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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


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 lof 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". "In the Red" is a cool, albeit not an ecxeptional debut, simply because along with the hard-hitting thrashing numbers, there is a certain amount of pointless, heavy metal-based ones, and this contrasting mixture doesn't seem to work very well all the time.
"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. The songs all have a thrashy vibe, but the tempo stays within the mid-range, accelerating on the last two songs, which are cool little thrashers.

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


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 anf 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


This is intense, quite brutal at times, thrash/death which still contains enough melody to be categorized as "Gotherburg"-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 oustanding 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 (USA)

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


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


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


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 Site


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


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


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


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 officiant 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


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


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


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 "Perpetuel 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 sonsiderably 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


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


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


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


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


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


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


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


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


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


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


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.

Let Em' Burn! EP, 2014

Official Site


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


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


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).
Based on this material, the full-length comes 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


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


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 is not 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 annnoying way.

Clint Beastwood EP, 2011


Based on "Greatets 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, 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


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 quite fast-paced songs. "Paralysis" is a great speed/thrasher reminding also of the German school: Toxic Shock, Exumer.

Technical Aggression Demo, 1987


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


This obscure demo shows a talented act who pull 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, also rubbing shoulders in this aspect with the Meshuggah debut preceding it with 3 whole years. The untitled track at the end would be a revelation with its furious speedy approach echoing Metallica's "Damage Inc.", among other old Bay-Area hits. This was original music back in the days, but the band disappeared without a trace. They may have inspired their legendary, aforementioned, compatriots though...

Demo Demo, 1988


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-doomy and dirgy with soem unbearably heavy riffage involved. The vocalist isn't bad, though, his attached clean tirades pouring lods of dramatism 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


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


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/thrashy bursts 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


This is modern post-thrash which relies on heavy repetitive riffs the latter stretching into lenghty 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


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 secong 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


The "World Collapse" EP is energetic old school thrash with sharp riffs and expressive shouty semi-hardcore vocals. More aggressive deathy 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


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 riffage 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, doomy 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/doomy "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


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 deathy 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


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


Intense, but also atmospheric, thrash/death not far from eary 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.

Dreaming the End Demo, 1998


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


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


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


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, sparce 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 intened), 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" is not 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 dramatism 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


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 familair 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 compaints 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 surrisingly 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


"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" is not 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-thrashy 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


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 doomy passages on "Exile") the band just bashes violently adding evil, but unrehearsed, semi-whispered vocals to the primitive mix.

Dark Side Demo, 1994


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


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 guitarsit Joe Anderson, also play with the melodic death metallers Redsky.

The Hunting EP, 2012


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



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 revelling in their unleashed creativity, providing awe-inspiring mosaics of rhythms and riffs that would elave 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



based on the full-length, this outfit ingulge 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 morer 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


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 crossover ones ("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


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


Groovy bouncy, jumpy post-thrash that is too much on the stoney/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


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 2nd 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 tember, 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


2 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


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 riffage 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 proggressive cut with imposing riffage reminiscent of later-period Death. The singer delivers with his forceful semi-deathy/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.

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


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 more thrashy, 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


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


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


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 is not 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


Based on the "Depression" demo, these guys play heavy thrash/death with steam-roller riffs and sudden sparce 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


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


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


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


This Czech trio pull out clever bass-dominated thrash which is more on the classic side "courting" the Bay-Atea, 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 "duelling" 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


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


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 is also a cover version of the melodic hard'n heavy stars Night Ranger (if this is not 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


"Orgedas de Sangre" is 6 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 2 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-doomy 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


Based on the full-length, this French formation pull out standard, not very imaginative, modern post-thrash which may bore a vbit due to the not very eventful tempo-patterns despite the covert progresive 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


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


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


Based on "Front Kick to the Face", this act play wild intense thrash/crossover which is at time splain 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


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.

Way of Darkness Full-length, 2011
Extinction Full-length, 2013



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 deathy 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 metalc rowd: check out the excellent brooder "Secrets Within The Shrine" near the end.

Preludes & Nocturnes Full-Length, 2014

Official Site


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 2nd 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


Based on the full-length, these folks deliver retro roller-coaster speed/thrash with gutural death metal vocals which inevitably bring the winds of death metal with them on some cuts. The thrash/deathy 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



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.

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

Official Site


Cool energetic thrash of the old school; the guys "court" Slayer, above all, and as such provide 3 fiery songs of aggressive riffing nicely spiced with heavy stomping sections topped by suitable shouty semi-hardcore vocals.

The "Mass Violencia" EP is another 4 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 sees the band well rehearsed to enter the arena with the expected full-length.

Muerte Violenta EP, 2009
Mass Violencia EP, 2012

Official Site


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 dimisnish 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 wirth the final "Midnight Queen" wrapping it on in a more officiant gothic-flavoured, progressive fashion.

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

Official Site


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


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 suprise: 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


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 thats ame 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, doomy riffs.

Nemo Dat Quad Non Habet Demo, 1994


This is decent modern thrash/death the deatn 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 "duelling" for domination accompanied by short blasting passages. "Manipulate" is a very stylish technical cut which 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


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 2nd 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 doomy 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 doomy character of the album, supported by very good bass work.

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

Official Site


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 is not 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


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 tember.

Triple Whoregasm Demo Demo, 2010

My Space


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 is a very nice cover version of Slayer's "South Of Heaven".

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

My Space


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 2nd 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 reertoire is aslo quite well covered this time occupying the 1st 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


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 heavy metal act Draist Avagnon.

Boozeman Trail Full-length, 2009
Mount Moshmore Full-length, 2013

Official Site


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 tember.

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


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


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 runed by the brutal death metal vocal delivery.

Armageddon Full-Length, 2011

Official Site


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


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 tiimes.

The Collapse of All to Come Full-Length, 2014

Official Site


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


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 tember.

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


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 adition 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


A fusion of hardcore/crossover, modern thrash, and ballad/doom with heavy abrasive guitars and apocalyptic deathy 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


This Casey Ryle specializes in cool instrumental-only power/thrash with plenty of artmospheric 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 palitre which he will display more fully on future efforts.
"Death This": this new shredder on the block continues his tour all over the metal scpectre 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


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


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 is 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


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".

Castigator Demo, 2011


These Poles play serious doomy thrash crossing modern and classic tendencies on a pensive mid-paced ground which "bears" one full-blooded doomy 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 officiant 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


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 lended 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


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.

Awakening of the Beast Full-length, 2007
Cataclysmic Insanity Full-length, 2008
iHuman Full-length, 2009
Systematic Suicide Full-length, 2011

Official Site


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


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


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

My Space


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


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


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 Bonnie Tylor with the cover version of her biggest hit "Piece Of My Heart".

Evil Within Demo, 1987


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



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 deathy mumbling. "Mass Idiocy" is a suprisingly vrisk cut, a ripping headbanger with tasteful guitar work which sound slike 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


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


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 doomy 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


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.

Deep Rotten Nation EP, 2010
Tentot Sa Musd Znicit! EP, 2013
Zbojnedcky Tanec Full-Length, 2015

Official Site


Modern thrash with classic leanings, pedestrian and not very exciting with shouty death metal vocals and several more aggressive deathy insertions. The guys mix the pace favouring the speed more and as such this effort will not be a total waste of time espcecially 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


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


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


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-thrashy 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.

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

Official Site


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 doomy 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


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


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, 1988


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


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 ("Mistt").

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

My Space


Based on the EP, this band offer doomy atmospheric 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


Fresh vivid thrash of the old school with several modern allusions to the prevalent vogues of the time, mostly in the less dynamic 2nd 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.

For the Love of Pain Full-Length, 1997

My Space


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-thrashy 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-thrashy trends.

Tampering with the Unnatural Full-Length, 1999


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


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


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 doomy/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 "...And Rome Shall Fall" 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 tember 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



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 tember fitting the vigorous musical delivery which becomes admirably complex on the longer engager "Devorador de Almas".

Mejorado Demo, 2011


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

Official Site


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


This band pulls out well-executed thrash of the brutal proto-deathy 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


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-deathy guitars.

Caustic Death Demo, 1991


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


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


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 folow in the future...

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

Official Site


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" which 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


Throughout their short career (the band are no more) these guys had been sticking to evil dark clasic 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


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 2nd 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 viruoso 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 thrashy 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 disappontment 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


Based on "Red", this formation offer modern power/thrash with a hefty progressive flair the latter expresing 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 Cirlce", 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


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-deathy vocals which are a debatable addition to the perennially surprising musical delivery.

Lost to Time Full-length, 2017

Official Site


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 doomy/sludgy 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


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


This Argentinian trio play intense classic thrash with good ripping riffs and a good sense of complexity refflected 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


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).

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

Official Site


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 thrash riff; there are just not so many here.

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

Official Site


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 probaly do better if they steer clear of such moments for the future.

Morior Ergo Sum Demo, 2004


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


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


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 headbanger, 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


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


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


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


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 offical 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


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


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


Intense bashing thrash/death performed by just one musician, the moniker (or name) Doug, whos ticks 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 doomy deviation that would delight Black Sabbath and their numerous clones; stil, watch out for the wild bursting deathy passage that wraps it on.

Demo Demo, 2017


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


Old school black/thrash metal sharing some of the primal brutality of the early Brazilian scene (Vulcano, Sarcofago, Sextrash, etc.) crossing it with pounding doomy 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/blacky 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.

Unholy Grave Bangers Demo, 2009
Screams of the Violated Full-Length, 2012

My Space


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 is not as fast, and more than half of the space is occupied by slower, steam-rolling numbers, the mood broken by the short indstrial thrashcore oddity "Despair" and the brutal deathy 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

My Space


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 2nd half, before the more serious delivery returns for the final string of tracks among whcih "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

Official Site


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 3 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


Based on the 2-song "Silence" EP, these obscure Brits undulge 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.

Silence Demo, 1994
Maze of Thought Demo, 1995

My Space


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


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


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


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



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 tember which he strains to the brim at times.

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

Official Site


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


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


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 dramatism 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

Official Site


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 dramatism 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 are not 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


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 is 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


A power/thrash metal band whose style is based around early Metal Church, Judas Priest's "Painkiller" and thrash, to a lesser extent. This combination works well, but the vocals are terrible running wild into all directions, ruining quite a bit from the positive impression created by the music. With a better singer these guys could reach further.
"V": yes, it's album number five for the "cenvrions" 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 cheesy to make this act stand out which previously they achieved with the outrageous vocal delivery. Some of the band members also do duty in the power/speed metal outfit Scala Mercalli.

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


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 unifinished due to the songs' short length. There will 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

Official Site


This is the 1st band for Antonio Romano and Karlos Cuadrado who later co-founded quite a few of the metal acts of the Argentinian 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 playig 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


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


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 sparce 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


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.

Keeper of Hell Demo, 2011

My Space


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


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" brutallizing the environment without mercy, "Dirty City" prodiving the requisite shift from the rigorous formula with a portion of more flexible decisions and more melodic undercurrents, those contasting with the intense, forceful shouty vocals. Some of the band members are also active with the heavy metal novices Sweet Danger.

Welcome to Destruction EP, 2011
From East with Hate Full-length, 2017

Official Site


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


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 disapppointed 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

My Space


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


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 iplemented. 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
Wrzaskun Full-Length, 2016

Official Site


4 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


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



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



"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 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 deathy 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


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


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


The debut of this UK outfit presents modern progressively-tinged thrash which is quite eventful with both jumpy and speedy moments intercepting each other the very brutal hyper-blasting ones serving to no purpose since the major approach is too far from them, and sounds closer to the alternative and post-thrashy sections "roaming" around. "Solitary" is a healthy aggressive shredder, but the rest is not very easy to swallow with numerous nuances thrown in coming as a bit too much sometimes for the regular metal fan. The singer is a semi-shouty death metal throat who sounds comprehensive and even attached with a sparce participation of clean alternative insertions which are less striking.

The sophomore effort is an even more elaborate affair with longer songs, but also with drier more sterile riffage which recalls Meshuggah and Gojira on the more inspired moments. Still, the album isn't completely derpived of faster headbanging sections which come aplenty on the encompassing closer "Snow Angels" which is more than 9-min of dynamic eventful thrash with melodic decorations among the faster-paced patterns and the overlong dreamy semi-acoustic interlude which takes more space that what is required for digressions of the type.

Dependence: Two Faced Full-Length, 2010
Independence: Reappraisal Full-Length, 2012


This is choppy modern thrash which aptly avoids the groovy traps set by 90's vogues, and manages to come up with something not too far from Flotsam & Jetsam's "Quatro", maybe a tad more classic-sounding (the playful speedster "Carry On"). There are a couple of missteps, like the boring ballad "Not Worth a Dime", or the one-dimensional pounder "Eternal Flame", but the wide diversity served later (hardcore, funkisms, the cool progressiver "Something in Between") will ensure the listener's entertainment.

Trappedinsanity Full-Length, 1995


Based on the "id" demo, these guys offer ordinary modern post-thrash metal mixing groove with faster riffs which seldom leave the mid-paced parameters ("Manipulacja"). "Cuatro" is a good instrumental blending balladic elements with more melodic groovy ones.
"Cutthroat Melodies" is a further elaboration on the music heard previously with the same alternation between faster and slower moments this time adding cool melodic leads to the proceedings which suit better the more energetic material.

"Revolving Floor" offers slightly more aggressive music with even some classic leanings ("Inspektor Lowe") present although the groovy implements haven't been forgotten completely and spring up on at least half of the tracks as well as the melodic licks which overtake whole songs more than just occasionally. The singer is a good companion to the mellow riffage with his warm deep clean voice who unleashes more brutal hellish shouts more or less appropriately. In the 2nd half the music loses the little edge it had in the beginning introducing the odd metalcore element into the already very melodic amalgam.

Demo Demo, 2004
id Demo, 2006
Vicious Circle Full-length, 2007
Cutthroat Melodies Full-length, 2009
Revolving Floor Full-Length, 2013

Official Site


Dirgy groovy post-thrash which borders on doom on at least half the tracks (the title-track) to a pretty positive effect. An approach of the kind can't possibly generate too much excitement and this one here may wear thin near the middle die to the never-changing pace and the torturous, agonizing death metal vocals which at least could have softened down on the cover version of the Animals evergreen "House of the Rising Sun", a horrible rendition, needless to say, obviously played for laughs as well as most of the album.

Chainbound Full-Length, 2015

Official Site


Modern post-thrash mixed with heavy/power metal; this is mostly mid-tempo stuff with good mid-levelled vocals and melodic guitars. There is a dark gothic vibe going through the album recalling the Finnish scene (To Die For, Razorback, etc.), but there are a couple of more intense surprises, too: the speedy roller-coaster "Stay". Still, the majority of the songs are peaceful "idylls" becoming too melancholic and moody near the end for the thrash metal fan's taste.
"Scarred" is more intense and heavier its steam-roller aesthetics firmly stated with the squashing opener "Scars of Time". Later on more moderate modern thrashers grace the "landscape" recalling the German "heroes" Perzonal War and Face Down Hero as well as "winks" at The Black Album: "10 000". "Statement" is another "statement" of intent with ist fast cutting guitars, but rest assuured that there are enough tender balladic moments to alleviate "the pain" (the acoustic version of "Black Rebel Noise" which at least introduces very good clean vocals).

Black Out Sunday Full-length, 2010
Scarred Full-Length, 2014

Official Site


This is groovy post-thrash which could be expected considering the time of release. The approach is clumsy and repetitive the guys trying to spice their stale delivery with a couple of melodic melo-death inserions, but the resultant "therapy" only makes things sound more awkward. The singer is a tolerable shouty death metaller who even tries to sing at times to a bit forced impression. "Blind Twisted Eyes" at the end completely steals the show with the more lyrical motifs and the excellent melodic lead section.

Down... Demo, 1995


Three lads shred with some skill here for the production of this cool progressive thrash opus which is finely summed up on "Chains of Suffering" where a wide array of rhythms and melodies provides the palette on which this album is built. "Only Choice" deviates from the norm into a more pounding stomping delivery, but "Blood Cry" is a rousing speed metal anthem, and "Victims of War" is a death/thrashing brutalizer. The vocals are of the shouty semi-death metal variety.

Seed of Suffering Full-length, 2017



Based on the 2nd demo, this band deliver intense energetic speed/thrash, a good reminder of the Angel Dust, Warrant, and Iron Angel debuts. The guys are equally capable pulling long elaborate ("Lambs To The Slaughter") numbers and short raging ("Thrashmare") cuts. "Bury God! (Der Berg Ruft)" is another prime shredder with rousing guitars, and the final "Reinheitsgebot" is a more immediate headbanger seing a band who looked well equipped to race with the finest in their homeland, including the "holy three". Alas, they reduced the brutality later and went towards mellower power/speed metal territories on their full-length debut.
"Permanent Menace" consists of old material including the afore-reviewed demo, and delivers the goods every bit of the way. It starts in the best possible way with the speed/thrash hymn "Selecting The Scum" which will do a lot to clear "the scum" around the world with ist raging bashing guitars. The "massac re" continues, first with the crunchy semi-technical "Apparent Death", then with the speedy explosion "Inhuman", a catchy roller-coaster at its most infectious. The comes "Thrashmare" from the demo, followed by a cut form the debut demo called "Running Fire" which is another fast-paced "bomb". "Behind Shuttered Doors" is a prime speed/thrasher which could be a highlight even on "Into the Dark Past", "Raging Steel", and "Possessed by Fire", also containing some addictive technical licks. Follow more songs from the demo years, before "Kill The Unblessed" shoots you at close range with the next slab of razor-sharp aggressive riffs, a steam-roller with a fine speedy passage. "Pox'N'Plague" is a jumpy semi-technicaller with cool melodies in the lead sector, before a bursting speedy exit wraps it up with force. "Reinheitsgebot" from the demo again closes the ablum aming it one of the most impressive offerings from the prolific German scene for the past 10 years. This is classic speed/thrash at its uncompromsing best, and although it's a compilation of an old material, it may inspire the guys to try something similar in the near future, to the fans' utter delight.

Chainsaw Demo, 1985
Demo Demo, 1985
Hell's Burnin' Up! Full-length, 1986
Demo Demo, 1989
Permanent Menace Full-length, 2011

Vibrations of Doom


Based on the sophomore, this act, whose line-up comprises the drum authority Vagelis Felonis (Overcast, Iniquity, etc.), specialize in intense death-laced classic thrash with echoes of Rigor Mortis, the German Holy Three, and Possessed. This is quite vehement, no-bars-held music the band venomously spitting a "bullet" after "bullet" ("The Slasher"), seldom "courting" the purer speed metal movement ("Iron Casket", the Motorhead-ish frolicer "Filthy Blasphemy") the mood aggravated by the forceful semi-shouty death metal vocalist.

Hill of Crosses Full-length, 2014
Filthy Blasphemy Full-length, 2017

Official Site


A good new band who manage to combine old school speed, thrash and classic heavy metal in an enjoyable old-fashioned way. "Master of Fate" is an awesome aggressive thrash opener, promising many headbanging moments, and if the rest of the songs were in the same vein, these guys could have jumped straight on top of the scene in their native land. But later on the music softens down, but preserves its appeal if not even increasing it: the mighty Oriental power/thrasher "The Butcher of Bagdad", the nice mixture of speed and heaviness, including even a short blast-beat section, "Burned Alive", the nod to the 80's American power metal scene "Never Surrender". At least half of the songs carry the intense spirit of the opener, but fillers, like the modern-sounding "Route 666", or the rock-ish "She Just Wants To Get Laid", could be spared for the future.

"Metal Missionary" shows the guys having not lost their cool touch although in terms of innovation this album can not score high. However, for those who liked the debut there will be no problems falling in love with this stuff: after the smashing opener "Demolition Hammer" the band slow down predictably, but expect more aggressive surprises along the way: the thrashing bomb "Supreme Command", the short brisk killer "The Meat Factory". Fans of the classic side of all genres that are heavy, power, speed, or thrash, will do no wrong tracking this down.

Smell the Saw Full-length, 2004
Metal Missionary Full-Length, 2009

Official Site


Based on the "Satan Plays Speed Metal" split with the Japanese Abigail, these guys play raw amateurish brutal black/thrash/death metal with low-tuned guttural vocals. This is a mix of slow and very fast sections with very simplistic guitar work with a thin sound. The band was formed after another one, Markhor, split-up; reportedly the music of the other act was in a similar vein.

Atomik Invatedon Split, 2008
Chemical Death EP, 2008
Chainsaw Massacre Demo, 2009
Satan Plays Speed Metal Split, 2009

Official Site


Based on the "Metal Addicted" demo, these guys pull out black/thrash metal similar to the Italians Vexed or the Swedes Suicidal Winds: fast and intense with occasional blast-beats. The singer uses the black-ish rasp most of the time, but quite often he tries to scream in a Rob Halford (remember "Painkiller"), or John Cyriis fashion which doesn't quite suit the music, but is a cool touch, especially on the more speed/thrash-based number "Metal Addicted".

The EP is a more controlled offering, now clearly focused on thrash, even adhering to dark doomy riffs ("Rotting By Walk Alone") at times. "Slayer Of Black Mark" is the only less controlled proto-blasting number; the rest is intense mid to up-tempo stuff suffering from the muddy guitar sound and the incomprehensive apocalyptic vocals which can also be heard on the works of the thrash/death metal outfit Rotting Blood.
The "Putrid Manifestations of South of Hell" demo is the band's most aggressive offering at this stage staying closer to death metal on occasion the guys thrashing wildly with inspiration their efforts impeded by the bad sound quality which makes the guitars sound too thin. The delivery is pretty intense reminiscent of early Sadus and early Kreator with a few sudden displays of more melodic infatuations ("Reaching the Fucking End" which also contains the only blast-beats on the album). There is by all means a potential here if someone decides to give the band a hand and take them out of the deep South American underground.

Apparently that someone has materialized and here comes the band's full-length to shatter your peaceful world with a portion of evil black-ish thrash done in the good old school manner. The aggression has been notched up a bit with brutal blasting passages springing up more than now and then ("Decapitated Christ", to name just one example), still not ruining the picture which boasts some impressive thrashing headbangers ("Glorius Lumina", the galloping delight "Golden PLains") which come with a nice melodic "colouring" the latter almost omnipresent making this release both a brutal and a lyrical offering. The vocals are of the semi- hysterical shouty variety here and make their fair contribution to the genuinely macabre nature of the album.

Alcoholic Rehearsal Demo, 2004
Under Metal Assault Split,2005
Blasphemy, Mayhem, War Split, 2005
Metal Addicted Demo, 2005
Nemesis Of Jesus Christ EP, 2006
Putrid Manifestations of South of Hell Demo, 2010
Christ Decapitated Full-Length, 2012

Official Site


This album owes a lot to mid-period Machine Head (the albums after "The More Things Change..."); this is heavy groovy, but also quite generic music which very seldom speeds up to up-tempo, and for that reason could be tiring to some as there is no variety at all. The hardcore vocals are sometimes spiced with clean ones, and samples from the TV (or the radio) are also added.

Hollow Full-length, 2004

Official Site


One of the veterans on the Brazilian metal scene; their first 2 albums are commendable efforts with a genuine dark sound and distinctive gruff vocals. The debut is a sure-handed affair, contrasting the pure thrash assault to the gruff death metal vocals of Vladimir Korg, the singer who later sang for The Mist and Nuclear Hell. The dark heavy riffs alternate with the up-tempo ones on the first 2 songs, before "Terminal Brain" opens the all-out attack, splashing with its open aggressive delivery; nothing more than thrash here, folks. "Children Of The Cemetery" is another brisk speedy killer, with the songs so far being short and to the point, and one would be surprised to hear intense fast-paced thrash the whole time on "Jason Lives" throughout its 7.5-min; the headbanging will never stop on this masterpiece, also graced by very cool leads. The short compositions return, to bring vicious proto-death on "Warriors Of Disgrace" and the "winds" of Slayer on "Dead Walk". Certainly comes a time for calmer performance, on "Mr. Jesus Christ", which is a heavy pounding number, but the final "Shoot At The Police" will "shoot" you at close range with another portion of heads-down speedy riffage. The bonus track "Never Die Young" is a nice offbeat technical piece, sounding like something early Voivod could have produced, still containing the fast guitars, which here sound much more twisted, all this finished with an excerpt from a children's song; it may be considered sad that the guys never developed this tendency further.
"The Man Is His Own Jackal" offers good dynamic thrash, not terribly different from the debut, but with a lighter guitar sound and more "optimistic" speed metal numbers ("Acme Dead End Road") thrown in, as well as longer more ambitious ones ("Holobyte", "Hangover"). "Santa Claus Has Got Skin Cancer" is a great mid-paced stomper with nice both melodic and sharp hooks, and excellent leads. It splits the album into 2 parts, giving a more diverse spirit to the second one which contains the slower "In Vain", the nice speed/thrash instrumental "S.S.C. 333", and the hardcore-ish closer "Synthetic Tears".

"Death Is A Lonely Business" offers a more polished and professional sound, but the music is less striking, slower and less engaging. The beginning is quite cool, with the ambitious more serious speed/thrasher "Before It's Too Late" opening confidently, but "Mind Cries, Body Dies" is hardly the best continuation, a slow and clumsy number. "Panic in the Fast Food" is a bit more dynamic, but lacks the edge and intensity of similar tracks from the past. The moshing eventually returns with "Fear of Death", only to disappear again on the soft track "Beholder" which could be barely called "thrash", and even has shades of the coming groovy movement. Those shades are even more strongly emphasized on, on the 2-min instrumental with the much longer title "A Certain Afternoon Havin' Strawberry Jelly on Mars Watching the Dick Birds Fly South" (seriously, 2-min may not be enough to say it all). When "Choked" refuses to speed up, the listener may lose interest completely, but he should stay put for one more song, the closer "Useless Denial to Hear", which adds the desirable finishing fast-paced tunes. Seemingly testing the soil a few times with a couple of proto-modern elements, the band surprisingly didn't join the group of acts from their homeland (Holocausto, MX, Overdose, Sepultura, The Mist, etc.) who adapted more or less successfully to the 90's tastes to continue their career.

The guys did adapt to those tastes, actually, but they did it 12 whole years later, at the least appropriate time when the scene was looking back at its roots and the 90's trends were gradually fading away. That's why "Deadland" was a disaster, probably the worst attempt made by an old-timer to come back in the "game" so far, featuring bland groovy nu-metal with elements from all other genres present on the modern scene, but not thrash.

Very soon after, though, having realized their mistake, Chakal struck less than a year later with "Demon King", a full-on old school attack, arguably the band's finest hour. The album will engage you in spontaneous headbanging from the get-go with the intense opener "Morlocks Will Rise!" and the following speedsters "Demon King!" and "War Drums". "Christ in Hell" is only a slight relief offering heavier up-tempo riffs. "Mirror-Made Tricks" is furious thrash at its best setting the scene for the coming of the Death cover of "Evil Dead": a faithful and a highly satisfying rendition of this immortal hit. Certainly, everything after that will sound mild and, indeed, "Psicho" doesn't try to compete with it, still moshing out with force. "Mastered Dogs" is a sweeping raging thrasher, ironically containing the only section recalling the previous "Deadland" (a small one in the middle). No mercy later on "Flowers on Your Grave" which deludes with its proto-groovy beginning, and the speed/thrashing madness "Human Remains Banquet". What a better exit from this slab of old school aggression than a gorgeous peaceful instrumental: "The Masque of the Red Death" which will tear your soul apart with its close to 1.5-min of mournful acoustic guitars. Yes, the band corrected the mistake they made and entered the "arena" confidently although things have been pretty quiet in their camp for quite some time.
"Destroy! Destroy! Destroy!": the "chakals" are here again although to wait after such a cool release like "Demon King" for so long is equal to a crime. So shall they be forgiven? Well, based on the inspired beginning one may as well forget about the gigantic gap between releases, but after the more dynamic opening duo come much less inspired modernized quasi-groovers which have their more intriguing moments, but are completely smitten by the less controlled brutality of the title-track, or the death metal-laced ragers "God of Gore" & "Anubis, The Lord of Necropolis". Still, this album remains a mixed bag with more than just a few influences shaking hands consequently leaving the hard thrashing of the previous effort just one side of the show.

Abominable Anno Domini Full-length, 1987
Living With The Pigs EP, 1988
The Man Is His Own Jackal Full-length, 1990
Death Is A Lonely Business Full-length, 1991
Deadland Full-length, 2003
Demon King Full-length, 2004
Destroy! Destroy! Destroy! Full-Length, 2013

Official Site


Thrash/crossover of the classic type, but coming with an updated modern production which doesn't really serve the energetic music right making the guitars sound very fuzzy, especially on the slower more stomping moments. On the other hand, on the faster hardcore/punk-ish passages the sound gets nicely clear giving the guys a chance to lash with more force and sharpness.

Zombie Mosh EP, 2009

My Space


This is very good melodic proto-modern power/thrash which main asset are the thundering bass support and the cool intense semi-clean vocals. The music makes sense the whole time, mind you, without being fast at all, but the meandering mid-tempo passages on "Confession" and "Seventh Sign" will delight with their not very expected turns. "Fortress" is a more intense piece thrashing a bit harder with a nice melodic edge giving a nice boost to the already appetizing approach which on the latter also returns to the classic formulas for a bit as another original touch. It's a pity that this act never produced anything else; even bands like Flotsam & Jetsam could have learnt soemthing about how to play tasteful post-classic power/thrash without sounding ridiculous.

Chalize Demo, 1994


This outfit indulge in modern groovy post-thrash with scary death metal vocals which alternate witch-like screams with guttural brutal semi-shouts. The music is not much to write about marching in a tedious mid-pace all the speed left for the closing "Goliath Awakens" apparently to "awaken Goliath" and inevitably succeeds with its sharp lashing riffs which don't last through the whole song, but at least would serve to also "awaken" the dozing listener.

Morningstar Full-Length, 2013

Official Site


Based on the 3-song "No Turning Back" demo, this is an uneven mix of heavy mid-tempo thrash of the classic school (two songs) with doomy overtones, and more aggressive death metal ("No Turning Back"). The vocals are strictly in the death metal camp, though, being low effective growls.

The Hate Anthem Single, 2004
Destiny of Mankind Demo, 2006
No Turning Back Demo, 2007


This band started very strongly with their debut, summarizing all that was good from the 80's thrash scene. The style is probably closer to the Bay Area acts; the opener "No Light" thrashes without mercy, fast and aggressive, and this is the predominant tone of the album. The guitar work is really good with very sharp riffs, but without any technical pretensions. "Succeed Or Bleed" and "Inspiration to Violence" are detours into a heavier, slower song-writing, the latter coming with cool stylish riffage. "Animation" introduces an angrier sound which would later find its complete realisation on the band's later works where the guys embraced the modern thrash metal idea, and their later efforts show no signs of any will to be anything more than mere Pantera-clones.
"Feed 'Em with a Brick" will not be the expected return to the guys' roots and as such doesn't quite fit into the wave of reunion albums of the new millennium. The opening "Hot Summer" is a promising hammering thrasher, but later on the sound acquires typical modern post-thrash shades clinging betwwen the more serious approach of the Black Album and the angrier, groovier tone of Pantera and Helmet ("Hammerhead"). A good, albeit quite unexpected, touch is the closing ballad "Ocean" which is a cool emotional piece with the singer doing his best to sound attached and involved in the atmospheric musical delivery. As a whole the band bring no surprises to their fans sounding as though the big 15-year gap between the last two albums has never happened, for better or worse.
"Kill All Kings" will "kill all kings" around, and not only in Belgium with its relaxed modern power/thrash/post-thrash rhythms which get harder ("Burn The Nation") on occasion, but there's too much chugga-chugga riffage here to make those moments truly captivating. The echoes from the debut are merely passing (the cutting title-track), and would hardly impress the fanbase who may not wait till the last track on this overlong (13 numbers) effort which makes no effort to expand beyond the trite groovy/proto-groovy formulas.
"Exit Humanity" sees the band persistently wading through the groovy heritage with no intentions of looking back at their roots. In other words, the familiar post-thrashy fiesta is fully operational once again, becoming strangely progressive and spacey at times ("Let The Games Begin"), at others attempting something a tad more intense ("Slip Away") those moments recalling more recent Annihilator.

Channel Zero Full-length, 1992
Stigmatized for life Full-length, 1993
Unsafe Full-length, 1994
Help EP, 1995
Heroin EP, 1995
Suck My Energy EP, 1995
Fool's Parade EP, 1996
Black Fuel Full-length, 1996
Feed 'Em with a Brick Full-length, 2011
Kill All Kings Full-Length, 2014
Exit Humanity Full-Length, 2017

My Space


Chanway is the name of the only musician involved here who specializes in classic progressive, all-instrumental power/thrash. The guy's skills are admirable all over and "Harbinger" can pass for the more inspired edgy instrumentals of recent memory with loads of hooks and twists which never cross over the too fast parametres except for the galloping closer "The Fallout" which "flies" into the fields of speed metal for a bit. Chanway also takes part in the progressive death metal outfit Makaria.

Chanway EP, 2015

Official Site


This obscure formation play not very predictable quasi-progressive power/thrash with prominent bass support. "Dotcor Suicide" emits some of the deathy passion of their compatriots Infernal Majesty, and "Searching Out" contains impressive leads which also stay around for the short eclectic, Voivod-esque "Eternal Eclipse". The closing "Choice" is a standout dramatic shredder with quirky, meandering riffs sounding like a draft from something longer and more serious. The vocalist does a decent job with his dispassionate clean tember, semi-reciting on occasion without standing on the way of the very good stylish music. Some of the band members earlier had a band, Revolt, with whom they recorded one demo in 1989 of more direct headbanging thrash.

The Unknown Demo, 1994


The debut: this band pull out dynamic modern post-thrash which holds a few surprises for the more or less experienced listener including the sudden "excursions" into fast-paced thrash ("Torn") which are that many, but keep the suspense throughout before the 2nd half where the guys settle for a less eventful groovy approach the very good leads being the highlight. Then "Self Deliverance" comes to "deliver" with its speedy rhythms influencing the final outburst "Violent Redemption" which is close to branching out into pure hardcore. The singer shouts angrily, but isn't annoying and manages to emit the odd more melodic note from time to time.
"All Against All" is a more aggressive "animal" the guys thrashing with more intensity the title-track being a major ripper the more controlled post-thrashy "tricks" introduced by "Indoctrination" although the band prefer the brutality as evident from "Death To The Elite" later. The post-thrashy side inevitably shows up again ("Portrait In Blood"), but this effort is way more dynamic and energetic the singer trying to match this update with even more hellish shouts bordering on the hysterical.

Violent Redemption Full-Length, 2013
All Against All Full-length, 2017

Official Site


An obscure demo of good technical power/thrash metal which starts in an energetic stripped-down manner ala early Metallica with "Gulliver's Trip". "Glass Hammer" is an excellent galloping mostly-instrumental with great leads and sharp lashing riffs. On "Old 7" you'll have to remain on the horses this one galloping quite intensely as well adding a nice catchy chorus to the proceedings. "Listener" is a short acoustic instrumental, and "The Fallen" continues further the guys' infatuation with the instrumentals being a sure-handed heavy technical piece along the lines of Helstar's "Nosferatu" with a crushing rhythm section. The singer is not a very active participant, but whenever he's present his clean high-strung emotional vocals deliver in a way no worse than Mike Soliz (Watchtower) and Jeff Martin (Racer X).

Demo Demo, 1990


Future members of the doom metallers Even Vast had tried their hands on some classic thrash with Antonietta Scilipoti doing a traditionally good job behind the mike. The title-track is more on the atmospheric side recalling the works of Even Vast, but "Programmed by Society" thrashes harder with fast lashing riffs and a thundering bass bottom. "Path of Life" is hard thrashing shredder with a hardcore vibe which somewhat doesn't fit the more serious tone of the rest, and "Thinking" is another relaxer with choppy, crunchy riffs with a more modern edge. This is a cool, albeit hardly exceptional effort which suffers from a very muddy sound quality.

Abstract......and More EP, 1995


This South African trio deliver wild intense thrash/crossover with a crusty vibe which is just about on the edge of turning into less bridled hardcore. The tempo is up for most of the time although cuts like "Mosh A.D." are not excluded the latter a major blacky dirger ala Khold and Barathrum. The vocals are rending death/blacky shouts, scarily hysterical at times.

Ashes of Babylon Full-Length, 2014



This band features two ex-members from another young Finnish band, Nailgunner. Chaos Creation are more deeply involved with classic thrash and are a bit heavier, and their tracks are longer, more elaborate. The style on all demos is consistently good, and I believe it's just a matter of time before the guys sign an album deal.

Dedication for Annihilation Demo, 2005
Psyched-Out Manipulation Demo, 2006
Homicidal Party Time Demo, 2007

Official Site


This is mostly a death metal affair, very well executed, crossing the early-90's Swedish school with the Floridian trends producing a clever semi-technical listen with several more melodic thrashy insertions. The band rely on atmosphere and dramatic landscapes which also bring Bolt Thrower to mind ("Fatal") and except for the short blasting outrage "Der Sege Werk" there are not many temptations at speed the songs marching forward at a steady steam-roller pace reaching the culmination on the closing 9-min doomy opus "War Inside". The vocalist is an acceptable death metal growler of the mid-ranged expressive type. Some of the musicians were involved in the formation Future Fate where the style was another thrash/death mix, but with more emphasis on thrash.

Fatal Demo, 2007

Official Site


This is a side-project of members of the progressive melo-deathsters Skyfire started actually before the main band, but later abandoned after the other act proved more successful commercially, although reportedly it is still active. This EP sees the guys pulling out pretty similar stuff, energetic speed/power/thrash metal with a rich keyboard atmosphere, uplifting optimistic music, quite fast for most of the time, and one would have problems finding any particular difference between the style here and the one on the Skyfire albums, this one being a tad more aggressive, probably, with a shade of thrash.

...Strike Upon You EP, 1999

My Space


Very good intense speed/thrash in the best tradition of Hirax and early Flotsam & Jetsam: fast tempo, maybe with a slight hardcore edge on the shorter tracks: "When Will It Change". "Mad Monk" is a truly fine piece of furious speed/thrash which would stand proud even on the later works of Destruction and Kreator.

Demo Demo, 1986

My Space


A powerful classic mixture of thrash and death metal which offers more up-tempo numbers ("Genocide"), but the majority of the tracks are of the mid-paced heavy variety sounding like more thrashy versions of Bolt Thrower ("Paranoia" sounds as though directly taken from "The IVth Crusade", or "...For Victory"). The rhythm guitar is really impressive and, like in the Bolt Thrower case again, overshadows the leads although the ones on "Soldiers of Death" are really worth checking out.

Hanging Full-length, 2008

My Space


Based on the EP, this obscure band provide curious progressive thrash which sits between the already extinct classic and the up-and-coming new school relying on hypnotic mid-tempo guitars and atmosphere which comes straight from the fields of doom and gothic helped by the indifferent, but acceptable clean vocals. The overall approach would nicely recall Fear of God at times only that here the vocals are not handled by a woman (or are they?). The first 2 compositions are long and relatively eventful pulling the best of the lead guitarist who leaves his soul on "Waiting Forever for Nothing" which is graced by a haunting balladic passage. The remaining 2 cuts are more simplistic and more intense although there is no fast play to be encountered. This is an interesting effort which sees a band having a vision and creativity aplenty; it's just that they have chosen the worst possible time to realise them.

Chaos Lords EP, 1993
Devour Full-length, 1995


This is a one-man project (presumably a guy under the nickname Chaos) from Finland. The music is a conglomerate of several styles: thrash, power, black, heavy metal, with a strong symphonic and classical presence. The style could be compared to the Kovenant's "Nexus Polaris", but with a certain number of power/thrash metal riffs. The last offering "Illusion" steps down, with no traces of thrash metal concentrating on the more operatic keyboard-driven side of the music with more aggressive black metal blast-beats thrown in ("Chaos").

Before the Storm Full-length, 2001
Endless Battle Full-length, 2001
Mystery Full-length, 2001
Best Of Chaos Opera Full-length, 2002
IllusionFull-length, 2002


A 3-song demo of good classic and modern thrash metal mixed together with deep death metal-ish vocals "interrupted" by hysterical black-ish shouts; the tempo is fast with cool sharp riffs.

Human Hammer Demo, 2005

Official Site


Based on the "Postwar Madness" single, this band pulls out aggressive old school thrash/death ala early Death and Incubus, finished with a good cover of Death's "Zombie Ritual".
The full-length debut is more faithful to thrash in a way similar to Sepultura's "Arise" and Slayer's late-80's period. There is a slight touch of death metal ("Only Evil can Prevail", the brutal grinding mid-section of "Spiritual Cancer"), but most of the time the music is fast-paced aggressive thrash metal the exception being the heavy stomper "Expired Faith". "Blinding Chains" is a nice take on a more technical play featuring a couple of puzzling riffs and tempo changes, and those "temptations" should be more for the future. The singer is too brutal for the music perhaps with his very low-tuned growls. The drummer Vitor Fryggy is the same one who also hits for the old timers Atomica.

"Art of Killing" is a stylish semi-technical mixture of thrash and death metal which fails to show the musicians' full potential again the guys preferring to death/thrash with force without too many intriguing deviations the latter all belonging to the death metal genre which takes at least half the space from the album thrash metal occupying the shorter blitzkrieg numbers those coming with a tinge of hardcore. The closing title-track is a really good progressive instrumental piece which is again more of a hint at a brighter future to come than a statement of intent that the band will carry on in this direction.
"Seasons of Red": the intriguing "flamenco meets leads" intro presupposes a more stylish affair, but the truth is that this next instalment from the band's catalogue is their most ordinary-sounding despite the presence of several nice Oriental motifs (check out "Gods Upon Mankind"). The fast-paced "carnage" is guaranteed for most of the time and cuts like "Red Terror", and the death metal-laced "Incident 228" and "Like A Thousand Suns", are short invigorating headbangers. "State Of Blood" is a cool reminder of the band's bigger technical abilities, but remains one of its kind here. The vocalist sounds even more annoying now with a more expressed shouty death metal tember.
"Gods of Chaos" sees the band having no intentions on going back to their more interesting roots, and the bash here is relentless with death metal ("Black God") standing on the side ready to interfere at every given opportunity. "Serpent in Flames" is a curious spacey progressiver, but this is the only deviation from the rigorous one-dimensional barrage.

Garden of Forgotten Shadows EP, 2006
Postwar Madness Single, 2009
Kvlt ov Dementia Full-length, 2009
Art of Killing Full-Length, 2013
Seasons of Red Full-Length, 2015
Gods of Chaos Full-Length, 2017

Official Site


The thrash metal resurgence is particularly strong in Italy, and this young act are another fresh force on the scene there; and it's a force to reckon with judging by the quality of the music at display here. "Faith" opens the album in a fairly promising way with lashing fast technical riffs. The technicality partly gets lost later on, but the guys ably replace it either with heavy pounding rhythms ("Dawn Of Death") or with more aggressive riffs (the short furious "Carnage" & "Bio-Death"). "Chokers" brings back the more stylish guitar work also assisted by a couple of enchanting Oriental motifs. Fast-paced stuff is what awaits us till the end, though, but one would hardly complain absorbed in this less ordinary headbanging amalgam which gets tenderly balladic for a short while on the closing "Spyral". The vocals are in the attached semi-clean shouty department and as such are a nice addition to the inspired musical approach.

Bio-Death Full-Length, 2012

Official Site


Modern industrialized thrash/death which mixes the tempos both sides graced by short, but cool melodic leads. There's quite a bit of groove present as well, and dynamic rippers like "Prokill" become less and less frequent with the time passing. The vocalist is a scary death metal growler who surprisingly sounds intelligible for most of the time.

Kingdom of Pigs Full-Length, 2015

Official Site


Decent modern thrash/death metal which constantly hesitates between the technical (the excellent twisted opener "Chaosmachine") and the more ordinary failing to develop fully the stylish, more clever moments. But on the other hand there is a lot of headbanging here the guitars having the necessary hard edge despite the frequent adherence to more melodic licks plus the odd blast-beating section ("Plaguewielder"). The singer shouts in a forced gruff deathy manner. This act actually rose from the ashes of Vanity Ruins where the style was pretty much the same.

Chaosmachine Demo, 2011

Official Site


Th debut is a blend of old-school death and thrash metal; a stylish effort with nice technical licks. The sound is similar to No Return's "Contamination Rises" mixed with certain Slayer-influences (their various periods), and a doze of the modern sound, but heavier and with more shouted-out vocals. Once the mighty crushing opener "Hard Time For The Wrong Man" hits you, you know this can not be ordinary stuff. "Incongruous Possession" keeps on thrashing relentlessly, and it's with "One Step Behind Anger" when more intriguing guitar riffs come up, although the fast tempo remains intact. "Denied Rights" slightly betrays the classic sound of the album adding groove, also slowing down, and "Minds Temptation" follows a similar pattern, but the inclusion of a more stylish play ala Meshuggah puts it on the right track. "Detestation Inc." is a good closer, the most aggressive number, staying closer to death metal, graced by really intense riffage.

"Image Of Disorder" bears no surprises, except that very proficient leads have been introduced, as well as a couple of more brutal death-laced songs. The groovy deviations heard on the debut are almost gone, and the sound is more compact and consistent, although some may not tolerate the clean vocals ("Image Of Disorder") which spring up here and there. Still there is seldom speed lost here, despite the presence of a few slower mid-paced numbers, including the interesting semi-technical sinister "Destined For Your Own Hell" which also flirts with doom and gothic, among other genres.

The EP contains 3 tracks of expected modern thrash sustained in a steady mid-pace which leaves room for more headbanging rhythms on the closing "When The Sky Turns Red" which speeds up forward with mechanical energetic riffs as though to bind this short effort with the previous 2 full-lenghts.

One Step Behind Anger Full-length, 2007
Image Of Disorder Full-length, 2008
Legacy of Chaos EP, 2012

Official Site


4 songs of predictable modern melo-thrash/death which has no pretensions at anything too original, just direct lashing riffs with a pinch of melody. The singer is a really brutal death metal low-tuner, hardly comprehensible for most of the time.

Spread The Infection Demo, 2011


This is a side-project of Wargrinder, the Nocturnal Fear member who also has many other underground acts under his belt, most of which belong to the death metal genre. Here our friend opts for spacey, intricate progressive thrash ala Voivod (reportedly the band is named after a Voivod song). "Lost In Space" is already the surreal headbanger you could expect from such an infuence, and "Conflict Inside" goes deeper down the rabbit hole with a portion of more spastic, more surreal arrangements ncluding a cool balladic break. "Into The Unknown" is Voivod-ish thrash as much as the Voivods themselves can pull it out, a dissonant shredder partly marred by the not very good shouty hardcore-ish vocals. With this minor flaw left aside, this is a really promising beginning for Wargrinder who here shows a hidden potential which screams to be more fully revealed in the future.

Cloned Existence Demo, 2003

Official Site


Based on the full-length, this band plays good retro power/thrash which starts misleadingly with the calm mid-paced "Welcome to the World". "The Infantry" has alreay switched onto full-throttle headbanging thrash with nice leads and melodic licks, and "The Legion of the Last Braves" is another very cool affair beginning in a galloping manner before moving onto faster, even blast-beating for a while, thrash. Epic tunes sneak on the slower "The March of Time", but there is more than that, the sound suddenly taking a great technical direction in the middle. "Hunters" is a pounding number again with elements of power metal which stay around for the next "The Black Gate", but "Side by Side" wastes no time moshing out vigorously with heavy smashing riffs. The epic side takes the upper hand again on "The Circle of Fools" followed by the 3-min peaceful instrumental "Sunset and Sunrise". The end comes in the form of the 9-min progressive opus "The Empire of Lost Souls" which preserves the epic moments adding a few more aggressive riffs. Both sides are mixed well as the epic one never loses the edge, and the cool emotional clean vocals nicely fit everywhere, and will remind you of Charly Steinhauer (Paradox).

Circle of Fools EP, 2005
Hell is Here Full-length, 2007

My Space


This is not a Meshuggah-clone like you might be inclined to think reading the band name; this is death/thrash metal of the old school. The difference is that here the music lacks the control typical for this genre, and is a bit chaotic with modern death metal riffs involved, too. Possessed and Entombed mixed together would be an accurate description.

Reign In Chaos Full-length, 2007

Official Site


What we have served here is Slayer with a more updated modern production. There should be no complaints since the band cover all stages of the Americans' career with fast and slower numbers taking turns topped by vicious semi-declamatory vocals which lack melody, but make up with force and authority reaching an early Tom Arata intensity at times ("Soultrader"). Seldom does the music take a more playful turn (the merry lead guitar on "The Dungeon"), and "Jihad" is a commendable semi-technical Oriental piece, the variety in the 2nd half further achieved with the inclusion of the doomy cut "Bathory" which slightly influences the closing "Doomsday Device" which tries to sound both fast and slower failing to reach the necessary balance also losing the Slayer link somewhere.

Condition Zero Full-length, 2009

Official Site


The debut: a talented young band who play potent atmospheric progressive power/thrash metal reminiscent of Nevermore and Communic with a male and female singer who form a nice cross seldom achieved before, and make the songs quite memorable. At times the music acquires modern groovy tendencies and alternative shades, but this makes the band sound even more interesting. The guitars are very sharp and crushing making even the attempts at a more melodic play quite aggressive. The tempo is mostly mid-paced, but the guys (and a girl) are not strangers to more straight thrashing (parts from "Indifferent", "Mirror" and elsewhere), but they hardly need that since the hard riffs will satisfy anyone. Maybe the leads should be given more space in the future as they are really good, both melodic and technical, here often stifled by the smashing riffage. Certainly these guys (and a girl) have a lot of other great things to offer.

The 2007 demo provides four tracks in the same intriguing style; maybe the quiet melodic interludes are more frequent here (they are featured on every song), but they nicely contrast to the sharp riffage which thrashes both with intensity and technicality: check out the great more complex "March", the more direct thrashy delight "Picture", and especially the last song "Rise", which speeds up quite a bit, ending this promising rehearsal for the, hopefully, next full-length in a solid aggressive manner.

"Dead Eye Dreaming" is built around the four songs from the demo, but the opening "10 Years of Denial" may scare the unprepared with its openly aggressive thrashy approach. Things get back to normal with "Fork Tongues and Foul Times", already heard on the demo, a nice dark progressive power/thrasher in a dynamic mid to up-tempo. "How to Define a Race" is an intense mid-paced shredder with a pinch of groove which suddenly turns to brutal death metal, and later metamorphoses into calmer progressive, only to finish with a swirling twisted Coroner-like section. Anything could be expected after such a diverse composition, but "A March for the Dying", also familiar from the demo, settles for less variation, still remaining complex and aggressive with very sharp riffage which never leaves the mid-pace. Then comes an interlude: the short 1.5-min lead-driven instrumental with an Oriental twist "Another Lie to Live in Vain", followed by the gloomy doomy "Blind Eye Focus" which will remind you of Communic. "Dead Eye Dream" thrashes in a technical up-tempo manner very close to Nevermore, and is an obvious nod to that band's "Dead Heart in a Dead World", both music and title-wise, also offering a fine melodic semi-balladic ending. "Rise" and "Picture Perfect" are the duo having already graced the demo, but the "idyll" is broken by "Two Shadows" which blasts out in a furious chaotic fashion in the middle which starkly contrasts with the very calm balladic outro where the female singer Giorgia Fadda pulls out quite a performance albeit very short. "The Evident" "evidently" doesn't belong here offering another furious blasts in the beginning, but the guys (and a girl) manage to transform it into a standout technical/progressive opus later worthy even of Zero Hour supported by a cool doomy twist at the end. There is a hidden track as well, an excellent fast-paced thrashy version of the Two Unlimited's biggest hit "No Limit", quite well done with aggressive guitar shreds ably substituting for the electronic pyrotechnics of the Dutch techno pioneers, and the girl doing again a great job behind the mike singing in a subdued lower tone.
If Nevermore are the leaders on the modern progressive power/thrash metal field, these guys are a very close second (did someone out there say: "Psychotron"?) beating by miles the numerous Nevermore clones swarming the scene. Their style has its own characteristics (the nice vocal "duel" between the female and the male vocals is just one of them) stretching towards other genres managing to come up with a potent encompassing sound which on the follow-up is more varied and dynamic, with the more extreme elements very well embedded into the song-structures without sounding annoying (although to the fans of the debut those "innovations" may come as quite a surprise at first).
Members of the band can also be seen in the melodic death metal outfit Blu Infinito and the black metal formation Verbo Nero.

The White Noise Within Full-length, 2005
Demo Demo, 2007
Dead Eye Dreaming Full-length, 2009

Official Site


Based on the 1st demo, these guys offer cool intense retro thrash with various influences: the crossover scene ("Incorfomiity And Hate", "Violence is My Way"), Vio-Lence ("Elimination Is Inminent", "Immortal Conscience"), a mixture of the two ("For That We Wait"). The guitar work is simplistic and straight, and a big part is given to the bass which implements are quite cool. The vocals are high-pitched, somewhere between John Connelly (Nuclear Assault) and Sean Killian (Vio-Lence), but the guy here has the tendency to wail more on the ending notes. Some of the band members are also active with the retro thrashers Dangerous.
The full-length is finally a fact and not only that, but it shows the band in a very bright light playing excellent classic Bay-Areasque thrash with engaging complex moments (the opening "Apocalyptic Nature") taking turns with direct downpours (the tile-track) all over the guys' new progressive infatuations culminating on the diverse opus "Bloody Revenge". Towards the end the guys raise hell with some really fast numbers, like the very appropriately-titled "Fast & Heavy" and the blistering speedsters "Metal Justice" and "At the Strange Dimensions". This is a very good work showing a true dedication to days long gone done with consummate professionalism and a good taste for diversity.

Chaotic Rehearsal I Demo, 2004
Chaotic Rehearsal II Demo, 2005
Mad Cowboy... Demo I Demo, 2006
Elimination is Imminent Demo, 2008
Ride the Fire EP, 2012
Death's Waiting Full-length, 2015

Official Site


Based on the self-titled debut demo, this act specialize in heavy, almost doomy at times, power/thrash which creeps forward with hypnotic seismic guitars which unleash the casual flair of speediness ("Buy a Gun", the jumpy headbanger "Side by Side"). The guys skillfully avoid the groovy pitfalls along the way the effort mostly carried by the excellent clean singer whose deep emotional tone is a good reminder of throats like James Rivera and Mike Munro (Meliah Rage).

Chaotic Order Demo, 1996
Demo Demo, 2003

Official Site


This obscure trio comes up with intense mid-paced retro thrash sounding like a more aggressive version of Sacred Reich's "The American Way" with crunchy pounding guitars and plenty of chugga-chugga riffs. A nice female vocal participation can be heard on "Catapult", assisting the gruff semi-death metal vocals as well as modern groovy rhythms with a shade of rap on "Grynch Nite" which, unfortunately, is far from the standards of "31 Flavors" from the aforementioned Sacred Reich album. Despite the consistently heavy guitar work this effort may bore the listener because of its never-changing nature.

Toe Tag Full-length, 2000

My Space


A very bad sound quality is a major hurdle for one to really give a description of this stuff; well, after several listens one may reach the conclusion that this is heavy moody all-instrumental power/thrash metal with good bass support, but with very thin buzzy guitars; the only good thing would be the obvious shade of groove which comes ahead of its time here still sounding clumsy and much less angry. Oh, at the end some vocals sneak in for a bit, but they totally ruin the not very positive impression left by the music being flat, unemotional, and fairly unrehearsed.

Demo #1 Sep. Demo, 1990


A hellish trio from Vancouver which gives the Motorhead rock'n roll boogie a more aggressive shape by thrash/blackening it both in the music and vocal department. The final result comes as a mix between Bewitched and Abigail with a few pure speed metal ("Satan's Rock 'N' Roll", "Motorcult", etc.) and hard'n heavy ("Hell Breaks Loose"; the Motorhead leftover "Trashed" (not exactly thrash here, folks)) joys thrown in for a disputably good measure. Rough thrashy cuts like "Alcoholocaust" "roam" around to offer compensation from the casual softening of the music, and some good lead performance is displayed to hint at the guys' bigger musical skills which presence here is not really necessary.

Satan's Rock n Roll Full-length, 2012



Stoner/doom with a more thrashy edge is what these guys offer on their albums; if you can imagine a thrashy version of Spirit Caravan... As is typical for such slightly awkward mixtures, the doom fans will find more to like here.

Whiskey Time Full-length, 1998
Barnburner Full-length, 2006

My Space


A less known Finnish thrash metal band; the style isn't too far from Rumble Militia and Toxic Shock's debut, very good energetic stuff, direct, with sharp riffs and a sparce use of leads. The guys play fast and tight, but their music is infused with cool melodic hooks, more obvious on the slower material (Firedancer", "Metal Eyes"), which comes with a certain crossover touch. Still their faster side is the better one, and tracks like "Inqusition" and "Surgery" are major explosive headbangers. The last song "Wakan Tanka" steps down being more melodic with clumsy power/thrash metal riffs.

In Vice Full-length, 1989


Thrash/crossover, so similar to D.R.I. that there is nothing more to add; energetic riffs and up-tempo aplenty, spiced up with slower, more melodic numbers ("Your Path", "Think About Your Life").

Time to Survive Full-Length, 1991


Well done classic thrash metal with echoes of Anthrax and Hirax; the riffs are sharp supported by very nice bass, and the singer has a forceful clean delivery with a slight alternative blend at times assisted by a sparse female vocal participation courtesy of that same Charlotte who's apparently the band founder and also plays the guitar. Near the end some modern shades sneak in the form of heavy proto-groovy rhythms where the sound gets close to Biohazard ("Face the Mirror"), or a more aggressive Rage Against the Machine, and fits the overall not very fast approach sticking to jumpy mid-paced guitars.

Skeletons of South Street Demo, 1993

Fan Site


This obscure odd act was formed by the famous producer Harris Johns (Kreator, Sodom, Helloween, etc.), and their only effort was supposed to be part 1 of a sci-fi based tetralogy under the name "The Journey Through Sound and Space" which never materialized. The music presented is a capabe mix of power, speed and a bit of thrash metal (the energizing "Ministry meets Die Krupps" piece "The Lords of the Island") on a modern industrialized base. The guitars have a distinctive futuristic abrasive edge also typical for KMFDM, and there are numerous nods to the ballad of the heavy atmospheric type. The singer does a good job with his attached clean tember, and his sparce synthesized inclusions are not that annoying.

Blasts Off Full-length, 1994

My Space


Based on the demo, this band tries to combine thrash, death metal and hardcore, sticking to the classic 80's sound. When the guys keep it short ("No Reason to Die"), they come up with quite potent aggressive sound; the longer tracks are less appealing, mixing ultra-fast parts with better more technical moments.

Haunted Heaven Demo, 1995
Sample of Murder EP, 2000

Official Site


A cool demo of speed/thrash along the lines of Sentinel Beast and Exorcist, but these guys are not strangers to heavier sections, and generally their music is more hard-hitting, smelling even Agent Steel on the best, and fastest, moments ("War Crimes", "Scared to Death").

Return to Instinct Demo, 1989


Based on the full-length, this act, who also feature the "notorious" vocalist A.k.A.Dthmngr (also Hatespawn, Impending Doom, Nameless) specializes in aggressive death/thrash/black which balances well between the three styles boasting entertaining death/thrashers ("Flagellum Horribils (Trident Lash)") despite the frequent adherence to blast-beats. The evil atmosphere is well sustained throughout, also thanks to the misanthropic semi-whispered vocals and the surreal guitar tone involved at times (check out the twisted opus "S.olution... A.verse... T.enebrous... A.nswer - N.othingness") which will remind of Bal-Sagoth and mid-period Dimmu Borgir giving the music an intriguing, progressive edge.
The EP is a violent beginning for the band who at this early stage stick to death metal more providing brutal, but also very buzzy, riffs topped by unholy raspy black metal vocals and constant blast-beats which ruin the impression to a big extent except on the cool cover version of Protector's "Mortuary Nightmare" from the Germans' "A Shedding of Skin" album.

