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C.A.Q.L.L.E.D. (USA)

These folks deliver choppy angry post-thrash with atmospheric core-ish undercurrents. This is stuff combining the rebel-like style of Biohazard with the aggro-patterns of early Machine Head and Pantera, only that here one can come across more faster-paced, albeit short, sections. The gruff semi-clean singer is often accompanied by the others creating numerous chorus-like situations.

Demo.nio Demo, 2012

C.B MURDOC (SWEDEN)

This is a side-project for the members of the black metal purveyors Mork Gryning. The music on display has absolutely nothing to do with the one of the father band, though, being jumpy modern post-thrash with intriguing melodic undercurrents. A lot of futuristic mechanical dirge roams around at times more playful ("Patch"), at others a bit more than plain industrial noise ("Changeling"). "Ador" is a nice surreal progressiver, the highlight here, and "Two In One" is an aggressive sterile shredder its brutal aesthetics cancelled by the more moderate technical histrionics on the excellent "Trinkets Of Deceit". "D.A.D." is a frolic piece with a dynamic rhythm-section and an atmospheric, operatic "colouring". The closing "By Omission" switches onto technical/progressive death metal and is another winner with its serpentine riff-patterns and quirky melodic hooks. The only drawback would be the very shouty, to the point of hysteria, quarrelsome vocals which ruin the more proficient environment created by the music.

The Green Full-length, 2012
Here Be Dragons Full-length, 2016

Official Site

C.F.I. (USA)

Very good demo which crosses the aggressive thrash of Slayer and Dark Angel with heavier, pounding riffs in the vein of Nasty Savage and Anvil; very good vocals, too, similar to Jimmy Hamilton from Intruder.

Demo Demo, 1988

C.I.A. (USA)

Having gained enough experience from the thrash/crossover arena with Nuclear Assault, a guy called Glenn Evans has decided to form his own band. The style remains thrash/crossover, but is more melodic and less guitar-driven. Dan Lilker and Anthony Bramante from his old band guest on "In The Red". The title-track is a cool, albeit not an exceptional debut, simply because along with the hard-hitting thrashing numbers (the rowdy "Extinction", the impetuous galloping title-track), there's a certain amount of pointless, heavy metal-based ones (the clumsy semi-balladic "Natas", the friendly funky "N.A.S.A."), and this contrasting mixture doesn't seem to work very well all the time. Evans provides a cool semi-clean mid-ranged timbre which he replaces with a nice emotional cleaner one for the very cool lyrical ballad "Samantha" at the end.
"Attitude" is more consistent, with no big jumps from one style to another but the guitar work is less edgy, compared to the more aggressive side of the debut. This is again strictly old school stuff (save for the proto-groovy jumper "Suicide") as nearly all the songs have a biting thrashy, or at least semi-thrashing vibe (the uplifting roller-coaster "CIA", the short lashing "Insecurity"), but the tempo stays within the mid-range (the heavy pounding title-track, the more experimental funky "Time"), accelerating on the last two songs ("No Shame", "Flattery") which are cool little thrashers accentuated by really good, near-virtuoso guitar work.

In the Red Full-length, 1990
Attitude Full-length, 1992

C.M.C. (USA)

Based on the 1990 demo, this band play decent classic thrash/crossover which can be both heavy and pounding ("Room for Change") and rowdier and moshing ("Portrait of a Dying Man"), the hoarse semi-declamatory vocals definitely on the more attached side, the calmer semi-balladic "Would I Lie" nicely upgraded with a dramatic fast-paced epitaph, before the short hardcore-ish "Brainwashed" wraps it on i a jocund frivolous fashion.

Demo Demo, 1988
Demo Demo, 1990

C.O.T.L.O.D. (FRANCE)

The metal connoisseurs will immediately recognize the Testament song from "The Legacy" reading the band name, and indeed, this track is the "godfather" of these French. So shall we have ripping technically-charged Bay-Area thrash here? Not really, as the guys follow strictly the rules of the thrash/death metal hybrid written by their compatriots Loudblast and Massacra a few years earlier. Heavy and ultra-fast sections come intertwined here topped by extreme low-tuned death metal vocals ala John Tardy (Obituary); the music delivers, though, and is well more than just senseless bashing even finding time for a more atmospheric keyboard-driven, Nocturnus-like, passage on "Present World". The band later changed their name to Astral Rising, and slowed down quite a bit to produce two full-lengths in the mid-90's of cool atmospheric doom/death.

C.O.T.L.O.D. Demo, 1991

C.R.U.C.I.F.I.X.S. (ARGENTINA)

This is intense, quite brutal at times, thrash/death which still contains enough melody to be categorized as "Gothenburg"-styled stuff, but raging hyper-blasting parts are also inserted the latter smelling black metal quite a bit. Some twisted technicality can be encountered on "Libera tu Mal" which boasts a haunting Oriental motif, among other niceties; an outstanding track, but just one-of-its-kind. Actually, there are other clever arrangements to be felt on this album, but the addiction to speed is too big for them to develop fully.

Apocaliptesis Full-Length, 2008

C-187 (HOLLAND)

When former members of the greatest technical death metal acts get together (in this case: Atheist, Cynic, and Pestilence), what possibly could you expect? A stellar technical death metal album. Well, but this isn't exactly what this album stands for; the guys have decided to shift from the expected path and have created certainly technical music, but it might not satisfy their die-hard fans; so what we have here is groovy technical post-thrash with no shades of death metal whatsoever sounding like a more technical version of Pantera and Machine Head. There are plenty of cool heavy, pounding riffs as well as interesting twists and turns, and if this album had been released by other musicians, it could have had a bigger appeal. Now it still sounds good and fairly interesting, but we all know that these guys are capable of much more.

Collision Full-Length, 2007

Official Site

C-300 (RUSSIA)

Modern thrash metal with a dry computerized sound and several reminders of the classic school; the music is professionally done with sharp riffs and very good lead guitar work. The tempos change, mostly staying within the mid-parametres. The compositions are lengthy, some of them going over 11-min, but there is not much complexity involved, the guy thrash straight, to the point, with quite a few melodic leanings as well the latter recalling the Swedish scene more than just occasionally.

Nakazanie Angela Full-Length, 2010

C-T PREVAIL (NORWAY)

Modern thrash which combines the groovy side of the modern sound with more intense sections; the short aggressive tracks ("Listen") really lift up the mood, but they are not too many, and the rest is pretty derivative and predictable accompanied by awful shouty vocals.

She Said CT Didn't Give Her Anything EP, 2003
Metalweekend Split, 2003
Mean Season Full-length, 2008

Official Site

CAARCRINOLAS (FRANCE)

This obscure trio offers 4 tracks of minimalistic thrash/death metal with very low-tuned, barely audible, vocals. Expectedly, touches of the early Misanthrope avantgardism can be felt, but the overall feel goes more towards the The Gathering debut with a good sense of thrashy technicality ("Milted") thrown in, plus captivating melodic tunes (the diverse "saga" "Mucus") all over. The tempo is mid for most of the time with stretches towards doom and progressive. The guitar work is good and stylish, but the untimely band's end left the several good ideas unfinished, echoes of this demo later felt on acts like Septic Flesh, Bal-Sagoth, Nightfall, etc.

The Egg Demo, 1994

CAB RIDE HOME (USA)

2 songs of intense retro thrash in a consistent mid-pace with heavy crushing guitars and apocalyptic forceful semi-declamatory vocals. This is good stuff which even manages to sound playful with the couple of more melodic hooks thrown in, and the overall approach may remind you of Cerebral Fix, creating a similar monolithic wall of crushing sound without many unnecessary digressions.

The Intoxicated Massacre EP, 2009

My Space

CABAL (GERMANY)

Based on the "A New Definition of Power" demo, this act serve pretty acceptable retro power/speed/thrash which comes sharp and confrontational on the vigorous opener "These Souls Are Black", the more technical and melodious "I Kill You" a nice reminder of the Bay-Area movement, "Cryonic" bringing a heavier more thoughtful approach that logically leads to the measured mid-paced trot on "The Eternal Glory". "Power" is a dynamic restless mosher, and "Love/Hate" is an appetizing "ballad vs. speed" juxtaposition with cool melodic lead sections. The singer is an intense semi-clean shouter whose tirades lack emotion but make up with throaty belligerence. Some of the musicians were also engaged with the power metallers Spellsinger and the heavy metal formation Titanya.

A New Definition of Power Demo, 2000
Sepsis Demo, 2002

Youtube

CABAL (USA)

Mr. Killjoy (Necrophagia) continued his career after his main band's split-up with two projects- this one, and Killjoy. Although using almost the same musicians on both albums, this one is by far the better featuring brutal forceful death/thrash not too far from the Swedes Merciless' debut, or Gammacide's "Victims of Sciense". The guys bash without mercy the whole time, even on the 8-min closer "Nocturnal Reign" (a great slab of intense semi-technical thrash/death with a top-notch balladic lead-driven middle break), the aggression sometimes reaching impossible heights ("God Complex"). Only "Past Sins" tries to escape the categorization by sounding slower and more technical. Killjoy is all over the place with his capable brutal John Tardy-like scary shouts. Perhaps this effort will remain his finest creation.

Midian Full-length, 1990

My Site

CABEZA DE MARTILLO (PANAMA)

This band is actually one of the first metal bands in Panama, having started as a Metallica cover act in the mid-80's. Based on "Cronicas del Dolor", the Metallica influences have been put far behind, and what we have here is modern thrash with a certain hardcore touch, mostly heavy and mid-paced, but would have its appeal to the more classically-inclined fans with energetic old school thrashers like "Adentro" and "Sexpiritual", and occasionally tasteful guitar work.

The debut is quite close sound-wise to its predecessor, maybe scoring a bit higher in the lead department, but there is nothing faster going on, except for the more intense thrashcore piece "Coito", and the dynamic mid-paced crusher "Que Vas a Hacer". "Dreamer" is a cool semi-ballad with a nice chorus and stylish acoustic guitars; watch out for the aggressive thrashy ending as well.

Invasion Full-length, 1996
Cronicas del Dolor Full-length, 2000

Official Site

CABRA (ARGENTINA)

Modern thrash metal with touches of hardcore of the mid-tempo variety, boring and uneventful, with angry shouted vocals and repetitive tedious riffs.

Actitud EP, 2009

Official Site

CABRA NEGRA (COLOMBIA)

Based on the full-length, this act plays a diverse mix of thrash, black and gothic metal which has both its fast brutal and slower lyrical side. Both sides are crossed well as the band never overdo it in either department although to these ears the approach is closer to black metal of the more atmospheric melodic variety (think more recent Cradle of Filth, Vreid), even adhering to pure speed metal on the encompassing closer "Martial Brass".
"I.N.T.I" is a wild black/thrash affair black metal again leading the pack assuredly with plenty of infectious melodic hooks provided at every opportunity. "Torment of Blasphemous Fire" is a marvellous operatic thrasher with raging riffs taking turns with breath-taking atmospheric passages. The dynamic elsewhere is also quite big the band never settling for a samey rhythm for more than a few seconds the leads playing an important role as well: check the ones on the title-track, a virtuoso performance at its most inspired Shrapnel-like best. "Inquisitors of Truth" is another diverse headbanger, and "Gerreros de Sangre y Metal" symphonic black metal at its finest not to mention the fast-paced melo-death section near the end. "Goat Lust" is the obligatory officious quasi-doomster with echoes of mid-period Bathory, another worthy anthem on this fairly entertaining opus which would please a wide gamut of fans.

Cabra Negra EP, 2008
Ultimate Sacrifice Full-length, 2009
I.N.T.I Full-Length, 2016

My Space

CABRERO (ARGENTINA)

Based on “El Arbol De Las Voces Muertas”, this band play cool melodious retro speed/thrash which ranges from more immediate rippers (“Sin Grises”) to heavier more thought-out compositions (“A Los que Vendran”), the melodic lyrical ballad “Aunque no Estes Aqui” tonign down the impetuosity, but giving the good passionate clean singer more chances to shine. The second exercise in quiet idyll (“Rehenes del Rencor”) is already unnecessary, but the title-track at the end compensates for those slip-ups with an array of rowdy bellicose rhythms. Some of the musicians are also occupied with then progressive power metallers Centurio, the thrash metal outfit Territorio, and the black/gothic hybriders Carnarium.

Cabrero EP, 2016
Inquebrantable Full-length, 2017
El Arbol De Las Voces Muertas Full-Length, 2023

CABRIO (CHILE)

This band play stomping epic old school thrash which freqiently comes alive with spasms of less restrained speedy shenanigans ("Arzamas"). More complex progressive offerings ("Seed of Deception") are equally as effective, and although a few overlong balladic sections ("Man Made God") on some of them spoil the fun a bit, but still there will be few pulled back by this sincere slab of classic metal, created by veterans who have done service in tried-and-tested acts like Necrosis and Kingdom of Hate, and are currently also involved with the death metallers Sikario.

Devotion and Hate Full-length, 2018

Official Site

CACERIA (ARGENTINA)

This young Argentinian band offers modern groovy post-thrash which isn't too bad, especially when it speeds up (the opening "Una Razon"), but this should happen more regularly for the future since quite often does the music lack an edge smelling even nu-metal on the less inspired sections ("Alrededor").

Cortagargantas Full-Length, 2007

CACERIA (CHILE)

Based on the full-length, this Chilean trio play modern thrashcore mixed with more classic thrash/crossover expletives ("Total Aniquilacion"); "Infiernillo" is a more complex proposition with nice melodic turnarounds, and "Al Bar" is a frolic punk-ish shorter. The singer is a hoarse semi-shouty hardcore presence, trying to sing more passionately on the few mellower moments.

Caceria EP, 2019
Sobrevivientes al Caos EP, 2019
Contraimperio Full-length, 2022

Official Site

CACERIA (PARAGUAY)

Another Caceria, this time from Paraguay, come splashing on the scene producing energetic headbanging retro thrash metal expressed in short (2-3min) bullet-like tracks, in other words: "Ataque Frontal Del Metal", like the title of one of the songs suggests. A relatively calm moment is the pounding mid-pacer "Conciencia Suicida", but before you manage to adjust to the seemingly peaceful delivery, comes a smashing furious section to break your neck. "Satanic Metal Warrior" is uncompromising old school speed/thrash metal at its finest the only weak point on this vigorous effort being the amateurish impotent semi-shouty vocals.

... El Primer Grito De Guerra Full-Length, 2009

CACOPHONY (USA)

The guitar heroes Marty Friedman and Jason Becker are in full swing with this act. It may be farfetched to call their debut a "speed metal symphony" since the very fast (think early Helloween, or Solitaire and Cranium from the more recent past) moments are not that many. "Savage" is a cool galloping power/thrash opener with the guitar wizardry overshadowing the characteristic gruff semi-clean vocals which are an acquired taste and could annoy some. The real speed attack starts with "Where My Fortune Lies": a hard-hitting number with vicious riffs and blitzkrieg swirling leads. "The Ninja" isn't as fast and is mostly a vehicle for the two guitarists to "duel" without too much interference from the others. "Concerto" will remind you of the early exploits of Friedman on the Hawaii albums (remember "Overture Volcanica" and "Rhapsody In Black") and is a truly fine piece of classical-influenced speed metal shred. A heavier, more thrashy number follows: "Desert Island" with the singer taking over and the two guitar boys taking a rest except for the head-spinning break which is kind of a warm-up for the last "symphony": "Speed Metal Symphony", another instrumental with a constant "duel" between the main characters lasting for nearly 10-min.

"Go Off!" starts promisingly with the 10-ton hammer "X-Ray Eyes", a really cool heavy technical thrasher recalling quite a bit the style of another guitar virtuoso's act: Tony Fredianelli's "Apocrypha" with the singer trying really hard to play a more prominent role in the proceedings with a more dramatic and melodic approach, and may cause quite a few laughs along the way. "ESP" follows the same formula, and so far the listener may not really miss the speed from the previous work, here replaced by a heavier, thrashier sound. The lead guitar mastery on both songs flashes in the middle, but both are mostly riff-driven affairs. "Stranger" pulls the album down considerably being a bland boring hard'n heavy filler with even the guitar work doing very little to save it. The immediate "excuse" comes in the form of "Go Off": classical shred instrumental, followed by the overlong, slower epic "Black Cat" with the guitarists in fine form. They raise their swords... sorry, guitars, high on the excellent aggressive speed/thrashing fest "Sword Of The Warrior" graced by the finest guitar performance on the album. The guys need a break again after such an intense show and here comes the good semi-ballad "Floating World" where finally the singer does some decent job with his clean tone. "Images" is a balladic instrumental, but is a really compelling listen with superb guitars all over with some of the finest leads of the 80's involved here. As a whole this effort isn't so much about speed, but the first one wasn't about that too much, either (except for the title perhaps), and could be considered the better achievement showing the two masters having found the right way to co-exist without any frictions.
Alas, the band was no more soon after with Becker releasing his very good solo album "Perpetual Burn" a few months later which remained his only release for quite a while: he was diagnosed with the very rare ALS (Lou Gehrig's Disease), which is still a big obstacle for him to play, and even walk and speak, although with the help of other musicians he was able to release three more albums including 2008's "Collection" which is indeed a collection of his best moments from his solo work and the work with Cacophony and David Lee Roth.
Marty Friedman also released his first solo album the same year, titled "Dragon's Kiss", and soon after joined Megadeth and his outstanding performance considerably pushed that band's ascension to stardom in the 90's. He continued releasing solo affairs throughout the 90's and the new millennium concentrating more on Japanese rock, rather than metal, and also guested on Tourniquet's excellent "Where Moth and Rust Destroy".

Speed Metal Symphony Full-length, 1987
Go Off! Full-length, 1988

CADAVER (SPAIN)

A 3-songer of dynamic direct thrash which evolves around simplistic stripped-down riffs and thin barely heard shouty vocals. The intrigue is a bit bigger on the more stylish Bay-Areasque shredder "Angel Caido" at the end, but the awful sound quality takes away quite a bit of the pleasure.

Demo Demo, 1989

CADAVERA (FRANCE)

This obscurity serves dark volcanic thrash which is brought with such an awful sound quality that sometimes what one can hear is just a wall of heavy guitars which, when more clearly heard, may bring memories of Possessed's "Beyond the Gates" and Infernal Majesty's debut. "Suicide" is the seeming highlight with its more vivid Slayer-esque delivery, and the vocalist is not so bad with his forceful semi-declamatory, deathy baritone. Some of the band members were also active with the thrash metal outfit Braindeath, and the heavy metal purveyors Exvotto.

Brutalidad Demo, 1992

CADAVERES DE TORTUGAS (HUNGARY)

Pedestrian bland post-thrash with semi-rappy tendencies; heavy repetitive riffs come over and over with the casual hardcore tinge unsuccessfully trying to capture the Biohazard exploits in the field.

Our Way Full-Length, 1997

CADAVERIA (COLOMBIA)

Based on the full-length, this act play classic thrash/death ala the Floridian school which is characterized by deep guttural vocals and nice melodic leads. This is both speedy and crunchy stuff the band never crossing any speed barriers keeping things in the up-pace parametres with a few technical licks ("Necroestado"; the excellent unpredictable closer "Marcha A La Cripta") showing up at times. The approach is closer to thrash for most of the time as a contrast to the brutal singer who is vintage Karl Willets (Bolt Thrower).

Marcha a la Cripta EP, 2006
Infeccion Cadaverica Full-length, 2010

Official Site

CADELA MALDITA (BRAZIL)

Cool energetic thrash/crossover with fast vigorous riffs sounding close to the Uncle Slam debut and D.R.I. on the more straight-ahead hardcore sections ("Fight to Survive"). At least half of the songs are full takes on intense thrash ("Mediocrity Cycle"; this one comes with a slight aggro-tone), but don't miss out on the few pure crossover delights ("Freestyle Religion"), or on the short aggressive hardcore closer "Cold, Blooded, Murder".
"First Lesson Hate" is more aggressive the guys thrashing with more power now still leaving room for more relaxed hardcore-prone tracks ("Welcome Rio 2006"). The shredding is more on the simplistic side, but it serves the band's purpose just fine despite the less serious approach epitomized near the end the more crossover-inclined pack there led by the short direct closer "resigned".

Fight to Survive Full-length, 2006
Fuckin' New World EP, 2009
First Lesson Hate Full-length, 2011

Official Site

CADENA PERPETUA (SPAIN)

Based on "Agonia", this is melodic power/thrash which has already managed to acquire more modern tendencies in a way not too far from the style the Argentinians Horcas were displaying at around the same time. The music is mostly mid-paced with the occasional speedy section with good lead guitar work and heavy riffs which are way superior to the indifferent throaty hardcore vocals. Some of the band members are still around with their new formation Opera Manent where the music is more technical with progressive overtones.

En Nombre de la Paz Full-length, 1990
Agoneda Full-length, 1993

CAEDES CRUENTA (SPAIN)

Luminaries from the Greek black metal underground (Black Blood Invocation, Ithaqua, Embrace of Thorns, etc.) have gotten together for... some more black but spiced with a hefty doze of thrash. This is diverse multi-layered stuff which is reflected in long sprawling compositions that meander from the bombastic and the melodic ("Aura of Immortal Souls") to the more technical and thrashier ("From the Darkest Paths of Golgotha"). The layout is fairly hyper-active throughout, with barely a mid-paced respite offered.

Of Ritual Necrophagia and Mysterious Ghoul Cults Full-length, 2021

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CAEDIS (SPAIN)

Modern jumpy, semi-technical thrash which can be also relatively fast ("Point of no Return") on occasion, but most of the time it shreds with a heavy flair and a shade of the Gothenburg school ("Perfect Punishment") on the more dynamic sections. The vocals are shouty and death metal-ish seldom accompanied by soulful clean ones.

Demise Of The Lord EP, 2015

CAIN (USA)

The debut: this formation specialize in aggressive classic thrash/death which is direct bashing stuff at the beginning accentuated by the very stylish lead sections. Later on the tracks become longer and more elaborate reaching progressive heights on the excellent atmospheric "The Ravaging". The speedy parametres are sustained all over, though, even suggesting some hardcore vibes on the brutalizers "Cain Road" and the closing "Killing Time". The musicians here also take part in the thrash metal outfit Hellcannon, and the heavy metal/punkers Rebel Scum.
"Into Abyss" is a contrasting offering which clings between fast thrashing rippers ("Necronomicon") and elaborate black metal-sh progressivers ("Evilution") with shades of both Burzum and Dissection. The culmination in the latter department is reached on the closing title-track, an admirable atmospheric opus with a wide array ot tempo changes and moods lasting for over 13-min.

The Ravaging Full-Length, 2015
Into Abyss Full-length, 2017

Official Site

CAINOMEN (INDONESIA)

Decently executed retro thrash with a good balance between speed and mellower sections both mixed together on almost every song. The guys know their craft shredding with competence the meek subdued semi-declamatory vocals a small flaw. The final "Whisper for Murder" is by all means the highlight: an energetic speed/thrashing instrumental with great up-tempos and virtuous melodic leads.

Whispering Darkside Full-length, 2012

Official Site

CAJE (USA)

Old school power/thrash; the music is predominantly heavy, but tracks like "Xnatas" are major headbangers and stir up the mood. But there aren't too many of them this time, and the album inevitably starts to drag towards the end, a situation worsened with the inclusion of an 8-min ballad -"The Hole". Could be forgiven, it's their first album after all.

Caje Full-length, 2006

Official Site

CALAMITY (PUERTO RICO)

Based on the EP, this is energetic old school thrash with a thin crossover flair (on the shorter numbers) expressed mostly in the catchy shouty choruses. More enjoyable Destruction-like thrash comes with "Killing Just for Fun" before the title-track offers more technical performance which stays around till the end the closer "Until we Die" relaxing a bit with a couple of more orthodox galloping rhythms. The singer has a mean semi-declamatory voice recalling the Schmier exploits on the Headhunter albums.
The full-length is a decidedly more complex affair the band working with a wider array of rhythms and riff-configurations, a prime example of this freshly acquired, more challenging stance being "Still We Live", an excellent melodic shredder with bot headbanging outrages and intricate skirmishes provided. The more ordinary material (the stomping The Truth", the semi-balladic title-track) also have their moments although few numbers here can beat "The Change", a great compilation of speedy sections and poignant melodic walkabouts, the highlight here with "Overruled" going towards the other extreme, bashing violent speed/thrash that still contains a couple of less ordinary decisions. This is a strong coming-of-age showing that may as well be the finest product from the small Puerto Rican scene of the past ten years.

Let Em' Burn! EP, 2014
Kairos Full-lengt, 2019

Official Site

CALAVERA (ARGENTINA)

Based on the full-length, this act serve ripping classic thrash which lashes with little mercy thanks to impetuous cuts like "Depredador" and "Mordaza", the latter piece a strong death metal pretender. The more technical extrapolations on "Esquizofrenia" are surely the highlight here, the more stripped-down hardcore-ish motifs on "Ratas De Laboratorio" nicely complementing the more intricate histrionics of "Exceso 9", alongside the unhinged rending hardcore vocals. Some of the band members are also active with the thrash/deathsters Maginot and the death metal formation Coagulo.

Asesinato Masivo EP, 2020
Biodestruccion EP, 2020
Especie Examinada Full-length, 2022

Official Site

CALCINE (FRANCE)

Modern thrash which displays its ripping qualities more openly on “23:11”, but the stomping urgency of “Autopsie” isn’t a throwaway, either, before the metalcore leanings of “Target“ and “Amnesic” and the few terrible rappy decisions (“Des Vies a Bout”) ruin the setting in the second half. The vocals are harsh hysterical shouts but fit the heavy, occasionally restless, musical background.

Common Love Common Nausea Full-Length, 2024

Official Site

CALCULATING COLLAPSE (USA)

Pedestrian modern thrash constantly alternating between fast and slow sections, with metalcore breaks and very low-tuned death metal vocals.

