Copyright (c) 2007-2024 THE THRASH METAL GUIDE

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

CH-B (UK)

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 sparse 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 deprived 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

CHA-M (AUSTRIA)

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

CHACINA (BRAZIL)

This is old school thrash/crossover that lashes hard with “Insignias” before “A Chave” trots on the side with meeker power metal-ish rhythms. “Lagoa Negra” energizes the environment with a more fever-ish speed metal layout, but “Cesario Motta” is the real violator here, a definitive moshing marvel which is admirable supported by the short abrasive rager “Gaza”. The singer is a throaty intimidating semi-reciter whose tirades are overall legible. Some of the musicians are also active with the heavy/power metal outfit Megadriver, and the power/thrashers Cellmys.

Gaza EP, 2015
Mortus Operandi Full-length, 2019
Lagoa Negra Full-Length, 2023

Official Site

CHAIN HOME (NORWAY)

A modern brand of power/proto-thrash which comes more complex and entangled on the longer material which arrives after two relatively simplistic shredders, but the overuse of balladic/semi-balladic nuances on those kind of diminishes their impact with only the title-track livening the situation a bit with a portion of more dynamic riffage which partially gets lost.. sorry, translated on the short immediate "Lost". The vocalist does a decent job trying to stick to James Hetfield's hoarse semi-clean croons although this particular style doesn't always fit the prevalent mellow nature of the music.

Instincts Full-Length, 2018

CHAIN REACTION (POLAND)

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 riffs with his warm deep clean voice who unleashes more brutal hellish shouts more or less appropriately. In the second 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

CHAINBOUND (USA)

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

CHAINBREAKER (AUSTRIA)

Based on "Relentless Night", this act provide blistering energetic retro speed/thrash with a few blacky leanings ("Vile Hounds"), the raven-like vocals also clinging towards that direction. The guys seemingly have a lot of fun shooting short exploding headbangers ("Iron Grave", the early Destruction-sque title-track), but they don't forget about spicing their repertoire with the odd more serious proposition (the academic mid-tempo stomper "A Prayer Down the Drain"), also adding a few tasty melodic licks on "The Axe" and "S.M.P.@.

Awakening of Evil EP, 2016
Wasteland City Full-length, 2018
Relentless Night Full-Length, 2020

Official Site

CHAINBREAKER (CANADA)

The full-length: luminaries from the Canadian underground (Rammer, Cauldron, Thor, etc.) have gotten together to pay tribute to early Bathory and the simplistic barrage of Toxic Holocaust (some of the band members have had stints with this act, too). Expect one-dimensional up-tempo music which resembles early Venom as well ("Get Yer Feed", "Methalina") on the slower material, with the shadow of Motorhead felt on the catchy roller-coaster "Hellbound", the shouty semi-clean vocals decidedly emitting more passion than our beloved late Lemmy.

Constant Graving EP, 2014
Lethal Desire Full-length, 2019

Official Site

CHAINED MESSIAH (HOLLAND)

Based on the full-length, this band play intense old school thrash wirh sharp cutting guitars, the uncompromising assault relieved by nice melodic leads and interesting semi-technical decisions ("Puppet Queen"). "I Fucked Up" is a surprising moody brooding mid-pacer giving the versatile vocalist a chance to display his more lyrical side as elsewhere he switches from leveled semi-clean croons to brutal deathly semi-shouts the whole time. Some of the band members can also be seen in the black/death metal hybriders Tragacanth.

To Those We Hate EP, 2010
No Saviour Full-length, 2018

Official Site

CHAINED MIND (COLOMBIA)

This is dark heavy power/thrash which is built around stomping seismic rhythms the guys feeling more comfortable with depressing sinister cuts like "Night" and "Lies" the latter pretty strong on poignant melodic tunes as well. The second half loses the thrash and goes into post-thrash territories the short speedy "Insomnia" providing the rude awakening, the vocals not doing much being semi-declamatory and drunkenly hoarse.

The New World Order Full-length, 2020

Official Site

CHAINED SAINT (USA)

Classic thrash which is sustained in a well-measured trot, courting the Bay-Area models, above all, the stylish shorter "Stronger Than Stone (Blindside)" referencing both Testament and Heathen, before "Free Reign" and "Corrupt to the Core" notch up the speed to feverish headbanging proportions. Mechanical more sterile semi-technicality comes oozing out of "Demon Inside", but this is another energetic old schooler, the semi-clean/semi-shouty singer carrying the requisite melody when need arises.

Blindside Full-length, 2024

Official Site

CHAINFIST (DENMARK)

Modern post-thrash mixed with heavy/power metal; this is mostly mid-tempo stuff with good mid-leveled 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 its fast cutting guitars, but rest assured 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

CHAINFLESH (FINLAND)

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 insertions, 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

CHAINS OF MISERY (GERMANY)

Based on the self-titled demo, this act play acceptable if not very focused modern/classic power/thrash conglomerate, the balladic allusions of "Surprise of Live" well supported by an array of proficient melodic leads. "Dreammaster" is a passable mid-paced trot, and "This Hell" bravely flirts with the realms of doom, think jarring Confessor-esque layouts, coming up with the most convincing performance by everyone involved, save for the not very striking hoarse hardcore vocals.

Chains of Misery Demo, 1993
Sound of Falling Demo, 1994
Joe Demo, 1995

Youtube

CHAINS OF SUFFERING (CROATIA)

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

Youtube

CHAINSAW (GERMANY)

Based on the second 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 seeing 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 its raging bashing guitars. The massacre 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 album, making it one of the most impressive offerings from the prolific German scene for the past 10 years. This is classic speed/thrash at its uncompromising 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

CHAINSAW (GREECE)

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.
The debut is an all-out lashing affair the guys shooting a bullet after bullet with the utmost intensity, wound-inducing stuff with rippers like "Maniac" and "Cannibal's Ballad" leading this unrelenting assault with "Born With Horns" inevitably hitting the deathly confines, including the near-hardcore ones on the outrageous shorter "Night of the Satanist", the only truly relaxed moment being the Bulldozer cover of "Whiskey Time" from the Italians' debut "The Day of Wrath"; and partly the speed metal merry-go-rounder "Voodoo Curse".
"Satan" is another hyper-active offering, "Burn His Corpse" and "Death By 69" flying by with the utmost vehemence, shattering the environment but making way for the mellower Motorhead-ish rocker "Cry Blood" before "Go for the Throat" brings proto-death at your door in all its fierce glory. "The Dead Watch You" and "Full of Evil" are more on the ripping speed metal side, adding more diversity to this intense aggressive recording.

Hill of Crosses Full-length, 2014
Filthy Blasphemy Full-length, 2017
Satan Full-length, 2024

Official Site

CHAINSAW (HOLLAND)

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 Baghdad", 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

CHAINSAW CARNAGE (USA)

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

CHAINSAW KILLER (COLOMBIA)

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

CHAINSAW WOUND (AUSTRIA)

Three tracks of routine classic thrash which can be both brisk and semi-technical ("Pike Strike") and dark and doom-laden ("Suffocate"). The vocalist is a gruff hardcore shouter but somehow fits the variegated soundscapes which on "Left to Rot" are woven of several currents, the intended complexity not really achieved due to the song's short duration.