Banished EP, 2004
Sulphur Seraph (The Archon Principle) Full-length, 2012


Another super group this way comes fronted by Tim "Ripper" Owens, who here is just a helping hand along with the bass wizard Steve DiGiorgio, to the drum guru Richard Christy (Control Denied, Iced Earth, Demons & Wizards, etc.) who has actually founded this project which music comes as a more aggressive version of the one already heard on Owens' other more recent formation Beyond Fear. So expect classic power/thrash metal also rubbing shoulders with the more recent Iced Earth output, mostly mid-paced with references to the ballad. There are heavy riffs aplenty, as well as sparce more technical decisions ("In A World So Cruel"), but this recording seriously suffers from the lack of speed in the 1st half. The 2nd half is an entirely different story starting with "Manifestations" which "manifests" out of the blue in the middle speeding considerably, even blast-beating for a bit; those same blast-beats can also be heard at the end of the next "Voices Within The Walls". "The Darkest Eyes" is excellent speed/thrash with great leads courtesy of Jason Suecof (Crotchduster, Capharnaum). The closer "Fear in the Sky" nicely mixes the two trends resulting in a fine epitaph of crushing heavy riffs and soaring almost epic melodies. Di Giorgio sounds quite subdued and his pyrotechnics are not that frequent. Owens, on the other hand, is traditionally in a very good shape singing in a forceful semi-high tone not too far from his delivery on Iced Earth's "The Glorious Burden". This is a fairly cool effort and all, but it is hardly necessary provided that Owens already offered similar stuff on the Beyond Fear debut, and treading into other less deeply explored territories could have been more beneficial to the fans.

"Cold Winds on Timeless Days" follows suit pretty soon, the supergroup apparently intent on playing a more important role on the contemporary scene. The fans of the debut will not be disappointed, everyone involved being in good shape, this time thrashing much harder, though, in a bombastic manner as evident from the energizing opening piece "Ashes Falling Upon Us". "Zerospan" is a furious melo-death metal-laced number with hard, nailing riffs, but albums of the kind can't possibly pass without any more calming moments, and here comes "Cold Winds" to warm the more romantic hearts with its more restrained, balladic "windy" rhythm. The speed/thrash fury continues after that with "Lead The Way" which will "lead the way" to a brigther future with its ultra-speedy approach. "Forever Marching On" is a twisted technical track with a catchy melodic chorus, and "Guiding Me" is a dramatic mid-pacer with soaring melodies. "The Beast Outside My Window" will soothe you with its very tender, acoustic beginning, but later on one will encounter the most brutal music on the album, ripping speed/thrash with touches of death metal again. "On Unclean Ground" tones things down considerably sustained in a peaceful mid-tempo which remains for the next 3 songs finishing this effort in a surprisingly subdued manner which some may find a bit underwhelming, lacking the bite and ferocity of the preceding compositions. The aggression may come as too much at times in a way quite similar to Satan's Host's "By the Hands of the Devil", especially for those who expected a balladic-inclined power/thrash metal all the way; but the adjustment to the more brutal delivery, however, would not be too hard, the guys pulling out pretty inspired performance full with flair and style, in the best tradition of early Blind Guardian, Hellfire, and Manticora.
"Creatures Watching over the Dead" sees the band settling down for peaceful power/thrash. "The Soulless" embraces some death metal with a blast-beating base at the beginning, but "Afterlife" right after, on the other hand, is just a mellow semi-ballad so the diversity is quite big, for better or worse. The middle is occupied by not very interesting mild semi-ballladic cuts which make "Reach Into The Light" sound like a masterpiece after them, a song which is an obvious "Painkiller" emmulation, but well done. And that's it, the band completely lose it after that only giving a chance to the closer "Time Has Passed" to wrap it on with style with more intense riffs; the rest is just epic power metal seeing the band their impetuous thrashy beginnings.

Charred Walls of the Damned Full-length, 2010
Cold Winds on Timeless Days Full-length, 2011
Creatures Watching over the Dead Full-Length, 2016

My Space


This Slovakinan trio specialize in ordinary, not very inspired, 90's post-thrash which is a bit more than incessant groovy sections which are a piled on top of each other without much emotion or originality. This is a tired effort which which offers a fairly boring interpretation of past trends.

Viagram Full-Length, 2006

Official Site


Mild pleasant post-thrash in a sleepy proto-balladic tempo, with very sparce more energetic surprises (parts from "Standarized"). The singer acquits himself, though, with a cool semi-shouty semi-clean tone distantly resembling James Hetfield, and remains the star of the show.

As You Fall EP, 1996


This is interesting: members of the Norwegian black metallers Mayhem join forces with the German thrashers Assassin. So what is the final result of this collaboration? Very raw, occasionally brutal thrash with very short tracks (1-2 min) and very twisted vocals courtesy of Euronymous (R.I.P.) who introduces each song shouting out the title. Apparently the guys have tried to rival the Hellhammer demos in terms of brutality and chaos, but the sound is even worse, and creates the impression that this is only Euronymous who is involved in the recordings: with simple and basic music like that it's hard to believe that there are five people taking part; could have been an influence on the grindcore scene which sprung up very soon after that.

Demo Demo, 1986


A decent attempt at the classic thrash metal heritage ruined by the flat unemotional semi-death metal vocals. The music is a mix of moderately fast and slow sections in a way not too different from Harter Attack, some of which come with a more carefree crossover shade ("Tomorrow's Not a Promise"), and as a whole the approach is soft without too much intensity or speed ("Annihilation" is a good try to wake up the listener, and will succeed with its vigorous riffage and more dynamic decisions).

Extinction Is Permanent Full-length, 2010

My Space


This is one guy, the name Mark "The Peso" Psencik, who's in chrage of the proceedings here, and he manages to acquit himself with engaging progressive thrash with a pinch of death metal which may become monotonous at some stage due to the long numbers and the dominant mid-tempo which is rudely intercepted by explosive short pieces ("Damn-Nation") which should have been more to compensate for overlong doom opuses like the 10-min "War of All Wars". At the end Mark takes it easy, and the last two tracks are quiet meditative variations from which his angry semi-shouty vocals are missing.

The Fuck U.P. EP, 2013
Burning in the Fields of Glass Full-length, 2013

Official Site


Classic "chemical" thrash which mostly suffers from the bad brutal death metal vocal delivery. The band mix it up, more or less successfully, by alternating fast pieces with slower, also more modern-sounding, ones the latter surprisingly the more attractive side also trying something creepy and more technical (the appropriately-titled "Worms") at times. The faster side is not bad, but is fairly generic the guys lashing fiery riffs the latter bordering on death metal ("Doi Codi"; the cool more complex closer "Cursed Harvest") and generally not lacking energy taking over at the end to a volcanic headbanging effect.

New Dimension Full-Length, 2013

Official Site


This 3-song demo offers classic thrash reminiscent of Possessed and Slaughter: "Baptism Of Fire" is a heavy up-tempo number; "Resurrection" is slower and heavier, and "Why Die?" is an aggressive thrash/proto-death track which again slows down near the end.

Why Die? Demo, 1988

Official Site


Retro thrash with a shade of hardcore is what is on offer here, with Tankard and Nuclear Assault the main targets for worship, although the guys boldly step on a proto-death ground ("Kill The Rich") whenever they feel like it, and even on a grindcore ("Supernatural") one on the shortest numbers. You will certainly get a lot of "moshing and thrashing" from the closing "Moshing And Thrashing", also because it is the longest song on the album: whole 3.5-min.

"Rotten Planet" is another intense fast-paced offering, this time sounding more brutal with adherences to blast-beats wherever needed. This is a bit one-dimensional, but the sincere approach and the carefree attitude will ensure the fans' coming back to it now and then, at least just for the moshing out of it.

"Detonator" is another violent effort often sticking to brutal death metal patterns those relieved by more laid-back hardcore motifs. Still, one has to be careful with the frequent grinding moments ("Human Pigs") which will make you jump on your seat. The band are faithful to their uncompromising delivery steadily moving towards the most extreme side of the genre where Cryptic Slaughter belong.
More "assaulting chemicals" poured over you with "Mortal Payback" which is again quite brutal and relentless and not as well produced the abrasive guitar edge doing quite a disservice to the musicians. Not that the latter ever cared too much for any decent production values shooting short (1-2min) spasmodic "bullets" nonchalantly the aggressive grindy outbreaks just around the corner.

Nuclear Mosh EP, 2008
What The Fuck? Full-length, 2009
Rotten Planet Full-length, 2010
Detonator Full-Length, 2012
Mortal Payback Full-Length, 2013

My Space


Probably the finest Belgian thrash metal band who was founded by ex-members of the death metal formation Excavation; they started with the "Brutal Violation" demo, an effort richly deserving its title, which could have been the most brutal recording in the Belgian metal underground at those times; it's an aggressive, fast blend of thrash and death, well more death metal-based. "Fatal Exposure" is explosive death/thrash (more death than thrash again), sounding like a direct follow-up to Pestilence's "Testimony Of The Ancients": a blistering display of impeccable musicianship, graced by some of the finest technical riffs ever played. The aggression from the demo has been reduced for the sake of the complex guitar arrangements some of which will make your jaw drop; literally! The surreal beautiful leads are not given too much space as the focus is on smashing, very stylish riffage.
After such a great first release, it was interesting to see how the band would carry on, and they did not disappoint: "Values" moves more into thrash metal territory, but the amazing technical guitar sound stays untouched; this is another compulsory work, which excels in every department; the leads are longer, and the song-structures are more complex, which has happened for the sake of the speed and aggression, but this is hardly a complaint. Whether the guys would be able to release another album of the same quality, remained a mystery, as they split up after this one; seldom can a band achieve two consecutive creative peaks within such a short span of time.
The "Beyond Reality" demo is much more proficient from the debut one containing some truly inspired technical atmospheric thrash/death with some of the most brilliant riffs around predating Afflicted's debut and Pestilence's "Testimony of the Ancients" with a few months. This is both fast and exuberantly technical all effortlessly mixed into one appetizing blend from which was born the full-length debut where two of the songs here have found "shelter". The production qualities are still pretty underground-like, but music that good easily shines brightly through them.

Brutal Violation Demo, 1990
Beyond Reality Demo, 1991
Fatal Exposure Full-length, 1992
Values Full-length, 1994

My Space


Based on "Raining Anvils", this formation provide typical modern thrash/post-thrash, melodic and groove-oriented stuff which starts in a promising, more intense fashion before switching to the groovy formulas which, once sneaked in, refuse to leave and turn this album into the next in line angry effort. The singer is a quarrelling shouter with a more intelligible throat distantly recalling Phil Anselmo.

Bury Your Demons Full-length, 2005
Raining Anvils Full-length, 2015

Official Site


This is brutal old school thrash/death with brutal guttural death metal vocals. The guys mosh with passion recalling Torture Squad, Ravage and the Dutch Thanatos. The overall approach is more on the side of thrash, but watch out for several uncontrolled blast-beats which may spoil yoour mood (depending on the taste). The band members also play with the death metal cohort Reinkaos, and the black/death metal hybriders Nekrist.

Sick Mutant Society Full-Length, 2016

Official Site


This outfit pull out quite cool modern technical/progressive thrash with industrial overtones think Nefilim's "Zoon", but this is better and more music-prone without too many side effects. The opening "Cents Of Insanity" is already an accomplished, all-instrumental sterile shredder which sets the tone for this futuristic dispassionate rifforama which becomes wonderfully technical on "This Remaining H8". "Grind-Minded" is more of a "death/thrash minded" piece with cool twists and turns before "Dubstitched" reminds of the industrial nature of the album being a short industrial noiser. Later on the approach becomes mid-paced and dramatic without changing from one song to another except for the excellent technical thrash/deathster "Make War Not Love" near the end which provides more dynamic music before the industrial closer "Nu Du" wraps it on with a bit more noise. The singer is a synthesied deathy semi-shouter who perfectly matches the apocalyptic musical landscape.

In-the-Now Full-Length, 2013


Epic battle-like classic power/proto-thrash which is modelled after the rousing anthems of Manilla Road and early Jag Panzer, the heavy stomping riff-patterns reigning supreme inevitably hitting some doomy ship-sinking waters ("Angel of Death", the progressive epicer "Ghost"), the singer also producing a fairly positive impression with his levelled clean mid-ranged timbre. The final "Armageddon" livens up at the end with brisk energetic rhythms, but this is music for the more introspective-oriented side of the fanbase.

Beyond The Shadows Full-Length, 2017


Rough unpolished retro thrash which is quite fast and energetic featuring both mild crossover and brutal proto-death moments; the vocals are all over the place being low-tuned, screechy, and more. There are moments when the music makes sense and comes close to the sophisticated aggression of the Rigor Mortis debut, but at this stage these are just casual sparkles.

Tied Hands Denied Future EP, 2009

My Space


Cool, fast-paced thrash/crossover recalling Cryptic Slaughter, with short aggressive numbers, maybe a bit more melodic and diverse.

Life's a Bitch Demo, 1987


Based on the full-length, this act specialize in energetic hyper-active old school thrash/death, the guys keeping the mosh going with frequent semi-technical "skirmishes" ("Human Sacrifice") inserted alongside more officiant, more epic propositions ("The Absurd Beautiful Lie"). The title-track is a cool impetuous galloper preceding the faithful cover of Exodus' "A Lesson in Violence" which closes the album. Some of the band members had a short stunt with the death metallers Dissolution.

As Empires Fall EP, 2015
Unleashed upon This World Full-length, 2018

Official Site


The demo: these lads pull out aggressive no-bars-held thrash with an early Kreator-vibe including in the vicious semi-screamy vocal department. "Thrash Will" by all means "Conquer", as the title of one of the songs suggests, and one will have no choice but be swept by this downpour of relentless fiery riffage "spit" with the utmost intensity in a blitzkrieg fashion producing some of the definitive headbangers of recent times: "Bio-Chemical Disaster", "Immortal". This is German thrash worship done with panache and respect to the veterans. The guys were previously known as Conqueror under which name they released one demo in 2007.
"Episodes of Insanity" sweeps you from the get-go with the lashing opener "Dehumanize" and the following "Thrash Will Conquer" will by all means help thrash "conquer", if not the whole country, at least the neighbourhood and the one next to it. "Vespers Of Nuclear Devastation" has a slight semi-technical "sting", but the guys aren't very keen on developing this tendency any further the rest of the material thrashing like demented at times with a covert crosover vibe ("Social Face-Off"), at others with an almost Paradox-esque reckless, progressive abandon ("Radioactive Annihilation"). This is a promising debut which will do a lot to put Costa Rican metal on the world map.
"The Act of Retaliation" is the next in line raging "beast" the guys not intent on losing the accumulated inertia although several more restrained mid-tempo "stops" ("Democide") are provided including a short semi-progressive isntrumental ("Episodes of Insanity"). "Codified to Kill" combines slow with fast rhythms, and "Inherited Suffering" attempts something outside the box with both more technical and more bashing, hardcore-laced riffage.

Radioactive Annihilation Demo, 2011
Episodes of Insanity Full-Length, 2015
The Act of Retaliation Full-length, 2017

Official Site


Based on the first two demos, this is very good aggressive thrash which isn't too far from the Sacred Reich debut, or Torture's "Storm Alert". The band often comes up with crushing, mid-paced riffage which sounds even more compelling than the faster sections, which follow immediately: "Consumed By Hate", "Death Watch". Certainly, balls of fury like "Morbid Reactions" and "Relentless Horror" are hard to be ignored, let alone the fine thrash opus "Brutally Slaughtered", which thrashes with full force throughout its almost 10-min.

Impending Doom Demo, 1989
Consumed By Hate Demo, 1990
Of Mind and Body Demo, 1992


Simplistic old school thrash influenced by Venom, early Celtic Frost and Motorhead with a playful, rock'n roll spirit.

Chemikiller Full-length, 2002
Evilspeak Full-length, 2006

Official Site


A hellish trio from Germany unleashing furious old school speed/thrash staying true to their native roots (early Deathrow, Exumer's debut) occasionally adding a somewhat black-ish colouring both in the music and the vocal department, plus the odd epic break ("Witches Sabbath"). This is fast energetic music with sharp lashing riffs and screaming solos which get muffled a bit due to the not very clear sound quality.

V2 Demo, 2008

My Space


3 songs of jolly, energetic, mostly speedy thrash/crossover, not too far from the legendary Lawnmower Deth.

Demo / EP Demo, 2008

My Space


Thrash/death, mostly mid-paced and well executed, mixing old and new school riffage; cool stuff, if you manage to ignore the detrimental tendency of the band to use these annoying clean vocals which here really try to be something more than just an extra.

Child O'Flames EP, 2007

Official Site


A very interesting and an enjoyable debut, which relies on melodic progressive power/thrash to pull it through; the compositions are long (6-9min), and the expected numerous time and tempo changes are all over them, neither of them overdone, and the good thing is that the pace is energetic and fast-paced more than rarely. The riffage is not very aggressive, clinging between 90's Megadeth and early Annihilator, although the faster moments carry a strong Bay Area flavour; on the best moments it also resembles one of the early masterpieces of the technical scene: Savage Steel's "Do or Die" quite a bit. The album starts and finishes with the two longest monstrous tracks, both close to 10-min, but there's seldom a dull moment there with this very eventful music. From the two bonus numbers one is a pure ambient instrumental: "Mental Parasites", whereas the other one is a great progressive thrash opus: "Death Tribe", twisting and turning into many directions providing a good headbanging fun as well, within its almost 11-min. The only thing which may throw some "clouds" over this grand scale entertainment would be the gruff hardcore vocals, courtesy of Jonny Mollsin who also sings for the crossover thrashers S.T.R.E.E.T.S.

Hard Times Hanging at the End of the World Full-length, 2009

My Space


Based on the full-length, this 2-man band play heavy seismic modern thrash, dramatic stuff with references to both doom and death metal with squashing riffs galore which still leave room for some melody ("Evoke") to be "evoked". "The Astral Plane" is the song Cathedral and Saint Vitus never wrote, psychedelic doom at its traditional best which stronly influences the rest of the material except for the short burtser "v" which is prime thrash/death with impetuous headbanging guitars. The singer is a rough death metal semi-shouter kind of recalling Pete Steele (R.I.P.) on the Carnivore efforts.

The Sands of Time Full-length, 2014
Legends of the Macabre EP, 2014

Official Site


The thin guitar sound leaves a lot to be desired from this otherwise stylish tribute to the modern school which offers a bit chaotic semi-technical stuff which blends thrash and death metal on a curious melodic base by inserting aggressive passages whenever possible sometimes overdoing it due to the frequency of these switches. The singer is screechy and because of the not very clear sound quality sounds even more hysterical. There should be a follow-up to this rough-around-the-edges effort and with better production and more focus this band should be able to make their name heard.

The Failure Of Order EP, 2010


This young outfit play energetic old school thrash/crossover with merry semi-clean vocals. The delivery ranges from more peaceful punk rockers ("Zodiac") to wild bashing cuts (the opener "I Wanna Be Your Sin") with a more overt thrashy edge. This album is simplistic unpretentious fun and would have no problems stir light moshpits around the globe.

The Risen Dead Full-Length, 2015


This is punk-ish thrash/crossover, fast and energetic, having at times the chaotic early Voivod flavour, as well as a bit of the carefree Motorhead spirit. The riffs deliver being both sharp and hard, and the vocals are suitable with their gruff drunken tember sitting somewhere between Killing Joke and M.S. "Scruff" Lewty (Hellbastard).
"Future Decay": the vigorous thrashcore show is in full swing here, and the good time will be ensured all the way to the end the band crossovering with gusto now the antics recalling D.R.I. ("Remembrance Day", "Blackout") quite a bit. Comes "Eaten Dust Overload" and the flag of the good old speed metal ala Exciter is raised high served with a more stomping feel ala Celtic Frost, a curious mix which works well, especially on the arousing hymn "Under the Ripping Storm", and on the optimsitic closing thrashcore anthem "Fear the Mohawk Reaper".

The Road Warriors/The Nightmare of Existence Split album, 2008
Children of Technology/Bastardator Split, 2009
SpeedPunkMetalCrust Split, 2009
Metal Punk Split, 2009
Give Me Gasoline or Give Me Death Single, 2009
It's Time to Face the Doomsday Full-Length, 2010
Mayhemic Speed Anarchy EP, 2012
Future Decay Full-length, 2014

My Space


Based on "Dose", this act specialize in crunchy doomy post-thrash with industrial/noise leanings. The music may make someone fall asleep due to its hypnotic, not very eventful, nature, and the long monotonous compositions may be a bit hard to endure although some offer more variety in the music department (check out the closing over 13-min "giant" "Twenty Three"). The singer is a mean-ish semi-cleaner whose baritone comes a bit synthesized at times, we;; conformed with the mechanical flavour of the music.

In the Shadow of the Black Palm Tree Full-length, 2007
Dose Full-length, 2008

Official Site


These guys were initially known as Sinister when they released a solitary demo of fairly good technical thrash/death. Under the new moniker (which they later shortened to just Chiro) they hardened the course, and based on the debut demo they pull out cool retro thrash of the hard lashing variety with Sepultura and Devastation prime influences. More intriguing technical riffs sneak on "Mingle With the Obscure" which will also recall their compatriots Invocator with whom their guitarist Simon Melsen had a short spell. The tempo is pretty fast for most of the time bordering on death metal: check out the short clever 1.5-min cut "The Land of...", showing the guys in fine form ready to move up the full-length sector. This never happened, unfortunately, and reportedly they have expectedly turned to the modern trends later acquiring a groovy, angry sound on the next 2 demos.

First Chapter Demo, 1991
Cyco Groove Demo, 1993
The Promotion CD Demo, 1997


Based on "The Last Door", this is quite cool progressive/technical thrash/death metal which sounds like a more aggressive version of Deathrow and Target. The music pays its fair share to death metal with more brutal sections, but they are not too many. The guys aren't fans of the long, sprawling compositions and keep their sound tight, resulting in all the songs being excellent technical thrashers with great riffs and tempo changes. For fans of the aforementioned style this band is a must have.
"Deep Silence" arrives after a long 9-year pause and would raise some doubts as to whether the band was able to retain their effective style of old. The band fans have no reasons to worry since this effort is almost as good as the debut. The music is even more eclectic and intricate now coming quite close to Mekong Delta and the Japanese Doom. A new touch are the orchestral clean church-like vocals ala Tristitia (check out "Deep Silence") and the more aggressive death metal moments are gone if we exclude the brutal 1-min joke "Kill The Cop" which is more of a grindcore outrage. The experimentation is on the border of the good taste sometimes: the awkward mix of brutality and funk "The Fist", the heavy-handed blend of ballad and technical industrial "Junkie", but there are 12 whole compositions here so don't expect one-dimensional monolithic stuff. The songs are again not long and the frequently changing times and tempos make them an intense listen. The forceful death metal vocals this time are intercepted by a couple of odd indifferent robotic clean ones which add up to the unusual nature of this effort.

The Last Door Full-length, 1993
Deep Silence Full-length, 2002

Official Site


Based on "Love-Gastronomy", this obscure Spanish act offers a very eclectic avantgarde take on the modern 90's post-thrash idea. There is aggression, sometimes of the less controlled hardcore variety, there are dreamy abstract moments, there is alternative bordering on grunge, there is a minimalistic more technical sound ala Prong, there are funk/proto-jazz passages, in other words there's almost everything one could possibly dream of. Fans of early 90's Voivod and the less ordinary side of early-90's thrash (Omnitron, Deterrent, Wrathchild America and their continuation Souls at Zero) will enjoy this a lot whereas the classic sound defenders may stop listening after the 3 or 4th song.

Love-Gastronomy Full-length, 1996
Clorophile? Full-length, 1999


A wild, but listenabe mix of hardcore and thrash, never too brutal, but mostly mid-paced, with a heavy slightly fuzzy guitar sound, and very good bass performance (check out "Gettin' Vizy With It"). Some could complain that the guys stick to well- established patterns without adding more speed and intensity, but they could be forgiven, especially after hearing the abrasive, but cool, cover version of AC/DC's "Dirty Deeds Done Dirt Cheap". Brutal grind ala Terrorizer awaits you at the end with "Moneybox", and one can't help but notice how sadly missing were songs of the kind earlier.

Smokin' Tailpipe Action Full-Length, 2006


A more aggressive take on early Venom and Bathory with simplistic raw riffs, but quite intense and hard-hitting; the singer growls with a slight industrial shade. There are a few up-tempo thrash metal winners ("Total Destruction", the speed metal killer "Sheep to the Slaughter"), but the slower side shouldn't be missed, either: the dark hypnotic "Nocturnal Nightmare", the Celtic Frost-esque "Bastard Race".

Demonstration Desolation Demo, 2008

My Space


Moderh thrash metal in the vein of the Swedes Inrage and Pantera.

Legion EP, 2005
The Killing has Begun Full-length, 2006

Official Site


This band play intense dynamic thrash/crossover with frequent hardcore insertions the final result pretty squashing except on the only more serious moment on the album "Nowhere" which is slower and a bit more "musical". Purer speed/thrashing can be heard on "Laughing At Myself" recalling mid-period Suicidal Tendencies, and "Sedition" is another explosive piece with a more overt thrashy edge. Still, it's fun which rules here, and the rest of the material makes sure the listener doesn't indulge in any more serious listening.

Grab Your Brain Full-Length, 2013

Official Site


Modern post-thrash reminiscent of a couple of Argentinian bands from around the same time: Malon, Nepal, Horcas, with a more accentuated angry attitude. The self-titled album is a heavy stomping affair which hesitates between slower semi-balladic cuts ("Last Night") and more energetic ("S.O.S.") ones. The singer supports the laid-back musical approach with an assured clean semi- shouty tember with a drunken flavour. The highlight arrives in the middle: a nice cover of Metallica's "Seek & Destroy" faithfully rendered with very good guitar work and not as convincing vocals. The 3 bonus tracks at the end are much more aggressive cuts speed/thrashing with vigour apparently composed at an earlier stage with a worse sound quality, but with a much wilder, and arguably more inspired, shredding.

Sangrando Full-length, 1998
Chopper Full-length, 2000


This band comprises the same musicians who also played in Defcon at the same time; apparently the guys wanted to keep themselves as busy as possible, as they had another project going along with those two: Charon (not reviewed on this site). Based on the "Triumph" demo, the music here also has a certain technical edge, more obvious than the one on the Defcon efforts, but is heavier and more complex and is much closer to Depressive Age, for example. The vocals will also remind you of Jan Lubitzki from that same band quite a lot, and overall the whole demo sounds like these songs could have been leftovers from "The First Depression". The longest track "BTR8" takes a more avantgarde less thrashy approach, but is a truly impressive achievement. These guys were a fine addition to the progressive/technical thrash metal wave which started at around the same time in Germany although they udeservedly remained one of its least known representatives.
"Experience" arrives at a time when the German progressive/thrash metal wave was coming to an end, and its main representatives have either split up or were in the process of changing their style moving away from thrash (Depressive Age's "Symbols of the Blue Times"; Lost Century's "The Poetic Atmosphere of Seasons", etc.). The problem is that here we don't have the melancholy and the dramatism of the Depressive Age's aforementioned work, neither do we have the sharp thrashy riffs still decorating most of the songs from the Lost Century one. The tracks on this one are progressive alternative post-thrash with only "Because" scoring high being a fine alternative technical thrasher with some twisted Coroner-like riffage. The rest is soft ballads/semi-ballads and modern variations crossing groove with more straight riffs. It has its charm with its quirky rhythms and time changes, but unfortunately it's hardly the best swansong for the movement this act was a representative of.

Triumph Demo, 1992
Mental Maze Demo, 1993
Inner Stage Demo, 1994
Experience Full-length, 1995


This talented guitarist should be paid kudos for bringing all-instrumental thrash to the fore on these two exemplary shredding opuses displaying thrash in all its progressive glory. The guy doesn't stick to overwhelming technicality, his style is quite straiight-forward at times with a lot of hard thrashing passages appearing on almost every composition, at times the aggression bordering on death metal, but never actually "courting" this genre for more than the isolated more brutal moment. The endings are both joke variations of popular hits (Daft Punk's "Robot Rock", the coal miners' hymn "Sixteen Tons") also featuring vocals, but their virtuoso execution makes them must-listens, too; very highly recommended stuff.

Archives part 1 Full-Length, 2013
Archives part 2 Full-Length, 2013


This is modern progressive, all-instrumental, power/post-thrash, a project led by just one guy (guess the name), who plays without striving at any musical heights his heavy shreds mostly staying within the mid-tempo parametres so don't expect maddening speed here; there's none. "Terraformation" shows some more dynamics and even starts proto-blasting at some stage. The title-track playfully winks at Deep Purple's "Smoke on the Water", and generally Chris is having fun also adding funk, groove and even grunge at some point into the "furnace", all done with a sense of peace and calmness.

Genetic Design Full-Length, 2014

Official Site


This is heavy Metallica-influenced thrash which is still more on the classic side. The sound quality is pretty messy, and the singer semi-shouts with his high-strung clean tember ala Dave Mustainee commanding the mid-paced proceedings which arrive with a pinch of epic on "Purged", and with a strong doomy nuance on "In Pain We Trust".

Prelude Demo, 1994


The "Abortive Reality Rehab" EP is heavy groovy thrash which jumps on the classic wagon with the nice headbanger "Futile". The rest doesn't lack dynamics actually, and the riffs are both melodic and hard supported by gruff death metal vocals.

Irony Demo, 2002
Prescription For Bullets Demo, 2004
Ground Zero EP, 2005
Abortive Reality Rehab EP, 2008

Official Site


Based on "Confessions Of A Hero": this is a band who play a more alternative, melodic form of the modern thrash metal, with leanings towards metalcore, so popular nowadays. The music follows closely on the steps of Trivium and the likes, but loses its edge quite a bit, wading into balladic waters more frequently than the good taste requires. It has its more aggressive moments: "All I Have", "Replication", but these annoying clean vocals considerably take away from the intensity of the music.

Intro Spectre Full-length, 2006
Confessions Of A Hero Full-length, 2008

Official Site


This is obscure gothic-infused thrash which crushes well and the musicianship is on a fairly decent level; the problem is the sound quality is plain awful hampering the efforts of everyone involved except for the bassist whose pyrotechnics are admirable and are clearly the highlight. The music develops in an officiant mid-pace until the arrival of "Leprous" which is a more technical piece with jumpy galloping guitars. Then the approach becomes quite doomy on "Greyness" (check out the bassisms on this one) which suit perfectly the deep clean baritone of the singer who at his most inspired comes close even to Messiah Marcolin (Candlemass). "Your Fear" is pure violent bash ala Slayer the screamy chaotic leads another reminder of the Americans; before "Clinic Death" closes this fairly lengthy offering with interesting progressive decisions the latter even bordering on Watchtower at times. But again, it's all about the bass here: the man is just too good to be merely involved in such an unknown act.

Your Fear Demo, 1993


An obscure effort offering dark haunting thrash with Metallica overtones, but a tad less engaging despite the presence of the dramatic semi-technicaller "The Alchemist". "Three Wise Men" is a short speedster, and "Greed/The Pusher" is a long exercise in more serious, almost progressive, thrash with heavy hypnotic riffs. The singer has a not very clear semi-clean voice, abd his antics are by all means inferior to the better music.

Kingdom of the Damned Demo, 1991


These guys are obviously influenced by the thrash/death metal wave which started a few years earlier in their neighbours France. Apart from the straight thrash/death bashing, one could aslo hear numerous interesting technical hooks, recalling Pestilence's "Testimony of the Ancients" (they haven't forgotten that they also have neighbours from the North), and some nice Oriental melodies ("Chronic Death"). The tempo is fast, but never too brutal, and the songs are longer, quite atmospheric and moderately complex, with plenty of high quality musicianship displayed inside. Later members of this band formed one of the most avantgrade metal acts ever: Renaissance.

Perennial Perspective Demo, 1991


Based on the "Haunted Hands" demo, this act serve heavy pounding thrash with a hefty doomy influence. "Voices In The Head" tries to break the doom-laden formula with more dynamic guitars, and the title-track is another more energetic cut, but the guys seem content to whip those heavy volcanic riffs their gloomy aesthetics ably helped by the deep mid-ranged, semi-clean vocals with an odd deathy growling throw-in.

Demo Demo, 1991
Haunted Hands Demo, 1993


Thrash/crossover, quite fast, with good lead guitar work reminding of the early Nuclear Assault efforts, maybe a bit more intense.

Demo Demo, 1986


An obscure entry into the 90's post-thrash catalogue expectedly spiced with numerous trendy gimmicks, like groove and all the rest, but finding the time to thrash with more might ("Confined WAys", the maddening mid-paced shredder "Room To Breathe"). This is a diverse, not very predictable listen with intense shouty aggro-vocals which lead the show with panache and even with a slight sense of melody.

Self Induced Full-Length, 1997


Based on the full-length, this act is one of the more extreme representatives of the thrash/crossover movement. The guys bash with no remorse throughout keeping the speed high bravely stepping onto a death metal territory ("Slowdown") when necessary also adding the odd more atmospheric touch (the haunting keyboard background on "Wild At Heart"). reportedly on teir early efforts the style was more hardcore-based, but here the approach is quite thrashy despite the short length of the material and the more violent bash encountered here and there.

Royal Diarrhoea EP, 1987
Abstract Carnage EP, 1988
Salomo Says... Full-length, 1988
The Last Judgement Full-length, 1990


Another very good technical thrash metal band from Canada; the band's music is more energetic than the average Canadian technical thrash band, and reminds of Erosion's "Mortal Agony" and Midas Touch's "Presage of Disaster", mixed with Slayer on the more intense parts. There are times when the band excels in technicality like on the great 8-min instrumental "Starless" which sounds surprisingly restrained compared to the other much more aggressive numbers. "Foggy Creek" is another highlight, a distant echo of Metallica's "The Call of Chtullu", mostly because of its unfinished character, sounding like a draft for something really mighty, and is by no means less impressive. Fans of the more extreme side of thrash metal will also find a lot to like here.

Foggy Creek Full-length, 1990


A 4-track EP of atmospheric classic power/thrash sharing some of the Nevermore technical aesthetics, but the Portuguese are more diverse adding moody gothic atmosphere ("Cruder Sign") here and there. There isn't much speed to be heard; this is monolythic heavy stuff with mid-ranged unemotional semi-clean vocals.

Endless Feelings EP, 2007

My Space


Based on the self-titled album, this act pulls out a mix of heavy/power and more classic speed/thrash metal (the energetic mosher "Armagedon"). This is calm moderate music with catchy choruses, plenty of melodies, good lead-only passages (check out the excellent short instrumental "Enanos"), and a bit gruff semi-clean vocals. This effort would be of a bigger interest for heavy and power metal fans, but as a whole has its edgy moments.

Medieval Tales Demo, 1986
A Donde Vas Full-length, 1989
ChronoS Full-length, 2009

Official Site


These are the same guys from Homo Sapiens who provide the same old school high-octane thrash entertainment which is way more proficient sound-wise. Based on the debut, this is "thrash in cold blood", like the title of the opener suggests, and later on the band know no mercy thrashing like demented all the way producing some of the definitive headbangers of recent years: "Light Leading Maze", "Never Better", etc. "No Evidence" is quite an achievement, a short 3-min composition which mixes frolic speed metal, thrash/crossoverisms, and proto-death to a pretty positive effect. More technical performance can be heard on the diverse speed/thrasher "Hypnosis" which also scores high in the bass department. "Genetically Determined" is another masterpiece of fast- paced cleverly-constructed thrash before "Envirusment" rips you apart with direct raging riffs. "War Infection" aims at more ambitious territories with its engaging balladic lead-driven passage, and is actually the final track from this entertaining roller-coaster, followed by two songs from the Homo Sapiens demo.
"Embracing Oblivion" would be a no-brainer for the classic thrash/death hybrid lovers, and its more stylish aesthetics are immediately suggested by the technical headbanger "Killing My Sins" which starts the "carnage". The bass performance is again top- notch aptly reflected on the short galloping headbanger "One Hand Red Per Saint". Later on more engaging technicallers arrive: the dynamic proto-death-laced "Force Fed Truth", the "brutal" "Brutal Decay", the more optimistic speed/thrasher "Herald The Uprising", etc. "City Of The Living Dead" is an imposing death metal-ish instrumental with brilliant technical twists ala Invocator and No Return, and "Seize Your Last Chance" is a more abstract fast-paced shredder with distant Voivod echoes. "Beyond Nemesis" is the next revelation, a fast aggressive ripper with brutal clever guitars and several stop-and-go moments. The closing "The Redemption" is another all-instrumental progressive composition with more immediate riffs and cool melodic leads. This is a sure step up the ladder for the band whose finest hour is yet to come.
"Red n' Roll" introduces the clever shredding from the get-go with "Demonized", but surprisingly later on the band don't strain themselves too much feeling content enough with more simplistic, faster-paced rhythms which don't have much to do with the previous two albums. The much less demanding delivery now frankly borders on thrash/crossover, and merry tunes like "Wolves Out of Cage" make the situation even more confusing. The only more progressive-inclined piece is the closing "Portal to the Underworld" which combines spacey hooks with short blasting death metal outbursts on top of some admirable vigorous gallops. The band are relaxing here, but hopefully they will remember the more technical side of the genre on future recordings; at this stage they still remain just an unrealised potential.

Envirusment Full-length, 2012
Embracing Oblivion Full-length, 2014
Red n' Roll Full-Length, 2017

Official Site


State-of-the-art technical/progressive thrash, an all-instrumental affair bringing to mind Mekong Delta, above all, but also the other thrashy instrumentalists from the States Odyssey, and to a lesser extent Deathrow's "Deception Ignored"; and the Spaniards Continuo Renacer, another all-instrumental band, more on the death metal side. There's a not very well disguised death metal-ish "sting" (check out "Kappa Effect"), and the ever-changing nature of the music would also provide funk, jazz, and even a bit of math. "Frame Rate" is a masterful above 8-min display of progressive thrash at its most mazey and schizophrenic, a virtuoso composition which seamlessly flows into another, even bigger (14-min), the title-track which is a cosmos in itself with spastic rhythms galore abandoned in the second half for the sake of spacey ambient noises: a strange decision and a bit controversial still not spoiling the very positive impression made by these abundant talents who should remind of themselves again, and soon.

Cosmagida Full-Length, 2015


Engaging and original progressive thrash metal which base is heavy, stomping riffage not too far from Celtic Frost (think "Vanity Nemesis"), Tom G. Warrior's side project Apollyon Sun, and the great American one-album-wonder Aftermath. This base is mixed with electronic samples and synthesizers which create a unique cosmic atmosphere, quite similar to the very original Australian band Alchemist. The music varies: at times it doesn't change, and creates an almost hypnotic effect, at times it brings about some awesome alternating tempos. The pace is never fast, but mid-paced and the riffs are quite crushing. The vocals are low semi-death metal growls (again along the lines of Alchemist), but suit very well the surreal atmosphere created by the music. The atmospheric electronic sections are perfectly embedded in the sound, and there is hardly a moment when they sound awkward, or overused. This is a very interesting take on thrash metal which doesn't have a big headbanging potential, but if you listen with care, you will not be disappointed.
"Planet Dead": the guys continue to excel, and this album is what the actual follow-up to Coroner's "Mental Vortex" should have been if the Swiss had voted to continue up the road to technical modern thrash perfection, instead of branching out into their own take on the 90's industrialized post-thrashy trends. This is stylish complex prgressive/technical thrash which will enchant you from the very first note of the abstract shredding opener "Twilight of the Mutants" which main motif reminds of the soundtrack from "Halloween" (the original). The atmopshere goes a notch up on the next "Twilight of the Mutants" which is the mechanical sterile brother of "Mistress of Deception" fro Coroner's "No More Color", a truly compelling modern progressive tour de force. "Andromeda Hypnosis" is a labyrinthine puzzler with a few quiet dreamy passages from which the standout bass performance sticks out, and "Hunter of the Twin Moons" is the only more direct piece which is still a potential hypnotizer with its creepy dramatic riffs. "Alien Orbital Cenotaph" leaves the complex formula for a couple of seconds to provide super-fast blasting moments, but the rest is technical thrash at its most consummate the shadow of the mighty "Mental Vortex" looming heavily. "Last Journey of a Spectral Voyager" is an overlong dreamy saga which reduces the dynamics to sleepy proportions, and its place here may be questioned if we exclude the more energetic 2nd half where a portion of meandering twisting riffage is offered as an "antidote" to the meditative, conscience-transforming nature of this gigantic composition (10.5-min). The harsh sterile riffs of the following "Alter Reality" are more than welcome to bring the listener back to reality where macabre technical thrash reigns supreme. Time for some "twisted prophecies" with "Twisted Prophecies" which is another exemplary whirlwind of elaborate mind-scratching rhythms before the final "Morphogenesis" wraps it up with quiet balladic, lead-driven outros. The band are pretty much on top of their game, and although fans of the more direct stripped side of the genre won't make much sense of what's going on here, those who like their music thought-out and absorbing, may just find their new idols.

Presence of the Past Full-length, 2007
Planet Dead Full-Length, 2010

My Space


Heavy, low-tuned thrash with some gothic/death parts; the music slows down at times going into a doom metal territory and the overall sound is not very aggressive, staying on the more melodic side.

Ertelmek Demo, 2002
Keresem A Fnyt Demo, 2003

Official Site


This Singaporean (there is only one guy involved here) plays very diverse "chugga chugga" thrash metal mixing the Bay-Area (the excellent opener "Demagogue"), Slayer, the 90's aggro-scene, alternative post-thrash, lashing proto-death metal, and pure hardcore at the end. Apparently this is something of an advertisement for the guy who is looking for a band, or just finds a good use of his free time; his leads are really good, though, contrary to his vocals which are all over the place changing along with the music on every track; in terms of diversity, though, they should be noted.

Unleashing The Demons Within Demo, 2009

Official Site


Pretty effective hard-hitting thrash/death with lashing riffs and stylish semi-technical leanings. The vocal "duel" is another highlight, especially the screechy witch-like ravens as opposed to the more orthodox semi-shouty death metal ones. The band's dedication to speed aptly balances between the two styles as slight preferences are given to the good old thrash with a string of short Slayer-esque cuts leading the pack.

Virus Full-Length, 2015

Official Site


Based on the full-length, this act play a devilish power/thrash/black metal hybrid which notches up the atmosphere from the get-go. On the music side the guys rely on simplistic, mostly mid-tempo riffs recalling mid-period Bathory ("The Mighty Sword of Cain") the officiant epic approach spiced by sudden fast-paced sweeps. The witch-like raspy vocals are the only link to the black metal fraternity as the music is way more melodic and proficiantly executed: check out the excellent dramatic progressiver "Enter the Temple of Shadows", or the imposing doomy closer "Foaming Mouth of Mankinds Tomb". The band members also took part in various other projects: the deathn metallers Karnarium and Cerekloth, the black/thrash hybriders Pagan Rites, etc.

Advance Hell EP, 2005
Evoked or Not-Evil Will Come EP, 2005
Enigma of Hades EP, 2006
Sinister Glorification Full-length, 2006
The Liberating Darkness EP, 2008

My Space


This band specialize in merry vibrant speed/thrash'n roll whcih is a dead ringer for Motorhead's more energetic cuts (think "Iron Fist" played 10 times in a row) the main difference coming from the rough black/death metal vocals and the screamy leads some of which are not bad at all (check out the excellent quiet instrumental "Desolate Path"). This is direct bashing music served in a fairly basic manner with short (1-2min) pieces and at times an artificially noisy environment.

Psychedelic Nightmare Full-Length, 2013


Modern groovy post-thrash bordering on math at times with choppy, jumpy riffs which suddenly acquire a more intense headbanging character on "Disguise" in the middle. "Angst" is very appropriately titled being a rough shredder with fast spastic rhythms compensating for the boring balladic ambience of the closing title-track where at least the otherwise very plain ordinary angry vocalist is replaced by a very goood clean emotional throat.

Delight in Disorder Full-Length, 2016

Official Site


A power trio from Chile thrashes in a relatively friendly fashion with merry thrash/crossover rhythms which can sound quite modern at times. Most of the cuts are lively and energetic (the diverse longer "En Un Infierno"; the short energizer "21 Punaladas" and "Pena De Muerte") assisted by cool dramatic semi-clean, mostly mid-ranged, vocals.

Crimen Legal Full-Length, 2016

Official Site


Quite good semi-technical, dark thrash with not very audible death metal vocals; the guys shred with style touching more complex progressive territories on "Path of Least Resistance". Elsewhere the approach is more straight-forward and less flashy although "Breeding of Suffering" has quite a few technical quirks eliminating the direct impetuousness of "Code Three" and the stomping urgency of the closing "Empathetic Disease". The sound quality isn't great giving a huge boost to the omnipresent bass, to these ears for the worse since it stifles the clever riff-patterns.

The Final Gathering Demo, 1991


The band's style hesitates between the classic and the modern sound and manages to thrash with energy on a few times ("Zom-B", "Rosso Sangue Bianco Ossa"). Tracks of the groovy playful type are not very convincing: "La Luce Blu Sotto", neither is the pointless 9-min hard'n heavy joy "Vacche, Zopito, Cemento"; neither are the hardcore vocals, but still this album would have its, albeit not very lasting, appeal to the thrash metal fan.
"Marcia Marcia" is a more energetic affair thrashing with passion on occasion the band having a really good time pulling out some merry tunes with a strong punk/crossover potential. The two sides mingle aptly as the uplifting mood is never lost; probably for a bit on the kind of derogative bluesy ballad "I Love Thrash Metal" (well, obviously thrash metal doesn't love you) which is a not very respectful bow to the genre.

Rosso Sangue Bianco Ossa Full-length, 2007
Marcia Marcia Full-Length, 2012

My Space


Rough edgy groovy post-thrash which has its teeth ("Cimarron"; the sterile headbanger "Duele" which will also pleasantly surprise with the great melodic lead section), and is not bad at all moving aroun the whole time even suggesting at a future classic potential (the speedy retro "action" "Nueve"). The energy gets diminished in the 2nd half where the guys take themselves more seriously with a string of longer, not as exciting tracks. The singer is as angry as Phil Anselmo and his aggro semi-shouts are a nice fit to the rebellious musical delivery.

Libre Y Salvaje Full-Length, 2013


Based on "The Reckoning": this band offers cool melodic Gothenburg-influenced thrash/death metal. There are plenty of melodic hooks to keep the listener entertained, and this is what actually makes every song different from the rest. The tempo is quite energetic and brisk, and the headbangers will not be disappointed, especially on cool fast-paced thrashers like "The Reckoning" (this one has a very nice slower break with a cool background piano tune adding to the atmosphere) and "The Sorrow", which is a great riff-fest with some of the catchiest melodic hooks around. The fans of Dark Tranquillity, early In Flames, and At the Gates would hardly wait until the release of the eventual full-length.

The Bridge Between EP, 2006
The Reckoning EP, 2008

My Space


Based on "Deviance", these folks provide dark modern thrash which borders on both progressive and industrial as some cuts ("Anonymous") also carry this atmospheric gothic vibe. "13eme Arcane" tharshes harder with an epic colouring the latter's more aggressive shades acquiring melo-death tendencies on the closing "La Porte des Larmes" which are better suited the harsh shouty death metal vocals. Some of the musicians are also active with the death metallers Execution.

Epidemia Full-length, 2003
Chaos Sign Full-length, 2009
Deviance Full-length, 2017

Official Site


This great band somehow managed to sneak under the radar during the 90's when the industrial metal scene produced some of the biggest stars of the decade (Ministry, Prong, KMFDM, Die Krupps, Fear Factory, etc.). Which is a shame, really, since these guys were probably the most deserving of the lot to cover themselves with glories. For one thing they were responsible for some of the most aggressive sounds on the whole industrial metal circuit. The band was founded by the industrial guru Scott Albert, or the way he is more known among the music circles, as Klayton. The debut was a heavy affair with loads of harsh guitars which had to fight for domination with the constant synthesized background. The final result was somewhere between Front Line Assembly's next year's "Millennium" and the only Swamp Terrorirsts album released the same year. Later on Klayton inserted more clear electronic sounds which gave the album a strong dance-y vibe thus keeping it within the electronic industrial confines with a few more aggressive metallized cuts ("Demoralize", "Rational Lies", the excellent closing shredder "Senseless Abandon") sneaking in towards the end.
"Metamorphosis" was a compilation of leftovers from the debut and a new material part of which saw the light of day under the name Brainchild, a new Klayton project, which album was released 1996, during a hiatus which Circle of Dust took from music. A few leftovers from the Living Sacrifice effort "Non-Existent" were also added into the mix making it a hard-hitting affair with metal taking a bigger part now.
"Brainchild" expectedly contained some tracks from the Brainchild album seeing the band elaborating on both the atmosphere and the metallic elements with at least half of the album being pure thrash even touching death metal ("Desolate") on the more brutal moments. The sparce pure electronic sections had a biting edge with the guitars constantly present now with plenty of headbanging passages roaming around to probably suggest at the guys' metamorphosis into a full-fledged thrash metal act in the future.
Well, this metamorphosis never came to fruition since "Disengage" was a full-on electronics extravaganza the band preserving the guitars, but giving them a strong alternative edge not far from the one on the later-period Misery Loves Co. works. Regardless, this was one engaging atmospheric opera which paved the way for Klayton's several future projects among which Celldweller is the most popular and the longest-lasting one. He was also involved with the famous illusionist Criss Angel on his magic show Angeldust in the 90's. The album he released as Brainchild ("Mindwarp", 1996) is an exemplary work of industrial thrash, highly recommended.

Circle of Dust Full-Length, 1992
Metamorphosis Full-Length, 1993
Brainchild Full-Length, 1994
Disengage Full-Length, 1998

Official Site


This act is the continuation of the progressive thrashers Osiris who carry on with their hard to follow sryle simplifying the landscape a bit here with more conventional mid-paced structures and less labyrinthine decisions. Still, the shredding remains on a more abstract level, but it strangely goes towards later-period Hexenhaus and another Swedish act: Pathos, the jumpy crunchy riffage reaching dramatic heights on the seismic "Endless Suffering" and the Psychotic Waltz-esque "Different Discrimination" at the end which excels in the bass department, among other niceties. The sound quality is quite clear giving the riffs a cutting sharp edge. This was a promising beginning for a new chapter from the guys' career.

Plan B Demo, 1993


Based on the demo, this band offers cool classic, Bay Area-influenced thrash spiced with faster death metal parts, recalling the French No Return, or the Germans Cockroach (their last album, in particular).
The EP is 3 songs of intense, energetic thrash which comes with the odd more technical "decoration" ("Died"), or with the merrir pinch of crossover ("Caged In Hell"), or rages on with touches of death metal ("Balck Balled"). The singer sounds angry and low-tuned, coming as the deathy version of Phil Flores (Evildead).

Circle Of Force - Coming Back EP, 1992
War, Hate, Death Demo, 2007

Official Site


Based on "The Art Of Intensity" demo, this is melodic power/thrash metal which has its cool thrashy moments ("Daemonicus X"), but is saturated with many balladic and calmer moments, and some tracks are straight nods to the hard'n heavy genre ("Empty Eyes"). It would have been better if those calmer, quiet moments were fewer. Those of you who expect some heavy, Celtic Frost-influenced sound (obviously hopes raised by the band's name) will have to look elsewhere.

The Art Of Intensity Demo, 2004
Deamocracy Demo, 2006

Official Site


This is retro power/thrash akin to the Germans Risk and Laaz Rockit with various paces among which the heavy gallops ("The Punisher") are the most impressive, with several epic adherences not far behind. "Death And Defeat" is a short invigorating speedster, but the approach on the rest is more diverse with stomping sections intercepting the faster ones giving the album a somewhat individual "face" since the timing for those interceptions is quite unlike the one on other works, and may sound a bit strange at first listen. The singer is an attached semi-clean shouter taking quite a bit of space, but is not annoying also managing to sound more melodic on occasion.

Systematic Suicide Full-Length, 2013

Official Site


This is intense all-instrumental thrash with slight technical tendencies as most of the time the delivery is fast and bashing, the guitars coming with an abrasive, noisy vibe which doesn't favour the otherwise stylish lead sections. Some tracks are lengthy with more elaborate decisions bordering on progressive, and generally this could have developed into something more substantial with a better sound quality and with a potential vocal inclusion.

Masaki Demo, 1991


Based on the debut EP: primitive modern thrash metal with elements of hardcore rooted in the 80's scene, with some suprisingly nice touches: the semi-ballad "Izgubeni Sledi" and the atmospheric instrumental "Sam V Mraka".
The "Don't Try To Hide" EP is 3 tracks offering a much more aggressive material bordering on death metal ("No Hopre Remains"); an abrasive guitar sound will attack you the whole time topped by forced semi-shouty death metal vocals, but generally this is energetic speedy music with a sure classic vibe despite the constant buzz.

Razbivane EP, 2005
Don't Try To Hide EP, 2006

Official Site


A modern thrash/death metal mixture; this is traditionally fast intense stuff, quite close to early Dark Tranquillity, but the grinding breaks are way too many for this to be a satisfying listening experience for the regular thrash metal fan. The leads are very proficient, both technical and melodic, and it would have been better if the guys had left the more clever technical moments to develop beyond sheer speed. Some of the band members put the brutality a level up with their other act: the death/grind "monsters" Thee Art of Torture; and some of them offer a wider mixture with the black/thrash/death metal outfit Garden of Turbulence.

Citi Full-length, 2009

My Space


This is the new band of Simon Gordon- the man who sang on the last Xentrix album and later on Thousand Points Of Hate. The music here is more melodic and a tad less thrashy, but again with a considerable doze of groove and really cool vocal styles, all performed by Gordon.

A New Spiritual Mountain Full-length, 2005

Official Site


The debut demo: hectic, choppy, technical thrash which sounds quite aggressive most of the time, without being fast; references to bands like Terrahsphere and Dead & Bloated should definitely be made, but these guys have appeared on the scene a few years earlier, and could have been an influence on both bands. Civais' music is more vicious, albeit not as technical (at least compared to Terrahsphere). These three tracks here are a perfect example of the stop-and-go technique: the going rhythm stops all of a sudden, only to be continued by another one a second later. The music is far from disjointed, though; on the contrary, it perfectly makes sense; you can even headbang on the more straight-forward sections. The riffs are heavy, crushing, and although there isn't much technical show-off or intricate leads throughout, the sudden and interesting tempo changes will surely keep anyone on the alert.
The second demo contains three pieces of heavy varied thrash with a prominent bass presence. "Deluge" is a rolling semi-technical shredder ala Nasty Savage, and "Inherit Death" is a bashing hectic invigorator with several more stylish twists and turns. "Putrid" is a steam-rolling, very jumpy cut with sudden speedy "excursions" which create a hallucinogenic vortex with the prevalent slower background.

Demo Demo, 1988
Demo Demo, 1992


Based on the EP: four songs out of which one should definitely grab your attention: "Swarm" which is a very original mix of very fast, almost death metal-like, riffage and stylish technical guitars ala Voivod. Unfortunately the rest is melodic balladic crossover with no traces of the original music of the aforementioned song. The band's full-length (which also boasts the presence of Dave Lombardo) releases have moved towards a very avantgarde and not very easy to swallow fusion of classical music, industrial and more aggressive metal genres (death, grindcore, but not really thrash), and can be downloaded from the band's website as well as the EP.

Abstract Reaction EP, 1991
The Fishers For Souls Full-length, 1996
Circus Of Fear Full-length, 1999

Official Site


Cool crossover/thrash in the D.R.I.-vein, a bit more aggressive; apart from the short, direct tracks there are longer ones, which are full-blooded intense thrashers ("What A World", No Forever"), including the shorter, but very effective speedy, slightly chaotic piece "Fighting Stop".

1990 Demo, 1990


This power trio from California pleasantly surprises with intense retro thrash/death ala Death with nice technical leanings. The singer is a slight pullback with his gruff semi-shouts, but the music is well-executed, fast with fine both riff and lead guitar work. The high speed delivery impedes the more technical developments which eventually manage to materialize on the longer "The Sinister Creation" near the end which is followed by two covers: one is expected: Death's "1000 Eyes", the other not as much: Coroner's mythical "Masked Jackal", both well performed suffering from the bad sound quality since both tracks are live recordings.

Hostile Action EP, 2009

Official Site


These Belgians have come here "to thrash", like the title of one of the tracks says, and indeed they fulfill all the promises with the blitzkrieg opening instrumental "Into Death in Sight". The tempo is fairly energetic throughout, the riffs are cuttingly sharp, the vocals are deathy and occasionally screamy, and "Cizin" is an imposing speed/thtrashing hymn, a furious whirlwind of sweeping rhythms and fast-paced riffs which alone shows a lot of promise for the eventual full-length.

Leading Nation Demo, 2010

Official Site


Quite good modern technical thrash which looks to replace Altered Aeon on the front row in this sub-genre over there after the latter apparently have no intentions of carrying on with their career. The clever hectic patterns get introduced from the get-go on the opening "Pulse Of The Inevitable", and the next "The Human Opiate" is already more dramatic with building proto-death metallic crescendos piled up on the dynamic, but not very fast-paced, landscape. "Disintegrator" is a puzzling piece with the most technical performance involved "disintegrating" into the slower pensive "Shadow Archetype" which reminds of Nevermore and Communic with its creepy/quasi-doomy execution. The singer is a very good addition with his warm attached clean mid-ranged voice very similar to later-period Warrel Dane (Sanctuary, Nevermore again).

Pulse Of The Inevitable EP, 2011


A band which sounds quite close to early Treponem Pal, in other words this is complex modern industrialized proto-thrash. The guys here are faster and more dynamic also touching another compatriot of theirs: Gojira. The approach is quite jumpy and hectic seldom adhering to spasmodic blast-beats, and there is a sense of technicality in the guitar department which should have been more accentuated on since now the heavy abrasive sound stifles them quite a bit. The singer is nothing special being an angry semi-death metal shouter recalling Lars G. Petrov (Entombed).

Vision Of Splendor Full-length, 2010

Official Site


The full-length: good fast-paced thrash of the classic variety which thrashes with full force on the first 2 tracks before introducing some pounding rhythms on "Corrosio Irrestrita", but the next "Ritual" quickly returns to the intense thrashing paving the way for the most merciless number here: "Irrelevant Happiness", which brings forward some death metal brutality. "The Simple Complex" preserves the death metal elements, and here the band comes close to At the Gates for a short time. "Literatura do Fim" is a nice crunchy thrasher, and thrash metal reigns supreme for a while with energetic up-tempo tracks reaching the culmination on the excellent technical "Testemunho". The closing "L'Abscence" gives its fair share to death metal again, but this controlled aggression is more than welcome to put an end to this fairly enjoyable release.
"Frontiore" is more varied the band now "flirting" with proto-death metal (less) and hardcore (more) to dissipate the mood and arguably increase their appeal. The production is too noisy making the guitars hissing at times, but the attitude is clearly on the not very serious side, and as such it serves the band's purpose who come with a new face here, more or less preferrable.

II EP, 2001
Influences Full-length, 2005
Frontiore Full-Length, 2009

Official Site


Based on the debut, this outfit provide fast modern thrash with shades of hardcore which occasionally slips into more melodic realms ala Motorhead with a couple of more moderate numbers in the middle ("Kill The Enemy", "Symbol Of Destruction"). As a whole the aggressive side of the genre is seldom felt here the guys (and a girl- the drummer) having fun enjoying themselves with merry unpretentious rhythms topped by rough drunken semi-shouty vocals.