Demo Demo, 2008

Official Site

CALDERONE (GERMANY)

A nice little EP of German speed/thrash metal: think Warrant, Iron Angel, Paradox, early Angel Dust, topped by impressive lead guitar work, finished with a truly aggressive piece of thrash: "Quick One" which rivals even the more extreme (aggression) Kreator songs from the same time.

Calderone EP, 1988

Vibrations Of Doom

CALHOUN CONQUER (SWITZERLAND)

Technical/progressive thrash, but having little to do with Coroner although coming from the same country; the riffs aren't very technical; it's the way the songs are structured which makes the band's sound complex. The EP is the inferior effort with a simplistic, almost hardcore-ish sound on the first two songs, and slower but not very convincing one on the next two, bordering on doom and early Celtic Frost (these guys must have influenced every second Swiss band at those times, more or less) on the overlong brooder "Outermost Consequences", before the band throw in an abrasive albeit decent cover of the American punk rockers Husker Du's "Diane".
Based on this material, the full-length would come as a complete surprise revealing fully the band's potential to write more thought-out and complex songs. Even the less-than-a-minute, obscenely titled "Fuckhead" carries a certain technical charge. The music is mid-paced with the presence of a few faster "traps" ("Psycho Trap") with an interesting, unusual dream-like quality, typical for works like Voivod's "Killing Technology" and Equinox's "Xerox Success". The riffs aren't sharp, and carry a lot of melody as well as a shade of the playful hardcore spirit of the debut EP. The vocals are a downpoint, though, with their unemotional semi-declamatory delivery recalling Killing Joke.

...And Now You're Gone EP, 1987
Lost in Oneself Full-length, 1989

Vibrations Of Doom

CALIBOS (CZECH)

This is Calibos' only album which would be interesting to thrash metal fans. The music is speed/thrash in the Paradox-mould, but at times it also recalls Iron Angel's "Winds Of War"; very good stuff, will also appeal to fans of early Helloween: just listen to the awesome hymn "MakLeoD" which is a pure speed metal delight. The speed dominates, but some slower, more relaxed songs are also added: "Velkomesto", and the ballad "Terasy". When the guys get angry, they come up with mighty thrash riffs: the great smashing headbanger "Notorikuv Sen", a masterpiece of speed/thrash. The other songs are more thrash-inclined, some even being of the heavier, stomping type: "Smrt". This was a nice entry for the band into the metal arena, but they softened the sound on future releases, settling for speed/power metal of a more ordinary nature, a style typical for the 90's.

Calibos Full-length, 1992

Official Site

CALIGARI (USA)

This is mellow post-thrash of the jumpier variety which grooves its way through with heavy repetitive riffs in mid-pace and a pinch of sludge/doom. The dynamics isn't very big but the steam-rolling riffs of the final "Game Over, No Credits" will make a few heads mosh around. The vocals are appropriately angry and shouty, but not in an annoying way.

Clint Beastwood EP, 2011

CALIGULA (BELGIUM)

Based on "Greatest Hits", which is a brand new album, but not a compilation, these Belgians offer a very avantgarde eclectic take on the genre which transcends the borders of thrash and branches out into gothic, hardcore/crossover, accordion-guided foxtrot, and industrial without any very audible warning. We have sax, piano, and various keyboard variations thrown in recalling the diverse weird landscapes of the Japanese Sigh, only without the shade of black metal so typical for the latter. The fan may lose his/her patience with the abundance of sounds and moods here some of them not quite pertaining to thrash metal.

Not Too Short to Be Great Full-length, 2011
Greatets Hits Full-length, 2013

Official Site

CALIGULA (USA)

Another band where we have a Whiplash member involved; this time this is Tony Portaro, but he doesn't sing on this demo. The style here is neither too technical nor too aggressive, like the title suggests, but has a little from both; it's close to 80's Flotsam & Jetsam, "No Place for Disgrace" in particular, with great bass work and ripping fast-paced songs. "Paralysis" is a great speed/thrasher reminding also of the German school (Toxic Shock, Exumer).

Technical Aggression Demo, 1987

CALIGVLA (USA)

This is a side-project of Chris Placeres, who is also a member of Thrash or Die although in this particular case neither "the thrashing" nor "the dying" is at stake. The sound quality here is much worse, steadfastly sticking to the primal raw one of the early-80's, and succeeds in this sense. Otherwise the music is a mix of thrash, death and black metal relying on a brutal blend of fast and slower songs both working, albeit seriously "marred" by the semi-whispered death metal vocals which are scary stuff, but are barely heard and often get lost in the mix.

Bukkake Baptism EP, 2006

My Space

CALIPASH (SWEDEN)

This obscure demo, made by the same musicians who would later write some of the most important pages from metal history under the Meshuggah moniker, shows the guys possessing a fair amount of talent at this very early stage pulling out clever semi-technical stuff quite reminiscent of late-80's Metallica (read "...And Justice for All") although it's not known whether this material had been released before the Americans' album. It contains the same heavy thick guitar approach with a premature sterile vibe, strong bass support, and gruff James Hetfield-like vocals, maybe lower-tuned and not as expressive. The pullback is the lack of too many speedy moments which makes the songs kind of plodding and repetitive at times, also rubbing shoulders in this aspect with the Meshuggah debut. The untitled track at the end would be a revelation, though, with its furious speedy approach echoing Metallica's "Damage Inc.", among other Bay-Area hits from around the same time. This was fairly original music back in the days, one that was used as a base for the Meshuggah lofty early efforts.

Demo Demo, 1988

CALLOUSED (USA)

Based on the debut, these guys specialize in ordinary modern post-thrash which only merit are the really good melodic lead sections. Groove reigns supreme for most of the time ruining the otherwise fairly cool ballad "Til The End Of Time", and elsewhere serves to make the album sound half-doom and dirgy with some unbearably heavy riffage involved. The vocalist isn't bad, though, his attached clean tirades pouring loads of drama into the not very demanding musical landscape. The band later changed their name to Kill Closet and consequently the style to modern thrash/death.

Aggression Therapy Full-length, 1997
Violence 101 Full-length, 2002

My Space

CALLUS (UK)

Based on "A Breath of Flesh Air", this band play a seismic blend of doom, sludge and thrash which can be pretty intense ("Molar Crown") on occasion, with "Cinderstella" easily reaching the headbanging parametres, the shouty deathly vocals adding to the intimidating environment. "Sorrow's Bane" is a light-hearted spacey frolicker, a nice touch that also gets translated on the larger-than-life 10-min behemoth "Fatberg", a cool diverse amalgam with echoes of early Mastodon.
“Gravis Decennium” follows a similar trajectory, the ship-sinking seismic riffs of “The Primordial” also hinting at some primordial early Celtic Frost-esque menace, with both “Cycloid” and “The Dunwich Horror” emphasizing on the doom metal idea whole-heartedly, ‘The Root of All Evil” bringing back the thrash in all its earth-shattering glory, the closing progressive “Dreameater” also displaying a rowdier moshing heart amongst the frequent mellower stopovers.

Through Blood, Sweat, Piss and Pain EP, 2017
Hogpocalypse Full-length, 2019
A Breath of Flesh Air Full-length, 2021
Gravis Decennium Full-length, 2024

Official Site

CALVARIO (CHILE)

There's only one guy involved here, the name is Gonzalo Fuentealba, who is also responsible for quite a few other Chilean underground acts, like Terror Strike, Miserycore, Thrash Attack, etc., but this 3-song demo is clearly his least capable effort. He creates a little more than just plain noise offering raw amateurish black/thrash and something in-between, constantly fast and blasting with an awful sound quality and fairly vicious throaty declamatory shouts which, even with a very vivid imagination, could hardly pass for singing.

Satan Holocaust Demo, 2008

CALVARY (GERMANY)

This unknown German formation play melodic power/speed/thrash which picks up speed suddenly on the title-track, reaching hyper- speed extremes in the middle. Something more serious is attempted on "Crystal Lane", but the speed/thrash outbursts don't leave too many chances for anything else to develop although the closer "Calvary" is an accomplished progressive thrasher with some really intense passages with a strong pinch of technicality, plus a few swirling screamy leads. The singer has a mid-ranged clean voice, and his indifferent antics are a bit behind the more inspired musical delivery.

Bursting from Plates Demo, 1988

CAMEMBERT (ARGENTINA)

This is modern post-thrash which relies on heavy repetitive riffs the latter stretching into lengthy compositions where not much happens except on the good more technical "La Mosca" which is by far the highlight. "40C" at the end is an unsuccessful attempt to capture the magic of Metallica's instrumental side from the mid/late-80's trying to openly imitate "Orion"; needless to say, the merits are very few, if any at all. The singer is nothing special, either, his semi-clean drunken voice being just a background for the not impressive musical landscape.

Menos Mal Que Nos Queda El Metal Full-Length, 1999

CAMLANN (USA)

This act is the "brainchild" of Agravain, who specializes in a mostly instrumental amalgam of thrash, speed, death and even a bit of black metal. "Caladbolg" is a good example of his vigorous interesting style which starts in a raging manner with a couple of speedy death/thrashers which show the guy in a bright light mixing very fast blasting sections with nice laid-back lead-driven ones. Then comes "A Valiant Sacrifice" which is an epic power/thrash metal opus. "Thorns of Eden" is much slower, a mix of doom and ballad. The slow climax is reached on the next "Journey Through The Pagan Woods" which is a very cool acoustic instrumental with a pagan touch (hence the title). "The Forest of Einnashe" brings the sound back to the more extreme patterns, now with a touch of industrial, and "Noble Phantasm" is more than welcome being a happy power/speedster in the tradition of the 90's also boosted by a nice folk keyboard background. "Angra Manyu" at the end is really angry, an aggressive thrash/death piece with a hectic technical twist. Despite a few exits from the intense formula, this effort shows a versatile musician expertly blending contrasting passages without messing it up.

"Heaven's Feel", which is the guy's third (and a second full-length) release for 2009, is just one long 40-min composition which goes through a few stages: noisy ambient which starts and closes it, and in-between one can hear mostly thrash with a participation of low-tuned rough death metal vocals. The music ranges from all-out speed to minimalistic doom metal moments, but unfortunately is not given a lot of space with the noisy/industrial/ambient passages taking a considerable part, breaking unevenly the more musical ones in the form of interludes as well. The guy, under his real name Chris Broyles, also takes part in the death metal outfit Mizeria.

Charybdis EP, 2008
Scylla EP, 2008
Caladbolg Full-length, 2009
Loli Speed Metal Split album, 2009
Heaven's Feel Full-length, 2009

Official Site

CAN OF WORMS (FRANCE)

The "World Collapse" EP is energetic old school thrash with sharp riffs and expressive shouty semi-hardcore vocals. More aggressive death metal patterns take over here and there ("Cataclysmic Impact"), and generally the guys know no mercy shredding with speed, but also with a great sense of melody well reflected on the last "Mechanical God Of War". The sound quality is quite clear boosting the guitars to an extent that the other instruments can be barely heard at times.
The full-length is a brutal "beast" with death metal playing a more prominent role this time. The approach is fast and lashing recalling Torture Squad and Thanatos with flashes of technicality ("Chemical Witchcraft") dispersed among the aggressive blasting cuts ("Children Of Nuke"). Still, this is a thrashy effort for most of the time and one will have a good time moshing around also entertained by the very clear sound quality and the abundance of memorable melodies.

Can of Worms EP, 2011
World Collapse EP, 2012
Kult of Nuke Full-Length, 2015

Official Site

CANCER (UK)

After two quality death metal releases, Cancer turned to 80's thrash metal for inspiration to the big surprise of their fans. They have done a very good job playing fast/aggressive thrash on "The Sins Of Mankind". There's not a moment lost with this one; the guitar work continues with the genuine, but not very overt technical edge from "Death Shall Rise". "Cloak Of Darkness" shows from the very beginning that here speed and aggression will play a secondary role. "Electro-Convulsive Therapy" is a more intense number, suggesting at the band's recent past, adding some Floridian death-metal riffs to the picture. But later on thrash reigns supreme, sometimes being of the heavier, stomping type ("Meat Train"), sometimes again death metal-tinged ("Suffer For Our Sins"), sometimes quite technical and frantic (the 2-part "Tribal Bloodshed", which offers aggressive bashing in the first part, and great dark/doom thrash in the second part, supported by nice Oriental tunes).

"Black Faith" continues in the thrash metal mould, but is a lot less impressive trying to "update" the band's potent sound with modern implements, resulting in a really shaky, bland mish-mash. On top of that comes the much more melodic guitar work which at times has almost nothing to do with thrash ("Who Do You Think You Are", the awful balladic/doom "Without Cause", which is miles away from the class of "Tribal Bloodshed"; and many others). To write in details about this album, would be a total waste of time; there's not a single track where one could bang his head at least for a second, except, only... ha ha!, that's funny: on the Deep Purple cover "Space Truckin'" which is the most aggressive track here.

The band disappeared after this one (and well deservedly so) to return ten years later with "Spirit In Flames", and a sound that is an almost direct continuation of the really meek "Black Faith". A shade of more aggressive riffage has been added, only slightly hinting at the band's much higher potential.

The Sins Of Mankind Full-length, 1993
Black Faith Full-length, 1995
Corporation$ EP, 2004
Spirit In Flames Full-length, 2005

Official Site

CANCERBERO (ARGENTINA)

Based on the "Manicomio" demo, this act indulge in brutal raw thrash with proto-death tendencies. This is fast relentless stuff without any deviations whatsoever with very bad unrehearsed death metal vocals and very fuzzy noisy guitars. Musical merits- questionable... Some of the band members used to play much slower music with the doom metal formation Corpus Christi.

Demo Demo, 1988
No Juegues Con La Muerte Demo, 1988
Putrefaccion Demo, 1989
Manicomio Demo, 1989

CANCRENA (ITALY)

These Italians offer the predictable for those times modern/proto-classic thrash with a boosted modern production which has its brutal moments ("The Pessimist") and generally the band shred with no remorse the forceful shouty vocals another cool asset. The 1st half is more impressive with the more intense sections whereas the 2nd one is just plain groovy post-thrash for most of the time, the only deviation from the norm being the cool all-instrumental ballad "To Nerve Oneself", a quiet oasis amidst the groovy chaos surrounding it.

Hidden Depravity Full-Length, 2012

Official Site

CANDLELIGHT ILLUSIONS (GREECE)

The demo: intense, but also atmospheric, thrash/death not far from early Nightfall, but with more proficient guitar work and some infectious melodies. The tempo isn't very fast except for the black metal-decorated "Vedol" which is the most aggressive composition and also features some inspired progressive thrashing. The vocals are harsh, half-black/half-death metal styled and suit the morose musical scenery.
The full-length elicits similar stuff, only more melodic and laid-back, the pleasant not very perturbing stomps on "Dreaming the End" presenting the approach at hand quite handsomely, "Abandonment" acquiring light gothic tendencies, a rude awakening provided later recalling early In Flames. Speedy surprises aren't offered aplenty here, this is a serene near-meditative rendition of the thrash/death canons, also reminiscent of the works of acts like Withering Surface and Night in Gales.

Dreaming the End Demo, 1998
Where Flesh And Spirit Divide Full-Length, 2001

Youtube

CANDY STRIPER DEATH ORGY (USA)

Based on the first demo, this band with the very interesting name (there's no trace of death metal here) comes up with excellent classic thrash metal, which shares some of the aggression of Slayer and Vio-lence, but most of the time speeds up admirably, recalling Angel Dust and Destruction. The mixture works just perfect, "marrying" successfully the two styles from both sides of the Atlantic ocean.

Candy Striper Death Orgy Demo, 1990
God Bless Nuclear Warfare Demo, 1993
Massive Killing Force Demo, 1995
Ground Pounding Thrash Metal Demo, 1999

Official Site

CANIBAL (ARGENTINA)

A power trio from Argentina full of jolly melodic power/speed/thrash metal tricks, all of them quite familiar, but serving the band right to create feelgood atmosphere which stays around even on the longer more complex compositions ("Censura"). The singer is another asset with his forceful authoritative clean mid-ranged tone.

Libertad Fingida EP, 2011
Libertad Fingida Full-length, 2012

Official Site

CANIS LUPUS (USA)

This US trio play stoner/doom mixed with sudden thrash/crossover outbreaks which are not really aggressive, and have a lot in common with the rock'n roll boogie of Motorhead as well including in the not very sober shouty vocal department. This is mild pleasant party stuff without any pretensions in any direction.

Join the Pack EP, 2009

Official Site

CANKER (SPAIN)

This trio (there are three people in the band) pulls out excellent technical thrash/death metal of the classic school; fans of Nocturnus, No Return, Pestilence and Death will love them. "Physical" is a very promising start for the band; "Inquisition" opens it in an awesome way, with furious, very fast riffs, mixed with stupendous technical ones. "Opus Death" is even more aggressive, with raging blast-beat sections, leaving little room for any technical exploits, which come with "Obliteration": a masterpiece of technical/progressive death/thrash, with a standout guitar performance, covering quite a few tempos and time changes. "Big Shit" is a direct little death metal explosion, but you can't expect more from a song with a title like this. After this short pause for a break, "Canker" comes splashing with hectic, complex riffage, sounding like a more technical Slayer, with a pinch of death. "Dark Destiny" is a marvellous technical speed/thrasher, with a direct nod to the Bay-Area scene (VioLence, Forbidden), with a twist. "Torture" thrashes in the same striking manner, maybe with a stronger presence of death metal, which warms up the listener for the larger-than-life progressive "Physical", which within its 10-min contains all which first-rate technical/progressive thrash/death metal is about: fast headbanging sections, twisted technical passages, swirling leads, a not very long quiet balladic moment, sparse blast-beats, and more.

"Exquisites Tenderness" is more moderate and closer to death metal and could be considered the better effort. "Carrion" is a furious blasting piece which would probably make you think that the order of the day here would be straight-in-your-face brutal death metal. "Out Of Control" changes the course, towards a slower stomping sound in the Bolt Thrower vein; nothing too technical here again. But with "Astral Voyage" the technicality arrives, and this song is a very cool progressive-laced thrasher, recalling Nocturnus and Pestilence, with a superb lead passage. "Evil Attack" is an attack indeed, and not of the evil (pun intended), but more of the jumpy, hectic, technical thrash type. "Exquisites Tenderness" is a small thrash/death piece, again with a strong technical edge, whereas "Dream Killer" is pure Death-worship, and could be very well placed on "Human". "Hardcore" isn't hardcore, like the title suggests, but is a direct aggressive thrash number ala Slayer. The last track "Anachronia" is very similar to "Physical", the debut closer: a progressive thrash gem starting in a more peaceful gothic atmospheric manner before it continues in a more aggressive way akin to Pestilence and Death. The band is reportedly still active, but apparently they like taking their time.
"Earthquake": this is a really pleasant surprise; one of the finest representatives of the Spanish thrash/death metal wave are back unheralded... The not so good piece of news, though, is that they aren't willing to step on the technical pedal to the max, and for a large portion of the time this new offering is just ordinary old school bash as the new ingredients would be the keyboard-decorated short rager "Hand of God" which clings more towards the black metal "society"; and the enchanting Oriental motifs on the progressive roller-coaster "Leyla Island". "Biosfear" brings back some of the technical flair with more mazey arrangements, and "Bedout" isn't far behind with the few appetizing knots ala Theory in Practice. Still, this isn't enough for a nearly 50-min long album as the jumpy drama of "The Ghosts of Past" can't quite pass for a highlight; neither can the atmospheric doomisms on "Black Star" although the closing "Inquisition" offers another couple of more stylish twists and turns as a finishing touch. The lead guitar work is exceptional, though, the man leaving his heart and soul, and thanks to him this album can't possibly be just an average proposition. The band were capable of much more in the past, but surely this effort could be merely a warm-up for more striking exploits.

Physical Full-length, 1994
Exquisites Tenderness Full-length, 1997
Earthquake Full-length, 2017

Official Site

CANNIBAL INVADER (CANADA)

Based on the full-length, this band play all-instrumental classic thrash which is built around steady mid to up-tempo rifforamas, both sides intertwining on nearly every track, "Bootlicker" sticking to thicker mid-paced parametres, and "Dissenter" notching it up in the speedy department with lively brisk guitars. There are almost no leads featured on this saga, but there are attempts at more technical ways of expression, like on the vivid shredder "Maniac Insomniac" and the varied "Street Trash", the band having some interesting ideas to pursue on future instalments.

Chemical Weapons EP, 2021
Slaves to Fear EP, 2021
Death By Injection Full-Length, 2021

Official Site

CANNIBALINGUS (AUSTRALIA)

There is only one "cannibalingus" behind this computerized industrial thrash offering which sounds both modern and classic (surprisingly!) and is actually not too bad annoying a bit with its synthesized guitar sound, but compensating with the cool fast- paced insertions and the few interesting decisions (the creepy atmospheric "The Ferryman" sustained in the best tradition of early Malhavoc). The bonus tracks at the end are also pretty cool with obvious nods to mid-period Ministry, although the final "Raise the Dead" is a cover of Bathory's immortal hymn done in a stylish industrial manner. All this shows a man who is well equipped with the requisite technology to give a nice spin to the existing thrash trends if, of course, he is still around.
The full-length: the man is still around, and he hits on a full-length stage delivering the familiar from the EP blend of modern and retro thrash the overall approach recalling the Voodoocult efforts (their sophomore effort, above all). The industrial sting is less prominent now which helps the cutting guitar edge to be heard more clearly ("The Snow Crow", "Death From Above"), but also betrays the limited devices which the man has at his disposal the instruments sounding too thin. Still, no complaints for engaging pieces like "The Flesh Feeders" and the dark creeper "Necrocide", another nod to the masters Malhavoc. "Rampage" is a wilder headbanger logically leading to another furious track, the closer "Battlefield" which lashes a riff after riff in a steady mechanical fashion surprisingly exiting with a very cool lead-driven balladic passage. The guy "sings" in a mean semi-declamatory manner with a macabre witch-like tone to his antics.

Fumes of the Exhummed EP, 2002
The Breath Of Undeath Full-Length, 2006

Official Site

CANOBLISS (USA)

"Liberation of Dissonance" is an interesting blend of progressive modern metal and thrash. The more intense sections take turns with really soft alternative/progressive moments, but on some tracks thrash reigns supreme, and it's of the heavy pounding type: "Insurrection". Otherwise at least half of the album flows like a more aggressive Tool if we also exclude bland pointless groovy pieces, like "Hello". "Pneumatic" is a sudden revelation: a more aggressive technical thrasher which breaks the established idyll, paving the way for one more thrashy delight, the heavy stomping "Automation".

"Psychothermia" is a much better effort, from a thrash metal point-of-view. It starts in a scarily aggressive fashion with the 10-ton hammer "Notorious" which crushes without mercy. "Psychothermia" is a sinister progressive thrasher, after which comes more time for more direct headbanging (this is relative), with "Convicted Again". "Adios" is another exemplary modern technical piece with nice melodic hooks and a very catchy chorus sung in Spanish. "Slingshot" is all-out thrash rage with a very cool progressive twist. "Pangea" isn't very far behind, a nice blend between thrash, progressive and alternative, strangely reminding of Depressive Age, but in a more modern way. The closing radio edit of "Convicted Again" is almost as convincing as the original, if not even better, where the elusive Oriental tune can be more clearly heard, and the nice guitar duels kind of have more edge.

"Man Is the Enemy" is a mild affair concentrating on the band's alternative post-thrash side, and except for the ripping shredder "No Angel" and the maddening proto-hardcore on "Tools Of The Trade" there's not much to remind of the harder moments from the guys' older material. This isn't bad by progressive standards, but it would satisfy fans of Tool and Alice in Chains rather than the regular thrash metal fan.

Demon Angel Full-length, 2004
Liberation of Dissonance Full-length, 2007
Psychothermia Full-length, 2008
Man Is The Enemy Full-length, 2010

Official Site

CANOPIC JAR (UK)

Based on the self-titled demo, this act indulge in a rough combination of thrash, hardcore and death metal the latter accompanied by gruff growling death metal vocals. There’s an overt sniff of doom in some of the cuts (“The Desert of....Retrebution”), but the core-ish energy of “Echoblood” and the crossover propensity of ‘And Walk Before The....(Blackened Cross)” provide enough diversity to ensure the fan stays with this brooding offering till the end. The guys were earlier known as Sarcophagus when the style was more full-fledged death metal.

Canopic Jar Demo, 1994
Vision? Demo, 1995

CANTAR (GREECE)

An underground effort presenting us with evil aggressive black/death/thrash with cool, surreal ("Black Crusader") moments, which are clearly the highlight, and it's a pity that for the most of the time (another exception are the creepy doom passages on "Exile") the band just bashes violently adding evil, but unrehearsed, semi-whispered vocals to the primitive mix.

Dark Side Demo, 1994

CANTARA (HOLLAND)

The band's style varies from aggressive technical thrash/death on "Dark" to gothic-tinged, more melodic, but still effective death metal on "Fields Of Everlasting Serenity". "Dark" is the better effort with great riffs in the Death/Pestilence-vein and deep brooding atmospheric passages reminiscent of the ones from The Gathering's "Always"; a very nice, appropriately contrasting symbiosis which proudly stands for one of the finer moments from the 90's Dutch underground.
"A Moment To Reconsider" is the band's next effort after a lifetime of absence, but their progressive infatuations are pretty much intact, albeit served in a slightly different manner. The approach is more swirling and more melodic as evident from the opening "Shattered Glass" where the progressive is by all means more widely covered than the death and the thrash. This delivery remains although there are more aggressive moments ("Stars For Guidance") moments provided later on including on the longer material ("Hunter #4", "A Tenfold Loss to Triple Powers"). "Molten Minds" is a more brutal venture into death metal near the end with a stylish technical edge, preceding the more silent "The Silent Clouds" which is a nice progressiver along the lines of later-period Death with a pinch of Opeth. The final "The 500, The Remembered" is another fine composition with ethereal motifs and spiral-like passages, plus an epic twist in the second half siding it with later-period Enslaved, among other viking heroes. This is a more than welcome return for the guys who will hopefully be a more frequent presence on the scene from now on.

