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

BOANERGES (ITALY)

This Texan trio with a beautiful lass behind the mike specialize in dynamic speed/thrash the girl shouting not very attachedly but fits the energetic proceedings, the latter comprising the epic speedster "Battle Mind", the angry proto-thrasher "Holy Wars", the short quasi-doomster "Resist", and the choppy semi-technical power/thrasher "Never Let You Die", the highlight here. The production is too muddy, further enhancing the underground vibe emitted by this obscurity.

Battle Mind Demo, 1987

BOARDERS (ITALY)

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

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

Official Site

BOARGAZM (SOUTH AFRICA)

The debut: this outfit provide noisy industrialized post-thrash with merry rhythms incorporated occasionally, and more frequent crusty escapades which go well with the groovy passages. At times the approach becomes too heavy with allusions to death metal even, but watch out for the lyrical romantic moments (the short "Intermission") which show that the guys aren't strangers to some impressive musicianship which sadly can't be encountered elsewhere.

"The Baconing" is the same abrasive modern post-thrash story which is again dissipated by the odd more optimistic tune, and in this case by the casual more aggressive melo-death hook ("Rebel Slave"). Elsewhere the delivery is mid-paced and not very exciting if we exclude the excellent technical instrumental surprise "Of Mice And Men", and the quirky funkisms on "Not Gonna Get Us". Quite a few of the tracks are short and kind of unfinished, especially those in the second half, creating the impression that the guys are just jamming without any serious intentions towards their musical career...

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

Official Site

BODAI 39 CREW (GERMANY)

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

Pestpsalm Demo, 1999
Bodai 39 Crew Demo, 2002

BODY OF SCARS (USA)

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

Body Of Scars Full-length, 2007

Official Site

BODY PART TROPHY CASE (USA)

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

Killing Without a Motive Full-length, 2005

BODY STACKER (USA)

The EP: heavy rough retro thrash which is a bit too sluggish to reach the crushing urgency of the Cerebral Fix works, but pieces like "Boot Bruise" and "Scumfuck" will have no problems moving the fans around with their more dynamic rhythms. The final "Stack 'Em High" shows some admirable diversity completely lacking from the remaining material, but the vivid riff-patterns there alongside the constantly-shifting bass bottom show a more proficient side of the band who don't gain much from the hoarse shouty aggro-vocals.
The full-length: with half the material from the EP featured, it's no surprise that the delivery is very comparable, with "Having a Ball" from the new material bringing the good old thrash/crossover back to life within 2.5-min, and "Pathogen" attempting something stiffer and progressive with echoes of early Meshuggah. Elsewhere the approach is way more frivolous like on the goofy hardcore-ish "The Time Honored Tradition of Human Sacrifice" although the twisted rhythms on the all-instrumental delight "Into the Storm" could easily pass for something stylish and unorthodox.

Never Ending Penchant for Blood EP, 2016
Drinking Songs for the End of the World Full-length 2019

Official Site

BOGALJ (MONTENEGRO)

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

Primitive Sounds Demo, 2006

BOGUE BRIGADE (CANADA)

Optimistic brisk retro thrash/crossover which develops in a highly energetic manner with jumpy frolickers like "Destiny Calls" those frequently intercepted by mid-paced stompers ("Dishonorable Judge") the two sides alternating throughout until the closing merry-go-rounder "Ray", a more openly hardcore-ish piece giving more chances to the high-strung shouty semi-clean vocalist to rend his lungs.

Ruinous Behavior Full-length, 2018

Official Site

BOICOT (MEXICO)

This Mexican trio specialize in energetic old school speed/thrash which is further aggravated by the hoarse shouty vocals. Short speed metal winners ("Tierra de Nadie") take turns with angrier more belligerent thrashers ("Fakin' Moshpit"), the vehement "Thrash Squad" spearheading the fiesta, the latter acquiring marginally more serious quasi-progressive tendencies on "Holocausto".

Evil Master Full-Length, 2021

Official Site

BOILING BLOOD (GERMANY)

A classic/modern thrash hybridization which is equal parts latter-day Kreator and Paradox. Not bad at all with cool clean mid-ranged vocals and fast ripping guitars which get the message through on inspired speedsters like "Morbid Delusion" and "Queen Of Mutilation", the digressions coming in the form of either short crossover-prone frivolities ("Circle Of Life", the blitzkrieg "Burning Decision") or more moderate epic ("Abomination"; watch out for the leads on this one) exercises. Some of the musicians are also active with the progressive metal outfit Illunis.

Lost Inside a Morbid World Full-length, 2019

Official Site

BOIXOS NOIS (USA)

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

Boixos Nois Full-length, 1995

BOLK (GERMANY)

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

Gar Nicht Demo, 1991
Day Off Demo, 1993

BOLTDOWN (UK)

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

Omnicide Full-length, 2006

My Space

BOLTHARD (ROMANIA)

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

PASSWORD:INVAILD EP, 2010

My Space

BOLTOR (CHILE)

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

Road To Hell Demo, 2010

BOMB AND SCARY

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

Black Wishing Well Full-Length, 2008

BOMB THREAT (BRAZIL)

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

Inquisition EP, 2008

My Space

BOMB SCARE CREW (FRANCE)

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

Reign of the Sharks Full-length, 2005

My Space

BOMBARDER (BOSNIA AND HERZEGOVINA)

Based on the first two albums: the debut is pure Exciter-worship featuring also a cover of that band- "Long Live The Loud" with cheesy moments ("Metalni Bog"). The sophomore effort is thrashier, again with pop-ish tracks ("Princeza"), but with a much more powerful sound and sharper riffs.
"Okot iz Pakla": the guys are still alive and well, and this effort shows them kicking with something to spare. To begin with, the delivery is much more aggressive speed/thrash as evident from the explosive opener "Graditelj Hrama". Later on more melodic tricks pop on the surface "Epitaf" being a cool melodic proto-galloper; and "Spaljen" recalling their earlier exploits with its heroic rhythms. "Sam Protiv Svih" is another glorious speedster, and things only get better in the second half with the smashing semi-technicaller "Da Ti Glavu Srubim Psecu", and the raging shorter "Okot Iz Pakla" which almost reaches proto-death dimensions. "Dolina Smrti" again "flirts" with a more technical play leaving the more immediate riff-patterns for the remaining two cuts one of which is a handsome cover of the veterans Koldbrann's "Ðavolja Vršalica". This is a real comeback for the guys who should carry on in this vein to establish themselves on the front echelon of the European speed/thrash metal movement.
“Sa Dna Groba” sees the guys back in a pretty decent shape, the brisk elevating opening title-track making everyone happy, “Bombarder III” and “Unutrasnji Vapaj” retaining the fiery energy with a more overt speed metal flair, the frivolous crossover aura of “Avetiiz Sjenke” the most immediate encounter here. Run for cover on the maddening “Goli Strah”, and by all means on “Flag of Hate”… yes, the Kreator cover which wraps on this entry, played with bile and the requisite doze of seismicity.

Speed Kill Full-length, 1989
Bez Milosti Full-length, 1991
Crni Dani Full-length, 1995
Ko Sam Ja Full-length, 1997
Ledena Krv Full-length, 2003
Okot iz Pakla Full-Length, 2016
Bombarder III EP, 2023
Sa Dna Groba Full-length, 2024

My Space

BOMBED UP (CANADA)

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

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

Official Site

BOMBER (CHILE)

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

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

BOMBER (FRANCE)

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

Sommation Full-length, 2018

Official Site

BOMBERS FROM BURUNDI (GERMANY)

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

Bombers from Burundi Full-length, 1989

BOMBNATION (CANADA)

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

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

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

My Space

BOMBSCARE (USA)

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

T-Minus Full-Length, 2017

BOMBSTRIKE (SWEDEN)

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

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

My Space

BOMBWALK (SWEDEN)

This Swedish trio pull out wild frantic classic thrash which is generally direct and non-fussy, the melodic histrionics of "Murder" aptly blending with the straight-ahead raging rhythms of "Unspoken Desire". "In Your Mind" is a cool heavy epicer, and "At The End Of It All" introduces a more relaxed crossover layout which suits well the semi-clean hardcore-ish vocalist.

New World War Full-length, 2021

Official Site

BONARGES (POLAND)

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

Bonarges Demo, 1997

BONDED (GERMANY)

Ex-members of Sodom, Kreator, Despair join forces for another spell with the music industry; nothing overtly flashy, just modern thrashism as a respite from their dominant flirtations with the good classic thrash. Headbangers will surely rejoice thanks to prime speedsters like "Suit Murderer" and "Rest in Violence", but deviations are surely provided either in the form of abrasive quasi-groovers ("Je Suis Charlie") or as academic balladic pageants ("No Cure for Life"). The second half is a sheer headbanging fest the guys moshing around with glee, the abrasive shouty singer creating abit more than plain noise on the side.

Rest in Violence Full-length, 2020

Official Site

BONDED BY BLOOD (USA)

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

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

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

My Space

BONDE DO METALEIRO (BRAZIL)

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

O Ataque Dos Headbanger Virjro Full-Length, 2016

BONDED (GERMANY)

Based on "Into Blackness", this act indulge in intense vehement retro thrash, the band moshing with gusto, with hard scorching furies ("Lilith (Queen of Blood)", "Division of the Damned") roaming the scene, the lashing nature of the riffs creating numerous sizzling moments, the major exception being the stomping doom-laden "Destroy the Things I Love". Watch out for "Final Stand", a short brutal hardcore pulverizer.

Rest in Violence Full-length, 2020
Into Blackness Full-length, 2021

Official Site

BONE (DENMARK)

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

Live Terror...in the Morbid Studio Demo, 2010

My Space

BONEBREAKER (BRAZIL)

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

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

BONECRUSHER (USA)

Modern groovy post-thrash which moves around with more vivid for the style riffs, the creepy atmospheric "Demon Seed" leading the small 3-pronged pack here, the decent mid-ranged semi-clean vocalist doing his part without obstructing the proceedings too much, the latter hitting a high on the near-thrasher "Boiled Eyeballs", an intense sharp lasher with heavy dramatic accumulations. "Feels Good" wraps on the package with mostly thick steam-roller guitars, the delivery touching doom at times despite the generally merry optimistic clout.

Cell of Mind Demo, 1994

Official Site

BONEHUNTER (FINLAND)

Based on the "Sonic Diarrhea Holocaust" demo, these guys specialize in evil raw, old school black/thrash with vicious, witch-like vocals. The approach is very simplistic and stripped-down nodding to both Venom and Bathory, crossing faster and slower tracks the former also sharing some of the Motorhead-ish light-heartedness, especially in the thin lead department.
The full-length debut is finally out, and the delivery is almost as wicked as the one on the EP's and the demos. The "Motorhead meets Bathory" blend works well on every cut with touches of Exciter "Symbol of the Curse") on the more vigorous numbers. "Symbol of the Curse" is pure black metal outrage, but "atrocities" of the kind are kept to the minimum, including doom-laden stompers like "Succubus". The singer croaks like a sick raven and at times could pass for early Quorthon (R.I.P.): check out his antics on the closing title-track.
"Sexual Panic Human Machine" contains no surprises as the guys continue with their staple barrage which at times comes with weird psychedelic vibes ("Digital Evil", "Doom Desire" which has no shades of doom whatsoever). The speedy Motorhead-ish boogie is seldom interrupted save for the stomping battle hymn "Spectre of Sex Vengeance", a nice reminder of Bathory's immortal "Raise the Dead".
"Children of the Atom" acquires a much more aggressive stance thanks to way more violently executed tracks like "Demonic Nuclear Armament" and "Sex Messiah Android" where the mosh is literally endless, not to mention the title-track which boldly borders on black. "Black Star Carcass" and "Spider's Grave" are only marginally more sensible speed/thrashers the overall approach now resembling Impaled Nazarene, the obligatory more lyrical escapade arriving in the form of a cover version of the Brazilians Spiritus Mortis, "Man of Steel", a rowdy power/doomster which sounds utterly surreal on this hyper-active, barely restrained main setting.
"Dark Blood Reincarnation System" exudes the same raw vibe as the previous recordings, the band rushing onward with either more optimistic galloping hymns ("Parasite Eve") or with wild impetuous speedsters ("Devil Power Soldier"). The speed metal catchiness of "Chromium Death Mechanoid" could pass for the highlight, but watch out also for the epic dramatic accumulations on the closing "Dark Blood Reincarnation System".

Black Samurai Demo, 2011
Sonic Diarrhea Holocaust Demo, 2011
Turn Up the Evil EP, 2012
Sex & Necromancy EP, 2014
Evil Triumphs Again Full-Length, 2015
Sexual Panic Human Machine Full-length, 2017
Children of the Atom Full-length, 2018
Devil Metal Force EP, 2020
Dark Blood Reincarnation System Full-length, 2021

Official Site

BONEJAMMER (DENMARK)

This is retro thrash/crossover played with quite a bit of intensity, short pulverizing numbers which come served with both an abrasive ("Dead Meat") and carefree punky vibe ("Fuck Elcykler"), the shouty hardcore vocalist not an impediment, merely spitting the lyrics on the more vehement shorter ("Grit Your Teeth", "Chokehold") material. Expect also merry optimistic hardcore/punk hybrids where also the shadow of Motorhead can be felt. Some of the band members are also engaged with the thrash/crossover unit Jaeger.