"Ruinatics" will enchant you with the great melodic semi-lead opening tune "Psychosis" which has echoes of both Metallica's "Battery" and "Blackened". So far, so great... but what follows is some wild bashing thrash/death metal which would be a big surprise for the fans of the debut who will have to cringe in fear on quite a few times (check out the super-blasting death/grinder "Evil From Grace"). Things get under control gradually in the 2nd half, and shades of the more carefree approach of the first album can be felt on the more optimistic number "The Betrayer Go to the Hell" and the excellent more technical death/thrash hybrider "Gomorrah Is Oblivion". The closer could be considered a revelation: "The Equinox" is first-rate classic doom at its most imposing best; expect seismic steam-roller riffs for 7.5-min with a sparce vocal participation.
"Mortal" continues with the "carnage" from the previous effort the guys thrash/deathing in an intense, often brutal, manner recalling some of the Swedish parctitioners in the style: Unleashed, early Entombed, Dismember, etc. The guitar tone has become more abrasive now favouring odd industrial cuts like "XVI" and the odd spacey closer "Fate Of The Universe", but not giving much credit to the faster numbers among which the insane shredder "The Creation" is "king". This is an aggressive recording which sees the band gradually stripping away their thrashy roots acquiring a thicker, more death metal-oriented, sound.

Amok Saints In Sodom Full-length, 2010
Ruinatics Full-length, 2011
Mortal Full-Length, 2013

Official Site


Computerized modern post-thrash, all-instrumental stuff which slugs at times to almost doomy proportions, but there is a bit of dynamics involved, too, although the electronic industrial beats and the synthesized guitars would hardly fascinate many people, except perhaps on the atmospheric semi-balladic closer "Livin' In My World" which is a nice lyrical piece of a more authentic, less artificial, nature.
The EP is only 2 songs which include vocals this time to accompany the bleak industrial picture "drawn" by the heavy abrasive guitars which unleash the casual melodic lead to spice the mechanical approach. Again this is not bad at all and many heads will bang on the wilder sections from "Ruined Life" and on the choppy breaks from "Critical Acclaim" which is a worthy mechanizer akin to Strapping Young Lad.

Every Time You Die, Die Fightin' Full-Length, 2011
Ruined Life Demo, 2012


Melodic modern power/thrash metal staying too much on balladic and even doomy grounds, although there is only one full-blooded ballad: the closer "Far from Home". The guys hardened the course quite a bit after they changed their name to Clashes early in the new millennium, and started playing a modern brand of death metal mixed with black.

Evil Dreams of Darkness Full-length, 1999

Official Site


Based on "Fulminant", this band tries to bring back the aggressive thrash sound of early Sepultura (up to the "Beneath The Remains" album), but they mix it with brutal Floridian death metal, and in their case this considerably diminishes the music's impact.
"I See Red" is a nice effort thrashing in the best tradition of Sepultura's "Beneath the Remains", and the addition of proto- modern heavy parts only boosts the heaviness and the aggression. There's no speed lost on this monster, which becomes wondefrully chaotic and technical on occasions ("Minefield"). "Evil University" is a crushing pounder recalling early Pantera quite a bit. Your fillings may fall on the very fast "Alarm"; if they don't fall there, then they sure will on the machine gun-like fire unleashed on the silly-titled "Raining Shit". The guys tear it loose on the brutal death-laced "I See Red" and partially on "Subconscious In Flames" which is a wonderful technical thrash/deathster in the twisted spirit of Morbid Angel and Decapitated. The band's idols are paid tribute at the end with the excellent cover of "Beneath the Remains".
The self-titled debut clings between the already heard on future works hard-hitting Sepultura-sque thrash and more laid-back thrash/crossover. Consequently things do not stay in the aggressive thrash camp for too long with the exception of "Life or Death" which is an aggressive bomb with a proto-death character; and partially the cool semi-technical closer "Manifesta Heroes" which also hints at the adapted at a later stage proto-modern pounding sections.

"Thrasher" only partly deserves its title, still retaining the hardcore roots which here play a secondary role with thrash taking the upper hand on most tracks. Some groove sneaks in, but the guys manage to implement it well in a way no worse than mid-period Pro-Pain and, again, 90's Sepultura. And finally some words about the vocals which on all albums are of the harsh low-tuned death metal variety with a couple of higher notes thrown in, in an angrier hardcore manner.

"Peste" is more modern-sounding again, with a dry mechanical guitar sound and a few industrial tricks (Nota 6,66" is a full- blooded industrial/tribal extravaganza). The overall delivery is more playful with touches of crossover/hardcore. The guys thrash on with less remorse ("Pino de Granada") here and there, but generally the mood is more uplifting and light-hearted, excluding the gruff semi-death/semi-shouty vocals.
"Download Hatred" brings back the more aggressive approach from earlier efforts, and now the band mosh out with more vigour calling out death metal for help on the brutal rager "Blasphemous Corruption"which also boasts fine melodic leads. "Sinking" is a nice atmospheric shredder, but the guys' desire to thrash their souls out leaves no room for other similar developments as the rest of the tracks are pure energy and aggression except for the cool varied "The Greatest Temptation" which also features more inspired semi-technical guitar work and remains the highlight on this cool hyper-active offering.

Claustrofobia Full-length, 2000
Thrasher Full-length, 2002
Fulminant Full-length, 2005
I See Red Full-length, 2009
Peste Full-length, 2011
Download Hatred Full-Length, 2016

Official Site


Angry crushing thrash, not deprived of classic insertions, the way Exhorder's "Slaughter in the Vatican" used to do it ("Choice"), with moments from Sepultura's mid-period (think "Chaos AD"). Seldom does the sound descend to ordinary groove ("Leviathan"), but one can't help moshing around on the very good cover of Sepultura's "Territory" at the end.

2 Thousand Hate Demo, 2008


Based on "The Inner Abyss", this formation provide competent, but fairly predictable modern thrash which lacks intensity opting instead for a more seismic approach with heavier guitars and semi-shouty deathy vocals. "Behind the Light" thrashes with more passion in the middle and gives a good boost to the 2nd half which recalls the more recent exploits of the guys' compatriots Kreator.

Marching Through Darkness EP, 2012
Clear Sky Nailstorm Full-length, 2014
The Inner Abyss Full-length, 2016

Official Site


Intense ripping old school thrash/death with a good sense of melody as well as evident from the interesting pirouettes on the opening "Bloodline Immolation". Slower, more stomping grounds ("Viam Mortis") are also covered with intriguing melodies present again those even prominently featured on the several formidable steam-rolers ("Reanimation") the latter side the most attractive one from the band's repertoire recalling the English legends Bolt Thrower. The songer is a rough semi-shouty deathster with a guttural, not very expressive timbre.

Cleaved Full-Length, 2017

Official Site


The debut: this is a merry frolic interpretation of the good old speed/thrash served with brutal death metal vocals which may be a detraction from the mellow musical approach. The tempos vary from song to song as some imposing doomsters ("The Stench Remains") have been provided to make things gloomy (and doomy). Hold your fillings on remorseless headbangers like "Fuel to the Flame" which are not such a common occurrence, but provide the necessary dynamics. The guys also play in the death metal outfit Chton.
"Odes to the Reaper" surprisingly epitomizes a more moderate mid-tempo approach the heavy stomping rhythms filling in the whole space, not leaving much room for any more energetic exploits. "No Cure for Cleaver" and "Infected Territory" perfectly exemplify the delivery being seismic quasi-doomy heavyweights, "No Saviour, No Light" being the only rude awakening with its uncontrolled blacky hyper-blasts.

When There's No More Room in Hell Full-Length, 2013
The Sickest Tales EP, 2014
Odes to the Reaper Full-length, 2017

Official Site


Groovy post-thrash without any audible merits; this is heavy monotonous stuff with some good lead guitar work and several references to The Black Album. The singer tries to sing, but his limited abilities clearly show on the higher-registers whcih he attempts to hit on quite a few times ending up sitting somewhere between Phil Anselmo and a more hysterical and less rehearsed James Hetfield.

Goatbreath Full-Length, 1995


Choppy, crunchy modern thrash/post-thrash with a few more stylish, quasi-progressive quirks including several up-tempo moments (the jumpy technicaller "Spit Back"). "Driftings" is another more dynamic cut, and the closing "One Divined Piece" is a dramatic pounder with more brutal deathy passages alternating with the dominant seismic riffage. The vocals are very shouty and rending quarrelling with the interesting guitar work which elevates this effort above the rut of similar releases.

Overstated EP, 2007

My Space


Based on "Entity", this band play heavy seismic modern thrash/post-thrash accentuated by deep death metal vocals which may tire the fan due to the one-dimensional mid-pace which doesn't adhere to a lot of groove, but sounds trite and not very inspired nonetheless.

Earth Pollution Full-length, 2011
Entity Full-length, 2013



Based on "Where the Sleepless Go", this guy, the full name Tom Cline, indulges in retro speed/thrash with cool progressive overtones as evident from the vigorous opener "Where The Sleepless Go". The man has invited various vocalists to perform the vocals as he handles all the other instruments, and does a fairly good job on the brisk melo-speedster "Dead On Arrival", and the edgier more modern-sounding thrasher "Limitless". "The Ways Of A Wicked Man" is another fine speed/thrash piece Cline emphasizing on the melody, but never losing the bite and the sharpness his overall approach reminiscent of Manticora and Paradox, another testimony for his talents being the excellent closer "The Damned", the final portion of clever, complex speed/thrash which should catapult Cline to the front row of the movement.

Evil Within Full-length, 2004
Where the Sleepless Go Full-length, 2017

Official Site


A very obscure, but very cool thrash metal band with very funny (and very realistic, reflecting well the Russian communist reality at the time) lyrics; features nice solo work, too. The guys play with inspiration and energy, and despite the buzzy guitar sound and the not very good production quality, the music packs a punch, at times picking almost Slayer-esque aggression, at times softening to power/speed, accompanied by nice melodic leads, which are quite striking on the more simplistic and ordinary delivery, but are unfortunately too short.
"Wonderland" is ordinary melodic heavy rock and has no ties to thrash; some tracks are just narratives (or imaginary) of the guys' sexual, or drinking exploits.

The Lottery Ticket Full-Length, 1989
Wonderland Full-length, 1992


The promo: modern technical thrash/death metal sharing some of the dry mechanical aesthetics of mid-period Meshuggah, but those moments are often intercepted by more direct Swedish death metal passages. When the latter are missing, the music is close to taking off: the sinister doomy progressive Treponem Pal-esque "Moment of Reveal", the dynamic up-tempo thrasher ala E-Force "Convictions". There's a potential here with the guys having enough original ideas up their sleeves without any necessity to borrow from the neighbours. Half of the musicians taking part here are also full-time members of the melodic progressive metallers Depth Beyond One's, and the gothic/progressive metal act Joint Depression.
"Promosexual" follows a similar pattern, although the more direct and more technical moments are better mixed: "Nooperative" comes close to mid-90's Voivod, but "The Noble Men" goes straight into progressive alternative waters losing the sharpness in the process. "Forgotten" is another more dynamic exercise in abstract modern technicality, and "Introverted" is a brutal for the band's standards speedy thrasher. "The Noble Dude", which is a bonus track, is a weird acoustic ballad having nothing to do with the mechanical abrasive style of the rest.
"The Five Precepts" is a cool achievement now adding a death metal brutality, but not of the Swedish kind, to the proceedings, but of the modern jumpy semi-technical type. The songs are very hectic with weird sterile riff-structures not far from mid-period Meshuggah again, but there's also a nice spacey feel to the guitar sound echoing Atheist at their prime ("For the Unity We Breathe", which is an outstanding technical death/thrasher). Twisted groovy technicality is also served on the final "The Perfect Canvas", and as a whole this small effort stands for the band's magnum opus, and should finally catapult the guys into the full- length circle.
The full-length finally arrived and the good news is that all the songs are brand new, and are not bad at all. The cold mechanical shreds encountered previously are all over the album and some of them of the bashing, headbanging kind (the sterile lashings on the opening "Virtual Compassion"). "In the Flesh" raises the level way higher being a standout modern progressive/technical piece again with a few faster moments. "Machine Mind" is another robotic puzzler of the more laid-back atmospheric variety paving the way for the quasi-industrial calmer "Cleansing Self". "The God Complex" thrashes with passion recalling early Strapping Young Lad and the next "Void" even adds a more aggressive death metal flavour also moving up the technicality scale with a couple of nice intriguing riffs. Then comes "Origo" which is modern technical thrash at its best mixed with short atmospheric breaks which grow into melancholic doom in the middle. The closing "Paradigm" doesn't disappoint, either, although it develops in a slower pensive manner with industrial returning for the final atmospheric twist. The band manage to fulfill all the expectations from the EP's realising their potential although more should be heard from their camp later...
"Opium" now borders on the so typical for more recent times extreme metal concoctions with loads of influences accumulated on top of each other kind of leaving behind the more individual approach heard on the preceding album. The overall delivery isn't too far from Fear Factory even except on a few occasions ("Manipulation Strategies") where the guys produce more futuristic brutality the latter somewhat missing from the colossal 9-min title-track which is just doomy/industrial abstractism without any certain direction. It's all professionally done, but ultimately lacks a soul and inspiration whcih were vital ingredients from the band's previous repertoire.

Promo EP, 2009
Promosexual EP, 2009
The Five Precepts EP, 2010
Egotheism Full-Length, 2012
Opium Full-Length, 2015

Official Site


One would be quite surprised to find out that this act was the next, albeit very short, stop for Tommy "Coroner" Vetterli who had teamed up here with another technical/progressive thrash maestro, the drummer Peter Haas (Mekong Delta, Calhoun Conquuer, Babylon Sad, Poltergeist). The bad news is that the music here is nothing more than bland jumpy, groovy post-thrash. There's absolutely nothing to hint, even remotely, at the musicians' pedigree. Sad boring stuff.. a total waste of talent.

Demo EP, 1995

Official Site


Monolithic heavy post-thrash with frequent balladic overtones; the predictably mid-tempo wears thin at some point, and spasmodic thrashy "bombs" like "Clone" should have been more. The singer is a bit more aggressive for this kind of music with his throaty semi-death metal tember.

10 Years The Power Of Clone Full-Length, 2009


This young Spanish outfit pull out modern minimalistic thrash/post-thrash which can be quite exciting and intense ("Stars and the Universe", the crossover joy "Apocalyptic") at first, and even more technical (the jumpy "The Rise of Cthulhu") on occasion. The 2nd half is more disappointing the guys diminishing the edge sticking to more laid-back power metal-ish rhythms finishing in the worst possible manner with the funky "atrocity" "Wiped Out". A diverse, but ultimately messy affair, betraying the much better beginning...

Revolution Full-Length, 2014


Modern Swedish thrash/death metal from Australia; nothng new, but competently executed with admirable thrashers ("Maybe It Just Might") scattered around. "Ride With Us" is a nice thrash/death hit and teh guys really pull it out in the melody department although this comes for the sake of the speed in the 2nd half where there are very few fast-paced tracks ("Oracle") to be savoured the prevalent tone becoming more officiant and epic with Amon Amarth reverberations culminating in the excellent short closing instrumental "The End".

Thy Blood, Thy Word EP, 2008

My Space


Cool crossover/thrash with sharp riffs and energetic tempos, close to early Nuclear Assault and longer for the style songs which nicely mix with the shorter direct thrash/hardcore-ish bombs. Quite often is the music pure headbanging thrash ("In The Cartoon", "Pet Of A Pig") supported by very good lead guitar, something not very typical for the style. "On The Way Up" is the odd slow melodic track which is off-context, but is not so bad. "The Grey Men" is the highlight: a nice combination of very slow sections, suddenly interrupted by smashing speedy riffs. Near the end the band softens the course and comes up with 3 laid-back rock-ish numbers with the exception of the aggressive thrashy mid-section of the closer "Prey". This is probably not the best way to end such an album, but before that the thrash metal fans have alreay taken their necessary portion of headbanging tunes.

Circus Of Chaos Full-length, 1986


This is raw thrash/crossover, openly hardcore-ish at times, sustained in an energetic, albeit too samey, fashion recalling both Madball and early Cerebral Fix. The singer is suitably shouty and his attached antics are convincing and intelligible.

Thrash Mongrel Full-length, 2003

Official Site


Energetic punk-ish thrash/crossover; fast unpretentious music resembling early Broken Bones except in the vocal department where the singer is semi-declamatory using a levelled unemotional tember.

Johannes Kastaia EP, 1988


A contrasting mix of modern groovy post-thrash and furious hard/grindcore; wild chaotic stuff with both meaty and brutal guitars seldom branching out in more coherent thrash ("I Will Destruct", this one also acquiring frenetic technical dimensions; the raging speedy shredder "Ticks, Rats And Traitors"). The guys, however, have a bigger imagination (and also a sense of humour) when it comes to album-titles...

Surgical Removal of the Teeth, Toenails and Drilling of the Kneecaps Full-length, 2005
Violent Intentions Begin with Slow Incisions Full-length, 2010

Official Site


Based on the full-length, this band plays modern power/thrash metal in mid-pace, livened up by the odd more intense headbanger (the melo-thrash/death piece "I Will Shine"; the good aggressive nod to the classic school "Adiccion"). This is hardly exceptional music being pretty predictable and samey most of the time led by even less memorable indifferent clean vocals.

Coalission EP, 2008
Alienado Full-length, 2009

Official Site


Mild, friendly thrash/crossover; "I'll Sue You" thrashes harder, even semi-technically, but its 1.5-min duration can hardly make an impact regardless of the inclusion of "Military Holyman", an interesting varied anthem accentuating on the relaxed punky, clean vocals which are close to being the highlight on this unpretentious recording.

Demo Demo, 1990


This band is a side-project for two members of the death metallers Blood Red Throne. What we have here is black-ish thrash, atmospheric and mid-tempo on half of the songs, and brutal with numerous hyper-blasts on the other half. It's not very well mixed, and the final result will not be very satisfactory for the average thrash metal fan.

Meat Hook Ballet Full-length, 2002

Official Site


This Colombian trio specializes in wild shredding speed/thrash of the old school. This is mostly speed metal, but is done with a lot of gusto and inspiration, so there shouldn't be any disappointed listening to compulsive speedsters like the opening "flier" "Cobra", or the equally as sweeping follower "Night Hunter". Things get rougher later on, on the more intense speed/thrasher "Inmortal (Rey Del Rojo Cielo)" and on the early Angel Dust worship "Ataque Metal". "Exceso de Alcohol" is the obligatory calmer in the middle, this one a pure heavy metal ode to alcohol. "Guerrero Speed" richly deserves its title racing with the speed of light, but wait till you hear the closing "Grito En El Abismo": 8-min of pure adrenaline-filled speed metal to the bone with great soaring leads plus an enchanting acoustic balladic exit. The singer has a slightly meanish semi-clean voice with some death metal shade, but he gives the very good music an acceptable characteristic colouring from which the band can only benefit.

Grito en el Abismo Full-length, 2010

My Space


Based on the "Poison in the Bones" split, these Peruvians classic power/speed/proto-thrash ala Exciter, Griffin and Savage Grace. This is energetic up-tempo stuff with pleasant melodic vocals.

Poison in the Bones Split, 2009
Kamikaze Tapes: The Official Bootleg Best of/Compilation, 2009
Peruvian Fuckin' Heavy Metal Split, 2009

My Space


3 songs of aggressive modern/classic thrash/post-thrash with angry synthesized vocals; the 1st number is an intense classicer, but the other two are modern groovy wastes.

Demo Demo, 2011


Merry frolic thrash/crossover with sincere references to the good old punk days, so there'll be lots of good time here with the pogoing around which emits short (1-2min) songs the only more serious moment being the good Integrity cover "Hollow" at the end which is whole 4-min (!). The vocals are a cool reminder of the shouty semi-clean tirades of the early punk singers, and add more to the optimistic jolly tone of the album.

Attack Full-Length, 2007


One of the bands who brought the old school thrash metal sound back in Germany; the guys follow on the steps of their colleagues from the Bay Area scene. "No Compromise" begins in a more modern groovy fashion with the opening "Virtual Reality", which is quite misleading, as the very next song ("Vampire In Black") smashes with nice old school riffs. The guitar work is quite stylish, bordering on semi-technical thrash on some tracks. All-out speed is not what one will find here; the band prefer to hit with slower, meaty guitars and mostly mid-paced heavy tracks, suddenly intercepted by faster, but not very long breaks; well done, but the headbangers might lose their patience while waiting for those speedy passages.
"Temple Of Mystery" is state-of-the-art thrash, which recalls Metallica at their best, among other heroes from the 80's. The compositions are longer, and the fast sections are much more frequent. The guitars now have a more overt technical edge, and this time we have some excellent technical opuses: "Total Gym", "Underworld", graced by nice leads as well. "Temple of Mystery" is a slow, doomy, atmospheric song, the only one of its kind here. "Fallen Angel" is a brilliant speedy thrasher, alternating intense thrashy sections with galloping ones: the best song on the album which finishes with the larger-than-life 11-min "Personal War": an ambitious, progressive thrash piece crossing over quite a few tempo changes and moods also featuring really cool semi-clean, semi-operatic vocals.

It was interesting to see how the music of these guys would develop after such a strong release, but the follow-up is much inferior: "The Observer" is clearly a disappointment with its much more ordinary modern sound and the frequent adherence to misplaced death metal blast-beats. The guys have decided to sound more aggressive and "updated", and have consequently ruined their potent delivery.
"Judgement Day": having realized their mistake on the previous effort, the band are now back to more classic territories and the results are immediately better, albeit not really great. The modern "remnants" are inevitable, but at leats now the faster sections ("Manhunt") are not annoying at all although their involvement is much less than the one of the heavy stomping moments ("Escape") which produce pure steam-rollers in the 1st half. Mild power/heavy rockers like "Cyborg" are hardly necessary since they pull the album down to mediocrity dragging a trail of unimpressive edgeless tracks after it finished with the overlong melodic ballad "Our Last Time". The 2nd half is nothing to talk about the guys shredding in mid-tempo sounding not very inspired with a solid power metal aftertatse left in the listener's mouth. Decidely better than its predecessor, this album would hardly make any heads turn added to the sea of similar works "roaming" the "no man's land" between the classic and the modern school.
The demo consists of lengthy, varied compositions which evolve around heavy stomping guitars that fail to generate much excitement despite the competent musicianship. "Unholy War" livens up with a portion of sprightly galloping riffs, but it's not until the arrival of the more technical "Senseless" that the approach starts to take a more attractive shape, the immediate result of which is the complex shredder "True Lies" and the lashig proto-speedster "Married with Children" which "flirts" with the main theme from the famous TV show of the same title at the beginning.

Fi(r)st Demo, 1997
No Compromise Full-length, 1999
Temple of Mystery Full-length, 2003
The Observer Full-length, 2006
Judgement Day Full-Length, 2012

Official Site


Based on "Fire Ant Moving Co.": Cocobat isn't too far from the style of other Japanese bands like Sex Machineguns, Gargoyle and Shellshock which means that you'll get a very diverse bag; apart from the fast thrashers there are also songs which stretch into all possible directions: doom, heavy metal, industrial, even alternative. Fortunately the album is 14-songs long which means that there will be at least half a dozen headbangers to keep the thrash metal fan happy.
"Struggle for Aphrodite" is typical 90's groovy post-thrash, soft, edgeless and derivative.

Cocobat Crunch Full-length, 1992
Footprints in the Sky EP, 1993
Struggle for Aphrodite Full-length, 1993
Posi-Traction Full-length, 1995
Grasshopper (Promo-Tape) EP, 1996
Return of the Grasshopper Full-length, 1996
Tsukiookami EP, 1998
I Versus I Full-length, 2000
Arana EP, 2000
Ghost Tree Giant Full-length, 2001
Fire Ant Moving Co. Full-length, 2004
12 Steps EP, 2005

Official Site


Based on "Deceiver", this act deliver rough modern thrash bordering on thrashcore which can become pleasantly classic and galloping on cuts like "Troops". "Pray for Me" is a cool lashing mid-pacer, and most of the material follows the same model the guys not very fond of the speedy parametres. The vocals are rough semi-clean ones and suit the not very demanding musical delivery.

The Colourful Red Full-length, 2004
The Art of Trinity EP, 2007
The Art of Trinity Full-length, 2008
Deceiver Full-Length, 2016

Official Site


The debut full-length: having taken their name from one of the more recent Sodom albums, the guys won't keep you guessing what the order of the day would be: this is heads-down Germanic thrash which has something in common with the afore-mentioned German heroes, but most of the time it thrashes with speed the way their compatriots from Kings' Evil, or Fastkill, used to do it (the guys are not as fast as Fastkill, but often are not too far behind) with a pinch of early Destruction and Necronomicon. "Buried In The Battlefield" is an awesome start for the album: speed/thrash at its best with a short slower sinister break in the middle, which comes with a nice Oriental tune. The fast pace dominates throughout producing some of the finest headbangers around ("Hunger Island", "Destroy") ably supported by good, Schmier-like vocals, maybe a bit lower. The band are not strangers to more moderate, but equally as enjoyable pieces: the energetic up-tempo "Patriot", the instrumental "August 6 1945". A bigger, Slayer-like aggression also springs up occasionally (the brutal, fast piece of thrash "Toward The South"). The guys were previously known as Mine Field the style on the two demos released under that moniker pretty much the same.
"Fang of the Sun": not a very regular presence on the scene at all, the band are back after a gigantic 10-year hiatus, and their hyper-active, uncompromising approach is pretty much on full display with the up-tempo chosen as the main tool. Stops from the freighter are encountered: the heavy atmospheric "Chaos-Salvation", the more carefree thrash/crossover piece "Disappointed", and by all means "August 6th 1945", a more ambitious shredder with a stomping rhythm-section and a few more intriguing arrangements.

Buried In The Battlefield EP, 2004
Wolves Of Warfield Full-length, 2007
Fang of the Sun Full-length, 2017

Official Site


Dark Tranquillity/In Flames meets modern thrash metal. "Source" is a cool debut which offers good guitar work excelling in the lead department, and when it stays closer to thrash it provides really fine pieces ("Humanity Inspection", "Shattermind") which are of the mid-paced, semi-technical type, and one really notable exercise in technical thrash ("Destination Decoder"). The rest is your run-of-the-mill modern thrash/death metal of the Swedish school.

On My Side EP, 2005
Source Full-length, 2008

Official Site


This is simplistic, old school black/thrash with a joyful, almost punk-ish delivery; think a more cheerful Venom, or a more vicious Motorhead or Tank. There are no blast-beats and speed involved here, this is mostly mid-paced stuff, well played, albeit a bit one-dimensional.

The Miracle Of Death Full-length, 2007

Official Site


Classic thrash/death with brutal death metal vocals ably assisted by hypnotic doom-laden riffs from time to time; things get wonderfully fast and technical on sure-handed pieces like "Out of My Skull" which even touches the mid-period Carcass flavour with style. "Baphomet" is a compelling mix of shattering speed/thrash and great heavy doomy guitars before "Desecration and Butchery Through Hatred" wraps it up nicely unleashing a perfect blend of aggression and technicality in the best tradition of Carcass' "Heartwork" again if we exclude the slight soft crossover interlude in the middle which is seriously off-context and should be avoided for the future. Some of the guys entertain themselves with the metalcore formation She the Murderess, and the thrash/crossover heroes Trasher.
"This Cemetery, My Kingdom" flows in a similar vein the band thrash/deathing with might again recalling mid-period Carcass quite a bit including on the short ripping shredder "Homicidal Tendencies" and the diverse piece "Saw-Wolf" where the leads are outstanding. The crossover "remnants" still roam around ("Sir Doohme,the Coffin Master"), but they make the more serious material ("Mary Jane Rotten Crotch"; the aggressive deathy rifforama "Bone Head") even more prominent. Near the end the guys give way to their more pensive side, and the last two cuts are long elaborate pieces with numerous musical allusions even with a few doomy passages inserted on the final title-track.
"Everything Is Dead" the ambient intro, albeit captivating, doesn't promise any hard thrashing exploits, but the lads unleash their brutal spirit without fail later on either in the form of lengthy diverse opuses ("Gore Ensemble") or as short thrash/crossover delights ("Commander Exhumer"). Both sides alternate until the arrival of the ambitious closing title-track which lasts for nearly 10-min and comprises a wide gamut of moods and tempo and time-changes with a strong epic feel the saga finished with the same ambient brilliance as the one heard at the beginning.

Ancient Rites Of Buried Evil EP, 2011
This Cemetery, My Kingdom Full-Length, 2014
Everything Is Dead Full-Length, 2016

Official Site


A more energetic version of the 90's groovy post-thrash with dynamic classic implements; not bad with a few intense headbanging sections not miles away from the Evildead second effort or the Sacred Reich album of the same year. The closer "The Face" is an ambitious 8-min long composition, but the guys fail to take the most out of such length, relying mostly on heavy groove to pull it through. Later they formed another band and chose a much "angrier", more metal name: Anger, but ironically their style is miles away from thrash: it's much softer sitting somewhere between heavy metal and hard rock.

The Cogency Revenge Full-length, 1993


Based on the debut EP, these guys pull out a wild aggressive mixture of thrash, death metal and grindcore which gives a fair share to all three styles with vicious vocals strictly belonging to the death metal camp, sometimes interrupted by very hysterical blacky screeches. There is seldom a slow passage here, but the really brutal grinding breaks are not that many the guys death/thrashing in an inspired, albeit a bit samey, manner.

Omens of Doom EP, 2008
Prison Under the Cross EP, 2010
Into Madness Full-length, 2011

My Space


Based on the "Crying Of Humanity On the Liturgy" demo, this band offers retro black/thrash metal crossing early Burzum with slower more epic arrangements; not bad, also rich in atmosphere, with harsh raven-like vocals.

Crying Of Humanity On the Liturgy Demo, 2005
Consume the Obsessed Hatred On the Liturgy Demo, 2007

Official Site


Based on the EP, these Aussies offer 3 pieces of fast dark retro thrash with more dramatic, porgressive variations on the title- track. The closing "Hammer Of The Witches" is a live recording, a vintage old school speed/thrasher ala Whiplash and Hirax.

Vanquished Visions EP, 1994
Drawn and Quartered Full-length, 1996
Reflections of Madness Full-length, 2006

Official Site


Based on "Strength Beyond Fear", this formation pull out heavy quasi-industrial post-thrash which crosses the more volatile sludgy aesthetics of Crowbar and Down with the hypnotic volcanis delivery of Soulstorm and Grope. Needless to say, there are no moments of speed to be witnessed here, but this playful heaviiness is not a bad listen, especially for those who are fonder of the doomier side of the 90's trends. The patient ones will beeventually rewarded near the end with the only more intense piece, "Leadership", which provides more dynamic riffage to dissipate the elephantine nature of this recording.

Music for the Ugly People Full-length, 2010
Strength Beyond Fear Full-length, 2013

Official Site


Based on "The Great Depression", this act plays "great depressive" thrash metal which is more on the classic side. The music is dark with a gothic undercurrent not too dissimilar to Sentenced's mid-period (think "Amok"), but with cleaner, more expressive vocals. There are beautiful melodic passages graced by fine lead guitar work, but there are enough heavy crushing moments here as well which at times also smell doom/death.

Somnium XIII Full-length, 2000
Depressing the Masses EP, 2003
The Burden of Hope Full-length, 2005
In Solitude Reborn EP, 2007
Anno MMIX EP, 2009
The Great Depression Full-length 2011

Official Site


Based on the "Irritate" demo, this band pulls out a heavy modern blend of thrash and death metal, but definitely not "irritating", with a dark gothic atmosphere, nice quiet passages, and good lead guitar work (check out the very cool "Insanity"). The music is mostly mid-paced, acquiring a catchy playful spirit at times ("Ghost").

Demo Demo, 1994
Fagypont Demo, 1994
Trio Demo, 1996
Fraction Demo, 1997
Irritate Demo, 2002

Official Site


This is curious dark foreboding mid-tempo post-thrash which incorporates doom and gothic into the brooding picture which boasts addictive melodic lead sections and a few really hard-hitting breaks including sparce blast-beats. This is an avantgarde listen assisted by sinister semi-whispered vocals which needs a little refinement before hitting the right buttons, but its not certain whether the band would not choose their gothic heart to follow on future releases.

Pillars Of Lies Full-Length, 2013


A cool (not really "cold") band sounding like a more melodic Exodus (references made mainly towards "Force of Habit") mixed with heavy angry riffage ala Pantera and Exhorder; there are more diverse offbeat moments similar to what Death Angel tried to do on "Act III", and these could be, depending on the taste, the highlight of their style, or a total pullback.

Bracing the Fall EP, 1992
Freakboy Full-length, 1992

My Space


Hardcore meets groovy modern post-thrash metal; enough said for the moment...

Cold War Survivor Full-length, 2004
Bloodworth Full-length, 2007

Official Site


Modern heavy/thrash, not really aggressive, with numerous tender romantic sections, but containing at least one cool thrashy piece: "A Monday Morning - Part III Order" with a nice gothic atmosphere. The overall style is close to the works of the Finnish acts To Die For and late period Sentenced with a pinch of thrash. For fans of the more melodic side of thrash metal this demo will surely have its appeal.

Of Honour Demo, 2004


Modern melodic thrash/death metal; nothing new with the overused mix of brutal and melodic vocals used all over. The guys mix fast with heavier sections as the latter are the more appealing side coming with a certain dark gothic flavour. "Fly Away" is a good ballad "deprived" of the annoying spasmodic blast-beats "decorating" the other songs.

Heldenlos Full-length, 2009

My Space


Based on "Bloodfire Sunset", these guys offer a classic blend of thrash and death metal staying closer to death metal which is of the slower Bolt Thrower-type with more playful thrashy rhythms dispersed within, but the real up-tempo moments are not many at all the guys steam-roling with a consistent heavy proto-doomy sound (the Outro is high-octane first-class doom metal) ably supported by excellent leads and very brutal low-tuned vocals.
"Christus Deathshead" features shorter songs, which carry a less serious, hardcore-ish, edge, which gets more obvious on the faster ("In Rapture") compositions the latter on the edge of falling into pure grind/hardcore. The characteristic steam-roller sound of the previous album is seldom felt ("Apocalyptic Christian Sect"& "Omega Symphony" which come one after the other in the middle), the rest smelling deathcore more than now and then, the closer "Cast into the Lake of Fire" mixing all approaches into one wild whole as a finishing touch packing it into a bit more than 2-min.

Whore Bred And Hell Raised EP, 2002
In The Suns Dead Rays Full-length, 2004
Bloodfire Sunset Full-length, 2007
Christus Deathshead Full-length, 2011

My Space


The "Live Oppression" album which, of course, is a live performance, containing all the tracks from their full-length debut "Still Oppression Rules", and some more, is an intense slab of classic thrash/death metal staying close to the French patterns in the trend (Agressor, Massacra, Loudblast). The music is mostly up-tempo with brutal almost grinding outbreaks. To these ears the heavy slower pounders deliver better ("Human Entrapment") with their hammering riffs with a slightly modern Pantera-sque edge suiting better the angry gruff vocals recalling Jan-Chris De Koeijer (Gorefest).

Still Oppression Rules Full-length, 1995
Live Oppression Live album, 1997
Colemesis EP, 1998
Jalapeos in Burger Republic EP, 2000

My Space


Energetic brisk thrash/crossver with sharp, but also melodic, riffs not far from mid-period Ratos de Porao. A few less controlled blast-beats have also been applied to ensure the headbanging potential of this recording which is also characterized by harsh semi-clean/semi-shouty vocals. The approach is fast and not very diverse, but ensures good fun all the way with its simplistic, orthodox aesthetics.

Resurgiendo Full-Length, 2015


This EP consists of just 2 songs one of which ("Condena") emits pleasant post-thrash ruined by the very brutal low-tuned death metal vocals. The other one ("Juego Eterno") is a curious cut mixing stylish technical death with atmospheric gothic/post-thrash, and this path should be further researched since it gives the band a cool individual air.

Sinopsis Del Desastre EP, 2010


Two mini-songs of brisk speed/thrash metal of the old school with a crossover shade coming as a mix of Nuclear Assault and Vectom; energetic stuff with a very good sound quality and gruff Tommy Victor-like vocals.
The EP is once again 4 songs of intense dynamic thrash/crossover mixed with the good old speed metal this time smelling the Finns Solitaire ("Speed Metal from the Grave"; it doesn't really matter where it comes from as long as it's that catchy), among other both new and old heroes. "The Band Of Mexcal" is another headbanging ripper leaving the more aggressive thrashy approach for the closing "Roma a Mano Armata" which still carries the jolly carefree spirit.

Mini-Demo Demo, 2010
A Mano Armata EP, 2011

Official Site


Based on the full-length debut, this outfit offer generic modern thrash which has the requisite amount of energy to move the fans around, but this has all been heard countless times before. It's professionally done and all, and fans of Dew-Scented and Corporation 187 should have no problems appreciating this album.
"In the Shadow of Man": the sound has been upgraded towards more aggressive thrash/death and consequently the feel is more positive with effective, dry sterile ("Beacon Of Malice") riffs leading the pack here and there. "All Things Decay...." is an operatic semi-ballad with loads of atmosphere, but the more brutal side ("Destiny Manifest") of the guys' repertoire is by no means less attractive. The 2nd half is not as eventful, though, with a couple of sleepy slower cuts the brutal "Dittohead" (hello, Slayer!) near the end the sure highlight with its twisted technical breaks.

Scar the Silence EP, 2010
Arms and the Covenant Full-length, 2013
In the Shadow of Man Full-Length, 2015

Official Site


A 3-song demo (the one from 2006) of heavy, mid-paced classic thrash close to Slayer's late 80's period; quite good stuff although the songs are all in the same vein and kind of merge together. On the full-length the guys have woken up to play some fast intense thrash, and do a much better job this time also "courting" acts like Torture, Viking, etc. Slayer is still the base, but apart from the dark sinister, very cool mid-paced "Another Man", their late 80's period is not that well covered, for the sake of their early years. Intense speedy thrashers like "Declaration of War" and "Pull the Trigger" will easily make any thrash metal fan's day, whereas more choppy hectic riffage can be heard on "Dogma".

Demo Demo, 2004
Demo Demo, 2006
All That Oppress Full-Length, 2008

My Space


Based on "A Healthy Dose of Death", these Dutch play a violent blend of thrash, hardcore, and death metal. Expect a lot of mosh here, but also a couple of more stylish moments ("Charming Chicks With A Crucifix"; the excellent closer "Dose Of Death" which will remind you of Carcass' finest days) where more technical riffs can be encountered, albeit for a very short time (the longest track is barely over 3-min). Most of the songs are directly spit in your face with intense riffage and shouty quarrelsome vocals.
"Satanic Surgery": the brutal "cocktail" is on full display once again with a more frolic hardcore edge perhaps which means that the more squeamish should also stay this time. And for a good reason since this short piece of aggression is quite memorable in the long run, and won't bore you even for a split second. The cuts are typically short and to-the-point, seldom going beyond the 2-min mark; and the vocals have this optimistic punky flair beign constantly shouty and high-strung, but in a comprehensive way.

Romantic Display of Love Full-length, 2003
Roadkiller Full-length, 2006
A Healthy Dose of Death Full-length, 2012
Satanic Surgery Full-Length, 2016

Official Site


Based on the self-titled demo, this act plays a bit dry, but still retro-sounding thrash metal with a few modern throw-ins which prefers to play it mid-tempo leaving all-out vigorous thrashers like "Till You Understand Death" and "Infekcja" just pleasant deviations. The guitar sound is good, both on the heavy pounding side, and the singer delivers with his hoarse semi-clean tember.

The Beginning of the End.....? Demo, 2009
Collision Demo, 2009

Official Site


This young Italian trio play angry groovy post-thrash which is fairly jumpy and dynamic creating a lot of moshing moments. The band seldom step the pedal on the speed, but the steady mid-pace ensures good fun which also comes from the cool attached semi-shouty clean vocals. Watch out for the excellent progressive closer "La Marcia Dei Colonnelli", a very different story from the preceding material with hard-hitting riffs and plenty of tempo-changes including the only headbanging passages.

Verr\'e0 La Morte E Avr\'e0 I Tuoi Occhi Full-Length, 2015

Official Site


Based on "GroundLevelSexType", this act play groovy happy post-thrash which borrows slightly from the playful aesthetics of early Pro-Pain mixing it with angrier Bio-Hazardesque rhythms at times. The music is direct without any complications the guys following the established trends without any digressions. The band was previously known as Accessory under which name they released one album in 1991 ("Within Your Mind") of much more aggressive thrash/death.

Colour Trip Full-length, 1993
GroundLevelSexType Full-length, 1994
Full-time Function Full-length, 1997
Kill My Super Ego Full-length, 2002

Official Site


The music here is done by just one man, Akira Naito, who is also responsible for the act Gaspanic during the 90's. This is good melodic thrash/death metal of the modern variety with flashy guitar work and orchestral arrangements. Expect fast tempos, guitar virtuoso sections, excellent melodic leads and weak semi-clean vocals, which try to compensate their inferior performance with a few high-pitched shouts, fortunately not too many.

The Art of One Full-length, 2001
Counter Blast Full-length, 2005

Official Site


Based on "Future Against All", this band plays modern groovy post-thrash with a hardcore-ish edge and abrasive guitars; the music gets jumpy and "busy" at times, but the ordinary riffs soon come up to bury them, a situation also helped by the unpleasant shouty vocals which are put too up front in the mix.
"Masquerade" is an edgier affair with some interesting speedy groovers ("Harsh Light") flying around which should have been more since once the heavy volcanic riffs settle there's absolutely no way to get around them, and they will nail you down way before the end, especialy with the several more doom-laden numbers ("An Evidence", etc.) in the middle. The aggressive death metal singer seems to be the most impressive ingredient here his forceful rendings creating an intense atmosphere.

Paralysis Full-length, 2000
Submissive Full-length, 2003
Fake Full-length, 2007
Ultimate EP, 2008
Future Against All Full-Length, 2009
Masquerade Full-length, 2010
PhILosophisED EP, 2013

Official Site


Based on the "Discord" demo, thic act offers stylish semi-technical thrash/death metal with great bass implements which are simply a wonder to listen to (check out "Eternity", which also contains a frenetic fast section in the Floridian school vein). The guitar work is fairly complex and interesting, but the guitarists' efforts are impeded, first by the bad sound quality, and second by the rough brutal death metal vocals. Later the guys changed their name to Colp with which also came the change of style into modern groovy post-thrash (see the review above).
The "Thoughts" demo is an excellent affair with a great clear sound quality featuring brisk moshing classic thrash with cool technical implements ("Just Bullshit", the jumpy "Die And You'll Win"). The leads are also on a fairly high level along with the omnipresent bass bottom, and it looked as though the guys were finally on the right track to stardom... alas,...

Death Coiting Demo, 1993
Discord Demo, 1994
Thoughts EP, 1996

Official Site


A 3-track demo of energetic classic speed/thrash metal the guys lashing in a passionate manner not far from the early Deathrow efforts with a slight hardcore edge on the gruffer moments. This is good headbanging fun with no speed lost for most of the time, coupled with several more melodic passages, plus attached clean shouty vocals ala Mark Antoni (Realm), maybe a bit higher-pitched. The guys are more active with their other project: the avantgarde death metal act Misbelieving, with whom they have released two EP's.
The full-length is a milder affair with a much more overt crossover edge the band indulging in numerous melodic "decorations" which ensure the uplifting atmosphere the pogo elongated in 5-6min compositions some of them ("Last Aim", "Again") ruined by modern groovisms. The rest is decent thrash/crossover fun sustained in brisk fast tempos with plenty of catchy shouty choruses.

Coma Demo, 2009
Mindless Full-Length, 2013

My Space


The line-up includes Brett Fugate- the drummer who later joined the doomsters Church of Misery. Here he also handles the vocals, and his Tom G. Warrior-like grunts are one of the highlights of the demo. The music is quite effective, too: heavy, mid-paced, a bit chaotic and technical, and reminds me of Forced Entry, or Infernal Majesty's slower and more twisted songs. Heavy smashing riffs will attack you all the time, and the ever changing rhythm will keep you guessing what comes next. The complexity is big, but the guys keep it short with the longest track barely going over 4-min. There are occasional passages where one could catch modern Exhorder-like riffs; a sign that this band would have found a place into many 90's fans' lists, and well deservedly so.

Cryogenic Torments Demo, 1992


Modern energetic thrash, quite close to the style epitomized by the French Lyzanxia on their later efforts, which kind of loses its edge on the moments when the clean vocals come up, but the riffage is sharp and the tempo is up most of the time. All the 3 songs are close to each other style-wise, with "Hollow" sticking out a bit, with its more clever semi-technical guitars.

Promo Demo, 2008

My Space


These Brazilians pull out melodic laid-back power/proto-thrash which clings more towards the 80's American side with a fairly capable clean singer who at times sounds close to Bruce Dickinson himself. The album by all means has its energetic moments ("Comando Metal", the dramatic shredder "Selvagens Da Noite", the fierce speedster "Forea Motriz"), but the dominant character is mid-paced with the casual flair of galloping happiness ("Medusa"). This effort is a cool tribute to the old school strangely benefitting from the not very clear sound production which gives it a unique archaic feel. The band members take part in various other acts: the doom metal formation My Fallen Garden, the heavy metallers Deluge Master, etc.

Comando Etedlico Full-Length, 2009



The debut: four "comaniacs" are here from the Swiss Alps to rock your world with brisk classic thrash which begins quite intensely before acquiring more serious proportions on "Cut Throat", as well as mellower power metal tendencies on "Fist of Friends". Stripped-down, headbanging thrashing ("Killing Tendency") hasn't been abandoned completely, but the more elaborate approach has been accentuated on again of the more laid-back variety ("Solitude"). This is a diverse recording which still provides fun for the hard-boiled thrashers (check out the exiting trio of numbers) also benefitting from the crystal clear production.
"Instruction for Destruction" continues with the diversification as a faster and slower material alternate the finest moments borne out of blends of the two sides: "Guarding Ruins" and the closing opus "Instruction for Destruction" with their stylish echoes of mid-period Megadeth; the excellent jumpy technicaller "Self Control"; "Forever More" with its speed/thrashing epicness ala early Iced Earth. As a whole the guys have done a better job here concnetrating on both the more complex and the more aggressive side of their repertoire.

Return to the Wasteland Full-Length, 2015
Instruction for Destruction Full-length, 2017

Official Site


Good thrash of the classic mould with slight modern tendencies; "Defiled by Madness" begins in an open intense manner, thrashing with great sharp riffs, followed by the even better "Bottled Freedom" which slows down a bit, but increases the heaviness of the guitars. "Inner Conflict" is an aggressive Slayer-esque number adding a genuine technical edge to the guitars, after which comes another more quiet, shorter track ("Deniably So (The Edited Truth)") before "From Green to Black" finishes you off, with another wall of aggression.

Deep Sleep EP, 1995


2 songs of classic Bay-Area speed/thrash in the vein of early Exodus with rough hardcore vocals; good alternation between fast and slower sections ably supported by clever semi-technical riffs. Half of the "staff" involved here is also playing in the thrash/black metal outfit Agribater.

Ofresida EP, 2010

My Space

COMBAT (USA, New York)

This is the same band known previously as Napalm, under which name they released two albums in the late-80's/early-90's. Based on "Ruination", this is abstract, pretty technical as well, modern thrash with a somewhat mechanical feel and a certain hardcore edge (also in the vocals) at times resembling Meshuggah, at times Obliveon's later period, or the Americans Baghead, at times something which defies definition (maybe some veterans from the thrash/crossover scene of the 80's with a considerable technical twist). There are quite a few interesting moments to be encountered here; well, "interesting" is a bit relative since they might sound too "out there" to the more conventional fans where the riffs sound too "robotic" and dry, and to describe the pace here would be quite difficult as the songs twist and turn into the most unexpected directions in a way which even the mighty Voivod might find hard to match. This is not an immediate listen, and one might get the feeling that some moments lack coherence and each of the guys is doing his own thing with a little regard to the others, but if you spend more time with it, and if you have an ear for thrash metal not as usual, this album should turn into a winner.
The "Let the Battle Begin" demo is the band' debut work, back in the very early days when they were still allowed to use the Combat moniker by the label of the same name (the same one who took care of the Napalm albums later). The music presented on it is mostly heavy/power metal with epic qualities ("GAG of Steel") with "Kranked Up and Out" being the only full-blooded speed/thrasher which bashes in a stripped-down fashion with a hardcore flavour. The singer shouts in a listless punky manner his antics seriously hampered by the pristine sound quality.

"Age of Discord" is a great offering providing a prime slab of stylish, technical thrash which starts with the clever opening short instrumental "Bullitt" which hectic aesthetics translate pretty well on the following "Age of Discord", a mechanical headbanger with a weird Bay-Area feel (think Forbidden and Vio-Lence with a late-80's Voivod-ish twist). The moshing spirit is raised even higher on "The Mutant Inside" which thrashes with passion with inimitable dry, dispassionate riffs all over. "Blessings from the Death Saint" slows down to galloping parametres jumping on the avantgarde progressive wagon with the unexpected rhythm changes and the eclectic crossover patterns. More robotic thrash on "Cannibal Cabal" which really goes over the aggression scale producing abstract thrash/crossover with a unique Voivod-ish edge. "Judas" is simply put "Killing Technology" for the new music generation: precise, mechanical riffs will make you jump around with one in mind about this less than ordinary take on the good old thrash including in the final brutal grinding cords. The abstractism carries on until the end reaching the culmination on the busy futuristic masterpiece "The Plague of Torn" which thrashes hard with the characteristic sterile riffage; and on the closing "Under the Guise of Terror" which is the ultimate technical version of the Forbidden debut if played in the 21st century: accurate cold riffage with a big headbanging potential will overwhelm you helped by the excellent surreal lead guitars. The vocalist now tries to sing in a more attached manner, and will remind you of both Sean Killian (Vio-Lence) and Russ Anderson (Forbidden) in equal dozes, maybe more high-strung than both, but equally as effective. This is the perfect "marriage" between the classic sound and the modern production done in an individual, thought-out fashion seamlessly crossing the technical and the straight-forward tendencies in one encompassing thrash metal opera.
"Mission of Mayhem" is a collection of songs written between 1983 and 1989 when the guys were still known as Napalm. So what can we expect by this old unreleased track compilation? Well, the resultant "therapy" isn't quirky enough to satisfy the new fans of the band, but there are plenty of stripped-down hardcore bashing passages to ensure a relentless pogo all over. There's also an imposing atmospheric doomster ("Crucified") thrown in the middle, quite a surprising cut surrounded by much faster and much shorter, pieces. The optimism is by all means big on merry-go-rounders like "Gag of Steel", but cuts like the wild, cleverly- constructed "Tunnel Rat" & "Devastation" are a rarity showing the guys at this early stage still shredding more chaotically and much less technically producing less pretentious, more uplitfing music which will attract the moshing hardcore/crossover crowds, above all. It by all means works well as a retrospective effort showing where the band had come from some 30 years ago...

Let the Battle Begin Demo 1985
Live Battle at L'amour EP, 2002
Demo Demo, 2005
Ruination Full-length, 2007
Age of Discord Full-Length, 2011
Mission of Mayhem Full-Length, 2014

Official Site


This fairly interesting outfit must be an obscurity even in their homeland which shouldn't be the case as they present a very intriguing mixture between the modern and the classic school also graced by a hefty technical flavour. "Exist" is an exemplary shredder the guttural brutal death metal singer supervising a cannonade of stylish technical riff-patterns which are abruptly intercepted by a brilliantly atmospheric, quiet break. "Stirling Mind" is a sudden turn towards more frolic ways of execution, but the intricate riffage remains all over, and combined with some totally outlandish clean singing makes for a really captivating, surreal listening experience with shades of mid-90's Voivod. "Unbrained" brings back the more brutal delivery with a pleiad of smattering technical guitars, with death metal coming in to play the guys not shying away from several Atheist-like pirouettes, a marvellous, not very predictable piece with stupendous time-signatures and short lead-driven outbreaks. Some industrial sneaks in on "Deaf Race of Indifference" with the clean vocalist brought back to lead this eccentric creepy exercise in synthesized, also lead-driven at times, parade which also comes doom-decorated. A really original piece of metal art that should have materialized into something more substantial.

Stirling Mind EP, 1994


Based on the debut, this band plays an intense classic mix of thrash and death metal which offers quite a diversity in the tempo department including spasmodic blasts, but at the same time more laid-back pounding sections have also been applied, mostly in the second half ("World's Destructive Domination Part 2"; the formidable Bolt Thrower-worship "Dead But Alive (Chapter I)"), some coming accompanied by clean vocals as opposed to the brutal Karl Willets-like main ones.

World's Destructive Domination Full-length, 2006
The Enemies We Create Full-length, 2008

Official Site


Based on the full-length, this formation indulge in semi-technical modern thrash which can't decide whether it wants to be more classic-prone like the 90's works of Sadus or Death, or wants to sound more mechanized like the efforts of acts like Fear Factory and Invocator. The clever intensity of the initial string of songs is rudely cut off on the clumsy power/groover "One You Know" and from tehre things get really messy with the inept 13-min semi-balladic opera "Heaven Sent". "Reborn" deserves its title being a more aggressive shredder, but after it the guys complicate things again with a trio of awkward quasi-progressive numbers, all this concoction finished with the chaoticd blast-beating closer "Return to Dreams". In top of all that we have a dry sterile hardcore shouter who further pulls things down. If released a few years earlier, this album could have scored higher: at the dawn of the new millennium the genre has already shown signs of a wide awakening, but not from efforts like this.

Inherit The Meek Full-length, 2001
The Danger Sessions EP, 2004

Official Site


Based on "Black Flag", these guys provide brisk modern speed/thrash metal which avoids the groove trying to be constantly vivid and energetic and succeeding for most of the time although the more melodic numbers (the catchy hymn "Sunshine", the elegiac semi- balladic "Black Flag" which boasts some of the most addictive lead guitar sounds around) also work almost as well. "Brainwash" is a major headache causer with the short hardcore-ish brutalizer "Logic or Nonsense" a very close second. The singer is additional fun with his varied clean emotional tone who can become suitably angry when necessary.
The debut is quite different form its successor being strictly in the 90's post-thrash camp containing merry unpretentious groovy music which is sustained in a pleasant radio-friendly tone the whole time except for the surprising fast-paced shredder in the middle "Armageddon" which introduces an entirely new approach. Later on the listener will enjoy another headbanger, "Broken Glass", and generally the 2nd half is not bad at all with more dynamic decisions including the short explosive closer "War of Words".

Evolution? Full-length, 2009
Black Flag Full-length, 2012

Official Site


These Yankees offer quite cool power/speed/thrash which will sweep you from the get-go with a string of intense speedsters which will also impress with the deep bass bottom and the dramatic semi-clean vocals. THe music is not exactly too classic: there are a few modern borrowings, and the production is very crisp. After the atmospheric steam-roller "Coils Of Medusa" the aggression returns with the explosive "Blood Funnel" and the short speed metal delight "Fatal Blow". A stylish asset is the obligatory slower breaks with a shade of groove which grace every song, but never sound annoying. A considerable pullback would be the 7-min waste of space "666 Steps" which is a recording of some satanic ritual with no music at all. The "carnage" carries on after that, but to a diminished effect with the speed lost almost completely the guys settling down for a less impressive mid-tempo chugga-chugga experience. This is still not bad at all showing another obscure formation trying to cross the two sides of the genre without sucking.

Altar of Bones Full-length, 2006

Official Site


Straight old school thrash this way comes from Mexico: energetic, direct riffage and gruff vocal delivery, quite close to Phil Flores (Evildead). The first few tracks kind of flow in the same vein: up-tempo, with a couple of more interesting melodic variations thrown in ("Bomberfucker", where the leads do a good job, albeit coming with a thin sound). "Mental Disorder" breaks the pattern with a more interesting song-writing and stylish semi-technical riffage, combining several tempos. After that the style returns to the more conventional approach from the beginning, until "Police Brutality", which is a smashing ball of fury, also offering more interesting decisions in the guitar department. "Pleasure For Destruction" is a cool mid-paced steam-rolling thrasher followed by the similarly-styled, maybe a bit faster, closing "Death Termination".

Sudden Invasion Full-length, 2008

My Space


Based on "Allegorize", which is a product of just one man, the name Andrew Laurenson, this is laid-back post-thrash which is deeply rooted in the 90's the meditative musical delivery assisted by gruff semi-shouty/semi-death metal vocals. The dynamics arrive at some stage in the middle ("Enlightenment") also bringing catchy melodic hooks with them. Some groove shows its teeth in the 2nd half to ensure the wider appeal of this recording which highlight remains the closing doomster "Modern Obsolete".

Common Dead Full-length, 2009
Interim Flesh EP, 2011
Diatribe Full-length, 2012
Allegorize Full-length, 2013

Official Site


Fast-paced, occasionally aggressive, but also jolly thrash/crossover coming as a cool mix of The Accused and Spazztic Blurr; the songs are short outbursts, at least half of them barely passing the 1-min range.
"Living the Dream" is another vicious slab of fast uncompromising thrash/crossover the guys mixing their staple speedy delivery with several more carefree punky moments.

Late Night Skate Full-length, 2004
Thrashing Under the Influence Full-Length, 2007
Living the Dream Full-Length, 2009


2 songs of good energetic modern thrash, with good sharp semi-technical riffs on "Anomaly", and more direct headbanging ones on "Blinded By Deceit".

Anomaly Demo, 2008

My Space


Communic was formed by the singer Oddleif Stensland after his exit from Scariot. The style here is not very similar to the works of Scariot; it actually resembles quite a lot the one displayed on the first band he founded after the departure from Scariot: Ingermanland (Communic is actually the continuation of this act in every aspect- why the name change? No idea). Both albums are very well executed mixtures of power, thrash, progressive and even doom metal, and the overall sound comes quite close to Nevermore, especially on the debut. Stensland's singing style shows a clear Warrel Dane influence, which was not that well expressed during his time with Scariot. The songs are quite long affairs, with the aforementioned styles present on almost every track, making them quite diverse, but very interesting to listen to. There are moments when the guitars slow down and doom metal seems to take over, but there are others where thrashy riffs attack you from all sides and easily make your day, although they are not of the very aggressive or intense variety. On the sophomore release thrash metal is not that well present, but the song-writing remains on a high level.
"Payment Of Existence" is another very good work, albeit less intense, mixing the aforementioned genres, although again thrash is only slightly hinted at. The sound is less hard-hitting, and the guys have concentrated on the melody, increasing the balladic passages. The songs are traditionally long, with the exception of the excellent "Through The Labyrinth Of Year", which is the heaviest composition, boasting superb heavy thrashy riffs. "Raven's Cry" is a very cool doomy track, with a nice thrashy section near the end. Another place where the thrash metal fan has to concentrate more, is "Unpredictables Of Life", which picks more intensity as well. The closer "Stone Carved Eyes" is a larger-than-life progressive opus, where again more aggressive guitars can be heard, along with all other staples of the band's style.
So do the guys hit "the bottom deep" with their new offering? Well, with an encompassing style which comprises of several genres, the band will always have something to hold onto, so do not expect a flop here. Two morose progressive power/doomsters open the album, before "Flood River Blood" enters with edgier thrashier guitars, which still stay around for the balladic opus "Voyage Of Discovery", but later on just humbly assist the dark doomy riffs which bring this effort quite close to the Nevermore debut. A surprising cover of Overkill's early hymn "In Union We stand" from "Taking Over" comes near the end, done faithfully giving the album a peculiar epic colouring. Although highlights of the "Raven's Cry" rank are missing, and the tempo has gone down even further drifting into balladic territories quite a bit, the band fans will like the music presented here since it still contains all the familiar tools from the guys' arsenal.
"Where Echoes Gather" arrives after a lengthy 6-year break, but the guys show that they are more than fully equipped to catapult themselves back to the top as the opening "The Pulse of the Earth Pt. 1" shows so well with the great blend of hard-hitting thrash and poignant quieter interludes. Part 2 carries on in the same vein thrashing even harder despite the more melodic undercurrents. The title-track part 1 is a dramatic progressive pounder the doomy officiancy replaced by several jumpier sections in the second half. The second part is a volatile, bouncy jazz-like number with vitruoso melodic tunes and absolutely brilliant technical "skirmishes" those vintage Scariot and even Coroner, if you like. A grandiose turn of events that continues with the 9-min saga "Moondance" which has a supreme balladic introduction the rhythms becoming more and more vivid, with beautiful melodies surrounding the rifforamas, not to mention the spellbinding vocal exploits and the great melodic leads. "Where History Lives" brings back the thrash in a stomping dramatic fashion the steam-rolling guitars marching forward without too many interruptions, the fiesta getting even more aggressive on "Black Flag of Hate", a hectic piece with intriguing balladic distractions the resultant symbiosis too compelling for one to complain about the loss of dynamics from the beginning. "The Claws of the Sea, Part 1" is an engaging progressive power/thrasher with poignant lyricism permeating the proceedings which acquire more balladic perimetres on the second part which also closes this very entertaining opus, a true return to form for one of the more prominent metal providers of the new millennium.