Dark EP, 1993
Fields of Everlasting Serenity EP, 1998
A Moment To Reconsider Full-length, 2006

Official Site

CANTHARONE (USA)

This is modern thrash/post-thrash with a few cool melodies, mostly in the lead sector. The sound quality is a bit noisy, but doesn't stand on the way of the faster material ("Hammer Of Thor" which contains a great virtuoso lead passage) which isn't that frequent. "Prison" at the end is another display of aggression, but of the dramatic, squashing type. Some of the band members, including the very talented lead guitarist Joe Anderson, also play with the melodic death metallers Redsky.

The Hunting EP, 2012

CANTILENA (ESTONIA)

The debut: a curious album which begins in a mild fashion with two heavy semi-ballads, cool albeit not very eventful numbers, before the guys start speed/thrashing with the short blitzkrieg "Silent Respect" and "Struggle". Then the sound goes back to the softer patterns on the last two songs which are clearly influenced by the Black Album although the approach on the earlier material is more on the classic side. The singer isn't bad at all, managing to sound both emotional and semi-angry crossing James Hetfield with more laid-back Phil Anselmo.

Metallinn Full-Length, 2010
Violent Peace Full-Length, 2012

Youtube

CANVAS SOLARIS (USA)

These talented instrumentalists had a very good start with their demos which showed them fairly capable technical death metal performers with vocals roaming around at this early stage. On the EP reviewed here the guys have let some really exquisite thrash through for the making of a small masterpiece of complex, multi-layered metal. “Camera Obscura” is an intricate shredfest at its best with virtuous overlapping riff-patterns flying around, their dense supply creating dizziness alongside breath-taking balladic respites. “Cosmic Microwave Background Deviation” is a grand symbiosis of gorgeous melodic leads, spacey psychedelia, and stunning twisting Coroner-esque riff-mazes; and “The Non-Terminating Integer” is a more dramatic proposition with a couple of more orthodox sections embedded into the super-technical tapestry which is pulled off with the utmost precision and dexterity. "Dark Matter..." (the title is just too long to be featured here, and anywhere else for that (dark) matter) justifies its gigantic title with a compendium of some of the finest progressive/technical metal in the annals of music history; a non-stop dazzling fiesta which will call to mind all the pillars of the style like Coroner again, Deathrow, Sieges Even, Realm the guys reveling in their unleashed creativity, providing awe-inspiring mosaics of rhythms and riffs that would leave the listener breathless... literally. Every single album of the band is worth checking out just for one to hear how a perfectly woven musical canvas sounds like.

Spatial/Design EP, 2003

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CAOS SPHERE (BRAZIL)

based on the full-length, this outfit indulge in decent classic power/thrash which is more on the heavy epic side, but the more dynamic guitars on "Among the Dead" will stir the blood big time. "Snake Men" is a nice progressiver influencing the following "It Has Saved the Man for So Long", but all is overshadowed by the excellent 7-min shredder "The Meaning of Life" which offers the last more aggressive sections on the album before the exiting duo emphasizes more on the epic nature of the delivery. The singer has a deep semi-clean, not very expressive voice which lacks the emotion requisite for blends of the kind.

Horror Tales EP, 2014
The Call of Thanatos Full-length, 2015

Official Site

CAOSFICINA (BRAZIL)

Based on "Hecatombe", this band play energetic classic thrash supported by cool attached clean/semi-clean vocals. The music has both a more bashing ("Desordem & Regresso", the raging "Herdeiros de Caim") and a more entangled (the closing diverser "Deus nos Esqueceu") character, including a purely stripped-down near-hardcore-ish ("Pastor Fxdxp") one.

O Inferno e Aqui EP, 2016
Caos na Terra: O Início do Fim Full-length, 2018
Hecatombe Full-length, 2022

Official Site

CAPELA MORTUARIA (PORTUGAL)

Based on the full-length, this outfit specialize in fast blitzkrieg retro thrash which is close to the deathly parametres at times ("Edo", "Odio"), the venomous shouty death metal vocalist supervising the no-bars-held melee, the latter only tolerating the stomping "Imploro o Caos" as a partial deviation from the very vigorous approach, the stylish screamy lead sections on "Ordem" close to being the highlight on this short bursting offering.

Ossadas EP, 2019
Monstro Full-length, 2023

Official Site

CAPHARNAUM (FRANCE)

Competent, but pretty ordinary 80's thrash metal; there are attempts at longer more atmospheric songs which end up sounding more like Candlemass than real thrash ("Last Vision"), and, ironically, they save this album from sinking completely. The opener "Heirs of Humanity" is also worth mentioning being a more ambitious composition with progressive tendencies; "Some Still Universe" isn't too bad, either, being an energetic thrasher recalling Destruction and Sacrifice, but the rest is standard thrash ranging from more aggressive ("Vivisection (Stop The Torture)", "I Am Dead") tracks to happy Motorhead-ish outtakes ("Don't Let Me Down"). "The New Poor of the New Rich" obviously courts Slayer's "Post Mortem" in the beginning, but lacks its explosive continuation, remaining in the mid-tempo parameters.

Capharnaum Full-length, 1993

CAPITAL PUNISHMENT (GERMANY)

This German outfit pull out brisk old school thrash with a few more melodic intrusions bordering on crossover. The overall approach courts the Bay-Area, above all (think early Metallica and Exodus) except in the vocal department where the guy sings in a hoarse, semi-hardcore-ish fashion. The sound quality is crystal clear giving a nice sharp edge to the guitars which are varied mixing fast and slow sections the whole time to a pretty positive effect.

Infernal Necro Beatdown Demo, 2005

My Space

CAPPANERA (ITALY)

Groovy bouncy, jumpy post-thrash that is too much on the stoner/bluesy side to be reviewed extensively here; relaxed friendly music with very few attempts ("Bunker 24") at more vigorous thrashing. Some of the band members also played in the heavy metal legends Strana Officina.

Materializin' Dream Full-Length, 1998

CAPTAIN CRUSH (USA)

This trio deliver typical for the time 90's groovy post-thrash that still has its more memorable moments, like the stylish screamy leads on "Trampled", and the near-thrash semi-technicality of "Selfophobic", but the rest is not up to par with those cuts, if we also exclude one more reference towards the 80's, the energetic thrashing melee "Split Endz", the angry shouty death metal vocals aggravating the setting to sizzling proportions at times.

Grounded Full-length, 1996

Official Site

CAPTAIN TRIPS (AUSTRALIA)

This is cool classic Bay-Area oriented thrash with a less overt progressive tone more evident on the longer numbers (the title- track). "A Place to Die" is a slightly lengthy ballad, but its impact would be minimal with lashing pieces like "Antarctica" and "Cenobite Kick" surrounding it. In the second half the tracks are longer with less concentration on speed, and one cool exercise in more technical metal: "Into Oblivion". The singer is clearly an asset with his dramatic clean semi-high timbre, but the production quality is not great giving an omnipresent "company" to the guitars in the form of a muffled hissing sound.

The Dance Of Untruth Full-Length, 2013

CAPTAIN TRIPS (USA)

Two songs of seismic semi-technical thrash carved by sudden melodic leads which are too screamy and a kind of an annoyance despite their undisputable melodic qualities. "They Live" is a promising energizer with lashing riffs and echoes of the Bay-Area. There is definitely a potential here, but the buzzy sound quality and the thin guitar sound are major hindrances at this stage. The vocal department holds some criticism as well: the singer has a rough drunken tone and his semi-shouty attempts deafen everything around making the male chorus insertions barely audible.

Captain Trips Demo, 1996

CAPTOR (SWEDEN)

Based on "Lay It To Rest", this is very cool music which swings between the aggressive thrash/proto-death of Sepultura's "Beneath the Remains" and the heavier mid-paced approach of "Arise" by adding more technical elements ala Death's "Human" and Coroner's "Grin" plus good longer heavy, progressive/technical tracks ("Fundamental Influence") which would stand proud even on Dark Angel's "Time Does Not Heal", or Heathen's "Victim Of Deception". The singer is scary with his forceful semi-death/semi-Max Cavalera tone, and the bass support is very strong. This debut was an awesome start for the band, but it overshadowed everything which followed suit; the band's subsequent efforts turned for inspiration to modern 90's post-thrash with mixed results.
The demo is an auspicious beginning despite the rough production. It relies on heavy galloping riffs, at times more straight- forward ("Possessed"), at others more technical ("Visions Of Fear") with very good lead guitar work. "Fundamental Influence", also included in the debut full-length, is a nice more elaborate composition which is both atmospheric and technical with some great licks the latter also gracing the closing "Memento Mori" which is an excellent jumpy progressive cut with imposing riffage reminiscent of later-period Death. The singer delivers with his forceful semi-death/semi-shouts. The music here sounds even better than the one on the debut; it's more melodic and more technical done with a bigger focus on the less usual.
"Alien Six" is a groovy dirgy affair, a loyal sequel to the last two instalments, but an inferior one as the band are just careless and nonchalant, going through the trite banal motions with very little excitement, trying quite a few tricks along the way, like alternative ("Cold Inside"), doom/ballad ("Burn"), thick grooves ("Do You Want to Be Me")... nothing works, as this particular approach has already been depleted of all its possible tricks, the doom/groovy boredom "Me, Myself and Them" another strife at the very bottom of the scene. "Scum" tries something livelier and core-ish, but there's no help from anywhere in this department, the lethargic snooze instilled on "Hold Me, Save Me", the growing anti-climax finalized on the dragging uneventful closer "Not So Far".

Memento Mori Demo, 1992
Lay it to Rest Full-length, 1993
Refuse To Die EP, 1995
Drowned Full-length, 1996
Dogface Full-length, 1998
Alien Six Full-length, 2001

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CARBIDE (USA)

This band is a must: first-class progressive speed/power/thrash metal recalling late-80's Helstar, among others. It's a real revelation to hear "Spiral Termination" in the mid 90's blasting through the speakers as though the golden period of metal had never been gone. "Total Impact" opens the album in an awesome way with very heavy steam-roller and sharp guitar work, and a massive bass bottom, creating dark gloomy atmosphere. Most of the tracks flow in the same vein with few exceptions: "Roll the Dice", which is a pure speed metal joy ala Exciter, and "Life on a Line": a heavy metal number which sounds as though directly taken from the Accept works from the mid-80's. The last song "Into the Grave" is two Black Sabbath tracks put together as cover versions: "Into the Void" and "Children of the Grave".

"Product Of The Real World", despite the 4-year gap, is another stellar effort featuring the same thick heavy sound from the debut. The music is faster and thrashier, and less technical; the vocals are angrier, almost hardcore-ish. But the riffs will smash you all over, especially those on the mighty headbangers "Deathmachines" and "Psych 101" which also comes up with brilliant machine-gun like guitar work. A great unknown band who belong to the very front row of metal.

Spiral Termination Full-length, 1994
Product Of The Real World EP, 1998

Official Site

CARBONCOKE (ITALY)

Based on the full-length, these folks provide modern thrashy hardcore; a noisy, but varied affair seeing the band offering the requisite "antidote" to the immediate majority in the form of engaging mellower compositions ("Think on Your Sins"). The rest, however, pale before ripping headachers like "Killed By A Bear" and the crossover roller-coaster "Under the Fire". "Grim Reaper" is an interesting number with a frequent change of tempos and brilliant lead sections; but watch out for softer power/thrashers like "Torment" and "Rise and Fall" that occupy the end, and don't quite suit the harsh quarrelsome hardcore vocals.

Haunted Rebels EP, 2013
Forgotten Mankind Full-length, 2017

Official Site

CARBONIC FIELDS (FRANCE)

This is a curious team who circle around the modern prog-thrash/post-thrash idea, think Biomechanical meets later-period Gojira; the thrash gets the upper hand initially ("Terria", "Pix(Hell)", with hard sharp riffs crossing paths with less bridled death metallisms, the spacey resonance emitted by "Sad Words" a decidedly more ambitious touch. "Disbeliever" introduces the post-thrash expletives, with the shouty death metal vocals standing their ground all over, including on the varied prog-thrash odyssey "The Bluer Shade", and on the playful Rammstein-esque "Devilium".

Ite Est Full-length, 2021

Official Site

CARBONIZED (SWEDEN)

This is the band where the almighty Christofer Johnsson (Therion) started his career, along with another Therion member (Piotr Wawrzeniuk). His vocals are in a very good form, aggressive and vicious, suiting the music perfectly. The band's first three demos are quite aggressive thrash/death, one of the most brutal works which were released in Europe in the late 80's. This is simple, but intense music which sounds more aggressive than the works of their French counterparts from the same time. There is not much technicality, or original moments which could later be heard on the early Therion albums; some very good bass work is involved, but the rest is straight-forward.

"For The Security" increases the technical play, but also the speed and brutality (there are no shades of thrash here anymore), and could easily rival even Suffocation's debut in those both criteria. The next two efforts stay true to the original and interesting music already displayed, but death metal is a distant memory: this is a quirky jazzy form of alternative progressive metal/rock which sounds interesting, but considering where the guys have started from...

Au-To-Dafe Demo, 1989
No Canonization Single, 1990
Recarbonized Demo, 1990
Cronology of Death Split, 1991
For the Security Full-length, 1991
Promo Demo, 1992
Disharmonization Full-length, 1993
Screaming Machines Full-length, 1996

My Space

CARCARA (BRAZIL)

Fast retro thrash "courting" early Whiplash and Razor, above all; the music is generally up-tempo with casual slower breaks and hysterical rending vocals more appropriate for the black/death metal movement.

The "Nova Ordem dos Seculos" demo is another dedication to the old school sounding more aggressive than the debut one offering fast blitzkrieg music which is this time closer to mid-period Kreator and early Deathrow. Still, the shift isn't that big and one will by all means enjoy these sharp lashing riffs assisted by less shouty this time vocals although their semi- rehearsed/semi-declamatory style would hardly be the most memorable aspect of this effort. The guys don't make any compromises with their speedy approach; even on the longer "Ressureieo dos Seres Ocultos" they thrash with gusto having already accumulated enough experience and material for an eventual full-length.

Executores do Grande Massacre Demo, 2008
Nova Ordem dos Seculos Demo, 2010

Official Site

CARCAVA (COLUMBIA)

Based on the "Depression" demo, these guys play heavy thrash/death with steam-roller riffs and sudden sparse fast outbreaks. The doom metal tones are hard to be disguised, and they work quite well along with a couple of more lyrical balladic deviations making the funeral doom epic "Insane" the highlight to which the gloomy low-tuned vocals fit just perfect.

Promo Rehearsal Demo, 1994
Depression Demo, 1996

My Space

CARCER (BULGARIA)

This obscure act pulls out laid-back modern 90's post-thrash with more intense "remnants" from the 80's: the speedy "Ubiistvo". The music is pretty ordinary with the occasional technical flair (some cool twisted riffage on "Piratski Glad"). The singer plainly shouts, and his only attempt at singing is on the abrasive ballad "Samota".

Under One Flag Split, 1994

CARCHARIAS (HUNGARY)

Fast technical thrash/death metal with sudden tempo changes, including frequent blasts; there are ideas to be further developed on a full-length (the songs are within the 1.5-2.5min range), but the heavy groovy sections should be lessened, or completely removed since they "kill" the accumulated inertia big time.

Atvaltozas Demo, 2010

CARCHOSA (SWEDEN)

There's only one musician involved here, the name Henrik Nygren, who indulges in long complex compositions which circle around the modern thrash/death metal idea the man looking at Death and Opeth for inspiration, above all. Alluring breath-taking melodies ("Unfathomable") take turns with wild headbanging excursions ("Rise of the Valkyries") Nygren providing vicious semi-shouty death metal vocals with death metal ("The Wretched King") taking the upper hand at times, the galloping thrashisms on "Within" levelling the situation, both sides culminating on the gigantic 12-min progressive closer "Damnation". Nygren also takes part in the classic heavy metal outfit Miscellany, and the retro thrashers Blackshift.

Carchosa Full-length, 2018

Official Site

CARCINOGEN (UK)

Based on "Chapter Two (An Evil Within)", this UK trio play modern thrash that generates a fair amount of sizzling intensity form numbers like "An Evil Within" at first, but later on this approach gets swiftly abandoned for the sake of plodding quasi-doomsters ("Omen"), sleepy atmospheric processions ("Eye of the Beholder"), and the casual quirky all-instrumental oddity ("I.O.U."), the gruff semi-declamatory death metal singer generating quite a bit of noise when in action.

Prelude EP, 2022
Chapter One (Fallen) Full-length, 2022
Chapter Two (An Evil Within) Full-length, 2023

Official Site

CARDAVERCUS (USA)

This is 90's post-thrash with heavy groovy riffs and a couple of less orthodox developments ("Cold Vengeance"), the shouty death metal singer not leaving a very positive impression, the friendly rhythms on "Water Into Wine" bordering on both hardcore and punk, "Satanic Goat" justifying its ominous title with an array of genuinely headbanging riffs. Some of the band members were also engaged with the speed/thrashers Severe Warning and the thrash/death hybriders Course of Anger.

Cadavercus Demo, 1999

CARDIAC CEASE (FRANCE)

Based on the "Headaches" demo, these obscures offer aggressive thrash/proto-death reminiscent of their more known compatriots Agressor and Loudblast, but these guys seem to be better musicians death/thrashing with both style and fury mixed together to create brutal sweeping crescendos which are seldom intercepted by calmer galloping passages ("Cold War"). This is wild intense stuff with good shouty death metal vocals ala Rogga (Merciless) marred a bit by the muddy production.

Headaches Demo, 1990
Altered Beast Demo, 1991

CARDIAK (CZECH)

This Czech trio pull out clever bass-dominated thrash which is more on the classic side "courting" the Bay-Area, above all, the ultra-heavy rhythms intercepted by quiet dreamy lead-driven passages. The riff are sharp and hard with Metallica coming to mind most of the time, and the leads are really fine dueling with the thunderous bass. The singer obviously tries to emulate James Hetfield and manages to come close with his attached forceful semi-clean delivery.

Heaven in My Hell Demo, 1998

Official Site

CARDINAL (SPAIN)

Based on "Black Dawn", this band play modern power/post-thrash which is also not a stranger to some more classic-sounding cuts (the galloping "Out of Paradise") which are on the more immediate side, as the majority are more complex mid-pacers among which is the undisputable highlight "Disengaged" which also shreds with more passion and speed at some stage, a creepy piece which soars high above the other similarly-styled ones which are too balladic at times (the closing title-track) to capture the imagination of the diehard thrash metal fan.

Sin Machine Full-length, 2007
Black Dawn Full-length, 2010

Official Site

CARDINAL ROARK (CANADA)

Retro power/speed/thrash with raven-like black metal vocals; the delivery is pretty energetic tolerating a couple of isolated groovy fillers ("A Dream Within a Dream") including the tender ballad/semi-ballad "The Valley of Unrest" where the vocalist amazingly switches to very good passionate clean antics. "Spirits of the Dead" and "The Sleeper" are vigorous speedsters carrying the album forward the latter acquiring a warmer epic colouring on the closing "Dreamland".

Tales From The Darkside Full-Length, 2018

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CARDINAL SIN (PUERTO RICO)

And here comes a band from Puerto Rico, of all countries. The guys play good, energetic thrash with a certain doze of humour reminiscent of Anthrax. No single traces of reggae or samba (sorry, this was in Brazil!); energetic tempos and some very tasteful solos will one hear most of the time. There's also a cover version of the melodic hard'n heavy stars Night Ranger (if this isn't a rare choice, I don't know what else is!): "Don't Tell Me You Love Me".

Infanticide Demo, 1989
Querer es Poder Demo, 1991
Resurrection Best of/Compilation, 2004
Secret Vault Exposed Volume 1 Best of/Compilation, 2004

My Space

CARDON CRIPTA (MEXICO)

"Orgedas de Sangre" is six tracks of rough primal, hardly audible, black/thrash metal in a fast brutal tempo. References are not very easy to be made since the sound quality is awful, maybe early Absu and Impaled Nazarene with very husky semi-whispered vocals. The guys indulge in pure black metal with their other project Armada de la Oscuridad which demo also features the song heard here.
The "Funeral Abismal" demo is just two songs of brutal, grinding death metal topped by some of the most extreme low-tuned grunts on the scene. Not for thrash metal fans...
The "Apokrufos Medicus" demo features extreme raw thrash/proto-death which is sustained in a constant bash of the more comprehensive type, with sudden deviations into slower, semi-doom waters ("Apokrufos Medicus"; the short creeper "Camara De La Muerte") which work, by the way, and will remind you of Slaughter. "Resurreccion" is a surprisingly cool finish to this otherwise pretty pristine effort: an uplifting galloping speed/thrasher, only marred by the shouty death metal vocals ala Jan-Chris de Koeijer (Gorefest).
The debut demo is intense thrash, but with a rough sound quality, which takes away quite a bit from the guitars' sharpness, but on the other hand boosts the bass to a positive effect. The guys mix atmosphere and aggression the latter more widely covered boasting energetic, no-bars-held pieces ("Septimo Infierno", "Sacrificado Sea Tu Nombr") topped by gruff semi-shouty death metal vocals.

Maleficious of the Crypt Demo, 1993
Apokrufos Medicus Demo, 1994
Funeral Abismal Demo, 1997
Orgedas de Sangre Single, 1998

CARELESS INSTITUTE (FRANCE)

Based on the full-length, this French formation pull out standard, not very imaginative, modern post-thrash which may bore a bit due to the not very eventful tempo-patterns despite the covert progressive pretensions which some numbers may have largely because of their inordinate length rather than any more engaging moments (check out the 9-min semi-balladic opus "Soul Scar"). The singer has an expressive shouty tone which takes quite a bit of space, but delivers with his aggressive forceful antics.

Uprising EP, 2010
The Line Between Full-length, 2013

Official Site

CARNAGE (USA)

This band was formerly known as Metal Onslaught. The music here is better being a nice blend of aggressive Slayer-esque riffs and more technical ones ala Kreator's "Extreme Aggression" and "Coma of Souls". The tempo is fast and intense spiced with cool stylish technical breaks. The vocals are also quite good coming as a mix between Steve Souza (Exodus) and Bobby ``Blitz`` Ellsworth (Overkill).

Killing Spree Demo, 1989

CARNAGE CARNIVAL (SOUTH AFRICA)

This outfit offer energetic modern thrash which moves ahead with razor-sharp mid-paced riffage surprising at times with less expected death metal-ish brutalisms ("The Meeting"), but generally the deviations aren't many at all, and some monotony inevitably settles in near the end despite the closing "The Hunt"'s more flexible, volatile structure. The singer shouts with passion to the point of rending on occasion.

Carnage Carnival Full-Length, 2014

Official Site

CARNAGE INC. (INDIA)

Based on the full-length, these lads serve crisp energetic old school thrash which marches out in a steady moshing manner with a couple of more intriguing technical quirks ("Death Scape") peppering the landscape, the mid-paced squasher "Saffron Is the New Black" another unmitigated digression. Elsewhere it's the ripping headachers "Monstrosity" and "Eradicate the Empire" that dominate, the more varied progressive nature of "Tread the Fire" a more or less fitting epitaph to an otherwise fairly dynamic opus.

Fury Incarnate EP, 2016
Tenebris Full-length, 2019

Official Site

CARNAGE KREW (USA)

Based on "Front Kick to the Face", this act play wild intense thrash/crossover which is at times plain unbridled hardcore, but manages to keep the mood up the whole time. There are the obligatory excursions into the mid-paced world (the frolic "The Human Centipede", the merry punk joy "Up Your Ass") and generally the arsenal is quite varied including a few heavy proto-groovers ("Doomsday Sacrifice") which better suit the rough quarrelsome shouty vocals.

Killing Spree Full-length, 2001
Front Kick to the Face Full-length, 2014

Official Site

CARNAGE OF CHILDREN (FRANCE)

Based on "Extinction", this formation provide semi-groovy modern thrash which also has its more technical face (the diverse shredder "First Pain"; the jumpy progressiver "Carnage") on the longer compositions. Unfortunately, engulfed in a more complicated play, the guys have almost completely forgotten about the fast pace which timidly shows up here and there, but has no chance against the dominant heavy mid-paced riff-patterns. The vocalist is a deep guttural throat of the more intelligible variety.
"Darkness Within" is both a more dynamic and more atmospheric slab, the symphonic progressive "Black Angel of God" running away from the thrashy patterns, into a more expansive extreme progressive metal territory, the virtuoso-prone "Punishment" by far the highlight here, with the sinister semi-technical pounder "Endless Stairs" a close second, the creepy brooding closer "Darkness Within" a nice combination between gothic and post-thrash.

Way of Darkness Full-length, 2011
Extinction Full-length, 2013
Temple of Hate Full-length, 2019
Darkness Within Full-length, 2022

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CARNAL AGONY (SWEDEN)

Modern power/thrash with epic tendencies and fine galloping motifs; this is feelgood stuff also serving several catchy sing-along choruses not far from the heroic hymns of Blind Guardian. The album here is much more prone to melody and lyrical deviations, though, and one may find the harsh slightly deathly vocals ala early-Miika Tenkula (Sentenced) not quite suitable. Still, pleasant music like that should always be able to find its fanbase, including some from the doom metal crowd: check out the excellent brooder "Secrets Within The Shrine" near the end.

Preludes & Nocturnes Full-Length, 2014

Official Site

CARNAL DEMISE (FINLAND)

These Finns deliver intense modern thrash which comes with a bit of noise in the background the latter hindering the guitars, above all. Those same guitars try to pull out some interesting melodic hooks from time to time, but the heavy chugga-chugga riffage rules here leaving some space for the odd melodic lead section. The intensity drops with each passing song to the point that the speed completely disappears in the second half replaced with more melodic tunes (to some this may be the more preferred half) which also come with a suitable keyboard "decoration". The closer "Sleighride" is an ambitious epitaph offering a more elaborate progressive sound closing on whole 8-min, but losing the dynamics to a big extent. The singer is a plain death metal shouter who tries to run away from his staple delivery with some short cleaner tirades.