Another Day in Paradise Full-length, 2024

Official Site

BONES (USA)

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

Bones Full-Length, 2011

BONES TO DUST (CANADA)

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

Welcome to the Valley of Slaughter Full-Length, 2017

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BONESAW (FINLAND)

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

Pathological Demo, 2005

Official Site

BONESAW (USA)

Based on "Written In Stone", this is enjoyable thrash/crossover coming from the more melodic side of this sub-genre. The brisk energetic opener "I Get By" sets the tone for the remainder, with "Foot in the Door" and "Turning Back" following the same no-bars-held path, leaving the more laid-back pounder "Crown of Thorns" to side with the marginally less intense side of the album where also the Suicidal Tendencies-esque "We Won't Be Silenced" belongs, this sentiment also reflected in the cool intelligent instrumental piece "Bonesaw". The vocalist is a semi-declamatory presence, not as quarrelsome as others in the genre, but forceful enough to be a legitimate addition to the energetic musical melee. Reportedly, their style changed into metalcore on subsequent releases.

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

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BONEYARD (DENMARK)

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

No Prescription Demo, 1995

BONFIRE (COLOMBIA)

This is raw primitive early black/thrash that looks no further than the first few Bathory recordings. The naive one-dimensional barrage holds no surprises or respites if we exclude the more officiant atmospheric marches on "In My Death", and the influence of Motorhead becomes only too obvious on "Black Soul For Rock & Roll" and "Hatred Of Satan", the frolic rock-ish vibe of the closing "Burn My Coffin" fitting better the very high-strung clean tirades of the vocalist.

Into the Demons Flame Full-length, 2018

Official Site

BOOBY TRAP (PORTUGAL)

Based on the demo, this is hard-hitting thrash/crossover, not too far from the Americans Hatrix on the more aggressive moments ("No Conformity"), and even Cryptic Slaughter ("Asshole") when the guys speed up. There are modern 90's elements as well as funky experiments ("Booby Trap"). Sometimes do the guys just thrash simply and directly ("Take The Power", "Brutal Intervention"), but they don't forget about the less serious, more laid-back, punk-ish side of the style: "Smells Like Shit" which is actually a fairly disrespectful treatment of Nirvana's "Smells Like Teen Spirit", but works.
"Stand Up and Fight": the thrash/crossover fiesta is in full swing here, the band moshing with obvious enthusiasm and with more frequent nods towards the purer thrashy ways of expression, the cool semi-clean/semi-shouty vocals adding to the uplifting atmosphere. The shorter material ("O Bom O Mau E O Filho da Puta", "Alcohol") is pure stripped-down hardcore, but even the most cynical out there won't miss the nice heavy/power metal hymn "Bombing for Oil", and the more serious speed/thrasher "The Ritual" at the end.
“The End of Time” is the next-in-line opus built around blistering explosive cuts (“Ready to Die”, the title-track), the hardcore-laced “Infektion” contrasting with the melodious expletives of "Open up Your Eyes”. There isn’t much energy on display in the second half, the short ball of rage “Sick Six Six” the main exception, if we also exclude the optimistic closer “Infidel”.

Brutal Intervention Demo, 1994
Survival Full-length, 2013
Overloaded Full-length, 2016
Drunkenstein EP, 2017
Stand Up and Fight Full-length, 2019
Fuck Censorship Full-length, 2021
The Hellzheimers Full-length, 2022
The End of Time Full-length, 2023

Fan Site

BOOTLEGS (ICELAND)

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

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

My Space

BORBOS (USA)

This is a one-man project, the name/alias Ari, who specializes in a fairly intense, also quite intriguing blend of black, death and a bit of thrash;; a fairly interesting mystic sound has been cooked with overt progressive pretensions ("Counterfactual", the dissonant Blut Aus Nord-esque wonder "Calamity Helix"), and a few less restrained but utterly captivating moments (the early-Dimmu Borgir worship "Thread of Poison", the dark thrashy excursion "Treachery Echoes"). Deep morose atmosphere is emitted from contrived dramatic masterpieces like "Bonded by Obsession" with black metal leading the way on those, Ari infusing his product with breath-taking melodies at every opportunity, creating one of the undisputable highlights this year, not so much from a thrash metal point-of-view, though.

Fear Paralysis Full-length, 2019

Official Site

BORDER OF INSANITY (GERMANY)

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

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

Official Site

BORDERWARS (USA)

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

The Present Day Full-Length, 2015

Official Site

BOREA (POLAND)

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

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

BORG-9 (USA)

Modern 90's post-thrash with gruff death metal vocals; the more energetic moments ("VigilanteVigilante") are taken directly from the early Pro-Pain exploits while "Episode In Grey" is vintage Sabbath-esque doom with good cleaner vocal insertions. Some of the band members had taken part in other more prominent acts from the US underground like the classic thrashers Redrum, the modern/classic thrash hybriders Brutal Groove, etc.

Smorgie Demo, 1995

BORN AGAIN (ITALY)

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

Unprecedented Atrocities Full-Length, 2016

BORN ANEW (POLAND)

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

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

My Space

BORN DEAD (GREECE)

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

Decline Of Humanity Demo, 2011

Official Site

BORN FROM PAIN (HOLLAND)

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

The New Future Full-Length, 2012

BORN OF FIRE (SWEDEN)

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

Chosen by the Gods EP, 2001

BORN OF IRE (UK)

Only two musicians are involved in this project which concentrates on a complex retro mixture of power, speed and thrash that is nicely reflected in the Manticora-sque roller-coaster "Marionette", but bigger ambition is shown with the 8.4-min progressiver "Devil to Pay in the Backlands" which meanders through quite a few influences before settling for an epic, stomping mid-tempo stride. Excellent more technical guitar work sneaks in on "Liar's Rhythm", another more minimalistically laid out shredder before "Spire" introduces a more introspective, but still pretty effective semi-balladic stance. "Cold Stone Sky" is more on the boisterous power metal side, but "Asylum" is an assured progressive thrasher with tasty melodic licks. "At the Foot of the Mountain" notches up the epicness for a heavy steam-rolling, over 10-min all-instrumental ride that could have been executed more eventfully; now these seismic, also lyrical on occasion, motifs may not hold the listener's attention the whole time. The singer is a cool addition to the engaging music with his steady passionate clean baritone which takes quite a bit of space except on the mentioned epicer.

Born of Ire Full-length, 2018

Official Site

BORN OF THE JACKAL (UK)

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

Born Of The Jackal EP, 2013

BORN RUDE (USA)

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

Born to Kill EP, 1990

BOROFF BAND (RUSSIA)

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

Studio Bootleg Demo, 2009

BORON (SZECH)

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

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

Official Site

BORROZA (COLOMBIA)

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

Fantasma Full-length, 2008

My Space

BOTHERS (ITALY)

A mix of classic thrash with Bay-Area overtones and a bit of the modern sound; the guys try to keep an energetic tempo throughout and produce cool results: the "leftover" from Exodus' "Bonded by Blood"; the more technical, but equally as intense "Disorder World"; the shredding riff-fest "Alone as Death" which also has a melodic lead-driven mid-part. The singer is a bit gruff sounding close to the early "exploits" of Peter Dolving (The Haunted).

"Naked Flesh": the classic/modern blend is here again but now the sound is quite scattered with less focused musicianship comprising short hardcore bursts ("Main Actor") among other distractions from the prevalent Bay-Areasque delivery. The second half is much less exciting with pointless mid-pacers ruining the impression the situation partially saved by the chaotic semi-technical closer "The Will To Kill".

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

Official Site

BOTHRASH (COSTA RICA)

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

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

Official Site

BOUND BY FATE (USA)

Based on "Steadfast", these folks provide groovy post-thrash which comes accompanied by healthy doze of stoner/doom that stifles the more energetic rhythms witnessed on cuts like "The Cleansing". The singer is a cool inebriate throat who semi-shouts without a tad of melody, but kind of suits the heavy, strangely uplifting musical delivery.
"Vigilant" is a more atmospheric, mellower affair but this less edgy approach gives the guys an opportunity to display their skills more fully. Melodic roller-coasters like "Brink of Extinction" and heavy officiant pounders like "Internal Warfare" add more depth to the proceedings while "Stand and Fight" provides the requisite more dynamic flair as opposed to brooding murky groovers like "Suffering in Silence". Cleaner singing springs up on the optimistic bluesy closer "Endless Days" to ensure more niceties for the less scholastic fanbase.

Aftermath Full-length, 2013
Steadfast Full-length, 2015
Vigilant Full-length, 2018

Official Site

BOUND FOR GLORY (USA)

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

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

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

Official Site

BOUNDLESS CHAOS (GERMANY)

This band play quite cool retro thrash/death that is clearly on the high… sorry, hyper-active side (“High Tension”) for at least half the time, the pulverizing speed/thrasher “Arson from Beyond” a sure candidate for the headbanger of the year. The guttural death metal vocalist is by all means more suitable to the several proto-death explosions (“Guillotine”), the excellent complex odyssey “Blasphemous Rupture” another intense proposition, before the deathly madness “Rip out the Roots” rips the environment to shreds with vehement fiery guitars. The musicians are also occupied with the death metallers Apep and the black/thrash hybriders The True Hellfyre Warmachine.

Of Death and Perdition EP, 2020
Sinister Upheaval Full-length, 2024

Official Site

BOVICE (USA)

This is a modern thrashcore unit who march on with thick heavy grooves the entire time, the threatening stomps on "Sluggo Season" standing for the highlight, "Glitch Death" justifying the "death" part of its title with a few more brutal accumulations, the semi-shouty/semi-declamatory vocalist aggravating the environment in his own passionate way. "Burnt Sacrifice" adds some speed to the proceedings, but such dynamic occurrences are very few in-between.

Dreaming of Paradise Full-length, 2022

Official Site

BOW (HOLLAND)

This is the brainchild of just one musician, the name Martijn Balsters, who rushes onward for the production of decent if not exactly spectacular modern/classic thrash/post-thrash which straddles between corrosive quasi-groovy walkabouts ("Black Dog Liberation") and more energetic, bordering on classic sounds, energizers ("Trader"). "Messiah" is another blast from the retro past, a nice pulverizing headbanger that is matched every bit of the way by sprightly "The Terminal", the more dramatic accumulations of "First Ten Weeks" displaying a more serious attitude, the latter also captured by the mellower introspective "Gap". Balsters serves a steady mid-ranged semi-clean timbre as a vocal accompaniment, doing a fair job with his moderately passionate performance.

City Race Full-length, 2022

Official Site

BOW TO NONE (USA)

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

Warhorse Full-Length, 2015

BRADDOCK (SPAIN)

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

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

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

BRAIN BOOZERS (USA)

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

Way Out Full-Length, 1995

BRAIN DAMAGE (GERMANY)

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

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

Official Site

BRAIN DAMAGED (COLOMBIA)

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

Demo Demo, 2012
Nación Infect Full-Length, 2016

Youtube

BRAIN DANCE (PORTUGAL)

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

Inheritance Full-Length, 2015

BRAIN DEAD (ITALY)

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

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

Official Site

BRAIN DEAD (MALAYSIA)

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

From The Ecstasy Full-length, 1992

BRAIN DEAD (USA)

The debut: intense ripping old school thrash touching quite a few of the old timers: Slayer, Vio-Lence, Torture, Forbidden, Heathen, etc. So expect fast-paced anthems topped by very cool clean high-strung at times vocals which unerringly follow the music shifts the latter indulging in a couple of more frolic galloping rhythms on "Dread Of Shame" which is a consummate speedster ala Attacker's "Second Coming", the closer "Sent To The Fire" another almighty cut with dramatic galloping sweeps. The band have done a very good job resurrecting the not so dormant nowadays retro thrash spirit, and their diverse amalgam should please fans outside the mere thrash metal spectre.

"Disaster Ahead" contains a similar entertaining mixture of the earlier mentioned styles blending moderate semi-technicallers ("The Flight of Oderus") with more complex progressive speedsters ("De-Reality") the latter excelling in melody both in the lead and the riff department to a fairly positive, catchy effect. The title-track is a dramatic galloper, and "Last Obsession" is a more elaborate mid-tempo power/thrasher. "War" tries something more technical again also speeding up admirably with vivid exhilirating riffs. "Panic" is very cool speed/thrash with slower breaks along the way plus nice melodic lead sections. The final "Brain Dead" is another moshing speedy cut with soaring melodies crossing with more aggressive thrashy passages giving a healthy boost to this very strong addition to the metal side of the music scene in 2016.

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

Official Site

BRAIN DEATH (COSTA RICA)

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

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

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BRAIN DECAY (FRANCE)

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

Animacule Hydrocarbone Full-Length, 1993

BRAIN FAMINE (USA)

The EP: three songs of violent chaotic modern thrash with elements of hardcore and death metal inserted; the music is quite vivid, even messily technical at times (check out the short exploder "Cunning Bondage") the latter tendency nicely enhanced on the much longer diverser "Ingest" at the end which switches from wild unbridled passages to more controlled ones in no time also finding time for the odd stylish melodic lead. The singer is a scary death metal rasper not far from Mr. Jeff Walker (Carcass).
The full-length is mostly violent aggressive thrashcore with clear shades of grind even... the odd melodic hook ("Wallow at the Lower Rungs") gets thrown in, but generally this isn't music for the squeamish the band raging on again in a fairly chaotic fashion, the quirkiness of the demo mostly captured on the several longer numbers ("Personal Violence") in the second half.
"Die in the Vortex" is a tad more controlled than its predecessor, the technical implementations on "Caustic Dimension" cast aside by the brutal grinding layout of the title-track and the looser but equally venomous renditions of the death metal-ish outrage "Resign to Bathophobia". "Inanivore" is vintage mid-period Carcass, and "Descended From Phantoms" is a momentous deathly ball of fury with a wonderful intricate veneer. "Endless March" is an intriguing longer composition, think Carcass again, but the "Swansong" variations; a cool thought-out cut with not a single fast-paced note, the latter coming aplenty on the closing restless headbanger "Led by the Neck".

