, making this shorter a really appetizing obscurity.

Time Out Demo, 1991
So Real... Demo, 1992

BLACKENED (NORWAY)

These folks indulge in dynamic, quasi-progressive power/speed/thrash which could be viewed as an early precursor to the style of the Danes Manticora on the more inspired moments ("World of Sorrow"). The pace is quite invigorating for most of the time the guys never switching to full-fledged thrash, but always keeping the aggressive tension in the air be it with episodic surging gallops ("The Day After.") or with open speed metal barrages ala the early German school. The singer is a semi-declamatory throat who doesn't do a very good job due to his not very expressive, unrehearsed antics. The guys changed their name to Paradigma later and started playing atmospheric doom/death.

Thou Shalt Suffer Demo, 1990

BLACKENED ANGEL (AUSTRALIA)

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 times 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-pacers ("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 black metal raven who simply doesn't have place here.

The second part of the "Chronicles..." is out and it doesn't differ radically from the style already epitomized on the first instalment. 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 isn't very big since this is a follow-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 timbre, still not very expressive, but is surely on the right track to perfection.

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

Facebook

BLACKENED HALO (GERMANY)

Based on the full-length, this act specialize in retro power/thrash assisted by hoarse but effective semi-clean vocals. Although "The Evil One" and the atmospheric semi-balladic "Rivers of Solitude" both display some progressive ambition, the rest of the album doesn't break any very contrived borders, the mid-paced idyll early established with the steady "Bite the Curb" seldom broken although both "Knockout" and "Sanctuary" have their energetic jumps and jolts, the highlight to these ears being the bewitching Oriental pirouettes on the final "Realm of the Dead".

Into Oblivion EP, 2017
Slaves of Salvation Full-length, 2019

Official Site

BLACKENED RITUAL (UK)

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

BLACKENED SKY (USA)

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

BLACKENED SNAKE (CZECH)

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

BLACKENING (CZECH)

Based on "Radical Manual", these lads offer decent old school thrash that shreds maniacally ("Mind Control") with shades of technicality, but the slow-motion breakdowns are present on nearly every cut, the choppy skeleton of "Regression" another less ordinary occurrence. The hoarse shouty vocals seem to be the most banal ingredient here, but music-wise the situation holds also thanks to the lengthy elaborate saga "Built to Fall". The friendly doom/stoner rhythms on "Sold... Your Soul" are a mellow digression, pairing well with the crunchy proto-doom riffage on "Your God Can't Save You". Due to those, the second half never gains inertia, the band wasting time in soft power/thrash formulas that become repetitive and trite before the end.

Mental Disorder Full-length, 2017
Radical Manual Full-length, 2021

Official Site

BLACKEST SIN (CANADA)

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"). Relieves 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 death metal 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/thrash 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 added to the fore including a less bridled death metal blast- beating passage. More death metal comes served on the dramatic title-track, "Frostbite" wrapping 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

BLACKEVIL (GERMANY)

Based on the full-length debut, 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/death vocal participation 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.
"Praise the Communion Fire for the Unhallowed Sacrament" comprises lengthy progressive exercises in retro speed/thrash, the more officious pomposity of "Divine Forces" fitting the elegiac nostalgia released on "Beneath this Pentagram". No such unmitigated missteps later, "Praise the Fire for the Sacrament" speed/thrashing with quite a bit of passion, and "Towards the Carpathian Winter Battle" bringing all nuances together for an ambitious, encompassing journey with black metal also coming to play at some stage.

Hail the Cult EP, 2015
The Ceremonial Fire Full-length, 2017
Forever Baptised in Eternal Fire Full-length, 2020
Praise the Communion Fire for the Unhallowed Sacrament Full-length, 2024

Official Site

BLACKEYE (UK)

Based on the "In My Darkest Hour" EP, this band play modern semi-progressive thrash which is mostly built on weird jumpy rhythms ("Depleted") those accompanied by awkward misplaced brutal deathsters ("Medusa"). Watch out also for the eclectic ballad "Seven Gates", a surreal piece with heavy dramatic elements that turns into a death metal march later. Some of the band members also played with the progressive death metal heroes Aghast with whom they also showed preferences towards the shorter format, only with a much longer string of EP's.

In My Darkest Hour EP, 2004
Deja Vou EP, 2006

BLACKFAST (USA)

Vicious aggressive thrash/proto-death sitting somewhere between early Rigor Mortis and Torture's "Storm Alert". The band bash with vigour as the only seeming defect is the really muddy sound quality which stifles the guitars' sharpness at times. "Knights in Black" is an admirable hyper-speedster that will also remind of the legendary Agent Steel debut, the leveled semi-declamatory vocals the furthest possible departure from John Syriis' melodramatic passionate wails.

Demo Demo, 1987

BLACKFIRE (JAPAN)

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

BLACKFORCE (BRAZIL)

Based on the "War Has Begun" EP, this Brazilian trio serve ripping blitzkrieg old school thrash, the mosh never stopping throughout these four compositions, the guttural death metal vocals not really suiting the strictly thrash-fixated soundscapes although the less tamed proto-blasts on "Prophets of Tomorrow" try to tell a different story fir a bit, the barely bridled energy unleashed on "War Has Begun" a clear contender for Slayer's "Reign in Blood".

Slaves to Reality EP, 2016
War Has Begun EP, 2020

Official Site

BLACKGATE (USA)

Based on the full-length debut, 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 thrash base the dramatic riffs 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 guitars 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.
The debut EP is a decent beginning, a retro power/thrash compendium which doesn't have a very accentuated edge save for the vivid drama "I Am The Night" and the rowdy roller-coaster "Love For Lust", "You Better Run" built around more sentimental quasi-progressive currents.
"Blood in the Sand" is an all-instrumental affair, with thrash missing from the equation for at east half the time, the slow-burning title-track creating some rowdier overtones, the short "Funeral Pyre" the bravest thrash exponent, "Death March" flirting with the realms of doom, not so much death; and "The Abyss Stares Back" consolidating the statement made heretofore with livelier thrashing rhythms.
The "Calm Inside the Storm" EP is a power/speed/thrash combination that focuses on the leads, above all, the measured trots of "Breakout" stifled by the mitigated balladic undercurrents of title-track, "Weapon X" taking out meek mild semi-balladic weapons, and "Tower of Stone" providing partial compensation with more belligerent quasi-epic arrangements.

Blackgate EP, 2014
Ronin Full-length, 2016
Blood in the Sand Full-length, 2021
Calm Inside the Storm EP, 2023
Past Lives EP, 2024

Official Site

BLACKGOAT (USA)

Based on the debut, this band play heavy dark thrash/death with seismic doom undercurrents, the shouty death metal vocalist adding to the oppressive at times atmosphere. The opening thrash/crossover energizer "Tyrannical Regression" has a few matches later in terms of dynamics, but the casual gallops released on "Ceremonium Impure" should do the trick, as well as the lively hardcore-ish accumulations on "War Again". Some of the musicians play in the doom/gothic formation Dark Dead Mind, and the sludge metallers Undone.

Blackgoat Full-length, 2000
By Unseen Forces Full-length, 2003

BLACKHONEY (HUNGARY)

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 leveled 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

BLACKHORNED (DENMARK)

Throughout their career this band, whose only constant member goes under the pseudonym Atziluth, have/has stuck to the intense old school black/thrash metal models playing very fast music ornate 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 doom/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 of early Bathory, and "A Nail in the Coffin" is an intriguing dissonant oddity with a cool doom ending. The rest is well executed symphonic black metal with imposing, majestic atmosphere and several gloomy doom-ornate escapades.
“The Rise of Naamah” again raises the black metal flag much more widely, the abrasive sound further delineating the delivery from the thrash metal confines, the bashing “Moonlight Cemetary” the only more thrash-oriented cut here, the rest comfortably residing within the blacky realms.

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
The Rise of Naamah Full-length, 2019

Official Site

BLACKKOUT (USA)

A very good power/thrash metal band with a style similar to Liege Lord and early Iced Earth, but more technical and thrashier (compared to Liege Lord). It's also interesting to note that the band members were also running another enterprise at the same time, the heavy/power metal formation Messiaxx. 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, the pathos and the drama heightened by the very good clean, mid-ranged attached vocals. 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

BLACKLIST (UK)

Based on the full-length debut, this band play retro thrash which can be both on the more extreme proto-death side ("Buckets Of Blood") and on the metal thrashin' mad ("Blood on the Sand") one. There are a couple of more uplifting moments (the crossover-laced "Buried Alive") to be savoured, including the semi-galloping power/thrasher "Plague Doctor". The vocals are semi-shouty with a hardcore blend, and don't occupy too much space.
"With Murderous Intent" retains the aggressive attitude from the first instalment, the guys going ahead with the no-bars-held "Cannibal" before opening up for bigger more serious possibilities with the melodic pounding drama "Blood Baptism" and the diverse deathly "The Shape", "Kill the Coroner" eliciting a few really delectable lead sections. "The Dismemberment Blade" is a brief concrete brutalizer, but watch out for "Naturom Demonto" and by all means for "With Murderous Intent", varied thought-out odysseys with numerous twists and turns, the dominant layout strictly on the bashing fast-paced side.

Bombs Away EP, 2019
Disciples of Time Full-length, 2021
With Murderous Intent Full-length, 2024

Official Site

BLACKLISTED (ITALY)

Based on the debut demo, this band play choppy old school thrash that moves onward in a prevalent mid-tempo mode, the Bay-Areasque shredder "Fuck You to Live" a nice energetic boost, the mid-ranged semi-declamatory singer doing a pretty decent job on the melancholic semi-balladic "Storm Again". Both currents are nicely blended on the varied sprawling "Death Aims Well...And You Are the Victim", "Hooligans" also attempting something out of the box with frequent quiet insertions. Some of the musicians are currently playing in the hard'n heavy troubadours Tyrant.

Demo Demo, 1991
Grazie 1000 Grazie di Quore Demo, 1992
The Broken Promise Demo, 1993

Youtube

BLACKMAIL (UKRAINE)

The debut: this Ukrainian act specialize in modern power/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 with the best out there at some point serving fast sterile technical riffs. "Plastic Eyes" is a nice dramatic steam-roller before "Mystical Art" tones it down with semi-balladic 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.
"Unworthy of a Man's Name" doesn't stray too far from the initially chosen path except that this time the faster-paced cuts ("The Monument") are more as well as the longer, more complex ones ("Devastated Grave") on which a lot of things happen with things going towards the extreme progressive metal, the less elaborate compositions ("Of Dog and Wheel") delivering better with their more compact character, with "Beauty" stretching towards more appetizing technical, Darkane-sque territories.
The self-titled follows the well-trodden by the guys path with some alternative metal variations ("Sleep Barely") dissipating the intensity which is picked immediately by the pounding steam-roller "Abyss". The second half slows down and doesn't offer too much entertainment for the moshers who may cringe on the lyrical balladic digressions on "Mean Cold Old Machine" although the short bursting "By Myself" will satisfy them including those who take their modern metal with a pinch of Madball-esque hardcore.

Tamer Of Feelings Full-Length, 2013
Unworthy of a Man's Name Full-length, 2018
Blackmail Full-Length, 2019

Official Site

BLACKNESS (FRANCE)

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 thrashier 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

BLACKNESS (GERMANY)

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 something more substantial. The band members later tried their luck in the thrash metallers Dryrot, and the death metal formation Absorb.