Carnal Demise Full-Length, 2012

Official Site

CARNAL DREAD (GREECE)

Based on the full-length, these folks deliver retro roller-coaster speed/thrash with guttural death metal vocals which inevitably bring the winds of death metal with them on some cuts. The thrash/death approach works fine without being anything too special. The guys pay tribute to one of the first such mixtures in history, with a cover of Possessed's "My Belief" at the end, surprisingly played with more tight control and with more polished execution. Some of the musicians are also active with another thrash metal outfit, Benefactor Decease.

Black Thrashing Rites EP, 2014
Maleficium Full-length, 2016

Youtube

CARNAL FORGE (SWEDEN)

One of the pioneers of modern death/thrash metal along with The Haunted and Dew-Scented; there's hardly anything which hasn't been said and written about this band- thrash on!
The EP is probably a warmer-up for the eventual full-length after the band took a lengthy break. Not to worry, folks, the guys thrash with passion without betraying their staple sound and their country, so expect bombastic modern thrash/death served with a pinch of groove on "Chemical Disincorporation" which still remains a major head-splitter; and with stomping mid-paced riffs on "Bleed for Me". It's business as usual for these stalwarts of the Gothenburg sound the innovation mostly coming from the nice proficient leads which are a delight to listen to.
"Gun to Mouth Salvation": another return attempt for the veterans who don't betray their staple melo-death/thrash approach, moshing with passion all over by not forgetting about the soaring melodic hooks those making more serious numbers like "Aftermath" really engaging listens. On the other hand, cuts like "Endless War" are just immediate violent bashers, but the mix works well without any glaring flaws as the more elaborate side of the guys' repertoire ("The Order") seems to work the better due to the heightened sense of execution and the bigger element of surprise.

Who's Gonna Burn Full-length, 1998
Firedemon Full-length, 2000
Please... Die! Full-length, 2001
The More You Suffer Full-length, 2003
Aren't You Dead Yet? Full-length, 2004
Testify for My Victims Full-length, 2007
When All Else Fails EP, 2014
Gun to Mouth Salvation Full-Length, 2019

Official Site

CARNAREUM (SWEDEN)

The debut: groovy 90's post-thrash which sides with some of its compatriots from the same time like later-period Misery Loves Co., Slapdash, and by all means Clawfinger. The harsh death metal vocals create more seeping drama than the music requires although both the steam-rolling seismic "Carousel" and the jumpy, more overtly thrashy "Amor Arch" stir the spirits with more verve. Regardless, this is melodic stuff with a couple of memorable moments like the surprisingly poignant ballad "Remembrance", the vocals on that one immediately replaced by very good clean attached ones.
"Ikaros" is more dynamic than its predecessor, with some death metal now arrived to make the delivery more boisterous, and although the picture hasn't been altered beyond repair, there's more drama overall applied to the proceedings, "Never Enough" sharp and intense enough to stir at least a semi-pogo. "Territorial Mind" is a heavy seismic stomper, showing the other more officiant side of this varied, more ambitious opus.

Field of Terrors Full-length, 2020
Ikaros Full-length, 2022

Official Site

CARNEROSS (ARGENTINA)

Cool energetic thrash of the old school; the guys "court" Slayer, above all, and as such provide three fiery songs of aggressive riffing nicely spiced with heavy stomping sections topped by suitable shouty semi-hardcore vocals.

The "Mass Violencia" EP is another four tracks of violencia thrash which is played at maximum speed, the Slayer references now mixed with a certain doze of hardcore. This is tiring headbanging stuff with ripping guitars which are given a nice boost due to the crystal clear sound quality, and expressive shouty vocals which see the band well rehearsed to enter the arena with the expected full-length.

Muerte Violenta EP, 2009
Mass Violencia EP, 2012

Official Site

CARNICA (BRAZIL)

This Brazilian trio pulls out a classic thrash/death metal hybrid along the lines of 90's Protector and the Merciless debut. The music is frequently fast, but never to the extent of brutality, and the slower breaks are more than just the odd interlude, plus a couple of short balladic passages. The singer comes as a gruffer and lower-pitched version of Max Cavalera toning down the delivery for the fast blitzkrieg version of Venom's "Black Metal" at the end.

"Nations Of Few" is a more brutal recording with death metal present more often into the song-structures in the spirit of early Morbid Angel (check out the opening "The Protester"). More pleasantries follow suit later: the speedy delight "Liar", the dramatic epicer "Corruptions", the officiant Bolt Thrower-esque "Diablo Politician", etc. The band diminish the fast-paced patterns in the second half, but remain on a fairly intense ground except for the final track which is a merry rendition of W.A.S.P.'s biggest hit "I Wanna Be Somebody" the vigorous riffage clouded by the brutal death metal vocals which are the furthest possible analogue to Blackie Lawless' apocalyptic shouts.
The self-titled mixes thrash and death in the expected manner with slower more epic tracks ("Revolucao Farroupilha") adding more spice to the rigorous proceedings which largely rely on ripping headachers like "War Games to Die" and "The Putrid Kingdom" to pull it through although "The Old Butcher" is a really cool switch to more serious, technically-minded thrash with the final "Midnight Queen" wrapping it on in a more officiant gothic-flavoured, progressive fashion.
"A New Medium Ages" is a diverse, not very predictable recording which retains the high velocity from previous instalments (the title-track, "Sexual Perverted"), but makes sure there's wider audience circling around thanks to the heavy epicer "You Are Dead" and the atmospheric mid-pacer "World Demise", the cover of Iron Maiden's "Powerslave" at the end a faithfully reproduced closure.

Rotten Flesh Full-length, 1999
Temple's Fall... Time to Reborn Full-length, 2011
Nations Of Few Full-length, 2012
Carnica Full-length, 2017
A New Medium Ages Full-length, 2022

Official Site

CARNIFICE (COLUMBIA)

Rough-sounding underground thrash metal of the old school not far from early Whiplash, but offering more variety with sudden slower sections. Still, the overall approach is speedy assisted by unpolished semi-death metal shouts.

Socios De La Muerte EP, 2009

My Space

CARNIFICINA (BRAZIL)

This is interesting, atmospheric thrash/death metal which is both doomy and morose ("Metal Lusitano") and fast and brutal ("Olhos na Escurid", "Ghob"). "Casttrati (The New York Corkscrew Slaughter)" is a diverse opus mixing both sides, also showing the guys' more proficient side with a few clever insertions ala Suffocation; please, notice the great lead guitar work as well. Expect a small surprise: a really nice cover of the Portuguese speed metal legends V12's "Negacio das Almas", a vigorous "eagle fly free" number with lashing guitars, only marred by the brutal low-tuned vocals.

Ensaio Demo, 2006

Official Site

CARNIS (USA)

Interesting progressive thrash/death which is very close to capturing the wild atmospheric magic of Pestilence's "Testimony of the Ancients" ("Mesmerized"; could be an allusion to "Stigmatized" from that same album?). The problems are the very muddy sound quality which stifle the guitars' edge, and the less expressive death metal vocals... and probably the more insistent adherence to slower doom riffs.

Nemo Dat Quad Non Habet Demo, 1994

CARNIVORA (USA)

This is decent modern thrash/death the death metal part mostly coming from the harsh guttural vocals and a few less controlled sections. "Thrash Of The Titans" is ironically the softest composition here with melo-death and speed/thrash dueling for domination accompanied by short blasting passages. "Manipulate" is a very stylish technical cut that elevates the album to higher level although the remaining material hardly deserves it the last string of songs even losing the speed somewhere indulging in slower pounding breaks the closing "Deteriorate" partly saved by the brutal grindy passages. The vocal "rasp vs. growl" duel hardly produces any miracles, but at least it suits the music.

Eternal Full-Length, 2013

Official Site

CARNIVORE (USA)

A cult thrash/crossover band featuring Peter Steele (R.I.P.) (Type O Negative) on vocals; the music is quite fast and intense at times, quite slow and doomy at others. The self-titled debut is quite an energetic, also simplistic affair which will stir your blood on the faster tracks ("Carnivore", "Armagedon", "Legion of Doom"), but it has its more serious, albeit not very well developed, and a bit dragging moments ("Male Supremacy"). "God Is Dead" is slower, and could have passed unnoticed if it wasn't for the very cool ending with a gothic shade, graced by nice operatic female vocals (look where the revolution in modern metal had begun!). "World Wars III and IV" is supposedly two songs: the 1st one is a cool speedy track with a Motorhead-vibe; the second one is just noise, sounding as though the wars, mentioned in the title, have already begun.
"Retaliation" offers a more aggressive material with a very direct brutal hardcore-ish beginning ("Angry Neurotic Catholics", "S.M.D."). "Ground Zero Brooklyn" is a very pleasant surprise being a nice slower, almost doomy number, with great crushing riffs, and remains the best song on this one. "Jesus Hitler" is a cool combination of thrash/crossover and doom, and is quite close at times to the early Type-O-Negative (Peter Steele's other band, with whom he explored the doom fields much more profoundly) material. The same goes for the spacey "Manic Depression", after which the aggression returns with "U.S.A for U.S.A", and should have been the closer, because the last track "Five Billion Dead" is a somewhat pointless melodic instrumental, again reminding of the doom character of the album, supported by very good bass work.

Carnivore Full-length, 1985
Retaliation Full-length, 1987

Official Site

CARNIVOROUS FOREST (CANADA)

This demo is a noisy amateurish affair which, with a bigger stretch of the imagination, may pass for industrial thrash/death with pagan/epic touches done solely on a computer and obviously by one person who sings in a gruff unrehearsed death metal manner except on the tender balladic folk-ish cuts "White Wolves" & "Prince of Worms" where his clean tones are admirable. Otherwise this isn't very pleasant music which comes with a very abrasive chainsaw-like guitar sound which goes throughout the whole recording only missing on the aforementioned more peaceful moments.

The Red Demo Demo, 2012

CARNIWHORE (NORWAY)

Two guys practice aggressive misanthropic black/thrash metal which provides good headbanging fun along the way with sharp energetic riffs the latter also offering heavy mid-sections ala late-80's Slayer. The approach never gets out of control into hyper-blasting territories although the sound at times borders on proto-death/black ("Addicted To Death") metal where the scary rending vocals may literally terrify the less prepared with their incessant quarrelsome timbre.

Triple Whoregasm Demo Demo, 2010

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CARNOSUS (SWEDEN)

Based on "Visions of Infinihility", this act serve modern thrash/death with shouty near-hysterical vocals. This isn't Gothenburg-influenced stuff, like some of you may think, but is sharper more abrasive music which can also become more technical and choppier ("Calamity Crawl") at times, the guys seldom racing with then speed of light throughout an entire composition, the tempos changed regularly, the melody supply particularly abundant on the stylish shredder "Fermenting Blastospheres of Future Putridity". "In Debt to Oblivion" is the only full-blooded mid-pacer here, but this is a nice intricate excursion which influences a few tracks in the second half, including the creepy atmospheric "Procession of Depression".

The Universal Culmination EP, 2016
Dogma of the Deceased Full-length, 2020
Visions of Infinihility Full-length, 2023

Official Site

CARNUN RISING (IRELAND)

The band's style is mostly old school death metal along the lines of Morbid Angel's "Altars Of Madness" and early Death, but there are quite a lot of thrash riffs, too. There's a very nice cover version of Slayer's "South of Heaven", too.

At the Dawn of a New Dark Age Full-length, 2003

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CARO (DENMARK)

Based on "aLPHA", this act pull out a classic/modern blend of thrash and death METAL which contains the necessary amount of energy despite its fairly predictable nature. Short "bombs" like "All or Nothing" and "March Of The Underworld" will make quite a few heads bang, but expect the odd clumsy number as well ("Lifeless Grey"), mostly in the middle. The second half is considerably less exciting with predominantly mild mid-paced compositions lacking an edge finished with the tender lead-driven balladic instrumental "Where We Belong" (not here, guys; not here!).
"Letchworth Village" is a bit better comprising some noteworthy headbangers (the opening smasher "Burned to Ashes"; the title- track; etc.) although the slower side of the band's repertoire is also quite well covered this time occupying the first half leaving the bigger dynamics for the end this end being very Gothenburg-decorated, but still not bad if we exclude the not very impressive groovy passages on the closing "Blacklisted".

Like a Sickness EP, 2011
Alpha Full-length, 2012
Letchworth Village Full-Length, 2013

Official Site

CAROOZER (GERMANY)

Based on "Mount Moshmore", this band play stoner/post-thrash which is playful and party-prone recalling Down and Orange Goblin with just a pinch of thrash which in its turn is clearly on the post side; so there's no mosh anywhere here... some of the band members played in the modern heavy/groove metal act Draist Avagnon.
“The Brewtal Truth” doesn’t break any new ground although the moderately sprightly “It Ain't Me” isn't exactly a throwaway; neither is the corrosive quasi-doomster “The Hobo's Waltz”, the short bursting “A Good Day to Die” a nice display of overt dynamics, this shade sadly missing from the overlong melancholic “Motorfucker”.

Boozeman Trail Full-length, 2009
Mount Moshmore Full-length, 2013
Grooveyard Full-length, 2018
The Brewtal Truth Full-length, 2024

Official Site

CARPEDIEM (SWITZERLAND)

Based on the "The Paralized Years" demo, this act pulls out interesting progressively-tinged power/thrash metal which sounds pretty classic for the time of release. The music is heavy with doomy overtones coming close to same year's Hexenhaus' "Dejavoodoo", but is more prone to balladic interludes which grace every song except for the dramatic pounding opener "XXX". The singer is quite an asset with his very good emotional mid-ranged clean timbre.

Grandma Demo, 1995
Carpediem Demo, 1997
The Paralized Years Demo, 2000
Fuckmachine Demo, 2004

CARPET ROOM (GERMANY)

Based on "A Kind of Malice", this new band play modern power/thrash in the vein of their compatriots Runamok and Perzonal War, with a noisy rhythm-section and even noisier shouty semi-hardcore-ish vocals. The music takes more serious forms at times on the longer compositions ("Acid Rain"), but for most of the time this is laid-back shred in mid-tempo without any particular highlights except for a few more stylish lead sections ("Feel This Pain", "Hole").

Soulless Full-length, 2009
A Kind of Malice Full-length, 2013

Official Site

CARRASCO (BRAZIL)

The debut: this Brazilian outfit specialize in retro speed/proto-thrash which is characterized by merry uplifting rhythms quite close to early Exciter and the German school on the more stylish additions (the melodic speedster "Cerbero"). "Winks" at their neighbours Argentina are also present: the heavy rock hymn "Heavy Metal del Diablo" which is ruined by the brutal death metal vocal delivery.
"Tormento Eterno" offers decent classic speed/thrash/proto-death which loses a few points from the not very pronounced hushed deathly vocals. The music sticks more to the early German exploits, but expect antediluvian black-ish tunes ("O Feiticeiro") ala Bathory, as well as short brutal semi-grindy explosions ("Coma"). "Ritual" is an abrasive hardcore additive, and "Sinos do Apocalipse" brings the winds of death for a while with a more aggressive, more confrontational flair. Some of the band members also play with the death/thrash hybriders Stormblood.

Armageddon Full-Length, 2011
Tormento Eterno Full-length, 2021

Official Site

CARRAZ (BRAZIL)

Cool old school thrash, an appetizing compilation of vigorous speedsters ("Face Your Fate") and more entangled, semi-progressive exercises ("Shroud") where the intensity doesn't diminish, and is even enhanced by a few blast-beating passages recalling their compatriots Bywar. Watch out for the short bursting speedster "Beer from Hell" at the end, the shouty black metal-ish vocals doing additional damage on the side, especially with the several piercing demonic screams. Some of the band members are also active with the black'n rollers MadDog, and the speed metal heroes Comando Nuclear.

Carraz Full-lengt, 2018

Official Site

CARRION (SWITZERLAND)

The band's singer V.O. Pulver has been all over the Swiss metal scene (Messiah, Poltergeist, Gurd). His first band plays speed/thrash metal akin to Vectom, Darkness, and Iron Angel, maybe faster than all those. The music clearly shows its age, but is enjoyable and energetic, with the presence of very cool guitar work ("Demon's Child"). We should give these guys a bonus for the fact that before them in Switzerland it was only Celtic Frost who have released a full-length on the more brutal side of metal.

Evil Is There! Full-length, 1986

Official Site

CARRION CURSE (USA)

Based on "A Curse on the World", this act serve heavy intense old school thrash/death which is very aptly supported by vociferous guttural death metal vocals. The more atmospheric layout of "The Blood Eagle Soars" is a change from the rigorous course, but "A Curse on the World" is a sinister stomper with sincere deathly overtones. "I'll Take Your Head" is a cool hectic semi-technical tornado, but eye-openers of the kind aren't offered aplenty, the band trying something doomy and cavernous with "Bittersweet Taste of Defeat" as a finale. Some of the band members are also active with the death metal outfits Rotten Remains and Grimwar.

Feast of the Maggots Full-length, 2015
A Curse on the World Full-length, 2021

Official Site

CARRION KIND (USA)

This band play modern groovy thrash which has its fair share of dynamic, even headbanging, numbers. Still, the groovy mid-tempo rules here, but it's not annoying at all coming with a certain industrial vibe ("Mended Ministry"; could be a nod to the industrial legends?). Intriguing progressive escapades can be noticed on the cool melodic "Accepting Annihilation With Hu", before the speedy "Gluttonously Driven To Naiivet" makes quite a few heads bang in unison. The singer is a contrast to those melodic moments with his gruff death metal-ish tone which he keeps underground making it barely heard at times.

The Collapse of All to Come Full-Length, 2014

Official Site

CARRION SUN (USA)

This is dry sterile modern thrash which has shades of death metal and industrial all these influences placed on a fairly melodic base. The guys bash with passion ("Forged from Indulgence") at times where the approach even becomes strongly death metal-flavoured. Still, the more attractive side is the jumpier more technical one ("Murderslut") where the riff-patterns change frequently still remaining accessible. The final "Misery Machine" is a more elaborate composition with plenty of melodies losing the speed and the edge, but showing the band members' more proficient side, especially the lead guitarist who occupies half the space with his impressive pyrotechnics.

The Burning Time EP, 2012

Official Site

CARRION VAEL (USA)

Based on "God Killer", this band play a hectic semi-technical blend of thrash and death, the hysterical/growling vocal duet a fairly exasperating presence as the changes between the two approaches are very frequent, creating a lot of drama in the process. The band stick to the speedy parametres for most of the time, and numbers like "Strokes of a Goya" and "Black Chariot" are major, overly busy headbangers, with black metal showing its ugly head on the bombastic "Something Soulless".

Resurrection of the Doomed Full-length, 2017
God Killer Full-length, 2020

Official Site

CARRION LORD (USA)

Based on the single, this band play wild aggressive classic thrash/death accentuated by the deep growling vocals and the heavy pummeling riffs on "Streams of Corruption". "Mortuary Drape" is more on the moody doom/death side, but still features a couple of less restrained moments with a more overt thrashy edge.

Shrouded by Darkness Demo, 1990
All Paths Lead to Chaos Demo, 1991
Beyond the Darkened Waste Single, 1992

Youtube

CARRIONS N.N. (ITALY)

Based on the full-length, these Italians deliver energetic thrash/crossover which is at times frolic and unpretentious with overt punky overtones ("Cancella Questa Notte"), at others is intense and uncompromising ("Filo Spinato") where hardcore comes to help. There are times when the music has not much to do with metal (the lyrical tender ballad "Continua Ancora"), but the vocalist can still pull it off on those with his charismatic, clean punkish timbre.

Tapironto Full-length, 1991
Attimo di Liberta EP, 1993

CARRY THE TORCH (SWEDEN)

The debut: a classic/modern thrash hybrid with growling death metal vocals; nothing that hasn't been heard countless times before, played with a lot of energy but little imagination, with a good sense of melody in the lead department and a couple of more restrained mid-tempo pounders ("A New Hell"), those coming with a covert progressive flavour. Still, the backbone of the album are dynamic rippers like "Die Standing" and the title-track which are not that many the band fonder of the heavy more lyrical side of the genre.
"Delusion" is a more laid-back offering that also knows its more atmospheric heart (the opening "Children of the Purge"), and although the title-track and "Carry the Torch" do their best to conflagrate the setting with fireworks of lashing riffs, there's little one can do to erase the atmospheric epicer "Lazarus" or the sprawling quasi-doom vistas of "Where Dead Saints March". "El Nino" is a decent raving thrasher, but the remainder seldom goes for all-guns-blazing approach.

Obsession Full-Length, 2019
Delusion Full-length, 2023

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CARTAGEN (BULGARIA)

Fast ripping old school thrash which death metal pretensions are largely justified by the vicious grunting vocalist. The guys storm initially with the ripping "Execution", but later on they throw in a lot of melodic tunes on the beautiful "Beautiful Violence", and although "Spirits of the Dead" restores some headbanging dignity with its untamed approach, nothing can stand on the way of the excellent atmospheric balladic instrumental finale "Triumph of the Misery".

Triumph Of the Misery EP, 1995

CARTHUS (AUSTRALIA)

This is modern melodic power/thrash aggravated by harsh shouty death metal vocals; we have the dynamic rushing "Blood Crown", but expect crunchy mid-pacers ("Method in the Madness", the poignant melodic "Warborne") for most of the time, the diverse restless character of "Nightmare" standing for the highlight, where even some raging death metal can be heard, as opposed to catchy frolic tunes along the lines of those from "Swamp Monster".

Images of Tyranny Full-length, 2023

Official Site

CARVE CAUSTIC (USA)

The debut: modern power/post-thrash which marches in a steady mid-pace, with the dynamics raised for a bit for the decent progressive saga "All of What We'll Bleed". "Impending Doom" smells doom indeed with the heavy crushing riffs, but it's the more optimistic speed metal closer "Metal War" that attracts the most attention, the gruff inebriate semi-clean vocals humming on the side without adding much to the entertainment.
“Monstrum Vel Prodigium” doesn’t change the established scenery very much, the raucous rowdy “Lost in Dust, Forever Dust” standing dignified next to the more dynamic stroll “Infernal Embers”, but such flights of the imagination are not to be encountered later, the doom-cleansed “Cleansing the Barren Wastelands” hitting the other side of the spectre, fully supported by the slowmotion journey assembled on the cool melodic “The Sepultures Domain”.

Blood From The Black Urn Full-Length, 2020
Monstrum Vel Prodigium Full-length, 2024

Official Site

CASBAH (JAPAN)

Casbah is arguably the oldest metal band in Japan (formed in 1983). "Dinosaurs" includes songs from all their periods, from the hardcore-ish beginnings on the first demos to some good old school thrash in the early 90's, and finally reaching up to their full-length where the style is more modern, but delivers the goods all the same. The band is still active nowadays, and it's a curious fact that so far they have only released one full-length album.
"Reach Out": wow, this is what I call perseverance; the band managed to release another full-length... the style is almost a direct continuation to the one from their debut. In other words, we have abrasive modern thrash/post-thrash which alternates fast and slow cuts slacking in the middle for the production of a string of not very interesting, rock-ish hymns. "Naked" thrashes hard near the end, but moments of the kind are a rarity, and hardly make this album a requisite addition to the more recent Japanese thrash metal catalogue.

Bold Statement Full-length, 1997
Dinosaurs Best of/Compilation, 1998
Reach Out Full-Length, 2015

Unofficial Site

CASCABEL (RUSSIA)

A fusion of hardcore/crossover, modern thrash, and ballad/doom with heavy abrasive guitars and apocalyptic deathly semi-shouts. The music may remind you of the industrial doomsters Mindrot quite a bit although the approach here is more simplistic and more energetic.

Cascabel Demo, 2003

Official Site

CASEY RYLE (USA)

This Casey Ryle specializes in cool instrumental-only power/thrash with plenty of atmospheric moments and intense cutting riffage the latter of the mechanical sterile type with touches of djent, but the music never turns into a show-offy wankery. "Anywhere But Here" misses the guitars to an extent, but is a captivating moody piece contrasting with the hectic jumpy guitars around it. "B(e)low Me" is a virtuoso piece with great decisions, and "Cycles of Perception" has a more spacey progressive spirit. "Let's Try This Again" turns to robotic technical thrash where the next "You Probably Don't Have Celiac Disease. Douche." also belongs the latter a great labyrinth of creepy riffs and dry shreds. Things become more futuristic and more aggressive towards the end, first with the industrialized "IGotItAtRoss" where the only vocals (of the angry death metal variety) appear; and then on the closing "Eye Soul Ate" which is a fine dramatic shredder with brilliant leads and melodies, a highly stylized epitaph to this impressive outing. This is "metal as fuck", indeed, and maybe even beyond that, but it would be a pity if some dismiss this excellent piece of music due to the silly title.
"Reluctant Messiah" is a much more complex and more melodic offering with longer meandering compositions which at times cross over towards djent and mathematical core. Casey pulls it out, though, on the very nice atmospheric ballad "Eyes Wide Waiting", but the rest is a bit more than carefully constructed groovy post-thrash. Apparently the guy has a fairly wide palette which he will display more fully on future efforts.
"Death This": this new shredder on the block continues his tour all over the metal spectre as now he "courts"... well, based on the album-title the guess should be well educated; death metal, of course, and he does a fairly decent job with his technical virtuoso display. It's an interesting, not very predictable listen, but its merits to the thrash metal fanbase would be minimal. Black metal comes next...

Metal as Fuck Full-Length, 2013
Melting Faces EP, 2013
Reluctant Messiah Full-Length, 2013
Death This Full-Length, 2015

CASH FOR CHAOS (USA)

Based on the debut demo, this act specialize in decent aggressive thrash/crossover which sits somewhere between early Ratos de Porao and Hellbastard. The guys thrash with gusto, also grind with passion (the 1-min bomb "Cash For Chaos") wherever appropriate and generally have good fun with this frolic unpretentious music which is topped by strained shouty vocals.