Brain Famine EP, 2011
Exploding Paranoid Universe Full-Length, 2015
Die in the Vortex Full-length, 2022

Official Site

BRAIN IMPLOSION (HOLLAND)

Based on the 2-track EP: excellent aggressive thrash in the vein of Sepultura's "Beneath the Remains" (please note that this demo has been released a whole year earlier), and Slayer's "Reign in Blood". The vocals are intense and shouty with a quarrelsome blend bordering on the semi-declamatory.
The demo is sustained in the same uncompromising fashion, the guys moshing with force and with a bit of heaviness as evident from the precursor to the groovy wave that is "Lunacy". Watch out for the atmospheric instrumental "Implosion", and for the more complex shredder "Fear Rules" which borders on proto-death on the more aggressive moments.

Liquidation Demo, 1988
Sandgrains EP, 1989

BRAIN POLICE (USA)

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

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

BRAIN ROTT (USA)

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

Dead Full-Length, 2011

BRAIN SMASHER (CHILE)

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

Cazador Demo, 2011

Official Site

BRAIN WASHED (SPAIN)

Based on the self-titled demo, this band play messy semi-rehearsed thrash/death of the old school, the husky deathly vocalist sometimes reciting a bit more comprehensively, trying to enliven dark brooding exercises like "Hipocrisy" and "Experiment", the overall delivery recalling early Messiah and Protector, if we exclude the more proficient melodic motifs inserted on "Lago De Mierda".

Brain Washed Demo, 1994
Irreal realidad Demo, 1996
Introspección Full-length, 2022

Youtube

BRAINAMPUTATED (GERMANY)

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

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

BRAINCHILD (SWITZERLAND)

Quite intriguing retro progressive thrash, an obscure entry from the always full of surprises Swiss underground. The title-track reveals a penchant for more dynamic technical shreds, think a mix of Intruder and Artillery, the nice clean emotional vocalist giving further depth to the complex musical vistas. "Beyond the Reality" is choppier and less predictable, a dramatic heavy technicaller with steel precise guitars and a few delectable melodic hooks. "Men Fall Prey" touches the Bay-Area with a more orthodox layout, but there are enough twists and turns on it to ensure the fun for the more serious music aficionados. "Mind Decay" is a brooding irregular composition which spins in spirals without speeding up even for a split second; instead, it introduces a breath-taking balladic etude mid-way, one that is missing from the hectic vortex-like masterpiece "The Carrier", a perennially shifting wonder with supreme dense thick riffs, an amazingly busy structure without any fast-paced condiments. Clearly a highlight on the Swiss metal scene, an obscure gem which comes highly recommended.
The 1992 demo is another sure eye-opener, the guys revelling in their infernal dexterity with the puzzling albeit patiently-woven shredder "The Harlequin", the tight staccato rhythms of "Shadow of the Ancients" bringing both their compatriots Coroner and Deathrow to mind, before "The Sleep's Embrace" settles for bouts of creepy atmospheric heaviness. "Noble Decadence" is a masterpiece of thought-out mazey thrash, arguably the band's highest achievement, a similar anti-climactic layout epitomized for the more atmospheric "Colours", "Brainchild" crossing early Psychotic Waltz with Sieges Even's first for another supreme slow-burning thrashorama. "The Thrill" provides thrills of the deviant mid-paced variety, the labyrinth erected graced by a memorable chorus and a few dazzling melodic leads, "A Land Unseen" serving the only marginally more orthodox layout here, edgy choppy tech-thrash with stop-and-go rhythms popping up later, the infectious melodic sentiments of the varied "Shadow of the Ancients" serving as the finale to this stunning entry into one of the most impressive albeit short discographies in the annals of the genre.

The Dream Becomes Obscure Demo, 1991
Demo Demo, 1992

BRAINCHILD (USA)

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

Mindwarp Full-Length, 1996

BRAINDAMAGE (ITALY)

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

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

Official Site

BRAINDEAD (CZECHIA)

Based on "Left & Right", this is merry uplifting old school thrash/crossover which is seriously boosted by the abrasive noisy production. "Snakes in Suits" is a crisp fast-paced roller-coaster, but it's the title-track which goes away with all the raging laurels, an instant headbanger that sticks above the otherwise peaceful mid-tempo marches. The closing "Never Again" is a cool optimistic shredder, the attached high-strung clean singer having quite a bit of fun assisting his comrades with panache and pathos.

Against the Magnets EP, 2014
Priceless Trash Full-length, 2015
Left & Right Full-length, 2020

Official Site

BRAINDEAD (SWITZERLAND)

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

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

Official Site

BRAINDEAD (TURKEY)

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

Darkness Wins All Demo, 1993

BRAINDEAD (USA)

Based on "Shut Up & Kill Yourself", this band play old school death/thrash of the more complex, progressive variety reflected in lengthy elaborate compositions ("Debauched Beauty") where quite a few elements can be come across. "Home" is an encompassing saga, a cool labyrinthine thrasher with more brutal death metal additives the latter accentuated by the intense semi-shouty death metal vocalist.
"Behind the Mask of Sanity" carries on in the same vein the band excelling in the provision of intricate, entangled configurations on "Splitting of the Mind" and the outstanding shredding opus "Behind the Mask of Sanity", the short material ("5 Dimensional Apprehension") being straight-ahead death metal affairs, a couple of more restrained doom/balladic respites ("White Walls") enhancing the atmosphere. "Dreams" is another highlight, a dreamy melodic progressiver of the quasi-doom variety, the short semi-technical ripper "Permanent Enslavement" brutalizing the setting with death metal taking over including on the ambitious 11-min closer "15 Hours of Hell".

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

Official Site

BRAINDEADZ (GERMANY)

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

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

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

Official Site

BRAINDEATH (BRAZIL)

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

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

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

My Space

BRAINDEATH (FRANCE)

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

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

BRAINDEATH (HUNGARY)

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

A Good Day to Die Demo, 2003

Official Site

BRAINDOWN (CANADA)

Based on the full-length, this act serve modern post-thrash supervised by belligerent shouty death metal vocals. "Lobotomy" is a lengthy tractate in a more dynamic thrashy lore, but expect no support of the kind from the remainder, with trite groovy marches ("Something (Between my Teeth)") and dubious heavy steam-rollers ("Final Judgement") dominating the setting, the latter still managing to breathe freely on the surprisingly sprightly semi-technical shredder "Dysthymia".

Atrocious Beliefs EP, 2020
A World to Forget Full-length, 2022

Official Site

BRAINED (SWEDEN)

Modern thrash/post-thrash which is on the light-hearted groovy side for most of the time; there's some progressive intrigue stirred on the lengthy "Attrition of Flesh", a stylish atmospheric meanderer, but the rest is too meek and sleep to excite the audience, excluding the jumpy "Liquid Courage" which stretches towards Tool on the better moments, the harsh semi-shouty death metal vocals awkwardly changing the pitch every few seconds.

The Buried Dreamer EP, 2021

Official Site

BRAINFADE (GREECE)

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

At Last Demo, 1994
Promo Demo, 1996

BRAINIAC (SPAIN)

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

Dark Raisers Demo, 1993

BRAINICIDE (USA)

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

Brutal Mentality Demo, 1990

BRAINLESS (GERMANY)

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

"Reality Hurts" is slower, heavier, decidedly more modern and groovy, exiting the thrash metal field on quite a few moments (the post thrashy pageants "Afflicted" & "Dream Wolrd"). Still, more energetic old school riffs could be heard ("Terrified") here and there, but they can't lift this work to the level of the much better, more convincing debut.
"Ruler of Everything": the band are back in the game after a lifetime of absence, and they show that they haven't completely lost touch with reality, thrashing with fervour and passion, the opening "Sniper Alley" also adding a cool memorable chorus to the intense speed/thrashing shenanigans. The pogo continues later on, with the headbangers' friend "Sweet Poison" and the diverse more complex "Bare Iron", the short non-fussy "Get Away from Me" the most blistering piece here, "Fake People" sincerely complicating the environment with tighter riff-knots and virtuous screamy lead section, the closing "Bang Your Head And Dive" a remake of the closer of their debut, the same no-bars-held mosher only boosted by the modern hissing production. The new singer is a more ordinary presence than the raucous Marty, but his cleaner tirades by all means fit the calmer moments.

Brainless World Full-length, 1992
Reality Hurts Full-length, 1999
Ruler of Everything Full-length, 2022

Official Site

BRAINLESS (ITALY)

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

Defenders Of Ignorance Full-length, 2008

My Space

BRAINS NO MORE (HOLLAND)

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

Brains No More Demo, 1994

BRAINSHOT (CHILE)

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

Ataque Zombie Demo, 2011

BRAINSLUG (UK)

This is cool classic thrash with echoes of the Bay-Area, the band thrashing with gusto throughout, the shorter material (“Dead Plastic Baby”) recalling their exploits under the Mutually Assured Destruction moniker where the delivery is more in the thrash/crossover camp. “Thrash Grandad” is a nice more technical proposition, the vigorous attitude sustained later thanks to pleasing technical headbanger “Please” and the longer more elaborate odyssey “Brainwashed by Common Sense”, a hyper-active complexer assisted by the cool emotional semi-clean singer.

Brainslug Full-length, 2023

Official Site

BRAINSTEM OVERLOAD (UK)

A duo from Portsmouth who specialize in heavy modern power/thrash which straddles between pure industrial dirgers ("Corrosion") and more complex shredders ("Sociality") the production more on the noisy side of the spectre including the quarrelsome overshouty vocals. "Guarantee" is an infectious optimistic cut helped by the nice melodic tunes on "Let the Evil Out", and if we add the restless headbanger "Succulent and Devine" and the curious bouncy industrial instrumental "Synaptic", things start looking brighter but only for those who like acts like Screw and Swamp Terrorists.

Brainstem Overload Full-length, 2020

Official Site

BRAINSTORM (BRAZIL)

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

Brainstorm Full-Length, 1996

BRAINSTORM (GREECE)

Based on the "The Time Has Come" demo, this act play not bad retro speed/thrash, roughly produced though, with a few vitriolic speedsters ("Second Coming"( roaming around, the lyrical intro at the start of "Time For Revenge" boding bigger sensitivity, but that's misleading as the guys mosh with passion the entire time, turning to crossover on the short frolic "Prisoner of Fate". "Psychological Warfare" is a longer more complex proposition, but the factual deviation from the vigorous pattern occurs on "Illusions or Reality", a heavy epic march, the not very attached clean punky singer humbly humming on the side, trying to be an able assistance with not very great returns.

The Time Has Come Demo, 1989
Violated Fortune Demo, 1990

BRAINSTORM (SERBIA)

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

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

BRAINSTORM (USA)

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

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

BRAINTHRASH (FINLAND)

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

Mental Kombat EP 2012
Brain Rangers Full-length, 2017

Official Site

BRAINWASH (ITALY)

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

Demo Demo, 1989

BRAINWASHED (POLAND)

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

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

Official Site

BRAINWASHING (HOLLAND)

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

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

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

BRAINWAVE (BELGIUM)

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

Promo Demo, 1992
Flower of Destruction Demo, 1993

BRALALALALA (USA)

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

Well Come to the Galaxy Full-length, 1997

Official Site

BRANDED BY PAIN (CANADA)

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

Among the Mad Full-Length, 2013

Official Site

BRANDON BUCKLEY (USA)

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

2015 Full-Length, 2016

Official Site

BRANT (USA)

Based on the "Under the Flesh" EP, this act serve modern 90's groovy post-thrash with a couple of more interesting, semi-technical moments (the deathly "Negatives"), the brutal death metal-ish "Suffer onto All" suiting the angrier, moodier part of the vocal delivery, the other one being somewhat hysterical hardcore-like. The sound quality is quite abrasive and fuzzy, but the guys manage to overcome it, including on the heavy dramatic march "I Bleed Black". The musicians are also busy with the heavy metallers Lordchain, the retro thrash outfit Step Cousin, and the power/thrash formation Eternity.

Amazon Desert EP, 1996
Under the Flesh EP, 1997
Across an Ever Darkening Sky EP, 1999
Infinite Agenda Full-length, 2000
Sands of Mars Full-length, 2002
Under the Flesh (Special Edition) Full-length, 2002

Official Site

BRASS TACTICS (USA)

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

By Silence Betrayed Demo, 1989

BRAVE THE COLD (INTERNATIONAL)

This is a project of the drum guru Dirk Verbeuren (Cadaver, Megadeth, Soilwork, At the Gates, etc.) and the Napalm Death legend Mitch Harris. The style on display is modern thrash/death that is quite vicious and brutal on occasion, bringing the winds of grindcore at times. Rest assured that this isn't Napalm Death-inspired stuff although it's Harris who handles the vocals, screechy vicious spatout rendings interlaced with gruffer deathly semi-recitals. Speedy shredders like "Monotheist" and "Retrograde" will surely keep the mosh going, but they come accompanied by weird quirky gimmicks like spacey walkabouts, industrial ornaments, so there's variety. "Apparatus" is a short wild aggressive outburst, but watch out for the progressive atmospheric pageant "Upheaval", a worthy piece of more contrived music which remains one of its kind on this overall hyper-active recording.