Triple Homicide EP, 2021

Official Site

CHAINSNAP (HOLLAND)

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

CHAKAL (BRAZIL)

One of the veterans on the Brazilian metal scene; their first two 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 two 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

CHAKALISIMOS DEL RITMO (CHILE)

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

CHALICE (BELGIUM)

Based on "Ashes of Hope", these lads pull out modern melodic thrash/death metal which is mostly built on laid-back mid-paced riffage with bold echoes of more progressive song-writing ("Amongst the Damned"). Allusions to mid-period Dark Tranquillity are immediately drawn, but the delivery here is a tad more boisterous like on the epic black-tinged opus "Musings on the Bank" which also gives a chance to the shrieky raven-like singer to display his versatle range which also includes a few cleaner insertions on the elegiac/doom closer "A Death Without Warning". Some of the band members can also be seen in the power metal formation Eternal Breath.
"There Is Nothing" is a softer offering the guys shredding with a lot more melody, also trying something more progressive ("No Counterpart") on occasion, the more dramatic accumulations on "Dead Nation" threatening the established idyll, the latter also shattered by the brutal blasting sections on "Parasites of Hatred". "Stop Trying" is a lyrical atmospheric semi-ballad, a mellow sentiment later mimicked by the short blasé "Coward" and the lengthy lethargic sprawl "When Your Gods are Sleeping". Some of the musicians also play with the epic deathsters Caducity, and the power metal formation Eternal Breath.

There Is Nothing Full-length, 2013
Closure EP, 2015
Ashes of Hope Full-length, 2018

Official Site

CHALIZE (AUSTRIA)

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 something about how to play tasteful post-classic power/thrash without sounding ridiculous.

Chalize Demo, 1994

CHAMBERS OF INSANITY (AUSTRALIA)

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 isn't 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

CHANGE OVER (GERMANY)

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

CHANGELING (USA)

This act pull out roughly-produced semi-progressive old school thrash which exudes some surreal style on “No Dreams for Free” with a choppy irregular rhythm-section, and although “Monsters of Id” is another less ordinary shredder, the pounding orthodoxy of “Fathoms” and the cumbersome layout of the all-instrumental oddity “The Crane” don’t leave such a positive impression, the gruff unrehearsed semi-clean vocals another debatable ingredient. “Hate” is a small revelation, though, a quirky mid-tempo trot which does away a few stylish entangled riff-knots.

Imagery Demo, 1989

Unofficial Site

CHANGER (ICELAND)

Based on the "Pledge of the Dying" EP, this band play heavy modern semi-technical thrash/post-thrash which pounds through the speakers in a fairly intriguing manner ("River of Bones"), the guys varying their palette, sometimes getting into the groove ("Tears do not Burn"), sometimes courting the macabre doom realms ("Fall onto Your Sword"), the shouty/semi-shouty death metal-ish singer assisting the melee to his best abilities, including on the melancholic dreamy "Three to One". The musicians are also involved with other outfits like the metalcore act Punks of the Empire, the retro thrashers Skurk and Stonehenge, etc.

January 109 Full-length, 2000
Inconsistency EP, 2001
Scenes Full-length, 2004
Breed the Lies EP, 2006
Darkling Full-length, 2010
Pledge of the Dying EP, 2022

Official Site

CHANNEL ZERO (BELGIUM)

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 between 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-thrash 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

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CHANNEL THE ANIMAL (USA)

Based on the full-length, this one-man show (the name Todd Seibert) channels the animal through a modern power/thrash hybrid which is equal parts more recent Annihilator (the stiff chuggy "Lifting Weights") and mid-period Megadeth (the excellent atmospheric "Check the Color of Your Collar"). "Forsaken" is a bland pseudo-progressive post-thrasher, but "Sinuous Slumber" is a cool more technical proposition partly ruined by the really bad shouty noisy death metal vocals which are sparsely replaced by better cleaner ones throughout.

InstrumMental EP, 2014
Channel the Animal EP, 2015
Channel the Beatles EP, 2017
Death of the Dream Full-length, 2020

Official Site

CHANWAY (CANADA)

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

CHAOS (CANADA)

This obscure formation play not very predictable quasi-progressive power/thrash with prominent bass support. "Doctor Suicide" emits some of the death metal 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 timbre, 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

CHAOS (INDIA)

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 second 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-thrash tricks introduced by "Indoctrination" although the band prefer the brutality as evident from "Death to the Elite" later. The post-thrash 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

CHAOS (USA, NEW YORK)

Choppy heavy old school thrash which ranges from more simplistic crossover formulas ("Incubus") to more convincing semi-progressive sagas ("Darken Ritual"), the band displaying their more technical tricks on the short stylish instrumental "Plaid Pants". The singer is a not very emotional semi-reciter who sticks to his listless antics without breaking the pattern too much.

Demo Demo, 1992

CHAOS (USA, WASHINGTON)

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

CHAOS AND TECHNOCRACY (ITALY)

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

CHAOS CENTURY (CANADA)

Based on the "Decaying Morality" EP, this band provide fast blitzkrieg retro thrash which rushes forward with lashing sharp riffs, with ripping uncompromising cuts ("Fascist Dictator", "Martyrs of Deicide") falling from all sides, the guys; musicianship on a fairly admirable level, the more intricate extrapolations on "Bloodborne Lust to Kill" nicely intermingled with a more brutal proto-death veneer. The mean vicious semi-death metal vocalist spits the lyrics with the utmost virulence, including on the closing "Re-Animation", a cover of their peers and compatriots Sacrifice from their sophomore "Forward to Termination", done with the expected professionalism and veneration towards the old school.

Decaying Morality EP, 2018
Parasitic Homicide/Psycho Nation EP, 2019

Official Site

CHAOS CHRIST (SOUTH AFRICA)

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/black shouts, scarily hysterical at times.

Ashes of Babylon Full-Length, 2014

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CHAOS CREATION (FINLAND)

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

CHAOS DESCENDS (GERMANY)

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 thrashier 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 doom 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

CHAOS DOCTRINE (SOUTH AFRICA)

The debut: modern quasi-progressive thrash which can be strangely captivating whenever some futuristic dissonance ("F.T.G.") gets introduced although the latter doesn't get too many chances to shine on the overlong, somewhat tediously executed 10.5-min saga "My Demise". The shorter material is way more convincing be it a morose doom anthem ("Incubator") or a dystopian proto-industrial saga ("The Genocide Number"), the steady forceful semi-clean vocals not changing much throughout, sounding more dramatic than what the sterile, dispassionate musical scenery requires.
"And in the Beginning... They Lied" is more of a thrash/death affair, and the bigger aggression utilized immediately shows up on the jumpy mechanical "Blood Serpent God", the keyboard ornaments on "Black Friday Bedlam" giving the recording a tangible operatic aura. The lack of speed is the reason why a feeling of monotony gets settled in in the second half, the more dynamic embellishments on "Father Grigori" cancelling outright the morose industrial dirges on "Christ Church Horizon".

Chaos Doctrine Full-length, 2018
And in the Beginning... They Lied Full-length, 2021

Official Site

CHAOS FEEDS LIFE (SWEDEN)

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

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CHAOS HORDE (USA)

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

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CHAOS LEGIONS (FRANCE)

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 thrashier 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

CHAOS LORDS (USA)

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 two 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 two 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.
The full-length isn't radically different from the delivery on the EP, the band marching assuredly with steady doom/thrash blends ("Valleygirl/Doomsday Parade"), slowing down a bit more often probably ("Coffin Built for Two"), the more vivid "Checkmate" stirring the spirits a bit, ably supported by the the only genuinely thrashy number here "Fear".