Conspiracy In Mind Full-Length, 2005
Waves Of Visual Decay Full-Length, 2006
Payment Of Existence Full-length, 2008
The Bottom Deep Full-length 2011
Where Echoes Gather Full-Length, 2017

Official Site


The debut demo, which is only two songs, displays energetic retro black/thrash metal which mixes the doomy side of the style (Celtic Frost) with Germanic speed/thrash "courting" the latter more in the process eventually ending up sounding close to the Portuguese Alastor, except for the short moments where hyper-blasts take over. The singer doesn't really sing, but his authoritative growly declamations done with a deep apocalyptic tember, are pretty effective, and could be used by practicing magicians for their evocation/invocation rituals.

Demo I Demo, 2008
Fire-Worship (Adv. Track 2010 a.B.) Single, 2010


These Greeks pull out modern thrash ala The Haunted and Corporation 187, edgy dynamic stuff, albeit pretty derivative, losing steam and speed here and there with heavy groovy breaks. The singer is a vicious low-tuned death growler.

Walking The Last Mile Full-Length, 2007


This is three tracks of intense speedy modern thrash which doesn't stray too far from the so well known Swedish canons with an appropriate inclusion of several nice melodic passages which, again, is nothing new, but makes the pedestrian picture a bit more appealing. The singer is the prototypical shouter who goes over the instruments when in action.

Cybernetic World Demo, 2012


Pretty decent retro power/thrash which finest moment is the more technical mosher "Caravana de la Muerte" which overshadows the rest by a healthy notch although the 9.5-min progressiver "Matar por Matar" is another impressive achievement. "Desde el Poder" is a razor-sharp headbanger, and "Tierra Libertad" is another pleasant technical deviation the latter also staying around for the inspired Paradox-esque shredders "Pacificacion" and "Plan Condor". The closer "Morir con Gloria" calms a bit for the production of more laid-back mid-tempo sectiuons, but the ending is a whirlwind of vitriolic speedy guitars wrapping it up in a great way making this effort one of the hottest propositions from the South American metal scene right now.

Desde El Poder Full-Length, 2015


A very good progressive power/thrash metal band featuring the singer Norbert Vornam (also Mind-Ashes, Squealer, Mortal Passion); their music is quite complex and elaborate if we exclude the ballads (one on each album) which are quite good by the way, and are an apparent "remnant" from their early days, when the guys were known as Demimonde (one demo released in 1995), and used to play a darker, gothic-infused brand of thrash. The band rely on heavy rhythms, complex song-structures without much speed involved, and solid technical riffage which will remind you of early Psychotic Waltz (the first two albums), Zero Hour, and even Mekong Delta on the more complex (7) sections. The first effort contains the heavier, the slightly more immediate and thrashier material, whereas the sophomore release makes up for the partially lost aggression with more complex technical guitar work.
"c7.09" is five songs of outstanding technical thrash metal starting with the masterful "Why-Who-Where", a twisting hallucinogenic piece which sounds like a leftover from the Mind-Ashes debut, with very good vocal performance. "The Old Mistake" is more ordinary and more modern-sounding, a choppy number with very good leads. "An Illfamed Freedom" is more laid-back progressive power/thrash metal with weird maze-y Watchtower/Spastik Inc.-like riffs. "The Call" is a faster more dynamic technical track with puzzling technical decisions and a few more straight passages. "Pressurized" continues is an excellent claustrophobic masterpiece with very elaborate guitars and jumpy rhythms at some point switching onto a superb abstract semi-mechanical passage ala later-period Coroner and Voivod. This is another great slab of technical/progressive thrash which, along with the Mekong Delta reformation, is a sign that the technical/progressive "giants" from Germany are hopefully waking up...

Water Full-length, 2001
Process Full-length, 2003
c7.09 EP, 2009

Official Site


Based on the full-length, this band play modern thrash/death with a dry, sterile sound the latter reminiscent of Kreator's "Cause for Conflict", but that doesn't impede the more dynamic proceedings which are reflected in energezing bursts like the title-track and "Crusade". The vocalist is quite close to more recent Mille, maybe a tad more shouty and rending. Some of the guys are also involved with the sludge metallers Parh, and the death metal formation The Thorn.

Grinding My Soul EP, 2013
Empty State of Humanity EP, 2015
Mindeater Full-length, 2017

Official Site


This is modern thrash/death which is at times strangely technical and compelling ("Fatalist"), but this feeling is not sustained so well throughout the whole album with direct bashers ("Calamitous Mortality") waiting on every corner. This is dynamic, not very predictable, music which even reaches progressive heights on the puzzling opuses "Covering A Multitude Of Sins" and "Eventreur". The closer "Radical Enlightenment" is a curious contrasting blend of fast relentless sections and atmospheric doomy passages topped by the unholy shouty death metal vocals ala Glen Benton (Deicide). There is a lot of style at display here which just needs a bit of refinement in order to engage the listener more fully who would definitely go back to this album again and again. Some of the musicians play more simplisitc stuff with the modern groovy death metal outfit Twister of Truth.

Critique of Pure Treason Full-Length, 2012

Official Site


The EP: 2 tracks of fast intense thrash/death metal of the modern type, one atmospheric melodic, still death/thrashy, number ("Believe"); and one tender acoustic isntrumental ("Fills the Space"); slightly off-context, but "fills the space"...
The full-length is modern melo-thrash/death affair "courting" At The Gates, above all, the guys complicating the proceedings a bit in the middle with a couple of longer more serious tracks ("That The Silence Wakes Them Up", the excellent progressive opus "Intransitive Dimensions") which still keep the thrashing going "decorated" by some great melodic hooks. "As The Fire Blessed my Pain" is a major head-ripper, but the 9-min closer "Guardians of the Ancient Wisdom" abandons this tendency for the sake of slower pensive arrangements lacking the energy of the previously heard on the album explorations of the more complex side of the genre.
"Death & Beyond" is a more intense recording the band not wasting too much time with slower sections all of those collected on the pensive doomster "We Choose Who Suffers" in the middle, and on the mellower semi-ballad "Below The Pale Sky". The closing title-track is a wild shredder which seldom loses its brutal character during its over 7-min the only moment of respite being the very nice melodic lead sections.

Witness of Decay EP, 2009
Pestilence Reborn Full-Length, 2012
Death & Beyond Full-length, 2016

Official Site


Based on the debut, this act play melodic modern thrash of the not very exciting mid-paced kind with sparce attempts at a more complex song-writing, but nothing too progressive. The balladic deviations ("Mountains Falling"), albeit too frequent, are quite appealing and kind of suit the mellow delivery which is also ably assisted by soulful melodic lead guitar work and good clean mid- ranged vocals. More aggressive pounding is offered on "Dead Head Symmetry" which lifts the mood up, but such vivid moments are not many at all if we also exclude the nice speedy exit on the final "Last Breath On Earth". Still, the band will have no problems finding their own aidience, especially those who don't feel like moving around too much when they listen to their favourite music.

Perpetuum Mobile Full-length, 2010
Kaleidoscope Full-length, 2011

Official Site


This is a 3-songer which displays an act playing decent modern-ish thrash in a not very exciting mid-pace with a bit repetitive riffage and a few short more aggressive melo-death leanings ("Fight On"). The sound quality is quite clear and the singer is not bad with his levelled semi-clean tember.

Deconception Demo, 2012

Official Site


An obscure act who play atmospheric technical thrash with forceful semi-clean vocals, quite interesting, with plenty of mood swings and time-changes whcih are never for the sake of the aggressive cutting riffage despite the presence of several lead-driven balladic moments ("Qualities Of Life"; the excellent emotional instrumental "No Sign" which also thrashes wildly with a twist). This is a stylsh take on the genre, but in the disinterested in classic thrash climate of the times this band couldn't have possible existed any longer.

No Sign Demo, 1992


Intense modern thrash which pours steel fiery riffs over the listener seldom dropping the up-tempo. The delivery becomes more seriously technical with "Why So Serious?", and the more moderate mid-paced sections on "Deadline" in the middle come as a nice deviation. "Respect" is a short ripping headbanger, its aggressive aesthetics aptly backed-up by the moshing closer "Weak Minds Will Not Forgive You".

Hollow Spirit Full-Length, 2016



Based on "Revelations of Perdition", this outfit specializes in ripping old school thrash with echoes of Slayer and Tankard. The guys thrash with competence with fiery riffs which downpour may be too intense for the uninitiated. Those may get a rest on the more temperate "Communication Gap", but right after comes the raging "Denial Of God", which will shoot you at close range. Things don't get much calmer from then on, the remaining trio of "bullets" being major headbangers in the best tradition of the aforementioned acts. This is a nice entry into the 2011 thrash metal catalogue which will win the listener with its spontaneity and no-bars-held attitude.

First Attack EP, 2006
Revelations of Perdition Full-length, 2011

Official Site


The debut: these Russians pull out atmospheric modern post-thrash which borrows from several other styles resulting in a few longer progressive compositions and a lot of keyboard insertions. The shorter material isn't so interesting being plain proto-groove with the odd harder riff added. The longer material is way more engaging although the band lose the thrashy idea more than now and then clinging too much towards the balladic/semi-balladic side. The singer doesn't suit those lyrical passages being harsh, semi-shouty with not a tad of passion in his hoarse delivery.
"The Temple of the Sacred Spirit": this effort would be a "rude awakening" for the band fans containing wild headbanging modernized thrash ala Dew-Scented and Corporation 187. "Ascetic" goes up the scale towards bombastic blasting death metal, and it's "The Hunt" in the middle which reminds of the band's debut with its more restrained industrial histrionics. The 2nd part is actually more conventional and much less intense and more atmospheric the guys turning to doom/gothic at times, the closer wrappint it all up with a final portion of more dynamic metal and a few more playful rhythms with a rockish vibe.
"Under the Concrete Sun" is a different "beast" in a way that would make the fans pleasantly surprised. The music now is more progressive and technical with a string of less intense, mid-tempo pieces occupying the middle ("Palace of God", etc.). In the second half the band concentrate on the headbanging side of their repertoire thrashing hard the balladic doomster "The Return" at the end ruining the impression a bit.
"The Totem of the Great Snake (Pt.I)" is another decent affair raising the flag of modern thrash high with some epic tendencies developed later ("Bon") to rousing battle-like proportions. After thsoe deviations the guys have problems capturing their more aggressive stance from the start, and the approach remains brooding and mid-tempo at best with one brutal death metal excursion ("Lost Shadows"), and one nice Oriental quasi-doomy progressive closer ("Ghosts of Sahara").

Time To Awake Full-Length, 2012
Pain EP, 2013
The Temple of the Sacred Spirit Full-Length, 2014
Under the Concrete Sun Full-Length, 2016
The Totem of the Great Snake (Pt.I) Full-length, 2017

Official Site


This band hails from San Francisco: the very heart of the legendary Bay Area scene which has given us numerous high-quality thrash metal bands throughout the years. These guys, however, are yet to reach this high level; their music is not exactly Bay Area-influenced: it has more in common with early Megadeth, and Slayer in the more aggressive sections, which are not that many. There is cool lead guitar work at present, which considerably overshadows the rest. Some good riffs could be heard, too, but the guys seem as though they are not brave enough to step the pedal more aggressively and nail a few more intense thrashers down. Surely they keep those for the full-length...

Demo Demo, 2003
Demo Demo, 2004

Official Site


Based on the "Reduce to Ashes" demo, this formation serve heavy twisted thrash/death which is more on the mid-tempo side producing the more dynamic progressiver "Ignition" and the clever short technical title-track instrumental. The delivery is mostly instrumental, and it's probably for the better since the awful guttural death metal vocalist is clearly the downside. The end is preserved for the cover of G.B.H.'s "Drugsparty In 526" done fairly faithfully if, of course, we exclude the totally inappropriate vocals.

Reduce to Ashes Demo, 1994
Demo 2 Demo, 1995


Only two people are behind this sincere diverse slab of old school power/speed/thrash metal in the spirit of early Whiplash and early Metallica with a pinch of crossover ("New Age Of Total Warfare") on the more playful moments. The guys thrash with gusto adding the odd calmer number (the heavy/power metal-oriented "Into The Vault" and "Out Of Control"; the brilliant doomy instrumental "The Aftermath", great melodies here), and tasteful melodic lead gutar work can be heard, too ("House Of Pain"). "Carnage Unleashed" is a pure speed metal delight, and the closer "A Journey Into Infinity" is another balladic instrumental piece missing the singer who is a bit disappointing with his gruff listless semi-clean tone.

Mental Enforcers Full-length, 2010

My Space


Heavy Pantera-sque modern thrash with seismic guitars and jumpy proto-hardcore breaks ala Biohazard, and bad shouty synthesized vocals; pretty generic stuff without any surprises, except for the couple of more intriguing mechanical riffs ("From the Gut") which could have been developed further.

Virtual Brutality EP, 1997

My Space


This is the same band known earlier as Formicide, a good ungerground thrash metal act. The music here is heavier with a certain doze of death metal and modern 90's influences, and not as good.

As I Fly Away Demo, 1992


Although often described as a punk/hardcore band, this formation pulls out really cool thrash/crossover, at least on the first two albums, and definitely deserves to be put on this site's pages. The tracks are generally longer than the typical hardcore-ish outbursts (most of them: 3-3.5min long). The music picks respectable speed on quite a few moments, coming close to Cryptic Slaughter, DBC's debut, and early Prong. When the band slows down, their punk roots become more obvious ("Today's World", "Deviants"), but the music still packs a punch, although the guitars get more melodic and catchy, and these are the times when the guys show their bigger musical skills.

Your Turn Next Full-length, 1986
Whoops Sorry Vicar!Full-length, 1987
Sewerside Full-length, 1989
Lunched Out EP, 1990
No World Order Full-length, 1993
Silence Single, 1997
The New EPEP, 1999

Official Site


This is modern thrash with sparce classic insertions and gruff semi-shouted vocals; nothing new, albeit proficiently executed with nice melodic leads. The guys have two other projects: the melodic death metal act Ghosttide, and the similarly-styled thrash/death metallers Retaliatory Measures.

Downfall Race EP, 2009

Official Site


Playful dancey post-thrash which becomes spasmodically aggressive all of a sudden with raging hardcore insertions. This is a strange avantgrade listen which shies away from thrash for most of the time siding more with the industrial scene its originality sealed with the clever use of operatic arrangements, unobtrusive electronic samples, dark gothic Lacrimosa-sque passages, etc. Reportedly on their early demos the band played a very aggressive brand of thrash/death metal, light years away from the sound experienced here.

Numberum Full-Length, 1996

My Space


A 4-track demo of fairly good semi-technical thrash/death metal; the music is quite energetic, and actually stays closer to death metal most of the time, strongly recalling the Floridian scene. One could hear stylish leads ala Chuck Schuldiner (R.I.P.), as well as twisted sections ala Morbid Angel. The last piece is a fine instrumental, and at times it may remind you of Death's "Cosmic Sea".

Demo Demo, 1992


The band offers modern thrash/death metal with a style not too far from At The Gates, but with a more thrashy edge. The full-length doesn't betray the fast blitzkrieg style from the demos, but the focus is more on death metal although it's all done with a lot of energy the fast-paced short numbers ripping through the listener's skull seldom offering respite, but further brutalizing the environment with additional blast-beating passages ("Domd Att Leva", "Bryssel").

Obsolete Pain Demo, 2005
The Corridor Demo, 2005
S.A.L.I.G.I.A Demo, 2006
Condemnatory Demo, 2007
(R)evolution Atervandsgrand Full-Length, 2015

Official Site


Cool thrash/crossover with some very heavy moments the latter coming close to the Canadians Slaughter, but the overall approach calls to mind early unpolished Razor ("Evil Invaders", "Malicious Intent").

Humanoid Or Biomechanoid Full-Length, 1986


Excellent dark, brooding thrash, reminiscent of Rigor Mortis; the guitar work is more technical than that of the Rigors, and the sound is more abrasive, but the riffs are crushing and the bass work is brilliant. The demo is long so there is room for more crossover-laced songs ("Grandpa", "Nice Fit"), too.

Seeking Power Demo, 1989


This band specialize in modern progressive thrash/death which starts quite ambitiously with the 9-min extravagant title-track which, if nothing ese, aptly illustrates the picture here: contrasting rhythm-sections mediate on an ever meandering riff-base which is built upon the legacy left by acts like Atheist, Coroner, and Psychotic Waltz. "Just Let Go" arrives after two fairly complicated "landscapes", including the aforementioned title-track, with its more direct, also classic, transition; and the following "Better Be Loaded" is probably also more on the more immediate side, but comes "Done With Done", and the chaos returns accompanied by brutal deathy outbursts. The concoction surprisingly works, and "Did You Hear That" raises the lathe even higher with a portion of vurtuous spiral-like arrangements ala Spiral Architect and Watchtower, a magnificent number with beautiful melodic tunes, among everything else. Direct technical thrashing with "Caught In The Breeze" before the guys slacken a bit with the last 2 numbers which are more immediate takes on the good old speed/thrash, and are strictly for the classic sound lovers. This is very good stuff which leaves a bit to be desired on the vocal front where the singer has a mean-ish semi-whispered voice which he doesn't strain at all, but fits into the fairly complicated musical picture.

Awakening Full-Length, 2014

Official Site


3 tracks (the first one in a short intro) of heavy retro thrash with subdued death metal vocals; it becomes suitably fast and brutal ("Blues for S.M.R.") on occasion, recalling the US legends Demolition Hammer quite a bit, touching death metal on the raging "bull" "Time Wave Zero" which is a major necksprainer. The sound quality is very good, promising a lot on eventual official releases... If the guys (or at least some of them), of course, manage to find another time out of their other act, the death/thrashers Hatred Embraced.
The full-length is a major headbanging experience which clearly focuses on the faster side of the spectre producing fast blitzkrieg numbers which will literally shed your skin the pain "alleviators" immediately provided by the excellent short lead sections. The crystal clear production makes the guitars cut like a knife even on the pounding "reliever" "Gravitational Dismemberment" which is the only composition devoid of any speedy "excursions". "Surgical Malpractice" brings Slayer to mind with more precise updated shreds, the final "Dr. Criti Kill" calming down a bit with more controlled up-tempo riffage. The vocals are now better with a more expressive tember reminiscent of early Tom Araya, maybe a bit less prone to pure singing.
"Extermination Plan" follows the path carved by the previous effort mixing primal early Slayer-esque aggression with less bridled proto-death outrages the amalgam boosted by the odd more stylish excursion into bombastic semi-technical thrash ("Fatal Incision", the intense roller-coaster "Ostracized"). "Vindictive Hostility" is vintage Slayer, and the closing "Genocidal Void" is another evidence of the band's main influence which on the previous recordings wasn't that strongly felt.

Bred to Kill Demo, 2011
Operational Hazard Full-Length, 2013
Extermination Plan Full-Length, 2016

Official Site


This Norwegian trio pulls out retro black/thrash metal with a noisy guitar sound slightly clinging towards death metal ("MC Inc") on the more aggressive moments. The rest is not much slower, though, if we exclude the sparce descents to a more carefree Motorhead-ish sound ("Lumberjacks from Hell"). There are satisfying ripping thrashers ("Slaughter", "From the Fields") which will also remind you of Rigor Mortis, including in the vocal department where the guy's tember is similar to the one of Bruce Korbitt with a more brutal death metal shade, and the Portuguese Alastor, and generally the music doesn't lack energy losing a bit from the fuzzy guitars.
The EP is a faithful continuation of the demo the guys thrashing in an evil blacky manner preserving the noise from the demo, even increasing it at times to produce an unholy underground recording which now strongly recalls early Bathory with more successful attempts at more aggressive thrash at the end (the early Destruction worship "Poetic Blasphemy" which lashes violent rolling riffs for about 3-min).
The self-titled album steps on the pedal much harder, and now the band thrash with vigour and passion recalling the early examples from the German scene (think Destruction, above all). There's aggression, but there's also melody to be witnessed "Pagan Ritual" reaching the culmination on both with its inspired shreds, before the short crossover-ish "Prophecies of Death and Destruction" makes your day in a carefree merry-go-round fashion. More intense bash can be heard in the second half where the approach becomes more simplistic with shorter tracks and some more shades of crossover. Regardless, this is a cool effort with an appropriate dark gloomy flair although in terms of black metal not much happens.
"Unstoppable Power" rages hard from the get-go with the ripping opener "Embraced by the Evil" which is followed by a cannonade of headbangers one of which is the smashing galloper "Chained Victims". "You Can-t Escape the Fire" is the more relaxed speed metal winner, but expectt no mercy on perennial moshers like "83 Days of Radiation" and on the more diverse Destruction-esque closer "Horrifier".

Facing the First Winter Demo, 2010
Speedwagon EP, 2011
Condor Full-Length, 2013
Unstoppable Power Full-length, 2017

My Space


This band is a pleasant deviation from the established formula of modern Swedish thrash/death metal opting for the classic mould with excellent results: aggressive old school thrash akin to Devastation with touches of death metal, which is not a "stranger" to heavy stomping numbers ("Children of the Slaughterhouse"). Teddy Moller from F.K.U. helps the band with the production and also takes part as a back singer.

Ritual Carnage Demo, 2007

Official Site


Heavy mid-tempo modern thrash with brutal low-tuned death metal vocals; this is hammering smashing music with the casual more melodic reference (think Bolt Thrower) which despite the lack of variety will keep you worried whether you may not find yourself steam-rolled to the floor at some point.

The Beauty of Leprosy EP, 2009

Official Site


Based on the "Schizophrenia, War & Beer" demo, this is very aggressive thrash mixed with death metal and hardcore. This is really brutal stuff which might find some of its fans among the grindcore middles as well. Among the constant bashing cool interesting riffs could still be heard: "Post Mortem".

Rehearsal Demo, 1988
Schizophrenia, War & Beer Demo, 1989
Who's Afraid of the Wind Demo, 1990

Official Site


Based on the debut, this is surprisingly good post-thrash following on the path of The Black Album, but incorporating more atmospheric elements which give it a softer, almost meditative at times, edge which can also remind of mid-period Katatonia. The album gets suitably aggressive on the more classic cuts ("Forever Scarred") and one will generally have no problems adjusting to the solid mid-paced rhythms permeating this effort the latter only missing on the closing acoustic instrumental "Eternity". The vocals are on the aggro-side with a more brutal death metal shade. Some of the musicians were exercising at around the same time a more classic-sounding blend of thrash and death metal with Incessant Torment.

Forever Scarred Full-length, 1998
Silence Full-length, 1999

Official Site


This is a brutal demo of classic death metal with touches of thrash on the slower and more diverse "Celestial Cacophony". The rest is blasting madness to the death, not too far from early cannibal Corpse.

Morbid Dissonances Demo, 2011

My Space


This new act offer an interesting read on the modern thrash trends by giving them a more serious, progressive twist and the ambitious 9-min opener already shows their professionalism with its unexpected tempo changes, a few virtuoso lead sections, and the good sense of melody. The flat unemotional semi-declamatory vocals are not an asset, but the varied musical approach should keep the listener satisfied with clever technicallers like "Arch Enemy" and the unpredictable progressive piece "Beginning of Odyssey" which is an opera of time signatures and addictive melodies recalling two of their compatriots at their best: Koma and Valkyria. "Voice of Conflagration" is a more immediate number with a more aggressive attitude and less experimentalism involved, and the closer (the album is only 6 songs) "Sunrise in the Void" is an epic balladic hymn having almost nothing to do with the complex brutality of the preceding material. If we exclude the underwhelming finish, the rest is pretty good thought-out stuff with plenty of interesting moments for the fans to savour.

Destructive Generation Full-Length, 2011


A 3-song EP of fast shredding thrash which is mostly instrumental some vocals sneaking on the final "Earth Denied". This is competently executed music with a few lyrical sections intertwining into the sharp guitar landscape which also features some technical decisions and generally provides fun not far from the one of the more recent Paradox works.

Inevitable Punishments EP, 2012

Official Site


These Chileans pull out energetic old school thrash/crossover with an updated modern production and several references towards the early Pro-Pain legacy. The album has its more aggressive moments, but generally the band have good time unleashing playful merry rhythms more of the up-tempo type. The singer has a fitting mid-ranged semi-quarrelsome tember again echoing Gary Meskil (Pro-Pain).
"Under Bio-lence" moshes out in the same manner, again more on the mellower, friendly side the excellent Slayer-esque thrasher "Structural Violence" leading the pack which has its fair share of aggression ("Public Privacy") later on including more stylish moments like the more technical "Instruments of Death" and the more power/thrash based "Neuronal Riots". Needless to add, some pieces are pure unadulterared hardcore those cuts seldom going beyond the 2-min mark.

Social Disorder Full-length, 2012
Under Bio-lence Full-Length, 2015

Official Site


Based on the full-length, this act specializes in heavy, steam-rolling modern thrash which marches forward with crunchy groovy riffage with echoes of both Pantera and Machine Head, with the odd more melodic insertion (the excellent balladic instrumental with a touch of doom "Love Grows Cold"). The singer is a more aggressive, deathy version of Phil Anselmo.

Confront Hate EP, 2007
Diabolical Disguise of Madness Full-length 2011

Official Site


3 tracks of farily good funky, semi-technical retro thrash which possesses the requisite vibe and bite, and the stylish insertions only add up to the overall positive impression, not to mention the very good, clear sound quality and the tasteful melodic leads which grace every song. The approach recalls Mordred's debut with covert echoes from the Bay-Area on the energetic shredder "After The End" which also shows the singer in a very bright light with his assured attached, clean tember the guy often helped by hs comrades for the production of several catchy choruses.

Demo Demo, 1991


Direct bashing thrash/crossover reflected in short bursting cuts which are seldom performed in a more moderate manner, usually comprising fast, stripped-down riffage topped by semi-declamatory punky vocals.

Behind Closed Doors Full-Length, 2016


Aggressive retro thrash with hardcore references is what is on offer here by these demented Japanese, who seriously try to break the speed of light with the ultra-mosher "ExRxG (Extreme Raping God)". This is extreme music, played competently though, with precise sharp riffs, topped by semi-clean shouty vocals, which try some really bad high screams equalling the pitch of the screaming leads at times.

Extreme Raping God EP, 2011

My Space


Heavy mid-paced thrash along the lines of Sacred Reich's "The American Way", only hardcore-tinged and less imaginative, except for the very good leads, which echo Jeff Waters. The sound quality is pretty bad, and the vocals are not a great asset with their gruff shouty blend.

Taste of Hate EP, 1992


The man called Rob Westland, who is also a member of the death/groovers Sycorax, is in charge of this project which offers a more experimental curious take on the modern thrash/death idea the hybrid sounding right as rain at times, at others taking a U-turn towards atmospheric quasi-industrial fields (the engaging opus "Martyred by the Flames"), or providing minimalistic groovy post-thrash ("Exsanguination") ala Soulstorm and later-period Pitch Shifter. "All Too Human" contains some of the finest melodic leads of recent times, among the cold mechanical shredding, and the final "Condemnation" is a complex "cocktail" of meditative Opeth-esque stuff and creepy semi-technical riffage all this finished with an imposing balladic/doomy passage. The guy has come up with something really interesting and next time he should put a few more compositions into the album since this one only comprises 6 pieces altogether lasting for a bit more than half an hour.

All Too Human Full-Length, 2011

My Space


These guys were previously known as Vehement under which name they released one full-length in 1999 of potent old school thrash. The style here has "mutated" towards more serious, technical thrash/death which is built around elaborate lengthy compositions like "Deception At Sea" the latter offering plenty of wild ever-changing rhythms with echoes of early-Coroner, above all, and a few more atmospheric moments ("Genome Altered Colonies") with a progressive flavour. "No Directional Force" is the clear highlight, a consummate puzzler with stupendous steel riffs which are partially covered on the following "striker" "Ancient Lunar Oasis". "Skill And Determination" is another whirlwind of vitriolic technical guitars which never break any speed barriers, but constantly shift into more or less expected patterns the closing "Pregulated Oxiegenated Growth" going away with some "leaurels" as well for outstanding lead and bass performance. The vocals are in the gruff death metal camp, and are nothing special without overshadowing the superior music.

Naturally Heavy Full-Length, 2006

Official Site


Based on the "Reality Of Life" demo, this is aggressive thrash in the Slayer vein, with a shade of death metal. The music nicely combines fast sections with stomping ones recalling Abomination, and even Celtic Frost. The guitars are very heavy, and it's a shame that since those moments are really cool combining the more intricate arrangements of Sadus with some really inspired guitar work on all of the 3 cuts. The closing "Pendulum" is sheer winner, a whirlwind-like piece of vechnical guitars in the best tradition of Sadus again, Hellwitch and Atheist.

Reality Of Life Demo, 1990
Conjuration Single, 1990


A cool debut comes offered by this band; after the slightly long, but fine acoustic intro, the guys welcome you with stomping, heavy mid-paced riffage on "Light The Stage"; the heaviness increases for the doomy "Workhorse", which doesn't have much to do with thrash, but "The Witches Hammer" improves the situation a lot, being an exemplary hard-hitting thrasher, recalling the immortal Wargasm's "Revenge" from "Why Play Around". "Return To Terror" continues in the same smashing mid-tempo manner, with a fine main theme and other stylish guitar sections. The lsitenier already knows that here speed will not be the order of the day, and to those who have adjusted to the band's style "Selective Amnesia" will be a total delight: starting as a ballad, this masterpiece later evolves into a standout intense thrashing song, with a genuine technical shade, still remaining in the mid-tempos. "Eye For An Eye" is a very close companion to its predecessor which begins in a more aggressive fashion, before the introduction of the balladic passage in the middle. After those two timid attempts at a balladic song-writing, "Quietus" is finally the full-fledged ballad, but shorter and with good lead guitar work. "The Illusion" is stomping and doomy, but in a more dynamic way than "Workhorse", cancelled by the storming speed/thrashing piece "Metal Mayhem", the only really fast song on the album. "Successor To The Throne" closes the album, summing up the predominant mood: solid, heavy, mid-tempo hard-hitting sound which might wear thin after a few subsequent listens because of the lack of too much variety, but the initial impression from it is firmly on the positive side also helped by the good mid-ranged clean vocals, which are a nice blend between Joey Belladonna and a lower-pitched Eric AK (Flotsam & Jetsam).
"Kamikaze" is another sure-handed addition to the band's discography. The album begins with the radio-friendly crowd pleaser "Fear Itself" which may be a big pullback to some, but enters "Bringer of War", and things immediately get more serious this one being a 8.5-min stomper. The other numbers are quite varied mixing fast and slow sections "What Will Be" being a cool progressiver. One may wish more speed here, and comes "Ready to Kill" which is a nice fast-paced cut with very good melodic leads; followed by the similar "Take on the World" which would remind you of Flotsam & Jetsam's more experimental period (1990-1992), but in a good way. Alas, those short "oases" are superseded by two overlong draggers with semi-balladic tendencies which seriously pull the album down, but it has already become clear on the debut that the band are not interested in the thrash metal crowd only, but look for a wider exposure.
The guys know no rest, and the "Time Has Come" for a 2nd album in 2013. This time the band start squashing from the very first note with the seismic opener "Machine Gun Heaven" which establishes the steam-rolling mid-pace which dominates the landscape for most of the time. "Laughing in the Face of Death" is a particular highlight with its faster guitars and the standout virtuoso lead sections. Things become mildly progressive on "Apples of Apollo", but it's "Sonata No.1 in B Minor" which shines the brightest with its over 9-min of instrumental brilliance, a progressive metal opera of many facets. The band don't shift from their chosen path, and this effort is not exactly their magnum opus yet, but will by all means satisfy fans from all walks of the genre.
"Relentless Tides" is another passable effort although again it leaves something to be desired since the staplepower/thrash saga is presented here without any cosmetic alterations the gys sounding way more convincing when thrashing harder ("Becoming The Beast"). Alas, there's a considerable number of ballads and semi-ballads which can become quite annoying towards the end, not offering anything exciting the only more dynamic moment being the progressive title-track; the rest is just too mild to catch the ear of the hardened thrash metal fans.

A Method to Madness Full-length, 2008
Kamikaze Full-Length, 2013
Time Has Come Full-Length, 2013
Relentless Tides Full-Length, 2016

Official Site


Based on "Rage", this band plays good modern power/thrash metal slighlty influenced by Pantera, Machine Head and GZR, mostly mid-paced, with industrial touches. "Rage" is an awesome opener with great up-tempo guitars, but is quite misleading, as the other tracks settle for a slower crunchy groovy sound. The monotonous atmosphere is broken only once, with the more aggressive "Under Your Skin" which thrashes admirably for about 3-min, before everything goes back to an even more groovy sound on the remaining songs.
The "The Killing Time" EP is less exciting modern/classic power/thrash, still having enough edge to survive, and runs away from the hard Pantera patterns which leads to calmer heavy/power metal moments ("Street War"). On the rest the riffs crush well, but it's obvious that at that time the band were still exploring the "no-mans-land" between the classic and the modern trends.

"End of Days" doesn't break any new ground thrashing in a laid-back power metal-ized fashion of the modern variety this time serving more headbanging surprises: the steel lasher "Killer Machine", the heavy pounder "Annihilation Complete", but expect also moments on the opposite scale: the sleepy stoner/doomy "Stoned Me"; the tender balladic "Empty"; the heavy metal joy "Forever Free".
"No Boundaries" is playful rockish grungy post-thrash (that's relative) played just for the fun of it the guys entertaining themselves with heavy groovy rhythms adding a few good ballads ("What About Me") along the way. The singer at least tries to sing in an attached more melodic manner here, and does a good job.
The "First Blood" EP is 4 songs of a more aggressive material now the thrashy part of the guys' repertoire returning with a noisier indurstrial edge. The riffs are crushing, but also playful, and one could easily trace the band's more recent infatuations with the merrier side of the genre. "Rage" is a cool energetic proto-headbanger sounding like a more brutal abrasive rendition of Savatage's "Rage" from their debut "Sirens".
"The War We Rage" comes after a lengthy hiatus, but there's no any change in direction the band sticking to their familiar brand of modern power/post-thrash which develops in the expected mid-paced fashion without any audible highlights if we exclude the several temptations at speed: the heroic sweeper "Tyrant of the New World", the dramatic shredding title-track, the more dynamic power/thrasher near the end "Scream for My Life". The closing "Tomorrow's Black" is a heavy stomper, another satisfying track, but in an album of whole 13 numbers such cuts should have been more. Kudos should be paid to the singer, though, for his attached forceful performance achieving a fine combination of aggressive and lyrical vocal lines surpassing the more less exciting musical approach.
The debut is a mellow mix of classic power/thrash and radio-friendly pop-metallers the latter aiming at the Motley Crue and Keel crowd. The more hard-hitting side recalls later-period Metal Church and early Laaz Rockit, but it's less well covered the guys at this stage apparently not sure which path to take those uncertain times changing as fast as the winds. The metamorphosis witnessed later shows an act following on the steps of Pantera turning into angry aggro-cowboys in the mid-90's, an image way more fitting than the one of the timid glam rockers they obviously wanted to be in the beginning.
"Under the Influence" is not a cover version of the Overkill album, but is still a covers-only release starting with two Judas Priest cuts, "Metal Gods" & "The Ripper", both delivered relatively faithfully then latter done in a bit more epic, doomy, way. Then comes Iron Maiden's "Wrath Child ", Metallica's "For Whom the Bell Tolls", the obligatory for such compilations Motorhead's "Ace of Spades", etc.; and the less obvious ones: UFO's "Lights Out", Bon Jovi's 'Dead or Alive", and the best rendition here: Motley Crue's immortal "Red Hot" turned into a slightly more vigorous speedster than the original.

Wicked Ways Full-length, 1993
The Killing Time EP, 1995
Rage Full-length, 1997
Damnation Full-length, 2001
No Boundaries Full-length, 2003
First Blood EP, 2005
End of Days Full-length, 2006
The War We Rage Full-Length, 2013
Under the Influence Full-Length, 2015

Official Site


This compilation contains both demos, and is a very nice introduction into the band's intense, evocative style; if your understanding of well-spent time is listening to Slayer or Devastation, then you should find this album immediately. Great aggressive thrash of the old school; fast, merciless music with excellent guitar work (check out the leads on "Vision of Ignored!"), and a fine 7-min less dynamic stomping closer ("Casted"). The second half of the album is slower with crushing, but less intense, more technical riffs.

Demo Demo, 1990
Image of Deception Demo, 1992
Image of Deception Compilation, 2004

My Space


This is the German/USA act Prophesy who changed their name recently; the group is based around the 2 former Vicious Rumours members Brian O'Connor (vocals) and Ira Black (guitars), who have teamed up with two musicians from stoner/groovers The New Black, among whom is the guitar maestro Fabian Schwarz, whose catalogue includes acts like Paradox, Abandoned, Runamok, Tyran Pace, and Stormwitch. The music presented here is a tad more aggressive from the conventional power/speed metal of Prophesy, adding a solid doze of retro thrash to the proceedings. Heads will roll on the furious opener "Pain Infantry", which is vintage early Paradox. "Ritual Sacrifice" recalls Vicious Rumours' modern transformation of the late-90's, but be also prepared for a few virtuoso lead parts. "Fall From Grace" goes up the speed scale again by adding a more bitter modern edge to the guitars, plus a gruffer deathy vocal insertion, to accompany the very good main soaring clean vocals. Another sweeping speed/thrasher follows: "World Domination", this time with more frequent modernized slower breaks (remember Paradox's "Collision Course"). "Live Again" is a merciless thrashing bomb, scary intense stuff; which is alleviated by the softer power/speed metal proposition "Dying To Kill" and the modern power/thrash metal piece "Forever Falling", a cool nod to Runamok, graced by a great acoustic Latino tune. "Unbreakable" will literally "break" you with its steel riffs, which only ger more brutal on the last two sogs, which are major fast-paced thrashers with good memorable choruses. This is a fairly promising new beginning from established names on the scene, who simply had no right to flop here.

Consfearacy Full-Length, 2011


Based on the debut, these guys pull out predictable modern thrash which mixes fast raging passages (the chaotic semi-technical shreds on "Adrenaline Injection") with heavy proto-groovy ones ("Hatesick"). The mix goes on till the end producing nothing too exciting topped by forceful semi-shouty death metal vocals whcih may pass for the highlight on this farily pedestrian effort.

The End Foretold Full-length, 2006
Endtime Requiem Full-length, 2008
Voices from the Grave EP, 2013

Official Site


Based on the "Crippled Invaders" EP, these guys offer cool energetic retro thrash, mostly fast-paced, and despite the short length of the songs (neither goes over the 4-min limit) there are no shades of hardcore or crossover; Slayer are touched on the more brutal parts ("Ct. Jimmy Fucknut"), as well as the Bay-Area ("Villa De Muerto"). The bonus track at the end "Smells Like Shit" is a less than a min joke.
"Hope Over Board" fulfills the expectations with vigorous classic speed/thrash which begins with the merry-go-round "The Fuse Is Lit", an uplifting piece of the crossover type. the joy carries on unabated on the brisk "Fuckfish" which may indded make you try to "fuck the fish" around in case of you live near a lake or the seaside. "Hope Over Board" is a lashing headbanger followed by the speed metal hymn "Raiding Time". The guitar sound surprisingly becomes fuzzier on "Hanging On The Mast" which is another prime speedster with less overt crossover overtones. "Scattered Ashes" thrashes harder, and there is little mercy later on the approach reaching less bridled hardcore dimensions on the final 1.5-min outburst "The Temple Of Shame". The guys keep the spirit high all over playing on high speed the whole time with the more optimistic crossover tendencies assisting here and there nicely recalling old heroes like Ludichrist, Attitude Adjustment, and Lawnmower Deth.
"Crippled Invaders" is another major roller-coaster of retro speed/thrash the guys keeping the approach tight and compact recalling more recent Overkill and early Hirax. The music never gets too complex and it's only "Villa de Muerto" which deviates from the sincere barage with a couple of more intriguing melodic hooks. "Chorny Obelisk" is a cover of the Russian metal legends Black Obelisk, an intense optimistic crossover/thrasher which pairs well with the following Destruction tribute "Debt In Action", a major speed/thrashing assault, the highlight here. The closing "Queen Annes Revenge" is another good fast-paced number bringing memories of Metallica's debut, among other early variations on the genre.

Ct. Jimmy Fucknut (Tape) EP, 2008
Crippled Invaders EP, 2008
Crippled Invaders EP, 2010
Hope Over Board Full-length, 2011
Crippled Invaders Full-Length, 2016

My Space


Early Dissection meets modern thrash; those of you who were not happy with the last Dissection offering, should check this band out.

TTReincarnated Full-length, 2006

Official Site


A 4-track demo of cool technically-minded thrash; mid to up-tempo rhythms change all the time. The guitars have this genuine technical edge typical for acts like the Dutch Usurper or the Norwegians Equinox. The tracks are short, within the 3-min range, except for "Sea of Rage" which is quite an opus featuring slow doomy riffs, acoustic passages and really engaging technical ones. The singer is a disappointment with his levelled, impassionate, semi-declamatory voice.

Lack of Society Demo, 1990


"The Dark Journey" offers nice retro power/thrash metal in the best tradition of early Overkill. The album is a mix of mid-paced heavy smashers and faster energetic headbangers. The former are more common as their competition is in the face of the brisk speedster "Metal Is the Law", the galloping power/thrash delight "The Dark Journey" which very well deservedly carries the album- title lashing heavy sharp riffs the whole time, even on the slower heavy section in the middle. "Genetic Default" is a heavy exercise in traditional doom ala Saint Vitus and Penance recalling the similar Overkill composition "Playing With Spiders" from "The Years of Decay". It splits the album into two parts, influencing a couple of songs after it including the very good semi-ballad "Steele Serenity", until the coming of "Hell Reign Down" which closes the album in a vigorous speed/thrashing manner also reminding of the Metallica debut. The singer is not bad singing in a mid-levelled semi-clean tone with the casual higher-pitched deviation.

3000 Crosses Full-length, 2004
The Dark Journey Full-length, 2007

Official Site


A good death/thrash metal hybrid, which offers a deviation from the pattern with heavy stomping passages which fit nicely along the overall faster music.

The Day Of Burning Souls EP, 2000
Humanity=Destruction: The End is Near Full-length, 2004


A 4-song demo of heavy doomy thrash which manages to sound quite classic most of the time; the guitars are sharp, but the guys' desire to be a part of some new waves (gothic metal, that is) is more than obvious, and the influence of early Paradise Lost is hard to be disguised ("Cathedral of Rain" and elsewhere). Still this is much more thrash than anything else, and tracks like "Flesh Burned Black" will make quite a few heads bang.

Faceless EP, 1994

Fan Site


In the midst of the progressive/technical thrash metal wave in Germany comes a pretty ordinary modern groovy post-thrash offering which offers a few faster twists, as well as quiet balladic deviations, but to these ears their exercise in doom "Slaves of Pain" (by all means not a Sepultura cover) remains the best song here, a cool moody atmospheric piece ala early Pyogenesis. "Killing to Survive" is a very surprising closer: a brisk classic thrash/crossover number, and could classify for another highlight with its sharp speedy guitars.

Septic Souls Full-length, 1994


A side project for two members of Witchburner; based on "Cannibal Of War", the style is not too far from the classic Germanic thrash of Witchburner- here it's spiced up with more aggressive death metal guitar work here and there. There is a lot of singing about beer and drinking (the uplifting, hardcore-ish number "Down In Out Throat (Beer)"), but the music is heavier than the one offered by Tankard.

Cannibal Of War Full-length, 2001
Second Conspiracy Full-length, 2006

My Space


Only one guy, the name Mike H., is responsible for this computerized barrage which is modern thrash all the way without any deviations. The abrasive guitar sound may get on the nerves before the end, but Mike provides the requisite fast-paced rhythms to make the proceedings interesting which are contained within relatively lengthy (4-5min) for the style compositions which are devoid of vocals, and the modernized shred without a vocal participation may again wear thin at some point. Mike comes up with a few inspired lead sections which should have been more since they're not bad at all. By the way, he has whole 13 full-lengths released so far with four albums unleashed in both 2011 and 2012 each.
"Darkness Everlasting" is another modern mechanized affair Mike shredding in the familiar manner the abrasive buzz remaining, albeit it doesn't stand on the way of impetuous headbangers like "Scorched Earth Serenade" and the death metal-laced "Drinking the Blood of Dead Gods". The compositions are longer this time, but the guy doesn't decorate them with any more complex decisions except for the cool progressive deviations on "Into the Emptiness" and the dynamic and not very predictable "Covenant of Shadow".
"Between Death and Dreams": Mike is tireless carrying on with his explorations of the instrumental forms of thrash again abrasive and a bit buzzy, but this is good fun without too many repetitions of old ideas which is often the case with prolific one-man projects. "Infernal Nemesis" is a cool up-tempo thrasher, and "Torn Asunder" is a brutal thrash/death shredder leaving the technical sophistication for the 8.4-min closer "Fall of Elysia" which is a more melodic cut with a bigger focus on mid-paced power/thrashing.
"Illusions of the Divine" continues the guy's saga into the all-instrumental horizon this particular one not providing too many surprises MIke alternating between moods and influences, moving from heavy mid-pacers ("Profane Apparitions") to brooding quasi-doomsters ("Tower of Disdain", "Illusions of the Divine"), to more aggressive, also more technical propositions ("Oblivion Awaits") in no time. The pace is quite slow this time the man preferring the more introspective ways of execution for a change, not necessarily binding his work to the thrash metal roster the whole time.

Realms of Desolation Full-length, 2014
Darkness Everlasting Full-Length, 2015
Between Death and Dreams Full-Length, 2016
Illusions of the Divine Full-length, 2018

My Space


A seismic thunderous mix of doom and groovy post-thrash with 10-ton hammers shattering the air in a manner no worse than Puncture and Grope. This act is pephaps more melodic which also comes from the good James Hetfield-like vocals. Shades of The Black Album spring from time to time ("Smothered", the dynamic thrasher "Humans Race"), and 90's Metallica may actually come to mind as another soundalike, although the sound here is way heavier than the one on the Loads/Reloads/Overloads/other loads...

Wide Awake & Breathing Full-length, 2007

Official Site


Sweden has produced so many modern thrash/death metal bands for the past 6-7 years that sometimes it's literally impossible to distinguish one band from another. Construcdead offers a slight twist from the trite formula introducing crunchy modern thrash ala Pantera and Machine Head on "The Grand Machinery", as well as cleaner vocals, and the final result is not bad at all. The first 2 albums are modern thrash/death metal almost by-the-book.
The guys have gotten lost for a while, maybe waiting to see what would come up on the scene as the "vogue of the day", but "Endless Echo" sounds like a logical follow-up to "The Grand Machinery", although the aggression has jumped a level up, and quite often is the music aggressive fast-paced thrash, adhering to blast-beats whenever necessary. The slower numbers are kind of more proficient music-wise ("Endless Echoes", the semi-balladic "Mephisto"), with more serious guitar work and, again, good clean vocals. Still, bombs like "No Exit", "Transfixed", and especially the "cataclysmic" explosive closer "Cataclysm" are hard to surpass. The heavy aggro-sound of Pantera here has been diminished, only having a slightly bigger impact on "Spiritual Shift" near the end.

Repent Full-length, 2002
Violadead Full-length, 2004
Wounded EP, 2005
The Grand Machinery Full-length, 2005
Endless Echo Full-length, 2009

Official Site


This is typical energetic modern thrash with Gothenburg death metal leanings the guys "constructing" with competence, but very little imagination. The expected slower breaks have also been implemented well, but this all sounds so painfully familiar that only the most devoted to the Swedish school fans will endure till the end which at least serves the nice melodic shredder "Rising From the Ashes" the hasrh shouty vocal participation not so widely covered on this one.

World Decay Full-Length, 2013

Official Site


Modern groovy thrash which doesn't offer much more than what we all have heard before (Pantera, Machine Head and the likes); the difference comes from the guitar department where some surprisingly stylish riffs spring up here and there ("A Minute to Pray, A Second to Die"), which create the impression that maybe this album will take off towards better fields, but only for a while. Sometimes the aggression comes too much (blast-beats on "Last Chance"), but maybe this is a good thing having in mind the slightly tedious one-dimensional delivery.

Consumed by Fury Full-length, 2007

My Space


3 songs of simplisitc retro thrash metal mixed with sparce crossover aesthetics ("Blue Moon"); the music is vivid and brisk partially ruined by the gruff hardcore vocalist.

In For The Kill Demo, 2010

Official Site


A short (half an hour) compact effort of ripping old school thrash which rips and shreds its way through helped by a very clear sound quality and deathy unobtrusive vocals. The delivery is fairly intense becoming nicely technical on the closing "Written in Blood" which is prime complex thrash with several atmospheric nuances and very good melodic leads. The album recalls the German heroes Final Breath with a more classic-oriented guitar tone, and a tad faster.

Nightmare Asylum Full-Length, 2014

Official Site


Quite good melodic death/thrash metal (based on "Stormforce"), sounding like a thrashy version of the Swedish death metal acts at times, but offers well beyond that. There are moments recalling the Slayer late 80's period ("Burn"), epic-tinged death/thrashers ("Mephisto's Dance"), very cool power/speed/thrash mixtures ("When The Wells Dried Out"), pure speed metal killers ("Gailforce"). In the second half the songs become longer, a bit more complex, and the guitar work acquires a slight technical edge, for the sake of the more aggressive, death metal one. The speed also gets lost quite a bit, and some tracks might start dragging a little ("Crimson Skies"). "The Angel Wore Black" is the leader there, featuring really good intense riffs, speeding up as well.

Stormforce Full-length, 2002
Death From Below Full-length, 2004

Official Site


On both demos the band offers solid thrash metal with a thick, heavy sound and mid to up-tempo songs. They might remind you of Anthrax's period with Joe Belladonna, and Testament's first two albums.

Demo Demo, 1989
Demo Demo, 1992


The band members have ties to quite a few contemporary French metal acts from all walks of the genre: the progressive metallers Spheric Universe Experience, the black metal outfit Darkenhold, the death/doom metal act Ethery, among others. The title of the opener ("Universe Of Spheric Perspective") is an obvious nod to the former act, also in the music department being a more laid-back lead and keyboard-driven instrumental. Things become both harder and more complex on "Representation Of The Inner Self" which is a heavy progressive thrasher in the Zero Hour vein with heavy pounding guitars and cool mid-ranged clean vocals. "End Of Life" is another sure hit mixing sprawling balladic sections with more dynamic crunchy riffs. "Extinction Of Mu" is a 10-ton smasher with heavy riffage blending doomy sectons with jumpy much faster ones the latter bordering on melo-death. "Faded Illusion" could be considered a semi-ballad with a doom/thrashy twist followed by the short 2.5-min acoustic instrumental "Lifeless Ocean". "Theater Of War" is a dark power/thrasher reminiscent of Nevermore with a few intense up-tempo passages after which another "break" comes in the form of the heavy ballad "Twisted Paths Of Fatalism" where nice operatic female vocals can be heard as well. "Dark Sight" switches onto a full speed-ahead approach in the beginning, but the guys haven't forgotten about the more romantic balladic side which springs up in the middle. "Hell On Earth" is an encompassing closer putting all that was heard up to that point together at times thrashing with force, at times dooming with the finest, at times sounding frankly sinister with dramatic orchestral arrangements. Despite several flaws, like the slightly emotionless never-changing vocals and the constant keyboard background, this album is a fine addition to the more aggressive side of progressive metal, and will hopefully develop further beyond the one-album-wonder stage although one would hardly expect releases on a very regular basis having in mind the musicians' very busy schedule.

Lifeless Ocean Full-length, 2009

Official Site


The demo: retro thrash with a dark doomy edge; "Witchhunt" starts in a cool headbanging fashion, but the other 3 tracks are heavier and slower, some of them coming with a more playful rhythm ("Law of Nature"), others with a certain doom/gothic touch ("Fade Into Oblivion").
"Solace Through Lies" is a heavy roller-coaster also flirting with the modern sound delivering in a mid-pace with a slight hardcore aesthetics present. "Law of Nature" is here again, and it's the fastest number followed by the complex progressive "The Light": a pleasant surprise, a more serious take on the band's style, with more tempo changes. "Witchhunt" is another speedster of the merrier crossover variety, and the final "Thrash Metal Domination" justifying its title with another portion of more aggressive rhythms by preserving the playful attitude recalling mid-period Suicidal Tendencies quite a bit. The vocalist is not bad with his hoarse semi-clean blend which manages to carry quite a bit of melody as well.
"Planet Parasite" is now a full-blooded thrash "monster" the band moshing out with hard ripping guitars which take a rest on the slower "In Shadows They Hide". Later in the second half fast and slower tracks take turns until the end when the guys give more freedom to their with the exiting duo of more relaxed crossover pieces the closing "The Privilege of War" shredding a bit more passionately recalling the Brits Acid Reign and Xentrix with its quasi-Bay Area steam-rolliness epitomized near the end.
"United Zombie Nations" wastes no time nailing the listener with the vigorous opener "The Plague Of Virtuality", and things only become more interesting later, first with the ripping title-track, then with the more light-hearted and more diverse "Gone Too Far". "Human Killing Machine" is the stop from the speedy roller-coaster, but expect not many of the kind ("Isolation" being another one with its proto-groovy rhythms) as the band are intent on thrashing the UN to the very core either with the morefriendlier thrash/crossover approach on "Generation Doom" (no doom here), or with the stylish semi-technical shreds on the closing energizer "This Blackened River".

Forgotten Souls Demo, 2007
Solace Through Lies Full-length, 2009
Planet Parasite Full-Length, 2014
United Zombie Nations Full-Length, 2017

Official Site


Based on the "Cry of the Vikings" demo, this act indulge in very good heavy dark thrash with more aggressive death metal elements including in the vocal department. The title-track offers something both more melodic and more technical recalling Infernal Majesty, and "The Follower" is a major crusher with intriguing bouncy rhythms and a few nice melodic embellishments. "Anti-Sanctimony" thrashes with might with steam-rolling riffs and more jarring dramatic decisions the band preserving their penchant to stay within the mid-tempo parametres by still keeping things interesting and not very predictable, another surprise being the brilliant closing instrumental "Parallels Of Malice", a fascinating combination of dreamy lyricism, ethereal balladics, and mellow speedy escapades.

Cry of the Vikings Demo, 1994
Empty Void Demo, 1996
New War for No War Demo, 1996


Thrash/crossover which mixes very fast and brutal passages with more melodic punk-ish ones; might remind you of a more aggressive, but less interesting, Lawnmower Deth.

Demo Demo, 1989


This band indulge in noisy modern groovy post-thrash with more intense thrashcore throw-ins. The music delivers also offering a few cool lead sections, and may please fans of Pro-Pain and Madball, among other more crossover/hardcore-inclined acts. The singer is a major render shouting his lungs out to the extreme.

Un Mundo Sin Suerte Full-Length, 2014


Contradiction offer solid thrash throughout their career, with nods to both the classic and the modern school. The vocals are of the angry type, and at times could be a little annoying. The song tempo varies from heavy stompers to really fast tracks; nothing really new, but well done. Of all their albums their debut contains the strongest material with an admirable nod to the old school sound, and heavy thought-out songs, relying mostly on clever semi-technical riffs and cool balladic breaks rather than speed and intensity ("Kingdom of the Damned" is probably the only exception, coming up with an energetic Slayer-esque approach); "Trilogy of Darkness" is an original deviation from the more straight-forward pattern consisting of three tracks: the 1st one is a pure gothic number ala Cemetary with very good female vocals; the 2nd one is the highlight of the whole album being great atmospheric, but also quite technical and speedy; the 3rd one blends crushing thrash with doomy riffs, and is almost equally as impressive. On later efforts the band increased the speed a bit and introduced more modern elements.

"The Essence of Anger" is vintage retro thrash, and decently done at that. It doesn't sound radically different from "The Warchitect", for example, it's just that the modern elements which have settled in the band's sound have been removed almost completely leaving all the room for the good old 80's thrash for most of the time. The guys begin in an explosive speedy manner boosting up the guitar sound which now is crisp and very sharp, especially on the opening trio of bombastic intense speed/thrashers which nicely recall same year Paradox's "Riot Squad". "The Spectator" is the obligatory slower break after such a headstart, but not for long since "Walk of Shame" takes no prisoners with its merciless approach which even switches to blast-beats for a while. "For the Light" tries to mix things up with a few stomping sections, and later on there isn't much full-speed-ahead to be encountered which would be quite a pullback for the fans leaving the first 3 tracks sticking out as the "grand illusion" not finding their match anywhere except for the aforementioned "Walk of Shame" and a couple of more energetic riffs on the final "Commandments". It's not a bad effort as a whole, but the lost inertia in the second half plus the several modern passages included there as well makes it a bit uneven compared to the 1st one which goes away with all the pleasant surprises for the headbangers containing the more aggressive and the more classic-sounding material.
"Contraminated" may not be a very sure-handed pick for the retro thrash fans due to the doomy deviations ("The Pain Will Remain") which metamorphose into a sincere ballad ("Old", a pretty cool piece, by the way); and the general pretty sleepy tempo which never leaves the mid-parametres making the songs uneventful, tedious listens. The music has a strong modern edge; it even turns to groovy post-thrash for inspiration near the end ("Fields" ruining the little positive impression this effort has accumulated. This is probably the band's lowest point in their career, the energetic closer "Demon" sounding really awkward on the peaceful tone of the other material.
"The Origin of Violence" will hardly show you where "violence originates" since it's not a very openly aggressive affair although the tempo is dynamic, at least in the beginning, the guys thrashing merrily with an overt shade of crossover permeating the whole album. The obligatory string of mid-paced squashers arrives in the middle this time stretching for far too long to make the 2nd half very pleasant for the hard-boiled thrash metal fan who may lose his/her patience waiting for the next hard-hitter which which, sadly, never arrives; on the contrary, the closing "Rockin Transilvania" being a radio friendly heavy metal hit, a shameful way to end this not really interesting effort.