Last Sacraments Demo, 1989

BLACKNETIC (GERMANY)

Based on the full-length, this act serve classic power/thrash that starts with an all-instrumental flirtation on the main theme from the "Halloween" blockbuster, before "Know Your Circle" early establishes the prevalent mid-paced demeanour permeating this recording. "Even the Void" seems livelier than its surroundings, but overall there aren't that many attempts at breaking the settled canons, if we also exclude the moshing vigour unleashed for a bit on "Hell & Fire" and "Ill-Fated". The closing "Over the Hills and Far Away" is... yes, you guessed right again, a cover of Gary Moore's (R.I.P.) huge hit,a passable rendition save for the not very expressive leveled mid-ranged clean vocals although,in the singer's defense, they do resemble the croons of the late axeman.

See the BlacKNesS... EP, 2016
Darkness Falls Full-length, 2023

Official Site

BLACKNING (BRAZIL)

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 uncompromising 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".
"Awakening Rage" isn't modeled after the previous instalments but is a more expansive listen, the guys taking more chances with exprerimentations, moshing with passion in the familiar way ("Disfigured Trust", "Vengeance Is Mine"), but making sure there's the obligatory provision of seismic earth-shakers ("Insanity In Power") and the odd hardcore stroll ("Never to Be Free"). "Eye For An Eye" is a heavy slow-burner, and "Unnamed Reality" is another controlled mid-paced trot.

Order of Chaos Full-length, 2014
Alienation Full-length, 2016
Awakening Rage Full-length, 2023

Official Site

BLACKOUT (COSTA RICA)

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 is 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

BLACKOUT (GERMANY)

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

BLACKOUT (UK)

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

BLACKOUT (USA)

Old school power/thrash that opens with the militant corrosive all-instrumental piece “Valley of the Kings”, before switching to more eventful Bay-Areasque thrashing on “Blackout”. “Things That Go Bump in the Night” flirts too much with the balladic possibilities to be viewed a truly entertaining listen, and “Judgement Day” is a short pulverizing headbanger. Darkness and atmosphere descend for the brooding title-track, a minimalistic creeper which pulls the best out of the cool attached clean vocalist. Make sure not to miss the final “Mr. Molester”, an uplifting speedster with a covert crossover potential.

Inner Mission Demo, 1992

BLACKOWL (FRANCE)

Evil black-ish thrash served by these three Frenchies; shades of early Bathory, echoes of Celtic frost, some playful speed metal-ish frivolity ("Dark Side") as well, but also expect quite a few unrestrained blast-beating walkabouts, the stylish lead sections creating the sense of proficiency without completely stealing the show. The tenebrous progressiveness of "Eternal Landscapes" is more than welcome, possibly the highlight on this entertaining variegated recording which also boasts vicious black metal vocals.

The Dark Side Full-length, 2019

Official Site

BLACKRAT (CANADA)

The debut: this crusty trio from the wintry Calgary specialize in crusty black/thrash 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 death 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 more 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".
"Dread Reverence" brings back the bigger aggression from the debut the guys moshing on all-fours, not taking any prisoners whatsoever with untamed outbursts like "Into the Ebony" and the Impaled Nazarene-sque "Thrall to the Gallows". The more playful aspect of the preceding effort isn't completely missing as "Coffin Rock" is a sped-up energized version of the early Motorhead feats, and "Headless Countess" is an entertaining melodic power/thrasher, "The Sign" adding the obligatory more officiant epic veneer to the album.

Whiskey and Blasphemy Full-Length, 2013
Hail to Hades Full-Length, 2016
Dread Reverence Full-length, 2018

Official Site

BLACKRIDER (MEXICO)

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 second 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

BLACKSEER (USA)

Heavy modern-ish thrash with harsh shouty death metal vocals; the delivery seldom degenerates to timid post-thrash grooves, and there are a few interesting atmospheric moments ("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

BLACKSHARD (CZECH)

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-death 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

BLACKSHINE (SWEDEN)

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 quiet 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

BLACKSKULL (BRAZIL)

Based on "Corporate Suicide", this band, who were earlier known as Intoxicator, play vigorous retro speed/thrash which comes served with a strange choppy rhythm-section, the stylish semi-technical crunchiness of "Be Ready" a sure flag raiser, the similarly-styled "Oppression" recalling Megadeth at their best, with "Human Decay" establishing a more light-hearted atmosphere frolic with speed metal rhythms. The only of its kind, this one, the band recapturing the more intricate veneer with the clever shredders "Consulmerist Impulse" and "Proteste ou Espere". The vocalist is a gruff semi-cleaner with a not very melodic timbre, not winning too many points for the album from his side.

Death Deal Full-length, 2012
Corporate Suicide Full-length, 2021

Facebook

BLACKSTORM (USA)

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 thrashier. "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-leveled 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" isn't the fastest track in the world, either, but is a truly satisfying progressive/doom 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

BLACKTHORN (ITALY)

This Italian trio serve lashing old school thrash which is expressed through short bursting cuts (“Skyrider”, “Forbidden to Love”), the maddening pace generated on “Glucosio” bordering on proto-death, the hoarse shouty hardcore singer supporting the rowdy cause, including on the more relaxed crossover joy “Blackthorn” towards the end.

Just the Beginning Demo, 1996

BLACKTHRONE (FINLAND)

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 doom ones, pure black metal outbreaks; will appeal to fans from several walks of metal.

Black Metal Juggernaut Full-length, 2005

My Space

BLACKWITCH (AUSTRIA)

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 death metal fashion.

Satanic Shred Force EP, 2012

Official Site

BLACKWITCH MESSIAH (USA)

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

Facebook

BLADE OF TERROR (POLAND)

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

BLADE OF THE RIPPER (USA)

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

BLADECRUSHER (HOLLAND)

The debut EP: old school thrash which rages hard on occasion ("Mercenaries"), also pounding with moderate seismicity ("No Mercy") here and there, the shouty quarrelsome deathly vocalist spreading his message with venom and spite. "Reign of Terror" is a more relaxed mid-pacer, and "Tempestarii" is a short doom instrumental, the closing "Behold the Deity" showing bigger maturity with a wider array of nuances and tempo shifts. The band were earlier known as Tempest when the style was modern thrashcore.
The "Death, Revenge, War" EP is another 4-songer containing the same energy and vigour, "Obey the Reaper" moshing with verve and a tinge of intricacy, "Justification" being vintage Germanic speedster, think early Destruction for a good reference point; and "Siege of a Thousand Daggers" justifying its presence with an array of heavy pounding rhythms, switching eventually to full-blooded thrash at some stage.

Tempest EP, 2022
Death, Revenge, War EP, 2023

Official Site

BLAKE'S VENGEANCE (ITALY)

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 technical quirks 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

BLAKK MARKET (BRAZIL)

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

BLAKKNIS (USA)

Very cool dark atmospheric, but also fairly energetic at times old school tech-thrash/death with vociferous intimidating death metal vocals ala Martin Van Drunen (Pestilence, Asphyx, etc.); choppy stop-and-go marvels like "Decrepit Thoughts" are surely the cream of the cake, but watch out for the sinister creepy undercurrents on "Disembodied", and for the pounding, also seductively spacey urgency of the Floridian movement worship "Embalmed". "Eternal Darkness" is a stylish restless wink at Pestilence's first two, and "Misconception" is a direct non-fussy headbanger with ethereal Nocturnus-esque keyboards. "Contorted End" is another right as rain brutalizer, but "Darkening in the Mind" complicates the environment with crunchy not very predictable riffs, the time and tempo shifts following in quick fever-ish succession for a rousing "Testimony of the Ancients"-like finale. The shadow of the mentioned Dutch legends is quite tangible, but this effort is simply too good to be buried with the less imaginative emulations.

Drifting in Horrid Agony Full-length, 1992

Facebook

BLAKSOULS (POLAND)

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 close 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

BLANKET HILL (LUXEMBOURG)

Based on the debut, this is rowdy corrosive thrashcore that also holds quite a bit of melody ("Onmicidal"), also with nice female vocal presence ("Prisoner") from time to time. "Sign of the Jackal" is a nice classic headbanger, but the rest clings between the heavy stomping ("Neighbourhood") and the moderately galloping ("Moon Logic"). The singer is a shouty semi-deathster who frequently emits passion, and also sings articulately on the more laid-back bluesy "Granite City Blues".
"The Ash That Shall Remain" features modern thrashcore which can be quite rowdy (“Eau Rouge”) on occasion, but the general feel is one of harmony and relative peace, the pedestrian chops of “Let the Hammer Swing” partly disturbed by the speedy ornamentations of “Out for the Count” and the near-thrash belligerence of ” Brass Verdict”. The vocalist is a levelled mid-ranged hardcore semi-shouter, becoming marginally more lyrical on the melodic energizer “The Ash That Shall Remain”.

The Courage of Hopelessness Full-Length, 2022
The Ash That Shall Remain Full-Length, 2024

Official Site

BLANKWAR (BRAZIL)

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 latter 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

BLARGH

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

BLASFEMIA (CHILE)

Based on "Obscure War Metal", this is early Germanic thrash in the beginning, quite a typical sound for the South American metal underground, everything done by just one musician, the alias Alcoholizer. 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.
"Nocturnal Astral Visions" is served with more evil black metal atmosphere not far from early Bathory which also matches the approach on at least half of the material, but the early German spirit still roams around reflected in rigorous shredders like "Journey To Personal Death" and the excellent melodic epicer "Pactes Profanation". More brutal shades of death ("Unknown Silent Annihilator") can also be detected including on the Morbid cover at the end "Winds Of Funeral".

Antichrist Assault EP, 2012
Obscure War Metal Full-length, 2014
Ancient Occult Wisdom Full-length, 2015
Nocturnal Astral Visions Full-length, 2018

Facebook

BLASFEMIA (COLOMBIA)

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 Ramon.
"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 doom 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

BLASPHEMANIAC (BRAZIL)

Based on the "Lust Possession" demo, this act provide a classic black/thrash blend which is solely reflected in speedy non-fussy numbers ("Lust Possession", "Postmortem Alcoholic Desecration"), very rough simplistic barrages that get the message through, helped by the not very comprehensive echoing black metal vocals. "Satanic Witchcraft" is a surprisingly melodic, also more intriguing, composition which finds partial shelter in the Vectom cover of "Black Viper" at the end, a cool speed metal anthem, a nice reminder of the mentioned German legends. Some of the musicians also play with the black metal formation Cristo em Chamas.
The full-length is hyper-active old school black/thrash, the speed metal virulence of "The God's Mother Rape" the catchiest moment here, "C.I.J.D." invigorating the setting to sizzling proportions, its rowdy cause ably supported by the crusty hymn "Armageddom Is the Only Way" and the galloping infectiousness of "Riding Nights (Ride the Goat)". The shouty deathl metal singer is exacerbating enough as well, his vicious rasps turning to screeching witch-like rendings on the very cool cover of the Japanese Sabbat's "Moon's Hill".