Chaos Lords EP, 1993
Devour Full-length, 1995

CHAOS OPERA (FINLAND)

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 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

CHAOS REALM (GREECE)

This Greek trio pull out melo-death/thrash which crosses lively gallops ("1066 (The Battle of Hastings)") with more elaborate progressive arrangements ("The Realm of Chaos") the latter also staying for the more moderate power/thrasher "Mankind's Tale" to which the exact opposite is the bashing headbanger "Skull Hunter". For an epitaph the guys unwind with the lyrical balladic instrumental "Helpless Human" which misses the subdued gruff death metal vocals.

World Under Attack Full-Length, 2019

Youtube

CHAOS REMNANT (FINLAND)

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

CHAOS RISING (INTERNATIONAL)

This is a gigantic ambitious all-female initiative, with a sizeable number of cure lasses involved, mostly from the underground, the style pure old school thrash to the gory end. As this is a compilation of all the 21 singles composed, the variety is quite big with technical groovisms ("Thrive"), industrial dancers ("Normalize"), moody doom pageants ("The Greatness Beyond"), sprightly thrash/crossover trips ("The Line"), and optimistic power/thrash hybrids ("Media Control"), the overall delivery mostly on the modern side, all the girls save for the ones on the bouncy numetal hymn "Prisoner" and on the semi-balladic jumper "Lost", being on the harsh semi-shouty death metal side. An interesting albeit not entirely related to thrash enterprise which by all means has its worthy moments.

The Singles Full-length, 2022

Official Site

CHAOS SYNOPSIS (BRAZIL)

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

CHAOS THEORY (ITALY)

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 guitars (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

CHAOS UNLEASHED (HOLLAND)

Modern thrash/post-thrash that by all means has its more overt headbanging veneer, “The New Dominion” showing more moshing fervor, alongside the moderately heavy “M.A.D. “ and the noteworthy speedy jump-arounder “Death from Above”. More such expletives from the equally restless “…And Hell Followed”, the several catchy gallops on this one inspiring the singer for a more passionate, albeit still pretty shouty hardcore-ish, performance.

I Am Chaos Full-length, 2024

Official Site

CHAOSACT (LATVIA)

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

CHAOSANE (GERMANY)

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 deathly manner. This act actually rose from the ashes of Vanity Ruins where the style was pretty much the same.

Chaosmachine Demo, 2011

Official Site

CHAOSEUM (SWITZERLAND)

Modern thrasherism with female vocals; packs a punch although the approach is fairly formularized hesitating between more recent Arch Enemy and Trivium, the quieter, more balladic moments ("Blue Scorpion", "First Step to Hell") more fully epitomizing the diva whose timbre recalls Dawn Crosby (R.I.P.; Fear of God, Detente) excluding the sparse death metal growls which could have been made by someone else.

First Step To Hell Full-Length, 2018

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CHAOSFEAR (BRAZIL)

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 alongside 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's 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 three tracks of expected modern thrash sustained in a steady mid-pace and 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 two full-lengths.
"Be The Light In Dark Days" offers a more mechanical sound, and cuts like "From No Past" and "The Hand That Wrecks the World" can be taken from any of the mid-period Darkane works. The clean vocals continue to annoy more than bring in happiness, but few will complain on the maddening mosher "Mindshut" and the dystopian Meshuggah-esque "The Alliance", the glaring shortcomings being the dispassionate groover "Cold" (very aptly-titled) and the not very convincing semi-balladic closer "A New Life Ahead".

One Step Behind Anger Full-length, 2007
Image Of Disorder Full-length, 2008
Legacy of Chaos EP, 2012
Be The Light In Dark Days Full-length, 2020

Official Site

CHAOSITY (HOLLAND)

Four 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

CHAOSLORD (FINLAND)

Based on the "Mirror of Future" demo, these folks serve largely playful, also somewhat monotonous power/proto-thrash the all-instrumental mid-pacer "Wait" most handsomely summing up the prevalent approach which very seldom gets disturbed, the mean sneaky semi-clean vocals not exactly an obstacle although they do exude some kind of emotion on the more lyrical material ("Through The Red Flames", the really cool ballad "Better Day"). The wrap-on "Sin'O Shame" is a very surprising nod at the speed/thrash movement, a leftover from Metallica's first, tunes which the guys should have provided more often here.

Awakening Demo, 1992
Mirror of Future Demo, 1993
The Age of Autumn Demo, 1994

CHAOSMONGERS (USA)

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 influence, and "Conflict Inside" goes deeper down the rabbit hole with a portion of more spastic, more surreal arrangements including 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

CHAOSPATH (GERMANY)

Based on the full-length debut, this band play a modern mix of thrash, black, and death metal which can be poignantly lyrical ("Fire Blood Anger Chaos") on occasion, but it's the epic-tinged pounders ("Among Wolves", the doomclad battle-rouser "Unter Woelfen") and the bombastic black metal symphonies ("Der Blutmarsch") which seem to work the better, the versatile singer accommodating all the stylistic swings, feeling most confident when handling the thrashy breaks ("The Living Flame").
"The Last Sign of Eden" features a very similar cocktail with a lot of hyper-blasting involved ("Hall of the Dead", "Death King"), the atmospheric undercurrents of "None Shall Survive" bordering on the bombastic and the epic. Thrash isn't very widely covered, but its presence ("Night of the Blade") by all means pours more fuel into the already sizzling furnace, the latter taking a break on the abrasive doom pageant "Beyond the Silence".

The Awakening EP, 2018
Downfall Full-length, 2019
The Last Sign of Eden Full-length, 2024

Official Site

CHAOSPHERE (BRAZIL)

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 already 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

CHAOSPHERE (POLAND)

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

CHAOSSPHERE (GERMANY)

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 second 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

CHAOSWAVE (ITALY)

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 thrashier 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 riffs which never leave 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 doom "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 doom 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

CHAOTIC (USA)

Intense semi-technical thrash of the old school, bashing but sensible music which hints at Invocator's "Excursion Demise" "Existence of Reality" before "Planet Pain" introduces unmitigated modern vistas. "Fear of Fate" is a nice heavy semi-ballad, and "Judgement Day" is a fair nod to the Bay-Area fraternity. The singer is a capable forceful semi-cleaner who emits more passion when necessary.

Existence Of Reality Demo, 1993

CHAOTIC BASTARD (CHILE)

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 Imminent", "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

CHAOTIC DESOLATION (BRAZIL)

This is a one-man show, the name Thiago Alboneti (also the funeral doomsters Funeral Dawn, the melo-death/black hybriders Beyond Chaos), who combines thrash, death and black into one sizzling, frequently hyper-active melee with the rowdy opener “Ephemeral Shadows” leading the pack, the more patiently-woven “Guardian of Innocence” humbled by the exuberant exercises on speed like “Under the Sign” and “Theatre of Injustice”. Still, the more measured atmospheric, moody numbers keep coming, and both the title-track and “Silent Cries” rely on less dynamic dark riffs to pull it through. Alboneti sticks to a shouty deathly timbre behind the mike, his performance more of a suggested stance than an overpowering presence.

Biological Sonnet Full-length, 2024

Official Site

CHAOTIC ENTITY (USA)

This US trio serve a heavy intense thrash/death blend which rages on in a not very covert death metal fashion, with short brutal numbers ("Consumed By Hatred", "To Fester and Decay" making the environment not for the squeamish, the antediluvian doom clout of "Grotesque Trepidation" a major change of scenery. The brutal guttural death metal vocals accommodate both sides of the show, which should attract a wider gamut of fans.