Cash for Chaos Demo, 1993
No Answer Demo, 1996
Cash For Chaos Demo, 1996

CASKET INC. (GERMANY)

A passable mixture of power, speed and thrash which offers anything from rowdy gallopers ("Bravehammer") to more officiant epicers ("Snake Bite Kiss") to fierce not very restrained headbangers ("Killing Fields", "Blood Salvation"). The vocalist walks along the musical swings although he seldom changes his steady attached semi-clean timbre, losing the melody here and there.

Disciples Of Doom Full-Length, 2018

Official Site

CASKET RAIDER (USA)

Based on the full-length, this outfit specialize in an atmospheric blend of thrash, black and death metal which makes its more progressive claims ("A Perfect Storm") on the longer numbers, but the shorter raging rippers like "Remember" and "Traitor" seem to deliver the better with their wild unrestrained aesthetics. "Body 13" is an intriguing combination of fast-paced discordant and more serious, psychedelic passages, but doom-laden spacey abstracters like the sprawling "On a Pale Horse" keep the album "soaked" in deeper atmospherics regardless of the hysterical overshouty black metal vocals.

Casket Raider EP, 2015
Casket Raider II EP, 2015
Dead Moths EP, 2017
On a Pale Horse Full-length, 2018

Official Site

CASKET SLIME (CANADA)

Based on "Enter the Casket", this act pull out noisy abrasive modern thrashcore which smells the old school canons on the energetic "The Only Good Bug...", but watch out for "Clean Up Aisle 666", an industrial dirge that may even enchant Justin Broadrick from Godflesh. The harsh semi-declamatory synthesized vocals fir the sterile environment which gets its semi-technical thrash baptism with the cool "Cellar Door", the death-laced "Hillbilly Murder Shack" a brutal unpolished breezer. The band members also take part in the sludge/doomsters Purveyors of Sonic Doom, the death/grind hybrid Diabholico, and the thrash/death formation Mangler.

They Sleep We Creep Full-length, 2020
Take a Bite! Full-length, 2020
Enter the Casket Full-length, 2021

Official Site

CASKETGARDEN (HUNGARY)

Based on "This Corroded Soul of Mine", this band plays modern thrash/death metal, energetic and fast, obviously influenced by the mighty At The Gates. There's nothing new here but is done with professionalism and gusto.

"The Estrangement Process" is the next chapter in the band's saga, again displaying high-tech musicianship for the production of another Gothenburg-styled thrash/death metal roller-coaster which this time doesn't rely on speed as much, but provides several slower soulful moments with a touch of mid-period Dark Tranquillity ("Haven", Damage Done"). Don't get pulled back, please: pieces like "So Eager To Play" and "Confess" are major headbangers and will keep you entertained, albeit in a pretty familiar way. This is a standard predictable effort, but its qualities are still there and it's always good to hear something to make you a bit nostalgic for times gone...

This Corroded Soul of Mine Full-length, 2003
Open The Casket, Enter The Garden Full-length, 2006
Incompleteness In Absence Full-length, 2008
The Estrangement Process Full-length, 2012

Official Site

CASSANDRA (BULGARIA)

Based on the sophomore, this is pretty decent old school thrash which is constructed around heavy, largely mid-tempo, compositions (“Sick World”, “Peace or War”), the shorter material (“Be Yourself”) offering straight-up ripping mosh, “Neverending Fight” clinging towards the opposite side of the spectre with soothing balladic decisions, totally contrasting to the gruff death metal vocalist, the latter exhibiting a cool cleaner, more emotional timbre on the ballad “Lost”. “Dead End Way II” is a really captivating diverse progressive thrasher, with “Predator” following a similar thought-out pattern recalling Metallica’s semi-ballads (“Fade to Black”, “One”). The guys continued their career as Successor later into the 90’s, the style remaining the same.

Dead End Way Full-length, 1993
Neverending Fight Full-Length, 1995

Official Site

CASTIGATOR (GERMANY)

The demo: a typical modern thrash/death metal offering, lashing hard though, with quite a few melodic decorations and really brutal low-tuned vocals. The pace is up with some galloping riffs added as well plus a merrier crossover colouring on the final "I Am the Law".
The full-length is a more controlled offering although the shorter material ("Baltic Tomb", "Storm of Steel") is dynamic enough to stir a wild pogo fashion. Still, The prevalent mood is one of atmosphere and moodiness with heavy melodic stompers like "Global Holocaust" and the doomy "Hand for a Bullet" occupying the front seat, the Iron Maiden cover of "Hallowed Be thy Name" at the end decently executed save for the vocals, of course.

Castigator Demo, 2011
The Recommencement EP, 2016
Impressions from the Abyss Full-length, 2020

Official Site

CASTLE BURNER (USA)

This is capable retro speed/thrash that makes itself heard thanks to ripping headachers like “Crush Your Enemies” and “Fragmented Realities”, but more than half the album is sustained in a calmer mid-tempo trot as presented by the composed “The Flail of Armageddon” and the pensive “The Manticore”, its semi-balladic qualities enhanced by the doom metal proclivities of the imposing closer “Heavy is the Head That Wears the Crown”. The vocals are on the clean semi-attached side, eliciting just the right amount of passion to keep this diverse album afloat.

Damned to the Dungeon Full-length, 2023

Official Site

CASTLE OF BLOOD (USA)

Thrash/crossover of the more aggressive type, not too far from the early Prong works; the similarities in the vocal department are simply striking so you might get the impression that it's Tommy Victor who has lent his vocal abilities to this band for a while. These guys have the tendency to insert more melodic semi-punk elements ("Another Day"), but when they decide to be merciless, they are exactly that: "Deceiver" (you can't be deceived by this one, it's pure thrash all the way).

Land of the Lost Demo, 1987

CASTLEBRAVO (FRANCE)

This French trio pull out modern power/thrash that has its more dynamic side (“Assisted Failure”), but the majority of the tracks are mid-paced chuggers with either a soporific romantic sentiment (the ballad “True to Myself”) presented, or a catchy memorable reverberation (“Lord of Dawn”) comes to the fore, also to match the cool clean attached singer, the latter displaying a more lyrical vocal bravado on the interesting quasi-progressiver “Precious Nightmare”.

Fate Full-length, 2023

Official Site

CASTLOW (MEXICO)

This act serve some excellent retro thrash with both melodic and progressive overtones. Both sides are admirably reflected on the rousing opener "Trial Against Fate" which reminds of early Testament, among other noteworthy practitioners, with the standout Alex Scholnick-like guitar work the sure highlight. The title-track is another winner with its clever time changes which never break above the mid-paced parametres except for a few isolated headbanging occasions. "Into the Depth of Mind" is another impressive shredder with a stomping rhythm-section and a couple of more dramatic build-ups which disappear for the moshing delight, the instrumental piece "Self", a masterpiece of technical/progressive thrash with a superb bass bottom and exquisite lead pyrotechnics. "Lost in the Dark" is a delectable blend of slower and speedier riffs, plus several nice more technical embellishments from the stop-and-go variety, all this gorgeousness leading to "Made Of Hate", a stunning riff-fest the guys beating Testament at their own game with a most fine supply of melodic guitarisms and steely, more intricate decisions. "Time" is a very cool short ballad, again sustained in the vein of the mentioned American legends, followed by a cool frolic cover of Sweet's "Moshroom Blitz" turned into an active speed/thrasher, the hoarse Chuck Billy-sque vocals trying to sound more lyrical on it. This is a very pleasant surprise from the Mexican metal scene that never saw a follow-up as some of the band members immigrated to Ireland a few years later where their career was confided to the acoustic/folk music roster.

True Is a Trick Full-length, 1991

Youtube

CASTOS (POLAND)

These Poles play serious doom/thrash crossing modern and classic tendencies on a pensive mid-paced ground which "bears" one full-blooded doom hit: "Shame On You Rich". The rest is just a tad faster serving a few weird semi-technical moments ("Sadistic Deviation", the diverse gothic-flavoured closer "... But My Soul Is Alive") amidst the fairly officious atmosphere which may come as too dark for the regular thrash metal fan who may also be pulled back by the gruff death metal vocals.

Impenetrable Demo, 1994

Official Site

CASTROFATE (USA)

The debut: melodic power/thrash metal with a more classic edge; the title opener is an awesome thrasher, but it kind of misleads as what follows is less hard-hitting and less impressive with even modern touches sneaking through here and there as well as quite good Iron Maiden-styled leads. Near the end the guys start taking themselves too seriously and there are two long sprawling tracks (one-7, the other-9min long) where the band tries something more complex, but the slightly repetitive and not very interesting riffs ruin the intentions.

"Cataclysmic Insanity" is an almost exact copy of the debut: melodic power/thrash in mid to up-tempo featuring one good epic power/thrasher ("Reflections of the Past"), a couple of more intense headbangers ("Nightmares", "Futile Attempt"), and one interesting longer, almost technically-sounding at times, sharp piece ("Back in Time"). The album drags down quite a bit hitting the bottom with the awful "Misguided Path": a very unlistenable attempt at blue-sy heavy metal. Such a diverse effort should definitely has its moments, but you know how a servant who tries to please/serve too many masters, ends up...

"iHuman" carries on with the power/thrash metal saga which is again melodic and catchy with memorable choruses and melodic hooks aplenty. Things occasionally get harder (the pounding chuggy "Slaves to Society", the semi-galloping "One Life"), and generally the sound is pretty energetic with merry speedsters like "Silent Lunacy" roaming around. The singer has a very suitable voice for the music with his rough clean tember successfully "marrying" Rock 'n' Rolf (Running Wild") and Kerrmit (the German Tyrant). The end is kind of underwhelming, though, with the sprawling 10-min opus "The Afterlife" which is a not very eventful semi-balladic composition with clumsy repetitive riffs. Otherwise this effort shouldn't disappoint the band's fans staying true to their staple merry-go-round delivery without trying anything fancy.
"The Space Agency Scam" is an excellent energetic brisk, also quite technical affair with the title-track and "Civilization Reset" thrashing wild, and with "COVID-1984 (Realm-Wide Plandemic)" and "Planned Economic Collapse" adding delightful technical nuances with weird overlapping rhythms tussling with each other the whole time. It's a really thrilling ride this one so far, with "The Ventilator Murders" even attempting something more brutal and proto-death, the light-hearted crossover flair of "Bubbles in Space" another fairly positive occurrence. "Model Ship Cartoons That You Think Are Real" is an exemplary progressive thrasher, a multi-layered roller-coaster with time and tempo changes galore, with soaring melodies and dazzling leads adding more to the appetizing picture. "Staged Alien Invasion" is a superb short frenetic technicaller, an amorphous shredder that never stands still even for a split second, the band wrapping it on with the hyper-active proto-blasting shredder "Space Farce", and the merry crossover frolicer "Civilization Reset". This is a very pleasant surprise, a major upgrade on an earlier, largely generic approach… into space with such lofty musicalities.

Awakening of the Beast Full-length, 2007
Cataclysmic Insanity Full-length, 2008
iHuman Full-length, 2009
Systematic Suicide Full-length, 2011
Castrofate Full-length, 2014
The Death Metal EP, 2019
Escaping the Matrix EP, 2020
The Space Agency Scam Full-length, 2020

Official Site

CASUALTY (BELGIUM)

Based on the demo, this act specialize in choppy abrasive modern power/thrash, the steady mid-tempo "Nailed Down" pairing well with the devious pounder "Struggle for Life", but not so much with the seriously groovy dirgy "Joined Together". The singer is a shouty confrontational throat who had also graced the groovy post-thrashers Brand New Mark with his presence.

Nailed Down Demo, 1997
Outcast Full-length, 2014

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CASUS BELLI (GREECE)

The band's debut is typical speed/power metal with no any relations to thrash. "In The Name Of Rose" introduces some Annihilator-like riffs and the music gets a considerable edge, although the style remains close to bands like Attacker, Savage Grace and Judas Priest's "Painkiller". Power metal fans will find more to enjoy here.

Mirror Out of Time Full-length, 2001
In the Name of Rose Full-length, 2005

Official Site

CATACLYSMIC (USA)

This young upstarts offer cool intense old school thrash which is more on the straight-forward side although deviations from the "right hand path" are also around: the atmospheric macabre instrumental "Disturbing The Archaic Tyrant" which creepy balladic aesthetics would remind of the best horror film soundtracks from the distant past; the cleverly-constructed 8.5-min opus "Slay The Emperor" which blends several tempos and moods on a dark morose background. The remaining material is faster and more immediate suffering a bit from the noisy abrasive guitar sound which takes away from the riffs' sharpness. The vocals are on the semi-shouty death metal side and manage to "float" above the noisy sound quality with their forceful authoritative antics.

Masked Insanity Demo, 2012

Official Site

CATACOMB ABYSS (USA)

A blend of classic thrash and 90's post-thrash; passable stuff largely ruined by the diverse vocal approach, the man shouting, gurgling, rending, trying to fit into not very exciting musical canvas, which still holds pleasant surprises, the intense semi-intricate basher "In Time". The more melodic speed metal drama "Marriage of the Flesh" is another moment worth mentioning, but overall this is more on the messy, not very structured side.

Black Magic Groove Demo, 1994

CATACUMBA (BRAZIL)

Modern 90's black metal meets thrash and death; the resulting "cocktail" is closer to the former as the songs have a cool epic/orchestral decoration ala later-period Emperor, especially when the guys take a break from the pretty fast dominant delivery ("A Chant for Bacchus") where the shadow of mid-period Bathory can be felt clearly as well. "Darkened Reverence" is an excellent atmospheric death/thrasher, and "Funeral" is another thrash-based piece shredding in mid-pace topped by the hellish raspy vocals which can still be deciphered for most of the time.

Kratos Full-length, 2010

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CATALEPSIA (BELGIUM)

This act serve classic thrash with growling death metal vocals. We largely have stomping volcanic riffs ("Abismo") spiced with the odd more vigorous galloping rhythm ("Patogeno"), the more intriguing riff-patterns of "Osamentas" stirring bigger interest in this one-dimensional recording which only comes out with all the guns blazing once, on the semi-raging "Masacre". Some of the musicians are also busy with the classic death metallers Macabro.

Muerto en Vida Full-length, 2023

Official Site

CATALEPSY (BELGIUM)

Based on the debut: good classic thrash metal which would have been better if it wasn't for the presence of more refined pieces as though the band wanted to attract fans from other, more melodic sides of the metal spectre: the light groovy hit "Brick By Brick", the soft, balladic "Here Comes King Gossip", the temperate heavy/power metal, with an alternative edge, "Clowns". The presence of those tracks makes it hard for the cool intense thrashers ("Hot Dog & Beercanhill", "Tortured Minds", "Suicide Letters") to raise this album on a high level, but, still, this is far from a mish-mash.
"Dragged Inside Out" has nothing to do with thrash being a bland offering of some alternative rock with shades of groove.

Fruitcakes We Have Known Full-length, 1993
Dragged Inside Out Full-length, 1994

Fan Site

CATALEPSY (FRANCE)

A good 3-track demo of solid classic death/thrash metal; the vocals are strictly in the death metal camp, and the music nicely switches from thrash to more intense death metal parts, resembling No Return's "Contamination Rises", but without any technical pretensions, although there are a few interesting riffs to be heard here, as well as stylish leads.

Carnal Offering Demo, 1992

CATALEPSY (USA)

Based on the "Law and Disorder" demo: well-played, albeit roughly produced, mixture of thrash and classic heavy metal not too far from Laaz Rockit's "Know Your Enemy" or SA Slayer; the singer is a woman, and she pays her tribute to Janis Joplin with the cover version of her biggest hit "Piece of My Heart". Some of the band members were also occupied with the speed/thrashers Murdercar and the thrash/crossover unit The Douche Lords.

Evil Within Demo, 1987
Law and Disorder Demo, 1988

CATAPHRACT (SWITZERLAND)

Based on the debut, this band provide crunchy steam-rolling retro thrash which is favoured by the guttural brutal death metal vocals. There are moments of crossover mirth ("Amok") scattered around as well, but watch out for the aggressive death metal madness "Holidays in Jerusalem". Elsewhere the tempo is mid for most of the time, with some attempts at a more progressive song-writing ("The Humanity Solution") present, including on the closing doom/semi-balladic saga "Krankes Blut". Some of the band members were also busy with the heavy metal formation Hirt.

Cataphract EP, 1999
Vorstoss im Morgengrauen EP, 2001
Freakshow Full-length, 2002

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CATAPLASMA (CHILE)

Buzzy noisy modern post-thrash metal which has its more aggressive delights ("Vieja Emilia "La Viscoza"; the closing galloper "El Cuero"), but most of the time is't just rehashed mid-paced stuff with unpleasant shouty vocals.

Gore Demencia Demo, 2007

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CATAPULTAH (RUSSIA)

Based on the debut, this act provide one-dimensional modern power/thrash/post-thrash which, regardless of the several styles "courted", seldom excites the dominant delivery being mid-paced with a muddy guitar sound and an ever worse vocal delivery which is not exactly singing, but forceful deathly mumbling. "Mass Idiocy" is a surprisingly brisk cut, a ripping headbanger with tasteful guitar work which sounds like an entirely different recording. No more such entertainment the band returning to their monotonous style with a few more dynamic sections discovered on the pen-ultimate "Moribund Epoch", and on the Russian rock veterans Kino cover of "Mama Anarhia" at the end.

Catapultah Full-Length, 1995
Water Full-Length, 1997

CATARACT (SWITZERLAND)

A modern blend of thrash and hardcore with occasional more extreme death metal elements; "Killing the Eternal" is both a heavy and energetic affair filled with sharp biting riffs which even sound wonderfully classic on the brisk mosher "Reap the Outcasts" although the heavy stompers ("Failed") work almost as well making this album the band's finest hour the sound ably supported by cool forceful Anselmo-like vocals with a more aggressive death metal edge.

Golem Full-length, 2000
Martyr's Melodies EP, 2002
Great Days of Vengeance Full-length, 2003
With Triumph Comes Loss Full-length, 2004
Kingdom Full-length, 2006
Cataract Full-length, 2008
Killing The Eternal Full-length, 2010

Official Site

CATARSIS INCARNE (COSTA RICA)

A modern melodic mix of a bit of thrash and death metal which is an interesting concoction of surreal technical riffs and furious blasting sections. Creepy doom interludes and suggestive bassisms sneak in on every springing opportunity, and smart short exercises in technical death metal ("Condena", "Subconsciente 1010011010") can also be heard. The closer "Ausencia Total de Materia" is a dramatic symphony of precise technical riffage and atmospheric passages with strong Morbid Angel-esque undercurrents which doesn't rely too much on the brutal low-tuned grunts serving as the vocals here. Another death metal project is run by the guys with the similar name Katharzys.

Katharma Full-length, 2011

Official Site

CATASTROFEAR (AUSTRIA)

Based on "Centuries of Death", this band play classic thrash/death that serves both Morbid Angel's twisted surrealism ("Fallout") and the overt brutality of the early Suffocation although the prevalent approach isn't as technical. "Assimilation Done" is a creepy atmospheric cut, and ""Nomad" is a nice melodic Oriental-infused number, its sentimentality cut off by the aggressive strokes on "Funeral Waltz". Thrash doesn't have much of a say, but "Euthanasie" is a steady mid-tempo thrasher, and the final "Rescue Medication" is a really fine technical chopper with echoes of Biomechanical and Darkane.

Endless Error Full-length, 2008
Sick Full-length, 2011
Centuries of Death Full-length, 2020

Official Site

CATASTROFY (SLOVAKIA)

Cool retro speed/thrash metal akin to Whiplash's "Power & Pain" spiced with the casual more aggressive semi-blast. The sound quality is very good boosting every instrument. The guys soften down for a few tracks ("Light In The Dark") where the approach becomes more modern-ish in the power/thrash metal camp, but rest assured that there's no speed lost on this "deep rotten" effort which is topped by good mid-ranged semi-clean vocals.
"Zbojnedcky Tanec" is another remorseless effort speed/thrashing with passion the cutting guitars carving their way easily into the listener's memory. The pace is up without many frequent decelerations the dynamics increased on the several shorter hardcore-based cuts at the end.
"Taky je Zivot" is the next-in-line hyper-active offering, the band moshing with verve ("Gdo si ty?", the hardcore-tinged "Soros a Picoviny"), the more diverse flavour served on "Vojak v Poli" clinging more towards the balladic fields. Still, there's no mercy whatsoever shown on rippers like "Prasknute Celne, Nízky Plat", the cover of their compatriots Davova Psychoza of "Echo v Raji" a curious playful way to finish an otherwise pretty intense slab of unadulterated old school thrash.

Deep Rotten Nation EP, 2010
Tentot Sa Musd Znicit! EP, 2013
Zbojnedcky Tanec Full-Length, 2015
Besnota Full-length, 2018
Taky je Zivot Full-length, 2021

Official Site

CATASTROPHE (INDONESIA)

Modern thrash with classic leanings, pedestrian and not very exciting with shouty death metal vocals and several more aggressive deathly insertions. The guys mix the pace favouring the speed more and as such this effort will not be a total waste of time especially with a couple of tasteful melodic leads thrown in (check out the closer "Hell Week" for a proof of the latter).

Paradox Full-Length, 2015

Official Site

CATASTROPHE (RUSSIA)

An obscure offering which sees a latecomer on the scene trying to play the fashionable at the time thrash/death metal hybrid, and succeeding on all counts. "It's Fray" is a fairly successful cross between the two styles, and "We Out Of Laws" is a really stylish Voivod-ish trippy hymn which later grows into another impressive piece, the dark technicaller "We Are All Killers" the latter also graced with an alternative version at the end, a tad less impressive with a strong spacey vibe accentuated by the jumpy bass support.

We Are All Killers Demo, 1991

CATATONIC (SWEDEN)

Three tracks of dynamic Sacrifice-like thrash with lashing guitars and rough throaty vocals. The guys know when to stomp with passion (the late-80's Slayer-esque "God of War"), but get also ready to run to the nearest dentist for your new fillings since your current ones would fall out on the brutal death-laced "Edge of Insanity".

God of War Demo, 2010

Official Site

CATCH 22 (USA)

Although the band's first demo had been released in the distant 1989, it's almost ten years later when they manage to enter the studio again, and since then have turned into one of the better US power/thrash metal bands of the past ten years. The first two albums are especially recommended with their nods to the Bay-Area scene and stronger thrash-ier attitude. "Awaken" loses some of the thrash metal intensity, opting for a more classic heavy/power style, but is still an enjoyable listen. "Soulreaper Vol.1" is clearly a disappointment straying even further away from thrash metal, with only a few tracks ("Season Of The Witch" and "Soulreaper") reminding of the band's edgier past.

"Monumetal" is another embarrassment, at least compared to the band's first two releases, seeing them play much milder stuff closer to power/heavy metal than thrash. The album shares some of the heavy modernism of the Judas Priest period with Tim Owens (think "Demolition", above all), but here the adherence to repetitive groove is just annoying on some songs. Still, the closing "Catch 22" is a nice piece of potent epic power metal also showing the pretty decent singer in a brighter light who really tries hard to elevate this effort at least to the average parametres.
"Soulreaper: Evilution/Devilution" is messy mix of the previous album and new tracks done to no seeming purpose. The new material is in a similar laid-back power/post-thrash vein so expect not much excitement when listening to this. The sound quality is quite good and after a few listens one may start appreciating the guys musical proficiency which should serve them right, albeit in a direction further away from thrash.
"AngelLust" would be an unforgivable waste of time for the thrash metal audience although the interesting melodic variations on the title-track could attract some attention. This is a hard'n heavy work which would work for fans of this style, especially those who dig the early repertoire of Ratt, Quiet Riot and Motley Crue.

Through Eyes of Pain Full-length, 1997
Time Reveals All Full-length, 1998
Awaken Full-length, 2003
Soulreaper Vol.1 Full-length, 2007
Soulreaper: Evilution/Devilution Full-length, 2008
Monumetal Full-length, 2011
AngelLust Full-length, 2017

Official Site

CATEGORY 7 (USA)

Modern power/thrash that can generate quite a bit of energy ("In Stitches") from this otherwise melodious layout, including the odd more technical ("Land I Used to Love") extrapolation. "Exhausted" is a nice abrasive headbanger, and "White Flags and Bayonets" is a decent catchy sing-alonger, the passable semi-clean singer diversifying his palette with both more attached semi-shouts and more lyrical antics on the diverse "Waver at the Breaking Point". The overall delivery is quite reminiscent of the Annihilator exploits, including on the intriguing 6-min instrumental opus "Etter Stormen" where some admirable shredding easily matches the six string exploits of Jeff Waters.

Category 7 Full-Length, 2024

Official Site

CATHARIST (UK)

Based on "Ancestral:Origin:Celestial", this band play modern thrash/death metal which is more on the melodic side "courting" the Swedish canons in the style too much to have any claims at originality. But the guys hardly have any such aspirations rather than trying to stay as true as possible to their seeming idols At the Gates who should be proud to hear their music rendered with so much panache. A few surreal quiet passages sound intriguing, most of them placed on the last couple of songs, including a spacey bass-driven instrumental oddity ("Kilrimont Burns"; not bad, albeit a bit overlong (over 3-min)) and a fairly cool speed/thrashing closer ("Older than God D/V") with a cool atmospheric passage.
"The Seance" is more moderate with more quiet passages and consequently more melody incorporated. "Skinwalker" is a cool chaotic technical basher, but the band are obviously fonder of more depressing mood here the latter finely captured by brooding minimalistic creepers like "Judas" and the dramatic roller-coaster "Bloodlust".
"The Occultist" notches up the atmosphere although headbangers ("The Hierophants") keep flying around, not as regularly as before, but work well with the more melodic insertions (check out the addictive "Xerxes"). More elaborate, progressive "excursions" are also provided ("Sovereign of the Astral Body") including the moody, operatic doom closer "Marduk".

When Ancient Gods Return Full-length, 2012
Ancestral:Origin:Celestial Full-length, 2013
The Seance Full-Length, 2015
The Occultist Full-Length, 2016

Official Site

CATHARSIS (BELGIUM)

Intense thrash/proto-death offered by these obscures; this is well thought-out atmospheric music akin to early Therion and Nocturnus with appropriate keyboard insertions reflected in long (5-7min) compositions which are built around a heavy mid-paced rhythm-section and more intriguing hooks which are not exactly technical, but deliver as a nice deviation. The sound quality is surprisingly good, favouring the excellent operatic intro and outro in particular, and the singer is a guttural death metal growler who doesn't spare his throat emitting forceful brutal sounds the whole time.