Lust Possession Demo, 2021
The Call of the Black Goat Demo, 2021
Bestial Occult Ceremony Full-length, 2021

Facebook

BLASPHEMER (BRAZIL)

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

BLASPHEMER (COLOMBIA)

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's 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

BLASPHEMER (NORWAY)

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

BLASPHEMIA (CHILE)

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

BLASPHEMOUS (USA)

The band name may prepare you for a black metal attack, especially when the second 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's 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

BLASPHEMOUS CREATION (USA)

Based on "The Rise of Marduk", this band play hyper-active black/speed/thrash with not very overt death metal tendencies incorporated at 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.
"Forsaken Dynasty" is a bit more on the thrash side, but the approach is quite comparable, the guys unleashing their hyper-active vistas with little restraint but also with a lot of melody, the epic speed metal saga "World Encircler" raising the spirits, the more technical extrapolations on "Technological Enigma" boding bigger musical valour, the latter sacrificed for the sake of more orthodox anthems like the vehement thrash/deathster "Ascension Towards Eternity".

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
Forsaken Dynasty Full-length, 2018

Official Site

BLASPHEMY (USA)

Based on the "Lullaby and Goodnight" demo, this band, who were earlier known as Cerberuss (all-instrumental), play old school thrash which can be quite intense with some chaotic bashing featured on the title-track and the lengthy roller-coaster "Powers of Darkness", "Lying In A Pentagram" attempting something along the doom parametres for a bit, but "Coven" reaches the proto-death dimensions with ease, the rending shouty vocals becoming more intelligible here and there ("Welcome to Your Funeral"), including on the dark morose "Alive". The guys changed their name to Bloodshed, the style turned to a black/death metal combination.

Demo #1 Demo, 1989
Welcome to Your Funeral Demo, 1989
Lullaby and Goodnight Demo, 1990

Youtube

BLASPHEMY (VENEZUELA)

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's 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 deathly edge, and although the tempo is fast almost every track is ornate 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 Porao's "Beber Hasta Morir" is taken from the Brazilians' early more crossover-based works; and Nuclear Assault's "Game Over", done faithfully with a cool sharp edge; both songs are split by the aggressive shredder "La Venganza De La Bestia", a maddening speed/thrasher with sparse blasting tendencies. The closing "Dasis De Odio" is another vigorous piece with good melodic hooks and lashing riffs the former contrasting with the rough semi-shouty vocals quite a bit.

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

Official Site

BLAST FURNACE (ITALY)

This is intense, a bit chaotic thrash which will satisfy the headbangers with the fast ripping "Have a Nice Death", the decent semi-clean mid-ranged singer performing best on the semi-balladic stroller "Agony" which turns into a fierce thrashing crescendo later, the latter also reflected adequately on the wild basher "Black Rider" at the end.

Energy over Limit Demo, 1987

Youtube

BLAST FURY (MEXICO)

Based on the full-length, this outfit specialize in interesting atmospheric retro death/thrash which is marred by the overshouty hysterical singer; the speedy outtakes ("Haternet", the short bursting "Snap") occupy half of the album, but the guys also take of the stomping mid-pace to achieve their goal, and cuts like "My Shelter" and "Barren Brains" are major steam-rollers darkening the setting to near-doomy proportions.

Blast Fury EP, 2017
Thoughts of Destruction EP, 2018
Mean Tales Full-length, 2020

Official Site

BLAST OPEN (SPAIN)

The debut: the blasting band name doesn't quite do them justice since the music on 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.
"Spitting Blood" is a more aggressive affair, the guys lashing with more passion and verve, keeping their older fanbase in check with the heavy stomper "Fallen Angel", but will invariably scare them away with the furious proto-death rager "Pool of Blood" and the rowdy corrosive thrasher "Cross Hate". Watch out for the more technical developments on the power/thrashing "A Light Behind the Darkness", and for the not very appropriate blasting extremities on the closing "Immortals".

They Destroy Our World Full-Length, 2012
Spitting Blood Full-Length, 2022

Official Site

BLAST TORMENT (USA)

This US duo specialize in heavy modern thrash that has its sprightly vivid moments ("Morose Soul", "), but there are also a couple of more experimental moments, like the abrasive variegated motifs on "Shadows Around My Mind", and the lead-driven balladic variations on "Corazon Roto", the attached but limited semi-clean hardcore singer often completely missing from those, including on the pretty proficient quasi-progressive opus "Psychological Warfare", some of the compositions also offered in the instrumental-only versions at the end.

Shadows Around My Mind Full-length, 2023

Official Site

BLASTED (FRANCE)

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

BLASTED (USA)

This outfit were earlier known as Torment, the style pretty much the same. What's the style then? The style is retro very simplistic thrash/crossover barrage topped by high-strung shouty hardcore vocals. On the music front this is a combination of more serious mid-paces ("Wreak with Lies") and corrosive fast-pacers ("Feelings"), the closing stomper "Double Crossed" the possible highlight with its menacing riffage and the pronounced thumping bass-bottom.

Turning Over a New Leaf Demo, 1995
Enter the Ruckus Demo, 1998

Youtube

BLASTED BLIND (COLOMBIA)

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

Facebook

BLASTED HEATH (USA)

A classic black/thrash amalgam which suffers a bit from the muddle production, but makes up with an uncompromising bashing attitude, the venomous death metal vocals leading the intense musical show which covers both heavy dirgy hymns ("Europa") and furious blasting energies ("Dark Energy"). "The Wind in Vela" is a cool doom funereal procession, but expect more bile and menace to be poured out of the closing saga "Strange Matter".

Vela Full-length, 2022

Official Site

BLASTER (TURKEY)

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 re-recorded 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

BLASTERA (CZECH)

The demo: 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 isn't 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's quite comprehensive for most of the time.
The full-length is a decidedly more intense effort, the thrashing urgency of "Last Blast" and the optimistic speed/thrashing of "Don't Look Back" establishing the uplifting atmosphere quite early, and although groovy radio-friendly outtakes ("Morbid Help") are still around, nothing can stand on the way of epic Amon Amarth-esque anthems ("The Card Has Turned") or clever Darkane-esque pieces ("And Time Has Begun To Run"). Watch out also for "Self-Titled Dreamer", a brisk thrashing roller-coaster with a wider gamut of tempos covered.

First Blood Demo, 2008
Don't Look Back EP, 2019
The Red Death Full-length, 2021

Official Site

BLASTERED (NORWAY)

A tight compact mixture of thrash and death with a blistering semi-technical flavour ("Through a Serpent's Eye"); there's no speed lost here as the band mosh on with little restraint although not too many brutal sections are on display; instead, the melodic configurations (the infectious speedster "Tragic Disbelief") take over on quite a few times including on the excellent progressive saga "Odium", and the short but impressive shredder "Stasis". Nearly full-on tech-death/thrash takes over on "Spurn the Acolyte", and especially on the choppy marvel "Desperate Sorrow", before the closing "Blood and Death" explodes in fireworks of raging death/thrash/black as a finishing touch to this admirable recording.

Aporia Full-length, 2020

Official Site

BLASTEROID (GREECE)

Based on the full-length, this act pull out quite good modern progressive thrash/death whose dystopian lustre is very aptly backed-up by cumulative speedy intricacies ("The Final Parsec") and spacey psychedelic environment ("Of Nature Unknown"), the dramatic build-ups on "Chaos God" supplemented by dazzling lead sections. "Entwined" will remind of both Darkane and Vektor with its entangled riff-mosaics, whereas "Void Alchemy" is a compelling "steel technical vs. oblivious meditative" passage juxtaposition, the possible highlight her although both the short spastic "Reign of Eris" and the diverse operatic saga "Crypts of Mind" are totally noteworthy listening experiences, the shouty death metal vocalist not shining much but surely fitting the entrancing mind-consuming musical setting.

Universal Knowledge EP, 2017
Crypts of Mind Full-length, 2024

Official Site

BLASTMAT (USA)

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

BLASTHRASH (BRAZIL)

The debut: 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's 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 death metal-styled 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

BLATANT DISARRAY (USA)

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 thrashier in the beginning losing the intensity bit by bit, and the dominant tone in the middle is mostly mid-tempo. The second 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-leveled 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 bending 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.
"Ebon Path" embarks on a more full-blooded thrashing journey with either power/speedy ("Low Life", "Toe the Line") or lyrical balladic ("The Black") escapades dissipating the accumulated intensity. "Leeches" tries something avant-garde and more technical, but such attempts are sparse at best although the final "The Master and the Servant" is another more complexly-woven piece with epic shades of doom.
"High Time For A War Crime" returns to the mellower power/thrash formula, the band bouncing in a welcoming fashion with friendly mid-paced cuts ("Iconoclast"), the more overt belligerence of "The Shortest Straw" is, of course, familiar as this is a Metallica cover, with another one less likely one arriving later, Eagles' "Hotel California", done in a rough dynamic manner, matching the semi-headbanging sentiments on "Monomaniacal".

Blatant Disarray EP, 2002
Everyone Dies Alone Full-length, 2010
The Harbinger Full-Length, 2014
Ebon Path Full-Length, 2019
High Time For A War Crime Full-length, 2020

Official Site

BLATANT FRUSTRATION (USA)

Competitors to Cryptic Slaughter in the aggressive, super-speedy sector; this is ultra-fast brutal music with hysterical shouty vocals which comes as one compact fist in the 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

BLATANT YOBS (USA)

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

BLATHERSKITE (USA)

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

BLATHUDAH (AUSTRALIA)

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

BLAYLOK (CANADA)

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

BLAZE (ECUADOR)

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.
The "Cancerbero" EP is only two tracks, the band pulling out brisk old school speed/thrash with simplistic guitars, screaming leads, and raw unrehearsed semi-clean vocals. It would have been better if the guitars had been heard more clearly...

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

BLAZE BOMBER (RUSSIA)

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 licks and frequent balladic adherences. There's some heaviness involved 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 timbre which suits the mellow musical approach just fine.

Shadow of Your Life Full-length, 1996

My Space

BLAZE OF HATE (ITALY)

Based on the full-length, this act serve impetuous raging old school thrash/death which blasts through the speakers in a vehement no-bars-held fashion, with thrash occupying the more technical niche ("Obscure Revolt") with death metal fussing more here, claiming the longer more elaborate material ("Holocaust of Souls"). "The Dream" is a modern quasi-groovy dream, the sloucher, "Children in Hell" entertaining the listener in a slightly more moderate crossover/speed metal-ish way. Expect the cool varied atmospheric "Victory" as a closure to this varied albeit fluctuating opus, the vocalist standing his ground with a consistently vociferous shouty deathly timbre.

The Human Sunset EP, 2008
Holocaust of Souls Full-length, 2022

BLAZING (COLOMBIA)

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 vocals are harsh, blacky semi-declamatory ones coming with a witch-like hiss at times.

Rise of the Evil Spirits Full-length, 2017

Youtube

BLEED (CANADA)

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

BLEED (FRANCE)

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

BLEED OF HATE (PERU)

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't help but notice that his pitch isn't enough to handle a longer, more complex section.

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

My Space

BLEED SOMEONE DRY (ITALY)

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

BLEED THE VICTIM (USA)

Based on "Flawless Execution", this act deliver a 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

Facebook

BLEEDCHAIN (GERMANY)

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-ornate type.

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

Official Site

BLEEDFORT (GERMANY)

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 isn't very rehearsed and loses his voice here and there, and his dramatic semi-clean delivery could have by all means benefited from more time spent in the studio.