Scarcity Full-length, 2020

Official Site

BRAY ROAD (USA)

Based on "Focused, Fierce, Relentless...", these lads provide old school power/speed/thrash which seamlessly combines melody and energy on then emblematic opener "Nobody's Junior", the choppy rowdy "Feed the Beast" creating some moshing atmosphere, the latter nicely sustained by the appropriately-titled "Possible Violence", and the more diverse but equally tense "Dark Passenger". The singer is a forceful hardcore shouter, his antics making sense in a confrontational vociferous manner.

Pounded into Dust Full-length, 2012
Feast upon the Helpless Full-length, 2017
Formation EP, 2019
Focused, Fierce, Relentless... Full-length, 2023

Official Site

BRAZEN (CANADA)

A classic thrash/death/grindcore metal compendium is what's on offer here; needless to add, the approach is on the hyper-active side for most of the time with speedy blitzkrieg guitars flying from all sides, the merciless cannonade interrupted on the more cleverly-executed "From the Inside", a delightful melodic progressiver with epic connotations; a surprising turn of events but utterly compelling, made even more attractive by the impetuous gallops on "Nothing Last Forever", and the more technical chops on the mechanical "Les Pauvres". The very shouty death metal vocals aren't exactly a detriment, but hardly deserve a medal with their noisy at times interference.

Buried Memories Full-length, 2018

Official Site

BRAZO ARMADO (ARGENTINA)

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

Brazo Armado Demo, 1997

BREAK THE EARTH (USA)

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

Numbered Days Full-Length, 2017

BREAKDOWN (BRAZIL)

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

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

Official Site

BREAKDUST (FRANCE)

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

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

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

Official Site

BREAKING THE HALO (USA)

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

Atlas Full-Length, 2016

Official Site

BREAKSPIR (FRANCE)

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

Fire That Burns Your Veins EP, 2010

My Space

BREAKTHROUGH (GERMANY)

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

Against All Full-Length, 2014

Youtube

BREATHING HELL (INTERNATIONAL)

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

Gospel of Annihilation Full-length, 2017

Youtube

BREATHLESS (SPAIN)

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

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

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

My Space

BREATHILIZER (USA)

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

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

My Space

BREED (GERMANY)

This formation, who rose from the ashes of the retro death metal outfit Sudden Death, play very cool classic technical thrash which flirts with both clever semi-technical Bay-Areasque arrangements ("Of Hope and Despair") and bolder probing headbangers ("Refuse Reality"), the cool attached vocals ala Sean Killian (Vio-Lence, Machine Head) marching assuredly alongside the music, the latter receiving a coo progressive baptism on the labyrinthine "Pro Evolution Sucker". Watch out also for the creepy deviant "Out of Control" and the moshing albeit entangled pulverizer "Better Hater", a stylish reminder of the puzzling extrapolations from Forbidden's Twisted into Form", from where the contrived closing title-track may also have been taken.

History of Tomorrow Full-length, 2023

Official Site

BREED (NORWAY)

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

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

Official Site

BREED OF BACCHUS (GERMANY)

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

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

Official Site

BREED OF WAR (CANADA)

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

Blood EP, 2012

My Space

BREEDING FEAR (GERMANY)

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

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

BREEDING MONOLITH (GERMANY)

This is modern thrash which rages on with intense headbangers like "Observe to Obliterate" and "Precarious", the more epic lustre of "Redemption creating a near-operatic atmosphere with "Grit One`s Teeth" adding more to the diversity exhibited in the second ahlf with less flashy mid-tempo histrionics. The speedy delivery almost completely disappears near the end replaced by moody stomping motifs, the rude awakening coming in the form of the brisk roller-coaster "Burning Belief", the forced shouty deathly vocals the most standard ingredient here.

(T)rust Full-Length, 2020

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BREJN DEDD (SWEDEN)

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

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

BRETHREN (USA)

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

Signs of the Affliction Demo, 1988

BRIAN (CZECH)

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

Kelem Ke Zdi Full-length, 1991

BRICK BATH (USA)

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

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

Official Site

BRICK BY BRICK (USA)

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

Severed Ties Full-Length, 2011

BRICK MISTRESS (USA)

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

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

My Space

BRIDGE (CANADA)

This is hard-hitting thrash/crossover of the old school, the guys moshing with gusto at every opportunity, the longer more thought-out “When the World Started” leading the pack of generally short lightning bolts (“Shit Attack”, “Party of Cows”) those bringing the approach quite close to early Wehrmacht and even the Cryptic Slaughter debut. “Kill the Dead” flirts with some stylish bassisms, and “I'm Hungry” epitomizes some brutal proto-death demeanour, contrasting with the mean semi-clean/semi-declamatory singer.

Weird Tales for Fools Demo, 1988

BRIDGE OF DIOD (ITALY)

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

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

Official Site

BROADAX (USA)

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

Demo Demo, 1988

BROILERS OF DEATH (FINLAND)

Two songs of calm mid-paced power/thrash with aggressive death metal vocals and a few imposing doom passages ("World of Lies"). One-dimensional, a bit boring stuff as a whole...

Demo Demo, 1992

BROKEN & BURNT (BRAZIL)

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

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

Official Site

BROKEN BONES (UK)

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

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

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

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

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

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

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

Official Site

BROKEN CIRCLE (GERMANY)

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

Trapped in my Head EP, 2010

My Space

BROKEN EDGE (FRANCE)

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

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

Official Site

BROKEN FATE (SWITZERLAND)

Based on the full-length debut, these folks serve melodic feelgood modern power/thrash which establishes the dominant mid-pace from the beginning, and seldom breaks the formula. This is peaceful, not very eventful music which still delivers thanks to the consistent heavy rhythm-section, the melodic hooks, and partially the cool dramatic semi-clean vocals. In the second half the listener will come across the galloping delight "Freedom", the lashing shredder "Fall Of Serenity", and the more engaging progressive opus "Take You Away".
"Reborn" doesn't stray too far from the established on the debut formula as the generally friendly mid-paced melee is in full swing here once again, the major change occurring in the vocal camp where brutal death metal inclusions ruin the atmosphere here and there. "Humanity in Black" shows some less bridled headbanging fervour, but laid-back pacifiers like "Kiss the Night" dissipate the intensity the latter also kept around with the semi-galloping delight "Everything Around You" and the invigorating speedy roller-coaster "Fire and Gasoline".
"Fighters & Dreamers" doesn't break any new ground, the sizzling fervent speedster "Devil on Earth" overriding the bluesy/balladic infatuations on the soulful "When Does It Come", before "The Quiet Memories" notches up the thrash, followed by a string of ponderous mid-paced marches, save for the bouncy rowdy thrashing closer "Always the Same".

Rising to the Dream EP, 2012
The Bridge Between Full-length, 2015
Reborn Full-length, 2018
Fighters & Dreamers Full-length, 2023

Official Site

BROKEN FOUNDATION (USA)

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

Broken Foundation Full-length, 2006

Official Site

BROKEN GLAZZ (ITALY)

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

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

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

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BROKEN MAN (USA)

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

Absolution? Demo, 1990

BROKENHEAD (SWITZERLAND)

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

A Prompt And Utter Destruction EP, 2017

BROKENHEADS (FRANCE)

This act specialize in old school speed/power/thrash which is largely on the welcoming mid-paced side ("Buried Alive", "Squizz"), the bolder galloping tendencies of "Starving" suiting better the attached semi-clean vocalist, the bigger thrashing prowess of "I've Got to Go" not met elsewhere, the meandering longer closer "Trip in Hell" providing a wider array of moods and tempos, ending more on the power metal side in the long run.

Waiting For The End Full-Length, 2024

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BROLOAF (USA)

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

Born To Party Full-Length, 2016

BROMO (INDONESIA)

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

Habis Perkara Full-length, 2004

Youtube

BROMOCORAH (INDONESIA)

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

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

Official Site

BROOKEN (VENEZUELA)

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

Necrogenocidas Demo, 2012

BROTHER CAIN (USA)

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

Demo Demo, 1991

My Space

BROTHERS GRIMM (USA)

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

Helm's Deep Full-Length, 1990

My Space

BROYD (SLOVAKIA)

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

People Demo, 2002

Official Site

BRUGDEN (SWEDEN)

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

Monkeys In Uniforms Full-Length, 2013

BRUJA (COLOMBIA)

Based on "Devorados por las Sombras", this is an intense hyper-active mixture of speed, thrash and black; the band rush swiftly, seldom pausing for a break, the more atmospheric extrapolations on "Ritual del Acero" a welcome deviation. "No Servire" is a prime bursting speedster touching proto-death, and "Altar of Sacrifice", which is not a Slayer cover, lashes out rapid-fire riffs to no end, the harsh raspy blacky vocals aptly accommodating the virulent nature of the music.

Devastación infernal EP, 2017
Blasfemias Full-length, 2019
Devorados por las Sombras Full-length, 2022

Official Site

BRUMOUS (USA)

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

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

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BRUTAL (BRAZIL)

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

Religious Destruction Demo, 2004

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BRUTAL AWAKENING (SOUTH AFRICA)

This is a quite nice retro power/progressive/thrash conglomerate, the creepy stylized configurations of "Entering the Necropolis" instigating the entangled mosaics, "Executioner" elongating the delivery by inserting heavy doom rhythms, the latter enhancing the brooding atmosphere. Later on the guys turn to some hectic tech-thrash on "Circle of Destruction" to impress the audience, this truly lofty occurrence matched very bit of the way by the enchanting semi-balladic saga "Entombed in Solitude". Life-affirming epic metal rises out of the diverse all-instrumental etude "Forgotten Pain", the short melodic wonder "Behind your Eyes" raising the lathe even higher, before the final "Welcome Confusion" wraps it on with more intricate thrashy riffs on top of bemusing Oriental tunes. The vocalist is a leveled clean throat who doesn't strain himself too much, recalling the Tourniquet singer Les Carlsen. Mentioning the Americans, the overall style on display here is also quite reminiscent of theirs, especially "Microscopic View of a Telescopic Realm".

Brutal Awakening Full-length, 2023

Official Site

BRUTAL BRAIN (BRAZIL)

This is frivolous eagle-fly-free thrash/crossover which is spearheaded by pretty cool clean attached vocals. There's also this overt speed metal veneer exhibited ("Your Soul") at times, recalling the early works of band's compatriots Viper, but by-and-large this is light-hearted unpretentious stuff, the guys having fun with the hardcore-ish basher "Nevermind" and the surprisingly hectic semi-intricate shorter "Novala Das 6pm". More attempts at pure speed ("With Me") alongside sincere outtakes on punk ("Little and Fuck") keep the fun on high, the band doing nothing wrong, playing just for the sake of it, also throwing a super-goofy hyper-active cover of Pink Floyd's biggest hit "Another Brick in the Wall". Later some of the musicians formed the progressive metallers Deadly Fate.

Brutal Brain Demo, 1996

BRUTAL CANCAN (ITALY)

This is intense modern thrash with elements of death metal, the prevalent mid-tempo plot intercepted by more dynamic additives ("Give Me a Plot"). The rock-ish jocund veneer of cuts like "Spooks" are a bit hard to pin down except as more or less intentional jokes, but the guys pull themselves together on more dynamic shredders like "Crave" the wide vocal presentation, from shouty deathly to lyrical clean, also helping in the formation of a more positive impression in the long run.

Polemos Full-Length, 2018

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BRUTAL DISTORTION (BRAZIL)

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

Cadaveric Symphony/Fornications Split, 1990

BRUTAL DOG (POLAND)

This hellish trio from Poland serve energetic retro thrash which also comes with copious amounts of melodic licks the latter starkly contrasting with the gruff low-tuned death metal vocals. The lead pirouettes on the title-track easily border on Shrapnel-like virtuosity, with "Dead Oil" being a more atmospheric, less vigorous proposition the guys also producing the odd more stylish rifforama ("Detonator", the jumpy unpredictable "Race of Life"). "Still Addicted" is a surprisingly quiet, but a pretty cool ballad which reveals a not very often displayed, but definitely worth exploring further, side of the band.

Inferno Full-length, 2018

Official Site

BRUTAL EXUBERANCIA (BRAZIL)

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

Planeta Cobitado Demo, 2006
Guerra Dos Mundos Demo, 2008

My Space

BRUTAL GROOVE (USA)

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

State of Execution Demo, 1991
Demo 1992 Demo, 1992

BRUTAL KRAUT (GERMANY)

Based on the full-length, this band play modern thrash/death metal mixing direct no-bars-held old school thrash, mid-period Opeth, more doom-laden aesthetics and poignant lyrical deviations. The "gruff vs. clean" vocal duel has been achieved well as well as the balance between the ripping headachers ("Breaker", "Facades") and more atmospheric, less active ("Criminal") numbers.

III Pieces EP EP, 2015
Brutal Kraut Full-length, 2018

Official Site

BRUTAL HORIZON (UK)

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

Burn In The Fury Full-Length, 2015

BRUTAL MASTICATION (USA)

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

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

My Space

BRUTAL OBSCENITY (HOLLAND)

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

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

My Space

BRUTAL ORDER (BRAZIL)

This young outfit deliver fairly cool energetic classic thrash built on pounding hammering riffs which surprisingly stay in the up-tempo parametres regardless of their heavy nature. The most obvious influence is Slayer, but the approach is more along the lines of the one on "Seasons in the Abyss" rather than the frequently imitated no-bars-held barrage of "Reign in Blood", the vocalist a dead ringer for Tom Araya with an assured shouty timbre. The more frolic character of "Working Till Death" diversifies the setting, but this cut is by no means a sloppy respite with "Brutal Order" and the more diverse "Revolution or Self Destruction" restoring the moshing hegemony with passion, the very clear sound quality another plus in this promising act's short discography.