Body Harvest Full-length, 2021

Official Site

CHAOTIC INJUSTICE (USA)

This US trio offer fairly cool old school thrash which is on the brisk technical side, "Population Control" rushing onward with fast ripping riffs, leaving the more intricate arrangements for "Tragedy of Unjustifiable Humanity", a more layered shredder with several twists and turns, the hectic but logical tempo-changes creating fervent progressive atmosphere. Still, the approach remains on the dynamic side, including on "Vicious Reality", another more entangled proposition with echoes of Coroner's ubiquitous "No More Color". The singer is a shouty semi-clean throat, spitting the lyrics with appropriate panache, the lead guitarist another asset, adding his contribution in a curt but effective melodic manner. Some of the band members also play with the retro thrashers Menacing Terror.

Demo Demo, 2021

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CHAOTIC JUSTICE (CANADA)

Retro thrash which suffers from the muddy production and the not very expressive mean death metal vocals; otherwise the music is alright sticking to mid-paced melo-patterns which inevitably touch the ballad/semi-ballad on the appropriately-titled "Tranquilizer". "All Who Betray" starts moving things around with more volatile rhythmic jolts, but overall this is a bit one-dimensional, not overtly exciting stuff that would have been just fine without the cheese profusely emitted by the rocky feelgood closer "I Ain't Livin' Long Like This".

The Lift Of Chaos Full-Length, 2019

Youtube

CHAOTIC ORDER (USA)

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

CHAOTIC REALM (USA)

The debut: 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.
"Destination Chaos" shows more life with more dynamic cuts (the headbanging abraser "Escape") served, but once the heavy mid-tempo chugs come to play, they seldom go away and the listener will get bored way before the end, especially on overlong one-dimensional steam-rollers like "Standing Rock".

Toe Tag Full-length, 2000
Destination Chaos Full-length, 2019

Official Site

CHAOTIC THRASH METAL (COLOMBIA)

This is classic power/thrash on the more melodic side of the spectre, the guys having fun by emitting quite a bit of melody throughout, the genuinely fast-paced episodes ("La Vida De La Mentira", "La Mascara Del Verdadero Terrorismo") not that many, the singer disturbing the environment with his hoarse but legible semi-clean croon, not occupying too much space, leaving his colleagues to indulge in their proficiency, especially the lead guitarist who is a really cool presence with his sparse but memorable licks. There's nothing chaotic here, on the contrary: this is well-ordered old school stuff which faithfully follows the genre's canons.

El Condor Nunca Muere Full-length, 2022

Official Site

CHAOTIC TRANQUILLITY (CHILE)

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

CHAPEL (CANADA)

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

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CHAPSTIK (USA)

Stoner/doom with a thrashier 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

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CHARGED (FINLAND)

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 sparse 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 "Inquisition" 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

CHARGED FOR BATTLE (USA)

Modern thrashcore which is more on the playful hospitable side, the intense shouty hardcore vocalist by far the most intimidating ingredient, save for his clean insertions on the mellow punker “Ride That Hawk”. Some fury gets stirred on “Bring Me My Shield”, but apart from the hardcore outrage “Laws” there isn’t much to make the mosher’s day, although the closing “Warrior Within” is a pretty acceptable power/thrasher, the most serious composition here.

Warrior Within Full-Length, 2022

Official Site

CHARLEY'S WAR (GERMANY)

Thrash/crossover, so similar to D.R.I., in the vocal department included, that there's nothing more to add, literally; energetic fast-paced riffs and brisk up-tempos aplenty, the prevalent hyper-active delivery spiced up with a couple of slower, more melodic numbers ("Your Path", "Think About Your Life").

Time to Survive Full-Length, 1991

CHARLOTTE'S WEBB (USA)

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

CHARN (GERMANY)

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 timbre, and his sparse synthesized inclusions are not that annoying.

Blasts Off Full-length, 1994

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CHARNEL HOUSE (USA)

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

CHARNEL LEGION (USA)

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

CHARON (GERMANY)

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

CHARONYX (USA)

Based on the "The Ultimate Judas" EP, this formation specialize in retro epic power/thrash which picks up speed ("Trapped Inside the Lie") whenever it feels like it although the skeleton around which everything is built are consistent mid-tempo sagas ("A Psalm for the Dying") the highlight on this roller-coaster being the 8.5-min instrumental "Upon the Hours", with the engaging Manilla Road-esque title-track a close second. The vocalist is quite an asset with his emotional attached Bruce Dickinson-esque tenor. Some of the musicians are also involved with the heavy/doom metal formation Lavaborne.

Hearts of Steel EP, 2015
The Ultimate Judas EP, 2019

Official Site

CHARRED WALLS OF THE DAMNED (USA)

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 sparse more technical decisions ("In A World So Cruel"), but this recording seriously suffers from the lack of speed in the 1st half. The second 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 brighter 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-balladic cuts which make "Reach Into The Light" sound like a masterpiece after them, a song which is an obvious "Painkiller" emulation, 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

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CHASEY LAIN (SLOVAKIA)

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

CHASM (USA)

Mild pleasant post-thrash in a sleepy proto-balladic tempo, with very sparse 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

CHEAT ENGINE (Philippines)

This is classic thrash which prefers the sharp mid-tempo to roll on, but expect a few more energetic roller-coasters (the title-track, "Nemesis") as well, the doom/semi-balladic "Twilight & Night" an awkward deviation, not paying kudos to the otherwise lashing guitar approach, the hissing semi-declamatory vocals another misused ingredient on that last one which also influences a couple of cuts in the second half.

Pandemica Full-length, 2021

Official Site

CHECKER PATROL (GERMANY/NORWAY)

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

CHEMAKILL (USA)

Bashing rough old school thrash which is quite close to hardcore, the shouty quarrelsome vocals accommodating those noisy strives. Expect an overt shade of death metal on the brutal "The Hatred", and even a slight echo of more stylish semi-technical proto-death on "Catfish Mama", the rough production qualities hampering the musicians' efforts somewhat.

Power of Bob EP, 1991

Youtube

CHEMI-KILL (USA)

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

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CHEMIC (USA)

This is one guy, the name Mark "The Peso" Psencik, who is in charge 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

CHEMICAL (BRAZIL)

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

CHEMICAL (ITALY)

Ripping angry thrashcore which nicely gets upgraded to more stylish thrashier bashing on "Fear", but don't expect too much sophistication although "From Life to Death" serves a portion of tasty melodic tunes, and "One More Pain" is a cool semi-balladic hypnotic etude, seeing the gruff quarrelsome shouter behind the mike acquiring a much more tolerable cleaner timbre.

Decay EP, 1996

CHEMICAL ANNIHILATION (USA)

The demo: 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. Some of the musicians also played with the one-album wonder Arachnid.
The debut is indeed a sign of resurrection, the guys coming out of the caves with all the three tracks from the demo present, the rest sustained in a similar ripping fashion, but there's also this concentration on slower heavier riffage ("Covid-19", the clever semi-technical "Dying Rights"), the mean vicious death metal singer leading the energetic procession, the latter having very little to do with death metal music-wise, save for a couple of more dramatic moments on the closing "Nuclear Proliferation".