Rules of Peace Full-Length, 1993
All We Hate! Full-Length, 1995
Good Company EP, 1998
Contraminated Full-Length, 2003
The Voice of Hatred Full-Length, 2005
The Warchitect Full-Length, 2006
The Essence of Anger Full-length, 2009
The Origin of Violence Full-Length, 2014

Official Site


Expect laid-back post-thrash mixed with metalcore which still has its fair share of intensity (the raging shredder "Last Song For Your Last Breath") and the intro "Oath Of Iniquity" is a very stylish "wink" at the Paradise Lost gothic/doom heritage. It's not bad and would even make the head bang further with the cool galloping insertions on the closing "A Letter To Inamorata" which is reminiscent of the early Trivium "exploits". The singer shouts very unpleasantly and ruins the emotive picture created by the much better music.
The full-length is a more aggressive offering now being full-on modern thrash with heavy dramatic developments among the more dynamic sections. "Sensory Perception" is a cool progressive composition with a good sense of complexity, but later one one will encounter less impressive groovy implements which are way too many on the dreamy balladic closer "Timeless" whcih has a long way to go before reaching the hallucinogenic abrasive heights of Neurosis.

Oath of Iniquity EP, 2011
Reflections Full-Length, 2013

Official Site


This not very known act was the 1st attempt of some prominent figures on the metal circuit to create more aggressive music: the 1st Mmetal Church singer Ed Bull; and the Anvil Chorus and Heathen guitarists Doug Piercy and Thaen Rasmussen. At this stage their approach is fairly naive and rough, but inspired and vigorous nonetheless. The debut demo opens with the sweeping speedster "Black Hearts of Man" which introduces the vitriolic guitar assault whcih is way closer to the early German school than anything performed on US stage at these early times. Bull shouts and sings with gusto, and his semi-drunken antics work in combination with the speedy/proto-thrashy barrage which carries unabated on the next "Feel The Flame" which is more macabre and consistent with a more insistent fast-paced lash. "Lay Down The Law" is another sure-handed speed metal hymn where even some curiously melodic leads sneak in for a short while. "Impact" is longer and more controlled, a true power metal winner with a catchy chorus and all the rest; a very good display of the future trend which would leave its long-lasting mark on the scene in their homeland. This is every bit as good as anything created on the official album stage from Jag Panzer, Helstar, Omen and the likes, having this genuine speed metal vibe which would soon materialzie on the works of Agent Steel, Savage Grace, Attacker, etc.

Demo Demo, 1984
Demo Demo, 1985

My Space


This new formation play heavy modern thrash with technical decorations not far from Altered Aeon and partly Biomechanical. The music is quite dynamic the hard-hitting, and slightly buzzy, riffs suddenly replaced by balladic lead-driven sections and vice versa. "Arabian Chaos" is good headbanging fun, but the rest is pretty officiant and kind of not as exciting (check the monotonous sleeper "Chernobyl"). The last couple of compositons lift the complexity up a notch, but come up with stylish melodic hooks (check the playful "Voo-doo Samba" which would hardly make you dance "samba", but will make you listen with more care with its more puzzling structures). The singer has an assured clean tember which is quite levelled and could have tried a few higher pitches to spice things up.

Controsigillo Full-Length, 2012

Official Site


This is the Judas Priest song from "Defenders of the Faith" done in 7 different ways... kidding of course! This is a mild, friendly hesitation between the old and the modern school done in a mellow power/post-thrashy fashion with melody and groove aptly mixed without too much emphasis on hard-hitting riffage the exception being the wild restless closer "Murder Won". The singer delivers with his calm, not very adventurous semi-clean baritone.

Heavy Duty Full-Length, 1997

My Space


A good debut of energetic retro thrash, with nods to Slayer (their late 80's period) and the Bay-Area scene; the vocals are not the most suitable, being rough, semi-death metal-ish, but are not a detraction from the intense, sharp riffs, sometimes carrying a good sense of melody ("Conscious Apology"). "Raping Your Blood" abandons the short direct formula, and is longer, boasting great furious speed/thrash sections; there is nothing technical, just pure relentless thrashing for a little less than 7-min.
The self-titled sophomore effort is an obvious steb back for the band who now spice things up with more modern leanings in a way not too far from more recent Slayer again. The guys start uncompromisingly with the first duo of blitzkrieg retro thrash, but soon slacken off on the happy crossover piece "Fuck Off And Die", and partially on the more speed metal-based "Inside Of Me", but "The Legion Of The Damned" takes a more modern direction lessening the speed which goes missing on a couple of other tracks following suit, and never fully goes back till the end (the exception: more vigorous parts from the closing "Stand Up") leaving this album hanging awkwardly failing to produce the desirable worthy follow-up.

Nuclear Escape Full-length, 2004
Convicted Full-length, 2010

My Space


Quite good power/speed/thrash metal which starts in an imposing manner with the happy speed/thrashing anthem "Life Beyond The Light" sounding as though taken straight from the early Rage efforts. Then comes "Deceiver" which is prime galloping power/thrash ala Attacker, followed by the American power metal worship "Crusade", a cool epic hymn. "Guilt" is too "guilty" to borrow from the preceding number, and later on there is not much pure thrash to be heard as power metal takes over gradually, the flag of the 90's speed/power metal movement raised high on "Song Of Allegiance". The more intense beginning has no match anywhere, but the classic sound and the good musicianship are more than sufficient to make this effort recommended to fans of 80's metal. And let's not forget the very good clean high-pitched vocals which easily reach Messian Marcolin (Candlemass) heights whenever necessary.

DeclineRebirth Full-Length, 1999


This band is a side-project of the guitarist Nick Papakostas whose main band is the classic heavy metal act Strikelight. Most of the time the music is 90's power/speed metal spiced with a few thrashy riffs (sections from "Drink Metal" and "Burning Inside"). This is catchy, melodic, fast-paced stuff with the obligatory metal hymn ("Heavy Metal Way"). The attitude is Manowar-influenced, but the music packs more punch. The vocals are harsh with a slight death metal shade.
The self-titled full-length offers music again more in the speed metal camp with a cool classic vibe not far from early Helloween, with the more aggressive side again being the rough vocal performance. The tunes are even catchier this time, and there will a lot of singing with the band on the choruses which are partially ruined by the gruff vocal inclusions.
"Days of Rage, Nights of Wrath" comes with a slightly more aggressive sound although speed metal remains the dominant genre offering plenty of heroic rhythms for the fans to jump to. Relaxed power metal hymns like "E.A.D." are hardly necessary, but the rest is high on energy and optimism "Morbid Encounter" being a particularly formidable galloping instrumental, the highlight here, the steam-rolling energizer "Spiral into Oblivion", a total contrast to the peaceful heavy metal closer "Freezing Breeze" which ruins the impression to an extent at the end.

Metal Drinkin' Conspiracy EP, 2007
Convixion Full-length, 2010
Days of Rage, Nights of Wrath Full-Length, 2016

Official Site


This is pounding, stomping thrash with not very eventful mid-paced riffs which are suddenly interrupted by brutal hardcore, or even proto-deathy outbursts which could be more engaging ("Blind Enough To Obey"), or pure seneseless bashes ("Psychopharmax Convulsion"). The singer shouts hysterically trying to overcome the bad noisy sound quality.

Blind Enough To Obey Demo, 1988


This is raw bashing stuff with good lead guitar work which starkly contrast with the unpolished riffage and the ultimately brutal death metal vocals. Things start making more sense on "Dawn Of The Dead" which is an energetic speedster with a nice quiet ending. "Escape" is a bit more on the amateurish side, but still works due to the vigorous guitar work which could be considered a precursor to the future death metal wave from the same country.

Demo Demo, 1989


Based on "Benzin Es Ver", this act perform friendly, laid-back classic power/proto-thrash which is too mild to really catch the serious thrash metal fan's attention, at times branching out in straight hard'n heavy. Reportedly on earlier recordings the guys had tried hardercoming up with a thrashier sound.

Szep Hazam Utjain Full-length, 2008
Pofa Befogva!/Szep Hazam Utjain Full-length, 2010
Ister-Gam Full-length, 2012
Benzin Es Ver Full-Length, 2016



Based on the "Sade's Inheritance": this not very known Mexican formation provide quite a cool interesting cross between thrash and death metal with semi-technical overtones and more melodic progressive arrangements (the varied "Madame Desgranges"). The catchiness for the style is simply overwhelming the guys coming up with memorable hooks on every track: the great leads on the officiant thrashy doomster "Murder Passions"; the atmospheric decorations on the more elaborate "Justine"; the beautiful lead-riff "duels" on "The Abees". There is not much aggression to be witnessed the band clearly fonder of atmosphere and melody recalling Phlebotomized and the Greek fraternity (Septic Flesh, mid-period Rotting Christ), and as such producing some of the most original demos to come out of the American underground. It's a real pity that they didn't last longer to introduce their original approach to the world. They changed their name to Ira a few years later and are still active with 4 full-lengths released of classic power metal.

Coprofagia Demo, 1992
Sade's Inheritance Demo, 1994


Heavy, aggressive thrash/death metal is what these guys offer here; the style often recalls Autopsy, or early Six Feet Under, with a more thrashy edge. When things become faster ("Zaklan v Duskoreznica", "Zadrusteni Grobi6ta"), the sound comes close to the works of the gore-thrash acts: Ghoul, Frightmare. "Anal Attack Bloody Fuck" is an interesting interpretation of the funeral march later turned into an energetic thrasher. This is enjoyable stuff, not very diverse, but with catchy memorable simplistic guitars and brutal low-tuned death metal vocals smelling Chris Barnes at times. To those of you who understand Bulgarian, the song-titles will be quite an experience, as well as the lyrics: definitely not for the squeamish.

35 Minutes of Skull-Smash-Terror Metal Full-length, 2007

My Space


Based on "Thrash & Roll": the album-title betrays the main idea behind this recording which is obviously more on the friendly side. "Abismo" is a cool invigorating galloper with brisk guitars, but the majority of the material is heavy with frequent shades of groove and post-thrashy gimmicks. By all means the most interesting part of this unpretentious effort is the energizing cover of Motorhead's "Overkill" at the end.

Dueño del tiempo EP, 2011
Arrecho Full-length, 2014
Thrash & Roll Full-length, 2016



The full-length: truly impressive, state-of-the-art technical/progressive thrash; it begins with a breath-taking lead-driven instrumental intro ("The Origins of Selves") which already sets the bar too high. Not that the band have any problerms reaching it "Throne of Agony" thrashing with so much style that the listener will be engulfed by memories of Sieges Even's masterpiece "Life Cycle" and the more obscure Unleashed Power's "Mindfailure". Spastik speedy technical thrash is the order of the day on the shorter "Cursed Pilgrim", whereas "Gatherer of Souls" will "gather" you all around the warm forest fire on a cold winter night, to tell you the story of the progressive speed/thrash heroes Paradox and Manticora. "Purging Impurity" shreds with the utmost precision the stop-and-go riffs reverberations of Coroner and Unleashed Power again wrapped in a more laid-back spacey aura also accentuated by the more distant vocal lines which at times even acquire a more sinister death metal-ish edge. "Without Boundaries" is literally "without boundaries", an immaculate technical thrash instrumental with brilliant melodic lead sections with a few bizarre riff-patterns the latter overlapping with the omnipresent leads. "Metamorphosis" is a more surreal progressiver with a bigger concentration on atmosphere the guys leaving the bass player to do the bigger damage in a great way. "Binding of Immortality" is again more on the dramatic atmospheric side the riffage more subdued and less flashy; seamlessly flowing into the closing title-track which is just a closer in fact serving the final portion of these absolutely amazing leads which would make Yngwie Malmsteen and Andy LaRocque proud on any day. This is a sheer gem, and the hopes are that the band would continue up the trajectory cause with this talent on display the sky is the limit for them.
This formation is actually the continuation of the short-lived act Tim Draksler, the name of the band frontman and the main composer here, who seems to be the guru of Slovenian thrash also featured on the works of two other classic thrash outfits, Interceptor and Eliminator. His comrades from Cordura can also be seen in the black metallers Cvinger.
"Pantheon of Bionic Gods": another masterpiece from Draksler who will definitely get wider exposure after this. The technical/progressive thrash metal palette has been expanded a bit with other more extreme additives resulting in another spell-binding effort. "Prime" starts the saga with meandering melodic configurations which pass through numerous time and tempo changes to ensure the allurign nature of this standout opener. "Surrealism of the Divine Element" is a more immediate technicaller with operatic keyboard embellishments and gorgeous melodic leads, and "Pantheon of Bionic Gods" is a hectic restless piece with sudden twists and turns recalling the dazzling brutality movement (Anata, Suffocation, Necrophagist) not to mention the majestic sweeping pirouettes ala Death circling around. Death metal takes over afterwards for the moulding of a couple of hyper-active numbers among which "The Unnamed" is a sharp more concrete proposition ala Atheist, and "Importing Virus" is a mazey puzzle with echoes of Death again. "Insomnia and Despair" is a multi-layered progressive opus which even features cleaner vocals; in the musical sector we have a more laid-back, not as exuberant delivery bordering on the semi-balladic with haunting violin tunes enhancing the poignancy.

Astral Projection Full-Length, 2014
Pantheon of Bionic Gods EP, 2016

Official Site


Based on the full-length: this is power metal mixed with thrash and epic passages (including female vocals); the style might remind you of a thrashy version of Falconer. This is heavy, mostly mid-paced stuff with good guitar lines carrying the epic/pagan flair and vocals which change all the time, and are of the dual type: clean emotional ones, and death metal-styled; from time to time come rough semi-clean ones as well. This frequent change of vocal styles creates a certain operatic atmosphere also strengthened by the good melodic guitars. The guys harden the course on some songs which thrash admirably: "Hell and Torment", but there are also peaceful semi-balladic ones: "Stranger". Still, the majority of the tracks are power/epic/thrash metal combinations, albeit not aggressive, focusing more on melody.
Not the most productive lot on the scene, this act are back after a long 7-year hiatus, to give the fans another portion of half epic, half doom-flavoured power/thrash metal which comes with very heavy crunchy riffs which fit well the dominant morose mid-pace which doesn't wear thin, but is kept interesting with balladic and doomy inclusions (check out the excellent officiant "Revelations" for both). Run for cover, though, on the extreme speedster "Confront the Serpent" which breaks the "idyll" by also adding more brutal death metal vocals. The main singer has a deep clean tember which has both emotion and intensity covering quite a range of moods. "Sixth Sense" is the highlight here, a mighty doom/thrashy opus with very cool melodic leads with the following "Wounded" a close second, another seismic heavy number accompanied by the nice heavy ballad "Remembered as a Name", the romantic shift on the album. The balladic deviations remain for the last two songs which are slower with a couple of more brutal riffs inserted on the closing "What I've Become". This is a worthy sophomore effort for the band who show their heavier, darker side with the doomy tendencies slowly (but surely) moving the epic power metal ones aside.

God and Man EP, 1998
Our Fellowship Eternal Full-length, 2004
What I've Become Full-length, 2010

Official Site


Based on the full-length, these Bulgarians indulge in pounding, bass-driven groovy sludge/post-thrash which sits somewhere between EyeHateGod and later-period Machine Head with harsh semi-shouty, angry vocals. This is largey a doomy affair as the dynamic riffs are not too many in-between despite their appealing volcanic character. The final composition "Heart In A Chest" is a collaboration with the industrial masters Alien Industry.

Corecom EP, 2013
Crawling Under The Heavy Foot Of Addiction Full-length, 2014

Official Site


This is groovy post-thrash sustained in more simplistic corey structures which still bring some more intriguing moments (the spacey groover "La Fuite En Avant"). "Assologie" livens up the situation with more intense riffage, but the guys are too groove- obsessed to make the most of such moments. The vocals are of the rending shouty variety, semi-reciting at times with a strong forceful tone.
"De L'ombre A Nos Poussieres": the post-thrash roller-coaster continues its journey here, a bit more dynamic ("Ma Conne", "Qu'importe") perhaps, but not really entertaining or original if we exclude the ambient doomy closer "The Seven Stages Of Grief" which is too calm and meditative on the jumpy groovy background provided by the other numbers.

Heij Tan Mayrd... Full-Length, 2012
De L'ombre A Nos Poussieres Full-Length, 2015


Based on the full-length, this act offer groovy post-thrash with brutal death metal vocals. Nothing new, with more lyrical passages intercepting the heavy ones also turning into whole sleepy ballads ("03:00 AM") to mixed impressions. The singer pulls out a more soulful intelligible performance at the end, on the curious cover of Depeche Mode's "It's no Good" which is turned into a jumpy alternative groover (it's no bad", actually).

Past Lives EP, 2008
Decent Death Full-length, 2012

Official Site


Based on the "First Nation" demo, this band offers unimaginative groovy post-thrash with brutal guttural death metal vocals. The riffs are heavy and the pace is never very slow, but this stuff has been heard thousands of times before.

Stamina Demo, 2003
First Nation Demo, 2005

Official Site


Based on the full-length, this formation play a potent blend of modern and old school thrash which has vigour enough ("Give a Damn", "Mankind") without missing out on more complex exercises in heavy stomping stuff ("Feeding the Demons", the semi-baladic "Trapped in Monotony"). "Delusion" is a stylish galloping instrumental, and the final "Sundown Metropolis" brings back the hoarse semi-shouty vocals for one last headbanging showdown.

Corexit EP, 2014
Sundown Metropolis Full-length, 2017

Official Site


Cool old school thrash metal with power/speed metal tendencies: the style is close to their compatriots Master's early works, only with less expressive mid-ranged clean vocals; and consequently the best moments are those when they aren't around: the excellent dynamic instrumental "Attraction Of Death"; the pounding instrumental speed/thrashing piece "Posviashtenie". There are quite a few smashing speedsters for the fan to enjoy: "Ran Strastei", "Pir vo Vremia Chumui", which come with cool proficient leads.

Attraction Of Death Demo, 1999


There's only one person involved here, the alias Hechicero, who specializes in evil black/thrash which has a strong dramatic undercurrent and is generally quite varied the guy wisely miing fast and slow passages on almost every song "Inframundo" being a particularly stylish cut with nice melodic hooks with a touch of doom. The drama reaches Barathrum-esque proportions on the excellent brooding "Danza de la muerte" which also boasts the finest leads on the album; and the following "Regicidio" isn't too far behind with its imposing operatic arrangements. The final "Sangre del Guardian" is a more dynamic thrasher exiting this cool intriguing effort with more intensity. The man unleashes a vicious mean black-ish raven-like pitch which floats over the atmospheric music nicely adding to the moodiness.
"Edad Media" is another larger-than-life symphony the man weaving schizoid hypnotic riffs with a strong operatic undercurrent as evident from the opening "Robin Hood". "La Maldición" begins with nice melodic leads, but later is an admirable lashing thrasher again within the mid-paced parametres. The delivery reaches dizzying, progressive heights on "Evocación" the latter accentuated even more on the nearly 10-min long title-track which also relies on some doom and folk motifs to pull it through. "El Llamado de la Muerte" thrashes harder with screamy leads obliterating the riff-sections at times; and "Amor en el Panteón" is an imposing doomy ballad, the slowest cut on this entertaining, dark brooding effort which would benefit from an actual singer: Hechicero's mean muffled recitals just don't add up to the much more convincing music.

Ocultismo Full-Length, 2015
Edad Media Full-Length, 2016

Official Site


The absolute gods of technical thrash metal; their beginnings were ably supported by their peers and compatriots Celtic Frost, and more particularly Tom G. Warrior, who produced their debut album and also sang on their first "Death Cult" demo. "R.I.P." was a raw, but highly inspired debut, with the band only slightly hinting at their technical genius, with marvellous short pieces, like "Nosferatu" and "Totentanz". "Punishment For Decadence" boasted a better production, and tighter musicianship, with the band's trade mark swirling, vortex-like riffs gradually settling in ("Masked Jackal", "Shadow Of A Lost Dream"), plus the odd, but intriguing cover version of Jimmy Hendrix's "Purple Haze". "No More Color" shot the band straight to the forefront: a brilliant technical thrash opus, a fabulous combination of melody and technicality. At a time when the tastes were adjusting to the new tendencies, Coroner hit hard with "Mental Vortex"- an album which sums up the term technical thrash in all its completeness, by at the same time giving directions to the future development of the genre; one of the finest achievements on the whole metal scene (with the possible exclusion of another awkward cover at the end: The Beatles' "I Want You (She's So Heavy)", which is a very individual, progressively-laced interpretation of the song). Logically, after such a climactic effort, "Grin" took a more experimental direction, showing the band flirting with the modern trends. After the split up, Tommy Vetterli went to help Kreator get out of their creative cul de sac, and Markus Edelmann joined Tom G.Warrior for his new industrial project Apollyon Sun.

R.I.P. Full-length, 1987
Punishment For Decadence Full-length, 1988
No More Color Full-length, 1989
Mental Vortex Full-length, 1991
Grin Full-length, 1993

Official Site


This is intense old school thrash/crossover with nice both melodic and technical hooks. The guys play fast and tight recalling the Swiss Lunacy except in the vocal department where one will hear expressive hardcore narrative semi-shous ala Wattie Buchan (The Exploited). Quite often is the music all-out thrash reaching even Slayer heights (Slimy Little Fingers"; the little smashing bomb "Invigorate") without too much strain. A less serious punky piece ("Sinsuck") is certainly to be expected, but this one thrashes its soul out at some point near the end. The final "Angels On Commision" is explosive thrash with speed metal elements, a relentless assault with a catchy shouty chorus. Yes indeed, the real underground metal gems can be found in "hell" where it could really be quite "fun" with acts like this one around.

We're In Hell Just For Fun Full-length, 1992


After one of the most renowned 80's Finnish acts Airdash split-up, the guitarist Markku Niiranen, who also pulled the strings for what could be considered the greatest Finnish thrash metal band Stone, and Agathon Frosteus, who by the way is the ultimate drum guru on the Finnish scene, having graced with his presence acts like Gloomy Grim and Barathrum, among many others, decide to continue their career with this band. Based on the debut, this new formation has very little to do with the style of Airdash opting for the fashionable at the time thrash/death metal hybrid which doesn't sound bad, and is full of energy, like on the more death metal-laced "Unpleasant Task" or the thrashing spree "Overlord". The other more doomy trend is not forgotten, and here comes "Time" and "Stifled Cry": high-octane doom/death opuses worthy of My Dying Bride or the Dutch Beyond Belief. Later on the speed comes back for a while, but the numbers are catchier and softer ("Extremely Unemotional"). Watch out for the very good "Bitter Thoughts": another slower piece which offers a great technical twist at some point. "War Of Independence" mixes the two sides into one paving the way for the superb closer "Reformation Has Been Done" which smashes everything in its way with hammering doomy riffs ala early Celtic Frost. Based on this really good debut, one might invest some time tracking down the rest of the band's discography.

Profaned Relics Full-length, 1992
Into The Nerve Of Pain Full-length, 1994
Stonefield Of A Lifetime Full-length, 1997


Passable modern thrash which doesn't quite contain too many genuinely shredding moments, but the guys do play with the utmost intensity blending the more serious approach of Paradox ("Dressed In Blood", the excellent progressive closer "Status Quo") with the more immediate bashings of Dew-Scented ("The Council"). The singer has an assured clean tember quite reminiscent of Charlie Steinhauer (Paradox again). Some of the band members used to play in the retro thrashers PreTrash who released two albums early in the new millennium.

Dressed in Blood Full-length, 2016

Official Site


Based on the full-length, this act indulge in brick roller-coaster thrash which borrows mstly form early Venom and Celtic Frost the musical barage topped by intense shouty deathy vocals. The guys bash with vigour ("Stoeggen", "They Shall Die"), but melodic tunes are spilled all over making this album a not very regular, and fairly enjoyable in the long run, experience. "Slimy Little Fingers" is a nice inspired piece with more technical tendencies, but expect more relaxed thrash/crossoverers in the 2nd half like the moshing pleaser "Sinsuck". The singer shouts in a listless dispassionate manner his antics recalling the hardcore practitioners.

We're Just in Hell for Fun Full-length, 1992
Please the Pigs EP, 1994


For fans of The Haunted and Carnal Forge: modern thrash/death metal with the typical shouted vocals, quite well done. "Newcomers of Sin" sees the guys a bit more complexity-inclined with a more careful, thought-out delivery, but also with a drier guitar sound which stifles the riffs sharpness at times. Still, nothing can possibly stand on the way of rigorous speedy cuts like "My Sickness" and the bit more diverse "Teaching the Sick, Feeding the Dead" which are way more preferrable to the rest which is more on the quasi-progressive side changing tempos at will losing the plot on a few more sprawling epicers ("Madhouse").

Subliminal Fear Full-length, 2000
Perfection In Pain Full-length, 2002
Newcomers of Sin Full-Length, 2008

Official Site


80's speed/thrash metal; the band's style reminds of their compatriots Chakal's first two albums, and The Mist with its dark haunting atmosphere ("Back to the World" is the best example of the latter being a great hypnotic, doom-laden number which would be a delight to both thrash and doom metal fans) and heavy, smashing riffs. The guys don't forget to speed things up whenever necessary ("I Live You Die", a nice Slayer-influenced headbanger which even finds space for cool technical guitars), and as a whole we have a quite diverse, interesting and engaging listen. A good touch are the fine acoustic interludes accompanied by stylish lead guitar which, for some reason unknown, can't be heard much on other parts of the album (elsewhere the solos are mostly of the screamy type, and not really striking).

I Live, You Die Full-length, 1990

Fan Site


Based on the "Lethal Approach" demo, this act specialize in fast bashing thrash/proto-death which becomes more serious and dreamy on "The Dream", an intricate up-tempo shredder with cool clever riff-patterns in the vein of mid-period Messiah and Invocator. "Black" is the other more stylish moment where the guys thrash with more brain producing a portion of memorable, semi-technical passages. The singer growls in a higher-pitched fashion also bringing some black metal-ish raven-like vibe to the table.

Corpsecandle Demo, 1994
Lethal Approach Demo, 1996
Corpsecandle EP, 2001
An Encounter at an Infernal Empire EP, 2002


This is old school thrash with an appropriate abrasive sound which has all the right ingredients to survive a hard thrash test: the energetic roller-coasters (the sweeping title-track), the good forceful semi-declamatory vocals, the covert semi-technical edge ("Holochrist"), etc. Exercises in proto-modern stomping chops ala Sepultura's "Chaos AD" like "Execution" may be omitted for the future, though, as they break the otherwise monolithic, and also make the band look like a copy of their famed compatriots.

Genocides in the Name of God Full-length, 2017

Official Site


The awful buzzy sound leaves little to be enjoyed here; if this doesn't repel you from the start, you may come across raw thrash/death metal of the classic type with strong doomy overtones. The guys mix fast with slow rhythms leaving room for cool but undeveloped balladic interludes which evolve at the end into a soporific flute-driven outro ("Post Scriptum").

Mane Takel Fares Demo, 1994


Thrash/crossover of the heavier thrashier variety with nice fast crushing riffs recalling the Germans Death In Action, or even Demolition Hammer in the more aggressive sections; a good, but forgotten release. The guys mix the predominant faster material with slower hard-hitting ones ("Tour of Duty", "What Does It Take") which sound even more aggressive than the faster ones, and have an angrier tone, kind of preceding the future trends on the scene later in the 90's. The aggression sometimes reaches death metal intensity ("Out of Hand", "Oppressed"), a feeling aggravated by the very good gruff, semi-death metal-ish vocals. Of course, there are the typical for the style more up-lifting softer crossover numbers ("Words That Kill"), but one might miss them because the aggressive vocal delivery and the cool, but short leads kind of disguise them.

What Does It Take Full-length, 1989

Vibrations Of Doom


Apparently the modern tendencies failed to reach the more remote regions of South America in the early 90's. This is a very obscure band, but a worthy one at that. The style at display is quite interesting: at times it is cool technical/progressive thrash recalling Living Death and Mekong Delta; at times the music becomes quite aggressive moving towards the death metal realm. This mixture works perfect aided by the very wide range of vocals; the main ones are a blend of "Toto" Bergmann (Living Death) and Jeff Scott Soto (you know him), but there are also deathy growls, semi-clean singing and high-pitched tones ala Rob Halford or even King Diamond. The guitar and bass work are really good. Only god knows how many more gems like this are hidden somewhere in The Andes.

Report Of Exploitation Full-Length,1993

Official Site


This is a modern mix of thrash and death metal as nearly every track is a blend of fast and slow riffage, "El Verdadero Enemigo" being a pure speed metal barrage. On the opposite pole we have "Punto de Quiebre", and the dramatic proto-groover "Percepcion Manipulada". The vocalist is a gutural shouty death metaller who takes too much space at times.

Punto de Quiebre Full-Length, 2017


This celebrated band has moved over quite a few styles during their career. The albums included here are those which might be interesting for the thrash metal audience. On "Animosity" the band's punk/hardcore roots are clearly audible, and with the addition of some slow, doomy riffs and more edgy, thrashy ones, one knows that this can not be an ordinary stuff. "Blind" is decidedly heavier and could be classified as thrash although there's more happening here than just standard thrashing. The doomy moments from "Animosity" have been increased for the sake of the hardcore ones, and this mix of thrash and doom has a distinctive alternative edge. Their flirtation with thrash lasted for a short time, and on their next efforts the band moved onto full-blooded southern doom.

Animosity Full-length, 1985
Technocracy EP, 1987
Blind Full-length, 1992

Official Site


A 4-tracker which shows an obvious fascination with the complex side of the genre plus an interest in the Death heritage aptly displayed with the eventful opener " Overcome The Darkness". The other songs follows the model pretty closely "Be Strong" being a more vivid thrasher "Flesh And The Power It Holds" being a faithful cover of the Death hymn with a more lyrical blend. The singer tries to follow the mean spits of Mille and later-period Chuck Schuldiner (R.I.P.), but his antics are stifled by the instrumenta for most of the time.

Overcome The Darkness EP, 2016


A very obscure band who, like many others at around the same time (or perhaps a bit earlier), were crossing death and thrash metal.

I`m Bleeding Full-length, 1994


Based on the full-length, this act deliver aggressive classic thrash/death with guttural death metal vocals. The music is straight and to-the-point and by all means tolerates a few more melodic escapades ("A Premium Carnage") as well as more offbeat progressive musicianship ("The Awakening", the quirky rhythms on "Warpath").

Chaos Unleashed EP, 2008
Toxic Waste Blues Full-length, 2015

Official Site


Based on the Split with the black/death metallers Evil Emperor, these guys play aggressive classic thrash/death metal with shrieky husky vocals, at times intercepted by ultra-low growls. The delivery is pretty brutal shaking hands with death metal more, and the constant blast-beating noise may get on the nerves of the regular thrash metal fan at some point.

Corrosivo Demo, 2007
Execution Split, 2009

Official Site


This band was previously known as Corrupted. Based on the demos: these guys play more intensely this time, and actually sound like the perfect continuation of their compatriots Hypnosia; in other words, aggressive old school thrash, also reminiscent of Kreator ("Terrible Certainty", "Extreme Aggression") and Necrodeath's "Fragments of Insanity". The music is quite speedy, but also technical; some death metal shades could be heard on the more brutal sections ("Lethal Anger", "Shotgun Death"), and "Warpath" recalls Slayer's late 80's period and Sepultura's "Arise" with its heavy riffs. The vocals remain in the Mille Petrozza camp, with an added more vicious black-ish blend. The new wave of classic thrash in Sweden is getting stronger and stronger with high quality acts like this one, Leprosy, Caustic Strike, Oppression, Enforcer (all these bands are connected with each other due to the talented guitarist Olof Wikstrand, who takes part in each of them, and is the actual founder of at least half of the pack), and I believe it's just a matter of time before it overshadows the modern scene initiated by The Haunted and the likes.
"Slavestate Serenades" is finally the full-length the band were expected to record eventually, and here it is. The guys show no remorse pulling out the same intense aggressive stuff ala Kreator and their compatriots Hypnosia. There are more brutal moments to be heard, like the unbridled blasts on "Human Wreckage", or the maddening short death metal closer "Dark Skies - Black Soil"; and generally there is little sophistication shown even on calmer cuts like the less demented, mostly mid-paced, "Era Of Terror". The speedy hymns pour from all sides topped by vicious harsh death metal vocals; and this is the reason why some may find this short, just under half an hour, effort a fairly exhausting, but by all means satisfying, listen.

Destroyed Beyond Recognition Demo, 2003
Born of Greed Demo, 2004
Curse of the Subconscious Split, 2005
Silence Equals Death EP, 2006
Slavestate Serenades Full-length, 2012

Official Site


This young act play varied retro thrash which comprises long-ish intriguing numbers which are built around simplistic rhythmic patterns creating the distant impression that something more complex is going on; but it's not. Consequently the band decrease the songs' length later on and things start making more sense, like on the good galloper "Requiem", and the aggressive shredder "My Friend Alice". Then the more ambitious approach shines once again through a string of cuts which are more melodic with an epic flavour, but lose the thrash idea quite often. The singer is suitably melodic with a warm semi-clean tone which never stretches unnecessarily keeping things simple and not very attached.

Midnight Full-Length, 2013


Based on the demo, these guys pull out an uneven blend of modern and retro thrash the latter part being the more interesting comprising fierce pieces like the hectic semi-technical "Held and Stranded" and the heavy shredder "Deadline (Number 4)" which also thrashes quite intensely on occasion reaching even deathy dimensions. There's certainly a potential here with echoes of "Extreme Aggression" and "Rigor Mortis" clearly felt the music coming with a suitably dark subdued production and cool low-ranged semi-clean vocals.

Demo Demo, 2007
Paganfire/Corrupt Insanity Split, 2008


This is modern-ish power/thrash which lifts the mood with the rousing galloping opener "Temptations Of Anarchy" but such heroics are a rarity later on as the band settle for much less energetic, mid-paced rhythms, excluding another timid galloper, "Game Over".The vocalist is a nice dramatic cleaner leading the show appearing the most proficient performer of the lot.

Game Over Full-Length, 2016


Swedish death metal (think At The Gates and In Flames) meets groovy thrash ala Pantera, plus an added more aggressive riffage in the Slayer-vein; at times the music acquires a slight classic sound with a Bay Area-flavour, maybe a hint at a possible future metamorphosis?

Feed On The Weak Demo, 2002

Fan Site


An excellent young band who play classic Germanic thrash in the Kreator, Destruction vein with the vocals being a mix between black-ish rasps and Mille Petrozza: remember the Germans Nocturnal. With a proper support these guys could reach far; they are now known under a slight modification of their name: Corrupt (see the review a few lines above).

Lethal Anger Demo, 2003
Shotgun Death Demo, 2003
Destroyed Beyond Recognition Demo, 2003
Born of Greed Demo, 2004
Curse of the subconscious Split, 2005
Silence Equals Death EP, 2006

Fan Site


Heavy technical thrash with long complex tracks not too far from Metallica's late 80's period, and the Japanese Outrage; both the riffs and the leads are quite good. The guys have a fine taste for pace alternating slower pounding songs with faster ones. This is really good music which will give you moments to headbang to (the excellent speed/thrasher "Dissect the Mind"), but it will also make you listen with care on the more complex material ("Anxiety"). "Death's Bed" is a thrashy ballad which might remind you of "One" (Metallica again).

Dissect the Mind Demo, 1992


Typical for the time thrash/proto-death close to early Massacra; fast aggressive music with sparce references to hardcore on the shorter tracks. The guys pull it out with not bad musicianship, speedy relentless passages, short effective leads, the quarrelsome deathy vocals the only major pullback especially when they try to scream in the ealry Tom Araya manner.

Brutal Suicidio Full-length, 1991


Based on the 1994 demo, this act play typical for the time groovy post-thrash trying to add more aggressive post-deathisms ala later-period Massacra, but the rappy vocasl betray its derivative nature, and ruins the intentions despite the several aggressive lashing passages. The guys had previously released three demos under the name Scrotum in the mid/late-80's.

Demo Demo, 1994
Demo Demo, 1995


Moderate 90's post-thrash in a friendly calm mid-tempo hinting at both semi-balladic and gothic tendencies neither of which is develop fully although the moody guitar tone and the attached expressive vocals are all a good match to them.

Corruption Demo, 2009

My Space


Very good speed/thrash metal reminiscent of Agent Steel's debut with strong guitar work (especially the solos); unlike Agent Steel, these guys never take a break from speed, but carry on in the same merciless fashion; a contemporary Finnish band, Solitaire, impersonate their style quite well.

Infest Of Rage Demo, 1986


Based on "Unbroken": these guys offer heavy modern mid-paced thrash with dark overtones sounding like a more aggressive version of the gothic wave from the same country (H.I.M., To Die For, late period Sentenced, etc.) at times ("I'll Give You Nothing", the Madonna cover version of "Frozen" which is interesting with an individual shade fitting to the band's overall style). On the edgier moments the music starts sounding quite close to the Black Album ("10 Years", "Soulless"). Some groovy tracks are also added, but not to a very positive effect ("Belief Within").

Corrupted Full-length, 1997
Pain O.D EP, 1999
Blood.Lust.Blood EP, 2002
Promo CD Demo, 2003
Unbroken Full-length, 2005


Based on the 2007 demo, this band pull out capable speed/thrash of the classic type, but with modern angry hardcore vocals. 2 of the 3 tracks are fast-paced speed/thrashers, whereas "Nightmare To Come" is more mid-paced, graced by very stylish guitar work (the leads, in particular) with clear technical pretensions and a fine faster ending.

"Towering Inferno" would be a very pleasant surprise to those who expected those technical deviations to be developed further; fans of the Australian one-album-wonder Bezerker, Toxik's "World Circus", and the Flaming Anger demos will be delighted to hear fast energetic technical speed/thrash metal consisting of dynamic moderately lengthy compositions with twists and turns aplenty always done in a dynamic energetic pace. "Burned in Waco" pleases with the most direct lashing riffs on the album, an aggressive headbanger of the less ordinary variety, after which comes the most complex number "Malevolent Creation", a jumpy hectic masterpiece with nice virtuoso sections in the guitar department. "Iron Empire" is a mid-paced pounder, and before one starts asking "what happened to the speed?", comes the brisk technicaller "Darkest of Days", but the real aggression is "unleashed" on "Unleashed" which is assisted by brutal death metal vocals as opposed to the decent mid-ranged semi-clean main ones. The closing "Dead to Me" is an excellent technical speedster sounding like a more complex early Angel Dust with a fine melodic exit. This is a sure-handed debut which shows a young up-and-coming band on the American scene with a good ear for both the fast and the furious... sorry, technical. Some of the band members explore other contrasting musical territories (doom/death metal, that is) with another act: Eternal Doom.

Corruptor Demo, 2006
Corruptor Demo, 2007
Living Hell EP, 2007
Towering Inferno Full-length, 2010

My Space


Groovy playful post-thrash metal adding many other styles to it: hardcore, grunge, heavy metal, alternative, etc.

La Dignidad De Los Avasallados Full-Length, 2009


The demo is 2 songs of moderate classic power/thrash metal in mid-pace with orchestral keyboard implements which threaten to overwhelm the guitars on quite a few times. This is good original music spoiled by the gruff semi-death metal vocals. The brother and the sister in the band, Luiz Roberto and Maria Alves, later took a very radical turn from metal with their new formation which inherited the name (Cortina), but offers pure techno/trance dance music.

Temple of the Darkness Full-length, 1993
Agitated World Single, 1994

fan Site


Based on "Riffhead": very good progressive power/thrash metal; this is technical, but also accessible music, full of hard-hitting riffs and nice melodic leads. The style is choppy and jumpy at times, at others more aggressive with sharp more straight riffage. The songs are generally mid-paced with more speed and aggression involved on "Judgement Rights", which is a nice headbanging riff-fest. On the other side are the complicated labyrinthine guitars on "Tangents": progressive power/thrash at its finest, with a shade of Watchtower and Sieges Even. The album closer "Brickfight" richly deserves its title: a heavy, aggressive number with sharp, crushing, less technical riffs. The singer is not the star of the show, but his cool clean mid-ranged voice suits the music fine. This is a very obscure, but an essential band for fans of the more unconventional side of power/thrash metal.
"Not Myself" is an exemplary work of progressive thrash metal which goes well beyond the musicianship displayed on the debut, both in terms of aggression and complexity. It begins with the frantic shredfest "Heaviest" which is quite an intense and very technical piece, and within less than 3-min will make your head spin around in circles (after all, it's the "heaviest" we're talking about). "Proctology" starts with a 2-min peaceful lead-driven/balladic intro, later turning into a labyrinth of tempos and riffs, alternating between heavy and more dynamic passages lasting for about 10-min, with some of the most twisted swirling riff-puzzles around thrown in-between. "Cry For Help" entertains the listener in a similar to the previous song fashion with a calm balladic opening section, later settling for less elaborate technical thrash in mid-pace. The "flirtations" with the balladic genre hit the top on "Angel Beard" to the point that some may get quite disappointed to hear almost 12-min of progressive balladry with not a single harder riff involved. Now the band has to work hard to correct the not very positive impression by this collossal slab of serenity, and "Still Breathing" is quick to bring back the "still breathing" hectic technical shredfest accompanied by 10-ton hammering riffs. The "Intermission" which follows is hardly necessary consisting of pure conversational noise, but no complaints on the title-track which is standout creepy progressive thrash with a nice contrast between very violent heavy guitars and a calm acoustic one. "Overunderachiever" is a weird composition offering doomy sinister thrash with quirky riffs and leads ala Mekong Delta. The final "Magnitude" wraps it up with energetic almost up-tempo guitars, and a great Oriental lead passage which takes quite a lot of space (more than half of the song), but is truly a wonder to listen to. Despite a few flaws along the way, this album delivers in a manner no worse than peaks of the genre like Watchtower's "Control & Resistance", Realm's "Suiciety", Mekong Delta's "Kaleidoscope", and End Amen's "Your Last Orison".

Riffhead Full-length, 1997
Not Myself Full-length, 2000

Official Site


This is the band previously known as Riff-Raff. While their previous style clinged between thrash and classic heavy metal, here the guys have decided to pay tribute to thrash metal only and have done a better job. "Whip of Live" opens the album in an energetic, headbanging fashion, but later the sound slows down and becomes more technical featuring more ambitious, progressively-tinged tracks: "Renew Resistance". The guitar work is a nice mix of hard, sharp riffs and cool melodic leads. "Are You God?" speeds up again, and is arguably the best song with a great galloping pace and mighty guitars, recalling the works of the American masters Helstar, Liege Lord, and Attacker. This band, along with Squealer, tried to keep classic thrash alive in Germany in the mid-90's but, unlike the other band, they gave up sooner.

Cosmic Haze Full-length, 1995


This act is the brainchild of Mario Klausner, one of the most prominent figures on the Austrian metal arena (Pungent Stench, Belphegor, Hollenthon, etc). Here he gives free reign to his passion for the good modern thrash. The delivery clings towards the more technical and progressive with a few stunning technical decisions (the surreal shredders "State of Nothing" & "Chapter Zero") taking turns with more straight-forward bashers ("Prove Your Kind") and more playful proto-groovy progressivers ("Grief of Unknown Origin"). Klassner doesn't exactly excel behind the mike although his not very passionate clean mid-ranged timbre is by no means an impediment to the stylish music.

Embracing Utopia Full-length, 2017

Official Site


Based on the "Winds of Apostasy" demo, these Peruvians provide intense, but cleverly-concocted, bashing old school thrash which sits somewhere between early Sadus and Dorsal Atantica due to the several more intriguing moments ("Winds of Apostasy") and the few adherences to melody (the closing rager "Escoria Espiritual" which features a section recalling Destruction's "Curse the Gods"). The production is quite buzzy and the singer is not a very impressive death metal shouter.
The full-length is out and it will be another intriguing listen if one can learn to tolerate the brutal shouty death metal vocals which just don't have a place on an album like this. The production qualities are a bit disputable as well making the guitars too screamy and thin, especally in the lead sector. The initial complexity disappears gradually as the songs later on become more direct and not as engaging the album finishing in a down note with a string of bland speed/thrashers. The guys showed more promise on the demo material; now this official recording sounds too uneven and kind of unfinished.

Apoteosis-Estertor Demo, 2008
Winds of Apostasy Demo, 2009
Cosmosis Full-Length, 2012

Official Site


This effort first hits you with the very abrasive guitar sound which seriously mars the guitarists' performance leaving the major damage to be done by the bass and the singer the latter mostly whispering in a sinister, macabre fashion. The main approach is too operatic to be very hard-hitting despite the presence of several headbangers (the opening "It's Not Quiet Here"), the songs graced by keyboards and other orchestral gimmicks, like choirs singing and symphonic instruments interfering (flutes, piano, etc.) thhus creating a somewhat horror film-like atmosphere. The industrial feel may be intentional, but it is too noisy for one to be able to hear clearly what's going on for most of the time.

Canto Foul Full-Length, 2016


A vivid dynamic, albeit pretty generic, mix of modern 90's post-thrash and Swedish thrash; the guys are best when trying to capture the early Pantera anger for which helps a lot the gruff quarrel-like vocals.

CounterIgnition Demo, 2008

My Space


On both demos this talented band mixes two contrasting styles: doom and thrash metal. The first demo reminds of the American power metal scene slightly ("Screams of Terror"), but the rest is an example of how the aforementioned styles could exist together. There is a "border" between the two styles: pure doom (only two, actually) and pure thrash metal songs, plus genuine technical touches gracing some tracks ("Evil Calls").

Screams of Terror Demo, 1988
Demo Demo, 1990


Based on the self-titled debut, the band's style is all over the place: there is power, classic heavy metal, even hard rock, and thrash, of course: "Bombs Away" is a great representative of the latter. When the guys thrash, they could make quite a few eye-brows raise, but unfortunately this only happens on half of the tracks. Reportedly, their second album has moved towards hard rock.

The Coup de Grace Full-length, 1990
The Art Of Survival Full-length, 1995

My Space


A very good German band whose dark, progressive power/thrash on the first two albums have won them the tag "the German answer to Nevermore". These guys' guitar work is more technical than the one of Nevermore (check out the brilliant instrumental "Mystic Highway" on "Listen"), and the singer has a lower-tuned voice than Warrel Dane, a bit gruff, but fitting to the music at play. Although the song-structures are relatively complex, and the music is mid-paced with slower, doomy sections, the band do not forget to bring more energy to their works with full-fledged intense thrashers ("Brothers in Mind"). In a pattern similar to their compatriots Squealer, they cover Depeche Mode in a heavy, impressive way: "People Are People". The guys try to stick to the classic sound, but inevitable modern, groovy "updates" could be found here and there ("Lord of the Unknown", and other tracks from the debut). The debut is the more melodic work, having bigger ties to power metal, whereas "Remember" is more aggressive, with a heavier guitar sound.
"Inertia" is a very disappointing release with loads of alternative passages added plus a lot of modern groove which sounds like an almost new band. "Downfall of Honesty" is only a partial return to form with at least half of the songs being forceful power/thrashers in the old style, but with also some of the more melodic/alternative tendencies of the last album still present with an increased participation of more complex progressive passages.

Listen Full-length, 1998
Remember Full-length, 2001
Inertia Full-length, 2004
Downfall of Honesty Full-length, 2006

Official Site


Choppy, semi-technical thrash/death metal, strictly for the modern sound lovers with strong industrial overtones; a more melodic attitude is shown on the light-hearted thrashcorer "Cold Blooded Murder", but the following "Vultures" is already an intense thrash/deathy affair ala early The Haunted with the industrial colouring remaining. Later on we have the short hectic outbirst "Filth Missile" and the much more serious, creepy industrial thrasher "Tear Her To Shreds". The end again comes in the form of a short explosive number: the grinding death metal madness "Christ Puncher". The singer is the staple apocalyptic shouter, very strongly synthesized.

World Of Filth EP, 2011


Based on the live split, this is quite fast and brutal thrash/proto-death which will bring you back to the early days of the Brazilian metal scene: Vulcano, in particular, mixed with early Kreator and Necronomicon.

Headthrashers Live Split, 1987
Demo Demo, 1987


A cool band who mixed quite a few styles on their works with their feet firmly on thrash/speed metal ground. There are more classic heavy metal numbers, slower doomy ones and the overall atmosphere is not very serious with humorous, but at the same time explicit lyrics; enjoyable, but not a very popular band. The debut contains very cool catchy power/thrash hymns ("666", "Burn The Cross"), and actually features only one really aggressive thrasher: the short, but effective "McDonald Massacre", as opposed to the mid-paced, calm tempo of the rest. "Out of the Grave" is another hymn, but of the doom metal category, sounding like a leftover from some of the Saint Vitus albums- quite good, by the way. The closer "Rock This Church" is a letdown, being a pure hard'n heavy number, more suitable for the works of Quiet Riot or Bonfire.
"Death Walks Behind You" is the guys' real initiation in full-blooded thrash metal. From the great smashing opener "Too Late To Pray" to the very end we have intense speed/thrashing numbers; no fillers here, even the slower songs which are an echo from the debut ("Succubus") are served with a considerable doze of meaty, intense riffage. "Silent Night, Violent Night" (no relation to the Christmas carol, music or text-wise) is an analogue to the pop-ish closer from the debut, but comes with a nice fast thrashy ending.
After a long, 4-year break the band were back in the game, but their desire to sound more aggressive and modern has led to a much less impressive work, with a harder guitar sound, but with almost no hooks or melodies which made their previous releases so memorable.

Blessed Is The Black Full-length, 1988
Death Walks Behind You Full-length, 1989
Boneless Christian Full-length, 1993

My Space


This is impetuous old school speed/thrash which mixes short rippers ("Fired Up With Arms") with more elaborate compositions ("Burning Hope"). Purer speed metal winners ("Vaticans Bank Corp") ala Exciter "cross swords" with Slayer-esque ragers (the appropriately-titled "Headbanging Infected") both sides combined on the closing 9-min saga "Coventrate" which is an encompassing shredder with ripping, remorseless riffs retouched a bit by the nice acoustic rendition of "The Moonlight Sonata" at the end. The singer is a high-strung semi-shouter who always keeps it clean with the causal more aggressive hoarse addition. Some of the musicians also take part in another retro speed/thrash metal formation: Skullcrusher.

Cannon Fodder Full-Length, 2015

Official Site


"Terrorvision": a 2-song demo of heavy mid-paced groovy modern post-thrash; the full-length elaborates on the music from it producing 8 tracks of heavy seismic modern thrash/death which at its best comes close to the steam-rolling approach of Cerebral Fix, but these guys have the tendency to speed up more often although those moments never stretch into a whole song, "Wendigo" coming close with its energetic headbanging delivery. Still, this is hardly a complaint as the guys hammer a nail after nail in a crushing manner with the able assistance of the rough throaty vocals resembling a higher-pitched Karl Willets (Bolt Thrower); music-wise the band isn't too far from the battle-like riff-section of that band, either, but the relatively short length of the songs are an obstacle for those moments to develop into a full-fledged war metal hymn.

Terrorvision Demo, 2008
Trailblazer in Space Full-length, 2009

Official Site


Based on "The Gate of Immortality", this long-running Czech act indulge in dark atmospheric modern thrash/death with certain operatic aesthetics reflected in a heavy use of keyboards on some songs creating professional music with not much aggression to be savoured if we exclude the harsh abrasive guitar sound which at times creates certain industrial atmosphere. The peaceful tone is seldom interrupted and the listener may grow indifferent at some point to the dominant mid-pace which moves more and more towards the doom metal field with each passing song. The singer rends his lungs in a manner not too distant from Jan-Chris de Koeijer (Gorefest), but is kind of suiting to the brooding tone of the album.

Exit Full-length, 1996
Earth Gravitation Full-length, 1997
The Gate of Immortality Full-length, 2000
Shadows in the Souls EP, 2002
Ten Years After Full-length, 2003

Official Site


An attempt at classic thrash ruined by the very modern production and the buzzy guitars. Otherwise the guys know their stuff playing fast'n tight the singer being a bit more aggressive for the style with his shouty death metal tone. The riffs rip whenever they can overcome the buzz and more recent Slayer is an obvious reference point. The guys pay tribute to their idols at the end with a medley of Slayer songs containing "Die by the Sword" & "Black Magic" done without any innovations their retro status marred by the noisy guitar background. The band was previously known as Dissatisfaction where the style was prety similar.

Down to the Thrashell Demo, 2008


Quite cool dark power/thrash metal in the tradition of Vicious Rumors and Nevermore, maybe not as technical; another band which could be cited as an influence, is Overkill, and more particularly their finest hour: "Horrorscope"; yes, indeed, this album resembles that one quite a bit on the finest moments, which are the dominant ones. The music is quite heavy, and there is not much speed involved ("Question of Hate" is the exception: a nice fast thrasher), but this is hardly necessary as the sound simply crushes. The singer is truly a find, managing to sound like several of his more renowned colleagues: David Wayne (R.I.P.), Bobby ``Blitz`` Ellsworth, Mike Howe, David White (Heathen), etc. There is a slight presence of groove on some tracks, and "The Sound Outside" is a Queensryche-influenced ballad, not bad, but the rest is a hard-hitting, appealing stuff.

World Between The Lines Full-Length, 2004

Official Site


A typical for the time mix of thrash and death metal; cool stuff, fast and semi-technical, following the Floridian patterns pretty closely (think early Death and Brutality), thrashing out more purely on the last two tracks which come with a merrier crossover flavour. The singer is a brutal low-tuner echoing Karl Willets, maybe a tad more throaty. Later in the 90's the guys changed their name to Traumatic, and started playing straight death metal surviving long enough to record one full-length, one EP, and a couple of demos.

Vol.I Demo, 1989


This obscure outfit specialize in interesting original classic thrash which is on the jumpy less pedictable side with puzzling structures and clean high-strung vocals which actually sing. This is a chaotic listen which would make more sense after several subsequent periods spent with it aggravated by the expressive bass work which is very often the dominant instrument. The guys don't rely on any headbanging sections, the pace is mid at best, but the clever technical decisions would satisfy anyone, especially the ones on the progressive grower "F.O.T.U." which is a major puzzler in the vein of Deathrow's "Deception Ignored" and Target's "Master Project Genesis". The band let themselves a bit less control on the closing joke "Flaming Vacuum Attachments" which is an expanded twisted version of the evergreen "My Only Sunshine" turned into an amalgam of riffs and time-changes: a weird, but fitting closing jam session which at the end also pays tribute to the main theme from the Muppet Show.

Crabshack Demo, 1992


Competently played modern/classic thrash with bad death metal vocals; the approach is energetic, if we exclude a few passages which try to groove awkwardly, contrasting with the more intense classic moments.

You Are Always in the War EP, 2011

Official Site


Heavy modern aggro-thrash with hardcore elements; crushing punishing riffs come pouring down accompanied by sparce, but effective, faster sections, and angry brutal vocals. Madball are an obvious influence on these youngsters who successfully manage to avoid the metalcore "traps" along the way, despite the predictable character of their style.

Enough Is Enough Full-Length, 2011


Based on the "Against The Rules" demo, this act pulls out pretty decent power/thrash metal, still more classic-sounding, "against the rules" of the time, mid-tempo with a dark tone and gruff semi-death metal vocals. There is a cool attempt at a more ambitious song-writing: "Hidden Propaganda" which is a nice atmospheric mix between heavy thrashy and peaceful balladic sections.
Less than a year later the guys have gone head over heels into a modern post-thrash territory, and "Blame" delivers exactly that. Nothing "against the rules" here: 3 songs of jumpy alternative stuff with sterile guitars and semi-angry vocals. Consequently, a change of name followed, to Str@in, under which one album was recorded featuring the same music. The musicians also had one other project around the same time: the classic thrash metal formation Morbid Minds, and are now active as the more crossover-based, but again pretty classic-sounding, act Assassinner.

Against The Rules Demo, 1996
Blame Demo, 1997

Fan Site


This is crushing heavy thrash/death quite close to the "exploits" of the early Dutch school: Asphyx, Beyond Belief, etc. One will enjoy hammering steam-roller riffs aplenty, several faster outbursts ("Imperio de Odio"), pure high-octane doom ("Conceptos Nuevos"), abrasive almost industrial guitar noise ("Venganza"), extremely brutal low-tuned vocals ala Chris Barnes all over, and for dessert a not very bad cover of Slayer's "Mandatory Suicide" as a finishing touch.

Furia es Dignidad Demo, 2005

Fan Site


Soaring speed/thrash with epic undercurrents; cool music of the "eagle fly free" variety with several nods to the 90's power/speed metal movement. The sound quality is not very good making the guitars sound too thin and high-pitched trying to overshout the singer whose not very forceful tember has problems on the higher tones at times. Still, this effort, which could hardly pass for a full-length with its only 6 tracks closing on just over half an hour, is not totally without merits and with a better production the guys' future releases would make more heads turn.

Igual Que Ayer Full-Length, 2012


Sloppily-produced monotonous mid-paced retro thrash which turns to unabashed hardcore at times to confuse the listener even more. The vocals are of the shouty deathy variety, but are not an obstacle for one to "appreciate" this sincere, but heavily flawed, nod to the old school which creates the impression that all that has been recorded in a cellar with the hollow-sounding drums and buzzy guitars which at times manage to miraculously capture the dark ominous aesthetics of Hellhammer/early Celtic Frost.

Esclavizados Full-Length, 2012


This band did a lot to resurrect the glorious speed/thrash metal sound of the 80's, and not only with their bombastic (and not really imaginative) album-titles. The style is closer to early Angel Dust and Iron Angel, but these guys play faster and more directly, recalling another band from modern times: the Finns Solitaire. All their works are in the same vein: relentless speed/thrash metal attacks (just look at the album titles: they will tell you the story quite well), but what more could one ask for?

Speed Metal Satan EP, 1997
Speed Metal Slaughter Full-length, 1998
Speed Metal Sentence Full-length, 1999

My Space


A band which crosses the Floridian school with thrash; this is intense music with brutal low death metal vocals, simple but sharp guitars and a cool faithful cover of Slayer's "The Antichrist" at the end although the attempts at screaming made by the singer are way more ridiculous than the one on the original.

Reaper of the Lives Demo, 2008

My Space


This album starts in an awesome fashion with a forceful speed/thrash metal number reminiscent of Angel Dust's "Into The Dark Past" sounding like many thrash fans' dream come true. Alas, there's only one more song on this album which equals the opener in terms of intensity and speed; the rest is a more melodic, slower style reminding of later period Squealer. Apparently the very misleading, but great opener will be the most memorable part from this slightly above average album.

Darkness Remains Full-Length, 1999


Thrash metal bands from Bulgaria are a rarity, but they generally pleasantly surprise with high-quality music (Ira Deum, Fifth Cripples Band, Agresor, among others). Crash are another proof to this rule with their excellent, aggressive style reminding of Sepultura's "Beneath The Remains" and Slayer's "Reign in Blood". The album begins in a truly aggressive manner, with "The Day Of" and "Innocent Death", which sounded as though the sound would join the death metal field at any moment, but it never does although the tempo remains fast and intense throughout. It slows down for a while, on the excellent atmospheric dark "The Beginning Visions". The singer has a low-tuned, but mean-ish tember, which comes as a blend of Schmier and Kerrmit (Tyrant (Ger).

Unreal Dreams Demo, 1993


Based on "Endless Supply Of Pain", these Koreans provide us with classic 80's thrash metal reminiscent of (if you haven't guessed already by the album title) early Kreator, with a heavy dose of Sepultura's "Beneath The Remains". Great stuff- a proof that apart from Japan there are also other countries in the Far East capable of producing some really good thrash.
"To Be Or Not To Be" concentrates on the Sepultura-influences, by adding 80's Slayer-like aggression, bordering even on death metal (the final part of "Machine Of Silence"), and the result is another good slab of classic thrash. The vocalist suits the hard-hitting music quite well, with his delivery seamlessly crossing Tom Araya and Max Cavalera. More modern tunes could be heard here and there ("Turn To Dust", "Reality Discord"), but they seldom stretch into a whole song. The overall tempo is not as energetic as the one on the debut, but a couple of bombastic thrashers stir the blood ("Hate Breed", "The Addiction Conspiracy"). Clever semi-technical riffs could be caught as well ("In Process Of..."), showing the band readily expanding their horizons by not falling prey to the modern standards.
"The Massive Crush" is weak boring groovy modern post-thrash with very few shades of the band's previous output. There are more smashing thrashy moments ("Dignity", "Acid Rain"), but the rest is unimpressive rehashed riffs, with no edge and variety whatsoever; a "massive crush" indeed....
"Terminal Dream Flow" is really bad seeing the band abandoning all thrash metal and more intense approaches settling for calm bland post-thrash (thrash here can be pretty elusive) metal which doesn't really sound more appealing spiced with "assistance" from industrial, grunge, alternatice, ballads, funk, and other unnameable "atrocities".
"The Paragon Of Animals" was hardly expected eagerly by anyone from their old fans after the disaster which "The Massive Crush" was, but the listener will be surprised to hear decent energetic modern thrash for most of the time with cool melodic guitar work, a rare adherence to ballads which this time sound much better, and clever semi-technical riffs ala Jeff Waters ("Atheist"). Worth of note as well is the "fierce" closer "Fierce People" which is a major speedy thrasher with a nice classic edge. This effort could pass for a fairly capable excuse after the several shaky performances sticking to the more recent formulas to a positive effect.