Homo Homini Lupus EP, 2018

My Space

BRUTAL SACRIFICE (BRAZIL)

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

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

Official Site

BRUTAL SQUIRT (MEXICO)

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

Obliteration Full-Length, 2016

BRUTAL TERROR (PORTUGAL)

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

Brutal Terror Full-length, 1999

My Space

BRUTAL THIN (SPAIN)

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

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

My Space

BRUTALFLY (SPAIN)

Based on the full-length, this Spanish trio serve excellent thought-out retro thrash which boldly circles around the progressive idea, with meandering twisting compositions ("I Was An Experiment"), the appropriately-titled "Thrashtorm" unleashing a storm of sharp lashing technical riffs. "Until Your Breath Flows" is a wonderful surreal thrasher with a wide gamut of tempos covered, with great melodic guitar work accentuating the harsh semi-shouty death metal vocalist. Expect epic semi-balladic developments on the strange "The Papership", and moshing thrash/crossover aesthetics on on the short ripping "Evil Room". The highlight on this fairly interesting recording seems to be the virtuoso-prone rifforama "Distortion For This", although "Brutalfly" is a very close second with an array of intricate, entangled developments and a breath-taking idyllic interlude.

Brutalfly EP, 2015
I Was an Experiment Full-length, 2022

Official Site

BRUTALIATOR (SWEDEN)

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

Brutaliator Full-length, 2003

Official Site

BRUTALICIDIO (CHILE)

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

Salud de Fierro Demo, 2008

My Space

BRUTALITY (USA)

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

Brutality Demo, 1990

BRUTALLIAN (BRAZIL)

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

"Reason for Violence": yes, there are reasons for violence here as the guys sound way angrier than before, the title-track spearheading this lively roller-coaster which again doesn't serve anything too brutal although more hard-thrashing delights ("Cast in Iron", "Love Is All Around (But the World)") follow suit later amongst calmer dark walkabouts ("The Ride") and composed steady mid-pacers ("From Hell We Are"), all the shenanigans summed up by the encompassing nearly 10-min closer "Sagacious Amra".

Blow on the Eye Full-Length, 2015
Reason for Violence Full-length, 2018

Official Site

BRUTALLIKA (NORWAY)

This is intense classic thrash with shades of crossover, the shouty hardcore vocals giving the recording an even bigger character, "Apathy No More" rushing onward with wild ripping rhythms, the hyper-active fiesta carried on by the equally virulent "365 Days" and the marginally more controlled "HvaGjorDet Meg", "No Shit!" at the end upgrading the setting to pure unbridled Slayer-esque thrash (think "Show no Mercy", above all).

Demo Demo, 1989

Youtube

BRUTALODY (USA)

Based on the full-length, this band play modern melodic death/thrash which isn't a note-by-note rendition of the Swedish canons, but there's this melo-death sentiment ("Sonic Lust", "Black Omen") that roams around although the laurels go to the more technically-executed material like "The Usurper" and the epic "Illusions". Some cleaner, more emotional vocals appear from time to time to disturb the dominant shouty death metal throat. The musicians are also involved with the progressive black metallers Sathariel, and another death/thrash hybrider, Descendant.

The Usurper EP, 2014
Divine Right of Kings Full-length, 2020

Official Site

BRUTANAL (FINLAND)

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

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

Official Site

BRUTEALLIES (UK)

This act specialize in heavy modern thrash/death which crosses over into a melo-death territory ("Dark Army"), the semi-technical insistency of "Mad Elephant" a true highlight, with the short ripping "Nemesis" a true neck-sprainer. The singer shouts in a commanding deathly manner, scaring away the non-true with his intimidating presence.

Ash & Nails Full-length, 2020

Official Site

BRUTEFORCE (PORTUGAL)

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

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

My Space

BRUTO (BRAZIL)

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

Mundo Destru'eddo Full-Length, 2011

My Space

BRUXA VELHA (BRAZIL)

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

Old Witch Full-Length, 2011

BR00TAL BEEFCAKE (USA)

This is classic thrash/crossover which has its more seriously-executed side ("Ground Rules"), but most of the time the band indulge in short direct cuts ("Hairstyles I Like", "What's That Smell") which smell thrash more save for a few less bridled hardcore attacks ("Folks Who Like to Read", "Saturday Morning Brainstorming"). The vocal side is reflected in an intense shouty deathly and a hysterical near-blacky screech, neither very fitting for the music on display.

Based on True Events Full-length, 2019

Official Site

BSB-H (BRAZIL)

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

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

BUD (NORWAY)

Typical 90's post-thrash which flirts with both the classic thrash canons and fusion/funk, the resultant blend lacking speed, but compensating with numerous illogicalities like the Biohazard-esque idiocies on "We Need An Aspidistra", the weird psychotic Ministry-like dirges on "We Need An Aspidistra", the funky thrash/crossover surprises on "Like Godpiss Hits the Ground"... the semi-clean/semi-shouty vocalist messes around seldom trying to actually sing.

Please the Pigs EP, 1994

BUGS B GONE (NORWAY)

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

Act of Rage EP, 1996

Official Site

BUILDING CHAOS (GREECE)

Old school/modern power/speed/post-thrash sustained both in a brisk energetic ("Blood Boil") and mellower mid-paced ("Until The End") fashion, the sprightly "The Hunt" preserving the more active dimensions, the latter completely lost on the dreamy ballad/stoner filler "Let the River Bear Your Bones" and the drowsy country joke "Heavy Chains". The singer is a passable clean mid-ranged baritone, and can also be heard on the works of the doom/stoners Black Stone Machine and the classic thrash formation Hellfire B.C. alongside other colleagues of his here.

Bourbon Times Full-length, 2017

Official Site

BUILT FOR BATTLE (USA)

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

Killing the Dream Full-Length, 2017

Official Site

BUILT UPON RUINS (USA)

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

Built Upon Ruins Full-Length, 2013

Official Site

BUKO (SPAIN)

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

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

Te Odio EP, 2012
Elefantes Full-Length, 2015

Official Site

BULL-RIFF STAMPEDE (UK)

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

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

BULLDOG COURAGE

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

From Heartache To Hatred Full-Length, 2010

BULLDOZER (CROATIA)

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

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

Fan Site

BULLDOZER (ITALY)

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

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

"Unexpected Fate" is not such an "unexpected" effort having in mind that the comeback releases usually see the bands sticking to their roots, rather than experimenting with the new trends, and Bulldozer in this sense will almost completely erase the "stain" thrown over their name with the 90's string of disgraceful EP's. The band is a trio again, like in the old days, with only the drummer Manu being a new "face", the same one who also hits hard for one of the rising thrash metal stars from Italy Death Mechanism. What's on offer here is really good old school thrash/proto-death, a tad more aggressive than their last two full-lengths and more proficient music-wise. The albums starts in a smashing fashion with fast uncompromising tracks, inside which some will hear sparse short references to their keyboard/orchestral arrangements of old. It's towards the middle when the sound gets mellower, with "Micro Vip" which is a kind thrash/crossover piece. It apparently is the obligatory "pause" since later on the thrashing assault carries on with "Bastards" which still has melodic hooks left from the previous song; the great galloping speed/thrashterpiece "Buried Alive By Trash", which offers standout guitar work bordering on the technical; the extreme death/thrash on the Rigor Mortis-like "The Counter-Crusade", where one can come across fine addictive melodic hooks as well as a nice peaceful closing lead-driven section; "In The Name", which exits the album in a more moderate manner with heavy mid-tempo semi-epic riffs, and a great fast final passage. Played with inspiration and confidence, this effort will easily overshadow both the new and old (Necrodeath) representatives of the Italian scene in 2009 and may even place the band higher in the ranks than their old works did.

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

Official Site

BULLET-PROOF (ITALY/SLOVAKIA)

The debut: another international collaboration pays tribute to the good old retro thrash quite reminiscent of the style practiced by the Italian side of the partnership, the classic thrashers Anguish Force. "Chemtrails" shifts from the formula into not very charted brutal thrash waters, but the guys seldom attempt such exploits if we also exclude the speed/thrashing roller-coaster near the end "She Devil", and the splashing title-track which closes the album. The vocals are handled by the former Anguish Force vocalist so expect the same hoarse semi-clean delivery there.

"Forsaken One" would be a more pleasant surprise with its fairly energetic delivery with the opening "Might Makes Right" and the title-track, and although later on the band reveal their softer nature, the guitar work remains on the more intense side, excluding a couple of friendlier heavy rockers ("I Was Wrong"). "Abandon" is an awesome shredder single-handedly lifting the level up, and "Lust" is a carefree galloper with speed/power metal tendencies. "Revolution" shoots hard again, and the final "Little Boy" is a more diverse progressive piece with a great atmospheric balladic passage.
"Cell XIX" delivers to an extent, the guys moshing with both passion and sophistication, the diverse "When Truth and Trust Collapsed" displaying all the staple ingredients from the band's arsenal, the heavier more technical "Paralyzed" influencing a trail of similarly-styled cuts, the stomping title-track slowing down, killing the inertia, the second half largely carved by mid-paced not very eventful numbers, the final "Perception of Reality" nearly acquiring semi-balladic tendencies.

De-Generation Full-Length, 2015
Forsaken One Full-length, 2017
Cell XIX Full-length, 2021

Official Site

BULLET RIDE (FRANCE)

Quite decent old school power/speed/thrash which tears the air with convincing fast-paced hymns ("What Comes After", "Somewhere Else"), the band also infusing the setting with loads of addictive melodies, the main pullback being the grating-on-the nerves death metal vocals which simply disturb the much better cleaner side. "Weather the Storm" is an epic power metal hymn, and "Naked Greed" is a rousing fast-paced saga which pairs well with the brisk optimistic "Eternity", the closing "At the Gates of Hell" being another expansive ode to all things power metal with a hefty progressive flair.

At The Gates Of Hell Full-Length, 2022

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BULLET TRAUMA (FINLAND)

Concrete non-fussy thrash/crossover of the old school which doesn't win too many points from the boosted modern production, but makes up with intense energetic cuts, the face-melting "Bullet Trauma" overriding the clumsy quasi-grooves of "Hunting Grounds", "Forced Entertainment" emphasizing on the light-hearted crossover spirit, before "Harmageddon Warfare" rages hard with speedy pummeling riffs, supported by the vociferous hardcore vocalist.

Hunting Season EP, 2023

Official Site

BULLETBELT (NEW ZEALAND)

Based on the full-length, this act indulge in aggressive black/thrash metal which consists of short blitzkrieg numbers and longer with a surreal abstract edge ones the latter sure-handed delights with great melodies and technical variations. The middle is represented by the jocund cover of the punk veterans No Tag's "Mistaken Identity" after which follow two other thought-out takes on modern black metal without too much thrash present; regardless, this is very good music well executed with a lot to be savoured including the apocalyptic devilish shouty vocals. Some of the musicians also play in the classic heavy metal formation Red Dawn.
"Rise of the Banshee" is more brutal than its predecessor in the beginning adhering to black metal initially, but later the approach becomes more moderate: "Murderer's Collar"; and clever: the thrash/crossover joy "Sniper"; the calm lyrical "Minnie Dean"; the epic-sounding "Black Banshee", etc. This is well executed music which crosses the more extreme and more moderate side with ease creating a lot of dark, almost gothic-like, atmosphere in the process.

"Nine Centuries" offers a similar, if not even wider, cocktail of moods and influences as there's some epic undercurrent running underneath also reflected in friendly mild rockers like "Haegtessa", and symphonic hyper-active bombasters like "Dethrone" in the best tradition of Bal-Sagoth. "Orpehus" goes over the borders of the good taste, introducing hyper-blasting black metal the guys overdoing it a little bit with a wild amalgam of styles that don't sit too well when put together.
"Warlords" doesn't shift too much from the epitomized direction the two leading styles well mixed together, with "Herodian Kingdom" hitting atmospheric doom territories, and "Blade On The Fire" walking around in a more relaxed black'n roll fashion. Truly brutal moments along the lines of earlier recordings are nowhere to be encountered save for the short ripping "Mutilate and Destroy".
“Burn It Up” is a much milder softer affair, the band taking it easy with the playful opening title-track, a welcoming power/speed metal offering, the lyrical melodicisms of “Arminius” a sure surprise, but later on there’s no thrash or black to be encountered, the guys moving from catchy raucous hymns (“Incendium Magnum Romae”) to lethargic psychedelic ballads (“Cosmic”), the delivery definitely on the sleep-inducing side for at least half the time, a major change of heart witnessed here, but hardly for the better.

The Black Army Stands EP, 2010
Writhe and Ascend EP, 2011
Down in the Cold of the Grave Full-length, 2012
Rise of the Banshee Full-Length, 2014
Nine Centuries Full-length, 2018
Warlords Full-length, 2020
Burn It Up Full-Length, 2023

Official Site

BULLETFACE (USA)

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

Universal Magnitude Demo, 2014

Official Site

BULLETHOLE (GREECE)

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

Incarceration Full-length, 2003

BULLETRIDDEN (UK)

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

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

BULLETSIZE (SWEDEN)

Based on the "The Apokalypse" EP, this act offers intense modern semi-technical thrash/proto-death which is pretty wild at times ("1000 Deaths"), but a lot of melody has been infused in the lyrical gothic/thrash metal opus "Alone In The Dark" where cool clean vocals can also be heard as opposed to the more aggressive death semi-shouts. Musicians from this formation also take part in the gothic metallers Myrah, and the black metal "monsters" Hellavator.