Why Die? Demo, 1988
Resurrection Full-length, 2022

Official Site

CHEMICAL ASSAULT (COLOMBIA)

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

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CHEMICAL BREATH (BELGIUM)

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

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CHEMICAL BURN (USA)

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

CHEMICAL EXPOSURE (CROATIA)

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

CHEMICAL FINGERPRINT (USA)

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 synthesized deathly semi-shouter who perfectly matches the apocalyptic musical landscape.

In-the-Now Full-Length, 2013

CHEMICAL RAGE (USA)

Epic battle-like classic power/proto-thrash which is modeled after the rousing anthems of Manilla Road and early Jag Panzer, the heavy stomping riff-patterns reigning supreme inevitably hitting some doom/ship-sinking waters ("Angel of Death", the progressive epicer "Ghost"), the singer also producing a fairly positive impression with his leveled 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

CHEMICAL STRAIGHTJACKET (USA)

Quite cool intense old school thrash which rips through the speakers in a semi-complex Bay-Areasque fashion, the forceful semi-declamatory vocals exuding enough pathos to be viewed an asset. The music delivers with a thick elaborate sound which is close to Heathen's "Victims of Deception" and late-80's Metallica; and "Addicted to Death" is a frantic jumpy technicaller with echoes of Realm.

Demo Demo, 1993

CHEMICAL WARFARE (CHILE)

A 3-tracker of retro speed/thrash which features the creepy brooding “Tales of Terror”, the epic intimidating “Rest in Pain”, and the galloping ferocious “Wings of Hell”, the cool semi-clean mid-ranged singer spitting the lyrics with venom at times, but overall sticking to more moderate singing. Later some of the musicians continued their old school thrash infatuations under the name Trauma.

Chemical Warfare Demo, 1988

Youtube

CHEMICAL WARHEADS (CHILE)

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

CHEMICAL WASTE (USA)

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

CHEMICAL WAY (CANADA)

Based on the full-length, these lads serve acceptable classic thrash/crossover which can be quite intense and moshing ("Beer Bot", the short hardcore outtake "Organ Donor"), and generally this is the dominant tendency with "Hall of Meat" serving the obligatory mid-paced shenanigans those a total Suicidal Tendencies (think "Join the Army", above all) worship. Elsewhere it's a hyper-active parade with the attached shouty semi-clean vocals another seeming asset.

U.F.NO! EP, 2013
Chilling Spree Full-length, 2018

Official Site

CHEMICAUST (USA)

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

CHEMICIDE (COSTA RICA)

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 crossover 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 instrumental ("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.
"Inequality" is the next in line hyper-active affair with the obligatory pauses ("Altered Reality") from the relentless mosh the latter reflected in some of the definitive headbangers of recent years like "Indoctrination" and the pleasantly technicalized but equally as punishing "Conditioned Liberty". Less bridled Slayer-esque aggression takes over for a bit on the short outburst "State of Emergency", but expect the total opposite on the excellent doom-laden all-instrumental respite "Paralysis". Quirks of the kind aren't provided later, mind you, as the band are ultimately intent on generating as much spite and fervour as possible from their simplistic but ultimately very effective no-bars-held approach.
"Common Sense" is another instant ripper, the band not altering their uncompromising bashing delivery, the mosh inevitably reaching proto-death dimensions ("Lunar Eternity"), "Barred Existence" the seeming respite, a heavy pounding number which is cancelled outright by the maddening speedster "False Democracy". Still, the band keep trying mellower tricks for which can also pass the more tamed shredder "Color Blind", but for most of the time this is merciless barrage, played with competence and fierce determination.

Radioactive Annihilation Demo, 2011
Episodes of Insanity Full-Length, 2015
The Act of Retaliation Full-length, 2017
Inequality Full-length, 2019
Common Sense Full-Length, 2022

Official Site

CHEMIKILL (USA)

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 that 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 moshes with full force throughout its almost 10-min.

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

CHEMIKILLER (USA)

Simplistic old school thrash influenced by Venom, early Celtic Frost and Motorhead with a playful, rock'n roll spirit. THe sophomore is the more relaxed, frendlier recording with the rock-ish spirit on party stirrers like the Motorhead-ish "Full Metal Jacket" and the galloping "United Satanic America", but watch out for the Venom-esque shredder "Stronger than God" and the epic doom-laden odyssey "Enemy of Christ", the mean spiteful vocals ala Kermitt (Tyrant (Germany)) adding their inebriate contribution to the cool, welcoming music parade.

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

Official Site

CHEPHREON (FINLAND)

Based on "Call for Blood", this act specialize in retro death/black/thrash which is both melodic and intense in equal dozes, the vehement nature of short blitzkriegers like "Sister of Fire" nicely compensated by more sprawling epic excursions like "Dual Fates'". The vicious witch-like black metal vocals create additional damage with their grating rasp, but at the same time finely complement the more black-fixated material like "Sinister Sorcery", but wisely absent from the atmospheric ambient closer "Stargate".
“Dark Tales from the Deep Lakes” is a more melodic affair, the sophisticate barrage of “Misanthropic Nights” delighting the audience alongside the operatic aggrandizements of ‘Death's Cold Embrace”, the gothic grandeur of “Pit of Despair” brazen by dazzling virtuoso lead sections. “Raging Waters, Violent Skies” is a pure soaring speed metal joy, and “Colors” is an apt turn to more complex progressive arrangements with black metal covering wider hyper-active ground.

Necromancy Full-length, 2019
ASN Divines Vito EP, 2020
Call for Blood Full-length, 2021
Dark Tales from the Deep Lakes Full-length, 2024

Official Site

CHERNYJ WORON (GERMANY)

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

CHEWIN' DRUIDS (UK)

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

Demo/EP Demo, 2008

My Space

CHIAROSCURA (ISLE OF MAN)

Based on the sophomore, these islanders provide (hu)man modern thrash/post-thrash which can be quite eclectic and unpredictable the guys putting the listener into a maze with "Another Day in the Maze", an eccentric piece of numerous twists and turns. Misguided exits ("Antiage") from the cited genre should better be left alone as well as overlong semi-balladic sprawls ("Good Mourning"). The title-track is a gigantic 17.5-min opus which inevitable contains quite a bit of groovy/semi-groovy ballast among the more stylish riff-patterns, the guys pulling themselves together for the excellent progressive thrasher "The Human Abstract", the other sign of super-big ambition, the near-13-min long "Soulmate", another waste of time being a jumpy, not very impressive rock-ish extravaganza. The soulless dispassionate clean-ish vocals are another less ordinary addition, but the delivery is too unfocused to be constantly on the positive side.

A Place to Call My Own Full-length, 2005
The Neverending Cycle of Repetition Full-length, 2007

Official Site

CHILD O'FLAMES (BRAZIL)

The EP: 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.
The full-length arrives after a huge break, seeing the band moving towards the purer thrashier side of the spectre, and although the cleaner vocals are still here, their participation this time is not as aggravating, and in fact help dynamic pageants like "Reach Out the Sky" and "End of Time" stand out even more. The doom-laden "Black" and the radio-friendly "Enigma" run away from the established formula, but generally the high energy is seldom violated the band focusing on the headbangers, above all.

Child O'Flames EP, 2007
A New Rising Full-Length, 2020

Official Site

CHILDREN (USA)

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 isn't 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

CHILDREN OF ARIES (USA)

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 strongly influences the rest of the material except for the short burster "Villain" 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

CHILDREN OF EULER (USA)

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

CHILDREN OF OCTOBER (USA)

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 thrashier edge. This album is simplistic unpretentious fun and would have no problems stir light moshpits around the globe.