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

BLEEDING (GERMANY)

Based on the full-llength, this act are a very pleasant surprise: this album is a marvelous 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 doom/semi-balladic 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.
"Universe 25" is the next-in-line admirable offering by the band who carry on with their pursuit of Depressive Age-sque happiness, complicating then environment with the multi-layered "Another Killing", the heightened atmospherics on this sombre slow-burner imbued with a sense of urgency later thanks to the more bellicose riffage epitomized on "Little Creatures" and the more openly thrashy rhythm-section on the still pensive and thought-out saga "Once It Began", a dramatic piece with also melancholic overtones. "Out of Pathology Comes Progress" is an outstanding prog-thrasher with aggressive rifforamas interlacing with a couple of quieter dreamy interludes, both sides alternating throughout till the arrival of "Phase C Stagnation The Beautiful Ones", a heavy balladic proposition which seeping undercurrents is later dissipated by the short vehement thrasher "Death2", but is brought back in with the brief idyllic etude "Universe 1".

Bleeding EP, 2012
Behind Transparent Walls Full-length, 2015
Elementum Full-length, 2017
Universe 25 Full-Length, 2023

Official Site

BLEEDING AFTERGLOW (NEW ZEALAND)

Modern post-thrash/thrash which starts imitating Judas' "Painkiller" at the beginning with the drum intro to "Leg Cuffs", before settling for a groovy/aggro-rhythms with "Bleeding Afterglow" and never leaving said niche, the guys failing to fulfill the initial promise with the thunderous drumming as this is rehashed painfully familiar groovy riffs through and through, the vocalist probably the main asset with his attached semi-clean/semi-shouty timbre.

Find Your Taboo Full-Length, 2022

Youtube

BLEEDING DRUNK SKULLS (MEXICO)

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 addition to the music.

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

My Space

BLEEDING FIST (SLOVENIA)

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/black 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

BLEEDING GODS (HOLLAND)

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

BLEEDING HANDS (SWEDEN)

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

BLEEDING HEART (FINLAND)

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

BLEEDING RED (GERMANY)

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 riffs 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

BLEEDING UTOPIA (GERMANY)

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

BLESSED CHILD (GERMANY)

Based on the full-length, this act indulge in retro power/proto-thrash with gruff semi-deathly vocals. There are quite a few light-hearted motifs like the feelgood bouncer "Century Doom Machine", the band seldom trying something more intimidating, like the heavy seismic riffs on "Mercy Blow", or the valiant gallops on "The Mariners Rest". "Siege Under Fire" is a more intense piece as well, but overall this is a calm recording which will also remind of mid-period Cemetary on the final "Amber Days". Some of the musicians the retro thrashers Malachai and the death/thrash hybrid Level 66.

Curse of the Blessed Child EP, 2019
Monolith EP, 2021
The Burning Shade Full-length, 2022

Official Site

BLESSED CURSE (USA)

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, intense entertaining stuff with seismic hammering riffs. The assault is mostly in the form of heavy steam-rolling guitars in the first 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", this one 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 atmospheric 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 death metal semi-shouter and does a good job to support the very good music which sees a rising star on the thrash metal circuit whose heydays are yet to come.

Blessed Curse Full-length, 2012

Official Site

BLESSED DEATH (USA)

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 third album finally became a fact. Featuring mostly songs recorded in the late 80's/early-90'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 in for a surprise, especially in the beginning. "Fallen Walls" is a heavy semi-ballad, albeit quite good, and is probably not the best way to open a comeback release. "You Are Nothing" already sounds like an "apology" with its faster and more aggressive approach, but all this gets lost for another two songs, one of which is another ballad (the title-track), this time heavier, but still... "Black Snow Sky" comes right on time to keep the CD in the player with its bashing speed/thrashing escapades, and what follows is even better; watch out for the raging thrashing numbers "Atomic Fear" and the even wilder "Global Confusion", plus the mighty speed/thrash metal killer "Born Dead" in the Angel Dust vein, and "Out of the Void", another thrilling speed/thrash metal ride that finishes the album with energy to spare. Larry Portelli (the singer) spares his voice here 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

BLIKSEM (BELGIUM)

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 timbre soars above the not really impressive musical scenery.

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

Official Site

BLIND ANGEL (USA)

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 timbre ala David R. White (Heathen) and does a fairly good job all over.

First Blood Demo, 1995

BLIND DEFEAT (USA)

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 delivery wears thin at some point being repetitively heavy and semi-jumpy.

Prelude To The Death March EP, 2010

Official Site

BLIND GUARDIAN (GERMANY)

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 second "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 Guardians 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 crossover 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

BLIND HATRED (USA)

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-ranged semi-shout sitting somewhere between John Tardy (Obituary) and Stephane Buriez (Loudblast).

Demo Demo, 1990
Depart the Flesh Demo, 1991

BLIND ILLUSION (USA)

This band achieved cult status after the release of their only album, and very 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 ("Blood Shower", "Smash the Crystal") will definitely work better, 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 twister "Death Noise", the dark/doom march "Vicious Visions", and the melodic roller-coaster "Kamikaze" might be harder to swallow by the more linear thinkers. "Metamorphosis of a Monster" will be a delight to all, an awesome heavy technical thrasher with more eclectic passages. This is a truly 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 EP is quite a surprise, an unheralded testing of the soil which only contains two new compositions "Race with the Wizard" being a standout progressive power/speedster with dazzling virtuoso guitar work, an obvious nod to early Fates Warning; and "The Ice Sage" is a more meandering and slower piece with elements of trad-doom as well, but not traces of thrash anywhere except in the old cuts ("Metamorphosis of a Monster", "Vengeance Is Mine") which are taken from the "Sane Asylum" album and are served almost unaltered.
"Wrath of the Gods" could be considered an elaboration on the delivery from the EP, the band again betting on the classic power metal idea more, the playful bouncy opener "Straight as the Crowbar Flies" creating some intrigue with its lively jolts, "Slow Death" grabbing the more intense thrashier ways of expression for a more thrilling ride, the fast-paced execution preserved for the speed metal bouncer "Protomolecule". However, from this moment onward the album sinks into mediocrity faster than a torpedoed boat, the bluesy nonsense "Spaced" the fist sign that this effort will swiftly go south, the title-track saving it some dignity with a marginally more confrontational layout, its suppressed vigour given another go on the diverse atmospheric "Behemoth". Still, the clumsy quasi-progressive conundrums of "Lucifers Awakening" are perfectly skippable, and the mild rock-ish swings of "Amazing Maniacal Monolith" fall in the same camp. The heavy metal closer "No Rest Till Budapest" fares a bit better perhaps, but this is just another diversifier in an opus that simply has no face and identity.

The Sane Asylum Full-length, 1988
Psychedelic Symphony Demo, 1989
Demon Master Full-length, 2010
2018 EP, 2018
Wrath of the Gods Full-length, 2022

My Space

BLIND IMAGE (INDIA)

Based on "More Than Human", this band play heavy groovy post-thrash with alternative elements. This is jumpy stuff with noisy, abrasive guitars which 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

BLIND JESUS (ITALY)

Based on the EP, this band play heavy stomping retro power/thrash which is marred by a really muddy sound quality. Another detriment are the awful screechy shouty vocals which are more suitable for a black metal cohort than for this dramatic mid-paced thrashy pageant which acquires some intriguing progressive tendencies on the atmospheric "Coming From the Deep", but "Obsession of Future" is just a minimalistic quasi-doomster, and "Hate" is just a concoction of scattered pounding rhythms.

Lift to Obsession EP, 1994

BLIND JUSTICE (HOLLAND)

Based on "Sax & Violins": there's sax, there's violins, there are also death metal vocals. So... is there any thrash metal at all? Yes, there is, and 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 although it's Skyclad that have thought about its application first. 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 right the band's original approach. "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": ten 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-thrash 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's a capable cover of The Prodigy's "Breathe" towards the end called "Play My Game" done in an acceptable 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 what they did 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.

The "In Equilibrium..." EP is a logical continuation of the full-length regardless that it starts with a "sad" tune, "Sad" that is, although there's nothing sad about it this one a vintage intense Bay-Areasque shredder with the sprightly frolic violin tunes reminding of Skyclad's folksy shenanigans, providing the requisite melodic respite amongst the cold calculated guitarisms. "Thoughts" is a brilliant violin instrumental etude which predates the dark atmospheric on "Point the Finger", a brooding composition which initial doom layout is canceled by a spasm of furious headbanging rhythms with choppy stomping walkabouts intercepting the stride with their determined pensive jumpiness. The title-track is an over 8-min progressive thrash behemoth combining alluring respites with vicious blitzkrieg skirmishes, the violin accompaniment more sinister and foreboding here except on the speedy surges which are frequently interrupted by dramatic slowdowns the violinist taking care of the poignant lyrical finale. A hyper-active rendition of Iron Maiden's "The Trooper" awaits the listener at the end, with the sax and the violin dueling throughout to a fairly positive impression, with the lead guitarist also unusually busy to contribute to this fabulous piece which remains one of the finest takes on the Maiden repertoire all these years if, of course, we exclude the rough unmelodic vocals.

Sax & Violins Full-length, 1992
In Equilibrium... EP, 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

BLIND JUSTICE (USA)

This is weird surreal retro thrash which creeps sinisterly on the semi-technical "Shade", but restores normalcy with the brisk punky "Schizophrenic Changes", the singer helping the goofy atmosphere with his semi-declamatory clean timbre. "Grey Stuff" is another quirky proposition, a jarring nervy mid-pacer with an accentuated bass bottom; and "Revolution" is just 1.5-min of fast bashing rhythms.

What Did I Do? Demo, 1992

BLIND MIRROR (ITALY)

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

BLIND RAGE (USA)

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

BLIND STARE (FINLAND)

Your average modern melodic Swedish-style thrash/death metal with Dark Tranquillity and early In Flames the prime targets for worship; the keyboard implements aren't 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

BLIND SURGEON (USA)

A good demo of old school speed/thrash which isn't 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 buzzy-ing 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

BLIND TRIBE (MALAYSIA)

Industrial post-thrash which hesitates between the stomping steam-rolliness of Soulstorm and the jumpy friendliness of later-period Pitchshifter. The guys sound better when they're angrier like on the militant "Kracked Hammer" their cause nicely helped by the quarrelsome death metal vocalist. "Sins" is a surprising fast-paced ripper, but for most of the time this is mid-paced hypnotic stuff livened by the occasional quirky deviation (the jazzy/fusion-esque escapades on the downbeat closer "Zero").

Blind Tribe Full-Length, 2001

BLINDEATH (ITALY)

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

BLINDER (CUBA)

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 "Autorepresion", 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, dueling 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

BLISTERED EARTH (USA)

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's 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

BLITZGEMETZEL (AUSTRIA)

This outfit indulge in heavy atmospheric, semi-progressive thrash (the longer material) with dark overtones the longer numbers intercepted by much simpler bashing ones ("F.T.C. (Fuck The Church)", "Take My Hand") 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, deathly timbre, and his strained performance is the downside here.

No Escape Demo, 1991

My Space

BLITZKRIEG (AUSTRALIA)

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

BLITZSPEER (USA)

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

BLITZZ (GERMANY)

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 choruses and riffs topped by very good both melodic and screamy leads, and passionate high-strung vocals courtesy of mademoiselle 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 first half are short and direct whereas the ones in 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/thrash 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

BLIZZARD (GERMANY)

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 territories.