"Numb" provides "numb" modern thrash which is stripped off the death metal side, and also from the technical elements which now are very few. Consequently the excitement wouldn't be very big the guys not bothering to accelerate a lot: "Eyes of the Blind" is an exception with its hard-hitting speedy rhythms. The rest is too monotonous and uneventful to make the listener think about tracking down the previous efforts.
"Pansar" is by all means a more impressive effort the band thrashing with gusto and also with a good sense of melody on the opening rager "F T W", and despite the presence of several heavy groovers later one can't deny the headbanging immediacy of cuts like "Legion of Chaos" and the perennial mosher "Genocide". "Enslaved Humanity" is a death/thrashing "monster" with ripping riffs leaving the more lyrical deviations for the closing "Blackhole Village" which is an imposing, operatic doom idyll with a sudden blitzkrieg ending.
"Respawn" stays the course with potent dark riffs flowing out of the opening ravager "Ground Zero" before the more light=hearted crossover joy "Abnormal Extermination" stirs a jostling friendly moshpit. The more variegated layout of "Digital Mistress" is more than welcome with its diverse riff-patterns, the welcoming sing-alonger "Frontline" also featuring a portion of delectable melodic leads.

Bulletsize Full-length, 2008
The Apokalypse EP, 2009
The Apokalypse Full-length, 2011
Numb Full-length, 2013
Pansar Full-Length, 2016
Respawn Full-length, 2023

Official Site

BULLIMIC WORMS (USA)

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

Demo Demo, 1990

BULWARK (SWITZERLAND)

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

Variance Full-length, 2009

Official Site

BUNDESWEHRA (POLAND)

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

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

BUNKER (CHILE)

The debut: intense rigorous thrash of the old school which is close in execution to the style epitomized by the other acts with which the guys are involved, Them and Thrash Attack. The uncompromising speedy assault is seldom broken save for the more varied stomping "Real of Fantasy" and the late-80's Slayer-esque brooder "New World Order". For a large portion of the time the listener will be cowering from the fast-paced bullets like "The Valley of Death" and "Insanity", the cannonade assisted by forceful shouty semi-death vocals.
"Gritos de Inocentes" is a more tamed offering, the heavy stomping "Inhuman Race" gelling well with the galloping wonder "Book of Lies" and the short lashing title-track, the latter easily the most aggressive occurrence here, the pulverizing seismer "Plan de Guerra" a close second.

The Decline of the System Full-length, 2017
Gritos de Inocentes Full-length, 2023

Official Site

BUNKER 66 (ITALY)

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

Out of the Bunker EP, 2009
Infernal Interceptors Full-Length, 2012
Screaming Rock Believers Full-Length, 2014
Chained Down in Dirt Full-length, 2017
Beyond the Help of Prayers Full-length, 2021

Official Site

BURAKU (NORWAY)

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

Thresholds Full-Length, 2016

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BURDEGUN (POLAND)

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

Violent Storm Full-length, 2006

Official Site

BURDEN AD (FINLAND)

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

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

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

Official Site

BURDEN OF OATH (USA)

Streamlined melodic old school power/proto-thrash that tramples all over with steam-rolling pounders “Bullet” and “Sacrifice”, the livelier “Toxic” not receiving much from the remainder. The hoarse but legible semi-clean singer doing his thing with dignity, including on the lively proto-speedster “The Answer”. Don’t expect full-blooded thrash to materialize anywhere, except on the raucous mid-tempo march "Rise".

Shattered Realms Full-length, 2024

Official Site

BURDEN OF THE WRETCHED (USA)

Based on the full-length, this band play abrasive crusty thrash which stays more on the modern side, "And They All Fell in Line" moving towards the more flexible speed/thrash realms, and "Brezger" epitomizing a friendly steady mid-paced trot which permeates the whole album. The more experimental gloomy/doom spirit of "Demonmouth" is surely welcome, but it's the closing "Visions of Mayhem" that is the real revelation, a bumpy lively closure with echoes of Carnivore. The singer isn't exactly peter Steele (R.I.P.), though, his shouty hardcore baritone still relevant for most of the time. Some of the band members are also engaged with the black/thrash hybriders Andraste's Rage.

Destination of the Wicked EP, 2022
The Edge of Chaos Full-length, 2024

Official Site

BURDEN RAGE (ARGENTINA)

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

The Spiral Black Hole Full-Length, 2012

Official Site

BURIAL (UK)

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

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

BURIAL EXTRACTION (USA)

This is old school thrash/death that comes served with a pinch of technicality on clever meandering exercises like the opening "Contorted Corpses" and the more intense and frantic "Slain Lamb", the peaceful mid-paced bounces on "Fearful Glory" bringing the desirable deviation, before the guys smack then miasmic creepy "Grave Rot" and the brooding deathly march "Victory over Death". The singer is a down-tuned guttural deathster, and his tirades are amply present all over.

A Shadow of Things to Come Full-length, 2023

Official Site

BURIAL GROUND (ITALY)

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

Born into Extinction Full-Length, 2003

BURIAL GROUND (USA)

Heavy 90's post-thrash which is either a Pantera (the aggro-mosher "Center of Hate") emulation, or is a heavy dirger ("Deadly Embrace") with echoes of sludge, the better-sounding "Cries of Chaos" offering nice classic riffs for a change, the intense shouty vociferous singer sitting between Phil Anselmo (Pantera again) and Gary Meskil (Pro-Pain).

Tribal Warning Demo, 1995

BURIAL IN SULPHUR (ITALY)

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

Burial in Sulphur Demo, 2003

Official Site

BURIED ALIVE (PORTUGAL)

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

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

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BURIED AT DAWN (USA)

This is laid-back old school proto-thrash/crossover which can be unnecessarily playful ("Rock the Panties") on occasion, the guys not having any intentions on moshing hard, the heavy but welcoming rhythms of "Big Mouth" seldom enlivened by brighter strokes like the ones on the still hospitable "Electric Noose", the slightly intriguing "Bimbo" recalling early-90's Megadeth, the hoarse semi-clean vocalist doing a decent job behind the mike, matching the mellow shenanigans on display, the latter turning to near-epic doom on "Valhaluvaguy".

Meat Full-length, 2022

Official Site

BURIED GOD (GERMANY)

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

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

Dark Revelation Full-length, 2003
Sacrificed EP, 2004

BURIED WITH CHILDREN (USA)

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

Buried With Children EP, 2009

BURIED YESTERDAY (BRAZIL)

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

Only Salvation For Us EP, 2008

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BURN THE AILMENT (USA)

After the exquisite lead-driven instrumental piece that is the title-track the band indulge in a much less imaginative mix of old school and modern thrash which fluctuates between not very eventful mid-paced monotony ("Roots of Evil") and brisker thrashing sprees ("Refined by Fire"), the hoarse semi-clean vocals not helping much with their inebriate, not very rehearsed timbre.

Pyriscence Full-length, 2017

Official Site

BURN THE BOATS (USA)

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

From Under the Waves Full-Length, 2014

Official Site

BURN TO BLACK (CANADA)

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

Mach 666 Full-length, 2006

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BURN WITHOUT ME (USA)

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

A Tale of Modern Ruin Full-Length, 2009

BURNED BRAIN (CANADA)

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

Go to the Party Demo, 1989

BURNING (COLOMBIA)

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

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

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BURNING BARRACKS (GERMANY)

Based on the full-length, this act pull out modern power/post-thrash which is clearly on the mellow sing-along side despite the singer's hoarse not very attached baritone, turning the tables towards purer thrashy expressions with the more belligerent "Man Unkind". The lyrical progressive sentimentality of "Unleashed" is more on the goofy side, the guys eventually choosing the laid-back condiments as the guiding light, peppering the horizon with both balladic soporifers ("Black Tears") and catchy playful hooks (the closing "Take Me out of Fire").

Lost Years EP, 2019
Unleashed Full-length, 2021

Official Site

BURNING CRYPT (CHILE)

An alluring "Electric Eye"-esque intro brings us into the pit, which delivers fairly cool old school thrash, the ripping semi-technicality of "Malevolent Reflection" an assured inaugurator, the same path later traversed by the short less fussy ripper "Enslaver Liquid" and the sprightly roller-coaster "Mental Hostage". The progressive gravity of "God Is Absent" is a change of direction, but there's no speed lost on its second half, the lyrical semi-balladic all-instrumental closer "La Tormenta" missing the leveled semi-clean/semi-declamatory vocals.

Eclesiastic Abuse Full-length, 2022

Official Site

BURNING DARKNESS (USA)

This one-man band (the name Matt Balzano) specialize(s) in modern-ish power/thrash as the guy knows his guitar, pulling out a couple of delectable virtuoso-prone licks. Otherwise this is mostly heavy mid-tempo stuff with more ambitious progressive tendencies detected ("I Can't Feel") here and there, with the overlong ballad "Black My Bride" the only more mitigated shortcoming although Balzano manages to come up with a convincing emotional vocal delivery as opposed to his main mean semi-clean croon.

Black Thoughts Full-length, 2018

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BURNING EFFIGY (CANADA)

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

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

Official Site

BURNING LEATHER (ITALY)

The debut: a new trio from Sardinia who indulge in adequate classic speed/thrash, the bridled measured energy of "Psychokiller" and "Lawbreaker" satisfying with their lashing guitars and uplifting rhythms. "Modern World Suicide" is an ordinary mid-tempo pounder, spearheading the less exciting second half which also comprises the equally as tepid "Last Rites" and the high-brow all-instrumental "Bass Solo". The vocals are of the mid-ranged semi-clean variety, not occupying much space but creating a generally positive impression.
"New World Order" doesn't establish any new order, but straddles along the same path carved by the first instalment, retro speed/thrash to put it short, the brisk frolic rhythms of "Nothing but True" and the appropriately-titled "Blitzkrieg" standing humble next to the more entangled approach of "Secret Area", the possible highlight here, although "Poisonous Love" also makes such claims with its more threatening skirmish-like delivery.

Burning Leather Full-length, 2021
New World Order Full-length, 2023

Official Site

BURNING LEGION (SLOVENIA)

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

Controlling Existence EP, 2007

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BURNING NITRUM (ITALY)

The EP: this young talented act acquit themselves with fairly good retro thrash which comes with a thick crunchy guitar sound which stays true to the Bay-Area canons on the fiery instrumental opener "Enter The Fire". "Time for thrash" with the next "Thrash Time" which is another energetic number which will also recall the heroes from the other side of the US Anthrax and Overkill. The rapid-fire approach remains till the end wrapped up with the more complex opus "Pyromania" which mixes wild thrashing with a virtuous more laid-back lead-driven section. The singer uses a forceful semi-declamatory tone sitting somewhere between early Bobby "Blitz" Ellsworth (Overkill) and Sean Killian (Vio-Lence). This is a promising start on which the guys should be able to capitalize soon.

The full-length is a sure ripper the band preserving all the winning elements from the EP, acquitting themselves with cleverly-arranged tracks not far from the first two Forbidden albums the main difference coming from the shouty choruses which in their turn will recall Anthrax. "Lying Until the End" is a more technical offering, but overall the delivery is right as rain, no-bars-held Bay-Area thrash which reduces the tempo near the end, on the more complex progressiver "Nemesis, the Death Star", before the final "Turned to Ashes (Nothing Stands Still)" rips you apart with the exiting portion of fast lashing guitars which will keep the listener on his/her toes for 6.5-min with its intelligent build-ups and impetuous headbanging passages. The singer is a match to the dynamic musical approach with his high-strung semi-clean blend which now resembles Russ Anderson (Forbidden again) more than the two previously mentioned vocal heroes.

Pyromania EP, 2012
Molotov Full-Length, 2014

Official Site

BURNING OF I (USA)

Based on "Nowhere Is A Destination", this band offers modern thrash/death metal with sparse technical implements. The music is mostly mid-paced with faster outbreaks on the longer compositions ("Machete Suppository", "Thirty Stairs") which are also the more technically-charged, and consequently the more interesting. The shorter material is nothing too special, a bit boring with borrowings from gothic and even alternative, with only the closer "Norwalk" speeding up in a less restrained Gothenburg-esque fashion.

A Small Little Shack in a Big Wet Messy Nothing EP, 2006
Nowhere Is A Destination Full-length, 2009

Official Site

BURNING STEEL (GERMANY)

Based on the debut, this band play classic death/thrash with strong atmospheric overtones. The vocal "guttural death vs. cleaner hardcore" duel alternates throughout, the purer thrashy outtakes ("Broken Hope") assisted by the latter, whereas the more brutal death-prone material ("Red Light (The Master of...)") receives the deathly vocal support, naturally. The listener also has to welcome the epic melodic tractate "Dead Soul" and the soulful balladic "Listen the Rain". The overall structure and execution recall the French Agressor's masterful "Symposium of Rebirth " (1994), but this effort here is not as adroitly assembled, including the rough albeit energetic cover of Uriah Heep's "Lady In Black" at the end. The band later turned into the melo-death formation Succubus who are still operational, and have released several full-lengths and EP's.