The Risen Dead Full-Length, 2015

CHILDREN OF TECHNOLOGY (ITALY)

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 timbre 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 optimistic closing thrashcore anthem "Fear the Mohawk Reaper".
"Written Destiny" doesn't betray the rigorously chosen path, with fast blitzkrieg numbers ("Creation through Destruction") alternating with mellower but more overtly thrashy roller-coasters (the Bay-Areasque "Written Destiny"), the frivolous crossover joy "The New Barbarians" pairing well with the bouncy hardcore purveyor "Warpainted Nightcreatures", the more entangled structure of "Wasteland Cratediggers" hinting at the always-lurking more dexterous potential.

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
Written Destiny Full-length, 2020

My Space

CHINGALERA (USA)

Based on "Dose", this act specialize in crunchy doom/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, well 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

CHIRO THERIUM (DENMARK)

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 two demos.

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

CHIRURGIA (CZECH)

Based on "The Last Door", this is brilliant progressive/technical thrash/death metal which sounds like a more aggressive version of Mekong Delta and Target. The music pays its fair share to death metal with more brutal sections, but they aren't 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. The opener “Into the Black Holes of My Mind” alone is a depleting mind-scratcher twisting in a creepy chaotic fashion into various, more or less expected, directions recalling one of the finest achievements of the whole technical metal scene, Target’s “The Coming of Chaos” from “Master Project Genesis”. Later on the show goes on with the surreal rifforama on “Miracle (Heresy)”, a faster-paced puzzler with a death metal flavour spiced with a hallucinogenic mid-break; and with “Muted Salieri” which goes away with all the “laurels”, a chaotically arranged vortex of time and tempo changes which overlap each other ala early Mekong Delta, an astounding proposition that would “mute” not only Salieri, but also Mozart and everyone else exposed to it; not to mention the closing “Funeral of My Dreams” which wraps up this very eventful saga with illogical, charmingly chaotic build-ups that straighten up in the middle to offer a more intense headbanging moment, the riffy weirdness returning for the exiting slab of super-technicality which virtually sums up what the listener had to cope with here. For fans of the aforementioned hybrid 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 works of the Japanese avantgardists Doom. A new touch are the orchestral clean church-like vocals ala Tristitia (check out the title-track) 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

CHOCOCRISPIS (SPAIN)

Based on "Love-Gastronomy", this obscure Spanish act offers a very eclectic avantgarde take on the modern 90's post-thrash idea. There's 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 third or fourth song.

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

CHOKE (AUSTRALIA)

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

CHOKE THIRST DIE (GERMANY)

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

CHOKEHOLD (UK)

Moderh thrash in the vein of the Swedes Inrage and Pantera; the full-length debut is a rowdy affair built around volcanic steam-rolling rhythms the belligerent quarrelsome vocals perfectly fitting into the monolithic, but fairly monotonous soundscape which is seldom livened up (the quiet balladic opener "Dream of One") with deviations from the rigid mechanized norm, the more vivid "Hollow Soul" a cool reminder of the more sterile part of the Bay-Area movement (Defiance, in particular). "Faith or Fear" is a surprising switch to brisk headbanging thrash the guys acquitting themselves to an extent in consideration with the relevant at the time old school resurrection campaign.

Legion EP, 2005
The Killing has Begun Full-length, 2006
The Sweet Sense of Genocide Full-length, 2008

Official Site

CHOLOS ON ACID (USA)

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 overtly 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

CHOPPER (URUGUAY)

Modern post-thrash reminiscent of a couple of Argentine 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 timbre 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 three 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

CHOR CHOREA (GERMANY)

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 undeservedly 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 drama 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.
The "Mental Maze" demo is a cool effort of mostly quiet progressive power/thrash, "Fear" twisting and turning in devious unpredictable ways, the excellent clean attached vocalist leading the show with authority, the latter becoming a tad more lyrical and balladic on the title-track, before "Disillusionment of Return" provides a more dynamic but still mid-paced layout, the peaceful musings interrupted to an extent by by the jumpier rhythms of "Repetitions", "Straight" shredding with more complexity and verve but still in a somewhat anti-climactic fashion.

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

CHORA DOBA (SLOVAKIA)

This outfit indulge in ripping old school thrash that is served with a prominent abrasive aura and a tinge of crossover (“Chora Doba”) and a more overt confrontational shade of hardcore (the short concrete “Svina”). “Chaos” is a decent rager with a sniff of proto-death, and “Prazdny Svet” is a merry-go-rounder with a carefree mood contrasting with the harsh shouty hardcore baritone of the vocalist.

Nenavist EP, 2022
Morda Full-length, 2023

Official Site

CHRIS CATHARSIS (USA)

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 straight-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

CHRIS STRINGARI (USA)

Three pieces of rough bouncy semi-amateurish power/thrash/post-thrash, an early entry into the angrier side of the 90's metal spectre, the singer gracing the not very sightly setting with hoarse semi-shouty hardcore tirades. Expect stylish leads at the start of "Through Blind Eyes", a clumsy proto-groovy mid-pacer, and seismic doom-laden drama on the equally inept "Into the Pits of Hell".

Frozen Mortuary Demo, 1991

Official Site

CHRIS WHITE (USA)

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

CHRISTS OF VIOLENCE (IRELAND)

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 timbre ala Dave Mustainee commanding the mid-paced proceedings which arrive with a pinch of epic on "Purged", and with a strong doom nuance on "In Pain We Trust".

Prelude Demo, 1994

CHROME (FINLAND)

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

CHROMIUM (SOUTH AFRICA)

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

CHROMONDEAD (UKRAINE)

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

CHRONIC ATROCITY (USA)

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, and his antics are by all means inferior to the better music.

Kingdom of the Damned Demo, 1991

CHRONIC DEATH (BELGIUM)

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 also 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

CHRONIC DECAY (USA)

Based on the "Haunted Hands" demo, this act serve heavy pounding thrash with a hefty doom 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 deathly growling throw-in.

Demo Demo, 1991
Haunted Hands Demo, 1993

CHRONIC PLAGUE (USA)

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

Demo Demo, 1986

CHRONIC RAGE (USA)

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

CHRONICAL DIARRHOEA (GERMANY)

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 their 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

CHRONICAL DISTURBANCE (CANADA)

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

CHRONICLE (DENMARK)

Based on "Demonology", this band play modern thrash/death which freely borrows tricks from the Gothenburg school. TH eprevalent intensity steps aside at times like for the lyrical melodicisms on "Nocturnality", and the more officiant pagan-like stopms on "R.R.D.", but the speedy fiesta easily reaches blast-beating proportions ("Taxidermic Divinity") including on a couple of more entangled vortexes ("Human Instrumentality"). The singer is a scary shrieky death/blacker who occupies quite a bit of space.