Souvenirs of a Past Existence Demo, 1995

CATHARSIS (CANADA)

The whole Canadian underground constellation of thrash (members of Entropy, Overthrow, Holy Order, etc.) metal has gotten together to pay tribute to the flegdling death/thrash hybrid with this cool, stylish effort which blends the pounding battle-like approach of Bolt Thrower with furious blast-beats thus leaving little room for thrash to flourish. "Pulling Away" is a first-rate dramatic accumulator, a brutal steam-roller superseded by the vigorous fast-pacer "Enter the Mourning" the overt semi-technical "sting" increased on "Paralysis", before the closing "Sever the Head" wraps it on with the exiting portion of super-heavy, ship-sinking riffs. The vocals are typical deathy, growling shouts comsing as a slightly higher-pitched Jan-Chris de Koeijer (Gorefest).

Under Threatening Skies Demo, 1993

CATHARTIC DEMISE (CANADA)

The EP: modern quasi-progressive thrash which possesses enough energy to pass a sturdy test, like "Liberty" shows so well with its high-speedy riffs and swirling melodies including several from the lead department. "The Vice" thrashes even harder with shades of death, and although the harsh shouty death metal vocals aren't a very pleasant phenomenon, the music makes up for this flaw, "Solar Returning" introducing a more flexible power/thrash frame for a bit, but also expect some inspired shredding as well during these 9.5-min.
The full-length is a modern thrash affair, nothing too striking, the high-speed freighters "For Power" and the more contrived "Blade in The Dark" breezing by, full of infernal shreds and heavy pounding sections, the overt death metal clout on "Silence Within" rudely breaking the thrash hegemony, the latter further losing its position on the epic dramatic embellishments on "Pale Imitations", and on the ordinary melo-death fest "Disparity". No surprises afterwards if we exclude the heavy atmospheric additives and better cleaner vocals on the semi-balladic "Waves", and the quiet balladic developments on the closing instrumental "Desire".

Cathartic Demise EP, 2019
In Absence Full-length, 2021

Official Site

CATBREATH (GERMANY)

Intense pummeling thrashcore which wastes little time disturbing everything and everyone with rushing aggressive tunes (“Slice 'Em All”, “The New Claw Order”), some of those (“Black Revenger”) served with a shade of semi-technicality; others openly bordering on eye-gouging grindcore (“Ballad of a Splattered Corpse”). The not very emotional semi-declamatory death metal vocalist is by all means a fit, including on the more elevating melodious shredder “Strike of the Claw”.

Slice 'Em All Full-length, 2024

Official Site

CATHEQUESIS (SPAIN)

This compilation shows a retro-prone act with a few modern updates thrown in the resultant sound coming as a mix between early-90's Sepultura and Exhorder. The pace is mostly mid with casual faster references ("New Age"), and the vocals are throaty semi-death metal ones, but without the detrimental shouty tendencies.

Libros 1 Y 2 (Bautizo Y Comunion) Compilation, 2015

CATHETER (HUNGARY)

This is heavy abrasive modern post-thrash which is built around repetitive quasi-industrial riff-patterns as exemplified by the hypnotic mechanizer "Separate Ways" and the dirgy Soulstorm-esque "Idle Drops". "Friend, Enemy, Friend" is a more dynamic, livelier proposition, but moments of the kind are a rarity the dispassionate sterile show led by equally as listless semi-deathy vocals. The band members had previous spells with other acts from the Hungarian under and overground, like the thrashers Almighty and Atomic, and of course the veterans Akela.

Separate Races Full-length, 1996

CATRABBITS (USA)

The "Mist" EP offers modern power/thrash metal of the heavy semi-groovy type, at times thrashing hard ("Ajattele Itse") in up- tempo, at times dooming with the best out there ("Mist").

Mistt EP, 2000
S Full-length, 2001
Loppuun Asti Full-length, 2002

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CAUGHT IN THE BETWEEN (FINLAND)

Based on the EP, this band offer atmospheric doom/thrash which is more on the modern side with brutal death metal vocals. The patterns become more energetic on the short ripper "Ready And Willing" which is roller-coaster speed/thrash with Exciter/Motorhead-ish echoes. Things are on the edge of tumbling down on the brutal grinding shorter "First World Problems" which is a really invigorating cut with semi-technical tendencies. The end is kept for the cool cover version of Paradise Lost's "Eternal" from their revolutionary "Gothic" album where nice female vocals sneak in to make the situation more appealing.
"The Asylum" won't lead you to "the asylum", but will hypnotize you with heavy volcanic riffs, this time served with a rough, a bit dirty sound, and more energy which still doesn't exactly lead to any speedy extremities, but gives the dominant sombre dark rhythms a nice surrounding. This surrounding becomes quite aggressive on the death metal "ripper" "Fleshripper", and later on there is one more number, "Night of the Long Knives", which will shoot you (or rather, "knive" you) at close range with a portion of fast'n furious guitars. The rest belongs to the fields of doom'n gloom where the shadows of Paraside Lost and early Katatonia loom heavily.

Equilibrium Full-length, 2008
Horse Metal Full-length, 2010
Horselike/Godlike EP, 2012
The Asylum Full-Length, 2013

My Space

CAULDRON (USA, LOUISIANA)

Fresh vivid thrash of the old school with several modern allusions to the prevalent vogues of the time, mostly in the less dynamic second half. The album begins with the short bursting speedster "Acts of God" before it takes a turn towards the heavier doomier side of the spectre where it still delivers seldom really slowing down keeping a solid mid-tempo throughout. The compositions near the end become longer pure traditional doom taking over on the closer "(Earth) After Forever", but few would complain the volcanic riffage being on par with the very good dramatic hoarse-ish vocals.
"Of Unknown Origin": an unheralded return from this one-album-wonder after a lifetime of absence; the style is quite similar to the one on the first instalment, being intense ripping old school thrash with Ponville presiding over the hyper-active proceedings with a semi-angry/semi-shouty/semi-clean baritone, the more intricate veneer of "Resistance Is Futile" betraying bigger musical proficiency which doesn't materialize later although the death/thrash hybridization chaos unleashed on the title-track could pass for another contrivance, the 9-min saga "Leviathan of Sex" a bit on the ponderous side.

For the Love of Pain Full-Length, 1997
Of Unknown Origin Full-length, 2019

Official Site

CAULDRON (USA, MICHIGAN)

These guys try to resurrect the dormant power/thrash movement, but their clumsy approach to the style, the frequent adherence to the modern 90's post-thrash fashions, and the bad indifferent semi-declamatory vocals ultimately ruin the efforts. The band are better handling the doomy and the semi-balladic side of their repertoire, and towards the end they somehow manage to pull it out with a string of heavy balladic/quasi-doomsters. Still, this album is nothing really worth checking out unless one wants to hear how a return to the good old days can be done the wrong way. Some of the musicians at present operate under the name Scorch where they surrender even further to the modern groovy, post-thrash trends.

Tampering with the Unnatural Full-Length, 1999

CAULDRON (USA, PENNSYLVANIA)

This US formation provide brutal death/hardcore-ish thrash which is reflected in short wild outbursts except for the 1-min of sludgy doominess at the end "Mycophobia" which sounds quite captivating and some more elaboration in this direction would be desirable. The singer shouts in a hysterical nonchalant manner rending his throat with little care about his vocal cords.

Swampification EP, 2012

CAULDRON BORN (PAKISTAN)

Two songs of intense thrash/death which features standout bass performance and some of the heaviest most dramatic riffs around. And we shoudn't forget about the ultimately brutal death metal vocals which otherwise fit the dark squashing musical delivery. The guys play in mid-tempo with a very good melodic lead participation as well (check out "Exit Wounds"), adding a relevant, but less overt, Oriental atmosphere to the brooding proceedings.

Blood Crusade Demo, 2009

My Space

CAULDRON BORN (USA)

This obscure, but great band has followed on the steps of Helstar's late-80's period, and their two albums (mostly the debut) are some of the best follow-ups to the legendary "Nosferatu"; this is technical/progressive power/thrash metal of a fairly high quality. "Born Of The Cauldron" is a striking debut with very good technical guitar work which probably goes even beyond "Nosferatu" on the more elaborate arrangements: check out the nice technical power/thrashers "The Sword's Lament" and "Synchronicity At Midnight-A Baying Of Hounds": whirlwinds of complex riffage and time changes. The other tracks are by no means more simplistic; certainly there are more immediate power metal numbers ("The Final Incantation In The Dreaming City", Crusader"), but the technical brilliance of the other material overshadows them almost completely. "In Fate's Eye A King" is an excellent progressive epic/power/thrash tour de force with superb guitar work and energetic galloping tempo. "Born Of The Cauldron" speeds up with mighty aggressive riffs, and just when you think that this might be one of the few direct headbangers, comes the smashing technical passage, followed by superb lead performance. "Unholy Sanctuary" is a slow doom/epic song in the best tradition of Manilla Road and Candlemass if we exclude the faster passage near the end. The singer provides a voice coming as a very good mix between James Rivera and Mike Shelton (Manilla Road), and does a great job.

"...And Rome Shall Fall" begins with the long 8-min straight epic/power metal composition "By This Axe I Rule" with no traces of technical play, but the following title-track is already a different story, a mighty speedy thrasher which again doesn't pull out all the stops technicality-wise, but is intense and crushing. "Finder Of The Black Stone" carries on in the same vein with brilliant lead guitar in the Shrapnel performers' vein and nice choruses. "Blood Bath In The Arena" is a calmer power metal number which for some reason reminds me of Iron Maiden, but faster and more aggressive. At this point the listener have already realized that the band have left the technical flair of the debut aside, and indeed, on the rest of the tracks the riffs are more immediate with only timid shades of a more technical play here and there. Consequently, the thrash metal side of the band's style is less covered compared to the power metal one, but the mighty speedy guitars will easily make your day. The album is sustained in the same fast-paced up-tempo way from the beginning with not too many compromises for any slower deviations. The new singer has a more melodic timbre clinging towards Bruce Dickinson and Jeoff Tate, but he suits perfectly the faster and more immediate music.

Born Of The Cauldron Full-length, 1997
...And Rome Shall Fall Full-length, 2002

Youtube

CAUM (CHILE)

A 4-track demo which sees these Chileans competent enough to come up with a decent classic thrash offering which rips and lashes riffs from all sides slightly obstructed by the buzzy sound quality which still can't stand on the way of the good screamy leads. The singer is an asset with his gruff mean timbre fitting the vigorous musical delivery which becomes admirably complex on the longer engager "Devorador de Almas".

Mejorado Demo, 2011

CAUSE FOR REVELATION (USA)

The guys from the death metal "monsters" Jungle Rot try their hands on more laid-back stuff here which clings towards the groovy 90's heritage boosted up by the odd more aggressive death metal riff. In other words, we have groovy post-thrash which is not a total waste, has dynamics, speeding up whenever necessary ("Vengeance is Mine").

Surviving Destruction EP, 2004

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CAUSTIC (GERMANY)

Based on the "Fellation" demo, this act specialize in raucous classic thrash which is accompanied by harsh death metal vocals. This is predominantly up-tempo music with has its clearly headbanging moments ("Slaves of Profanity"), but there's no denying the semi-balladic potency of "Soulreaper", the only flaw on that one, needless to add, being the vocal participation. "Rest In Peace" has a less pretentious hardcore vibe to it, and "Morbid Game of Love" is a pure high-octane doomster, the total opposite to the punky frolic tune "Scheisen" at the end.

Black Day Demo, 1993
Torments Demo, 1994
Fellatio Demo, 1995

Official Site

CAUSTIC (SWITZERLAND)

Another band who remained in the shadow of Coroner and Celtic Frost; the guys are obviously influenced by the Bay-Area (think Defiance, Testament, late-80's Metallica) and heavy acts like Sacred Reich as the EP is more energetic and faster while the full-length also reminds of Slayer's more restrained late-80's period, but is the better offering of the two with a more stylish, more technical performance and longer, more interesting songs. Even the Faith No More raging thrasher "Surprise You're Dead" is done in the same vein: not as frantic and furious as the original, obeying the more complex spirit of the rest. The singer may be a pullback to some with his strained, unrehearsed semi-shouts resembling Tom Araya on the better moments which aren't that many if we exclude his surprisingly melodic, clean attached delivery on the the cool, but overlong ballad "Sweet Dreams" which drags the album a bit with its 9-min of peaceful, slow rhythms. This is an obscure but worth tracking down Swiss band.

Caustic EP, 1992
Malicious Full-length, 1993

CAUSTIC (USA)

Chuggy modern thrash/post-thrash with vociferous death metal vocals; "Flawless Victory" stirs some classic-prone pogo for a short bit but this is largely a modernized quasi-groovy trot which again becomes more vivid on the semi-technical chopper "Cloned Death", before "Speed Demon" justifies its title with wild bashing guitars for a bit under 3-min. Watch out also for "Point of No Return", another not very regular piece with more aggressive proto-death decisions.

Simply Psychotic EP, 1997

CAUSTIC AFFLICTION (SWITZERLAND)

This band pulls out well-executed thrash of the brutal proto-death kind, and as such do a job no worse than Gammacide or Torture. So expect the odd technical riff and very fast tempos also recalling Incubus' debut; merciless relentless music with clever arrangements and not so bad gruff semi-death metal vocals. "Agoraphobia" at the end is a pure death-laced assault predating the more extreme branch of the Floridian scene with 1-2 years.

Demo Demo, 1988

CAUSTIC DEATH (USA)

This is heavy steam-rolling thrash with brutal death metal vocals; the music speeds up ("Inevitable Atrocity"), but the bass is always up front stifling the attempts at more versatile riff-driven performance. "Sanguine Moments" is a very cool to close this brooding recording with a dash of fast proto-death guitars.

Caustic Death Demo, 1991

CAUSTIC STRIKE (SWEDEN)

This is the same band known previously as Leprosy; the style is pretty much the same: good old school thrash with a sound similar to 80's Anthrax and Heathen (both albums). The music is hard-hitting but nicely intercepted at times by more melodic guitar lines ("The Assassin (Part II)"), which create a cool blend without ruining the overall picture. "In Agony" is a great thrasher, recalling Anthrax at their best, but those "courting" the Bay-Area scene ("Trapped in Rage") are by no means less impressive.

o Straight Down The Drain Demo, 2005

CAUSTIC THOUGHT (CANADA)

This band features Byron Stroud who later got involved with other more famous names, like Strapping Young Lad and Fear Factory. The style here is a potent mixture of modern thrash and early Celtic Frost (similarities with this band in the vocal department, too), very well done.

Caustic Thought Full-length, 1994

CAUSTIC VELOCITY (USA)

Based on the self-titled demo, this act provide pretty decent speedy old school thrash which is quite close to later-period Sepultura on "Necrosis", but moves towards more flexible speed/thrash on "Shattered", before "Oracle of Tribulation" notches it up in nearly every department for an admirable progressive thrash entertainment with quiet lyrical digression. The vocalist tries hard in the hoarse semi-clean department, and manages to hold his ground without quite reaching the level of the music.

Demo Demo, 1991
Caustic Velocity Demo, 1999

Official Site

CAUTIVA (SPAIN)

This is a one-man project, the name is Jose Travieso. He handles all the instruments, as well as the various vocal styles through the EP, helped by two guest musicians. The music is reasonably well executed progressive/technical thrash of the hectic chaotic variety, and recalls a less aggressive Sieges Even, and early Psychotic Waltz; the tempo changes often, but doesn't speed up a lot, and the songs end up being very complex and not very easy to grasp at first, even at second listen, because the frequently changing rhythms, accentuated by the drums, and the various vocal styles create a kind of disjointed, hallucinogenic atmosphere. There are only two original songs here, actually: the opener is a Megadeth cover: "Take No Prisoners" from "Rust in Peace", and the last song is Coroner's "Shadow Of A Lost Dream" from "Punishment for Decadence".
"Human" isn't too faithful to the sound introduced on the EP: the songs are shorter, most of them much easier to swallow. The music is strictly modern, the tempo is never fast, and Travieso sings in a not very pleasant shouty manner. "Swing Of Love" lasts for more than 8-min, but is nothing more than modern thrash shred without any interesting moments. Another version of Testament's "Into the Pit" is placed in the middle, and this is the best song here. The following "The Great Old One" gets influenced by it and sounds fresh and brisk even blasting out for a while. The closing "Two Worlds" is not bad, either, being cool energetic speed/thrash metal with a good chorus and sharp more classic riffs.
"The Archangel of Omega" is an expected melo-thrash affair, despite the lengthy 6-year gap, with several more intense moments (the 2nd half of "A Story Of Life, Love And Death"). "Freaks!" is a wonderful technical shredder which is later presented as a purely instrumental piece at the end a direction the guys should by all means try to follow in the future...

Fire, Walk With Me! EP, 2008
Human Full-length, 2009
The Archangel of Omega EP, 2015

Official Site

CAVADOR (ARGENTINA)

Based on the full-length debut: modern melodic thrash metal which alternates between all-out speedsters and more moderate power/thrashers the latter, of course, recalling their renowned peers and compatriots Hermetica and Horcas. The slower material occupies the middle losing the speed a bit, but all is forgiven on the demented speed/thrashing closer "Ultrajado" which should be a future example to follow since this is when the guys are at their best. The band members are also involved in the power metallers Nine Fears.
"Soldado Argentino Solo Conocido por Dios": this is a "shocking" all-acoustic balladic "atrocity" that has no relations to metal except for the tasteful lead guitar work which has sparkles of Shrapnel-like virtuosity at times.

Cavador EP, 2006
...De Tumbas Full-length, 2009
Soldado Argentino Solo Conocido por Dios Full-length, 2014
A Lesson in Violence-The Conjuring EP, 2014
Prohibido Nacer EP, 2015

Official Site

CAVALAST (BRAZIL)

Throughout their short career (the band are no more) these guys had been sticking to evil dark classic thrash/proto-death topped by unholy throaty death metal vocals. The band know their craft hampered by the muddy sound quality which still can not stand on the way of inspired shredders like the speedfest "Death Train" or the more technical dramatic "Perpetual Insanity". The approach may remind of early Pestilence or Messiah the above mentioned acts a more obvious influence on the later works when the style had become overtly technical with a more proficient musicianship the latter hitting the top on the excellent elaborate lead guitar work.

Demo-Tape Demo, 1991
Additional Depression Demo, 1995
Demo Ensaio Demo, 1995

CAVALERA CONSPIRACY (BRAZIL)

The Cavalera brothers are back together, but not in Sepultura; maybe prefer to rehearse a bit before coming up with something new with their main band? Judging by what they have done on this one, they look well prepared to strike with Sepultura: this is excellent thrash, which is not exactly an early, or mid-period Sepultura soundalike, although it's also rooted in the classic sound, but the production is modern, something which Exodus, Onslaught, etc. have also done earlier, and some modern "updates" in the music can still be caught. The sound varies from direct retro thrashers (the smashing pieces "Terrorizer" and "Ultra-Violent", and most of the tracks) to slower, atmospheric songs ("Dark Art"), to some more modern sounding ones ("Inflikted"), which could well stand also on another Nailbomb album. The album beats by miles the Sepultura works without Max, it surpasses "Chaos AD" as well, but it needs more to reach the greatness of "Arise" or "Beneath the Remains". This is a fine example that the brothers haven't lost the chemistry between them, which helped them make some great thrash in the past, and it's high time they stopped testing the soil, but give the fans another masterpiece.
The good chemistry between the brothers is on display once again with "Blunt Force Trauma" which delivers in a similar way crossing the old with the modern school. After the modern pounding opener "Warlord" comes the 2-min of aggressive proto-death shred "Torture", a manic headbanger followed by another speedy, a bit more modern-sounding, piece, "Lynch Mob" where some of you may recognize the vocal "interference" of Roger Miret: the frontman of the hardcore legends Agnostic Front. Another "thrasher" follows suit (Artillery also have a song of the same title the same year), "Thrasher", which is a ripping death-laced number with heavier quasi-groovy passages. Then the guys relax with the catchy melodic moderner "I Speak Hate", before "Target" gives you the next portion of more direct thrash, again accompanied by memorable melodic tunes which also remain for the atmospheric groovy catcher "Genghis Khan". "Burn Waco" is a wild brutal shredder, but the really pleasant surprise here would be the excellent technical speedster "Rasputin" with the compelling closer "Blunt Force Trauma" a close second the latter thrashing with force at the beginning before turning into a wonderful lead-riven instrumental in the second half with plenty of melody again, the latter quite accentuated on the whole album to a fairly positive effect and is courtesy of the guitar virtuoso Marc Rizzo who shines all over here with his striking guitar pyrotechnics. Wait, there's more: three bonus tracks: "Psychosomatic" which is another short technical thrashing piece; "Jihad Joe" which is a cool mechanical galloper ala "Chaos AD" where the new addition, the bass player Johny Chow (also the stoner/doomsters Fireball Ministry) gives a notable performance; and "Electric Funeral" which is a cover of... he he, of course Black Sabbath, done in a stylish manner, the faster part played more energetically turned into an entertaining thrash crescendo although the gruff aggressive vocals of Max Cavalera are the furthest possible ones from the whining falcetto of Ozzy.
"Pandemonium" sees the brothers ready to thrash the world once again, and this project now obviously becomes their main occupation. The album opens in a wild manner with a string of vigorous headbangers which mix the modern with the old school adding a small pinch of hardcore on the short "Scum". The intensity drops for a bit in the middle with the stomping "Cramunho", but quickly rises on the next "Apex Predator" which could have been a leftover from "Arise": there's so much wild retro thrashing to be savoured on this one... The second part is no sloucher with the presence of the engaging 6.5-min rager "Deus Ex Machina" which is followed by the more relaxed closer "Porra" which is mostly abrasive hardcore in various tempos despite its 6-min of running time.
"Psychosis" comes with quite a few surprises the brothers not intent on changing the winning formula which is unleashed with the aggressive headbanger "Insane" and the excellent speed/thrashing roller-coaster "Terror Tactics". "Impalement Execution" even reaches death metal intensity, but more complex, less intense compositions ("Spectral War") are in stall those producing the highlight when mixed with some semi-technical death on "Crom". "Hellfire" is a noisy industrial disturber, probably a leftover from the Nailbomb sessions, and "Judas Pariah" is brutal bashing death metal the diversity here quite big, but always appropriate including the atmospheric balladic instrumental odyssey which is the title-track, and the final death/thrashing amalgam "Excruciating". The purists may not be happy all the way, but this is far from a disappointment with the wide array of musical influences.

Inflikted Full-Length, 2008
Blunt Force Trauma Full-length, 2011
Pandemonium Full-Length, 2014
Psychosis Full-length, 2017

Official Site

CAVEAT (CANADA)

Based on "Red", this formation offer modern power/thrash with a hefty progressive flair the latter expressing itself the most clearly on the encompassing opuses "Vindication" and "Within This Weakness" which alone constitute a bit less than half an hour of elaborate, multi-layered music. Thrash shows its head on the sharper numbers like "My Messiah" and "Vicious Circle", but generally the approach is mild and laid-back often acquiring pure progressive metal overtones. The guys are busy with numerous other acts: the death/grindcorers Exit Strategy, the progressive metal outfits Blacksky & Phantom Limb, etc.

The Biggest Secret Full-length, 2004
Caveat EP, 2005
Red Full-length, 2007

Official Site

CAVED (NEW ZEALAND)

The debut: this band is "the child" of just one musician, the name Ryan Wallace, who specializes in quite intriguing progressive/thrash the man effortlessly switching between styles and influences, making cuts like "You're Gonna Die" not very easy to predict, but highly satisfying slabs of amorphous, shape-shifting metal. "Long Pig" is a short spastic technicaller with wonderful spacey, psychedelic additives, and "Forest" is a jumpy extravaganza with frequently changing time-signatures recalling The Slough Feg and Slauter Xstroyes. Other interesting moments include the sterile progressive thrasher, the diverse crossover-ish shredder "Vagrant in Creation", and the closing elegiac "Down at the Docks". Wallace provides rough abrasive semi-deathly vocals which are a debatable addition to the perennially surprising musical delivery.
"The Petrifying Vacuum" straddles the same stylish path despite the guitars' more sterile sound which only impedes the more immediate material (the crooked thrash/crossover jump-arounder "Best of Intentions"). Elsewhere we have spastic jazzy outtakes ("Stravin' a Hoke"), weird surreal speedsters ("Here's Home"), and merry less ordinary short melodic injections ("Spite"). "Autopilot" betrays the flamboyant style with its more linear mid-paced execution, but brace yourselves for a thrilling unpredictable ride on the perennially surprising shredder "Slavering", and for a most eclectic fusion/jazzorama on "Till and Wither". "Grimsworn" provides a more laid-back, less feverish epitaph to this truly compelling recording which shows Wallace as one of the biggest young talents on the metal circuit at present.

Lost to Time Full-length, 2017
The Petrifying Vacuum Full-Length, 2020

Official Site

CAVERN (USA)

Imagine a slightly more aggressive version or recent Mastodon plus mode dynamic moments in the thrash metal confines, plus an added quasi-industrial "sting" akin to Strapping Young Lads, and you'll probably come close to the musical tapestries drawn here. The album has enough intense elements to pull it through the doom/sludge passages even providing several genuine headbanging sections (the closing "Mirka"; could be a tribute to Roger Federer's wife- ha ha!). The vocal participation is minimal the guys having a lot of fun playing this diverse intelligently-written stuff.

Cavern Full-Length, 2013

Official Site

CAVILLATOR (GERMANY)

Based on the first demo, this obscure outfit pull out bashing intense speed/thrash which is pretty primal stuff despite the long compositions (6-8min). The guys play with inspiration, but their musical skills are not that big and the final result from their efforts could be labelled as poor man's Paradox. "They'll Rise Again" is a nice epic speedster, but the naive execution at times and the very weak unrehearsed semi-clean vocals are impediments for this effort to rise above ground. The band members were also involved with the power metal formation Malice in Wonderland.