Endless Supply Of Pain Full-length, 1994
To Be Or Not To Be Full-length, 1995
Experimental State Of Fear Full-length, 1997
Terminal Dream Flow Full-length, 2000
The Massive Crush Full-length, 2004
The Paragon Of Animals Full-length, 2010

Official Site


Interesting atmospheric thrash which clings more towards the classic side, with intriguing melodic hooks and subdued semi-declamatory vocals. "Frontline" is a cool soaring speedster, the opposite is immediately provided in the form of "Look Through the Chaos", a sprightly mid-pacer and "Fly Away", a cool friendly power metal anthem. A few attempts at more progressive song-writing ("The Wall") could have been made more dynamic since they drag the end a bit their, less eventful monotonous approach.

Conspiracy Theories Full-Length, 2017


17 jolly energetic thrash/crossovers dedicated to famous personalities from all walks of life (singers, actors, politicians, scientists, etc.): check the song-titles for more reference. The music packs a punch, thrashing with force more than now and then, speedy the whole time accompanied by cool both hoarse shouty and semi-clean at times vocals akin to the ones of M.S. "Scruff" Lewty (Hellbastard). The songs are short, the longest barely going over 2-min, and the guitar work is razor-sharp and brisk, very seldom "staggering" towards hardcore or punk patterns, although "Flavour Flav" at some stage is pure grinding extreme stuff.
The self-titled sophomore album is another merry-go-round thrash/crossover offering mixing unbridled aggressive thrash with more laid-back hardcore sections, the latter taken straight from the Suicidal Tendencies' debut, including the early semi-shouty quarrelsome singing style of Mike Muir, with a few more melodic, more tecnical surprises ("Let Us Explore Space Together") along the way.

...More Thrash For Ya Gash Full-length, 2009
Craterface Full-length 2011

My Space


The demos: a black/thrash metal mixture with a sinister atmosphere and vicious terrifying vocals, not too far from the Canadians Megiddo, with an early Bathory flavour on the slower parts which are often intercepted by ultra-fast ones, and perhaps this demo would be of bigger interest to black metal fans. This band shares members with the death/thrash metal outfit Scythian.
The EP is more for the black metal fans featuring intense sinsiter black metal with not many nods to thrash. The sound is a potent mix of fast and slow passages ala early Burzum, rich in atmosphere and menace.
The full-length is a sweeping symphony of thrash, black, and death metal taking their tolls the atmospheric black metal passages leading the pack without stifling the other styles. Cuts like the epic anthems "Codex of Seven Dooms" and "Left to Die" are really worth checking out, but their appeal to the thrash metal fan would be minimal those strictly belonging to the fields of black metal which are apparently the band's major target.
"The Shackles of Mammon" also shows the band's fascination with black metal more, but it's "Black Flame Divination" that brings thrash back into the fore, and later we have the diverse epic thrasher "Dashed to Death", and the excellent "Celtic Frost meets Bathory" closer "Tottering Cities of Men" which battle-like rhythms provide cool atmospheric closure to this eventful, diverse saga.

Demo #1 Demo, 2006
Recrucify Demo, 2009
Ethereal Altars EP, 2010
Towards Eschaton Full-Length, 2013
The Shackles of Mammon Full-Length, 2017

My Space


Based on the "Son Of Society" demo, this band pulls out ordinary 90's groovy post-thrash of the more melodic variety, mostly in mid-tempo, with a couple of heavier doomy riffs and the casual alternative element. The vocals are brutal Anselmo-like ones, with a deeper proto-death tember.

Emanizipation Productions Promo Tape Split, 1995
Divorced From Sanity Demo, 1995
Son Of Society Demo, 1997
Split Personality Demo, 1998
Eat My Pussy Demo, 1999


Based on the debut, this act offer industrial mechanical post-thrash with echoes of Soulstorm, Godflesh, and Puncture. The music has its more intricate jumpy moments where the approach may remind of Treponem Pal: check out the excellent dirger "Servant", or the proto-headbanging sterility of "I Believe". The singer is the prototypical dispassionate semi-shouter whose rendings are more on the intelligible side. The band were previously known as the death metallers Bleed, and presently indulge in atmospheric death/doom under the name Aphotic.
"Construct-Destroy-Rebuild" is a dragging affair with durgy doomy industrialisms turning this into the industrial version on Helmet although the more intriguing pounds on "Trial And Error" will bring you into the Prong zone (think "Prove You Wrong", abocve all). Later on the cold mechanical landscapes of Godflesh return for a string of songs before the more dynamic Prong-esque (including the very cool shouty Tommy Victor-esque vocals) histrionics take over at the end again, and make things more appealing: the jumpy semi-technicaller "Trust", the dispassionate stomps on "Holding Down", the intense operatic ambience on "Draining", the doomy abrasiveness on the closing "Kerosene". This is a cool listen, one of the better representatives of the modern industrial post-thrash wave of the 90's.

Earth Full-length, 1995
Construct-Destroy-Rebuild Full-length, 1996


Based on "Territorial", this act provide heavy steam-roller post-thrash which marches forward with merciless seismic riffage in the beginning and angry shouty vocals which are sparcely intercepted by clean alternative ones. Little by little, however, the music loses its initial aggressive character, and settles down in the 2nd half for ordinary bland post-thrash without any more curious moments. Reportedly on earlier releases the band used to play similar modern stuff.

Addiction Full-length, 1992
Supersonic Full-length, 1994
Territorial Full-length, 1996


A curious mix of traditional metal, thrash, death, and depressive moments, the latter recalling Katatonia and late period Sentenced.

Dawn Of The Blind EP, 2004


This very obscure band offers (based on "Oderint Dum Metuant") outstanding technical/progressive thrash/death metal with brilliant guitar work, which might make you listen to separate passages over and over. The guys keep the pace up-tempo with occasional insertions of blast-beats; the lead work takes a considerable place from the album, but is simply amazing with numerous melodies all around. At first listen some compositions might be hard to grasp with the fast change of rhythms and moods within a short period of time, but it will all settle down later. The bass bottom is very strong, and although you won't hear any pyrotecnics from this side, its presence is felt all over (think Leif Edling (Candlemass). The amount of melodies is simply overwhelming, maybe a bit overdone at times (the epic-tinged, Bal-Sagoth-esque "Shelter For The Rats"), and some of you will be glad to welcome the more-straight pieces, like "In The Meat Grinder". In the second half the songs become longer, more elaborate, but are all fine progressive death/thrash opuses which don't betray the prevalent sound of the album; they just come with more "decorations" (longer lead sections, orchestral intro/outros, more frequent aggressive moments, etc.). The closing "Imitation Of The Death" is a well deserved take on slower, atmospheric gothic/thrash recalling early Crematory.

The debut demo is straight-ahead aggressive thrash without any technical leanings: direct assault with a proto-death shade. The guys play as fast as possible which still leaves room for several more melodic hooks reminiscent of Mike Scaccia (Rigor Mortis).

"Your Cross-Your Death" is more proficient than the debut demo although the guys spare no aggression there thrashing hard with the casual more technical hook. Still, to these ears the direct brutal exercises in raging thrash are the more appealing side ("Nuclear Pathology") bringing the approach close to Merciless' debut. "I Was Born To Kill You" is another pretty restless number keeping the speed high for about 6-min, but the band's more romantic side (the more tender power/thrasher "Your Cross-Your Death") isn't too far ahead, but the latter is completely cancelled by the next "You Just Gotta Die" which is an impressive hyper- speed/thrash shred: Paradox on steroids. As a whole the high energy behind this short effort makes up for some flaws, like the thin guitar sound and the unrehearsed gruff semi-death metal vocals.
"The Womb" would be quite a surprise being a much more melodic thrash/crossover affair with very melodic guitars, short song- structures flirting with the semi-ballad on a few times, and consequently providing little for the speed lovers. Needless to say, it has very few ties to the last excellent technically-charged demo which apparently shows the band taking a radical turn from their past material into much more serious song-writing which is yet to be developed fully...
"Dreams of Guiliotine" is a pretty straight-forward affair containing almost nothing from the technical exuberance of the preceding demo, the guys lashing direct thrash/proto-death ornated by cool melodic licks (the soaring melodies on the final "By Oraculs Way"), and the odd doom metal tune (the macabre, funereal "Castle Of Pain"). "Fire Bridges" is a nice energetic semi- technicaller, but this is as far as this album goes to capture some of the magic of "Oderint Dum Metuant".
"Enforcement" is in the same vein as the last offering, providing this time a mellower sound, more in the speed/thrash metal realm, with only the singer belonging to the death metal side (plus the blasting sections from "Mirror's Effect"; and the furious exiting moments from the closing "Bounded Consciousness"). Some cuts are direct speed metal ala early Blind Guardian ("Without Fighting") with shouty choruses and epic flavours where the guys' sense of melody is admirable.
"Naskvoz" is another decent speed/thrash effort, even more melodic this time with some of the catchiest melodies around, which are aggravated by the nice keyboard background provided. The title-track is a nice formidable stomper which in the middle acquires wild technical death/black metal tendencies with strong operatic undercurrents. "Ne Dlia Liudei" is a happy keyboard-driven piece with crossover shades followed by the peaceful heavy power/thrash/doomster "Vse Mui Stanem Peplom". The remaining tracks are crossover-tinged power/thrash of the merry-go-round type ably assisted by the vocalist who this time sings in a much cleaner manner, well suited to the mild tone of the music.
"Zloi" returns to the more brutal roots of the band, and as such would be major fun for the headbangers who will have their day on "Zombie Online" and the more technical deathster "Po Piatam". "Plagiat" is an impetuous speedster with cool melodic leads, and "Klevetnik" is another great more stylish composition with shades of the mighty Kruiz in the lead department. "Hameleon" is a fine speed/thrasher which shows an outfit at their prime playing the good old stuff with gusto, with the expected from them high level of proficiency.
"Moden-Depo" is a melodic power/speed/thrash affair the guys emphasizing on the melody the whole album sustained in a carefree, jocund mode with an overt at times punk-ish vibe, the guys just having fun at the studio without any particular lofty musical pretensions.

Born To Kill Demo, 1992
Your Cross-Your Death Demo, 1993
The Womb Demo, 1995
Bez Tormozov Full-Length, 1998
Moden-Depo Full-Length, 1999
Oderint Dum Metuant Demo, 2001
Dreams of Guiliotine Full-length, 2004
Enforcement Full-length, 2008
Naskvoz Full-length, 2011
Zloi Full-Length, 2016

Official Site


This act indulge in modern thrash which is more on the dramatic side of the genre except that it lacks variety. Still, the delivery is pretty pedestrian despite its jumpy at times character, and doesn't hide its fascination with later-period In Flames if we exclude the hysterical black metal vocals which mix at times with more fitting brutal death metal ones. The album takes off for a while on the more complex cut "Mother of the Hive" which is eventful enough to be granted a progressive status, but highlights of the kind are very few the other one being "...And the Sea Shall Give Up its Dead" which is a more technical exercise in modern shred.

Organic Perception Full-Length, 2012

Official Site


This band was supposed to be the continuation of the great Polish band Turbo, but the music is a little more than just ordinary old school death/thrash metal with most of the stylish technical touches of the other act completely missing.

Purify your soul Full-length, 1991


The full-length offers competent retro thrash/crossover, fast-paced and energetic, staying closer to thrash in a way not too dissimilar from Rumble Militia and Hatrix so expect a few slower crushing breaks ("Burden", "Death Reigns") along the way as well as occasional nods to the Bay-Area ("Illusive Faults") and even Slayer ("Suffer"). The vocals are gruff hardcore-ish, quite close to the ones of Tommy Victor on the early Prong efforts, with a more aggressive death metal tone.

Creatures EP, 2008
I, Lucifer Full-length, 2009

Official Site


4 Canadian teenagers will surprise you with their mature brand of retro thrash mixed with a few "remnnats" from the 90's, but nothing annoyingly groovy here. There are also shades of death metal and crossover, in other words this would be a diverse listen with plenty of headbanging opportunities (the neck-spraining rager "Beyond Death"). "Origin Of Evil" is a mid-paced crusher, but also works well along with the closing "Relinquished Time" which is another more moderate composition with good leads and interesting riff-decisions. The singer is a pullback with his brutal death metal delivery who isn't a total mismatch, but lacks emotion and depth. The boys look well-equipped to rank with the best at this early stage so what else is left to say except: good luck!

Credgidence EP, 2012

Official Site


This UK trio indulge in levelled mid-tempo thrash with cool stylish leads and brutal death metal vocals. The tempo goes up at times ("Fearful Symmetry"), but generally the delivery is heavy without too many adventurous escapades towards faster waters. There is a 1-min joke song, "Mr. Groove" at the end which is rather funky rhythms than groovy ones.

The Third State Demo, 1991


A very good demo of flashy technical thrash/death akin to Death and Pestilence; proficiently executed music with a perfect balance between elaborate and direct riffs thrashing fast for most of the time with a good taste for melodies as well although the brutal low-pitched death metal vocals overshadow those latter moments a bit; that's why those without the singer are the most striking: check out the atmospheric mid-break on "Wounds Of War".

The Awakening Demo, 1994


One of the first acts to join the groovy metal legions; the music is mid-paced, but isn't heavy and might have been an influence later on albums like Anthrax's "Stomp 642", Invocator's "Dying to Live" and No Return's "Season of Soul". "Stormbringer" is a really pleasant deviation speeding up with heavier classic riffage, but is the only one of its kind.

Creeper Full-length, 1992


These guys provide 4 tracks of crunchy classic power/thrash sitting somewhere between late-period Laaz Rockit and Overkill of the early-90's. The tempos vary and the riffs are quite jumpy and not very predictable, albeit hardly technical. The lead guitar and the bass are worth mentioning, too, but the singer isn't a big asset with his muffled hoarse semi-clean tone which becomes way more attractive when the guy tries to scream when he resembles David Wayne (R.I.P.) quite a bit.

War Machine EP, 2010

Official Site


Based on the Rehearsal, this band play well-constructed, vicious thrash/proto-death which is marred by the very muddy sound quality burying the vocals deep underground. Still, one should be able to savour the stylish guitar work on "Deathless Psyche's Stroll", the great virtuoso lead sections on "Homicidal Rage"; and the very good cover of Sodom's "Nuclear Winter". Some of the musicians also played in the power metal Firefist.

Rehearsal Demo, 1988
Demo Demo, 1989


The Italian answer to Agent Steel; the opening track "Solitude" doesn't fit this definition as it is slower and a bit chaotic and jumpy as though the guys were trying to produce something technical, but have changed their mind at some stage. Fortunately they don't try anything like this later on, and "Rotten Press" is a nice speed/thrasher setting the tone for most of the album. The singer has a slightly harsher voice than John Cyriis, but his high wails are no less striking. "Squirts and Shouts" breaks the gained inertia slowing down to almost balladic dimensions, but speeds up near the end. No more interruptions of the kind and till the end we have great speed/thrashing songs some of them offered with a more non-conventional approach (the ending guitars on "Stop The Car", and the hectic frantic riffs in the middle of the closer "Great White Red").

Errare Humanum Est... Perseverare Diabolicum!! Full-length, 1989

Vibrations Of Doom


This not very known formation pull out retro power/thrash which can be both complex (the progressive piece "Currency") and more direct ("Declaration Of War"). The bad news is that the sound is too soft to impress the hardboiled thrash metal fans staying to much in the power metal confines.

Forgotten Tomorrow EP, 1998


This is abrasive classic thrash/proto-death which exudes a lot of style from the first track "Slave Concience", but the semi-technical leanings of the latter are not translated that well on the following material which is much more immediate. The sound quality is crystal clear giving the guitars a sharp, biting edge, and the singer is a gruff mean deathster.

Creeping Death Demo, 2006

My Space


This act specializes in brutal thrash/death metal staying much closer to death, with stylish melodic hooks ("Slavery") which are a desirable spice to the aggressive delivery. The closing "The Haunted Mind" is a wonderful technical piece of the hectic blasting variety ala early Suffocation and Hellwitch, and it's a pity that the preceding material has no flashes of the insane twisted genius at work at the end; watch out also for the compelling Bolt Thrower-esque doomy exit at the very end.

The Diary Full-length, 2005

My Space


After nailing down a great doom/death opus with their full-length, these talented Dutch decided to try other fields, and here comes "Chiaroscuro" to rock your world with its sophisticated technical thrash/death metal mostly following the canons established with the last two Coroner albums (gravitating more towards "Grin", but not as abstract and annoyingly modern-sounding). There's nothing too fast and brutal here, and their doom metal roots can clearly be felt on a few moments. The music is mid-tempo with a wonderful surreal guitar play ("Scarlet Man", "The Colour Still Unwinds") seldom speeding up ("In The Flesh") without losing its genuine technical edge, even increasing it. "Chiaroscuro", which well deservedly carries the album-title, is a fine mix between the newly-epitomized technical style and their morose doomy sound of old. After it the album loses dynamics and starts evolving around more doomy patterns ("Fools Paradise", the high-octane technical thrash/doom closer "Gods Thoughts"), an "idyll" partially broken by the more brisk technical piece "King Of Misrule" which also has a brilliant melancholic gothic flavour, perfectly contrasting with the sharp thrashy riffage. A more than fitting revitalizing addition to the very bleak (from a thrash metal point-of-view) 1995, this effort was a worthy finish of the band's very short career.

Shadows Full-length, 1993
ChiaroscuroFull-length, 1995


Based on the self-titled demo, this is outstanding technical speed/thrash metal with two vocal styles: one is quite screechy (might annoy you a bit, as it is the dominant one), not miles away from the higher-pitched tones of Rob Halford used on "Painkiller"; the other one much lower, almost death metal-like. The music is quite fast at times with slower heavy breaks and great sharp riffs which constantly overlap. The style will probably remind you of Toxik's "World Circus", Agent Steel's "Unstoppable Force", or Attacker's "Second Coming". The only complaint is the thin lead guitar sound which doesn't hold water compared to the great riff-work. "The Omen" is a furious thrasher with a pounding machine gun-like rhythm, obviously influenced by one of the greatest riffs in metal: the opening ones from Metal Church's "Metal Church".

Creepshow Demo, 1989
Funeral of the Earth Demo, 1991


A capable mixture of classic and modern thrash blending both tendencies on almost every song to a positive effect; another mix which occurs the whole time is the fast-slow moments which alternate, sometimes not very smoothly. The guitar work is good, both melodic and semi-technical whenever needed, reaching the culmination on the diverse atmospheric "Reborn in Chaos", a very cool number with sharp intense riffs mixing with haunting melodic ones the whole time. "The Holy Inquisition" is the only song which doesn't contain any faster passages, but is a heavy stomper with great machine gun riffs. The singer is perhaps the most ordinary part of the band, singing in a prototypical angry semi-death metal tone, unobtrusive and comprehensive, but hardly impressive.

Anthems Of Hate Full-length, 2008

Official Site


Good, although roughly produced aggressive thrash with an early Sepultura-flavour; the vocals are a bit dirty and hoarse, but the music packs a punch, boldly acquiring proto-death tendencies ("Back from the Graves", "Valley of the Dead") being constantly fast and intense. The bonus track at the end "Scourging Canine" is pure fast-paced death metal with a cool technical edge.

Back from the Graves Demo, 1987


One of the rising stars on the thrash/crossover circuit; the music is very diverse: there are ultra-fast, bordering on grindcore, parts; there are stomping, groovy sections; punk, sludge, and even quite cool technical riffs all this presented with a great sense of humour in the lyrics. Their jokes reach their culmination on the sophomore release: just check out the song-titles and you know what to expect, a thrashing parody at its finest.

"No Nie No No" bears no surprises whatsoever: this is energetic classic thrash/crossover seldom going towards the more brutal spectre of the style this time, providing instead a couple of slower tracks, which are not better than the raging grinding breaks from the past, and cause the album to lose steam easily, especially on the short ballad and the punkish closer at the end.
The debut is a brutal affair even including aggressive death metal parts to which sub-genre belong the brutal low-tuned vocals. They certainly give way to others on the mellow jolly punk tracks which are scattered throughout. The modern 90's scene is paid tribute with a couple of heavy proto-groovy numbers, but in an album containing 19 tracks this diversity could be expected. The band is pretty much an institution in their country having given shelter to numerous musicians who later on continued their career in other acts (Atrophia Red Sun, Sceptic, Virgin Snatch, Decapitated, Dies Irae, etc.).

Boletus Satanas Full-length, 2005
PumpernikelFull-length, 2007
No Nie No No Full-Length, 2009

Official Site


Two songs of intense thrash/proto-death in the Swedes Merciless vein and mid-80's Kreator the main difference coming from the long melodic leads; this is fast, slightly unpolished, music with fast guitars and harsh screamy vocals not miles away from Mille.

Enchanting Black Recess EP, 1995


Vicious old school black-ish thrash is what these guys offer. The tempo varies from more energetic and intense ("Infeccion") to mid-paced laidback ("Killer All"). "Black Thrash Atack" does little to justify the "thrash" part from its name: this is the only almost pure black metal composition, ranging from hyper-blast sections to slower, almost doomy ones ala more recent Satyricon and Thorns. "Cremator", on the other hand, is a nice slab of aggressive death/thrash metal with more concentration on the death metal side.

Cremator Demo, 2008

My Space


Fast blitzkrieg thrash with a covert hardcore flavour mostly reflected in the dispassionate semi-declamatory vocals; "Beer & Violence" is a more complex, more varied thrasher headbanger nodding at their peers and compatriots Mortal Sin and respectively the Bay Area, also serving a few interesting melodic variations. "Value Funerals" is a more aggressive, proto-deathy cut, but expect more laid-back, uplifting rhythms on it as well the latter also amply covered on the raging crossover/proto-deathster "Burn Or Rot".

Home Style Surgery EP, 1988

Vibrations of Doom


These guys' debut is a truly impressive progressive power/thrash affair seeing a rising star on the metal horizon. "The Ending of Fall" opens the album in a most compelling fashion with hard thrashing riffs and excellent clean emotional vocals as the delivery is choppy and unpredictable the guys shredding with the utmost intensity, with stylish technical guitars recalling Helstar, Realm and Toxik. An absolute stunner followed by the quiet semi-balladic stomper "Rainy Nights" which carries on with the intricate shreds in a more officiant epic manner. "December 22nd" is an intricate riff-dense mid-pacer with a rousing galloping finish, and "The Absence of Her Majesty" caries on with the gallops notching it up in the aggression department. "Winter Breeze" is a heavy doom-laden proto-galloper with more dramatic accumulations and brisker technical arrangements in the second half, also speeding up admirably at the end. "Tears of Regret" shreds in a more minimalistic fashion with stylish technical motifs which never leave the mid-paced parametres, but are simply a wonder to listen to with their spiral-like configurations. "The State of Depression" is a tender lyrical ballad cancelled by the hard-hitting guitars on "Envy of the Lovers" which speed up gradually, reaching semi-headbanging prportions for a bit in the middle before the delivery moves towards pounding more elaborate rhythms with nice lead sections assisting on the side. This is a true find, one of the finest achievements from the US metal scene of the new millennium. Some of then band members are also active with the heavy metal formation Shining Force.
"The Coming of War" is another masterpiece of old school progressive/technical greatness starting with "Damnation", an epic battle-like rouser which grows into the furious galloper "The Eyes Are Watching", a remorseless shredder which more orthodox tactics are overwritten by the more technical histrionics on the following "The Anvil" which recall the debut also pouring more melody into the proceedings alongside a ncie memorable chorus. "The Other Side of the Mirror" is a great progressive power/thrasher with a more officiant stomping beginning before the band embark on an impetuous speedy "excursion" with more technical embellishments. "The Coming of War" is "the coming" of superb vortex-like riff-formulas and steel gallops the latter transformed into a whirlwind of super-fast crescendos bordering on death metal. "Something Wicked This Way Comes" is a technical shredfest at its most stunning, a most captivating concoction of fast-paced strokes and classical-oriented tapestries wih echoes of Helstar's "Nosferatu" and Spirit Web. "The Man in Blue" has a prolonged balladic inauguration, but the hard-hitting rifforama resumes before long the guitar feats reaching Shrapnel-like dimensions. "Remember Geronimo" will make you "remember" the 80's American scene with its vigorous speedy build-ups and the outstanding vocal performance including in the catchy chorus sector. "The Fight to Stay Alive" is progressive power metal with more laid-back epic arrangements ala early Fates Warning and Warlord, a quiet less exuberant epitaph to this standout opus, one of the highlights of 2017.

Winter Solstice Full-length, 2013
The Coming of War Full-length, 2017

Official Site


Rough heavy old school thrash metal with a good bass bottom, but with unpleasant low-tuned death metal vocals; things surprisingly come out of the deep underground on the stylish crossover-like "See The Evil", and even improve on the longer epic- sounding "Sangue E Orgulho", and the weird dark doomster "Sangue E Orgulho" (watch out for the great violn outro here) despite the almost complete loss of speed. The guitar tone is quite fuzzy, though, obviously emulating the examples from their motherland's early scene.

Holy Inquisition Demo, 2002

My Space


A 3-song demo of fast aggressive thrash/death akin to Massacra and the Merciless debut; this is constantly fast relentless stuff with a few melodic leanings and brutal low-tuned vocals. Later members of this band were seen in the full-fledged death metal outfit Eclampsy.

In My Mind Demo, 1992


Based on the "Now They Know" demo, this band offers excellent classic thrash with great sharp riffs and a mighty bass-bottom, which would remind you of Jason Newsted's peformance on "...And Justice for All" and the Flotsam & Jetsam debut. The tempo is speedy and there are interesting funk-ish moments ("Proud 2B") recalling Mordred. The vocals are melodic, clean, but fit the music nicely.

Not Very Pleased...Demo, 1989
Now They Know Demo, 1990


Modern progressive thrash, a bit uneven at first listen, mixing hard-hitting sections with very melodic alternative ones, but delivering the goods; the vocal styles also vary quite a bit trying to keep up with the music. The guys have done a good job ("Accomplished Deed", "Lethal Trip") keeping the intensity throughout inserting stylish complex passages; "8 December" is another fine achievement: a fine up-tempo progressive thrasher with nice sharp riffs. But it's the 4-part "Let Me Bleed" which goes away with all the praises: a really impressive opus with great technical guitar work which was kind of missing earlier, but this one largely compensates for that although there are no speedy moments, just crushing mid-paced riffage spiced by numerous time changes and atmospheric balladic sections. There's probably not a very audible musical link between those 4 parts, but they work just fine as separate pieces of well executed progressive thrash. The vocal performance, despite its wide variety, is the downside so some amendment in this department for the future would only increase the band's appeal.

Redemption Path Full-length, 2007

Official Site


A cross between the aggro-trends of the 90's and the good old thrashcore; decent stuff not hiding its fascination with Madball and early Misery Loves Co. the singer an appropriate angry semi-shouter with the actual ability to sing at times.

Summer Demo 2k12 Demo, 2012


One of the most famous Chilean metal bands, Criminal played quite good thrash/death metal on their early works during the 90's, before moving onto a more restrained, post-thrash, groovy sound on their more recent albums. "White Hell" sees the guys adding more speed, to the point of blasting out on quite a few times, resulting in a decent slab of modern thrash/death, quite on par with their early efforts. There are moments when the sound starts to drag a bit, recalling their more recent output, but watch out also for classic thrash/death metal surprises, like "The Infidel" and the cool headbanging closer "Sons of Cain".
"Akelarre" is another sure-handed slab of modern thrash/death metal, alternating fast with slower songs in the beginning, finding a good balance between the two sides. The slower part takes more space in the middle where a string of heavy pounding tracks may strecth your nerves a bit, especially when not much compensation is offered till the end, the last numbers remaining in the mid-paced camp, the closing "La Santa Muerte" boasting a great doomy outro, arguably the finest part of the album.

Victimized Full-length, 1994
Live Disorder EP, 1996
Dead Soul Full-length, 1997
Cancer Full-length, 2000
No Gods No Masters Full-length, 2004
Sicario Full-length, 2005
White Hell Full-length, 2009
Akelarre Full-length, 2011

Official Site


Vicious aggressive thrash which isn't miles away from Possessed's "Seven Churches" and early Slayer, plus heavy moments ala Celtic Frost ("Last Command In Hades") added here and there; Kerry King is an obvious influence on the lead guitarist, and the singer delivers the songs in a very low death metal growl resembling Reto Wilhelm "Tschosi" Kuhne, the first Messiah singer, but this one here goes over the top. Shades of proto-death metal can clearly be heard as well as on the works of the continuation of that band: Messiah Death.

Cryptic Doom Demo, 1986


3 tracks of well-constructed classic thrash with ripping riffs and expressive shouty, semi-declamatory vocals which at times scream sky-high to a positive effect. The band shred with an understanding of the genre canons, sticking to the Bay-Area formulas (Exodus' debut, above all) keeping the fast pace the whole time, the overall convincing delivery also ably supported by the catchy shouty choruses.

Frozen lunacy Demo, 1990


A very good underground semi-technical thrash metal act with very specific, snarly vocals and heavy, mid-tempo tracks; the guitar sound is a bit fuzzy, but it makes the guitars sound sharper and more vicious. The longer tracks like "White Slavery" and "Schizophrenia" are complex with slow atmospheric parts and cleaner vocals going quite a bit towards progressive metal, and are more melodic than the lot, but are more distinguishing since the other shorter tracks sound quite close to each other as the tempo doesn't change, but "Criminal Justice" nicely compensates for the lack of variety with great headbanging riffage, quite aggressive and fast. This is an efficient, albeit minimalistic style; I'm surprised that it hasn't been picked by any modern band (the only other band I can resemble Criminal Justice to, are the Finns Lethargy, but they still have a long way to go to capture completely the magic of the Germans' delivery).

Burning The Infidel Demo, 1988
Criminal Justice Demo, 1989
Burning the Infidel Best of/Compilation, 2005

Official Site


A "moshing" intense EP of classic thrash ala Slayer and Devastation; this is fast blitzkrieg music with short tracks, and there's a hardcore aesthetics involved as well. The singer doesn't strain himself that much delivering a calmer semi-clean performance in the mid-ranges.

Violeancia Expledcita EP, 2008

My Space


A competent blend of modern 90's post-thrash and "remnants" from the classic movement staying in a heavy mid-tempo supported by cool deep clean vocals. The guitars crush with power with an almost doom-like intensity, and it's good that short more dynamic pieces like "In the Palace Tonight" roam around to keep things on track although the nice heavy ballad "The Price", which is not a Twisted Sister cover, isn't bad at all and is almost as convincing as the Sisters' hit; another similar "slow" piece comes later ("Slowly") near the end, and despite the initial frown, having in mind that we already had one ballad, one will definitely have good time dancing with his/her partner on this cool emotional track. The lack of speed is by all means a complaint, but during those very gruesome for metal times efforts of the kind were more than welcome to warm the fans' hearts.

Demoralize Full-length, 1995

Official Site


Based on the "Slaves of Time" EP, these guys offer pretty cool speed/thrash of the old school with plenty of infectious melodic hooks which will remind of early Testament with an increased Oriental-ish atmosphere which gives this small recording a unique "air". The tempos change, but the guys seldom pull out all the stops speed-wise, elaborating things a bit on the longer tracks ("Southern Battle Cries", "Beholding the Sun"). "Legion of Whirlwind" is an intense shredder with more aggressive proto-death riffage which better suit the subdued, semi-declamatory death metal vocals. The band are more than well equipped to hit with a full-length which, judging by the quality displayed here, should have no problems finding its devoted fanbase.

Abyss of Humanity EP, 2007
Slaves of Time EP, 2010

My Space


An awkward and amateurish blend of thrash, crossover, funk-ish parts and death metal; very obscure, but that's well deserved.

Mistaken Demo, 1990


Based on the "Forge Winter" demo, these guys provide cool macabre classic power/thrash which begins in a dark pounding manner with "Mountain Kingdom". The volcanic riffs of the opener are replaced by faster ones on "Domain" and "Peaceful Imprisonment". "Hymn Of Praise" is a fine galloping piece with a heavy doomy mid-section, a pattern followed by the rest of the tracks. The singer has a clean, but fairly indifferent, mid-ranged voice acquiring more aggressive shades at times generally standing above the music, but only in terms of volume; quality-wise he is inferior to the better music.

Pharaos Demo, 1990
Forge Winter Demo, 1992
Evolve Demo, 1995


An early entry into the more extreme thrash/death metal genre, well done and pretty intense at times; later the band took a more melodic thrash/crossover approach after they changed their name to Vehemence.

Destined To Die Demo, 1987


Based on "Freak", these guys have quickly orientated towards the order of the day: the groovy modern post-thrash. Their approach is more melodic than the one of Pantera and Machine head, and actually reminds of 90's Anthrax taking the place between the first two John Bush albums (more aggressive, and better than "Stomp 642", but much inferior to "The Sound of White Noise"). The music slows down on quite a few times as though the guys were trying to pay tribute to some doom metal acts on certain parts. However, tracks like "Slow" (which, despite its title, is the fastest song on the album with cool sharp riffs and a nice solo) save this album from being a complete failure.

Freak Full-length, 1992
Blunt Trauma EP, 1993


Ripping, Slayer-esque old school thrash; among the established one-dimensional bash one can distinguish attempts at a more serious play (the semi-technical leanings on "Buried Beneath the State", the excellent twisting "My Fist, Your Face") as well cool melodic lead sections ("Wretch God"). The closer "Punisher" is an exercise in restraint, a squashing steam-roller wuthout any speedy temptations. The singer is a very shouty quarreller whose angry antics may pass for death metal-ish rumblings at times.

Cycle of Decay Full-Length, 2016

Official Site


The full-length reveals a band playing intense fast retro thrash metal with references to their homeland's early/mid-80's (Destruction, Kreator) scene. The guys play fast with sparce semi-blasting sections, but at the same pure speed metal delights can be caught here and there. Watch out for the rocket-speed piece "Infernal Tormentor": furious ultra-thrash which could scare even Impaled Nazarene. At the end the guys give themselves a break with more moderate doom/thrash sounds on the last two tracks.

Crimson Slaughter EP, 2005
Crimson Warhead Full-length, 2007

Official Site


Decent very heavy thrash of the classic type mixed with more updated groovy tunes resulting in a smashing listen which at times comes with curious keyboard insertions ("Die Alone"). "Epic Of Insanity" is a cool faster thrash/crossover, and "What We Create" is another speedy surprise ala Motorhead decorated with a pounding groovy break. The singer tries to emulate James Hetfield, but shouts too much, and occasionally hardens the course towards more throaty semi-death metal singing.

Unleashed Full-length, 2002

Official Site


Based on "Even Worst", this band plays a diverse mix of thrash and death metal which sounds both modern and classic, and both aggressive and more moderate. The guys try to put all trends together into one composition, and surprisingly this cocktail delivers, especially on the more extreme numbers: the opening "Games of Illusion", "Citizen of Hell". "Relapse", on the other hand, is a nice short technical piece, and "Justice" is another hit: mid-paced stomping semi-technical thrash. The 2nd part is more technical with direct and more complex parts mixed quite well although the extremity is perhaps too big (the grinding passages on "Killing Signs") on some tracks, and the Swedish melo-death "traps" claim at least one "victim" ("Rituals") before the end.

Immortal Disease Full-length, 2005
Even Worst Full-length, 2009

Official Site


One of the best thrash metal albums that the Czech metal scene produced; the vocal style is akin to Max Cavalera, but the music is much more technical than the one offered by Sepultura although the approach resembles the one of the Brazilians at times. The opener "Difference" is a mighty 8-min progressive thrasher which will remind you even of Deathrow's "Deception Ignored" although the delivery is more straight-forward and standard. The next "Mortal Anxiety" takes a more aggressive, more accessible approach, thrashing intensely and fast. "For You" is a short effective bass-instrumental followed by the great intense technical thrasher "To Die For Descent" which brings back the technical play from the opener. Later things get even more interesting with the excellent Coroner-influenced "The Pictures of Torture", and the up-tempo galloping power/thrashing "Irritating Inertia". "Absent-Minded" is another interlude in the vein of the short instrumental earlier: a nice little acoustic number. The last song "About Tenor" is a more direct headbanging piece closing not only the album, but the whole "flirtation" of the band with thrash; the guys' career went downhill after this one moving into a modern pop-metal territory.

Different Full-length, 1993

Official Site


A standout 4-song demo of technical thrash which sounds quite close to Artillery in the faster parts, but is more varied with slower and heavier parts and long 5-7 min tracks. The sound has this dark genuine quality also typical for Cyclone's "Inferior to None". "Sneaking Disease" is a brilliant technical thrasher with marvellous guitar twists, worthy of Coroner and Infernal Majesty. If these guys had carried on, Invocator and Artillery would have had a very strong competition on the Danish metal field.

The Land Which Once Were Demo, 1986


"Freak Inside" (despite the slightly silly title) is quite good classic thrash calling to mind Holy Moses at their best (think "Terminal Terror" in this case). And if we add that the person behind the mike is a girl, then your imagination shouldn't stretch further than the Sabina Classen gang: the similarities in the vocal department are simply striking. The album is rich with catchy, but at the same time semi-technical riffs; by all means one of the main pretenders for the "best thrash metal debut of the year" award for 2007.

"Devil Reveals" doesn't lose the gained inertia with the debut, but carries on in the same blistering vein: dynamic semi- technical retro thrash, again sounding quite close to Holy Moses' "Terminal Terror" although this time more, both longer & slower, compositions are included: "Kids Killing Kids" which smell modern thrash a bit, but are "besieged" by the brisk thrash bombs which clearly dominate, some of them jumping more boldly on the technical thrash field: the nice varied "Devil Reveals"; the cool mix of aggressive fast riffage and melodic Oriental hooks "Hysteria". The girl (Britta Gortz is the name) here sings even in a more throaty and aggressive manner touching Arch Enemy's Angela Gossow on quite a few times.
"Antagonist" may scare you with the more aggressive vocal delivery which would make you think that Britta has surrendered the mike to a man; but no, this is her all over her aggressive antics "besieged" by stylish semi-technical thrash again which is also pretty fast and fiery even introducing the odd blasting passage (the opening "New Shadow"). The initial attack is intercepted by the calmer Oriental-infused "Totmann" which is a pensive dark composition with infectious melodic hooks; please, pay attention to the head-splitting galloping passage in the 2nd half. "Hegemony" is the ultimate headbanger stifled to an extent by another more laid-back shredder: "Clean" which is really "clean" ripping mid-tempo thrash with a stylish bluesy ending. Things get pretty rough from this moment onwards with a string of relentless aggressive numbers which make room for the more serious technical approach on the closer "Cocoon" which calms down with a more retouched, not as fast, delivery also scoring high in the lead department. A 3rd strong release in a row is already a sign that another band has joined the upper echelons of German thrash, and the guys and a girl have no reasons to worry about the voluminous competition provided by both old and new acts at the moment.

"Hyena" is the next sure-handed release by this promising formation, and the title-track shows their penchant for fast-paced, cleverly-executed old school thrash. The approach is mixed later on as speedy moments (the latter reaching blast-beating proportions on "A Dime For The Establishment") alternate with slower stomping ones ("Bloodshot Monkey Eye"), but this symbiosis is applied exactly the way one has heard it on the previous three offerings; so surprises are out of the question, but the fans were hardly expecting them the band having found their niche well, breaking the formula for a change on the closing "Pure" which is a slower pounding composition with heavy balladic tendencies towards the end.
"Follow Me: Kill!" puts a lot of pressure on the listener from the get-go with the opening headbanger "Pressure" although later on it's business as usual the guys (and a girl) mixing things by adding more relaxed groovers ("Into the Fire") and more engaging progressive experiences ("World Coming Down"). "Shoot or Get Shot" brings back the aggression from the beginning, but the second half is all about more elaborate, less dynamic compositions ("Comatose", "Running High") where the diva reveals her better, more melodic singing side, one that she should adhere to more regularly in the future. "Menetekel" comes out with all the guns blazing, though, thrashing far'n wide as a finishing touch, closing another decent chapter from the band's discography.

Killer Escort Service EP, 2006
Freak Inside Full-length, 2007
Devil Reveals Full-length, 2009
Antagonist Full-length, 2012
Hyena Full-Length, 2014
Follow Me: Kill! Full-length, 2017

Official Site


Based on the demo, this band mixes fast aggressive thrash in the Slayer and Sepultura mould with genuine technical riffs ala Infernal Majesty. The final result is clearly on the positive side with great sharp guitars and energetic, but never ultra-fast or brutal, tempos.
The full-length is firmly on the modern side, and the groove has calmly settled in into the band's approach, but the technical leanings have not been fully removed and as a whole this album offers a fresher take on the already established 90's trends. The bad news is that the speed is almost completely gone and this blend of mid-paced post-thrashy and clever semi-technical riffs becomes monotonous and not very interesting well before the end.

Independent luminary Demo, 1991
Green Pillow Full-length, 1994


A 2-song demo of moderate mid-paced power/thrash metal owing much to their colleagues and compatriots from Hermetica. The EP elaborates on the same approach, offering the same longer tracks which try to vary things up a bit, but end up sounding not too far from each other, especially the more mid-paced material ("Oscuros Recuerdos"); worthy of note is the very ambitious 10-min "Arquitecto de las Pesadillas", which is clearly progressively-inclined and gains a lot from the couple of intense thrashy sections thrown in. The shorter numbers ("Leyes") are sharper and better clinging more towards the speed metal genre. The last song is a cover of the famous Savage hit "Cry Wolf", done by the book which is hardly the best choice as the version could have benefitted from a more hard-hitting interpretation.
"Revivanlos a Todos" is in a similar vein with a bigger concentration on speed and thrash probably, and as such shouldn't disappoint comprising bold ventures into the speed/thrash metal genre like "Frecuencia Extrema", the heavy "Descarga", the merry speedster with crossover overtones "Leyes", etc. "Nada Me1s Quedare1" is a really cool lashing thrasher which will "enchant" you with loads of sharp riffs, followed by the final string of tracks which are longer and quite resemble the Manticora variations in the field, thrashing wildly on occasion, gracefully ending with the excellent 9-min instrumental "Genetikarma" which is a feast of cleverly executed speed/thrash with the obligatory more quiet passages. The singer is a passable clean mid-ranger whose singing would only benefit from a bit more emotional delivery in the future.

"Hazlo O Muere" is a ripping "moster" and as such is the band's most aggressive achievement. The guys open mightily with the intense speed/thrashing shredder "Plan Z" and never look back. "Las Hojas del Final del Libro" is the obligatory balladic deviation, but expect your fillings to be seriously shaken on the destructive "Asalto Comando" and on the semi-technical jumper "Golpe Bajo". Mentioning technicality, another pleasant surprise arrives later: the short twisting "En el Barrio" which shoots sharp stylish riffs the latter flowing into the following "A las 3 de la Mabiana", another cavalcade of less ordinary, semi-technical guitar histrionics. The closer "Ciudad Cementerio" is another impressive entry into the hard-hitting thrash field towards which the band are heading head-over-heels right now with bright prospects drawn for them for the future.

Factor de la Destruccion Demo, 2007
Sinfon'eda de la Cripta Full-Length, 2008
Revivanlos a Todos Full-length, 2011
Ciudad Cementerio EP, 2013
Hazlo O Muere Full-length, 2015

Official Site


Based on the demo, these Ialians fit very well into the 90's groovy picture with their heavy brand of post-thrash which tries to run away from the predictability with more complex arrangements (the longer thought-out "Decide"), but the dominant tone is too familiar for the band to strike a note despite the proficient execution and the convincingly consistent pounding guitar tone which only gets broken on the closing unexpected "fury" "Fucking Police" which is 1.5-min of raging thrash/death. The singer is a forceful semi-cleaner who avoids the aggro-tones relying more on a more emotional delivery.

Crisalide Demo, 1996
Pulp Your Brain Out Single, 1996
Insane War Single, 2010

Official Site


Based on "Funcion de la Verdad", these guys play calm heavy post-thrash with stoner leanings in a constant boring mid-pace which is especially annoying on the long numbers in the middle where one will only hear stomping monotonous riffage descending to some psychedelic groove/stoner nonsense on "El Llanto Del Monstruo". The doom/stoner fans will be much more entertained by that although the final 9-min epic opus "Futuro Fosil" finally livens up with more dynamic guitars, albeit in a more power/speed metal fashion.

Soberano Del Desierto Full-length, 2002
Funci de la Verdad Full-length, 2006

Official Site


A 4-song demo of carefree frolic speed/thrash characterized by jolly speedy riffs and acceptable semi-clean/semi-shouty drunken vocals. The guys saddle the horses for the excellent galloper "Maten al Ledder", and later the spirits of early Metallica and Whiplash are raised high on hymns like "Sin Ledmites" and "Soldado Cobarde". The approach is simplistic without any unnecessary gimmicks, the only complaint coming from the slightly noisy guitar sound.

R'e1pido y Sucio Demo, 2011

Official Site


Karyn Crisis managed to turn her band into one of the leaders of the contemporary metalcore/hardcore scene, but on the debut she tries to kind of adapt to the aggro-trends of the decade, albeit with a healthy pinch of alternative and the typical for her avantgardism. The attempt doesn't bear any fruit though since the music lacks speed and intensity relying on heavy riffs and jumpy structures with only the cool unpredictable versatile vocal parts of Crisis keeping the listener only lightly glued to the proceedings.

8 Convulsions Full-length, 1994
Deathshead Extermination Full-length, 1996
The Hollowing Full-length, 1997
Like Sheep Led to Slaughter Full-length, 2004

Official Site


Modern thrash/post-thrash which isn't a stranger to alluring Oriental motifs ("Colossal Loss") although the somewhat repetitive mid-paced rhythm-section may wear thin before the end. Still, there are quite a few intriguing melodic tunes to capture the listener's imagination who will be particularly happy on the surprising smashing headbanger "Downfall", and on the progressive Orphaned Land-esque "Lost". The vocals are harsh shouty death metal ones, but their presence isn't as detrimental, suiting the dark brooding aura of the album.

End of Destination Full-length, 2018

Official Site


The debut: this is an intense mix of classic (more) and modern (less) thrash which will make you break quite a few porcelain cutleries around your house (check/don't check "Internal Pollution", the 6.5-min of non-stop thrashing barrage "Fresh, Colector Machine"). A pinch of Swedish melo-death/thrash is provided on "Holy Ponishment", as well as some cool proficient leads on "Dead By The Fistful Of Violence". "Spawn" is a stylish nod to the more technical side of the genre which should have had more "followers", also excelling in the melodic department. There's no speed lost here all the tracks being intense lashers, the closing "Mummified By Society" culminating in both the fast and technical department: an encompassing piece with sharp riffs, soaring melodies (mostly in the lead section), and more complex arrangements. The guys were previously known under the name Crysys with a style quite similar to the one on display here.
"Rise...Then Rest" is another intense offering the band now sounding much more modern with the Swedish school taking a firmer grip on the band's approach. Some of the shorter material is on the edge of falling into hardcore ("Bring 'Em To The Pit") saved by the excellent proficient leads and the really nice "excursions" towards the more technical side: "Those Voices Shall Remain", the serious longer speedster "Frieza The Tyrant". The increased focus on melody becomes more evident in the 2nd half where the guys relax with the jolly-feel-good crossover number "Waldi Gang" at the end.
"From Blue to Black" is a more blitzkrieg offering the band shooting a buller after bullet in the form of short ripping tracks touchign the more technical ("G.M.M. (The Great Metal Motherfucker)") on occasion, slowing down at times ("T-Terror Era"), too, where the approach become s abit sepf-indulgent with virtuoso sections accumulated for their own sake. Fortunately, the 2nd half doesn't fall back on those missteps, and the guys thrash their souls out including on the longer 7-min closer "Fallen".

The Menace Full-length, 2011
Rise...Then Rest Full-Length, 2013
From Blue to Black Full-Length, 2016

Official Site


Progressive power/thrash is what this young Argentinian band offers which clings more towards the progressive power metal genre, but "Esclavo De Los Sin Mora" opens with really aggressive twisted riffage. The "Instrumental" also contains edgy guitars and galloping tempos, but the style staggers into heavy/power metal fields quite often, especially on the longer compositions, like the multi-layered progressive opus "Cortinas Negras".

Marchando al Olvido EP, 2007

Official Site


Based on the "DLHTI" EP, this band offers groovy post-thrash with the traditional heavy riffage involved, with the casual faster "sparkle": "Cristo". The rest is more gentle bordering on hardcore ("Cruento Sacerdocio") at times.
The full-length debut is a surprisingly dynamic affair, still strictly modern-sounding with a couple of more energetic headbanging numbers thrown in plus a few playful rock-ish tunes ("Hijos De La Noche"), even a memorable semi-melodic chorus ("Esclavos del Temor") can be heard. The guitar work is varied and the groovy moments are not that annoying often interrupted by more optimistic crossover sections.

Estigma Full-length, 2002
Premeditado EP, 2004
DLHTI EP, 2006

Official Site


This is angry retro Slayer-esque thrash which is constant merciless exhausting (for the listener, but probably for the musicians as well) bash the guys playing as fast as possible inevitably crossing the border into a hardcore territory ("CCCP") and generally delivering the goods with their stripped-down sincere attitude which reaches early Cryptic Slaughter-esque extremes near the end ("Near Future") proto-blasting with passion at times. This isn't bad at all, but is by no means for the faint of heart the shouty high-strung/semi-clean Sean Killian-like (Violence) vocals another asset.

Conflicts Full-Length, 2011

Official Site


Decently executed old school speed/thrash with intense semi-death metal vocals. The guitar work is a bit more complex than what the style requires and more engaging pieces like "War In The Gulf" and "Catatonia" border on the progressive despite the impetuous thrashing involved the latter ornated by a dark ominous flavour recalling Assorted Heap's "The Experience of Horror".

Dark Colour Demo, 1992


Based on the full-length, this band offer a few "critical solutions" in the field of classic speed/thrash. The album begins in a more controlled manner with slower riffs developing gradually into something more sinister and consequently faster with a few more stylish technical insertions recalling Mortal Sin and Slammer; in other words, expect another Bay-Area worship made outside the States. The album is a mix of fast direct splitters and more cleverly-plotted numbers as the alternation isn't very even the former side better covered including on the longer shredder "Soulmaker". Near the end the band entertain themselves with covers: AC/DC's "War Machine" done quite faithfully except in the vocal department where the guy otherwise possesses a sure-handed deep semi-clean tember not far from the one of James Hetfield, maybe a bit lower-pitched; Deep Purple's "Speed King" done surprisingly well with the appropriate catchy lead hooks; Motorhead's... no!, it's "Killed by Death" (finally someone remembered to cover the best Motorhead song ever!) this time done in a more optimistic rockish manner; and Metallica's "Seek & Destroy" for a "dessert" again done very well the guys shredding like demented here: the Americans could be their idols, so much professionalism has been put into this song alone including several nice innovations, like the slamming proto-modern break right after the introductory riff, etc. This is a cool diverse reminder of the old times and even for merely nostalgic reasons this album shouldn't remain unnoticed.
"Sleepwalker" is an infectious roller-coaster all the way through "Blood Stained Hands", the only sloucher being a not very exciting 7-min ballad, with the lyrical instrumental "Murder In The Night" another not very engaging softer. "Dear Mother" is perhaps too ambitious, an 11-min progressive extravaganza with quirky rhythms galore, but also with a few very catchy melodies. The final "Back From The Grave" is a rigorous speed/thrasher with the Mercyful Fate legends Michael Denner and Hank Sherman shredding like demented on this one.
"Barbara the Witch" serves a more laid-back speed metal approach which gets nicely complicated on the more intriguing "Red Hooded Devils". Consequently the gallop has been epitomized ("Peter Crow") extensively except on the longer compstions which keep coming ("The Burning Pyre") ornated with nice balladic sections. More vigorous speed/thrash can be come across in the second half in the face of "The Headless Horsemen" and "Officer Green", but expect also the breath-taking all-instrumental ballad "A Lady in White", and the serene instrumental closer "Into the Abyss".

Evidence of Things Unseen EP, 2011
Evil Never Dies Full-length, 2013
The Death Lament EP, 2014
Sleepwalker Full-length, 2015
Barbara the Witch Full-length, 2017

Official Site


The thrashiest of all the members of the NYHC scene; "The Age Of Quarrel" is their finest hour filled with brutal, uncompromising crossover/thrash. "Best Wishes" is a worthy, but less uncompromising and a more melodic, follow-up. The next two albums acquired tendencies outside the thrash/crossover genre abandoning the band's hardcore past, adding a mellower power/heavy metal sound into the proceedings.

"Revenge" is a return to the more stripped-down crossover patterns, but the music isn't as edgy despite the energetic delivery ("Tore Up" and "Pressure Drop" are instant thrash/crossover classics, and "These Streets" is cool stomping hardcore ala Pro-Pain) at times spiced with more modern throw-ins ("Jones") in the spirit of 90's Anthrax. There are numerous references to punk as well, and the old fans of the band wouldn't be totally disappointed by this effort.

The Age of Quarrel Full-length, 1986
Best Wishes Full-length, 1989
Alpha Omega Full-length, 1991
Near Death Experience Full-length, 1992
Revenge Full-length, 2000

Official Site


Hardcore and groovy post-thrash meet here for a cool moshing party which doesn't completely shy away from the old school formulas ("Howl At The Moon"). Still, don't expect any old school fun as the style is fairly aggro supported by good forceful shouty Phil Anselmo-like vocals.

Croatoan Full-Length, 2015

Official Site


Stylish interesting thrash of the classic variety with long compositions, twists and turns aplenty, a very strong bass support, and a cool "duel" between gruff death metal and curious clean vocals which awkwardly high-pitch scream at times. The music isn't very easy to describe since it has a characteristic sound of its own and could have fitted into the German progressive/technical thrash wave which spread around the same time although these guys are more aggressive, touching mid-period Death and Pestilence ("Desert") at times as well as Coroner on the marvellous unpredictable technical thrasher "Paper on the Road". "Sadness in This Mirror (It's My Face)" lashes in a more direct modern Swedish thrash/death metal manner, and the closing "Seven and Life" is kind of a disappointment, a soft friendly half-ballad/half-crossover piece.

Epitomizin' Demo, 1993

My Space


This act is one of the four who put speed/thrash metal on the Spanish music map (the other three being Muro, Legion, and Fuck Off). Crom are the least thrashy of the four their style on the debut more deeply rooted in epic power/speed metal, some kind of a less thrashy and a bit more dynamic Drifter (Switzerland). There's speed enough to make your day: "Final Warning", "Galadriel", the proto-thrash gallopers "Mirrors Tale" and "Mother Loneliness", etc.; it's that there's a frequent alternation between fast and slower passages on the longer material which may not satisfy the thrash metal fan a lot.

"Wasteland" abandons the epic/progressive aspirations and rushes onto power/speed/thrash metal with the only further ado being the sinister intro "The Dragon's Prelude". The title-track is hard-hitting speed/thrash with a nice balladic chorus section. "Uther's Order" is dark doomy power/thrash with heavy riffs and an Oriental melodic main theme. "Ninth Moon" carries on in the same slower vein being a lead-driven instrumental, and "The Chosen One" is another doom-charged number. "The Shining Lie" is finally a more intense faster song, but "Morgana" returns to the slower doomier patterns which aren't bad at all, but are too many. "Tears Of Madness" is a short ballad, but at the end comes more speed/thrash: "Legends Of Swords" which partially captures the mood from the beginning. As a whole this album will remind you of the Swedes Morgana Lefay quite a bit, especially on the slower moments where the dark pounding guitar sound is quite similar; the singer is another resemblance between the two acts with his clean, slightly hoarse, high-strung voice. Like Fuck Off the guys disappeared after only two albums with only the singer seen later in a couple of hard'n heavy formations.

Steel For An Age Full-length, 1987
Wasteland Full-length, 1988

Fan Site


A mixture of contrasting styles like thrash and stoner/sludge/doom have become quite popular for the past few years, and most of those acts come from the USA. Based on "Hot Summerian Nights", these guys are another addition to this trend. Their music has a considerable doze of hardcore as well, and their songs are very short, very often barely exceeding 1-min., and this is the reason why there are whole 21 tracks here. The singer is utterly irritating with his hysterical hoarse delivery, but when the sound slows down to doomy dimensions, it becomes quite listenable, especially when it comes mixed with a sudden thrashy outburst ("Battle Axe Butchery-Banned I"). Some numbers will be a delight for the headbangers ("Zamora", a nice straight direct thrasher) whereas some will make fans of Saint Vitus listen with care ("Second Koming").

The Cocaine Wars 1974-1989 Full-length, 2001
Hot Summerian Nights Full-length, 2007

My Space


Based on the debut, this act indulge in a heavy-handed mixture of post-thrash and post-death resulting in a post-sound of heavy jumpy rhythms which are a more modernistic (think the 90's) and arguably a more dynamic version of early Godflesh coupled with the more vivid moments from the Mindrot works. Pour some of the good (now old) aggro-groove ala Pantera and Machine Head, add super- brutal shouty death metal vocals, and the picture is close to being complete. This is music which would wear out due to its complete lack of variety and imagination.
"Reconsciousness" offers mostly jumpy post-thrash with some surprisingly nice melodic leads (check out "Shallow Graves") which are a stark contrast to the ultra-heavy grooves that are the dominant tone. The overall delivery is fairly dark and doomy, but is also too one-dimensional for one to really sit down and listen with care.

Cromlech Full-length, 1995
Reconsciousness Full-length, 1998


This not very known, but really worth checking out, formation started as a capable, progressive/technically-minded, death metal outfit, but on this self-titled effort they have surprisingly embraced the post-thrash metal idea. The sound is quite abstract and dissonant in a vein not far removed from Voivod and later-period Equinox, and the band's old fans may lose their patience way before the end since this is quite remote from their initial repertoire. The open-minded, however, will readily welcome interesting spacey opuses, like the illogical jumper "Tap Into Fear" and the "Nothingface"-worshipper "The Day My Foot Fell Off". The quirkiness hits "the fan" on "Shit And Fan", and the psychedelia reaches the peak on "The Sky Cracked Open" which is a drug-induced hallucinogenic cut in the vein of more recent Mastodon. "T.P. Agony" is another nod to Voivod with its trippy guitars and abrupt time-changes, before "A Sympathetic Disguise" introduces the only more dynamic, proto-galloping, moments on the album. This is a really weird, quite offbeat listen which shows the band in an entirely new light, and even an elaboration on it on future releases would still be curious to hear.

The band's debut is being prepared for a reissue in 2015 with five bonus tracks added.