Welcome the Darkness EP, 2014
Primordial Fear Full-length, 2015
Memento Mori EP, 2016
Demonology Full-length, 2020

Official Site

CHRONICLES (POTUGAL)

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

CHRONOS (CHILE)

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

CHRONOSPHERE (GREECE)

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

CHRONOSTASIS (USA)

State-of-the-art technical/progressive thrash, an all-instrumental affair bringing to mind Mekong Delta, above all, but also the other thrash-prone 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

CHRYSEIS (FRANCE)

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 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-thrash trends. This is stylish complex progressive/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 atmosphere 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 second 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

CHRYSOS CALVA (HUNGARY)

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

CHUAN-TZU (GERMANY)

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

CHUCKTALLICA (USA)

This is done by just one musician, the name Charles Wagner, who specializes in pretty cool Bay-Areasque thrash which is more in the Testament camp on the pretty effective opener "Midsommar", Wagner presenting himself as a quite cool clean vocalist, including on "Berserker", a more technical proposition with echoes of both Metallica and Megadeth, the same influences also staying around for "Crossfire", a ripping shredder with a more melodic streak showing up in the second half. "Fire and Thrash" delivers both items mentioned in the title, a crunchy headbanger that is alleviated by the moderate power/thrash skeleton of "Crime of Passion", the second half missing out on the mosh, including with a not very striking cumbersome all instrumental piece ("Atlantis").

Chucktallica Full-length, 2024

Official Site

CHUGGA RITUAL (SINGAPORE)

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, and pure hardcore at the end. Apparently this is something of an advertisement for the guy who's 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

CHUGUN (ISRAEL)

The debut: 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.
"Rogue Planet" is similarly-executed the speedier material ("Predatory Prey", "Happiness") clearly prevailing, with a couple of friendlier more laid-back cuts ("Idiot's Guide") also added here and there, the pounding semi-technical urgency of "Extinction Cycle" the sure highlight, wit the ethereal tech-death histrionics of "Gravitational Collapse" a close second.

Virus Full-Length, 2015
Rogue Planet Full-length, 2020

Official Site

CHURCH BIZARRE (DENMARK)

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 proficiently executed: check out the excellent dramatic progressiver "Enter the Temple of Shadows", or the imposing doom closer "Foaming Mouth of Mankinds Tomb". The band members also took part in various other projects: the death 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

CHURCH CRUSHER (USA)

This is retro thrash spearheaded by harsh guttural death metal vocals; this is largely semi-brutal stuff with sudden outbursts ("Mass Guillotine", "Demonic Proximity") of not very restrained proto-death sticking prominently, accommodating the belligerent grunter behind the mike, also displaying the occasional sparkle of technicality ("Sodomistic Virtues"). Some of the musicians also play with the death metal formation Impaled Offering.

Worship That?..Never!.. Full-length, 2021

Official Site

CHURCH WHIP (USA)

This band specialize in merry vibrant speed/thrash'n roll which 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

CIANURO (CHILE)

The debut: 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.
"Odio Total" is a marginally more intense affair, also a more simplistic one the guys bashing with verve and vigour, the galloping aesthetics of "Rechazado" well acknowledged, the stop-and-go rhythms utilized on "Odio Puro" creating some intrigue, but this is just a sparkle as the band have no intentions on pleasing the audience with quirky tricks. This is a raucous thrashcore outing which also stomps threateningly, with less speed on the heavy anthem "500 Anos".

Crimen Legal Full-Length, 2016
Resistencia Full-length, 2018
Odio Total Full-length, 2022

Official Site

CICATRIX (USA)

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

CIEMENTIFICIO (ITALY)

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

CIFER (BRAZIL)

A one-man show, the name Henrique Perestrelo (also Blasthrash, Flagelador, Infected), a hardened thrash metal veteran who doesn't betray his passion for the good old thrash here; the mosh begins with the very intro and seldom gets lost Perestrelo firing on all fours with perennial blitzkriegers like "The Summoning" and "Hex of the Night", the shadow of early Kreator particularly tangible, with not very impertinent melo-death flavour ("Armaggedon") inserted for good measure. The man unleashes a dramatic shouty timbre ala Freddy (Necronomcon) which fits like a glove even the more laid-back speed metal aesthetics displayed on "Revenge of the Witch" and "Creatures from the Chasm", Perestrelo obviously enamored with the German school, above all.

The Summoning Full-length, 2019

Official Site

CIMARRON (URUGUAY)

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 around the whole time even suggesting at a future classic potential (the speedy retro "action" "Nueve"). The energy gets diminished in the second 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

CINDERS FALL (UK)

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

CIPHER (FRANCE)

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" thrashes 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

CIRCADIAN SKIZM (USA)

This is quirky modern thrash/post-thrash which meanders through nuances and influences, never settling for one, the doom ambience of "Necromancer" pairing well with the more classic-prone headbanging tricks of "Formation", the alternative sprawls witnessed on "Alien Messenger" not really engaging. The finest moment arrives at the very end the closer "With Progress Consequence", a twisted choppy shredder with echoes of Coroner. The vocal duel is not on the very positive side, a harsh deathly shouter and an alternative clean timbre crossing swords the whole time to an awkward effect.

Symbiant Circle Full-length, 2009

Official Site

CIRCLE OF DUST (USA)

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 metalized 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 sparse 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

CIRCLE OF EMOTIONS (HOLLAND)

This act is the continuation of the progressive thrashers Osiris who carry on with their hard to follow style 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

CIRCLE OF FORCE (USA)

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 merrier pinch of crossover ("Caged In Hell"), or rages on with touches of death metal ("Black 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

CIRCLE OF TYRANTS (GERMANY)

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

CIRCLE OF TYRANTS (USA)

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

CIRCLE OF VENGEANCE (USA)

The debut demo: 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.
The self-titled only comprises two pieces being an ultimately boring groovy rehasher, the vocals another annoyance, semi-shouty/semi-clean tirades that can't decide whether they want to sing or just plain shout. "Blaclist" is a total Pantera worship, an angry aggro quasi-thrashism that stomps around like a wounded elephant, leaving no vestiges of melody or any more proficient musicianship.

Masaki Demo, 1991
Circle of Vengeance Demo, 1995

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CIRCULAR SAW (SLOVAKIA)

Based on the full-length, this act indulge in vicious aggressive old school thrash/death which still inserts the casual more melodic hook ("Legia Smrti"), the heavy epicer "Vanitas" another variation on lesser intensity. Don't expect a similar situation on the all-out basher "Vsetky Jazvy Sveta", "Trauma" an intriguing more technical proposition with a jumpier quirkier layout. "Intravenozne" is a short hectic delight as well, death metal taking over on "S Matkou Place Krajina", fitting the guttural brutal low-tuned death metal vocalist.

First Cut EP, 2017
Trauma Full-length, 2022

Official Site

CIROZA (BULGARIA)

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 three 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.
"Ashes" is a more straight-forward retro thrash affair, the band showing both moderation and ambition the opening title-rack) and a good sense of melody ("Evacuation"), not to mention the less restrained speedy expletives applied on "Stop the War". The pogo carries on in the second half with both varied speedsters ("Face the End") and pure moshing bombs ("Chaos"), the closing "Lost a Friend" a surprisingly soulful lyrical ballad.

Razbivane EP, 2005
Don't Try To Hide EP, 2006
Ashes Full-length, 2022

Official Site

CIRRHOSIS (BRAZIL)

Based on "The Last Act", these lads play ripping old school thrash/death assisted by throaty shouty death metal vocals. The primal vehemence of the opening "Alcoholic Evil Trinity" is later easily matched by the death-prone epicer "Neither God Not Satan" and the technical meandering delight "The Worst Venom". "Deformed Brains" rages hard as well, the closing title-track coming out with another portion of vitriolic but complex riffs.