Gate to the Golden Age Demo, 1991
Circulation Demo, 1995

Official Site

CAVORT USURP (USA)

This trio specialize in a rough semi-amateurish blend of thrash, death, and hardcore the resultant mish-mash even holding a peculiar sense of melody ("American Apology Tour") amongst the furious short outtakes ("Free to Obey", "Number Five"), the elegiac doom-laden "Cannibal Capital" providing the casual digression, the very shouty rending death metal vocals creating a lot of noise, including on the surprisingly faithfully executed cover of Minor Threat's "No Reason" at the end.

Hail Nothing Full-length, 2020

Official Site

CAVUM (POLAND)

Retro power/thrash is what’s on offer here, the band crossing invigorating mid-paced riff-fests (“Demony”) with catchy galloping strides (“Berserker”), the friendly quasi-progressiver “Chomato” containing some mystery and intrigue, the cool levelled clean singer filling in the gaps along the way, particularly on the balladic elegy “DuszeSie”. “Po Prostu” is a somewhat clumsy heavy rocker, and “Skowyt” is an effective Oriental doom-laden closure.

Cavum Full-Length, 2024

Youtube

CAYENNE (POLAND)

Modern thrashcore that spreads around with either heavy pounding determination (the title-track, "Chaos") or with bashing insistency ("Poslaniec Snow"), the intense shouty singer acquiring guttural deathly tenor on occasion. The intriguing creepy broodiness of "Zapomniec" is by all means worth mentioning, as is the loose stoner/doom dirge unleashed on the closing hit "Zero".

Gniewu Krzyk Full-length, 2024

Official Site

CAYM (ARGENTINA)

This Argentinian trio play intense classic thrash with good ripping riffs and a good sense of complexity reflected in the relatively lengthy compositions with a wide gamut of tempos and moods. The pace seldom goes below the mid and the singer is a rough semi-shouter who doesn't exactly sing, but quarrels in a more attached comprehensive manner. The production is too noisy making both the guitars and the drums buzzy and boosted.

Demo Demo, 2011

Official Site

CEACELESS TORMENT (FINLAND)

Based on "Forces of Evil", these folks deliver fast blitzkrieg thrash/death in the vein of Devastation, early Kreator and their compatriots ARG. The music moves at frenetic pace for most of the time, not leaving much room for milder deviations although the title-track can pass for one with its heavy pounding rhythms. The rest is one big headbanging melee guided by vicious semi-shouty vocals ala Tom Angelripper (Sodom).
"Victory or Death" is another relentless downpour, the band raging with gusto, unleashing short hurtful bullets like" Beyond the Boundaries of Sanity" and "Killing Commands", the intense assault on the senses ceaseless indeed, the closing "Slaves of Hell" inserting a heavy doze of variety with an array of more flexible, less aggressive riffs.

New Decree of Reprobation EP, 2011
The End They Bring Full-length, 2014
Forces of Evil Full-length, 2017
Victory or Death Full-length, 2022

Official Site

CEIFADOR (BRAZIL)

Based on "Hell Reaper", this band come up with primitive rough old school barrage that sits somewhere between the early Bathory atrocities and the debut of their compatriots Holocausto. This is right as rain one-dimensional bash accentuated by pristine in-your-face numbers like "Drowned in Blood" and "Gift of Death" with hellish shouty vocals adding to the primeval tension, not to mention the very basic production qualities and the constantly-hissing guitars.

Heavy Metal 666 Full-length, 2014
Hellmetal Full-length, 2017
Breaking Out of Hell Full-length, 2018
Hell Reaper Full-length, 2019

Official Site

CELELALTE CUVINTE (ROMANIA)

Few are the Romanian metal bands who are known outside their home land. The band's style could only loosely be described as thrash; although it is the base for the sound on both albums, the music is all over the place with quiet, balladic moments, female vocals, dark wave tunes and classic heavy metal riffs. By all means some thrash fans might lose their patience while waiting to hear a straight, full-blooded thrash riff; there are just not so many here.

Se Lasou Full-length, 1992
Armaghedon Full-length, 1994

Official Site

CELESTIAL (GERMANY)

Aggressive thrash/death metal recalling the French Agressor; the band tries to break the pattern by adding clean vocals and keyboards, but both inclusions sound awkward and they should probably do better if they steer clear of such moments for the future.

Morior Ergo Sum Demo, 2004

CELESTIAL DEMISE (UK)

These Brits offer aggressive thrash/proto-death with not very overt semi-technical elements which work well in league with the stylish melodic leads. "Question Of Identity" is an intense progressive shredder, but "Out From The Void" is on the other extreme being a short violent basher. The title-track is another more complex composition which alternates fast-paced outbursts with slower, pounding passages. The vocals are forceful semi-shouty and semi-clean emitting a lot of passion without changing the pitch a lot.

Pseudo Reality Demo, 1989

CELESTIAL PAIN (SWEDEN)

This band was formed by members of the death metallers Unanimated after their split up. Based on "Hatred", the music bears no resemblances to their former band going straight into thrash metal territory although "Mission Attack" will strongly remind you of the old Death classic "Evil Dead". The music is very fast-paced and the overall sound is actually very similar to "Scream Bloody Gore", but with a more thrashy edge; a good first effort which leaves a lot to be desired in the production department, though.

Hatred Demo, 1995
Aggression Full-length, 2004

CELL BLOCK EARTH (USA)

Groovy crushing post-thrash "plagued" by both hardcore and doom, but the guys are intent on differing from the pack and here come the more interesting moments: the abstract surreal riffage on "Nothing Left", the refreshing balladic passage on "Worlds Collide", and the headbanging death metal-laced section on "The Baron". The vocalist is the staple shouty quarreller who at least is quite forceful and not bad here.
"Spastic Rants" stomps forward in a very heavy, steam-rolling fashion, and the listener may run for cover at some stage more intense passages ("Space Invaders") also amply provided, more or less expectedly. "2 Hand Fist Pound" is a nice semi-technical mosher, and "T.H.C." is just groovy doomisms with a sudden death metal-ish exit the latter influencing the next "Cell Block Earth".

White Noise, Static, Numb Full-Length, 2012
Spastic Rants Full-Length, 2016

Official Site

CELLBOUND (USA)

This is melodic groovy post-thrash with a slight alternative edge also coming from the female/male vocal "duel", to these ears won by the girl who sings in an ordinary, but emotional, manner, and is way more convincing than the plain hardcore-ish shouter. There are more dynamic moments and a few spacey rhythmic arrangements ala Tool, but there's a lot of groovy heaviness as well, and the latter kind of buries the rest.

Fallen Angels of Sui Caedere Full-length, 2008

Official Site

CELLERUS (SLOVAKIA)

Based on "Nature Come for Us", this band play fairly cool technical/progressive thrash which is spearheaded by virtuoso guitar work that makes some of the songs sound like tractates from the Shrapnel textbooks. Short hectic rippers ("Venganza") take turns with elaborate varied roller-coasters ("Black Stone") both sides evenly spread throughout, the blazing leads on "Mas Fuerte Que el Dolor" a bit on the flashy side, but there are very few pitfalls the stomping urgency of "Misery" another positive occurrence, the more technical shreds on "La Semilla de Muerte" elevating this opus to a higher form of art. The headbangers will have their fun on the less tamed "The Arrival of the Beast", the mosh party served in a more entangled form on the fascinating closer "Beyond The Universe". The vocalist is a shouty deathster who overdoes it at times with less tolerable shrieks, trying to imitate Chuck Schuldiner (R.I.P.)'s later style.

No Turning Back Full-length, 2014
Nature Come for Us Full-length, 2019

Official Site

CELLS (SLOVAKIA)

Noisy modern thrash with an uplifting speed metal-ish vibe ala Exciter with a more abrasive hardcore-ish edge ("Put It Away") applied at times. Occasional more technical flourishes ("Mole (T.L.I.T.U.)") also roam around accompanied by rigorous headbangers like "Lost for Lust". The end is preserved for less serious takes on industrial which diminish the impact of this unpretentious but inspired recording.

Blank Display Full-Length, 2016

CELTIC FROST (SWITZERLAND)

One of the most influential metal bands ever, this formation started under the name Hellhammer in the distant 1983, and their demos and the legendary "Apocalyptic Raids" EP are largely considered the first genuine extreme metal works, literally founding the more brutal side of metal (black, more particularly). These mighty Swiss later forged their still unique, but more accessible heavy, stomping sound on the first three releases, later imitated by hundreds of bands, before moving towards a more avantgarde direction on "Into The Pandemonium" which showed that these guys wouldn't stand still waiting for things to happen around them, but they wanted to make them happen, for better or worse. A decidedly more melodic, but also inventive in its own quirky way, this album is often considered their most revolutionary work for reasons that are not very easy to explain provided that it was also the way to a complete fiasco: "Cold Lake" was such a "cold" shower over the metal world that after all these years it is still regarded as the biggest flop in metal history with its pop-ish, later called "glam thrash" ("thrash": what are you talking about!?), sound. Although "Vanity/Nemesis" was a fairly decent return to form, there were very few people left around to enjoy it: a good example of the unforgivable nature of the metal fanbase. Consequently, the band split after this one, and Tom G. Warrior later formed the industrial post-thrash project Apollyon Sun in the late-90's, along with the Coroner (a band whose career Warrior helped launch, and even guested on vocals on their first demo) drummer Marky Edelmann, where the music has few resemblances to Celtic Frost, being much more modern, although the experimentality remains, and fans of modern 90's post-thrash will do well to track this band's efforts (one EP and one LP) down. The band are back again in 2006 with "Monotheist"- another ambitious attempt to bring something new to the scene (is that really possible, it's the 21st century!) with no big ties to thrash metal, but fairly enjoyable and, again, original.
The band are no more once again, and Tom G. Warrior is already ready with a new band: Triptykon, and with a new album ("Eparistera Daimones"), a monstrous work not too far from the apocalyptic style of "Monotheist", even gloomier and doomier.

Morbid Tales EP, 1984
Emperor's Return EP, 1985
To Mega Therion Full-length, 1985
Tragic Serenades EP, 1986
I Won't Dance EP, 1987
Into the Pandemonium Full-length, 1987
Cold Lake Full-length, 1988
Vanity/Nemesis Full-length, 1990
Monotheist Full-length, 2006

Official Site

CELTIC HILLS (ITALY)

This Italian trio specialize in retro power/speed/thrash which is more on the officiant epic side ("Forum Julii") with not very frequent escapades ("Blood Flows Down") peppering the landscape supported by quite cool attached clean vocals. The doomy gravity of "When the Snow Cover the Ground" fits very well into the overall academic approach with the Tankard-influenced frolicker "Beer for All" a cool crossover-ish deviation, with the short speed metal closer "Avari Horn" another more relaxed proposition.

Blood over Intents Full-length, 2020

Official Site

CEMENT RAIN (BRAZIL)

A long demo of 13 songs with a very good sound quality; the music is not bad at all, either, being energetic old school thrash metal moving from fast blitzkrieg Germanic speed/thrash to heavy late-80's Slayer-esque one topped by apocalyptic vicious early Mille-like vocals, maybe a bit more over the top. "See You in Hell" is an awesome explosive thrasher but is followed by a string of much slower, kind of clumsy, tracks, before the arrival of "Hate You All" which is another more dynamic number although to these ears the highlight is the nice technical piece "C.A.R.C.H.A.O.S./The Adaptoid", a sure-handed attempt at a more elaborate play which has no match anywhere else, leaving the final damage for a couple of faster headbangers. This effort could easily pass for an official full-length, and maybe at some stage the guys would change their minds, and list it as such?

Escaping from the Apocalyptic City Demo, 2009

My Space

CEMETARIUM (SWEDEN)

The debut demo: hardcore-ish thrash of the bashing, one-dimensional variety. The approach borders on Broken Bones and the Afflicted debut except for the very few more quiet sections where someone can even catch early shades of proto-groove. The singer is the staple hardcore quarrelsome semi-shouter who actually recites for most of the time.

The 2nd demo is better constructed with more serious guitar work pulling out not bad speed/thrash intercepted by more carefree crossover hymns ("It's All In A Days Work"), but "A New Order Is Forming" provides some cool technical thrash with solid heavy riffs and sudden twists all this accompanied by a very good sound quality and better more attached vocals this time.

Faith and Fear Demo, 1988
...Like A Bulldozer On Angeldust... Demo, 1991

CEMETERY (RUSSIA)

This obscure band indulge in early thrash/death with very good leads and a very annoying buzzy guitar sound which makes the riffage too thin and chainsaw-like. The guys vary the tempos the whole time managing to produce something interesting and technical ("Creation of a Zombia") on occasion, but generally this is rough stuff with clumsy arrangements, awkward pace shifts, and gruff raw death metal vocals which could have benefitted from more time spent in the rehearsal room.

Incursion Of The Dark Demo, 1994

CEMETERY FUNGUS (AUSTRIA)

Intense bashing thrash/death performed by just one musician, the moniker (or name) Doug, who sticks to a relentless violent downpour which sometimes gets help from grindcore as well. "Spermatozoa Of Alien Origin Penetrates The Skull And Impregnates The Brain" is an extravagant doom deviation that would delight Black Sabbath and their numerous clones; still, watch out for the wild bursting deathly passage that wraps it on.

Demo Demo, 2017

CEMETERY GARDEN (AUSTRIA)

This is your average Swedish thrash/death ala Carnal Forge and Maze of Torment, the main difference from those acts coming from the brutal death metal vocals. The riffs cut, and the tempos are energetic, but it all sounds too painfully familiar to really strike a cord. The two longer exercises in more complex thrash ("Oblivious", "The Dragons Skin") are worth mentioning, though: thought-out takes on thrash with multiple nuances with very good melodic hooks as opposed to the real monster here: the 12-min saga "The Killing River" which, despite the intense finale sticks to melancholic balladic passages to no end in the middle with Opeth an obvious reference point, stretching the listener's nerves a bit near the end.

Personal Integrity Full-length, 2011

Official Site

CEMETERY LUST (USA)

Old school black/thrash metal (the demo) sharing some of the primal brutality of the early Brazilian scene (Vulcano, Sarcofago, Sextrash, etc.) crossing it with pounding doom rhythms with a clear Saint Vitus edge all this supported by a thunderous bass bottom and vicious semi-clean early Tom G. Warrior-like vocals. The mixture surprisingly works well despite the very bad raw sound quality. All the songs are blends of the two trends with only "STD" sustained in a calmer mid-paced fashion. "Cum on the Cross" is a brutal death metal-laced track which unleashes hell with chaotic bashing guitars and a more forceful vocal delivery. The guys also take part in two other projects: the heavy/speed metallers Spellcaster, and the death/thrash/grindcore blenders Nekro Drunkz.

"Screams of the Violated" notches up the brutality a bit with shades of death metal sneaking in now so there will be no speed lost here with thrash still playing a leading role for most of the time, successfully "fighting" against the up-and-coming death/black blast-beats. The doomy infatuations of the guys very seldom show up and never last for a whole song, quickly interrupted by the next super-speedy passage.
"Rotting in Piss" shows no compromises with the previously chosen stance, and the hyper-active fiesta is on full display once again with death metal standing by authoritatively, interfering at every opportunity, letting a few stomping Celtic Frost-esque sections sneak on "Bowels of Blasphemy", leaving thrash to hang in the balance on exhausting barrages like "I am Trash" and "Hideous Nature" although "Witches Seduction" can also pass for a more thrash-fixated composition with its galloping tendencies.

Unholy Grave Bangers Demo, 2009
Screams of the Violated Full-Length, 2012
Orgies of Abomination Full-length, 2014
Rotting in Piss Full-length, 2018

My Space

CEMMENT (JAPAN)

Based on "Donor", these Japanese pull out vicious aggressive thrash/death metal with an industrial vibe coming mostly from the synthesized vocals and the slightly fuzzy guitar sound. The majority of the songs are fast "explosions", but the guys are not strangers to a more laid-back play of the heavy mid-tempo type. Despite the relatively short length of the tracks (2-min at the longest, except for the maddening industrial noise "Synapse"), the thrash/death tendencies are well developed with very few hints at hardcore on the shortest bursting numbers. The singer will horrify you with his gruff semi-shouty, heavily synthesized, delivery coming as an unintelligible quarrel most of the time. The musicians keep themselves busy with various other bands: the death/thrash metal outfits Gigaton and Varam, the thrash/crossover formation Concrete Experience, etc.
"Lost Humanity" is another intense portion of thrash/death spiced with more hardcore this time. The vocals have become even less tolerable often emitting just plain quarrelsome noise. The tempo isn't as fast, and more than half of the space is occupied by slower, steam-rolling numbers, the mood broken by the short industrial thrashcore oddity "Despair" and the brutal deathly half-min explosion "Irresisitble Impulse". The closing "Tanatos" is pure industrial noise lasting for more than 3-min, probably showing the next step in the band's development where they would surely be main rivals to Fear factory and the likes.

Lost Humanity Full-length, 1995
Donor Full-length, 1996
Antithese EP, 1997
Cemment Full-length, 2000

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CENDRA (SPAIN)

Based on "666 Bastards", this band play intense roller-coaster black-tinged old school speed/thrash not far from the Portuguese Alastor and the Swedes Cranium. The band thrash on with reckless abandon and seldom remember to slow the tempo down the final result being a bit one-dimensional exclusively focused on speed the more light-hearted material ("666 Bastards") also recalling the good old Motorhead. "Dalla" breaks the rules of good behaviour with a portion of brutal hyper-blasts and is the only fuller take on black metal. A few stripped-down hardcore outrages are served in the second half, before the more serious delivery returns for the final string of tracks among which "Privant Fins Rebentar" is a rousing melodic speedster.
"Metal Punk" is a tad more melodic although the approach isn't drastically different from the staple blacky bash heard previously. Except for the two opening more serious and longer numbers the rest is short (1-2min) ripping cuts without any particular merits the title-track being a nice uplifting speed/thrasher with a catchy shouty chorus.

Sang, Suor i Alcohol Full-length, 2013
L'extermini Dels Humans EP, 2013
666 Bastards Full-length, 2015
Metal Punk Full-Length, 2016

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CENOBITE (UK)

These Brits play intense atmospheric black/thrash metal which is way more black than thrash. The shorter cuts are fast and thrashier whereas the longer ones are more quiet moody exercises on doomy blackiness with haunting tunes and hypnotic everlasting structures not far from Burzum's "Filosofem", only not as long. The singer is a staple black metal rasper who is only present on the shorter, faster material. This is an intriguing listen which should be polished in the future in order to reveal its big potential; now its rough edges show naivety and a lack of focus, but to not such a detrimental effect.
The "Saint Of Killers" EP offers three songs of minimalistic atmospheric black/proto-thrash which speeds up on occasion ("To Live or Die") with rough abrasive riffs intercepted by cool memorable melodies the latter ultimately hampered by the garage quality of the sound. This could pass for more lyrical and proficient early Venom with a slight stretch of the imagination with vocals which are deeper and more sinister than the ones of Cronos, and a bit on the death metal side.

The Black EP, 2011
Saint Of Killers EP, 2012

CENOBYTE (UK)

Based on the 2-song "Silence" EP, these obscure Brits indulge in pretty effective progressive thrash well expressed with the title-track which is almost 10-min of musical wizardry ranging from straight speedy cuts in the vein of late-80's Metallica to stomping seismic passages to complex technical arrangements to enchanting melodic lead parts, all this served with great guitar work which is both heavy and lashing, and cool attached semi-shouty vocals the latter a bit annoying on the higher notes. "Bears More Than A Doubt" is a more immediate track, twice as short, thrashing in a still fairly complex fashion with the great leads taking turns with sharp cutting riffs. It's a real pity that such talented acts never managed to develop beyond the demo stage... some of the band members are still active with the modern industrial thrash/death metal formation Primary Slave where the approach is much more generic.
The demo is not as striking but still exudes professionalism in spades, the stomping slow-burning "Face the Terror" presenting an atmospheric semi-balladic layout, "Mass Control" only a tad more energetic with its pounding arrangements. "Naked on a Wet Slide" is a more dynamic lasher, a sprightly occurrence which gets swiftly mortified by the clumsy doom-laden title-track.

Silence Demo, 1994
Maze of Thought Demo, 1995

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CENTAURO (MEXICO)

Based on the full-length, these Mexicans provide decent classic speed/thrash with brisk biting riffs usually played at a fast pace with cool melodic deviations mostly in the lead department ("Metropolis en Llamas"). The adrenalin will inevitably go higher on major lashers like "Ataque Fatal", "Destruye al Enemigo", and especially on the short exploder "Surcada Detonante" which make the 2nd half a major headbangers' fest the fiesta made even more appealing thanks to the very good sound quality.
"Cinagas del Engano" is another capable affair the guys speed/thrashing with passion the roller-coasters following in quick succession not leaving much time for a rest for the fan who will be thoroughly enchanted by the great melodic leads on "Hundido En La Miseria" which is an otherwise pretty intense shredder. The up-tempo is admirably sustained all over with some weird technicality also touched ("Del Exhorto A La Censura", the excellent progressiver "Televicio") before the encompassing closer "Prometer No Empobrece" wraps it on with a portion of sweeping vitriolic riffs and a few exploits on bass.

Enraizados EP, 2010
Devastaci Total Full-Length, 2013
Cinagas del Engano Full-length, 2015

Official Site

CENTAURUS (GERMANY)

Based on "Apokalypse BRD", this act provide modern 90's power/thrash with aggressive throaty death metal vocals. The more energetic moments ("Blinder Wahnsinn", "Civil War") go straight into classic thrash/crossover territory whereas the mellower ones ("Tranen im Blut", "Das Lebenselixier") are pleasant feelgood ballads/semi-ballads. "Wer die Wahrheit Nicht Kennt" is a wild thrashing basher, and "Harald" is a relaxed crossover/punk cut the latter a possible leftover from the guys' earlier exploits when they were an RAC act.

Apokalypse BRD Full-length, 1996
In Ewigkeit Full-length, 1996

CENTAURUS-A (GERMANY)

This is pretty cool technical thrash/death metal of the modern type which mixes intense fast passages with surreal, progressive leanings, both well reflected on the dramatic opener "The Praying Mantis". "Narcotic" is a short technical speedster leading a string of similar numbers where numerous time and tempo-changes come on top of each other in the most hectic manner possible. Still, the guys are expert at what they do, and never let their wild delivery go out of control. "Arson" is a cool slower deviation, also cutting some slack in the technical department; before the ultra-busy "Dripping Red Canvas" overwhelms you with the next portion of whirlwind crescendos and mazey decisions. "Resistance Ain't Futile" relaxes at the end with several melo-death sections where the melody overtakes the technical riffage, but this happens really seldom on this engaging technical/progressive opera which slightly suffers from the not very expressive low-tuned death metal vocals. Some of the band members can also be seen in the thrash/death metal outfit Syre.

Side Effects Expected Full-length, 2009

Official Site

CENTICORE (SWEDEN)

This 3-song EP (the debut one) offers nothing more than your average melodic Swedish death metal which here hesitates between the speed antics of early In Flames and Dark Tranquillity, and the more serious epic sound of Amon Amarth.

Death's Parade EP, 2007
Insanium Full-length, 2010
Art of Sin EP, 2010

Official Site

CENTIMENT (UK)

Based on the full-length, this is modern industrialized thrash with progressive overtones which dissipates the hard-hitting moments with too many electronic gadgets inserted which is a pity since some numbers are very close to capturing the dramatic intensity of Nevermore and Chaoswave ("Hollow Grams", "Viktor Frankl", the short abrasive headbanger "Three Laws of Neurotics") with their steam-rolling riffage and hectic crescendos. Still, this effort would be more interesting for the industrial metal lovers who will find plenty of computerized emotions those partly relieved by the good clean singer whose antics are at times stifled by the electronic samples.

Years of Winter EP, 2006
Embers in Burning Fields EP, 2006
Planet Alarm EP, 2007
Streets of Rage Full-Length, 2014

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CENTIPED (FRANCE)

Modern death/thrash which straddles between raucous volatile speedsters (the title-track, “New Year's Diary”) and corrosive seismic mid-pacers (“Military Fact”), the brilliant atmospheric instrumental “Rotten Chacals Puking” the undisputable highlight, an alluring semi-balladic entry that easily overshadows the ripping headache ‘Shuma Gorath” and the slow-burning melo-deathster “Homonculus”. The vocals are very shouty death metal ones, the point of hysteria nearly reached on a couple of more extreme moments.

Sphere Full-Length, 2024

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CENTIPEDE (FINLAND)

Based on "Sarnath", these Finns specialize in heavy/stoner post-thrash with an epic vibe. The steam-rollers follow in a quick succession and one should leave all hopes to hear any rhythm above the mid-tempo: there are none of the kind. Still, the officiant seismic tone of this recording should please the listener who will also be given a chance to jump around on the frolic "Beacon of the Profane". The singer has a hoarse shouty timbre which he strains to the brim at times.

Tar Pit EP, 2012
Brazen Bull EP, 2013
Sarnath Full-length, 2016

Official Site

CENTRAL DISPOSAL (MALAYSIA)

Cool retro thrash with Bay-Area overtones and decent attached vocals ala Bobby "Blitz" Ellsworth (Overkill); the youngsters have learned their craft quite well and their music right now can be viewed as some of the better achievements from the Malaysian metal underground. The sound quality is very clear boosting the edgy guitars all over to a positive effect. "Thrashing Hour" is 1.5-min of pure bashing madness bordering more on hardcore than thrash; still, the rest compensates with plenty of fast-paced rhythms, like the speed/thrashing roller-coaster "Under Attack" and the dynamic closer "Deathrow".