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

BLIZZARD (USA)

Members of Blind Illusion and Possessed had taken part in this short-lived act who, based on the second 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 with 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

BLIZZEN (GERMANY)

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

Facebook

BLO.TORCH (HOLLAND)

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

BLOATED (SWEDEN)

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

BLOBFISH (SWEDEN)

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

BLOCK SPLITTER (AUSTRALIA)

Noisy abrasive modern thrash which easily switches to death metal and quasi-doom 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

BLOCKADE RUNNER (CROATIA)

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

BLODWAR (USA)

Based on the full-length, these lads specialize in modern thrash/death metal mixing energetic rippers ("Under the Surface") with groovy post-thrash additives the latter side taking the upper hand as time goes by, sometimes accompanied by nice melodic tunes ("Ancient Order"). The quarrelsome very shouty vocals are not such an annoyance especially on heavy seismic propositions like "Design to Destroy" and energetic merry thrashcorers like "Idle Worship". Some of the band members also take part in the death metal formation Down Infierno.

Pig's Eye EP, 2015
Design to Destroy Full-length, 2018

Official

BLOID (HOLLAND)

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 deathly 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

BLOHOLE (USA)

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

BLOOD & BRUTALITY (USA)

Based on "Fatal", this band play pretty intense retro death/thrash which sounds threatening even on the supposedly more laid-back insertions (the pounding "Pronouncing Death"). "Torture" turns the tables towards full-fledged death metal for a bit, but watch out for the more technical twists and turns on "Black Horizon", this one vintage early Morbid Angel. The hardcore-ish simplicity of "The Last Rites" is quite misleading as later on the guys serve "Bloodshed of Man", an imposing progressive pageant with atmosphere and melody crossing swords on an academic quasi-doom background, the intense semi-shouty death metal vocalist aptly supervising the frequently intricate proceedings. The musicians are also involved with the black/thrash death hybriders Avavago, the groovy post-thrash outfit Serrated, and the black metal purveyors Passion of Death.

Unrestrained Aggression Full-length, 2009
Destructive Path EP, 2010
Sick of It All Full-length, 2010
Fatal Full-length, 2020

Official Site

BLOOD BATH & BEYOND (USA)

Based on the full-length, this act specialize in retro thrash which is more on the friendly, melodic side with heavy hymns ("The Heartless") alternating with speedy roller-coasters ("Alone"), with a couple of more elaborate sagas (the title-track) also served on not so regular bases. Still, the catchy melodic sentiments of "Who Shit My Pants" and "Whispers of the Dead" are hard to beat the fiesta interrupted by the harsh semi-shouty hardcore vocals, and by the totally out-of-context techno-version of the mentioned "Who Shit My Pants" at the end.

Alcoholocaust EP, 2016
Blood Sweat & Beers Full-length, 2019

Official Site

BLOOD BEFORE TEARS (USA)

Based on the full-length, this 2-man band offer prototypical modern thrash which borrows from all the staple tricks heard for the past ten 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

BLOOD BREATH (USA)

Based on "Redacted", this one-man-does-it-all (the name Kevin Paff) outfit specialize in frequently atmospheric classic black/thrash "The Tower Comes Crashing Down" sharing some of the epic aesthetics from mid-period Bathory and even Amon Amarth, with shorter more technical cuts ("Periculum") flying around. "Candles" is a cool dark thrasher long on atmosphere again, and "No Rest for the Weary" is a sprawling elegiac doomster which translates some of its seismicity on the final title-track, diverse progressive thrash with numerous nuances intertwined, Paff's screechy raven-lke vocals soaring above the complex proceedings with witch-esque glee.

Share the Road EP, 2018
Redacted EP, 2019

Official Site

BLOOD BY DESIGN (USA)

Based on "The Ancient One", this one-man act, the name Jake Weatherman, pulls out modern thrash/post-thrash which isn't completely devoid of melody ("Welcome to the Future"), the vivid brisk "I Am Jon" moving things around with gusto, its vivacious spirit later matched by the frolic "Who Will Go" and the surprisingly brutal death-laced "They're Alive". The rest bears no such surprises, the closing "Critical Failure" fully recapturing the dominant energetic mid-tempo aura, Weatherman unleashing a few really captivating virtuoso lead sections, nice blends of melody and technical proficiency.

Baptized in Blood Full-length, 2022
The Ancient One Full-length, 2022

Official Site

BLOOD DRIES FIRST (POLAND)

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

Facebook

BLOOD EMPEROR (UK)

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

BLOOD EXILE (MEXICO)

Based on the split, this band play really good retro thrash in the Bay-Area tradition, in brisk speedy tempos. It starts in a fairly exciting manner with the intense speed/thrashers "First Act Of Brutality" and "Soldiers of Misfortune" (which isn't 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" quiets 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

BLOOD FEAST (USA)

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 opening "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 marvelous 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.
"Infinite Evolution" keeps the admirable classic mosh in the veterans' camp, "Ravaging the Loins of Mary" starting the saga with the appropriate fast-paced camaraderie, the hyper-active parade never-ending, with both "Never Will I Die" and "Of Hell (Nous Sommes De L'enfer)" adding more fire into the furnace, the longer more elaborate "Eye of Glass" containing a few delectable melodic developments amongst the furious thrashing. "Outbreak" upgrades the approach to more brutal near-death strokes, and "The Preacher" introduces a couple of more intriguing spacey walkabouts with clear progressive pretensions, this latter tendency very nicely elaborated on the stylish violator "Evilution", a bashing complexer which throws a few technical winks at the closing "The Chosen", a dynamic parade with several galloping fireworks.

Kill for Pleasure Full-length, 1987
Chopping Block Blues Full-length, 1989
The Future State of Wicked Full-length, 2017
Chopped, Sliced and Diced EP, 2018
Infinite Evolution Full-length, 2024

Official Site

BLOOD FEUD (ICELAND)

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 relying more on melody. The singer is the staple death metal shouter modelled after... well....

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

Official Site

BLOOD FICTION (CHILE)

Three cuts of composed not very adventurous old school power/thrash with not very rehearsed, semi-clean/semi-declamatory vocals; "Pacheco" moshes with more passion unleashing a few less restrained headbanging sections, but the rest is mid-paced at best with a surreally dramatic, stomping death metal-ish throw-in on "Fobia".

Blood Fiction EP, 2019

Official Site

BLOOD FLAG RITUAL (MEXICO)

Based on the full-length, this Mexican trio play intense blitzkrieg retro thrash which is admirably sustained in a vehement, frenetic pace even on lengthy numbers like "Bullet Storm". Bullets like "Demonic Assault" and "Howling Death" are played with the utmost intensity the guys not shying away from a few death metal tricks like proto-blasts, etc. with even black metal showing its "ugly" head on the raging "In Eternity Desolation". The threatening shouty death metal vocals suit the approach the latter strangely served with a rawer, pristine sound quality in the second half.

War Rituals EP, 2014
Ancient Proclamation of Warfare Full-length, 2019

Official Site

BLOOD IN THE CHAIR (GERMANY)

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

BLOOD LABEL (DENMARK)

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 drama 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 doom ones the latter recalling Soulstorm and even Godflesh.

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

Official Site

BLOOD LUST (USA)

Four 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

BLOOD MAGIC (USA)

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

BLOOD MONEY (UK)

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 more 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

BLOOD MOON (USA)

This is crusty abrasive retro speed/power/thrash which picks up energy bit by bit, the dramatic "Going Nowhere Fast" gradually flowing into the wilder "Sharpened Hooves", the shouty intimidating vocals stirring the emotions in an equally sizzling fashion, the more elevating "Here to Stay" stifled by the brooding doom march "Hallowed Ground". The second half is much less exciting, the band settling for slow-motion tricks with doom again taking the upper hand quite often, the vivid galloper "You're the Reason Why" restoring some of the vitality towards the end.

Blood Moon Full-length, 2022

Facebook

BLOOD OCEAN (BRAZIL)

This is a decent retro/modern thrash blend that circles around the moderately dynamic semi-technical core where cuts like "Pain" and the diverse sterile "Dew Scent" belong, the less bridled character of "Reality of Fiction" bringing swathes of fury into an otherwise not very fiery delivery. "Bleeding Ocean" is another rowdier proposition, but the guys' real strength lies in the more atmospheric, less scholastic side where also the intriguing mechanized shredder "C.A Swedish" belongs, the short melodic devious "Poison Soul" another less ordinary occurrence. The vocalist is a subdued hoarse semi-clean presence, his lurking behind the mike the perfect fit to this interesting hybridization attempt. Some of the band members were earlier engaged with another retro thrash outfit, Menace.

Sublime Apocalypse Full-length, 2023

Official Site

BLOOD OF KINGS (USA)

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 inevitable, and here comes "Without Fear" with its heavy galloping riffs to remind the listener 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-ornate to a pretty positive effect the guys showing all their skills without showing off or overdoing it. Some of the musicians play more aggressive old school thrash with H.M.P.

Starvation Full-Length, 2013

Facebook

BLOOD OF SERPENTS (SWEDEN)

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 death metal riffs ("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 with an insistent hiss accompanying them at times.

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

Official Site

BLOOD PATROL (GERMANY)

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 occasional 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 that 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

BLOOD POLLUTION (RUSSIA)

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" notches it up a bit in the speedy department, but the frolic carefree demeanour 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.
"Cave Aliens" follows the same merry speedy trend from the earlier recordings, but here the shadow of the good old Motorhead is perhaps bigger, with "Motorcharged Fever" and "Cracked Hole Boogie" keeping the high-octane rock'n roll mood intact, with thrash not having much to do drinking and semi-dancing.
"Gates to Oblivion" carries on with the goofy uplifting Motorhead-ish boogy, the speed metal element a tad bigger perhaps, with even the spirit of early Metallica raised with the raucous opener "In for the Kill". "Up and Down" and "Ripping Fear" are assured ripping headbangers, but the remainder is on the mellower friendly side, the band only raising the horns more prominently on "Iron Kings" in the second half, bursting at the seams for one more rowdy temptation.

Armed You! Full-length, 2009
Metal Zombies Full-length, 2010
Cheap & Loud Full-length 2011
Raw Sovereignty Full-Length, 2015
Cave Aliens Full-Length, 2019
Gates to Oblivion Full-Length, 2022

My Space

BLOOD QUEST (USA)

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's 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

BLOOD RED ANGEL (GERMANY)

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 millennium 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 aren't 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 thrashier 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

BLOOD RED DAWN (UK)

A 4-track demo of plodding groovy, one-dimensional post-thrash, following closely on the steps of 90's stalwarts like 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

BLOOD RED DELUSION (FINLAND)

The debut: this is a modern/classic thrash blend which doesn't win too many points from the harsh confrontational death metal vocals, but the stylish semi-technical meanderings of "Drown My Pain Away" are surely worth noting, as is the semi-balladic melancholia of "Fade Away", the headbanging proclivities of "State of Fear" the possible highlight, overshadowing the cumbersome jumpy trots of the closing "Anxiety". Some of the band members are also engaged with the melo-deathsters Deathproof.
"Ruthless Behaviour" doesn't change the course radically, the choppy insistency of "Will to Fight" bonding well with the mid-tempo histrionics of "Through Your Pain" and the dirgy atmospherics of "When Two Were One", the second half less exciting with a string of not very eventful dragging tracks, the melodic factor on those higher but not quite for the better.