The Master of Eternal Fire Full-length, 2004
Age of Death Full-length, 2007

Official Site

BURNING THE OPPRESSOR (CANADA)

These Canadians pull out modern post-thrash with vivid dynamic riffs and some sudden headbanging sweeps ("Verbal Aggressor"; the unexpected classic thrash/crossover joy "You Can't Hide"). Even the angry groovers later on sound interesting and not as stale: check out the ripping "Mute" with its face-tearing shreds; check out the melodic leanings on the closer "Shoot, Reload, Repeat". Everything is suitably angry here, even the expressive shouty vocals which lead the pack with confidence and panache.

Verbal Aggressor Full-Length, 2013

BURNKILL (BRAZIL)

This is modern thrash with more melodic overtones and casual shades of death metal, again of the more laid-back type. The band mosh in a steady mid-tempo adding a more intense steam-roller sound ("Repressao") here and there, as well as the more stylish technical hook ("Tempestade De Horror"). The singer is a gruff death metaller who rends his lungs in an authoritative, comprehensive fashion.

Guerra e Destruição Full-Length, 2016

Official Site

BURNMARK (CHINA)

Three songs of melodic Gothenburg-influenced thrash/death metal with several proto-alternative elements; still, when the guys lash it without too much ado ("Gorgon Killer"), they do a better job. The sound quality is pretty clear, and the guitars have the necessary edge being superior to the pedestrian gruff shouty vocals.

???? EP, 2010

My Space

BURNT COLONELS (CANADA)

Based on the full-length, this act offers very typical for the time heavy groovy post-thrash which comes with a playful edge and cool hoarse, semi-clean vocals which sound both aggressive and attached. The song-structures, however, aren't very interesting evolving around clumsy repetitive heavy patterns with a tad of melody.

Rituals EP, 1993
Malice Aforethought Full-length, 1995

BURNT FASE (USA)

A very unknown band from the heydays of the genre playing quite average crossover/power/thrash recalling their compatriots Liege Lord, Aftermath and early Helstar on the best moments which are not that many actually. "Twizzler" is an appropriate opener, dynamic, sharp and even semi-technical followed by the aggressive thrasher "Fase Death". Then suddenly the sound comes down to melodic thrash/crossover and remains there for two whole songs, before "Busted" offers some relief with more energetic hardcore-ish guitars. The uneven mixture continues throughout the rest of the album although it's only "Swirling Whirlee" which thrashes harder later the rest being soft unmemorable thrash/crossover of the unexciting mid-paced type.

Nature Gone Mad Full-length, 1987

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BURNT OFFERING (USA, CA)

These guys mix speed/thrash ala early Whiplash with monotonous mid-paced thrash which could have been influenced by Venom, but is more boring and repetitive. The combination doesn't work too well regardless of the presence of Chris Reifert (Death, Autopsy). A riff from "The Dead Walk the Earth" has definitely impressed Destruction a lot and they may have stolen it for "Curse the Gods". The aforementioned track, which is an instrumental, by the way, is a very good number, speedy with nice leads and memorable riffs, by far the highlight on the demo.

Frightmare Demo, 1985

BURNT OFFERING (USA, IL)

The debut is mostly fast-paced brutal basic thrash with overt shades of death metal (the violent, also quite lengthy melee "Kick Your Dirt"), obviously influenced by Dark Angel and Slayer; not bad despite its slightly chaotic nature. The majority of the tracks are short ripping bullets, some of them ("Prisoner of War", "Power of Death") pure vehement bashers, some served with a more moderate stomping quality ("Beware the Axe", the choppy quasi-doom "Slaughterhouse Grizzle"), the aggressive shouty death metal vocals additionally shattering the walls around, creating their own version of hell behind the mike. "Black Blasphemy" is sheer death metal madness, the equally wild "Graphic Violence" showing some mercy with a portion of pounding less brutal riffs.
"Walk of the Dead", which comes after a very long 9-year break, is a much better effort; the sound isn't as aggressive and fast anymore, and the guitar work has become more technical (check out the devious twisted opener "Hell Is Yours"); the songs are longer, some of them are within the 7-8min range ("The One"), and are quite interesting without comprising any big technical complexity. Death metal has sneaked through even more than on the debut, check out the pulverizing violator "Thou Shalt Not Kill"; but thrash still breathes freely on the corrosive pummeling "With All the Blood", with "Nailed" reminding of the vitriolic Slayer influence on the first instalment. The second half is furnished with heavier doom-laden cuts ("Mother's Shallow Grave"), the delivery at times resembling the Dutch Asphyx on the more stomping parts, but watch out for the sudden explosions of musical virulence on "Time to Close Your Eyes", the closing shorter "Burnt Offering" an aggressive slab of old school thrash/death; a fitting closure to this cool comeback stint, which also boasts a nice faithful cover version of the Venom's immortal classic "Black Metal" awaits you at the end.

Burnt Offering Full-length, 1989
Walk of the Dead Full-length, 1998

Official Site

BURNT SHADOWS (USA)

Based on the EP: this band comes up with quite heavy and punishing modern thrash with nods to early Pantera, but the straight thrashy sections here are more frequent ("Killing Of Me", which has a slight death metal colouring even) as well as the dragging groovy tunes ("Bludgeoned").

One Last Breath Demo, 2004
Await The Destruction EP, 2006

Official Site

BURST (FRANCE)

Three tracks of cool thrash/crossover with sharp energetic guitars and melodic balladic intros to every song; the tempo is up ably "assisted" by forceful semi-hardcore vocals, slightly recalling Mike Muir on the more melodic leanings.

Burst Demo, 1992

BURST MY MARROW (GERMANY)

Industrial thrash with an abrasive guitar sound, but with good dynamics and memorable tracks; shades of alternative ala later-period Misery Loves Co. can be caught, but there are also more straight thrashy sections of the Swedish melo-type and the French Lyzanxia, where the sound acquires energetic mid-tempos, again recalling the aforementioned Swedes. The vocals range from angry semi-death to clean ones, both having a characteristic hoarse tone, obviously delivered by the same person.

Oblivion Full-length, 2011

BURST UP (ITALY)

Similar to the other band featured on the split, this band play a frenetic brutal mix of thrash, hardcore and grind; a low level of musicianship, wild attitude- only for completists.

Thrash Brigade & Burst Up Split, 2007

BURSTHEAD (FRANCE)

Brisk, energetic retro thrash from France this way comes. The guys thrash with conviction adhering to the tricks from the Bay-Area arsenal with a pinch of technicality akin to Testament and Forbidden. There's energy to spare here even on the more complex material ("Kill to Live") and the slower moments are surprisingly offered on the shorter tracks: the pounding seismer "Violent Rape". The end is a revelation in the form of the clever technical headbanger "Suicide" which is mostly instrumental; and the stylish "Holy Lies" which is "unholy" fierce thrash with great leads. The actual closer is the short "Masturbation" which is top-notch "masturbating" shred packed within less than 3-min nicely wrapping things up. If we exclude the rough inexpressive death metal vocals everything else here is nearly perfect making these youngsters one of the tougher propositions from the contemporary French metal scene.

The Price of War Full-length, 2012

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BURY THEIR BONES (FRANCE)

This young French act play heavy steam-roller modern thrash characterized by brutal death metal vocals and an ultra-heavy rhythm-section which seldom abandons the mid-tempo, but is compensated by the odd stylish lead guitar work ("Fight"; the more twisted leads on "Angel's Song") and the casual nod to the old school: the creepy dark "Kill" which bears some of the Cerebral Fix stompiness, albeit delivered in a slower, almost sludgy, manner. The sound quality is not bad giving the necessary boost to both the guitars and the singer.

Demo Demo, 2012

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BUSHIDO CODE (CANADA)

An interesting outfit who (based on the full-length) stick to the lofty Death parametres, mixing thrash and death on a virtuoso melodic base, with more light-hearted crossover ingredients popping up later, the resultant therapy possessing an overtly dynamic nature, and although the lead guitarist tries hard to keep this recording within pyrotechnics-oriented realms, it's all about more direct frolic trips like "Stench of Cowards Rot" and the steady monolithic mid-pacer "Relic of War", including a short quiet idyll ("Prelude to Battle"). "Harvest" is a wilder headbanger, and "Benevolence" is a stylish thrash/crossover anthem, disfavouring a bit the rough semi-shouty death metal vocals.

The Dying Virtues Vol. 1 EP, 2018
The Dying Virtues Vol. 2 EP, 2019
The Ronin Full-length, 2021

BUSHWHACKER (CANADA)

This is a fairly diverse offering which is based on modern post-thrash and doom metal the other influences coming from ballad, blues, a bit of jazz, alternative, grunge, and more. The musicianship at times is admirable, and at least a few sections on the ambitious 10-min closer "Echoes Of The End" will manage to bang your head for a bit. The singer is quite versatile, too, using a few styles along the way his main one being semi-clean mid-ranged recalling Kerrmit (Tyrant, Germany) and Heinz Mikus (Risk).

Bushwhacker Full-Length, 2011

Official Site

BUSKIN METHOD (SPAIN)

These Spaniards play intense retro thrash with both speed and death metal elements thrown in. The guys lash vitriolic riffs with passion sticking mostly to fast tempos those being abandoned on the longer diverse "Satan's Bitch" which "flirts" with progressive retouching the aggression to an extent. The end would lift the mood up, though, with the invigorating "Of Thrash Of War", a prime headbanger followed by an interesting atmospheric outro. The singer semi-shouts in a harsh hardcore-ish manner ala Simon Forrest (Cerebral Fix) seldom acquiring a more melodic pitch.

Undead Nightmare EP, 2012

BUSTED WIG (USA)

A not very known entity who deliver quite good progressive thrash of the old school. The opening "Imminent Danger" provides infectious melodies aplenty before jumpy scratching rhythms take over replaced by intense galloping sections near the end. "The Circle" is a choppy mid-pacer with more melodic, also more dramatic, developments in the second half plus a portion of stop-and-go riffs ala Watchtower and Coroner. "Inside Of Evil" is an outstanding short, technical shredder providing a pleiad of tempo-changes within just 2.5-min.; an marvellous composition which could become an addictive listen even to the more linear headbangers. "If It Were Tomorrow" has a sprawling balladic beginning, but the technical drama soon commences as well as the mind-scratching riffage which never leaves the mid-paced confines, but the vortex-like crescendos at the end are a wonder to listen to. "Play God" is graced by a brilliant lead-driven start, but the guys unleash the technical guitars which here have a somewhat epic colouring not far from Helstar's "Nosferatu", virtuous melodies appearing later to make this composition a consummate progressive thrasher. The vocalist also helps a lot with his versatile performance covering several gamuts recalling both James Rivera (Helstar) and Franz Herde (Sieges Even). Some of the musicians are active at the moment with the groovy post-thrashers Bonesaw.

Busted Wig Demo, 1993

BUT A THOUGHT (INTERNATIONAL)

An international cast without any major renowned performers have gotten together for the creation of this modern progressive thrash affair which crosses hard-hitting passages with sprawling, but enchanting, dreamy interludes the latter accompanied by very cool angelic female vocals. The blend works although some may lose their patience a bit on the lengthy quiet sections. Still, when the wild thrashing comes, it would be truly satisfying with the clever technical decisions and the stylish tempo shifts.

...But a Thought Full-Length, 2014

Official Site

BUTCHER (BELGIUM)

Based on "66 Goats Carry My Chariot", these lads serve simplistic retro speed/thrash which is very close to the intense barrages on the Bathory and Whiplash debuts. The delivery is a bit more contrived at times, though, also reminding of the early German speed metal movement on the entertaining roller-coaster "Iron Bitch". "45 RPM Metal" is a truly raging speed/thrasher, but such explosions are a rarity although "Sentinels of Dethe" is quite close to capturing some vehement death metal-ish vibe. The hellish shouty vocals soar above the hyper-active proceedings with spite to spare, toning it down a bit on the 9.5-min long epic title-track, a venerable nod to mid-period Bathory again, and Hades Almighty.

Bestial Fükkin' Warmachine Full-length, 2017
666 Goats Carry My Chariot Full-length, 2020

Official Site

BUTCHER (BRAZIL)

Despite the sinister name, this band are not aggressive thrash or death metal, but progressive thrash with classically-trained guitar players whose pyrotechnics are quite impressive. "Quest" is a magnificent technical speed/thrash excursion (this same track is remade at the end, as just an instrumental piece), and is the finest representative of the band's striking style which would fit the description "Yngwie Malmsteen meets thrash" quite well. The lead guitar work is state-of-the-art, and overshadows the riffage; but when the guys feel like thrashing, they do quite a damage with razor-sharp guitars and intensity ("Tryout": check out the bass performance on this one). There's one filler, though: the funky light-hearted "Stop" (yes, guys, please stop!). With only one album in their discography, Butcher rank among the finest metal bands from Brazil.

The demo is three songs which sees the guys still on a fairly primal musical level, thrashing roughly, the title-track acquitting itself with a portion of more stylish riffs; the majority, though, is more on the bashing side recalling their compatriots Holocausto and Dorsal Atlantica's early efforts. The vocalist creates the best impression with his forceful semi-shouty/semi-declamatory performance.

Way of Darkness Demo, 1989
Astral Karma Full-length, 1993

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BUTCHER (URUGUAY)

Based on the full-length, this act, which only consists of one member the name Diego Pereira, indulge in simplistic intense thrash of the old school with frequent more carefree crossover references which at times "grow" into spasmodic computerized blasts those compensated by the odd heavy doomy opus ("Punished"). The singer's a gruff semi-whisperer who, when he tries to really sing, touches early Tom G. Warrior (Celtic Frost). The last song is a cover version of "Boneyeard" of the grindcore veterans Impetigo surprisingly done in a more subdued, less brutal manner.