Central Disposal Full-Length, 2014

Official Site

CENTRATE (GERMANY)

Based on the full-length, this outfit pull out brisk dynamic modern thrash with echoes of more recent Kreator. The dominant speedy delivery gets interrupted at times by the odd more friendly rhythm ("Forever Mine"), but expect the other extreme as well where more brutal death metal sections ("Soul Collector") can be encountered. The vocals are typical shouts/semi-shouts, and don't detract too much from the rigorous musical delivery.

Tiger Force EP, 2015
Ritual Full-length, 2016

Official Site

CENTURA (USA)

A 4-songer of crisp energetic modern thrash which borrows something from the NWOAHM movement, Trivium and Killswitch Engage, in particular. This is engaging thought-out music which borders on the progressive on the longer numbers (the fascinating melodic shredder "Sky Inferno"), but more aggressive drama takes over ("Death Bed") here and there. "Ghost" combines both sides at the end crossing cutting riffs with melodic tunes to a positive effect not forgetting about the obligatory headbanging section in the middle. The vocalist is an appropriate semi-shouty/semi-death metaller whose authoritative rendings will remind of Byron Davis (God Forbid).

Black Sheep EP, 2012

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CENTURIES OF TORMENT (INDONESIA)

These Indonesians play intense thrash/death which is both aggressive and semi-technical on occasion. The guitars rip alternating between fast and slower paces the tempo changes accompanied by brutal death metal vocals. The drama is quite big, the band never settling for one tempo for very long the several blast-beats thrown in causing things to hit the top in the brutality department at times. The pure thrashisms aren't that many, and come near the end: the hectic piece "Path of a Polymath" and the closing roller-coaster "The Key and the Gate". The sound quality is crystal clear giving a nice boost to the lashing guitars which form a nice symbiosis with the authoritative vocal delivery.

Centuries of Torment Full-length, 2012

Official Site

CENTURION (USA)

Based on "Rides Again!", these guys play a mix of power and thrash metal with a certain epic atmosphere with several more aggressive death metal elements thrown in, and gruff death metal vocals. The music is energetic with a modern sound; there's a cool up-tempo cover of Manowar's "Thor", where the singer moves to melodic vocals to better suit the music; later on another cover awaits you: Bound For Glory's "Onward to Victory", which is pure unadulterated hardcore. The bad news is that the band adheres to ballads too often: there are 3 whole ones, very tender and romantic, and at least half of the other songs start in a quiet balladic way.

Fourteen Words Full-length, 1994
Rides Again! Full-length, 1997

CENTVRION (ITALY)

A classic power/thrash metal band founded by members of the power metal combo Scala Mercalli. The delivery in this case is based around early Metal Church, Judas Priest's "Painkiller", and thrash but in less copious amounts. This combination works well, but the vocals are clearly an acquired taste, running wild into all possible directions, obstructing the otherwise cool musical approach. The debut is served with a very abrasive sound, which hampers the musicians' efforts, the pulverizing battle march "Steel Breath" standing dignified next to fiery speedy pieces like "Guns Are Screaming" and "Mors Tua Vita Mea", the more epic progressive flair of "Snow Covers the Imperial Alps" pairing well with the officiant doom veneer of "Ragin' Power".
"Hyper Martyrium" is a decidedly more aggressive affair with both "Deflagration of Violence" and the title-track raging onward in an overt thrashy manner, with only the cumbersome stroller "Katerpillar" and the more complexly-laid out "Call of the Blood" trying to timidly break the hegemony of the blitzkrieg material among which "Into the Arena" easily reaches Slayer-esque brutality. The big give-out is, needles to add, the singer whose infernal deathly at times shouts are totally off-context, to put it mildly, thankfully forbidden to interfere on the Judas Priest cover of "Riding on the Wind" at the end.
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"Non Plus Ultra" tones it down in terms of intensity, the established speed/power metal flavour working well, the impetuous title-track creating the requisite fever-ish drama alongside the "Painkiller"-esque violator "The Cruzifier" and the ambitious doom epicer "Roma Caput Mundi". the mild radio-friendly "Soap Opera" is a bit of a non-sense, but otherwise this slab doesn't have any glaring flaws.
"Invulnerable" is a very close soundalike to its predecessor, a levelled power/speed metal opus that is more on the epic, dramatic side this time, the the "eagle fly free" aesthetics of "Man of Tradition" loyally supported by "Procreation to High" and the lashing "New Freedom". The crunchy "Riding The Tiger" and the final "Soul Deliverance" are a bit on the downside, being calm hospitable propositions without much bite and vibe, the band slackening a bit, despite the vocalist's audible improvement in nearly every department, the man this time sounding dramatic, attached and pathos-inducing.
"V": yes, it's album number five for the centvrions who have finally gotten rid of the detrimental vocals of yore. The new throat is a capable clean semi-shouter who can pitch it quite high at will. The problem is that there's very little thrash this time, the guys having embraced the power/speed metal idea much tighter now that they have a more passionate singer. Vigorous speedsters like "One Shot, One Kill" and "War Red Skies" will stir the blood for a bit, but the overall approach is now too welcoming to make this act stand out, something they previously achieved with both the outrageous vocal and the capable musical delivery.

Arise of the Empire Full-length, 1999
Hyper Martyrium Full-length, 2000
Non Plus Ultra Full-length, 2002
Invulnerable Full-length, 2005
V Full-Length, 2015

Official Site

CEPHALOPOD (NEW ZEALAND)

These New Zealanders play intense classic-sounding thrash/death which is expressed through short tight numbers where speed and technicality come together the latter sounding kind of unfinished due to the songs' short length. There'll be plenty of headbanging here, but there will be some who will mourn the interruptions of the clever technical sections which should be given more room on the future recordings, like on the great closer "The Gray" which is exemplary progressive thrash/death in the best tradition of later-period Death lasting for whole 5(!) min. The rest sounds more like a rehearsal for bigger things to come soon...

Materialization EP, 2012

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CERBEARUS (CANADA)

This is modern thrash which is both on the catchy ("Ursine Instinct") friendlier and the wilder headbanging ("Jaws of the Kodiak") side, It's a dynamic recording overall, largely oriented towards the energetic moshing side of the spectre, with "Feralocity" capturing some proto-death currents. "Carnivora" is a nice more complex proposition with death metal again stepping its ante, but please welcome also the less pretentious side of the album, reflected in the frivolous thrash/crossover jump-arounder "Fucked By A Bear", the husky blacky vocals struggling for relevance for most of the time.

Cerbearus Full-Length, 2021

Official Site

CERBERO (ARGENTINA)

This is the 1st band for Antonio Romano and Karlos Cuadrado who later co-founded quite a few of the metal acts of the Argentine scene: Malon, Visceral, Reino Sangriento, and Romano also played for the scene leaders Hermetica for a while. This recording here shows the guys in a very spawning stage of their development as musicians playing raw badly produced power/thrash with very gruff semi-death metal vocals. The music makes sense at times sounding close to the models from the States at around the same time: Sentinel Beast, Griffin, Omen, etc. "No Hay Salvacion" is a cool speed metal hymn, something which Hermetica and Horcas perfected a few years later.

En Vivo Demo, 1986

Fan Site

CERBERO (BRAZIL)

A live album without any other releases: isn't this a feat? Well, the audience seemed quite excited and familiar with the material presented, so apparently the guys must have released something deep underground. The band's music is a mix of power, speed and thrash metal, and despite the very bad sound quality, the energy and inspiration put into the making of this recording are hard to be disguised. The faster speed/thrashers work better: "Terra", "Napalm", the Metallica cover of "Metal Militia". On the other side we have heavy up-tempo power metal numbers ("Monte Calvo", "The Attack" which boasts a very cool bass bottom). "Warrior" is a good power metal instrumental with an epic feeling.

Live at the Rainbow Live album, 2005

Official Site

CERBEROS (SWEDEN)

This is old school thrash which is oriented towards the Bay-Area, the diverse quasi-progressive shredder "The Eastern Gold (Burn)" a cool way to start the saga, "Injection" injecting a vital doze of heaviness into the volatile skeleton, a brooding number with epic touches, the lively "Frustration" making waves with a more sprightly energetic delivery. "Memories" evokes memories of nostalgic semi-balladic sentimentality, but later on this is another corrosive thrasher, the vociferous semi-shouty vocalist trying to emulate James Hetfield at times. More dynamic complexities provided on "Indulging Reverse", before the short vehement "Outro" sweeps all pretensions at ambition way.

Frustration Demo, 1995

CERBERUS (JAPAN)

Based on the full-length, this act specializes in retro/modern speed/thrash which ranges from the merry-go-round crossover type ("Unwanted") to the more intense proto-groovy one ("In Time"). The energy prevails, though, reflected in short energetic pieces like "Fear Not Decay" which contrast with the sparse slower, balladic digressions (the instrumental "Dawn Of A New Dynasty"; the stoner/doom steam-roller "Heroes"). The singer is a more soulful incarnation of the 90's aggro-vocals carrying a bit of melody here and there to a good effect.

Cerberus EP, 2005
Fear No Decay Full-length, 2007

Official Site

CERBERUS (COLOMBIA)

Based on the debut, this Colombian trio indulges in raw amateurish black/thrash borrowing heavily from early Sodom, except in the shouty punky vocal department. The sound quality is awful making the guitars very thin and screamy, ruining the several attempts of the guitarist to produce something more meaningful and melodic.
"The Second Attack!..." is sustained in a similar vein, with more linear speed/thrash motifs ("Total Sacrifice", "Dirges") incorporated more fully, giving the album a more proficient aura. The bash never gets annoying, and cuts like "La Armada del Metal" and especially the welcoming mid-pacer "Muerte al Impostor" openly strive for bigger variety, the latter also materializing on the fist-pumping epicer "Heavy Metal".

Keeper of Hell Demo, 2011
Cerberus Full-length, 2014
The Second Attack! The Hustle Continues... Full-length, 2024

Official Site

CERBERUS (USA)

Modern thrash/death metal taken straight from the Swedish textbooks; generic music as a whole, without any more interesting ideas. The debut is the band's finest effort, thrashing with both edge and melody, slightly marred by the hoarse low-tuned death metal vocals, and the kind of misplaced blasting passages. Despite the more frequent adherence to death metal, there are some really worthy thrashers to be encountered: the hard shredder "Until Death"; the diverse "From Within" which will mislead you in the beginning with a solid portion of breathtaking acoustic guitars.

The Cage of Existence Full-length, 2005
What Have We Become? EP, 2006
Dispute The Truth Full-length, 2007

Official Site

CERBERUS ATTACK (BRAZIL)

Based on the full-length, this act indulge in right as rain classic thrash the band bashing with vigour all the way through with cuts like "Human Extinction" and "Worms Incorporated" brutalizing the environment without mercy, "Dirty City" providing the requisite shift from the rigorous formula with a portion of more flexible decisions and more melodic undercurrents, those contrasting with the intense, forceful shouty vocals. Some of the band members are also active with the heavy metal novices Sweet Danger.
"Abyss of Lost Soul" is another no-compromise lasher, the band easily reaching Slayer-esque extremes, bashing with vehemence, producing wound-inducing pieces like "Fastest Way to Die" and "Combatir Al Fascismo", the dark more laid-back flavour of "Harbinger of Decay" offering some respite from the incessant mosh, the latter toned down to an extent as well on the stylish more ambitious title-track.

Welcome to Destruction EP, 2011
From East with Hate Full-length, 2017
Abyss of Lost Soul Full-length, 2021

Official Site

CEREBRAL CONTORTION (AUSTRALIA)

A new formation who serve classic "brain damaging" thrash sticking to the fast-paced delivery the middle producing some of the catchiest, most energetic thrashers to come out of Australia recently ("Caustic Flash", "Devouring Disease", "Execution"). The mosh never stops till the very end the guys "damaging your brain" with furious tempos, sharp riffs, screamy blazing leads, and intense semi-shouty/semi-deathy vocals.

Brain Damage Full-Length, 2013

Official Site

CEREBRAL DESECRATION (USA)

Based on "Further Than The Bottom", these lads pull out a retro thrash/death hybrid which straddles between more intense headbangers ("Further Than the Bottom") and dark pensive stompers ("Obstructed"). The vocalist is a scary deathly shouter unleashing a couple of shattering screams on the atmospheric creeper "Peel of the Rotten", and a few subdued semi-whispers on the death metal beast at the end "S.H.I.T.". Some of the band members are also invoved with the death metallers Wings of Abaddon, and the black/death outfit Blessed Agony.

Immortals EP, 2013
Incarnation Full-length, 2016
Further Than The Bottom Full-length, 2020

Official Site

CEREBRAL FIX (UK)

This band, like many other acts from their homeland, came from the British punk/hardcore scene in the late 80's, which is clearly felt on their debut. But from then on it was only the vocals which reminded of the band's past; what followed was a string of three high quality albums which brought them to the forefront of UK thrash metal. "Tower Of Spite" already showed a new band ready to compete with the best on the thrash metal arena. The guys nicely vary things mixing up-tempo thrashers (the opener "Enter The Turmoil") with doom-laden tracks which would even make acts like Saint Vitus and Candlemass listen in wonder ("Feast Of The Fools"- this one is a real masterpiece of doom). Deviations like that are actually very few and later on the attack continues with full force: the mighty up-tempo riff-fest "Chasten Of Fear", the crushing steam-roller "Injected", the heavy slower, more melodic "Quest For Midian", the brutal short "echo from the past" "Forgotten Genocide".

"Bastards" concentrates on the crushing, steam-roller like nature of the band's music without too many changes from the pattern, and is another solid release. The guitar sound creates a wall of heavy riffs which would inevitably bear another doom metal number: "Beyond Jerusalem"; the guys have a penchant for writing the odd doom number, and do a very good job. "Mammonite" will stir the blood with more intense riffage, but the real excitement comes with another short explosive piece of brutal thrashcore: "Maimed To Beg" (bad habits die hard!) and, of course, the rock'n roll joke at the end "Smash It Up".

"Death Erotica" is the band's magnum opus, a masterpiece of heavy stomping thrash metal. The guitar work is more varied, even going for more technical elements at times, with a bigger sense of melody as well: the guitars in "Haunted Eyes" which could pass for an analogue to the doom metal tracks on the previous works, although it is not as slow; the magnificent main riff in "The Raft Of Medusa" which is a marvellous dreamy, almost progressive-sounding, song; the superb melodic lead section on "Creator Of Outcasts". The tracks are all memorable with several truly catchy moments (with a hit potential- ha ha!): the great "Angel`s Kiss". The bonus tracks at the end are covers: of the punkers Discharge ("Never Again")- a great energetic track; and Judas Priest ("Livin' After Midnight"), made exactly in the spirit of the mighty Brits; even the vocals take a much more acceptable melodic edge, certainly not in the Halford-vein, but quite enjoyable. Sadly, this was the last offering from the band's camp with some of the members joining the more popular at the time death metal wagon (Benediction: the bass player Frank Healey who also took part in another great 80's British thrash metal act: Sacrilege).
"Disaster Of Reality": "the cerebrals" are back in business, and they are eager to show everyone where they had started a long time ago, in other words expect the most logical follow-up to their debut comprising stripped-down hardcore/punk tracks with very few hints at their more serious period on the longer material (the excellent dramatic "Felted Cross", the opening "Justify"). To make matters worse, the band's main asset the singer Simon Forrest isn't featured replaced by a gruff semi-clean metal throat, a much more ordinary choice. Fans of "Bastards" and "Death Erotica" will be bitterly disappointed hoping that after a false start like that the band will gain inertia, and will start stomping and steam-rolling in the good old way.

Life Sucks... And Then You Die Full-length, 1988
Tower Of Spite Full-length, 1990
Bastards Full-length, 1991
Death Erotica Full-length, 1992
Disaster Of Reality Full-Length, 2016

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CEREBRAL HEMORRHAGE (USA)

This band was a side-project of Tony Bono (R.I.P.) from Whiplash, helped by Joe Cangelosi who later took part in other acts like Kreator, Whiplash again, and Massacre. Based on the 1986 demo, this band plays thrash/crossover, fast and quite aggressive at times, with excellent melodic guitar lines and not typical for this genre very good leads, often moving into pure thrash. There are more experimental tracks ("Sploof Song") with a funky shade, but most of the time this is energetic and hard-hitting stuff.

Demo Demo, 1986
Multiple Trauma Demo, 1987

CEREBRAL INVASION (GERMANY)

The EP: intense retro thrash/death which is pulverized forward thanks to rowdy headbangers like "Pure Insanity", the more laid-back mid-paced veneer of "Brainwashed Into Madness" a sure respite, but watch out for the neck-spraining semi-technical rhythms on "Rotting Existence", the brutal guttural death metal vocals leading the show with a cord-rending panache. Some of the musicians are also involved with the classic thrashers Taskforce Toxicator and the speed metal formation Speed Lvcfter.
The full-length is pure old school thrash attack, the virulent nature of numbers like "Conquer All" and "Rise or Be Killed" impressing early, still letting more technical exercises like "Brainwashed Into Fucking Madness" breathe. Welcome also the mellower stomps on "Savage Awakening", but please run for cover on moshing bombs like "Blind Leading The Blind" and "Demons Within", the doom/dirgy character of the closing "A Story of Death" drawing an entirely different picture.

Cerebral Invasion EP, 2020
A Story of Death Full-length, 2023

Official Site

CEREBRUM (POLAND)

This is playful modern laid-back thrashcore which lashes the casual hard-hitting riff, but the prevalent approach is more on the core side, also helped by the inexpressive hardcore vocals.
"Bloodred" is another thrashcore affair again courting the core side more. Deviations from the norm come in the form of brutal proto-blasting tracks ("I Hate"), or surprisingly catchy heavy/power metal anthems ("In No Man's Land"). Make sure to also check out "Mysterium": a nice 1-min lead-driven interlude.
"Wrzaskun" is the next in line energetic thrashcore opus which clings more towards thrash this time with also a few really catchy melodic hooks appropriately implemented. Obligatory groovy breaks are amply provided, of course, but it's vivid moshers like the closing "Rewolta" which move this short effort forward.

Bloodred Full-length 2005
Archangel Full-length 2010
AAAAHAHAHAH EP, 2011
Wrzaskun Full-Length, 2016

Official Site

CEREVISCERA (USA)

Four tracks of first-rate complex, progressive thrash/death which range from the frantic, Atheist-esque "Basiliscine Obelisk", to the pure exercise in manic technical thrash "Captive Creation", to the brutal rough-around-the-edges deathster "Abolishing the Sacred Blood", to the exquisite Coroner-like shredder "The Final Chapter" the latter a sheer example to follow with its clever arrangements and the expert leads. The vocals are clearly the downside being hysterical and shouty, but seldom distract from the top-notch musical experience.

Demo Demo, 2015

CERNA KREV (USA)

An old school thrash attack which peppered with black metal outbursts; pristine raw production leaves something to the listener's imagination but there's enough for the latter to savour on elaborate thought-out propositions like "Through the Shifting Night" or the Burzum-esque odyssey "Morbid Feast". The singer is an unholy witchy shouter who's missing from the excellent atmospheric instrumental "In Caverns Beneath the Mountain Hall".

Demo Demo, 2018

Official Site

CEROSITY (SPAIN)

This is intense thrash/death of the classic type with some interesting technical decisions which bring it closer to Pestilence and Massacra. After the intriguing diverse opener "Drives To Insanity" the band tone down the originality for the sake of more brutal rhythms on "Usurper Of Souls" and a direct stripped-down approach on "Dead In My Dreams". The technical exuberance gracefully returns with "Confronting The False" which boasts a very good bass bottom; and stays around for the closing "Brainless Bastards From Hell" which thrashes assuredly with clever structures, cool soaring melodies, and stylish tempo changes. The vocals are a bit annoying with their raspy screamy tone overdoing it on quite a few times.

Eyeless Mass Corruption EP, 2011

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CERTAIN DEATH (CANADA)

The debut: this is a mid-paced power/thrash affair guided by throaty death metal vocals; the music invariably acquires more epic qualitites as well as an elusive gothic flair the latter quite comparable to mid-period Rotting Christ (think "Sleep of the Angels", above all). Temptations at a faster play are nowhere to be found which creates a certain sense of monotony at some stage despite the interesting melodic walkabouts encountered all over, the more dynamic leaps and bounds of "Frozen Fortresses" and "Frozen on Fire" stirring the requisite drama, the closing "Ashen Lands" ensuring the appetizing finale with a portion of more volatile riffs and rhythms bordering on both the aggressive and the progressive.
"Pathogen": there's just one musician in charge here, the name Chris Elliott, and the man doesn't change the chosen course executing the staple mid-tempo squash unerringly, the approach becoming more technical ("Shadowstalker") on occasion, the stomping urgency of cuts like "Cybernetik" and "We Are Forlorn" another less ordinary gimmick. The impetuous gallops of "Rusted Crown" revitalize the proceedings, an example followed by the heavy vivid "Venomous Mistress" and the dramatic hyper-active shredder "The Pacifier".
"Beast" is a more aggressive beast, the man moshing really hard on "Path of Luminance" before settling for his staple pounding mid-tempo approach on the longer more thought-out "The Feast Is Upon Us" and "Rise". Expect more overt, not exactly extreme, aggression on "When Mountains Crumble" alongside several clever devious arrangements, the semi-technical walkabouts of "My Scythe Bleeds" juxtaposed against the brooding linearity of the dramatic stomper "Death to All Thee Above" and the bashing immediacy of "Bone by Bone", Elliott's most brutal achievement to date.

The Burnt War Full-length, 2016
Pathogen Full-length, 2019
Beast Full-length, 2023

Official Site

CERTERA (ARGENTINA)

Based on the demo, this act serve pretty cool classic thrash with a thick technical/progressive edge bordering on mid-period Death. The guys thrash with a lot of vision, and "Visiones de Libertad" is a prime technical shredder which will make you headbang for days. The brutal stylish histrionics carry on with the short rager "El favor Americano" which is vintage Sadus and Hellwitch, only more puzzling- seriously! A delight after delight come pouring here to make you fall in love with Argentinian metal: "Otro Desvelo del Pensante", "Mientras Espero Justicia", and to make you realize that this scene is a lot more than just Horcas, Hermetica, and Lethal (remember the technical death metal wizards Sion). The closing "Un Cambio en la Rueda" is a more orthodox piece still exuding plenty of style in a way quite reminiscent of the Chileans Torturer. The vocals are clean and at times high-strung, but they're just another asset on this great obscurity which should by all means get a wider exposure.
The "Sagrada Corrupcion" demo is another standout display of high-style musicianship, and the opening "Incontenible Insurrección" is already the definitive example of aggressive thrash/deathhing technicality which acquires more ambitious progressive proportions on the title-track which still rages hard. The "Instrumental" is just 2.5-min of acoustic peace followed by the stomping progressiver "Desorden Irracional" which inserts loads of puzzling riffs ala Hellwitch and Atheist as well as a cool short balladic mid-break. "Destructiva Obsesion" is a handsome deathy technicaller with an imposing bass bottom, and "Manipulación Genetica" is a consummate twister with time and tempo-changes galore until the closer "Abismo Social" starts lashing in a more restrained mid-tempo fashion to close this grand effort in a less brutal manner.
Unfortunately, ever since the band reformed in then new millennium, they haven't been able to capture even a particle of the magic which made their demos such compelling listens. Their full-lengths are competent, but ultimately derivative modern-ish power/thrash metal affairs which "flirt" with the progressive, but in a very timid, rookie-like way making the fan really nostalgic for the times when obstacles like a sloppy sound and no exposure whatsoever could only enhance a musician's genius.

Sagrada Corrupción Demo, 1995
Hoy En Dia Demo, 1996
Epifanía Full-length, 2013
Certera Full-length, 2014

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CESSATION OF LIFE (USA)

"Kill You Again" starts in a great fast aggressive way, and if the whole album was in the same vein, we would be talking a masterpiece here. However, towards the end the music takes a turn towards crossover and the final result is not as good. Not that I have anything against crossover, but when the two styles are so obviously separated from each other, the impression is seldom on the positive side.
"Path of Totality" is an obvious improvement over the debut providing a pretty decent collection of energetic, often technical whenever necessary, old school thrashers. The guys often change the pace within one composition without losing the coherence, but the direct moshing numbers ("Necropolis") are also quite cool. "Reason To Live" is a pleasant balladic track followed by the bass- only instrumental "Ignorance And Apathy" which seamlessly merges into the next "Untranquil Seas": a fine technical thrasher with aggressive proto-death parts. The last couple of tracks concentrate on the more intense side with the exception of another crossover-laced number: "Into Pieces".

The debut is a rough affair offering a mixture of speed and thrash in a manner quite similar to Hallows Eve and Destructor except on the occasions when the guys start bashing without much sense producing death metal-tinged noise. There are mellower power metal cuts ("Don't Push") so you can imagine that the diversity is quite big the guys just having fun blending all possible styles the several brutal death metal passages sounding hilarious being included into a softer power/thrash metal structure ("Angel Of Mercy" and elsewhere). Apparently the band have found a way to play better music later on because the stuff at display here is just above the purely amateurish level.

Aggressive By Nature (Destructive By Choice) Full-Length, 1999
3 Songs For 2000 EP, 2000
Kill You Again Full-length, 2002
The Glory Of The World Is Passing EP, 2005
Path of Totality Full-Length, 2008

Official Site

CESSPIT (FRANCE)

Heavy old school death/thrash metal with occasional modern groovy sections; the tempo is mostly mid-paced.

Mon Fils est une Omelette Full-length, 2004

Official Site

CETRO (URUGUAY)

This Uruguayan trio indulges in classic thrash with an atmospheric colouring, distantly recalling Sabbat and early Skyclad. The guys thrash with power as if to justify the promising title and succeed with dynamic tempos, sharp, albeit fuzzy, guitars, and volatile speedsters, like "Extinguiendonos En Soledad", a track taken straight from Paradox's "Heresy". More galloping riffs come with the heavier "Tiempos Masivos" as well as sudden blast-beats on the diverse progressive closer "Un Brillo Implacable". This is thrash metal with a cool twist which, with a better sound quality, may make quite a few heads turn in the future.

Thrash Metal Demo, 2011


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