State of Fear Full-length, 2020
Ruthless Behaviour Full-length, 2024

Official Site

BLOOD REIGN (FRANCE)

Based on the full-length debut, 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 second 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-shouty/semi-death metal vocalist.
"Sunshine" is another vivid exposition, the impetuous galloper "Spermafrost" an intelligent inauguration with steel technical riffs recalling Helstar, the heavy atmospheric decisions of "Wasteland" on the decidedly more conventional side, before the title-track provides more bashing rhythms, the latter still a common occurrence later, the progressive stroll "Gloryhole Sun" a melodic pageant, with "Preacher" following a similar laid-back path despite the few galloping strokes. "Mass Extinction" is a short in-your-face violator, "Alan Dutch" adding more unrestrained melees to the fore, its seismic impact totally ruined by the nonsensical techno closer "Sovietland", a supposed electronic rendition of a song from here ("Wasteland").

Feel the Pain EP, 2013
Trommelfeuer Full-length, 2015
Sunshine Full-length, 2023

Official Site

BLOOD SALAD (UNKNOWN)

A one-musician showdown, the name Ellis Farrell, is at play here, the style being old school all-instrumental thrash/death built on heavy pummeling rhythms, those particularly evident on the raving behemoth “Hellscape” and the eventful delight “Mark of the Past”, the galloping developments of the latter missing from the still hyper-active “Prisoner” and the quiet meditative interlude “Afterlife”. Expect aggressive raging accumulations on “Lucid Nightmare”, but the more composed streamlined “Short Fuse” pacifies the spirits before “The Gore Machine” energizes the environment once again with sharp lashing riffs. Leads are almost non-existent, Farrell just indulging in his effective riff-driven proclivities.

Blood Salad Full-length, 2023

Official Site

BLOOD SCENT (USA)

This is decent melodic modern power/thrash which sometimes crushes with power (the otherwise melodic shredder “Tides”), sometimes prefers to headbang (“The Massacre Begins”) with not much remorse. There’s a sniff of proto-death (“The Disposer”) lurking in the background as well, the rough guttural vocalist supporting this more nefarious idea with covert gusto.

Blood Scent Full-length, 2023

Official Site

BLOOD SESSIONS (HOLLAND)

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 doom 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

BLOOD SPILL (USA)

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 (USA)

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 isn't too far from early Sodom, or the Canadians Slaughter (there's 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 Stellar Exorcism" is a frequently wild aggressive affair with uncontrolled blast-beats ("Ituhat Ipsos", "Distortions of Enlil") incorporated at every opportunity, with thrash not having much room to breathe freely, the black metal proclivities taking over slowly but surely, shifting then band's approach towards more extreme waters.
"Cursedness of the Cinder Witch" is a more moderate affair, the guys crossing these staple brutal hyper-blasting ("Mundane Havoc") aesthetics with the mid-paced trot "Nefarious Pact" presenting the mellower side of the album, the latter also backed-up by the frolic crossover parade "The Separation" and the uplifting speed/thrasher "Saffron Harlot of the Nightside". The imposing epic anthem "Futile Obsession" surely deserves a mention with its more serious layout but run for cover on the short pulverizing "The Penanggalan", the band still insisting on their hyper-active extremities to lead the pack.

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
The Stellar Exorcism Full-length, 2014
Cursedness of the Cinder Witch Full-length, 2022

Official Site

BLOOD THIRSTY DEATH (USA)

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's very little to be heard here except brutal merciless bashing.

Demo Demo, 1988
Attendant Upon God Demo, 1989

BLOOD TSUNAMI (NORWAY)

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 doom/gothic/thrash 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 shorter, almost hardcore-ish, crossover joys. Still, one would hardly resist to this spontaneous slab of energetic old school music which moves forward in a relentless 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.
"Grave Condition" sounds way rowdier than the previous mild offering, the band showing little remorse along the way, at least in the beginning, moshing with passion, making some room for more lyrical power/speed metal escapades ("Gargoyle") to breathe. Crushing mid-pacers like "The Cruel Leading the Fool" only add more fuel to the fire, not to mention all-out speedsters like "In the Dungeon of the Rats", the raging closer "Steel Meets Steel, and especially the short hardcore outrage "For Faen I Haelvete" that could have been left out of the more recent Darkthrone recording sessions. This is way more like it, the band sounding suitably belligerent and vociferous, the tsunami way...

Thrash Metal Full-Length, 2007
Castle Of Skulls EP, 2009
Grand Feast For Vultures Full-length, 2009
For Faen! Full-Length, 2013
Grave Condition Full-length, 2018

Official Site

BLOOD WAVE (CANADA)

Epic power/thrash which heroically puts the moderate gallop up front with "Black Dream", before "Somebody Always Missing-Environmental" settles for a steady mid-paced march, the singer crooning pleasantly in the background with an attached semi-clean timbre. "The Garbage Man" is more on the speed metal side, a lively moshing piece which is superseded by the cool more complex shredder "Prophecy". The closing "Triangle of Love" is an all-instrumental balladic tractate, a cool interplay between the pronounced bass and the stylish leads.

Prepare Yourself... Demo, 1990

Youtube

BLOOD WOLF (USA)

This band play a classic blend of speed and thrash which has its both undeniable highs (the exhilirating speedster "Husband Scorned") and not very carefully calculated lows (the goofy crossover joke "Smoke Signals"). Fortunately, the good old speed/thrash is in vogue for most of the time, the guys shooting inspired bullets like "Omnipotent" and the title-track on regular bases, the hoarse inebriated semi-clean vocals recalling Lemmy (R.I.P.) with a few more high-strung exceptions.

Blood Wolf Full-length, 2019

Official Site

BLOODATTACK (SERBIA)

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 second 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

BLOODBATH (SERBIA)

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, buzzying 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 that is the title-track. 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 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

BLOODBATH (USA)

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

BLOODBATH S.A.F. (USA)

This band, who were previously known just as Bloodbath (see the review above), play worthy technical/progressive thrash with heavy moments ala late 80's Metallica mixed with ingeniously woven intricate motifs not far from the ones on Forbidden's "Twisted into Form" and Heathen's "Victims of Deception", plus a nice less serious 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

BLOODBEAST (SOUTH AFRICA)

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

BLOODBEAT (GERMANY)

The debut: 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 death metal 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 second half for a string of shorter cuts among which the closing "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.
"Process of Extinction" is more death metal-oriented, the band seldom showing mercy, the excellent choppy technicaller "Beyond the Skeletons" a really nice deviation from the rigorous model followed for most of the time, the heavy pounding "Pulse" another intriguing offering. First-rate flashy lead guitar work is served on "No Control", the guys sweeping the neighbourhood later with the vehement uncompromising "Rigor Mortis".

Murderous Art Full-Length, 2016
Process of Extinction Full-length, 2021

Official Site

BLOODBORN (GERMANY)

This is heavy modern thrash/death the guys mostly fond of the heavy steam-rolling side of the spectre, the prevalently mid-tempo delivery sparsely interrupted by bouts of speedier rhythms ("The Consuming"), the headbanging attempts on "Needle Teeth" duly noted. The singer is a brutal deathly semi-shouter who creates quite a bit of noise when in action.

Bleed the Weak Full-length, 2019

Official Site

BLOODCELL (USA)

Four tracks of Slayer/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

BLOODCROWN (ARGENTINA)

Based on the full-length, these folks specialize in epic-tinged retro power/speed/thrash which blends not very compromising fast-pacers ("Society's Rejects") with seriously heavy walkabouts ("Enter the Creepshow"), hoarse the semi-clean singer trying a few more melodic croons on the mellower material. The seismic antediluvian rhythm-section rules over the proceedings, "Black Sand Desert" surrendering to the fields of doom almost completely, and "Pazuzu's Stare" ravaging the neighbourhood with wild spastic riffs.

End of Time EP, 2020
Bloodcrown Full-length, 2024

Official Site

BLOODCROWN (USA)

Based on the full-length, these lads deliver modern thrash/death which hesitates between full-on violent attacks ("When Wolves", "Sword Cut") and slower stomping walkabouts ("Other I"), the spacey psychedelics on "Momentary" just a momentary sparkle of thinking outside-the-box. The shouty death metal vocals are a really insistent presence all over, but do little to mar the headbanging vigour of pieces like "Obscenity" and "Purge".

End of Time EP, 2020
Bloodcrown Full-length, 2024

Official Site

BLOODCUM (USA)

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

BLOODDAWN (GERMANY)

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 practitioners from the Floridian scene.

Metallic Warfare Full-length, 2007

Official Site

BLOODDUST (GERMANY)

Based on the "Fire of Sacrifice" demo, these lads embark on an old school thrash journey quite close to early Kreator and Destruction. This is bashing one-dimensional stuff with the casual more brutal deathly flame ("Satan Arise") and the obligatory speed metal sweeps ("Pray for Death"). The singer is a rough semi-declamatory presence, but his tirades are comprehensive and fit the one-dimensional hyper-active melee.

Gates of Hell Demo, 2011
Fire of Sacrifice Demo, 2017

Official Site

BLOODEAGLE (GERMANY)

Based on the full-length, which is a re-recording of a 2020 demo of theirs, this outfit deliver modern power/thrash with both a synthesized and industrial blend, the harsh/shouty vs. clean attached vocal duel presiding over a somewhat mechanical sterile canvas, "Rescue" being on the friendly bouncy side with several more dynamic thrashy accumulations. "Pain" is a more dramatic and more serious proposition with a more prolonged speedy passage, but it's "Medusa 2" that captures the imagination more fully, a combination of seductive balladic motifs and a more expressive thrash-run engine. Some of the band members are also engaged with the modern post-thrashers Confused Addiction and the death/thrash formation Hypothermie.

Next Level Kills EP, 2020
Playground Of Illusion Full-length, 2024

Official Site

BLOODEVIL (ITALY)

This is some infectious modern thrash from Italy which comes spiced 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

BLOODFACTORY (USA)

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" isn't 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 doom/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

BLOODFATE (COLOMBIA)

Based on the full-length, this band play a progressive old school brand of power and thrash which relies on melody more, the clean emotional vocals greatly facilitating the process including on the edgier, speedier material ("Shout Out Loud!!"). Intriguing mid-paced crushers ("In the Name of ...") also do the trick with their seismic veneer as well as the more technically-woven compositions ("The Madness Design"). The progressive behemoths "Evolution" and "Far Beyond My Hell" slow down the proceedings a bit with their complex configurations, but overall this is a capable recording that will remind of both Sanctuary and Savatage, among other US practitioners.

Evolution EP, 2011
Between Shadows & Pain Full-length, 2019

Official Site

BLOODFEAST (AUSTRIA)

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 isn't 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

BLOODFIELD (ITALY)

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

BLOODGATE (USA)

Based on the full-length, this band play classic speed/thrash with rending black metal vocals. Shades of black ("First to Die") can also be detected on a few numbers ("First to Die", the bombastic "Seven") as well, but the concentration is on speed/thrash roller-coasters like "The Cleansing" and "Wretched Embrace" which move this album forward with big rapid strides.
"Solace in Mourning" is a wilder more brutal affair with black and death more fully epitomized, with thrash panting hard amongst the aggressive strokes, the short length of the songs another vehement decision. Still, "Tombs Vacant of Mortal Decay" and "Tome of Blood" easily justify this album's presence here, although this is an effort which targets far wider audience.