Embraced By Madness Full-Length, 2012
Warbreed EP, 2012

BUTCHER BABIES (USA)

The EP: modern post-thrash with playful rockish tendencies; the guys and a girl (the vocalist) stick to crunchy jumpy riffs which have the necessary heaviness to satisfy the groove lovers for which the girl also provides the odd higher-pitch scream, but her main singing style is powerful, attached and clean. This is light, but well executed tribute to the still roaming around 90's trends.

"Goliath" is more dynamic, but clings too much towards the metalcore arena despite the hard-hitting riffage involved and again the really good female vocal presence. Some tracks in the middle acquire a more playful rock-ish tone, but this album is all about variety and in this train of thought the listener should be entertained especially when he's given a chance to bang his/her head with passion on the more intense shredder "Give Me Reason".

"Take It Like A Man" is pretty much in the vein as the other two previous efforts, and as such hardly brings any surprises on the table. The band thrash hard with frequent lyrical moments inserted ("Monsters Ball") those at times accompanied by very cool clean female vocals. The grooves roll on, but their nature is rather dynamic than plodding and the moshers should have their fun on rigorous stompers like "The Butcher" and "Gravemaker". The second half is a sloucher, though, with clumsy repetitive tracks regardless of the bigger presence of the aforementioned female singer, excluding the closing brutalizer "Dead Man Walking".

"Lilith" offers a more industrialized, less aggressive sound the overall delivery more playful and kind of less serious. The jumpy friendly rhythms never break any sound barriers but take care of several dancey hits ("Headspin") along the lines of more recent KMFDM.
Butcher Babies EP, 2012
Goliath Full-Length, 2013
Take It Like A Man Full-Length, 2015
Lilith Full-Length, 2017

BUTCHERS (FRANCE)

One of the least known acts from the French thrash/death metal scene which started at the end of the 1980's; the music isn't miles away from the early efforts of Loudblast and Agressor, the tempo is in the same fast vein, but the guitars are more melodic, even too melodic for the style at times creating a somewhat surreal atmosphere on the more aggressive (drum, vocals) background, but are quite a nice touch, if you manage to ignore the bad shouted throaty hardcore/death metal vocals.

New Reality Demo, 1988

BUTCHERS (UK)

The Demo II offers speed/thrash metal ala early Whiplash and Possessed's "Seven Churches", but with a very raw and primitive sound quality. The guys lash in the same way from beginning to end, providing a slight crossover touch to the proceedings on the milder "Necrology". The singer doesn't bother much, either, shouting in a rough drunken timbre akin to Wattie (The Exploited).

Demo Demo, 1988
Demo II Demo, 1989

BUTCHERY (BRAZIL)

Rehearsal is rehearsal so don't expect any beautiful musicianship here; the guys play raw intense thrash/proto-death which fits fairly well into the late-80's Brazilian scene from where originated some of the most brutal sounds of the time. The instruments can be heard relatively clearly except for the thin screamy leads which aren't very aptly carved into the wall of sound. "Sepulchral Face" is a surprisingly mild number compared to the rest: a mid-tempo stomper with a more clear riff-section. The singer semi-recites in a grumpy low-tuned manner and can be distinguished for most of the time.

Rehearsal Demo, 1988

BUTELKA (POLAND)

Based on "DemonArchia", this band plays a mix of energetic modern thrash and stoner/doom. The problem is, like with most blends of the kind, that the speed goes missing more than just now and then, and at some point the music gets totally overcome by the slow riffage. Consequently this effort would be not so intriguing for the thrash metal fan since the approach at its best comes close to Corrosion of Conformity's "Blind".

"Radio dla Polakow" is a mild laid-back post-thrash affair; even the "post-thrash" tag may be a bit farfetched at times since this is really soft with leanings towards doom and the ballad.

Butelka Full-length, 2003
Radio dla Polakow Full-length, 2005
DemonArchia Full-length, 2008

Official Site

BUTTOCKS (NORWAY)

This is the early incarnation of the death metal act Seance and the less known death/black metallers Algol. Based on the "...War Kills..." demo, the guys used to play heavy dark thrash/crossover with more foreboding doom overtones at times marred by a very muddy sound quality. The demo contains 11 whole songs so expect a good alternation between the fast and the slow side the former often bordering on hard, and even grindcore on a couple of very short (barely 1-min) cuts near the end.

...War Kills... Demo, 1990
Rehearsal Tape Demo, 1990
Urcemurcel Turkus Demo, 1991

Official Site

BUTTPUSSY (USA)

Rock-ish frolic thrash/crossover which is aggravated by shouty belligerent vocals but not much aggression occurs on the music front, the guys settling for a relatively peaceful mid-tempo stroll, the more confrontational barrage on "Satanapuss" not really matched elsewhere, the pounding rhythms on "Kosovo" and the protracted dragging layout of "What Part" not doing much to impress the audience, the latter livening up a bit on the jarring corrosive riffs of the final "War Crimes".

Uncured Full-Length, 1999

BUZZ CULT (JAPAN)

An all-female formation who specialize in heavy hammering modern thrash/proto-death the girl behind the mike emitting unholy apocalyptic growls way more aggressive than the ones of Sabine Classen (Holy Moses), for example. The fast blitzkrieg sections alternate with squashing groovy ones to a slightly disorienting effect. The raging side of the girls' repertoire is more appealing where intense pieces like the dramatic deathster "Angels Bleeding" belong; but the remaining tracks are mixtures of both sides the band still managing to pull out more impressive moments out of this concoction if we exclude the dragging mid-paced, and overlong for the band's standards, closer "The Atrocious Green".

Buzz Cult Full-Length, 2000

BUZZKILL (USA)

A diverse little offering featuring punk, crossover, alternative, and wild thrash of the modern kind; it may startle the listener at first with its unexpected abrupt jumps from one style to another, but with a bit more refinement in the music department mostly (the vocalist's sincere punkish delivery can be worked with a tad as well) on future works may turn this outfit into something even less ordinary.

Damned by faith EP, 2010

BUZZOV*EN (USA)

Based on the full-length debut, these guys offer an interesting, albeit a clumsy, blend of post-thrash and stoner/doom, recalling Phil Anselmo's Down quite a bit. The thrash metal fan will not be very delighted, simply because the thrash metal present is of the groovy unexciting type, despite the presence of stylish, abstract, Voivod-ish riffs ("Splinter In My Eye") here and there.

Hate Box EP, 1992
Wound EP, 1992
To a Frown Full-length, 1993
Sore Full-length, 1994
Unwilling To Explain EP, 1994
The Gospel According... II EP, 1997
Useless Single, 1997
...At a Loss Full-length, 1998

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BY ANY MEANS NECESSARY (USA)

Three songs of quite good old school thrash/death metal thrashing relentlessly the whole time with the odd technical section ("The Discord Of War") springing up. The guitar sound is sharp and tight the only drawback coming from the singer whose gruff hardcore shouts are hardly a very valuable addition.

Demo Demo, 2004

Official Site

BY NIGHT (SWEDEN)

A modern death/thrash metal band with nice twists towards the Meshuggah camp and Darkane; it would be better, though, if the guys manage to shake off the The Haunted influences for the future which sneak here and there.

Burn the Flags Full-length, 2005
A New Shape of Desperation Full-length, 2006

Official Site

BYFROST (NORWAY)

The EP: a 4-song EP of nice epic black/thrash/death metal not far from Amon Amarth and late-80's Bathory; the music is mid-paced with a very sharp guitar sound. "Lord Victorious" at the end breaks the pattern, offering slightly faster pounding riffs in the spirit of Cerebral Fix.

The full-length is a potent, interesting mix of black and thrash metal which is again mostly on the slower epic side ("Night of Damnation", the doomy "Desire", the excellent balladic closer "Skull of God", etc.), but the songs are varied without sounding dull or repetitive with hard lashing riffs which are also not deprived of melody. There's only one blasting track: "Black Earth" which is pure black metal and suits best the low-tuned gruff black metal vocals, but the rest is clearly on the classic thrash metal side with mid-period Bathory being again the most obvious influence.

"Of Death" shows the trio (there are three guys in the band) back in action, and the furious opener "May The Dead Rise" promises a lot of headbanging fun, but "Eye For An Eye" is already the atmospheric epicer expected from the band. The epic side is all over, but almost every track this time features an intense faster blacky passage which makes this effort a much more dynamic affair. In the middle one will be stunned to come across "Full Force Rage": a short speed/thrashing ball of fury, and the level keeps going higher, with the excellent hectic technical piece "Shadow Of Fear": smashing retro thrash at its best. All heads will stop banging, though, on the meditative, ambient Summoning-esque "Sorgh" which sets the tone for the doom epic closer "All Gods Are Gone", which could be a leftover from Bathory's "Nordland II". This is a pretty diverse offering which by all means has its charm, and serves the band right by showing their more brutal, and yet to be evolved, side.

Byfrostmetal EP, 2008
Black Earth Full-length, 2010
Of Death Full-length, 2011

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BYOB (HOLLAND)

Based on the "Civilization" demo, this act plays intense hardcore-ish thrash with touches of Slayer on the more aggressive parts, even trying something more technical ("Stigma") on occasion. Some songs are longer ("Lonely") and more varied, but the bashing side of the guys' music is more attractive where the shouty hardcore-ish singer fits just perfect. Later the guys changed the name to Ministry of Terror, and the style a bit to a more aggressive blend of thrash and death metal, finally getting to the full-length stage with one album ("Fall of Life") released in 1995.
The debut demo is another bashing, roughly produced, "beast" with hardcore playing a more prominent role as well as a more heroic speed metal flair ("Searching") shown at times. This is highly energetic, albeit fairly unpolished, stuff strengthened by the good expressive semi-clean hardcore vocals ala Kurt Brecht (D.R.I.).

B.Y.O.B. Demo, 1988
B.Y.O.B. #2 EP, 1990
Civilization Demo, 1991

BYPRODUCT (USA)

This power trio unleashes a frantic, technical mix of thrash and death metal with sharp, but also melodic guitars. The tempo changes all the time, never staying the same for a long time which happens within short song-structures. The overall approach could be described as "Meshuggah meets the Gothenburg school". Haunting intros precede almost every song except on the last three where the musicianship goes one level up in terms of complexity, the culmination being the closing "The Collapse Of The Tangent Universe": an eclectic mix of ambient, harsh riffs and jazzy sections all this lasting for more than 16-min (wow!).

To Create Rather Than Destroy Full-Length, 2003

BURY THE LIVING (USA)

Hardcore, thrash and grind shake hands here to a muddled not very impressive effect, by far the inferior side of the split; short fast songs with shouted semi-clean vocals, a distant echo of John Connelly (Nuclear Assault).

Evil Army/Bury the Living Split Album, 2004

BYWAR (BRAZIL)

A great thrash metal band whose style is strongly Destruction-influenced and works just perfect; there are also more intense sections where the band adhere even to blast-beats, but they're used tastefully and this is some of the finest classic thrash metal one could come across these days.

These retro thrashers are back with "Abduction" which shows them acquiring a slightly more modern edge on the guitars which suits better the longer, more complex compositions ("Abduction", the clever more technical piece "Another Crusade", both cuts recalling Paradox's "Heresy"; the non-stop thrashy barrage on "Behind the Pain") which deliver on all counts with their bigger sense of melody and progressive leanings. Still, no complaints on the shorter material: the furious melodic speedster "Handful of Evil"; the short blitzkrieg "Starchildren"; the speed/thrashing roller-coaster "Black Spirals of Death", and the closing whirlwind of sharp and melodic guitars "Consciously Dead". The accentuation on melody has become bigger as well as the more elaborate arrangements, but this has only increased the band's appeal now having a more individual face, straying away from the Destruction-worship to a more accomplished speed/thrash metal outfit who continues to walk with the finest now even more deservedly.

Invincible War Full-length, 2002
Heretic Signs Full-length, 2003
Twelve Devil'a6s Graveyards Full-length, 2007
Abduction Full-length, 2011

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BYZANTINE (USA)

This band try to give a more interesting edge to modern thrash, but the diversity of influences displayed throughout their career, might come as too much to some. The base for their style is the Pantera, Machine Head sound of the 90's mixed with mid-period Meshuggah. There are moments where the music seems to take off, mostly on "The Fundamental Component", but industrial, alternative, and even metalcore elements start sneaking through, and the final result is debatable (depending on the taste). There is heaviness aplenty, and some moments are stylish, bringing to mind acts like Obliveon and Baghead, and a more compact, less scattered sound for the future might take them somewhere.

The self-titled album carries on with the larger-than-life delivery, but the music strangely packs a punch for most of the time containing a big amount of energy reflected in heavy dramatizers like "Soul Eraser", or atmospheric technicallers like "Efficacy". The quasi-industrial mechanical ambience of "Forged in the Heart of a Dying Star" is close to being the highlight with its dissonant chords and abstract leads, although the more energetic technical headbanger "Caldera" isn't too far behind as well as almost every other song. This is a cool tribute to the 90's done with professionalism and understanding, seeing the band as one of the most distinguished purveyors of this style in the new millennium.

Broadmoor EP, 2003
The Fundamental Component Full-length, 2004
...And They Shall Take Up Serpents Full-length, 2005
Oblivion Beckons Full-length, 2008
Byzantine Full-Length, 2013

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