Senecio Full-length, 1998
Meadows of Madness Full-length, 2001
Cromm Cruac Full-length, 2010

Official Site


Based on the debut: cool fast-paced 80's thrash with interesting Oriental guitar melodies; the style is similar to Torture's "Storm Alert", maybe more straight-forward, and more often adhering to slower atmospheric passages which work quite well, by the way, supported by very good, melodic hooks (including the aforementioned Oriental tunes). On the other hand, separate pieces pick up aggression, not too far from the death metal acts at the time, which are hardly the more attractive side of the band's music, but serve well as deviations.
"Forever In Time" is another good effort, but the speed from the debut has been left a bit behind for the sake of doomy, slower, atmospheric melodies which work fine all the way, spiced up with great thrashers ("Colour of Truth"). The style is still heads-down thrash, but the guitars are less hard-hitting, and the concentration is clearly on melody, displayed by two fine instrumentals, one of which is purely balladic ("Another You"). This is probably a transitional album, if the band had the intention to move into other metal genres on later works.
"Yours Truly", which comes 3 years after, continues the music from the preceding effort without stretching into other directions and does a fairly good job once again. The music is dark and atmospheric, but this time more intense numbers are included reminding of the debut: "Stranger", and especially the furious 1-min thrash/death piece "Maram Perapu Kepunden Paran Se" which contrasts with the slow doomy instrumental "IC". Later on faster more energetic songs alternate with slower pounding ones with very occasional moves towards other metal genres.
The "Untitled" album is another pretty cool slab of classic thrash metal again, but the approach is generally softer and even technical at times which may be better for some. "I Do" is a sure-handed optimistic opener, a nice speedster with great leads partially ruined by the gruff unemotional death metal singer. "Rise" continues in the same vein mixing heavy mid-paced sections with brisk fast ones to a considerable effect with the leads being the highlight again. "Saviour" is more aggressive and more technical bringing Gammacide to mind, but "On The" calms things down before the short 1.5-min interlude "Song 3" breaks out with furious lashing riffs. Then the guys really pull it out with the ambitious 11-min "Dying To Live", a very good diverse piece with a nice, almost constant, alternation between speedy and calmer guitars both sides again leaving a fairly positive impression, a situation somewhat worsened by the continuation of the short outburst, appropriately called "Song 3-2", which offers nothing like its predecessor, settling for bluesy jazzy tunes topped by the virtuoso leads. The slow/fast alternation goes on for another couple of tracks to a less positive effect, to hit the closing "Error" which is a headbanging thrash metal fun to the end closing this enjoyable album in the best possible way.
"What's Left" is a fairly soft affair with not much thrash metal to be encountered for the sake of ballads, heavy/power metal anthems, heavy proto-groovers, and more. The nice melodic edge of the guitars keeps things entertaining, but the only place where the head may start headbanging, but just a bit, would be on the more energetic speed metal closer "Hunter & Hunted".
"Deafening Silence" hardens the course into more speedy power/thrash metal although the soft "distractions" haven't been spared, either, and here come half and full-blooded ballads, some of them pure instrumentals. Still, when the guys thrash, they do it with passion: the stomping galloper "Resemblance-Rival II"; the brutal proto-death "remnant" from the past "Dream On" which is also mixed with a few speed/thrashy sections apart from the more stylish semi-technical insertions, the latter gracefully continued on the moody atmospheric shredder "Disturbed Mentality" which brings back the Oriental melodies. It's obviously a transitional album the band preparing to return to their more aggressive delivery with the follow-up.

Image Of Purity Full-length, 1991
Image Of Purity & Live Full-length, 1992
Forever In Time Full-length, 1993
Yours Truly Full-length, 1996
Mean, Meaner, Meanest Full-length, 1999
Image Of Purity (Remastered) Full-length, 2001
What's Left Full-length, 2001
Deafening Silence Full-length, 2002
Untitled Full-length, 2004

Official Site


Noisy, mostly mid-paced, thrashcore with shades of crust and sludge; the sound quality is very muddy and takes away considerably from the pain... sorry, pleasure, when listening to this semi-amateurish music which at its best comes close to the jumpy antics of early Biohazard.

Five Steps To Die Demo, 1999


A pretty decent thrash/death metal mix of the heavy stomping variety (think a more thrashy Bolt Thrower) with clean vocals thrown in and calmer, semi-acoustic passages. The debut is the rougher affair, developing in a samey heavy crushing manner with casual outbreaks: the raw "hardcore meets aggro-thrash" on "Lesser Of Two Evils". The American country legend Johnny Cash is honoured at the end with a jolly speedy cover of "Folsom Prison Blues" which works even in the hoarse hardcore-ish vocal department.

Dead to the World Full-length, 1999
Torture Test Full-length, 2001

Official Site


Doom metal mixed with more intense thrashy parts; worth hearing just out of curiosity.

... Si Voi Ucide Timpul EP, 1998

Official Site


Groovy thrash sounding like a clumsy, slower Pantera, with no memorable riffs at all, and heavy-handed ballads included, mixed with hardcore to make things even worse.

Rules Full-length, 2003

Official Site


Based on the "Final Effort" demo, this band play quite cool brisk speed/thrash along the lines of Helloween and Warrant. There's plenty of energy contained within short rippers like "Backstreet Revolution" and especially the raging thrasher "Caught In A Web" which even moves towards Kreator also serving very good melodic lead sections. The singer shouts in an attached, a bit thin, manner still managing to sound appropriate to the intense musical, "final effort", scenery.

Aspirin Damage Demo, 1987
Final Effort Demo, 1989

My Space


This band play heavy death-ish modern thrash with some of the most brutal low-tuned death metal vocals on the scene at present those at times interrupted by hysterical screechy ones. This is depressing darkness all the way dissipated by some cool melodic lead guitar work and the sparce compulsive headbanging cut ("The Coils of Set"; the galloping nod to the old school "The Mad Minstrel"). The closer "The Outer Dark" is vintage dark doom wrapping things up at the end with the final portion of morose gloomy rhythms.

The Burning Demo, 2011



Quite good power/speed/thrash metal close to Aftermath (USA, Arizona) and late-80's Helstar; the singer possesses a nice, albeit not very adventurous, mid-ranged voice, and the guitar work is really good. The great galloping rhythms and the melodic hooks are simply addictive: check out the excellent title-track opener or the sophisticated, with a technical edge, power/thrasher "Days Of No Trust". The 90's power/speed metal scene owes a lot to albums like this: listen to any of the catchy choruses or the dual lead guitar work. The downside of this cool album are probably the semi-ballad "In Quest of Truth", and the pure ballad "Wings of Destiny"; not bad at all, but two in one album of this kind is probably a bit too much.; this is the link which will take you to the place from where you can download this album, provided for you by the band's founder Eri Soares.

Escape Into Fantasies Full-length, 1991


Based on the "The Hung Jury" EP, which is whole 14 songs long (because it also includes their 2004 demo probably?), these guys pull out enjoyable thrash/crossover in the vein of S.O.D. with a clear thrashy edge although this edge hasn't been given a big chance to develop as the longest track is 2.5-min. The tempo is quite fast and I can see quite a few of you out there jumping around on this stuff. Somewhere in the middle two covers are thrown in: S.O.D.'s "Kill Yourself", and Suicidal Tendencies' "I Shot the Devil".

The split is in the same vein, fast edgy thrash/crossover, maybe a tad thrashier and more aggressive "courting" early Nuclear Assault at times except in the vocal department where those screechy hysterical vocals may get on your nerves quite a bit.

The "Dawn of the Dude" EP is a short piece of brutality which is mostly pure unbridled hardcore the guys just bashing relentlessly with the shouty scattered vocals adding more to the chaos which is also "sprayed" with numerous recitals/monologues.

Demo Demo, 2004
The Hung Jury EP, 2006
Super Party Brothers Split, 2007
Menace II Sobriety Full-Length, 2008
Dawn of the Dude EP, 2014

Official Site


Based on the "Ruined" demo: a 3-song effort of aggressive fast-paced thrash/death along the lines of Incubus and Revenant with nice acoustic interludes inserted within the songs, and very good leads (two of the songs); "Rape for Profit" steers away from this description into slower, heavy fields with smashing riffs and an almost doomy tempo. Reportedly their last Untitled demo is a major improvement over their previous efforts being quite well-executed technical thrash/death metal in the Atheist/Pestilence vein.

Cross Fade Demo, 1991
Ruined Demo, 1992
Untitled Demo Demo, 1994


Impetuous old school thrashing roller-coaster with throaty death metal vocals; well executed with fast ripping guitars and interesting atmospheric stopovers ("Grotesque Glory") those belonging to the early Venom and Celtic Frost "atrocities". More minimalistic pauses in the second half which features the doomy dirge "Fear of Controlled Future", the short explosive thrash/deathster "Psychopath", and the excellent more technical closer "Evil Parade".

Cross Hatred Full-length, 2017

Official Site


The debut: just one guy (the name is Kolan) stands behind this doomy epic take on the genre which comes with plenty of heavy riffage with sparce outbursts ("For the Sword", or the hardcore/grindy joke "Death and Fire") of brutal thrash. Watch out for the cool balladic mournful cut "In the Shade" which is ruined by the low-tuned death metal vocals.

"In the Steelstorms" continues the black/thrash saga with a touch of pagan/epic as the man this time thrashes more wildly on occasion among the officiant doomy passages which still carry the bigger emotional charge, and are more proficiently done (check out "Nieugiety"). The closer "Przebudz Sie" is by all means the highlight providing a cool blend of hard-hitting mid-paced riffage and sweeping epic sections emitting a lot of dramatism in the process with the most inspired guitar work on the album.

Demons of War Full-length, 2010
In the Steelstorms Full-Length, 2011


Based on "WWIII", this first Albanian outfit to be featured here specialize in modern post-thrash which never abandons the chosen mid-paced field, and as such may start dragging a bit the situation saved by the very proficient leads (check out "WTF") and the not bad semi-cleam emotional vocals.

Days of Rage Full-length, 1997
WWIII Full-Length, 2017

Official Site


Based on "Director's Cut": these guys come up with ordinary modern post-thrash which is at times groovy resembling mid- period Machine Head quite a bit ("Points of the Virus") with the typical "duels" between the shouty, hardcore and the semi-clean vocals, and is seldom energetic ("Focus"). The music lacks vitality and inspiration and descends to nu-metal pulling the final impression on the negative side.

God Given Time Full-length, 2001
Nonesizefitsall Full-length, 2003
Director's Cut Full-length, 2004

Official Site


Based on "Hollow", this act play modern thrash/death with an industrial reverberation which is fortunately missing from the more intense material ("The Space Under the Stairs"), but heavily looms over the slower one ("Haematoma") among which "Cicatrix" is a particularly stylish atmospheric doomster. "Ditches" is a very cool headbanger followed by the short bombarder "Rotten Closet" which lifts the tempo up big time in the 2nd half despite the presence of another doom-laden composition: "Followed". The singer is a raven-like screecher who suits the appropriate dark sinister atmosphere.

Somniphobia Full-length, 2010
Lunartic EP, 2011
Paying Respect EP, 2012
A Cold Memory Full-length, 2013
Hollow Full-length, 2015

Official Site


A cool mixture of Iced Earth and modern-day Testament (think "Low" and "The Ritual"); some of the tracks are long with a certain epic, battle atmosphere, and move away from the thrash metal field. The singer is worth mentioning having a voice similar to Matt Barlow, but also able to shout out more aggressive lower-tuned lines. This is not a full-fledged thrash metal effort, but is worth checking out.

Aggression Treaty Full-length, 2005

Official Site


These Frenchmen pull out a modern thrash/death hybrid. The music is fast with more nods to the death metal genre, with shades of black metal as well ("Infinite Darkness").

2K6 Demo, 2006

Official Site


This is a side project of the Sacrificial Dagger folks, who spice their thrash metal approach with black here to produce fast aggressive music with numerous melodic "decorations" which are well embedded into the overall picture where thrash reigns supreme being of the speedy Rigor Mortis-type. Bashing blasting songs, like "Christ Scourger", for example, don't do the guys justice also coming with a dirtier sound quality recalling early Impaled Nazarene.

Black Flame Divination EP, 2010

My Space


3 songs of excellent stylish progressive/technical thrash, very choppy stuff with stop-ang-go riffs applied at every corner; original music already hinted at by the very unusual band name. "Father's Day" is an exemplary proto-modern technical thrasher, and "The Elegant Man" is a more linear classic shredder with Bay-Area overtones. "Bye Bye Cruel World" is a manic ripper with a great bass bottom and a super lead-driven exit. This should have developed into something more lastingalso having in mind the very clear sound quality and the not bad semi-emotional clean vocals.

Demo Demo, 1992


This good band was later transformed into another good one: Blistered Earth. Both bands share the guitar wizard Peter Rutcho who is also responsible for the instrumental progressive thrash formation Vomitron (which is actually only one person, Peter Rutcho himself). Crotalus' sound is heavy, technical, along the lines of Metallica's late-80's period, or Heathen's "Victims Of Deception". The album features a cool faithful version of Iron Maiden's "The Trooper".
On "Hate Until We Die" the style is heavy dramatic with the opening "Cinder" twisting and turning more or less predictably recalling Nevermore and the Germans Courageous. Then comes the cover version of Judas Priest's "Painkiller" which introduces shrieky Halford-esque vocals which are a total contrast to the dark mid-ranged clean ones heard on the opener; the cover is very faithfully done, and heads down to the vocalist who is a sheer Halford inpersonator. "Echoes No-Use" is a morose quasi-doomster, and this model is followed by the remaining three numbers which are hardly the most intense pieces around, but may win the listener over due to their consistent brooding character.

Machines of Doom Full-length, 2000
Hate Until We Die Full-Length, 2010

My Space


Not much information is provided about this band, but presumably this is another Crotalus. This album suffers from a very buzzy sound quality which makes the guitars barely audible at times. When they can be heard more clearly, the result goes towards classic power/speed/thrash often served with a darker sound ("The Prince of Darkness"). Speed is not the dominant tendency, but cuts like "Sleeping with the Rain" are major headbangers and would stir the blood all the way to the good heavy balladic closer "Lost Soul". The singer performs in a restrained mid-ranged manner, but he lacks depth and range which is particularly obvious on the aforementioned ballad where he simply refuses at some stage to follow the romantic twists and starts semi-shouting in an amateurish unrehearsed fashion.

Terrificus Full-Length, 1995


Alternative modern post-thrash with an industrial flair, and a few moments of blistering energy (the surprising mechanical headbanger "Pictures", the somewhat chaotic shredder "Sign Away"). The delivery isn't far from the one of Strapping Young Lad without the extreme escapades of the latter with some good clean singing included along the lines of Burton Bell (Fear Factory) as opposed to the unpleasant shouty main singer.

Ignition Full-Length, 2013


Quite intriguing modern thrash with industrial overtones, not straying far away from E-Force and even the Voivod works with Eric Forrest ("Torn Apart To Motion") on the more abstract sections if we exclude the bigger vocal variety which includes a nice cleaner tone from time to time. There are clumsier moments, like the overlong semi-ballad "Narporja", for example; and the gigantic 11-min "Behind The Mirrors" is a bit dragging at times; but fans will bow to the excellent speedy closer "Before Birth" which shreds with mechanic dispassionate abandon reaching an almost death metal-like dramatism on top of the operatic structures in the middle. This is a promising beginning which provides the needed antidote to the overcrowded at present classic thrash metal wave.

Before Birth EP, 2013

Official Site


This obscure Polish trio indulges in (based on the Reh. Tape) brutal death/thrash of the old school which comes with a very bad sound quality that strains the guitarist to the max in order to make himself heard. The slower passages are much better since on those the music makes more sense although the awful growling, synthesized vocals are an ultimate detraction. The leads aren't bad, though, contrasting harshly with the buzzying background.

Reh. Tape Demo, 1993
Tool Edit The Last Drop Makes the Cup Run Over Demo, 1994


Based on the full-length, these guys specialize in an interesting blend of modern thrash and progressive which never loses its dynamic side, shredding with gusto on the shorter material ("L'autre Côté"). Great melodies overflow from "La Fée Blesse" the latter also present on the imposing epicer "La Fosse". Speed isn't very well covered if we exclude the spastic headbanging passages on "Mycélium", but this is not the focus here since the complex arrangements are what matters here, so nicely exmplified by the closing "Hecate" where brilliant clean female vocals can also be heard alongside more dramatic death metal-like accumulations.

Chroma EP, 2011
Aversion Full-length, 2016

Official Site


The guys' "agenda" (which is "21", by the way) is to promote the extinguishing 90's post-thrashy sound for another while, but their quasi-industrial delivery contains too much dirge for it to be truly entertaining. More dynamic cuts like "Bullets First" by all means deliver, but the monotonous mid-paced approach on most of the material may tire the listener at some point. There's plenty of dramatic build-ups on cuts like "Corporatocracy" and "Earth Is No More", but this gimmick becomes way too familiar before the end of the album. This is all professionally done, but it would hardly make anyone go back to it for a second listen.

Agenda 21 Full-Length, 2014


4 songs of chaotic brutal thrash/death (think a rough unpolished version of later-period Protector) which is marred by the not very clear sound quality and the omnipresent vocals which take over the whole space when in action. The guitar delivery at times makes sense and separate rhythmic patterns can be distinguished on the longer compositions ("Breeder") which are closer to death metal, obviously the field with which the guys feel more comfortable.

Pestilence Unveiled Demo, 2011

Official Site


A heavy blend of classic and modern power/thrash, mid-paced to slow/doomy, built around long compositions which seldom vary things away from the heavy tedious riffage; that's why the nice tender ballad in the middle "Acts Of Contrition" comes as a revelation the singer pulling out good clean performance as opposed to his gruffer mid-ranged more ordinary delivery. However, when the next "Maybe Tomorrow" offers the same romantic nostalgic sutff for nearly 9-min, one may start moving forward, but he wouldn't come across anything more interesting since the rest of the songs are clumsy slow affairs with doomy overtones the closer hitting the bottom being an awful jazzy ballad.

Loneliness Is Black Full-length, 1994

Fan Site


The debut: pretty cool technical power/thrash metal in the vein of Helstar's "Nosferatu" and Bezerker's "Lost"; the guitar work is standout, and the tempo nicely varies from slow to mid-paced, to several quite fast sections, all this "accompanied" by nice clean emotional vocals. "Devoid of All Praise" is a great instrumental piece which sums up all the elements of the band's music; an impressive debut which puts the stakes quite high from the very beginning. Hopefully this band will develop further beyond the one-album-wonder stage.

"Blind Faith Loyalty": three years later the guys are alive and well, and the follow-up to their commendable debut delivers the goods once again. This time the pace is quite fast, and the album develops in a brisk technical speed/thrash metal fashion, drawing similarities to the Polish Hellfire and the early works of the Danes Manticora. There are more blast-beating passages, of course short and spontaneous: don't expect any death metal here. "Bound To Wrath" slows down after the first two intense speedy tracks, but "Symbiotic" quickly restores the speed domination stretching into a 7-min progressive speed/thrash delight. The intensity hits the top on the aggressive thrasher "Finality", which comes accompanied by death metal growls. Then the technical speed/thrash "marriage" returns for two more numbers before the coming of the next "break": the more moderate slower "Impose Your Will". Expect no mercy, though, on the following "Hollow Refuge" which thrashes in a more melodic way (check the leads on this one). The closing title-track concentrates on melody again and may be considered a drawback to some extent, as it doesn't faithfully reflect the preceding material. Still, there's plenty to enjoy here, especially those who like their speed/thrash metal served with a strong doze of both technicality and melody occasionally nicely elaborating to progressive perimetres.
"Cold Pestilent Hope": the guys are ready with their third opus, but their fans, who should expect the same progressive speed/thrashing saga, may be disappointed since this time it's way more controlled very often sticking to pure progressive power metal ("Breathe Into Emptiness", "In Defiance of Sanctity") straight taken from the Heir Apparent or Lethal catalogues. The 2nd half delivers better with more energetic numbers: "Bloodsoaked Serenity"; the galloping technicaller "Consumed"; the explosive speed/thrasher "Cold Pestilent Hope", which also features sparce death metal growls; the short headbanger "Forgotten and Damned"; the intense diverse closer "Inexorable". This is by no means a bad release; it's just that the orientation towards a more restrained progressive sound may turn into a prevalent trend on future efforts, for the sake of the bombastic speed/thrashy arrangements.

Reverence Dies Within Full-length, 2006
Blind Faith Loyalty Full-Length, 2009
Cold Pestilent Hope Full-length, 2011

Official Site


The band's style (the debut) is cool, albeit uneven technical thrash, recalling Wolf Spider and Turbo's "Epidemic" on the more inspired moments, and despite the presence of more melodic balladic, funky, and even rap-moments, it delivers the goods. The debut: "Gay_Forobundo" is a jolly technical thrash/crossover opener, and remains the only one of its kind. The guys like mixing intense technical riffage with jolly hard'n heavy tunes: "Crazy Girl", "Lucky Winner", and although this approach might unnerve the average thrash fan, cool heavier numbers, like the atmospheric mid-paced "Die But Stay Alive", or the speedy hectic "Full Moon Fever" will bring you back on track, but not for long since the last three songs exit the thrash, and even the metal field, at times.

"Zombie Television" is a disappointment with a strong modern industrial edge and a lot more passages outside the (thrash) metal field. There are very few moments where you would like to bang your head ("Acid Diethylamide"). Apparently the guys have tried to exit the scene ala Equinox ("Labyrinth"), but the final result is much much inferior.

Full Moon Fever Full-length, 1991
Zombie Television Full-length, 1995


Crunchy, doomy modern power/thrash metal which is predominantly mid-tempo ruined by the very brutal low-tuned vocals, their deadly impact alleviated by the sparce clean vocals. Touches of the gothic scene, which is particularly big in Austria, can be clearly felt, but the guitar-driven approach is only abandoned slightly for the ambitious progressive closer "Annihilationmachine" where thin screamy keyboards take over for a while.

Arise of the Berserk Full-length, 2009

Official Site


Fairly decent classic power/thrash with clever semi-technical riffage and a varied vocal arsenal ranging from semi-shouty death metal to clean emotional ones. Every song comes wirh a different flavour, at times epic ("Pyramids of the Gods"), at others lyrical and semi-balladic ("Rain"), or intense and dramatic ("Tread"). The delivery is mostly mid-tempo, and more speed would have been desirable as some monotony gets instilled at the end.

Crowskull Full-length, 2017

Official Site


The demo: dark gothic thrash with progressive overtones; this is moody slightly depressing music with very brutal unpleasant death metal vocals. There are a couple of very good melodies, albeit of the slower doomy type, which bring some light into the "darkness" the latter further dissipated by sparce angelic female vocals.

"The Stogoff's Family Death" continues the trend from the demo serving moody doomy thrash with progressive/technical tendencies. The edgy mid-paced tracks are intercepted by melodic balladic interludes some of them accompanied by female vocals of the alternative type. "The Butter is to Blame for All" is a surprisingly vivid number lashing melodic, but also sharp, riffs with a slightly dry mechanical shade.

Demo Demo, 1993
The Stogoff's Family Death Full-length, 1994


Dramatic and very well done Metal Church-esque power/thrash which hits the top very early with the excellent dramatic hymn "Eerie Hauntings" which will also remind of Sanctuary and Omen. "Smell The Death" is a smashing galloper with vicious screamy leads; and "The Face That Shares My Skull" is a wild sweeping speed/thrasher the otherwise cool emotional clean singer unleashing a few piercing hellish screams. "The Zombie" is a fascinating mix of doom and faster-paced shredding, and the following "Instrumental" is a pounding semi-technicaller. "Solid Steam" is dramatic power/thrash with standout vocal performance, and "To Be Or Not To Be" arrives with the next slab of less bridled fast-paced thrash. "Blinded Minds" is another larger-than-life blend of fast and slow thrashing before the closing "Disgusting" wraps it on with lashing fiery riffs and a few dramatic build-ups. This would be a no-brainer for all metal fans, a true gem of old school metal which should find a wider exposure.

Crucial Fix Full-Length, 2015


A thrash/crossover sensation with a very uncompromising, intense delivery, akin to other similar bands, like Psychic Possessor and Municipal Waste, maybe more deeply rooted in punk; based on "These Colors Get The Runs", the guys take no prisoners with their direct approach topped by slightly irritating, screechy hysterical vocals. Some calmer moments await you along the way: the parody "Bruce Springsteen Needs The Workers, But The Work", the rock/punk joke "No Loafin'". The guitar work is quite captivating and melodic at times ("Keep Punk Moderately Dangerous"), but the "uglier" side of their style is just around the corner: the brutal grindcore explosions "Cleanliness Is Next To Godlin" and "Communitea III".

Premium Iced Tea EP, 2001
Moshzilla EP, 2002
Crucial Unit/Municipal Waste Split, 2002
These Colors Get The Runs Full-length, 2003

Official Site


Based on the 1990 demo, these guys literally walk over the thrash metal spectre presenting us with quite an appealing cocktail: there's a Slayer-like aggression, there are stomping sections ala Sacred Reich's "The American Way", there are interesting tempo changes all that topped up by superb bass work reminiscent of Steve Digiorgio. The music takes a considerable technical edge on a few times, and the leads are quite stylish ("Lethargic Mind") the only downpoint perhaps being the vocals which are too low in the mix sounding like a rawer version of Chris Astley from Xentrix.

Demo Demo, 1990
A Dying Breed Demo, 1992


Based on "Pictures Of Heaven", this is heavy stomping thrash/death metal with certain doom/death parts, not too far from Asphyx, but great energetic thrashers like "Death Becomes Us" will surely keep you awake. In the more technical sections the band reminds of another great short-lived Dutch band: Nocturn. Depending on the taste, the longer, slower, complex songs might be viewed as the better side of the band ("Pictures of Heaven", "Sister Crematorium") although their thrash merits are debatable, but the atmosphere and musicianship displayed are hard to match. The band raises the technicality on a higher level in the second half offering a couple of really nice technical death/thrashers ("False Sense of Hope", "Impaled") before returning to the slower, dark sound on the closing "And Once Again...", which still provides technical moments, mostly in the bass department.

The "Festival of Death" demo is aggressive thrash/proto-death with a haunting keyboard background at times reminiscent of Nocturnus and early Therion. The music also recalls Infernal Majesty and Massacra on the more aggressive sections. The vocals are very brutal low-tuned, and are not very comprehensive. The band's staple doomy passages are already here ("Crucifer"), but come rudely interrupted by very intense fast ones. "Atheist" is cleared off them and is a nice take on dark doomy thrash/death with intriguing technical moments. But then comes "Mindrape" which is 1.5-min of fierce death/grind. "Flowers" is another very good mix of doom and thrash/death, and the closing "Post Nuclear Dream" is a great retro thrasher with a masterful technical edge.

The "Separation" EP clings more towards doom metal in the first half which is with a better sound quality, and is the less appealing one, whereas the 2nd one comes with a much worse sound, but music-wise is way better providing stylish technical thrash with abstract elements which are considerably ruined by the noisy guitars. Again the two grounds are covered in a way similar to "Pictures Of Heaven", but are too harshly separated from each other, both music and sound-wise.
"Sickly Divine" is another capable offering mixing heavy macabre doomsters ("Grace") with furious thrashy cuts ("Soul Within") also trying something hectic and more technical ("Left Hand Path") on occasion. The energy is generally higher than on the previous efforts also assisted by the odd crossover cut ("Green With Envy") seldom staggering towards the prevalent at the time modern trends: the doomy groover "Sickly Divine", the playful jumper "No Color". The singer preserves his throaty deathy tember which is still a safe choice for the music at play.

Pray for the Dead EP, 1992
Festival of Death Demo, 1992
Pictures Of Heaven Full-length, 1993
Separation EP, 1995
Sickly Divine Full-length, 1996
The World Dies (1989-1999) Full-length, 1999
Pictures of Heaven 2007 Full-length, 2007

My Space


Atmospheric dark thrash/death in a predictable mid-tempo and nice additions, like orchestral passages, organ tunes, acoustic deviations, etc. There are plenty of melodic hooks and slower distractions, and fans of mid-period Sentenced and harsher gothic acts like Evereve and Crematory will also find a lot to like here.

The Light Prevails EP, 1997


Based on the first demo: excellent dark sinister thrash metal sharing some of both the morose ominous aesthetics of the Brits Deathwish and the brooding semi-technicality of early Coroner. The demo opens with the cool instrumental "Infliction Of Pain" which lashes in a sure-handed up-tempo manner for over 5-min without losing the speed for a split second. "Something Wicked" begins in a nice balladic fashion, but later on this piece turns into a first-rate epic thrasher in a dramatic steam-roller mid-pace well supported by the deep emotional semi-clean vocals ala Jon Van Doorn (Deathwish again). Amazingly, and not coincidentally probably, this act also has a cover of Black Sabbath's "Symptom of the Universe", also put in the middle in a way similar to "Demon Preacher" (the Deathwish album). The similarities between the two acts don't end here, though: check out "The Funeral/Cremation Damnation" which follows suit: the doomy beginning will nail you down in a way no worse than Saint Vitus and early Candlemass, but soon it turns into a virtuous thrash metal crescendo which in its turn is replaced by a heavy mid-paced passage in the second half. More vigorous thrash metal of the galloping variety comes served with "Sign Of Evil" and the closing "The Enemy Within" the latter thrashing pretty hard at some point reaching a speed metal intensity at the end.

Infliction Of Pain Demo, 1990
Wheel of Hate Demo, 1990


The EP: the guys from the death metal pioneers Nunslaughter have decided to give themselves a chance on the thrash metal wagon, and the result of this "frivolity" is excellent classic thrash of the faster more aggressive type similar to Torture's "Storm Alert" and Rigor Mortis; the music is constantly speedy with occasional slower breaks ("Masked Mu"), also reaching for more extreme means: the death-ish "Converted", which would "convert" anyone into a raging death/thrash metal maniac. "Sentenced" is probably the best number here which, among the wall of fury and aggression, finds time to pleasantly surprise with more stylish guitar work of the semi-technical chaotic variety.

The full-length debut is finally out, and it's self-titled; a sign of what? The twisted 1.5-min instrumental intro "The Seance" promises more technically-tinged fun, but "Sordid Treachery" will scatter your illusions immediately being a raging ripping thrasher ala Slayer and Evildead. "Hidden Tomb" and "Resurrected Fiend" follow suit lashing fast sharp riffs in a remorseless fashion, and "Figure in Black" is the definitive leftover from "Reign in Blood", with the next 2-min of proto-death fury "Desecrating the Dead" a close companion. "Perpetrator" is an extreme thrash/deathster ala later-period Protector, and later on there is very seldom a mid-tempo passage to be encountered the guys thrashing wild without mercy until the end which comes in the form of "Doom", which is the furthest track from doom possible being another fast-paced headbanger. Despite the 7 year-gap the guys meet the expectations on all counts fitting into the contemporary picture pretty well with their commitment to the direct stripped-down side of the genre refusing to elaborate on the several gimmicks heard on their demo.
"Psalms of the Dead Choir": the guys went silent after the auspicious debut, but here they are thrashing like demented once again covering the "nomansland" between thrash and proto-death with a bullet after bullet shot at the suspecting listener who will look in vain for any rest. "Ominous Creatures" may be considered a break from the "assault" with its laid-back dramatic accumulations, but for the rest one has to have a tough neck to go through the numerous headbanging passages.

Converted by Decapitation EP, 2004
Crucified Mortals Full-Length, 2011
Psalms of the Dead Choir Full-Length, 2016

Official Site


The "Escape Or Die" demo offers fast thrash with hardcore touches; only "Heroine's Death" slows down, but just for a while. The intensity is so big that at times the sound borders on death metal.
"Cursed Cross" abandons the hardcore and death metal-influences, and with a more compact sound is a much better offering which shoots the band straight to the top of the thrash metal movement in Greece; this is actually excellent classic thrash metal which will remind you of many great bands from the 80's: Slayer, Sepultura, Sacrifice, Destruction, among others.
The full-length debut is a fairly brutal affair the band crossing thrash with death for a pummeling listening experience the relief coming in the form of more relaxed thrash/crossover numbers ("Innocent World") those also coming with a pleasant technical vibe. "Merciless Conviction" is a more flexible composition with sustained in a more laid-back manner recalling mid-period Death, before the aggression comes back with "Suffering Hours", but in a more sophisticated manner, more engaging fashion the latter also partially covered on the remaining numbers.

Merciless Conviction Full-length, 2002
Escape Or Die Demo, 2004
Cursed Cross Full-length, 2006

My Space


The bass legend Dan Lilker has formed this band with the help of two members from the doom metallers Orodruin, and the final result is a crushing mix of doom, thrash and a bit of death metal. All three styles alternate within the song structures creating a compelling sound reminding of Usurper, Lair of the Minotaur, Dream Death and early Celtic Frost. There's also an abrasive black- ishness present on the shorter tracks ("Skull Smashing Face Ripping Death", "Demon Haunted World") with an early Bathory flavour, but the twisted doomy riffage is just around the corner ("Honor"). "Curse Of The Plasma Hound" and "Tumefaction" suddenly switch onto aggressive death/thrash bashing in the middle although both come "decorated" by nice heavy doomy passages. "Witchgrip" is a stylish flirtation with more technical guitars followed by the good cover of Angel Witch's "Angel Of Death", before the epic doom thrasher "Anus Mundi" closes the album in a stomping crushing manner also offering a cool chaotic technical exit. Music-wise this effort contains very little to relate to Lilker's other bands providing a nice doomy twist to the classic thrash metal sound.

Demon Haunted World Full-length, 2009

Official Site


Interesting classic thrash with technical overtones; the guitars are accompanied by an annoying fuzz at times, but the lashing riffage can pass the test even with it around. The energy is omnipresent although the tempos alternate the whole time including with the odd galloper ("Human Target"). "Malice" is a curious jumpy semi-ballad, but her relatively soft character is immediately compensated by the short ripper "Shreds Of Existence". Another, this time full-blooded, ballad ("Til Death") comes right after and its more than 7-min will "kill" the listener's pleasure almost beyond repair. The band offer another compensation with a string of more vigorous energizers, but the 9-min long uneventful quasi-doomster "The Dystopian Arsenal" levels things up near the end. The leads are good, and the singer has a suitable gruff mean tember, and the album would by all means appeal to a fairly wide circle of metal fans.

Heresy Is Met With Fire Full-Length, 2013

Official Site


Based on the "Necrolatry" demo, this band plays aggressive thrash/death metal, and are probably the first ones who introduced the death metal side of the genre in Japan with very good guitar work sounding like a better version of the Brazilian bands around the same time (Volcano, Sextrash, etc.). The sound quality as bad and takes away a considerable part of the music.

Corpse Decapitation Demo, 1986
Necrolatry Demo, 1987


Raw, deeply underground, black/thrash sounding like a more extreme Venom the echoing semi-whispering vocals a really scary addition. The band sticks to the one-dimensional Venom-esque mid-pace for most of the time with the exception of "Final Revelations" which is indeed the "final" song, and thrashes faster and harder akin to early Bathory and the Canadians Megiddo. Although the level of musicianship isn't high at all, kudos should be paid to the guys for creating the genuine early-80's underground atmosphere so well.

Graveyard Lust Demo, 2009


Old school thrash which relies on fast, slightly abrasive, riffage which isn't bad at all, and some of you out there may get a headache on speedy explosions like "Abnormal Obsessive Hatred". "Reliefs" can certainly be found: the laid-back power metal anthem "Extreme Ways", the surprisingly tender ballad "Cancer", but those moments lack the support of the singer who rends his throat in a semy-hysterical punky fashion. Some of the band members are also active with the death metal outfit Ultratumba.

Obermensch Full-length, 2012

My Space


This Brazilian outfit indulge in twisted, quasi-progressive modern post-thrash which also emits a lot of melody ("Souls of My Death") as well as some admirable stomping Celtic Frost-esque riffs ("By the KIller's Hand"). The diversity is big, for better or worse, including the excellent headbanger "Plucking Brains" whic will "pluck" your brain big time with its urgent rhythm-section apltly supported by the closing pounder the latter again "flirting" with echoes of the legendary Swiss.

Freedom Is Gone Full-Length, 2016


Based on "Return To Painsylvania", this band indulge in right as rain old school speed/thrash whic moves from impetuous gallops ("The Crude Bastard") to brutal Slayer-esque outbursts ("Lord Moneyman"). The 2nd half takes a trun towards much more thought-out and serious music the guys pulling out several long progressive compositions among which "Brutal Violation" is a masterpiece of "violent" headbanging thrash crossed with nice melodic sections lasting for nearly 9-min. "Corpses In Paradise" is a rousing epic speed/power metal anthem, and "Painsylvania" is rigorous speed/thrash its hard-hitting character canceled by the closing "With The Fist Full Of Blood", a calm power metal hymn with dark, sinister overtones. The vocals are very good clean emotional ones, and are close to being the highlight.

Corpses in the Paradise Full-length, 2009
United by Hate Full-length, 2010
Return To Painsylvania Full-Length, 2013

Official Site


Nice crisp old school thrash with sharp ripping riffs and expressive high-strung vocals; the band prefer the speedier ways of execution, and the moshers will by all means have a very good time with this recording jumping on invigorating cuts like "Invasion del Metal" and "Conspiracion Venganza". Towards the end the guys complicate the environment a bit with more intriguing arrangements which culminate on the more moderate and more diverse closer "Desechables".

Cuna Martir Full-Length, 2017



Based on "Eternal Suffering", this is rough amateurish aggressive thrash/death metal which often adheres to uncontrolled spasmodic blast-beats the latter taking turns with more laid-back sections in the vein of early Six Feet Under; on top of that there's one awful joke rock-ish closer "Schnauze Voll Blues": skip it if you can. The singer also tries to imitate Chris Barnes, but his "chants" are more intelligible.

Hate Flows Full-length, 2002
Forward Full-length, 2003
Eternal Suffering Full-length, 2004
Suffocated in Emotions Full-length, 2006

Official Site


The debut: energetic early German black-tinged speed/thrash metal very close to early Destruction and Nocturnal (the guitarist Teutonic Slaughter also plays in that band) with two major differences: the gruff death metal vocals and the stylish melodic leads. The relative peace is broken rudely with the furious black metal assault "Forces of Hades", but its aggression is nicely compensated immediately by the jolly speedster "Leather and Metal" which is an obvious allusion music-wise to the Metallica debut. Things slow down for the good cover version of Bathory's "Necromancy", quite faithfully done. All heads will bang on "Deathstrike" and all the remaining 4 songs till the end which turn this album into a delightful unpretentious roller-coaster.
The "Ancient Black Spirit" single is just two songs one of which, the title-track, is a speedy/proto-thrashy boogie ala Exciter and Tank, and the other one is a cool cover of the Brits Holocaust's early hit "Heavy Metal Mania", of course, partly ruined by the gruff death metal vocals.
"Into the Crypts..." is very close in spirit to the debut producing a bit noisier Germanic speed/thrash metal which leaves the chosen field with calmer more power metal-based hymns ("Cruel Force"), or with interesting cover choices: the pretty faithful version of Piledriver's "Metal Inquisition" from the Canadians' debut, only ruined by the rough unemotional semi-death metal vocals which actually recite for most of the time.

"Under the Sign of the Moon" is in a similar vein speed/thrashing in a steady self-assured manner the rough death metal vocals now sticking out more awkwardly because of the more moderate riffage. Otherwise the music is right as rain with the addition of a more evil misanthropic atmosphere which brings the band close to some black/thrash metal acts (Sabbat, Aura Noir, Abigail, etc.). The title-track is not a nod to Bathory music-wise, like some ouy may expect because of the title, but is a nice epic thrash cut with heavy doomy guitars and an accentuated officiant atmosphere. This offbeat composition, which lasts for whole 8.5- min, is like an "oasis" surrounded by much shorter numbers where the musicianship is fairly basic with the final "The Gallows Prayer" another "calm" (there is no storm after that) of the softer power metal kind. The musical proficiency on those slower cuts is bigger, but they sound kind of off-context regardless of how much they increase the band's appeal.

Into the Crypts... Demo 2008
The Rise of Satanic Might Full-length, 2010
Ancient Black Spirit Single, 2011
Under the Sign of the Moon Full-length, 2011

My Space


Based on the "Beyond Beliefs" demo, this formation provide dark morose thrash/death which shares some of the operatic pompousness of the Greeks Nightfall when it gets more deathy ("Tormented Cries"). "Perpetual Riot" is a moderate atmospheric galloper, and "Condemned To Live" is an aggressive headbanger with a cool quasi-progressive aura ala later-period Messiah. The singer is a comprehensive semi-death metaller who leads the show with panache, albeit not very clearly audible at times.

Dying in Fear Demo, 1992
Beyond Beliefs Demo, 1993


Based on "Shock the World", this band pulls out decent speed/thrash metal which hesitates between merry speedsters ("The Awakening") and laid-back hard'n heavy fillers ("Mr Potato Head"), or even pure tender ballads ("Cruella"). "Living Death" switches onto full-ahead speed/thrash, and the much slower pounder "Shock The World" isn't too far behind with its seismic 10-ton riffs with a certain doomy vibe. The closing "Pushed Off The Edge" is aggressive thrash with a strong bass bottom and ultra-fast rhythms exiting the album in an imposing vigorous fashion. The singer is all right with his dispassionate mid-ranged voice which passes through the motions with monotonous semi-declamatory antics.

Vengeance is Mine Full-length, 1989
Shock the World Full-length, 1990

Official Site


Based on the split where the guys participate with 3 songs, this is very good old school thrash/death metal close to early Pestilence and mid-period Death so there isn't much bashing to be heard, but what's offered is interesting sophisticated technical/progressive passages well reflected in the songs' length as well. The latter are intriguing versatile compositions with plenty of tempos and riff landscapes topped by intelligible semi-death metal vocals.

Shadow of the Dead Split, 2002
Shadow of the Dead Demo, 2002


Members of the brutal deathsters Bowel Stew have decided to give their fair tribute to the good old thrash for a change, and have done a pretty decent job on this headbanging roller-coaster which takes its inspiration from early Slayer, above all, so expect short bombastic blitzkriegers delivered with the utmost intensity alsor ecalling other extreme artists like Hypnosia, Gammacide, and Devastation. There are no intentional respites along the way even on longer, more carefully plotted cuts like "Barbaric Violence" if we possibly exclude the mellower, more speed metal-fixated "The Nightstalker", the mean shouty vocals perfectly fitting the hyper-active soundscape.

Ain't War Hell? Full-length, 2018

Official Site


The promo shows a competent act playing dark black/thrash metal. The riffs are decidedly thrashy, but there's a lot of atmosphere created by the keyboard background, the vicious raven-like vocals, and the occasional melodic gothic/black Cradle of Filth-like tune. The music isn't very fast except for separate moments the songs being mostly mid-paced, heavy on atmosphere and mood.

Promo Demo, 1998
Rudis et Indigesta Moles Full-length, 2007

Official Site


This is the first effort of musicians who later went on to create similar cleverly-crafted music with acts Raza De Odio an Glacial Fear. This is complex progressive thrash/proto-death with long compositions where numerous nuances shake hands without messing it up every member of staff pulling out quite a performance, especially the bassist whose pyrotechnics are really admirable. "Seeking the Truth" arrives to alleviate the complex picture with less elaborate arrangemnets bordering on Agent Steel-like speed/thrash the similarities also greatly helped by the attached clean high-strung voice of the singer on this particular one who replaces the gruff death metallic antics of the main man. Things become serious once again on the 10-min opus "Under the Same Sky" before the clean vocals spring up again on another shorter relaxer: "Conditioned Mind" which is a hectic listen strongly recalling Realm. The tile-track is a heavy semi-ballad without any seeming technical highlights influencing the meditative closer "Paths in Memory" which could pass for a full-blooded ballad. This is a kind of a not very even listen at the end which, despite its undeniably good side, may not attract hordes of fans in the long run due to its hesitation between the complex and the accessible.

In Myself Full-Length, 1996

My Space


Raw thrash metal similar to early Messiah; actually, it's the Messiah singer R.B.Broggi who lends his vocal abilities to this band; the music is more of the mid-tempo variety and a tad less aggressive than Messiah's.

The Legend Demo, 1987


The band's debut is a very good fusion of punk/hardcore and thrash (although thrash is an elusive definition here). The follow-up brought about a more metallic, technical sound, a clear sign of the band's ambition to move into the metal realm with a wider gamut of influences including borrowings from power and heavy metal. Still, invigorating pieces like the technical shredder "I Am He" and the closing smashing title-track are major head-splitters, and should leave no one disappointed. Despite its undeniable qualities, without the energetic punk/hardcore spirit of the debut, this release failed to grab the attention of the metal fanbase as successfully.

Life Of Dreams Full-length, 1986
Beast On My Back (B.O.M.B.) Full-length, 1988

Official Site


This is an interesting album: it combines the early 90's works of Flotsam & Jetsam with intense speedy parts which aren't too far from Paradox, or even Sodom's "Persecution Mania": the album closer "Torture". However, this is just the base on which a lot more has been placed; the music twists and turns into many directions: there are quiet atmospheric moments, balladic ones, crossover touches ("Galeria de Horrores"), even jazzy funky passages ("Banditry") which are suddenly broken by more aggressive riffage, or by screamy, but quite good leads: a typical example for this diversity is the excellent 8-min instrumental "Mortal Reality". There are a lot of progressive elements in the band's style, and while these sections aren't very easy to swallow, here come the straight thrashy ones to save the day; so you can't possibly get bored with this one. The album is actually split into two parts that are mixed together: short 1.5-2 min tracks, and longer, more complex ones. The overall result is quite close to Flotsam & Jetsam's attempt at more elaborate music "When the Storm Comes Down", but this is way better. Near the end the guys have seemingly gotten tired with the complexity, and the last two songs "Slow Death Machine" and "Seca" are very good more conventional aggressive thrashers which still retain a certain amount of the technicality.

These obscures are back with this invigorating slab (the "Unburied" EP) of the good old thrash which wastes no time nailing you down with the intense mosher "Whitechapel". The assault continues on full-throttle after that with "Septem Sermones Ad Mortuos" and two other speedsters which stick to the direct no-gimmicks delivery without any reminders of more ambitious aspirations which couldn't have possibly developed fully on this short 5-song (the first piece is just a short intro) EP. The guys are also active with their other formation from the early 90's, Dark Fate, with whom they had one solitary demo released in the distant 1991.

Insane Harmony Full-length, 1995
Unburied EP, 2010

Official Site


Based on the full-length, this act offer classic power/speed/thrash, and their encompassing approach will keep a wider fanbase happy including those who like their metal epic and pompous: the war-like "Witch Hunt", the progressive epicer "Arturius (i Prelude to War ii Battle on the Moor iii Lest We Forget"); etc. Thrash isn't very extensively applied the band playing with more melody and focus on the power/speed metal side.

Rise of the Templars EP, 2011
Onward into Battle Full-length, 2013

Official Site


Bashing Germanic thrash of the old school with a rough production quality and bad shouty death metal vocals. Nothing to lose your sleep over although the passion emitting from this mish-mashy effort is at times quite worth noticing (the violent piece "Pyroclastic Extinction") and the closer "Ubiquitous Force" is a cool sweeping speed/thrashing proto-death laced opus with not very impressive thin leads.

Destructive Greed Demo, 2008

Official Site


4 songs which offer a blend of feelgood Exciter, Motorhead-like riffs ("Metamorphose"), black metal hyper-blasts ("Mass Destruction"), Swedish death metal ("Hate Is My Messiah"), and crossover ("I'm The Batter You Are The Ball").

Crusher Demo, 2005
Metamorphose Demo, 2007

Official Site


Based on "Corporal Punishment": a typical for the time, and especially place/country, thrash/death metal hybrid sounding like more brutal Massacra; the music is more death metal-based, and slower doomy passages ala Bolt Thrower are present as well although their involvement isn't as expertly applied. The vocals also strongly recall those of Karl Willets and they could pass for the band's strongest asset.

Undermine EP, 1993
Corporal Punishment Full-length, 1993


A lengthy 6-track EP which offers your average crunchy modern thrash with the odd melodic decoration which is mostly mid-tempo, but the riffs crush with force ("Into the Pit") at times. The singer is suitably gruff with a semi-clean tember which carries quite a bit of melody as well.
"Redemption" is a decidedly more intense affair, and the listener will be delighted to hear the dynamic headbanger "Son of a Pit" and the diverse speed/thrasher "D.ysfunctional I.dentity D.isorder". "The Journey" would be another speed/thrashing journey with a cool melodic edge as well as "Operation: Rescue" towards the end, leaving the more elaborate delivery for the more serious "A Way Out", a nice speedy roller-coaster with great melodic leads. There's not much "crushing" to be savoured here, but the capable execution and the dominant fast-paced riffage should keep the fans happy.

The Airfield Tapes EP, 2010
Redemption Full-length, 2016

Official Site


Thrash/death metal of the Swedish school, not miles away from Dark Tranquillity; the guitar work is very cool with very stylish leads, and these guys look well set to make a more lasting impact on the music scene, at least in the Far East, if they step the pedal harder on the technical side of their style.

Armageddon EP, 2007


The debut EP: this Ukrainian trio plays decent classic thrash metal with boosted sharp riffs, successful atempts at melodic insertions, short but effective leads of the screaming type, and mean gruff death-ish vocals. The guys prefer to lash fast and tight with casual breaks along the way which only increase the appeal of moshing speedsters like the closing "Living for...", for example.

The "S(k)atanic Ride" EP is just two songs: the title one which is a fast blitzkrieg cut; and the Slayer cover of "Jesus Saves", done quite faithfully.

"Endless Torment" wouldn't be a very big surprise to the band's fans since most of the tracks have already been heard on the preceding demo and EP. So expect the already established old school speed/thrash played with a big intensity reaching Slayer with ease (the cover of "Jesus Saves" is also here) also helped by the very good sound quality.

Politishit EP, 2010
S(k)atanic Ride EP, 2011
Endless Torment Full-length, 2012

Official Site


A brand new act who pull out awesome old school thrash metal along the lines of Rigor Mortis. This is great fast-paced music with cutting sharp riffs and vocals which resemble Bruce Corbit quite a bit, but are more aggressive and throaty. The guitars have a slight technical edge, and at times come close to the pyrotechnics of Mike Scaccia. There are moments where the guys seem to take a break from the intense thrashing which sound slower, but quite crushing. With the word "thrash" present in four of the seven song-titles here, it's clear that the band look no further than the good old 80's so prepare your handkerchiefs and tissues: there'll be a lot of nostalgic memories with this one. There's always "time to thrash"... especially when it's done in such a good way.

Time To Thrash Demo, 2008

Official Site


Dry post-industrial modern thrash/death metal of the heavy groovy type with angry semi-shouty vocals; the music is varied, though, and the steam-rolling riffs are intercepted by more intriguing ones bordering on progressive which in their turn are followed at times by more quiet semi-balladic ones. So in other words, there's variety and dynamics, but except for the chaotic piece of mechanical brutality "Grey Scent" near the end there isn't really any speed present, and the listener may get tired at some point "roaming" around those bleak abstract landscapes which at their best come close to the robotic atmosphere of Voivod's "Phobos" (the closer "Strip and Deceit", etc.).

TAO Full-length, 2010

My Space


Based on "Insaniac", these guys are obviously fond of Slayer, but mix their fondness with old school death metal, and as a result we have a very cool sound. The band have found the perfect balance between the raging thrashers and the heavy numbers which sound as though directly taken from "South Of Heaven" or "Seasons In The Abyss". Few bands nowadays have managed to capture the 80's Slayer magic as well as these guys.

Their full-length debut, on the other hand, is probably the better achievement with more technical guitar work and a sound closer to the Bay Area scene (early Testament, Vio-lence) although the fascination with Slayer has started to show up ("Injected with Blood").
"Greed, Tyranny and Sodomy": 8 years is a long absence from the scene, especially for a not very well known act; the guys have eventually found time for a new recording which continues in the same Slayer-worshipping vein so expect intense old school thrash all the way through with a boosted modern production. The band play with confidence, although the predictable delivery could have been spiced with some deviations: even the slower, stomping tracks ("Pearls Before Swine", "Contaminated Blood") are vintage late-80's Slayer, the singer trying to adjust his tone to early Tom Araya, succeeding for most of the time with his assured semi-declamatory antics. This is a good dedication to a great act, but without the more aggressive death metal sounds of the past, the band could hardly be considered anything more than mere Slayer wannabes at the moment.

Headcleaner EP, 1995
Burden Of Our Suffering Full-length, 1998
Satanized EP, 2000
Insaniac Full-length, 2003
Greed, Tyranny and Sodomy Full-length, 2011

Official Site


Modern power/thrash metal which is moderately groovy and heavy without overdoing it. The guys try to keep a vivid mid-pace throughout, even raising the headbanging flag on a couple of tracks: "Hallgasd", the short pounding thrasher "Szallj Ki!". The singer is a gruff semi-whisperer clinging somewhere between the black and the death metal genre, and doesn't quite fit the mellower musical approach.

CruSted Full-Length, 2010


Crux share members with two other bands from the Czech metal scene, Root and Denet. Based on the demo, the band's music is a raw, but frequently interesting combination of thrash, black and doom metal. "Navrat Vladce" is an aggressive frantic opener with a great bass bottom and a cool slower, dark second half. "Rev Smrti" is slower, but still thrashes intensely with good mid-paced riffage. "Demoni Temnot" is pretty much in the same vein, and the listener might start wondering whether there would be any more aggressive play on this one. The answer comes in the form of "Belzegor" which is even slower and more melodic. "Klic Prvni" is a very good 9-min doom metal epic, and is not totally unexpected in consideration of the direction taken with every subsequent song. "Awathea" is a nice quiet acoustic instrumental closing an album which would appeal to quite a few fans from several metal genres.

Rev Smrti Demo, 1991
Rev Smrti Full-length, 2000

Official Site


Heavy thrash with a rough, not very pleasant death metal singer who uses synthesizers here and there which makes him sound even less appealing. The music goes into quite a few directions: most of the time it's classic thrash of the stomping, not fast variety, but early modern 90's implements sneak through as well as pure doom metal sections ("Sickminded Maniac", "Deserve to Live"). A mixed bag as a whole, would also appeal to fans of the doom/death metal wave which started around the same time in their neighbours Holland.

Demo Demo, 1991


One will have no second guesses as to who these guys are modelled after: the heroic flagship of veterans like Hermetica and Horcas as been raised sky-high once again in the country of the gauchos, and it seriously threatens to overtake the tango clubs around the pampas. This band's delivery is milder perhaps with frequent stretches towards hard rock and power metal the fast-paced spice provided by vigorous cuts like "050" and "El Loco Juan". The vocals are warm clean-ish with a non-changing mid-range.

Cruz De Acero Full-Length, 2016


Fairly intense thrash/crossover ala Wehrmacht and and Psychic Possessor; the approach even brings the winds of proto-death at times ("Sun And Sand And Sea And Beer"; the maddening basher "Acid Bath") where the insanity even reaches Cryptic Slaughter-esque dimensions. The singer is kind of a relief from the brutal musical scenery with his detached punk-ish tember which is the only more melodic occurrence on this aggressive downpour.

Alcohol Abuse Demo, 1987


The EP: the opening "Troia" is an epic power/thrashing instrumental which is followed by the speed metal hymn "Despertar", and the more aggressive speed/thrashing "Templo da Escurideo". The songs are decorated by catchy choruses, good bass support and melodic fast-paced riffs. Some of the band members had been previously in the doom/death metal act Aqueronte.
The full-length is a happier and cheesier affair comprising long epic compositions clinging more towards the 90's power/speed metal field thrash barely touched on isolated moments. It contains merry-go-round galloping riffs aplenty surrounded by infectious, catchy hooks from all sides. The gruff mid-ranged singer falls behind the more proficient musical execution lacking the passion which usually goes with this kind of uplifting music.

Guardies Do Apocaledpse EP, 2005
Idade das Trevas Full-length, 2010

My Space


This outfit serve abrasive, badly produced classic thrash of the dark brooding variety bordering on doom and gothic. The 2nd half acquires melancholic balladic tendencies with shades of later-period Katatonia and Paradise Lost. The lead guitar work is the highlight, but isn't given too many chances to shine due to the very buzzy guitar sound. The guys later had a more lasting career under the name Sphynx where the style shifted towards power metal.

Vse Eto ne Loj Demo, 1997


Based on the debut, these guys come up with raw intense thrash metal which sounds not too far from Sacred Reich's "Ignorance" mixed with some crossover aesthetics. The sound is fairly aggressive and fast, reaching Slayer extremes at times: "An Inhuman Choice", the brutal proto-death "Don't Feed Me With Your Words". "Loser" is first-rate aggressive instrumental thrash, and the immediate follower "Absurd Hate" pours something more of the same adding guitar licks ala Mike Scaccia (Rigor Mortis, Ministry). Finally something slower for a break towards the end: "Life Such-As Hunting Wild" which even abandons the thrash metal idea for a while, but "Black Memory" largely compensates for that with its furious merciless death-tinged riffage which goes on with full force on the closing "Born to Survive". It was good to know that still there were bands in Holland in the late-80's who were not afraid to bash tirelessly as opposed to the technical wave which was at its peak at around the same time.

The sophomore effort offers longer and a little more thought-out songs although the intense thrashing never stops, like on the 8-min opener "The Prodigal Son". "Holy Truth" is a shorter blitzkrieg thrasher, but "Bloody Terrorist Transaction" increases the length again introducing clever semi-technical riffage which in this case is for the sake of the speed. "Four Walls" is expectedly faster, but the intensity gets lost, and this piece has a strong crossover tinge. The alternation between more immediate shorter and longer more serious compositions continues with "An inhuman Tension", which provides a cool blend of speedy and more technical riffs, which on the closing minute turns into furious Slayer-esque thrash. "Little Poor Man" is a direct continuation of this closing minute, a brutal aggressive number which influences the closer "Storm Inside": another heads-down merciless headbanger. The more extreme death metal-ornated moments are gone, and this album proudly waves the classic thrash metal flag high in a way no worse than same year's Sepultura's "Arise".

Terror of the Concrete World Full-length, 1989
Unnatural Prospects In A Concrete World Full-length, 1991


This band play ordinary speed/power/thrash which sits between the old and the new school changing the pace from one song to another the squashing Pantera-sque sections ("Signos de Maldicion") producing the best results, at least to these ears. In the middle the pace decelerates sticking to more predictable mid-tempo patterns "Estoril" arriving in the 2nd half to pour more dynamics into the stale delivery. The singer is another prototypical hardcore shouter who's merely an expected standard addition to this pedestrian unexciting affair.

Infecto Full-Length, 2006

My Space


A 4-song promo of mellow alternative post-thrash which gets more aggressively hardcore-ish ("Radical") at times, or industrially serious ("Epik (Si Pemburu Kepala)"), both deviations not bringing much delight, pulling this short effort towards the forgettable sector.

Promo EP, 2010

Official Site


The Promo is just 2 songs which show a band enamored by the heavy sludgy sounds of both Crowbar and early Pitch Shifter. Still, there's a strong post-thrashy "sting" which is more evident on "Bring it on". And yet, the channeling of the aforementioned British heroes, a striking similarity in the vocal department as well, is more than obvious and may make one interested in tracking the full-lengths down.
"Ego-Noria" is indeed a heavy steam-roller the band semi-thrashig with a lot of doom and sludge "lurking" in the background. The intense moments are not few at all, and smashers like "Death By Misadventure" are almost death metal-like intense. "Stalemate" is another hard-thrashing piece of metal, faithfully followed by the closing "hammer" "Redneck", another faster-paced deviation which makes this album the more speedy proposition to the hordes of doom/sludge enthusiasts "devastating" the world at present.

Promo Demo, 1997
Suspended Animation Full-length, 1997
Ego-Noria Full-length, 1999

My Space


Cool classic thrash; the style isn't very heavy with a melodic singer; the tempo is mid-paced missing the necessary edge of the stuff played by the Bay Area acts whose model the guys try to follow. The music takes a nice technical turn at times: the instrumental "The Awakening" with the bass playing a major role. "Stand And Be Counted" shows the more melodic side of the band where the guitar work is really soft and playful, but unfortunately this is the dominant sound here.