Constructing the Bloodgate EP, 2016
Ambush and Destroy Full-length, 2018
Solace in Mourning Full-length, 2022

Official Site

BLOODGEYSER (USA)

This Finnish trio deliver steam-roller retro thrash/death which is suitable energetic (“Blood Geyser”) as well, the doom-soaked etude “Entering to the Ground” boosting the mid-tempo gravity of “Borderline Brutality” and the moody minimalistic “Reeking Torch”, the closing all-instrumental tractate “Cosmic Atrophy” relying on doom-fixated motifs once again, neglecting the throaty death metal singer.

Dead Magick Full-length, 2024

Official Site

BLOODHAG (USA)

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

BLOODHUNT (CROATIA)

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

BLOODIEST (USA)

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

BLOODINGTON (UK)

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's 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

BLOODJINN (USA)

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

BLOODKILL (INDIA)

This act specialize in a decent combination between modern and old school power/thrash which is clearly focused on melody more, with imposing epic developments ("False Face") marching onward without much speed or aggression incorporated. The moody introspective "Horrorscope" is another testimony of the guys' mellower tendencies, but all good with the closing title-track raising some hell with vivid more dynamic riffage. The very shouty death metal vocals create quite a bit of noise, though; a not very appropriate performance having in mind the generally peaceful tone of the music.

Throne of Control Full-length, 2021

Official Site

BLOODLESS (FRANCE)

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 inevitable). "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

BLOODLETTER (USA)

Based on the full-length debut, this act indulge in modern thrash/proto-death metal only that the songs here are short and to-the-point, and much closer to thrash also coming with a few classic echoes ("Beast in Black", "The Seance") including references to the Gothenburg scene ("March to the End"). The leads are particularly proficiently executed, and the vocals are intense and shouty with shades of more recent Mille.
"Funeral Hymns" is a more melodic offering, with clear pretensions at the Swedish school of melo-death, the approach kind of more trite and familiar compared to the debut. "Funeral Bell" and "Burnt Beyond Recognition" are short crisp thrashers, and "Mark of Justice" is a more overtly aggressive deathster recalling the early efforts of In Flames and Dark Tranquillity.
"A Different Kind of Hell" bears no surprises, except that the guitar work has become a tad more melodic, the playful mid-paced riffage of "Blood Is Life" contrasting with the headbanging impetuosity of cuts like "Bound and Ravaged" and "The Last Tomb", the melodic nuances overflowing from all sides, leaving room for the odd more technical trick (the short twister "Obsidian Offering") or bigger death metal drama ("What Lies Beneath").

Malignancy EP, 2014
Bloodletter EP, 2016
The Darkest Reaches EP, 2017
Under the Dark Mark Full-length, 2018
Funeral Hymns Full-length, 2020
Malignancy EP, 2022
A Different Kind of Hell Full-length, 2023

Official Site

BLOODLOST (SWITZERLAND)

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.
"Diary of Death" moshes in the familiar no-bars-held manner with a ripper after ripper ("Evil to the Cross", "The Lord of Destruction") provided in quick succession, the more laid-back, more melodic nature of "The Ghost of My Way" a really pleasant deviation. "Fuck You" is a less serious hardcore/crossover joke, and "The Party Is Not Dead" is a pure unadulterated speed metal attack siding well with the closing "Zombie Attack" which is not a Tankard cover.

Hellcome Full-length, 2008
Trashell Full-length, 2011
Evil Origins Full-length, 2015
Diary of Death Full-Length, 2018

Official Site

BLOODLUST (AUSTRALIA)

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

BLOODLUST (COLOMBIA)

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

BLOODLUST (FRANCE)

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-doom track with a crushing rhythm section reminiscent of late-80's Metallica.

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

BLOODLUST (PERU)

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 major annoyance would be the throaty death metal vocals which shout in an apocalyptic unmelodic manner. "The Prophecies of the Antichrist" is an imposing 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 a hopefully lustrous career.

Prophecies Demo, 2012

Official Site

BLOODLUST (USA)

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

BLOODMORES (UK)

The debut: melo-death meets old school thrash on this epic academic recording which sits between the epic bombast of Amon Amarth ("Save Your Prayers") and the more energetic exploits of Dark Tranquillity ("As Mercy Renders You Senseless"). The intense but subdued death metal vocals suit both sides as the former is better covered with bold shades of doom helping the cause on the 14.5-min saga "The Seeds of Seasons" at the end.
"Too Close to the Sun" marches with the same amount of energy, the previous ingredients firmly in place, with officiant epicers ("Defiant to The End") taking turns with wilder blitzkriegers ("Entombed in the Fires of Armageddon's Womb"), the former side better represented in the form of longer progressively-tinged compositions, the two sides finely blended on the enjoyable variegated roller-coaster "White Noise".

The Seeds of Seasons Full-length, 2019
Too Close to the Sun Full-length, 2021

Facebook

BLOODRAIN (BRAZIL)

This act boast the presence of the drum guru Adrian Erlandsson (At the Gates, The Haunted, Cradle of Filth, Paradise Lost, etc.). Based on the sophomore, these folks specialize in modern progressive power/death/thrash where brutal outrages ("Walking Ghost") walk hand-in-hand with more measured energetic bolts ("Immurement"), the harsh semi-shouty death metal vocals, courtesy of a woman by the way, doing their damage on the side, recalling Sabina Klassen (Arch Enemy), displaying her more lyrical side on the closing pensive stroller "Infinite Emptiness".

Last Night in Hell Full-length, 2017
...of Death & the Infinity of Time Full-length, 2022

Official Site

BLOODRAIN (RUSSIA)

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 consolidated near the end with the highly dynamic cover of "Evil Has no Boundaries".

Bloodrain V: Adora Satanae Full-Length, 2016

BLOODRED HOURGLASS (FINLAND)

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.
"Godsend" is another friendly affair with a lot of atmospherics embedded into the generally welcoming soundscape where the dominant approach is mid-paced and over-melodic, to the point that at some stage neither thrash nor death can be cited as tangible influences. More recent In Flames comes to mind on the mellower material ("Alysia", "White Feather"), but watch out for the only less restrained outburst, the melo-deathster "My Route" which shatters the idyll big time, with the rowdy stomper "August" another rude awakening.

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
Godsend Full-length, 2019

Official Site

BLOODRIDE (FINLAND)

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 timbre 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".
"Idiocracy" treads the same path, intense old school thrash carved by venomous moshers ("Burn Perfection", "Hate of Hatred") and a few stylish exercises in more surreal outlandish shredding (the aptly-titled "Stranger Roots"). "Fleshless" is pure death metal, a brutal occurrence which has no match later, but both the more melodic intriguing "Inviting Darkness" and the trippier speedster "Bow to Disorder" will be a delight for the audience who should have no reasons to complain on these lads' noteworthy discography.

Bloodridden Disease EP, 2004
Crowned in Hell Full-length, 2011
Planet Alcatraz Full-length, 2016
Idiocracy Full-length, 2021

Official Site

BLOODRITUAL (USA)

Based on the full-length, this band play crisp lashing retro thrash/crossover that is accentuated by the presence of short concrete rippers (“Quit While You Can”, “Do You Believe”), but expect a few semi-technical delights (“Trigger Happy”) as well as a more complex rendition of the thrash idea (“Graveyard of Life”), the exhilarating fiesta spearheaded by mean witchy vocals with a wisp of black. Earlier some of the band members were engaged in another similarly-styled unit, Future Primitive.

Disaster Tapes EP, 2018
Do You Believe Full-length, 2024

Official Site

BLOODROCUTED (BELGIUM)

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 death metal 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 school ("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

BLOODRUNNER (USA)

6-song demo of cool retro speed/thrash in the Bay-Area mould; "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

BLOODSHED (BRAZIL)

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

BLOODSHED (GERMANY)

Retro death/thrash (more death than thrash) with subversive, semi-technical tendencies those reflected in nice short spasticers like "The Unlight Inside", or the stylish, albeit raging blast-fest "Revenge of the Tortured". The "screechy vs. guttural" vocal duel resembles early Carcass, but the delivery deviates more here also courting the 90's black metal roster with the Dimmu Borgir-esque "Rain". The band later changed their name to Watch It Bleed as the style remained unchanged, maybe less thrash-prone.

Bloodshed Full-Length, 2000

BLOODSHEDD (PHILLIPINES)

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 marvelous 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't 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

BLOODSHOT DAWN (UK)

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 throughout 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

BLOODSHOTEYE (CANADA)

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 technical music in the vein of Necrophagist will rejoice as well as those who like the Gothenburg school. There's 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

BLOODSIMPLE (CANADA)

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

BLOODSLAUGHTER (GERMANY)

Based on the first 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 doom 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

BLOODSOIL (NORWAY)

Two 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

BLOODSPOT (GERMANY)

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.
"The Cannibal Instinct" again thrashes with moderation, the band keeping both the heavy mid-pacers ("Our Workers Back") and the speedy cannonades ("Potzblitz") flowing, the atmospheric/doom title-track slowing the proceedings, the latter still finding the way to the brisk intense echelon thanks to the short bursting "Death By Dinosaur", before "Ain't No Gallows High Enough" surrenders the setting to pounding not very eventful rhythms for 7.5-min.

Embrace The End Full-Length, 2011
By the Horns Full-Length, 2013
To the Marrow Full-Length, 2016
The Cannibal Instinct Full-length, 2021

Official Site

BLOODSTAR (SWITZERLAND)

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 doom 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 doom/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 thrashier patterns roam around for a couple of more aggressive pieces (the title-track), but the electronic elements have taken a hold of the sound quite a bit culminating on the larger-than-life industrial/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

BLOODSTATE (RUSSIA)

THis is a one-man show, the name Arseny Tokarev. he pulls out modern groovy post-thrash which gets perturbed occasionally by the odd explosive classic thrashism ("Metamorphose"), but overall this is heavy mid-tempo stuff which gives the gruff death metal vocals a chance to perform something cleaner and more attached ("Far Away", the doom tank-like "Our Burnt Hearts"). "Face Me" is a dynamic semi-speedster, and "My Meaning of Self-Destruction" is a nice blend of squashing volcanic rhythms and lyrical balladic segments.

New Reign of Power Full-length, 2020
Voice of the Lost Full-length, 2022

Official Site

BLOODSTONE (SINGAPORE)

The debut: primal old school thrash/death this way comes all the way from Singapore to shatter your senses with 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.; Rigor Mortis, Ministry), 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.
"Electrocution" carries on down the same path, the guys serving blistering fast-paced violators the entire time, the early German movement worship "The Narcissist" assisting the virulent melee on "Hellbound" before "Arise" calms down with a portion of slow-burning heavy riffs. Expect unrestrained barrage on "Parasite" and "Immortalize" as well on nearly every other cut here save for the very unexpected soft country joke "Highwayman" at the end.

F.T.W. Full-Length, 2016
Electrocution Full-length, 2024

Official Site

BLOODSTORM (FRANCE)

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 awkward 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

BLOODSTREAM (UK)

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

BLOODSUCKER (HOLLAND)

Based on the full-length, this band play decent retro proto-thrash/crossover which isn't very aggressive, but has its attractive side with the friendly strolls of "New Dawn" and "Lights Out", before "Broken Glass" breaks everything around with bold brutal strides. The vocalist is a passable semi-reciter, feeling more comfortable on the bouncier material where also the short ripping "Feel No Pain" belongs.

Bloodsucker EP, 2021
Forever Damned Full-length, 2024

Official Site

BLOODTHIRST (POLAND)

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 sparse 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 four 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 slight 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.
"I Am Part of That Power...", apart from winning the award for the longest album-title in history, tries to enchant the listener with another portion of intense aggressive death/thrashisms with mellower mid-pacers ("The Conscious Serpent's Will") pacifying the proceedings. The latter often cling towards the Swedish melo-death confines ("The Invincible Eagle's Power", "The Golden Cages of Sin") these ingredients phasing out the thrash which may even not find a place at all on the band's next instalment.

Let Him Die Full-length, 2007
Sanctity Denied Full-length, 2009
Zadza Krwi EP, 2011
Chalice of Contempt Full-Length, 2014
Glorious Sinners EP, 2016
I Am Part of That Power Which Eternally Wills Evil and Eternally Works Wrong Full-length, 2019

Official Site

BLOODVALE (GERMANY)

Quite good old school thrash served by these lads from North Rhine-Westphalia, hard-hitting riffs supplemented by a few more technical walkabouts ("Masquerade"), the more contrived moments recalling their compatriots Paradox. The good semi-clean attached vocals are surely an asset as well as the several mellower power/speed metal developments ("The Christ That Failed"), "Inhumankind" complicating the environment a bit more, setting the scene for the 8-min saga "Lobotomy", a diverse roller-coaster with twists and turns galore. The quasi-groovy "Who's Your God" is more of a filler, also evoking some angry quarrelsome death metal vocals.

Lobotomy Full-length, 2020

Official Site

BLOODVOMIT (USA)

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 two 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

BLOODWORKS (UK)

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 isn't very strongly 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

BLOODWRITTEN (POLAND)

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 four songs of well-constructed blitzkrieg speed/thrash metal with a very good sound quality which makes the guitars cut like a knife; the three 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 title-track, 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

BLOODWURM (CANADA)

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/post-thrash spiced with alternative and frivolous stoner/doom moments. Nothing to lose your sleep over, Vince growling with a pronounced death metal timbre, a totally inappropriate choice for this kind of music, the latter winning a few points from the dynamic on-the-verge-of-thrash opener "Oh Yeah", but later on it all goes awry with tepid alternative country tunes ("No Good"), goofy stoner/doom motifs ("Take It Easy Baby"), and brief thrashcore non-senses ("Satanic Fuck Machine"). The doom side of the album does bear a few decent fruit, like the steady psychedelic trip "Cold Dead Stare" and the atmospheric semi-balladic "Don't Talk to Me", but the band are intent on going all over the place, both in a not so bad (the energetic hardcore jumper "Breed Supreme") and a not so good (the unfocused groovy charade "Massacre at the Holiday Inn") manner. Expect also the decent full-fledged thrasher "Sex With Strangers" and the merry-go-round crossover tune "Evil". Vince sadly passed away shortly after an interview he had at a radio station to promote the band.

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

Fan Site

BLOODY (BRAZIL)

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 riffs, 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 this 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

BLOODY ALCHEMY (FRANCE)

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 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

BLOODY ANGER (ITALY)

Based on the "Happy Mosh" demo, this act serve intense lashing thrash ala Rigor Mortis and Possessed. Expect a not very tangible proto-death sting as well ("Raw Cruelty Carnage"), and generally the energy is quite high the whole time, the semi-declamatory singer doing his thing without disturbing his comrades too much. "No Problem" is the finest track here, a semi-technical instrumental which shows everyone in a very bright light save for the vocalist, of course. "Involution and Decay" is an ambitious near-progressive composition, the band displaying bigger musical proficiency more than just now and then. Some of the musicians serve earlier known as Cianotica where the style was more of a thrash/hardcore mixture.

Kill the Posers Demo, 1986
Happy Mosh Demo, 1987
Rehearsal Tape Demo, 1989

Youtube

BLOODY ASSAULT (USA)

Based on the full-length, this band, which is actually one musician, the name Thomas Santillan, plays aggressive old school but pretty repetitive thrash/death that ranges from all-out pogo stirrers ("Annihilation of Civilization", which is not an Evildead cover) to marginally more controlled bashers ("The Militant Code"), Santillan epitomizing a gruff death metal baritone as a vocal accompaniment, in the music department offering very little outside incessant one-dimensional bash.

Genocide Supremacy EP, 2024
The Shadow of War Full-length, 2024

Official Site

BLOODY BUTCHER (POLAND)

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

BLOODY CHAIN (ITALY)

Run-of-the-mill modern thrash with shades of groove with brutal death metal 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

BLOODY CHAINS (GREECE)

This is intense retro thrash which is spearheaded by harsh deathly vocals, the excellent atmospheric quiet instrumental intro "First Blood" leading a relatively dark mid-paced parade in the first half, of which the dramatic more diverse "The Poltergeist" seems to be the highlight. The second half is more vivid with "Tormented Soul" banging a fair number of heads, and "Sacred War" adding a more epic, more melodic flavour to the otherwise orthodox proceedings, the mirth shattered by the closing "Last Will", a vehement semi-technical headbanger.

Last Will Full-length, 2021

Official Site

BLOODY COMPANY (BOLIVIA)

Based on the full-length, this Bolivian duo specialize in modern bumpy thrash/post-thrash which is generally on the energetic side with uplifting numbers like "Sin Esperanza" and especially the fast-paced roller-coaster "Won´t Be Broken" amply provided. More moshing passion elicited from the appropriately-titled "Violence is Peace", before "No Fear of Death" touches the lyrical balladic realms with a poignant atmospheric approach. "No Surrender" is a composed groovy trot, and "Eternal Blight" is a dramatic pounder with squashing weighty riffs. The vocals are in the semi-shouty death metal parametres, the guy sounding suitably fiery and venomous.

Las Chinelas de Papa EP, 2014
Violence Is Peace Full-length, 2023

Official Site

BLOODY CROSS (GERMANY)

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

BLOODY DONATION (GREECE)

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 doom 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 Oriental 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

BLOODY ENGINE (CHILE)

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 shouty, even screamy at times render not miles away from early Mille.

The Culture of Fear Full-Length, 2017

Official Site

BLOODY EXITATION (CHILE)

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 displayed on the atmospheric progressiver "The Black Mirror". The rest is more on the immediate bashing side with more aggressive and mellower passages taking turns.
"El Fin Justifica los Miedos" smells death metal more, the band galloping with passion on "N.O.M.", the brutal expletives of "Cuna de Herejes" perturbing the headbangers alongside those who like their metal with a hefty doze of steam-rolliness ("Prueba de Fe"). Makes sure you don't miss the catchy melodic leads on "Lucraran", as well as the militant staccato riffs of "Contraintuitivo".

Aggressive Distortion Demo, 2010
Road to Nowhere Full-Length, 2016
El Fin Justifica los Miedos Full-length, 2024

My Space

BLOODY MARY (USA, NC)

Based on the "Bitch Needs Psychotherapy" demo, this band play classic thrash with crossover elements recalling D.R.I.'s thrashier 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

BLOODY MARY (USA, NY)

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 suitable, albeit too high up in the mix stifling the other performers at times.

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

BLOODY RAGE (USA)

Based on "Executioner from Hell" 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

BLOODY RITUAL (FRANCE)

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 death metal shouter who complements the morose music just fine.
The “Knowledge of Shadow” demo is a heavier more atmospheric behemoth, “Becomes Deity” also attempting something more devious and semi-technical, before the squashing violent rhythms of “Knowledge of Shadow” and “Obscur Belief” bring proto-death to the fore with grim determination. The bigger musical sentiments of “Prophecy” are well noted, and “Knowledge of Shadow” recalls fuller-blooded thrash ways of expression despite the murky sound quality.

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

BLOODY ROOTS (HUNGARY)

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 nice semi-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

BLOODY SATISFACTION (HUNGARY)

Based on the "False Flesh" demo: this band provide aggressive thrash/death of the old school with bad, undeveloped growling 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-amateurish, stuff.

TenyTsztTsre Nem Javasolt Demo, 2004
False Flesh Demo, 2005

Official Site

BLOW JOB (SWITZERLAND)

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

Facebook

BLOWDEAD (FRANCE)

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 doom moments ("Prediction") those very well embedded into the overall appealing picture.
The EP would be a total waste of time for those who fell in love with the demo as this is just banal trivial groovy post-thrash with strange industrial and balladic intrusions the latter partly saved by the cool clean emotional vocals which are way better than the main deathly shouts. "El Tablaso" is the only reminder of the loftier arrangements from the demo, a cool progressive modern thrasher with spacey psychedelic overtones.

Choice of Reason Demo, 1990
Blowdead EP, 2002

My Space

BLOWER (USA)

Heavy/doom 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

BLUDVERA (UK)

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 mean-ish semi-clean timbre, 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 fulfilling 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

BLUDGEON (USA)

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 than Rob Flynn, but can't quite match the vitriolic "recitals" of Phil Anselmo.

Think Tank Full-Length, 1994

BLUDGEON (USA, OR)

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

BLUDSHOT (USA)

Based on the debut demo, this act pull out fast intense thrash which 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 sound 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 timbre.

Creature of Habit Demo, 1989
Promo Demo, 1992

BLUE COLLAR WAR (USA)

Based on "Join or Die", this band play post-thrash/post-death stuff which isn't very far from the first two Six Feet Under at times, but expect sincere moments of punk-ish hardcore ("Mr. Sulcifer", "Diamond in the Sand") as well as a couple of admirable classic gallopers ("Holy Wars"). The vocals are subdued semi-shouty with a quarrelsome hardcore-ish blend.

Beyond Repair EP, 2005
Locked in the Box Full-length, 2007
Join or Die Full-length, 2017

Official Site

BLUNT FORCE (USA)

Based on the "Raised on Destruction" EP, this act indulge in corrosive abrasive modern thrashcore that stomps the neighbourhood with groovy insistency (“Cryoprison”) at times, at others is just simplistic unpretentious barrage (“Total Eradication”), the very shouty rending singer not sparing himself anywhere, including on the relatively calm bouncer “Override Deletion”, hitting the hysterical top on the short acidic mosher “Tropic Blunder”.

Waiting for Death EP, 2013
Raised on Destruction EP, 2021

Official Site

BLUNT FORCE TRAUMA (USA)

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 first 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 three 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

BLUSTRASSE (GERMANY)

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

BLUTSPIEL (SWITZERLAND)

Old school power/thrash/core which is mostly on the catchy mid-tempo side, the harsh intimidating death metal vocals by far the most brutal condiment here, the rock-ish hymn "Metallregen" a not very necessary lyrical respite. The title-track is an imposing doomy hymn, but save for the intense anthem "Mainstream Media" towards the end the remainder is strictly on the friendly welcoming side.

Die Zeit Läuft Full-length, 2022

Fan Site

BLUUURGH (HOLLAND)

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

BLYND (CYPRUS)

Based on "Punishment Unfolds", these guys play uplifting 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.
“Unbeliever” keeps going up the aggression scale with more audible death metal accumulations (“Between Two Worlds”), the dramatic gravity of “Primordial Hunter” working well in team with the atmospheric gothic vistas of “One Last Dance”. “1984” borders openly on doom with the heavy officious rhythm-section epitomized, the Oriental ornaments of “Fire in the Sky” passing for the highlight on this passable but routinely-executed effort.

The Enemy Full-length, 2010
Punishment Unfolds Full-length, 2012
Liber Sum Full-Length, 2015
Unbeliever Full-length, 2024

Official Site


Copyright (c) 2007-2024 THE THRASH METAL GUIDE