The Awakening Demo, 1992

Official Site


Based on the "E=MC Thrash" demo, these guys deliver intense old school thrash supported by gruff hardcore vocals which don't shout aimlessly, but try to sing in a more aggressive, sometimes openly deathy, fashion. Slayer's "Reign in Blood" and the Sacred Reich debut come to mind almost immediately, but there's more variety here with the inclusion of more frequent slower passages. The sound quality is a bit muddy faithfully emulating the one from the good old days.

We're Better Than Daytime TV Demo, 2007
E=MC Thrash Demo, 2008

My Space


Based on the "Destroyer Of Ardor" EP, this act plays typical modern thrash/death metal which comes straight from the Gothenburg textbooks without missing on one single ingredient. The music is energetic and melodic, and the pace is well mixed with a capable alternation between fast and slower passages. More clever, technical rhythms spring up on "Beyond Victory" and the ripping, hectic "I Am Anomaly", both overflowing with catchy melodic hooks which also stay around for the dramatic closer "Furnacing (I Defrost)", an infectious cut with some of the finest melodic tunes around some of which are provided by keyboards.
The full-length is another modern thrash offering which is full of memorable melodic tunes the lead guitarist by all means the star of the show with some of the finest licks to grace these ears recently. Again, originality is hardly the first word which comes to mind when listening to this album, but the sheer energy behind the recording which only goes down for a bit on the mid-paced shredder "The Vivid Night", is admirable and should keep fans of early In Flames and Dark Tranquillity all the way to the longer dreamy closer "Apocrypha" which is the other stop from the energetic modern thrash/death roller-coaster.

Vivify EP, 2009
Destroyer Of Ardor EP, 2011
Version Full-Length, 2013

Official Site


The EP: a power trio from Brighton pulls out vigorous retro thrash metal with mid and up-tempo numbers mixed well, "Cold" being a very good example of the former with its intense spiral-like riffs ala early Coroner, and "Message From Death" representing the latter with its fast proto-hardcore rhythm.
The full-length comes with a very noisy abrasive guitar sound which is a detriment for one to fully enjoy this modern update on the good old thrash/crossover. The tempos jump and twist at times creating a more technical landscape, but those moments are never developed beyond the spasmodic unpremeditated whim. After the string of short unpretentious numbers comes the engaging closer "Annihilation Of The Ignorant" which is an opus of doomy proportions with its hypnotic monotonous sections in the 2nd half those contrasting with the much more intense 1st half where the guys just bash chaotically with atonal dissonant guitars without much sense. This isn't completely bad, but the band have the skills to do a much better job.

Choir for the Carrion EP, 2010
The World Rots Faster Full-Length, 2013

Official Site


Cool intense thrash reminiscent of Nasty Savage's "Indulgence" quite a bit, both in the pounding semi-technical guitar work and the forceful semi-clean vocals. This is good music seriously marred by the noisy sound quality which blends steam-rolling numbers ("Once Buried Twice Unearthed") with aggressive speedy outbursts ("Wrong Intent") adding the odd more stylish element (the jumpy diverse galloper "Fear As A Factor"). The leads are quite cool, both screamy and melodic, but again, the bad sound takes away quite a bit from the musical delivery.

Mask of Hate Demo, 1990


The demo: a cool entry into the classic thrash metal resurrection movement containing 4 songs of dark creepy (also "crypty") thrash alternating brooding passages with faster headbanging ones in a way not far from Sacrifice and the Poles Hellias. "Bastogne" slightly shifts away from those patterns being a contrasting mix of consistent heavy mid-tempo riffs and abrupt spasmodic blasts (the latter are very short, don't worry). "Sacred Altar" begins with a quiet balladic passage, but there won't be disappointed later since the guys thrash with force with a couple of more moderate atmospheric sections still present. The singer could be viewed a distraction with his hoarse shouty blend which comes as a more hysterical and less convincing Simon Forrest (Cerebral Fix).

The full-length is built around the songs from the EP so expect a retro bash this time served with a not very clear noisy guitar tone and even more hysterical overshouty vocals. Consequently the fun isn't as insured some of the new material bordering on sincere hardcore ("Class War") at times which makes the better numbers ("Rise", the excellent Destruction-esque roller-coaster "Elite Society Slave") work harder to compensate for lapses of the kind. The closing "Angel Of Death" has nothing to do with the Slayer song; it starts in a misleading balladic fashion, but later turns to an impetuous piece with deathy ornamentations and some tasteful melodic lead guitar work.

Out of the Crypt Demo, 2009
Suffer the Hands of Filth Full-Length, 2014

My Space


An awful sound quality impedes the guys' efforts big time here; still, they do their best to produce forceful intense thrash/death metal which starts imposingly with the 10-min early Celtic Frost worship "Tomorrow's Gift" before moving onto the faster material which still mixes the speedy riffs with seismic tunes all supported quite well by the very good bass work. The singer growls in an intelligible death metal manner recalling early Tom G. Warrior at times.

Rack of Death Demo, 1988
Demo II Demo, 1989


This is modern speed/thrash metal with great melodic hooks which some may view as the more aggressive "bastard child" of Children of Bodom. The guys move forward also adding slower compositions on regular terms, but sweeping speedsters like "Predator One", or cruncny thrashers like "My Messiah", lead the pack here big time. Still, the delivery falls into cheesy "traps" too often to be labelled as anything more than just the next trendy "one night sensation". Later the guys changed their name to Encryption and released another similarly-styled album in 2000.

Shrouded in Mystery Full-length, 1997


Classic thrash/death metal in the spirit of the Floridian school alternating fast blitzkrieg numbers with mellower semi-technical ones both delivering well, some coming with nice melodic tunes ("New Existence") bringing the winds of doom/death with them. Death metal is much more widely covered, though, leaving not much room for cool galloping thrashers like "Nightmare". The other hit in the thrash metal target is done with the closing "Spiritual Suicide" which is another thrasher of the softer dreamy kind to which the deep throaty death metal vocals are not a match at all.

Infinite Torment Full-length, 2009

Official Site


Both demos show a band miles away from the average achievements of the genre at the time. This is instrumental music of a very low quality, mixing furious thrash riffs with screaming contrasting leads, and is really hard to compare to anything out there; maybe early Messiah, partially or completely drunk, playing live without a singer, trying hard to remember their early repertoire while on stage... this description should be close.

Megathrash Demo, 1986
The Watcher Demo, 1986


Both demos are examples of fast-paced speed/thrash close to early Blessed Death, early Metallica and Exciter. The music is simplistic, but catchy, with a Motorhead flavour present on the lighter tracks. "Speak to Defy" is perhaps the better effort with a more aggressive sound and sharper guitar work.

Speak To Defy Demo, 1990
Sanity's End Demo, 1991


Based on the "Attack From The Past" demo, these guys play vicious black/thrash/death metal mixing speedy Impaled Nazarene-like outbreaks with heavy stomping riffs along the lines of Bolt Thrower. There's another "duel" in the vocal department between the very low-tuned death metal vocals and the raspy black metal ones.

Murder Handmade Demo, 2005
Live Extraction Demo, 2007
Attack From The Past Demo, 2008
The Return Of Skullcrusher EP, 2008

Official Site


This outfit indulge in noisy underdeveloped raw retro thrash which hisses and buzzes into all possible directions capturing the attention of the bass-driven funky "Slaughtergazm", and partly on the dramatic mid-pacer "Leviathan Walk". The rest is surely a waste of time including the very bad semi-shouty death metal vocals on top of the awful sound quality.
The "Beyond the Celestial Realms" EP: the guys are obviously content enough producing EP's, demos and singles, but at least the job they do on those is nothing short of outstanding. After an imposing atmospheric intro (the title-track) the guys start moshing really hard with the exhausting shredder "Voyage Through Dimensions" which later serves nice progressive passages among the stylish riff-patterns. "Deathcrusher" is a virtuoso technical masterpiece, one of the finest achievements in the genre of the past few years, a smashing display of technical proficiency also providing a spacey interlude in the middle. "Spore" is another less ordinary headbanger with a nice oblivious, balladic section; and the final "Glacial Reclamation" is a smashing technical ripper with sharp blitzkrieg guitars; another testimony of the band's musical prowess which should finally materialize in a full-length release that woould place them on top of the British metal wave where they rightfully belong.

The Old Chapel Demos EP, 2014
Beyond the Celestial Realms EP, 2016

Official Site


One of the finest, and the fastest thrash/crossover bands; their debut pushed the boundaries of metal in a way similar to the Wehrmacht works from around the same time, both acts competing as to who could play faster, the competition being won by the heroes reviewed here by a looong shot. Listening to "Convicted" on regular terms one may develop very serious migraine: this is ultra-extreme brutal stuff, and some may say that grindcore was virtually born with this album, predating Napalm Death's "Scum" with more than a year, and they can't be blamed: constant blast-beats with barely a few seconds offered as a relief (there's no space for more, the songs are seldom more than 2-min long) in the form of lightly slower sections will either make your day or ruin you for life. Whatever the outcome, there's no denying the fact that this album was a big influence on the development of the more extreme side of metal.
Those prepared for a similar exhausting listening experience on "Money Talks" will probably be delighted although the slower breaks now are slower and longer, dangerously stretching into a whole song in the middle: "Freedom Of Expression", and later on also "flirting" with punk on "Too Much, Too Little", and with a more melodic form of hardcore on "Positively".

"Stream of Consciousness" increases the presence of the bass which is never a good sign for the high speed lovers, and indeed the extremity has been diminished even further than on the preceding effort, now the slower parts clearly dominating over the fast ones with even some attempts at a semi-balladic song-writing(!): "Drift", and quite a few pointless really slow "drifting" tracks. As a result we have a very ordinary, and not really engaging, take on hardcore seeing the band falling behind acts like D.R.I., Wehrmacht and Cro-Mags who by that time have embraced the thrash metal idea much tighter.

Their swansong "Speak Your Peace" has very little to do with their past showing the guys willing to join the thrash metal cohorts at probably the least appropriate time, and this is the reason why this otherwise very stylish exercise on technical thrash remained underappreciated and ignored by many. This hallucinogenic mechanical effort is a nice companion piece to same year's Holocausto's "Negatives" and Anacrusis' "Reason" (and here one must also add the German one-album-wonder Of Rytes, with Mem Von Stein (Exumer) on vocals, whose "Without...", released 1 year later, is probably the closest soundalike to the album reviewed here) and was a big influence on the modern technical thrash scene from the 90's up to present times: Meshuggah, Obliveon, Baghead, Aleister (France), Aftermath (USA, Chicago), mid-90's Voivod, etc.
The opener "Born Too Soon", which is 5-min(!) long, is a masterpiece of abstract surreal technical thrash, full of puzzling time signatures and illogical guitar decisions which will literally stun the band's fans with its radical shift from their basic sound; followed by the more updated "remnant" from the past "Still Born, Again" which is faster and hardcore-ish, but the harder-to-swallow insertions are there, too, and this is far from an immediate headbanger. "Insanity by the Numbers" is more direct mid-paced thrashcore, the only relatively more conventional "filler" here, but on "Co-Exist" be prepared for the next portion of elaborate unusual riffage, this time served on a slow, almost doomy base. "Deathstyles of the Poor" gives a nice technical twist to thrash/crossover, before "One Thing or Another" mutates into a cool creepy technical thrasher. The mutation stays around for "Divided Minds", which speeds up nicely, and is a good reminder of Voivod's "Killing Technology" and DBC's "Universe". The title-track is an odd doomy song with a weird robotic main riff, something which was later perfected on efforts like Voivod's "Phobos". "Killing Time" is an excellent closer: another meisterwerk of jumpy hectic technical thrash, a fascinating and engaging mix of fast intense sections and abstract twisted passages which go even beyond the distorted genius of the Japanese Doom on a few times.

This last release was way ahead of its time pushing the boundaries of the genre into unknown, untrodden waters, along with Holocausto and Anacrusis, and another one in the same vein could have made more heads turn having in mind the swiftly changing tastes in the early-90's (also considering the fact that the other 2 aforementioned bands abandoned this mechanical dry sound on future works: Anacrusis took a more accessible atmospheric/melodic direction on "Manic Impressions", whereas Holocausto metamorphosed into something so exotic that I still have problems defining, on "Tozago As Deismno"). Alas, the band were no more after this one, to re-emerge in 2003 with a covers-only EP paying tribute to their colleagues and contemporaries from the hardcore circle (Bad Brains, Minor Threat, Attitude Adjustment, Gang Green) with a couple of less likely covers of evergreens from the repertoire of The Rolling Stones, Beastie Boys, etc.

Convicted Full-length, 1986
Money Talks Full-length, 1987
Stream of Consciousness Full-length, 1988
Speak Your Peace Full-length, 1990
Band in S.M. EP, 2003

My Space


A good 4-song demo of technically-minded thrash combining the heavy pounding riffs of late-80's Metallica with a more sophisticated approach, not too far from Megadeth and Forbidden ("Twisted into Form"). The last track "Armageddon" is a pure speed/thrash metal delight with fewer shades of the technical charge of the preceding numbers, a fast and very enjoyable track.

Inception Demo, 1988

Fan Site


Technical thrash/death of the heavy, not very fast variety; great crushing technical riffs with a singer who alternates between deep growls and occasional meaner higher tones: imagine a more crunchy version of Carcass' "Heartwork" with a pinch of thrash metal and with a stronger bass presence. From the very beginning ("Internally Reviled") the stylish lead guitar work will grab you and will seldom let you loose. The band are experts at short technical numbers where the technical riffage is simply great, albeit often overshadowed by the even better leads. At times the guys obviously show an impulse to start bashing mercilessly, and this is exactly what happens on the excellent, bu still technical "Counterfeit Corporeality". "Rite of Initiation" breaks the pattern being considerably longer than the rest, slower, even groovy and offbeat at times, but preserves the technical flair all over. After it the speed increases considerably for a couple of awesome fast-paced death/thrashers which also excel in technicalityand aren't too far from Atheist and Pestilence at their best. "Caught Beneath Conscience" crushes down like a steam-roller being slower, but very aggressive. "Man in the Dark" takes away some of the aggression being a nice peaceful, semi-balladic instrumental which pulls all the stops near the end with a nice technical outro. The title-track sums up all that was included in this album: the speed, the technicality, the slower sections, the groovy ones as well coming up with something new even: the very stylish jazzy ending. Unfortunately, it would be very unlikely to hear something new from this very talented outfit as they changed their name to Revocation although the style there isn't miles away from the one displayed here (check out the Revocation's full-length debut "Empire of the Obscene"(2008): an awesome technical thrash/death metal offering).

Sanity's Aberration Full-length, 2005

Official Site


A typical "product" of the 90's, this band plays heavy groovy thrash similar to Pantera, but more aggressive with occasional nods to death metal. The riffs are smashing, hammer-like, and there's a sparce use of lead guitars. The vocals are also in the Pantera-mould recalling Phil Anselmo spiced up with casual more brutal deathy growls. Fans of the modern 90's tendencies in thrash metal will love this band.

Unusually High Level of Hate Full-length, 1996
Welcome to the Church of Hate EP, 1997
Blessed Be Thy Shame Full-length, 1998
Euphoric Slaughter of Life Full-length, 2000

Official Site


this is a compilation by a very obscure French outfit who specialize in intense, bashing retro thrash with a more or less overt hardcore "sting". "Underlaying Threat" is a really cool semi-technical thrasher, and "Galactus" is another highlight bordering on the progressive with its bass-dominated quirks. From the newer material, placed at the end of the compilation, one can distinguish the rigorous shredder "Dignity's Dirge" among the sea of groovy fillers which at least fit the rough quarrelsome vocalist.

Initiating The Bagarre Compilation, 2016


An all-instrumental amalgam of thrash and death metal which blends slower sprawling sections with much more dynamic, even blasting at times, ones both dominated by the omnipresent leads also enriched with several keyboard backgrounds and orchestral arrangements. The music is rich in atmosphere and is predominantly mid-tempo with an industrial vibe coming mostly from the semi- synthesized guitar sound. This is an interesting approach which at times may recall the Spaniards (or rather Spaniard) Achokarlos, and as a work of general extreme metal delivers, and as such will please fans of the larger-than-life concoctions also coming with a pinch of progressive rather than the average thrash metal fan.

Primordial Oddity Full-Length, 2010


Creepy (also "crypty") industrial thrash/death which is full of surprising gimmicks, like the sudden brutal section on the opening "Labyrinths Of Fear", for example; or the meandering semi-technicality on "Curse Of The Cybernetic Age"; or the operatic dramatism on "Engines Of Chaos". "Power Station" is an attempt at more conventional death metal, and "Top Secret" is the obligatory nod to doom metal done again with a solid pinch of death. The title-track is another less ordinary deathy roller-coaster with cool haunting melodies, and the singer plays his role in the dramatic build-ups with his attached intelligible deathy tember.

Golden Rust Full-Length, 2010


This is outstanding 80's American power/thrash metal with a progressive edge on the longer tracks. The thrashy songs predominate (actually there's only one song which is pure power metal: "Electric Chair"), and the short numbers will make your head bang in no time: "True Peace", whereas the more complex and the longer ones will engage you in a more careful listen ("Life After Life", "Shadow In My Head"), but without overdoing it. The style is similar to Helstar, Aftermath, Stygian, Ritual, Wrath. The tempo never goes beyond the mid-paced sector, but the riffs are sharp topped by great high-pitched clean vocals which sound like a very interesting mixture between John Arch (Fates Warning), Buddy Lackey (Psychotic Waltz) and Mark Shelton (Manilla Road).

In the Forest Demo, 1989


Retro thrash with a modern production and a hardcore/death metal singer; the music is fast and aggressive, in the Slayer and Atomica mould, with occasional slower moments (the heavy groovy "Self Hate", or the late 80's Slayer-influenced "Face Your Enemy"). Near the end the sound becomes considerably more brutal with two longer death metal-tinged tracks: "Wide Open Sores", "Bombardment", and the short 1-min bashing hardcorer "Marafo De Exu". The drums are put too much upfront in the mix, but not to the point of annoyance.

Terror Machine Full-length, 2007

Official Site


Based on "Unholy Neckbreaker", this band offer "unholy neckbreaking" retro crossover/thrash reflected in short carefree pieces which border on hardcore ("Bitch of Burden") when things get too unserious. The singer is a restrained cleaner who doesn't shout or quarrel, but is curiously suitable to the very undemanding musical delivery.

Dark Corners Full-length, 2008
Worms of the Earth Full-length, 2010
Unholy Neckbreaker Full-length, 2012

Official Site


Heavy power/thrash with stomping doomy riffs sounding like a thrashy version of Saint Vitus at times; "Dragon's Breath" stirs the mood with a good headbanging rhythm, but the rest of the music is slower to mid-paced.

In Christ's Name Demo, 1989


Based on the full-length, these folks pull out classic power/thrash akin to Reverend and Heretic which is characterized by razor- sharp guitars, excellent clean high-strung vocals, and quite a few influences, mostly from the heavy metal field. The invigorating opener "Hour Hands" is a bit misleading being an almost full-fledged thrasher, but later on the sound settles for mid-paced power/thrash with a few more aggressive moments ("Thoughts", the cool progressiver "Michelle") inserted. It's admirable that the guys manage to steer clear of any detrimental post-thrashy gimmicks excluding the groovy dirge on the closing "Straight Through You".

Patiently Waiting EP, 1990
HIV (Helpless Innocent Victims) Full-length, 1993

Official Site


This is dark power/thrash/black metal with gruff blacky vocals. The guys pull out forceful galloping riffs for most of the time the latter interrupted by the intense black metal moments ("Istinnyj Put'"), or by the better gothic proto-doomsters ("Mrak I T'ma"). The guitars are very melodic often supported by an unobtrusive keyboard background, the latter recalling mid-period Dimmu Borgir quite a bit.

Old Man Full-length, 2003


A pretty good act offering progressive thrash/death metal using later-period Death as a base. The compositions develop in a calm mid to up-tempo also recalling the Swedish scene: mid-period Dark Tranquillity, in particular ("Damage Done", "Haven"). The singer is a find with his forceful semi-shouty delivery ably assisting the technical sharp, but also quite melodic whenever needed, riffs both perfectly "married" on the excellent "Faith Redefined". Quiet semi-balladic breaks are added in the best tradition of Death's "Voice of the Soul", as well as sparce more direct headbanging sections ("Worlds Collide"). The bass support is really strong reminiscent of Steve Digiorgio. The songs never stretch into show-offy meanderings too much, and are quite memorable with characteristic semi-choruses and distinct melodic hooks.

Watch Us Deteriorate Full-length, 2007

Official Site


3 songs coming from the Black Sea coast to present steam-rolling Bolt Thrower-like death/thrash metal on 2 songs before speeding up on the final "In The Night" which is a fine intense smasher with brisk semi-technical guitars to which the very brutal low-tuned vocals are not fitting at all. There was potential here, but the band split-up shortly after with some members also seen in the still active death metal formation Reichsradio.

Nacht Demo, 2007

My Space


3 songs of fast-paced old school thrash following the German patterns- think Necronomicon, Destruction. After 2 brisk short numbers comes the long, almost epic "Mummified By Society": a multi-layered composition thrashing with both aggression and melody for about 7-min, moving things a bit towards Paradox's "Heresy".

Demonthrashion Demo, 2008

My Space


A modern mixture of thrash metal and hardcore; old-school thrashers might not find a lot to like here.

At Nightfall Full-length, 2000
The Last Days Full-length, 2002
Hatefront Full-length, 2005

Official Site


Noisy abrasive modern thrash/death metal with a very thin guitar sound at times clinging more towards the moody mid-tempo, and the ultra-fast semi-blasting moments are awkward, to say the least. The vocal participation is very sparce coming in the form of industrialized semi-whispers, and it's good that it doesn't stand too much on the music's way.

Rehearsal Demo, 2006


A 3-song demo of dark moody thrash/death with brutal low-tuned growls; heavy mid-tempo music with a nice speedy twist at the end on the energetic headbanger "Hornbuilder" which is otherwise built on cool heavy doomy riffs ala Cathedral.

Demo Demo, 2010


Brutal intense black/thrash which rages on in a merciless manner blasting through the speakers coming close at times to the demented delivery of Impaled Nazarene, but on the other hand "Witching Curse" is a cool dark headbanger with thrash leading the pack appropriately assisted by the raw production qualities and the hissing witch-like vocals. One may be surprised to find out that behind this cacophony of aggressive speedy sounds stand 2 guys from the doom metallers Witchsorrow apparently exploring their opposite, much more extreme, side.

Black Thrashing Terror EP, 2012

Official Site


Based on the "Crush Conformity" demo, this band play dark old school thrash which crosses fast sections with morose doomy ones. The sound quality is pretty muddy, and the singer doesn't contribute a lot to the proceedings with his harsh, not very clear, death metal tember. The leads make the most sense of the lot with their nice melodic blend, but they harshly contrast with the sombre surroundings.

Crush Conformity Demo, 1992
Adrastea Demo, 1993

My Space


4 songs of laid-back modern thrash concentrating more on melody contrasting with the very brutal death metal vocals; "La Epidemia" is intense fast thrash/proto-death metal, but the rest of the material is mid-tempo at best clinging towards gothic at times with the melodic hooks present all over maybe stifling a bit the sharp riffage at times.

Demo Demo, 2010

Official Site


The band's debut is excellent speed/thrash close to the debut of the other 90's Turkish thrash metal heroes: Mezarkabul, and Paradox, but the singer here has a more melodic, albeit a slightly impassionate voice, and the guitar work is simply phenomenal calling to mind the one from the early Helloween albums (hello, Kai Hansen!) with a cool technical edge at times. There's no speed lost on this effort as there is no track where the pace staggers towards the mid-range except on several small sections: the joke punk-ish song towards the end ("Dastards'N Bastards") doesn't count. Certainly, there are moments which remind of the 90's power/speed metal scene, mostly in the choruses, but the riffage here is much more impressive and sharper.
It must have been an utter shock for their fans when they had heard their second effort which is groovy modern post-thrash, a lot inferior to the amazing debut, and released less than six months later (!)...

Bodhisattva Full-length, 1994
Eye Full-length, 1994


This is stuff created by veterans from the Portuguese scene coming from all walks of metal among whom is the Alastor drummer J.A. The music isn't very pretentious modern power/post-thrash which looks at the Venom and Motorhead heritage ("Princesa Do Deboche") on the faster material with only a handful of cuts moving towards the more aggressive, purer thrash zone ("Muse Of The Flaming Copulation", "Tongue In The Cunt"). This is decent party fun topped by hoarse, abrasive, mid-ranged semi-clean vocals distantly recallling Cronos.

The Return of the Blasphemic Depravation Full-Length, 2016



Thrash/crossover with borrowings from death metal and occasionally grindcore; very short, not very fast, mostly up-tempo, songs with the tongue-in-cheek humorous attitude of Lawnmower Deth captured really well although the guys could have benefitted from longer compositions: cool energetic thrashy passages are left undeveloped, abruptly finished, because of the minute length of the material (the longest number "Wam Bam Didn''t Know You Were A Man" is 2.33-min long, and is the softest and least interesting one offering bland modern stoner/heavy metal).

Thrush Bang Mania Full-length, 2007
Split Roast Split, 2009
Papsmear Campaign Full-length, 2009

My Space


Based on the debut EP, this is a cool thrash metal band with a rich, dark sound similar to Risk's "The Reborn", but Curare have the tendency to speed up at times ("Generations Talk"), and their song-writing is a tad less complex. The musicians previously had another act, Wicca, with whom they released one very good effort in 1988.

I got ahold of the band's last work: the EP "Zeit" which is industrialized metal akin to Rammstein having nothing to do with the first one. These guys must have undergone quite a metamorphosis in the span of a decade...
"Moments Before Detonation" comes too late to preserve the classic spirit of the EP, and this effort is run-of-the-mill modern thrash starting misleadingly with the energetic Bay-Area thrasher "Raw Conversation". Later on one will encounter a clumsy mix of heavy groovy tracks and uplifting short crossover ones with only one more pleasant surprise: the cover version of Exciter's "Violence & Force", done in a vigorous classic manner faithful to the original.

Just a Scratch EP, 1991
Moments Before Detonation Full-length, 1995
Diary of a Barfly Full-length, 1997
Zeit EP, 2000


The debut: this Finnish outfit offer modern thrash with forceful death metal vocals. The guys rely on the mid-pace for most of the time, but the sound is intense thanks to the hammering riffs and the battle-like atmosphere created, not far from the war masters Bolt Thrower, only that the guitar sound here is crisper and not as dark. "Crusade" is a surprising headbanger near the end, complemented by the equally as furious closer "Resigned Eyes", but generally the concentration on this album is more on heaviness rather than speed and aggression.

"Artificial Revolution" is a noisier affair now bordering on thrashcore quite a bit with a few more proficient numbers ("Free Standing Nation") scattered around. "Faith & Obsession" is a wild deathster, but there's a lot of groove involved, too, as well as a few "love songs" (the stomping "Love Song") to a really "romantic" effect the latter atmosphere further enhanced by the good female vocals on "Preachings".

Realization Full-length, 2012
Artificial Revolution Full-Length, 2014

Official Site


A new Polish trio pulling out dark modern post-thrash in a predictable mid-pace with grungy passages and very heavy guitars. Nothing extraordinary, just smashing rhythms topped by forceful semi-shouty vocals.

Relief EP, 2010

My Space


Fast intense thrash metal not miles away from Sarcofago and early Kreator, even clinging towards the death metal side on the more brutal parts ("Reaper"). What makes this band stick out among the hordes of similar acts from South America is the nice melodic guitar lines which show up from time to time (especially those on "Sentencia de la Muerte") which have this unique folk/epic sound, and are quite fast, by the way. The vocals are brutal, violent, again recalling Sarcofago.

Sentencia de la Muerte Demo, 1987
Demo Demo, 1989

My Space


Noisy raw thrash/proto-death metal coming with some of the worst sound quality to ever grace these ears. Still, one can distinguish speedy energetic speed/thrash ala Rigor Mortis and early Devastation with simplistic guitars and awful shouty vocals which, fortunately, are not so frequently applied.

Demo Demo, 1988


This is cool retro thrash with death metal overtones, not far from the early Death efforts and the Pestilence debut. The music is expectedly fast and energetic, graced by an atmospheric peaceful semi-balladic outro ("Down Your Veins") with nice leads. The guys are involved in other acts, including the more recent thrash metal heroes Fallacy, the heavy metal act Shivan, the death metallers Undertaker, etc.

Demo Demo, 1995

Fan Site


The full-length: an interesting, curious blend of semi-technical modern power/thrash and more epic death metal arrangements; the band have the necessary skills to pull it through despite the contrasting mixture and manage to create the desirable dynamic setting coming close to the larger-than-life pictures of more recent Imagika if we exclude the not very pleasant shouty death metal vocals. Lyricism is not a "stranger" to this effort, either: check out the great balladic lead-driven section on "The Curse"; neither are some stylish exercises in technicality (the excellent dramatic shredder "Pleasures Of Death") which are clearly the highlight and should have been more. Still, the band succeed in keeping the intrigue throughout and there are very seldom moments when one feels that they may have lost the plot for a while (the closing opus "Rise from the Ashes"). Some of the band members were previously engaged with the thrash Metal outfit The Dark Lords of Stonehurst with whom they had one full-length released in 2008.
The EP contains dark brooding thrash which is more ordinary than the delivery on the full-length. The band feel content enough to pull out sharp, choppy abrasive riffs which seldom leave the mid-pace and may bore the listener despite the relatively short duration. The vocals at least have been tamed a bit now less shouty and not as irritating.

Curse of Samsara Full-length, 2012
Breaking the Curse EP, 2015

Official Site


This is standard modern thrash with strong Gothenbutg undercurrents which at times turn to pure metalcore. Nevertheless, there's a lot of energy put into the recordings and the leads are quite good coming with a nice passionate melodic blend. The guys soften down in the middle the speed disappearing for a number of cuts which cling towards the semi-balladic to a more musically proficient, but not really exciting and eventful, effect. The guys excuse themselves with the engaging progressive opus "77" where a lot of furious thrashing encounters some more quiet Opeth-esque sections.

Building the Palace Full-Length, 2013

Official Site


Nick Cates, an ex-member of 3 Inches of Blood, is in charge of the bass and vocals here; otherwise the music isn't much to talk about being an alternative form of the 90's post-thrash featuring a couple of cool melodic hooks and dreamy balladic sections (the nice cut "Oblivion"). "The Wastelands" is a more ambitious undertaking with progressive touches, but the slow-ish pace isn't enough to keep the mood high for the whole 7-min.

Revelations EP, 2011

Official Site


Raw Bay-Area thrash sounding like a lesser Defiance; the guys try to blend fast-paced with slower pounding tracks, but end up nowhere with dull clumsy guitar work, awkward tempo changes, and awful drunken semi-death metal vocals. Their guitarist Roman Batyra did a much better job in Geisha Goner a few years later.

Rehearsal Demo, 1989
Easy Madness Demo, 1990


Based on the "Blood in the Water" EP, these lads serve a curious mix of black, thrash and death metal which boldly borders on the dissonant as the more thrash-fixated moments ("Old World Plague") seem to deliver the better slightly ruined by the throaty death metal vocals. "Holocaust" is an admirable short headbanger, but watch out for the brilliant lead-driven instrumental "Eulogy", a marvellous display of musical proficiency. Some of the band memebrs were previously involved with the death metal formation Infestation.

In the Trenches EP, 2010
Blood in the Water EP, 2018

Official Site


Typical groovy 90's post-thrash, mid-paced with a slight hardcore edge, one-dimensional and uneventful; "Jesus On Line" is the only more dynamic track here featuring more vivid thrashy riffage, and partially the crunchy "Spit In My Face".

Gravewish Full-Length, 1998


Imagine vintage Candlemass or Saint Vitus, the way they used to play in the 80's, mixed with nice semi-technical thrashy riffs, and the result will be this album. This is by no means fast music, so fans of the more aggressive side of thrash metal will probably not like it a lot. But those who are into heavy, smashing riffs with a cool semi-technical edge will rejoice. A similar sound was displayed on the Americans Last Descendants' only release, but it featured some up-tempo moments, whereas here the only temptation at a faster play is on "Perfect Amour": a really nice thrasher, and partially on "Symbiosis". Hats down to this band who tried to keep the classic sound of thrash during the difficult 90's, by giving it a nice, more unusual touch.

Symbiosis Full-length, 1994


A cool mixture of classic and modern thrash coming close to modern day Kreator and another contemporary German act: Blood Red Angel. The tempos change all the time from mid to up and vice versa hitting the very fast ("Clawed Impostors") perimetres occasionally. The second part sees the guys obviously tired from the energetic approach, settling down for a more moderate mid- paced delivery. The instrumental "Fuck It", despite its silly title, offers nice dynamic speed/thrash metal also touching Paradox, plus genuinely creepy closing riffs with a doomy twist.

Taste the Fear Full-length, 2009

Official Site


Modern Swedish thrash with elements of death metal, a standard energetic affair with several relaxing balladic passages (including the intro and outro), but the other extreme is also well covered: the brutal blasting cuts on "Tolerance Lost". The singer is good, though, deliverinng with a forceful semi-clean tember akin to Charly Steinhauer (Paradox). Some of the band members released two demos of classic power metal under the name Shadowself.

Cursed Eternity EP, 2004

Official Site


A cool entry into the Brazilian thrash metal catalogue of recent years: aggressive thrash of the old school mixed with some crossover aesthetics. The band rip hard-hitting riffs to no end the assault led by the forceful shouty vocals. Compulsive headbangers one will encounter on every corner the fun never stopping on this uplifting mosher which suffers a bit from the buzzy sound quality and the relative short song-length which leaves a few very cool riff-patterns kind of undeveloped.

Metal Moshing Thrash Machine Full-length, 2012

Official Site


An unknown Russian entry into the early 90's thrash metal catalogue featuring pretty amateurish heavy thrash with a really bad abrasive sound, and awful rending vocals. The music takes off, but just for a bit, on the faster sections ("KGB"), but the level of musicianship is so basic that it's kind of good that those same sections don't develop beyond the spasmodic "outbreak of evil".

Hebephrenia Demo, 1990


One of the representatives of the wave of Japanese black/thrash metal bands (Abigail, Barbatos, etc.); there are only two original songs on their full-length; the rest is covers of songs of heroes from the 80's: Razor, Voivod, Hirax, Sacrifice, Exodus, Warfare. etc. The sound is raw, especially on the live tracks at the end, but the musicianship is surprisingly tight with cool sharp riffs.

Rape Rape Rape Full-length, 1999
Please show me your pussy EP, 2002
Anal Electrocution EP, 2005
Branded Then Whipped EP, 2006

My Space


Heavy, modern, groovy post-thrash which, for some strange reason, reminds of Skid Row's "Slave To The Grind" quite a bit, mostly in the music department.

Ten of Seven Full-length, 2005

Official Site


Based on the self-titled demo, these guys offer cool thrash which is at times quite heavy and pounding ("976 Slut"), at others speedy and intense ("Dying Earth"). The guitar work is very sharp, and the riffs lash you like whips from all sides, all this coming with a very good sound quality. The singer has a good clean tember slightly reminding of Michael Coons (Laaz Rockit), especially when he goes for the higher notes.

Cutthroat Demo, 1989
File To Death Demo, 1991


Atmospheric death/thrash metal, recalling the Danish Withering Surfaces, with a very tasteful use of keyboards and slower, doom/death passages calling to mind their compatriots Orphanage.

The Fools Crowned Themselves Gods Full-length, 2006

Official Site


This is prime energetic thrashcore with surprisingly heavy guitars which don't let the pace drop a lot and it can't possibly happen with songs no longer than 1.5-min. There are several slower stomping moments, but this is an overall energetic optimistic effort done just for the fun of it assisted by merry clean semi-shouty vocals.

Skate to Hell EP, 2012


An energetic obscurity from Switzerland which will remind of the German heroes Iron Angel and Warrant; fans of the good old speed/thrash hybrid will be delighted all over the guys also ensure good semi-clean vocals which try different ranges in way similar to Kai Hansen. "Metal Farts" is a prime speedy shredder also recalling Angel Dust, and "Stronzo Superman" is a fine diverse galloper which precdes the final string of cuts that are maddening short speed/thrashers with echoes of crossover. This is a really nice gem showing the Swiss metal scene as a fertile ground for high quality metal beyond the Coroner and Celtic Frost heritage.

Possessed By Evil Slippers Demo, 1987


Brutal uncompromising thrash metal along the lines of Recipients Of Death and Morbid Saint; the music has a strong shade of hardcore as well ("Country Mosh-Cya"), and even punk ("Fucking"). The sound gets quite chaotic and disjointed ("Unstoppable Madness"): some slower riffs get mixed with ultra-brutal grindcore-ish ones, and this amalgam doesn't sound very appealing. When the guys slow down, which doesn't happen very often, they deliver the goods in a better way: the heavy mid-paced thrasher "Nightmare" which also speeds up quite a lot at the end. The instrumental piece "Transistion" closes the album in a more controlled manner, again nicely slowing down, even managing to sound occasionally semi-technical.

World Peace Six Feet Under Full-length, 1989


Fast blitzkrieg retro thrash the remorseless delivery accompanied by husky deathy vocals. "Drunk Attack" is a cool uplifting all-instrumental speedster, and it surprisingly pairs well with the next "Welcome to the Slasher" which is a mid-paced smasher with speedier disruptions. "Quintessence of Death" moves up the brutality scale with less tamed death metal-ish outbreaks, but "Goat s Head" is a safe jumpy thrasher as well as the cool cover of Venom's "Black Metal", reproduced faithfully except in the vocal department.

Quintessence of Death Full-length, 2017

Official Site


The awful sound quality mars this recording beyond the point of redemption; otherwise this is heavy, predominantly mid-tempo, power/thrash with bold doomy flavours and good deep clean mid-ranged vocals. The approach is right as rain without any adventurous attempts except for the short funky experimentation at the end called "Parade".

Synthesis Demo, 1989


This obscure trio pulls out competent modern progressive thrash metal influenced by Voivod, Meshuggah, Obliveon, Alchemist, and the likes. The guys ably mix abstract and brutal riffs almost to the point of absurdity on the opening "Inheritance" and the next aggressive death/thrasher "Waiting For Her" which ends in a great surreal fashion. "Mother" is spacey progressive in the best tradition of Alchemist, but "The Cyberhed" switches on a more guitar-driven approach. "Anasstasia" is an eclectic atmospheric thrasher after which comes the short industrial noise "Mindraiser 6". "Lobotomy" is a modern progressive thrash masterpiece constantly switching from very complex labyrinthine sections to direct intense bashing ones. The closing "Worlds Embrace 8" concentrates on the more aggressive side thrashing with power without too many stylish decorations.

Face It Full-length, 1995


This act was started as a side project for members of the death metallers Detest. The music on offer is still death metal- influenced, but is more along the lines of industrial modern thrash acts like Grope (from the same country) and Puncture. So expect heavy crushing riffs intercepted by speedy jumpy passages in the best tradition of Fear Factory ("Falling"), or with the occasional more classic-sounding death/thrash metal outburst ("Sow the Child"). The final brutal touch comes in the form of the very low-tuned grunting vocals.

Chronicles Full-length, 1996


This young Romanian act plays a dark semi-complex mixture of modern and classic power/thrash metal. The album develops in a peaceful mid to up-tempo with occasional more brutal throw-ins (the death metal section on "My Stabile Delirium"). Certainly the more dynamic parts are more appealing ("Skull", the cool early Metallica-influenced "Indefinite Culprit"), although the guitar work relies more on melody and heaviness. There are keyboards, sparce female vocals, balladic passages, and other gothic elements which kind of take away from the thrashiness. Two cover versions stand at the end: Celtic Frost's "Dethroned Emperor", done in a faithful pounding seismic manner, and Testament's "Over the Wall" which nicely translates the original's fury and even the stellar Scholnik's guitar wizardry, and one may regret that such energy was seldom heard on the original material offered previously.

The Last Thing You'll See Full-length, 2009

My Space


This is a side-project of the Sex Machineguns members. Based on "Metal Circus", the music is very close to the one offered on the more recent efforts of the other band being merry heavy/speed/power metal, but here the mixture comes with just mere touches of thrash. The guys start lashing from the intro, and the opening "Air Force" is the definitive speed metal hymn something not heard since the early Helloween days. But the variety later on is expectedly quite big with just a few more aggressive "stops" on the way: the mid-paced crusher "Jumpin'". The rest is mild and happy and as such will find more fans on the heavy/power metal side of the spectre.

A Total Eclipse of the Sun Full-length, 2008
Metal Circus Full-length, 2009
Spactracks Full-length, 2010

Official Site


Modern thrash/death with a good taste of melody, but lacking in the speed parametres; everything develops in a heavy, seismic fashion the melodic tunes walking hand in hand with the crushing riffage on almost every track creating quite a bit of monotony towards the end also thanks to the never-changing brutal low-tuned death metal vocals.

The Age Of Depression Full-Length, 2014


The name suggests that this band shouldn't be taken seriously, especially after one expects to have girls here, and it turns out that there are only guys, some of them being part of quite a few of the big names on the scene: Overkill (Bobby Gustafson himself), Nuclear Assault, The Great Kat, Deadly Blessing, etc. The style is actually quite close to the jolly, unpretentious thrash played by the girl-bands like Original Sin, Meanstreak and Volkana, this time mixed with a certain doze of traditional metal.

Cycle Sluts From Hell Full-length, 1991

Official Site


The title of the debut suggests very well what happpens here: aggressive speed/thrash, not too far from the works of their colleagues from Germany Kreator and Destruction, but not as intense. The introductory "Prelude To The End" nicely warms up the listener for the speed/thrash metal madness which follows suit. The fast-paced formula is nicely "betrayed" by the heavy power/thrash stomper "The Call Of Steel", after which the music becomes more speed metal-based for a number of tracks, also "courting" Exciter and Destructor. "Take Thy Breath" restores the thrash domination with full force the latter also consolidated by the intense speed/thrashing closer "Incest Love".

The band inexplicably disappeared instead of nailing down a few more pieces of the same. After their 2nd album was released 4 years later, it was clear the the guys were preparing their magnum opus. The musicianship is so much better that the band sounds like an almost completely different one with heavy technical riffs and longer, more thought-out songs which recall Metallica's heydays. Again we have a warming thrashy intro which seemlessly flows into the mighty "Neurotic": a great up-tempo technical thrasher followed by the slightly faster "So Be It": another masterpiece of dynamic semi-technical thrash. "Paralyser" mixes slower and faster sections, but "Throw the First" brings back the speed also increasing the technical performance a bit. Another slower track comes: "The Other Side", but the ball of fury which follows it ("I Am The Plague") will make you jump around in no time. "Crown of Thorns" is probably the best way to close this great work: a very cool instrumental which sacrifices the speed for the sake of heavy riffage, accompanied by nice leads the final result recalling Metallica's "The Call of Chtullu". Unfortunately, this climactic release was left without a follow-up because the band disappeared again soon after, this time for good.

Brutal Destruction Full-length, 1986
Inferior To None Full-length, 1990

Vibrations of Doom


This is industrial post-thrash with sparce hardcore outbreaks sounding like a mix of early Pro-Pain, Acid Bath and GZR. The singer tries both aggressive angry shouts and intriguing semi-clean tones. The music is crushingly heavy, in mid-tempo, with the aforementioned hardcore moments breaking the pattern.

Braindead EP, 1996


This band is the continuation of the great Znowhite minus the girl Debbie Gunn. Of course, "Act Of God" can't be beaten so don't expect this to happen here, but Cyclone Temple pull out really cool heavy, at times semi-technical, thrash on their debut, calling to mind late 80's Metallica and Heathen's "Victim Of Deception", a surprisingly classic sound having in mind the year of release. Gunn's replacement, the singer Sonny DeLuca from the obscure thrash metal formation Enchanted (one demo released in 1989) does a fairly good job behind the mike with his warm emotional semi-high clean tone, and the others keep up the high quality thrashing far'n wide on the opening smasher "Why" which is a technical hard-hitter with sharp vivid riffs. "Sister (Until We Meet Again)" is mostly a chugga-chugga riffer with very heavy guitars before "Words Are Just Words" elaborates things further with its more complex semi-balladic delivery which turns to furious technical thrash in the 2nd half. "In God We Trust" is a more immediate headbanger with direct rapidfire riffs followed by the larger-than-life title-track which shreds in a heavy manner with the semi-ballad touched again in the beginning. The last 3 numbers are more relaxed technical exercises not scoring high in the speed department, but satisfying enough with their consistent super-heavy rhythm-section. This was a good new beginning for the guys without the girl, but it remained to be seen how long they would hold the fortress of the classic sound...
The EP, which appeared about 2 years later, was already a pure aggro-breeder, post-thrashy and groovy to a not very pleasant extent. After this bland release the expectations for the sophomore album weren't very high, and indeed it was another disappointment being a full-blooded product of the 90's, a pale shadow of the very good debut. It was no surprise the band's dissolution after it with neither of the musicians ever seen in another formation all these years.

I Hate Therefore I Am Full-length, 1991
Building Errors in the Machine EP, 1993
My Friend Lonely Full-length, 1994

My Space


This is obscure madness which sits in the hardcore camp for at least half the time the rest occupied by more straight-forward thrash which not surprisingly provides the more listenable side of this wild underground "beast" which still has its more fascinating, melodic face (check the catchy hooks on "Killing Time" and elsewhere). The vocalist nicely fits into the hyper-active musical landscape with his attached semi-clean shouty antics.

Demo Demo, 1986


These are the guys from Viscid Viscera, one of the best kept secrets from the German underground from the 80's, who rose for one more temptation here doing a fairly good job lifting the musical level up a few notches to come up with interesting progressive/technical thrashism which sounds like an illegitimate "child" of Vendetta's "Brain Damage" and Angel Dust's "Into the Dark Past". The muddy sound quality from the band's previous "exploits" remains, however: the guitars, or rather guitar, are given a buzzy sound which rules over the barely audible bass the latter given a sole chance to "speak" at the beginning of "Frightmares ". The compositons are lengthy within the 5-6min parametres and contain quite a few twists and turns the singer's vocal heroics spared on the nice quirky instrumental "Smashed Salad Syndrome" which also features very tasteful melodic leads and hooks. That same singer sings in the same manner as before, clean attached tirades without any high-pitches. The guys were by all means heading somewhere, but they never gave themselves a wholesome chance to walk with the finest.

Possible Side-Effect: Death Demo, 1987


Based on "Ashes to Ashes (Only Rosie Forever)", this band fits into the overall quite cool picture from the Polish scene: I mean the more technical side, occupied by Turbo, Wolf Spider, Astharoth, Atrocity, Geisha Goner. These guys are much more melodic than the others clinging more towards the power metal territory, but in terms of complexity they try hard to rank with them, like on the excellent "Reality...I'm Alive", but sometimes it's offered with some relief like the faster more direct passages on "Day After Day". "Come Back and Stay" is a cool ballad, and isn't totally unexpected having in mind the big sense of melody displayed before it. "The Bridge pt. II (Ashes to Ashes)" (where's pt. I?!) contains another lengthy balladic section, and until the end there isn't much in terms of thrash to be heard although the rough semi-clean tone of the singer is hardly the best choice for the softer moments. Reportedly their debut featured a much more aggressive and elaborate thrashy material.
Alas, despite being more aggressive and more thrashy, the debut is a less ambitious affair the band mixing fairly heavy riffs with faster, sharper ones which still don't go for the speed a lot, preferring to lash in mid-pace supported by a thunderous bass bottom and rough, unrehearsed, semi-clean vocals. At their best, which happens very seldom, the guys touch Metallica's more technical period ("Uncertainty"), but most of the time this is a semi-amateurish offering with a not very good sound quality. Fortunately, later the guys managed to find the way to produce more sensible music.

"Flood and Field (For the Common Man)" has nothing to do with thrash, a tendency already started with the previous album; this is dreamy, balladic stuff which borders on heavy/power metal ("Crying") on the more lively moments, but generally this is music for the tender-hearted; not for hard-boiled fans...

...As a Goblet of Gore Full-length, 1989
Ashes to Ashes (Only Rosie Forever) Full-length, 1991
Flood and Field (For the Common Man) Full-length, 1992


Based on the full-length, this act, who is fronted by a girl and one may find it hard to accept this fact due to the girl's rending death metal histrionics, play modern thrash/death which is rich in atmosphere and melody. The girl uses her more normal, cleaner vocal delivery at times to suit better the more lyrical passages which are also quite a few. Things become more dynamic in the 2nd half where rippers like "Awakening" and "A Farewell to Harm" will make you mosh around for a bit. "Servant to the Fire" is an assured classic headbanger near the end which promises more on future releases.

Disgraced EP, 2013
Servant to the Fire Full-length, 2014

Official Site


Groovy hardcore-ish post-thrash ranging from jumpy groovers to more intense outbreaks the latter coming close to Madball including in the angry shouty vocal department.

Time for Confrontation Demo, 1994


These progressive death meta/fusion experts were some consummate thrashers before anything else. Their debut demo is a classy 3-songer developing in a hectic semi-technical manner with pounding riffs and the staple strong bass assistance. The guys rely on the gallop at this stage, and this technique graces each of the songs along with tools from the Bay-Area repertoire. The vocals are already on a proto-death metal level, but are unobtrusive and generally intelligible.
The "Reflections of a Dying World" demo is the guys' real initiation into progressive/technical music and the opening "Denaturalizing Leaders" is a major head-spinner with abrupt time-changes also adding a few tasteful lead sections to the puzzling melee."Extremes" is a choppy thrasher coming as more technical Sacred Reich's "The American Way", and "A Life Ashtray" is an almost doomy stomper with a nice fast-paced exit with a crossover shade. "Agitating Affliction" is an aggressive shredder with some actual proto-death metal flair, a speedy impetuous composition with sharp cutting guitars.

The 1990 demo is another stylish 3-track affair "Lifeless Irony" being a technical fast-pacer with some genuine technical flourishes. "Thinking Being" digs deeper into the technical thrash realm with lashing intelligent riffs again on a challenging speedy base. "Cruel Gentility" is the final technical feast with fast-paced passages interlacing with more complex vortexes to a startling effect. Still, those efforts were not even a slight hint at what the band were preparing to unleash upon the world with their full-length 3 years later.

Demo Demo,1988
\tab Reflections of a Dying World Demo, 1989
Demo Demo,1990

Official Site


The demo: modern thrash/death metal with a curious technical "sting" not far from more recent Invocator and Darkane. The guys thrash confidently on energetic numbers like "Dismiss The Reality" occasionally eliminating thrash metal from the formula at times: the aggressive deathy "Retribution"; the unbridled madness "Tree Of Life". Watch out for the final "Black Out The Sun": a nice melodic track with excellent virtuoso leads their impact slightly spoilt by the brutal low-tuned vocals. Some of the band members also play in the death metal outfit Torture Cell.
The full-length is a more ordinary-sounding affair the technical element almost completely missing the guys now shredding in a more direct, but not really striking manner producing pedestrian modern thrash without too many exciting moments. It's all competently done and all; it's just that the demo showed some promise which here is barely hinted at...

Black out the Sun Demo, 2011
Dead Dream Gallery Full-Length, 2014

My Space


This talented Polish guitar player is a nice companion to the Great Kat in the female instrumentalists' section. Witthoft is not as classically-inclined as the Kat, actually there are very few classical moments in her career. She provides instrumentals only, and in each album there are at least half a dozen of those which would be quite interesting to the thrash metal fan, especially those on "Girl of a Thousand Faces" which is mostly intense thrash shredding, favouring the classic sound more, with aggressive death metal sections, slow atmospheric black metal ones as well, one pure electronic experiment, and more. Apart from the very expert leads, she gives quite a room to the sharp riffage to develop, and as a whole there isn't too much of a technical show-off to bother the listener, maybe on a very few occasions. The tempos are quite varied, including a few super-fast brutal moments. The songs are normally-structured compositions, which simply miss the singer. Only "Porn Blues in My Bed" could be skipped by the extreme metal fans as it is a collection of blues-ish instrumental pieces (not much porn here) with not many relations to metal.

Death Experience Full-Length, 1999
In God We Cannot Trust Full-Length, 2001
Girl of a Thousand Faces Full-Length, 2002
Progressive Metal Experiment Full-Length, 2005
Porn Blues in My Bed Full-Length, 2007
Classy Metal & Charm Full-Length, 2007


"Infliction of Pain" opens this demo in a furious way, a smashing 3-min speed/thrasher in the best tradition of Agent Steel's "Unstoppable Force" (think the song of the same title). Unfortunately what follows is just average power/thrash ala Savage Grace and early Laaz Rockit, not bad, but too disappointing considering the great start.

Nothing is Sacred Demo, 1987


This is cool progressive power/thrash metal with a heavy thick sound; the music isn't too far from A Lower Deep, or even Nevermore on the more inspired moments, but these guys come before them in terms of time, and are heavier than both. The title-track is a more light-hearted opener relying quite a bit on the modern 90's trends and doesn't really promise much despite the timid attempts at more technical performance. "No Fear" takes a more thrashy edge, and "Society Saves" speeds up admirably with nice sharp riffs. "No Regrets" is probably not the best continuation and kills the gained inertia, but is a commendable achievement in the balladic sector boasting heavy crushing riffage as well. "Say Good-Bye" brings back the intensity which again takes faster dimensions, on the energetic "The Nature of Things" which nicely combines direct and technical guitars, and is the best song here. "Invitation To Injury" is a major thrashing delight, quite fast and aggressive on some parts. After such good performance all over, the ending is by all means underwhelming: the doom metal opus "Beaty" is maybe slightly off the track, but is cool and heavy, but hats down to the guys for the cover version of this awful "Mississippi Queen" (other metal bands (Wayne (R.I.P.), etc.) have also tried their hands on this one; why!?): one can hardly come up with a worse choice for a closer of a thrash metal album.

Sanity Management Full-Length, 1992


The debut: this band, which line-up includes Joost van der Graaf: the bass player who was a member of the death metal masters from the mid-90's Creepmime, plays typical energetic modern thrash/death metal with a Gothenburg flavour. This is good stuff with sharp riffs without too many melodic trappings and casual leanings towards the old school sound.

The demo is 3 songs following the Swedish trends pretty closely, but with a faster, more brutal sound which calms down for the epic Amon Amarth-esque "The Flaming Brand Of Heresy", boasting great bass support. The rest is bashing madness with a few nice melodic implements.

Darkday Carnival Full-length, 2006
Tyrian MMVIII Demo, 2008

Official Site


Based on "To North and Under", these guys offer minimalistic modern thrash metal with epic/doom tendencies strangely recalling mid-period Immortal on the more atmospheric moments. The music is predictably mid-paced slowing down to doom metal at times (the excellent "Passage Of Evil"; the creepy gothic/doomster "To North And Under") where the approach doesn't shy away from Paradise Lost. On the other hand, we have the melancholic acoustic Opeth-esque ballad "Across Black Water". As a whole this is an encompassing delivery which mostly suffers from the not very convincing low-tuned brutal and more melodic gruff, ala Mathias Lodmalm (Cemetary), vocal duel. Some of the musicians also try their hands on more melodic progressive metal in Ancient Dawn.

Gods Torned Full-length, 2008
To North And Under Full-length, 2010

Official Site


A forgotten gem from the 80's US underground seeing a talented act lashing fiery rifs in a more or less bridled speed/thrashy fashion. The style ranges from short explosive "aggressors" ("Infliction Of Pain") to heavy power/thrashy pounders ("Beyond The Darkness"), to pure speed metal happinesses ("Running Wild"), to worthy attempts at the semi-ballad ("War Of The Lords"). The singer is a good addition with his versatile voice covering several gamuts including a few hellish screams where he'll recall both John Cyriis (Agent Steel) and Warrel Dane (Sanctuary, Nevermore), among other lesser known throats. Fans of early Helstar, Aftermath, Griffin, Hallows Eve, and Savage Grace will be delighted to dig this one.

Nothing Sacred Demo, 1987


A decent blend of old school and modern thrash touching more recent Paradox ("This Life") on the more inspired moments. The singer isn't bad at all with his cool attached clean tember and he may be considered the main asset here. A few more engaging numbers can be come across in the middle ("the title-track, "I Won't Fall") where the speed gets decreased. "You Kill Me" compensates with a portion of fast blitkrieg rhythms, but the final "Purity Control" is another reliever with its laid-back alternative riffage.

The Hospital EP, 2015

Official Site


Very few bands have managed to capture the controlled aggression of Slayer's "Reign In Blood" like this one: intense, fast thrash attack from beginning to end bordering on death metal; a magnificent cover of "Angel Of Death" awaits you at the end; not for the faint-hearted.
"Despisers of This Mortal Coil": the band are back after a lengthy 10-year pause and they sound angry and ready to do more damage with their shattering old school sound. The band thrash with no remorse with Slayer again a fairly close soundalike on at least half of the tracks the proto-death lace springing up at times also reflected in very short spasmodic proto-blasts (the maddening "Slashed Throat Serenade"; the brutal basher "Face the Flesh"). The more relaxed side of the album ("Morals To Burn"; the melodic delight "Akrasia") sounds kind of more appealing where even some technicality can be felt. The end comes in the form of a good faithful cover of Sodom's "Agent Orange" which is played carefully with proficiency the guys paying their regular tribute to their peers from the good old days.

"Requiem of Ruin" sees the guys quick to capitalize on the thrash metal resurgence period and fans of all things old school (Slayer, above all again) will rejoice listening to this brutal spontaneous slab of thrash which will blow their socks off with the very first trio of songs although later on the guys calm down a bit spicing their venomous approach with a few more laid-back rhythms. The forceful shouty singer is another valuable addition his dramatic rendings being quite close to the ones of early Tom Araya the guy here coming as a bit more melodic perhaps. This is the good old thrash, the way we all know it so well, and as such this effort will surely find its acceptance among the fans without any problems.

Concussion Symphony Full-length, 2002
Despisers of This Mortal Coil Full-length, 2011
Requiem of Ruin Full-length, 2012

Official Site


Epic/viking metal meets thrash/death for the production of this entertaining battle-like music which is expressed in the form of long progressive compositions where loads of tempos shake hands the final result a not very even concoction of Bifrost, Isengard, early Enslaved, and Dark Tranquillity with all influences introduced on every song each of them also graced by good versatile vocal peformance which ranges from deep clean singing ala Fenriz (think his vocals on the Isengard efforts) to scary black metal hyper-rasps in the vein of Shagrath (Dimmu Borgir).

Nocturnal Escapade Full-Length, 2001


B'Hellmouth from the thrashcorers Send More Paramedics tries his hands on modern post-thrash of the laid-back type trying to break the rules of hardcore in a manner not too removed from Biohazard resulting in jumpy dynamic, but fairly predictable, stuff which moves towards the more alternative side of the spectre ("Time to Die") to a not very impressive effect. The closing "Landfill Gulag" thrashes a bit harder with hardcore passion, but again the inspiration is seriously lacking here.

Cyvoid EP, 2011

Official Site


A cool entry into the modern thrash/death metal genre which relies on hectic semi-technical patterns to pull it through and succeeds for most of the time with choppy rhythms, sudden tempo changes, and occasional clever explorations in technical/progressive thrash ("Lud i Ambiciozan"; the excellent dynamic technicaller "Extreme Messy Cooking" sustained in the best tradition of early Flaming Anger). More technical prowess for the future wouldn't be detrimental at all, and the singer could try to sing in a more attached manner: his gruff quarrelsome style is hardly the band's biggest asset.

Stari Panj Full-Length, 2011

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