Alcoholic Death Noise Full-length, 2002
Drinks from Hell Full-length, 2008
The Last Act Full-length, 2022

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CITI (USA)

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

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CITIZEN VICIOUS (CANADA)

Based on the debut, this act provide pleasant mild heavy/proto-thrash which has its tipsy Motorhead-ish veneer, but run for cover on the merry speedster "Shit-Faced", the main peace disturber here, the singer adding a drunken hoarse timbre, half Lemmy (R.I.P.) half semi-deathster, "Payback" getting more bellicose again with an array of brisk hardcore-ish rhythms, opposing the prevalent welcoming mid-paced trot.
"Headbanger Assault" indeed justifies its title by putting more vibe and verve into the featured compositions, the band thrashing with more gusto from the get-go with "Hellride", with both "Hold My Beer" and "Better Than You" keep the party mood on a high, and although this is by-and-large a speed/hardcore blend with a few meek mid-paced strolls inserted, there'll surely be smiling faces win the thrash crowd, save for "Thrash N' Roll", which is a mild bland heavy rocker.

Loud Mean Fast Dirty Full-length, 2014
Headbanger Assault Full-length, 2018

Official Site

CITY OF GOD (UK)

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

CIVAIS (USA)

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

CIVIL DEFIANCE (USA)

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

CIVIL DISOBEDIENCE (USA)

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

CIVIL INSURGENCE (USA)

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

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CIVIL OFFENCE (NEW ZEALAND)

This is old school thrash served with somewhat archaic abrasive production which serves the guys' purpose as this is as primal as the old school can get, also coming with a covert hardcore flavour, the more serious veneer of the title-track also bringing more laid-back mid-paced rhythms before "Poison Pixie" gives those a full rendition with its seismic doom layout. "Minotaur" violates the surroundings with wild headbanging riffs, a sure leftover from Slayer's "Reign in Blood" the shouty Tom Araya-sque vocals racing with the frenetic guitars for an extreme exhausting ride.

Entrenched Warfare EP, 2019

Official Site

CIVILIZED ANARCHY (USA)

Based on the full-length, this band play prototypical 90's post-thrash which becomes more vivid and energetic ("Hate You") at times, but generally this is music quite reminiscent of mid-period Pro-Pain, if we exclude the singer's attempt at some guttural death metal growling. "Now I Burn You" is an interesting lengthy saga with strict progressive pretensions, a cool not very expected moment which towers above the much less pretentious rest. Some of the band members are also busy with the thrash/death hybriders 5th Dawn
.

Warfield EP, 2001
The Lost E.P. EP, 2003
1400 Full-length, 2004
Civilized Anarchy EP, 2005

Official Site

CIZIN (BELGIUM)

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 deathly and occasionally screamy, and "Cizin" is an imposing speed/thrashing 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

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CLAIRVOYANT SEED (SWEDEN)

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-doom 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

CLAMPDOWN (FRANCE)

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

CLAMUS (BRAZIL)

The full-length: good fast-paced thrash of the classic variety which thrashes with full force on the first two 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 preferable.

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

Official Site

CLANDESTINED (JAPAN)

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 second 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 sparse 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 practitioners 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

CLASH WITH REALITY (GREECE)

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 two 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 isn't 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

CLASHING BLADE (GERMANY)

Melodic modern power/thrash metal staying too much on balladic and even doomy grounds, although there's 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

CLASSIC ALIEN INVASION (BELGIUM)

Modern 90's post-thrash which is either sustained in a bouncy mid-tempo ("Alien Number One") or becomes curiously chaotic and industrialized ("Mars Blast Waves"). The latter side takes over in the second half, turning the approach into an uplifting goofy fiesta among which sticks out the industrial miasma Tractor Beam", the deathly semi-whispered vocals trying something resembling actual singing on occasion.

Classic Alien Invasion Full-Length, 2020

Official Site

CLAUSTROFOBIA (ARGENTINA)

This is retro thrash/death covered by really pristine muddy production; "Agonía Dependiente" is a heavy quasi-doomster, and "Presagio de Caos" is a short brutal violator bordering on grind. The singer is a subdued presence, emitting gurgling throaty antics with scary connotations, becoming a tad more vociferous on the more contrived melo-deathster "Nefasta Ideología de Vida", the highlight on this obscurity. Some of the band members also played in the power/speed metallers Atropos.

Introduccion a la Fuga Demo, 1996

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CLAUSTROFOBIA (BRAZIL)

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 wonderfully 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.
"Unleeched" doesn't bear any surprises compared to the guys' older output, save for the more mechanical, more modernized ways of expression at times ("Stronger Than Faith"), which still can't do much to interrupt the prevalent moshing spirit which on "Neuro Massacre" is pure old school madness, regardless of the presence of the sterile chugger "Psychosapiens". "Corrupted" evokes the spirit of death metal with ales controlled delivery, and "Snake Head" picking on this unbridled energy for another more brutal trip with echoes of the guys' compatriots Torture Squad.

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
Unleeched Full-length, 2022

Official Site

CLAUSTROPHOBIA (ITALY)

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

CLEAR SKY NAILSTORM (GERMANY)

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 death metal vocals. "Behind the Light" thrashes with more passion in the middle and gives a good boost to the second 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

CLEAVED (USA)

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-rollers ("Reanimation") the latter side the most attractive one from the band's repertoire recalling the English legends Bolt Thrower. The singer is a rough semi-shouty deathster with a guttural, not very expressive timbre.

Cleaved Full-Length, 2017

Official Site

CLEAVER (NORWAY)

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-doom 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

CLENCH (SWEDEN)

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 which 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

CLICHE BOYS (FRANCE)

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 death metal 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

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CLIMATIC TERRA (ARGENTINA)

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

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CLINE'S MIND (USA)

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.
"Souls Of The Lost" comes with a more boosted, more modern sound, but this modification doesn't stand too much on the way of fast impetuous blitzkriegers like "Souls of the Lost" and "Through Your Eyes", with some of the more complex material ("The Darkness in Your Head") trying to capture the multi-layered magic of acts like Manticora and Helfire. The application of the gruff death metal vocals, as opposed to the scleaner main ones, is clearly an acquired taste, not contributing much to the positive impression made by the musical histrionics.
"A Beautiful Chaos" doesn't betray the heretofore epitomized style, the guy rushing onward with fast-paced sweepers like "Voice of Reason" and the short lashing "Torment of Despair". The progressive pretensions of "Paralyzed" are well justified, a complex labyrinthine proposition, the standard mid-tempo banality of "Standing Still" the only unmitigated pullback. Cline's mind still works, no doubt about that, even when it produces semi-balladic crowd-pleasers like "The Temptress". The musicians are also engaged with the progressive deathsters Abducted and the metalcore formation With or Without.
"The Dying Earth" comes with an ecological message, and besides that with a decent old school thrash sound, the technical bounces on "Lifeless" assuredly leading the show which acquires admirable proto-death tendencies on the excellent variegated roller-coaster "Chemical Hell". "Take Me Away" is a more melodic proposition, a somewhat modern mid-pacer, and "Awaken the Giant" is a not very convincing at melo-quasi-death ala mid-period In Flames. Cline carries on with the mish-mash in the second half, first with the epic progressiver "Torn Existence", then with the power/speed metal anthem "Theory of Mind", the harsh death metal vocals on that one a total throwaway.
"Land of the Plague" makes more sense, the semi-intricate modern thrashing unleashed on "Close Your Eyes" sounding like a deal, ably supported by the equally razor-sharp "Inside My Head". Later on there's tender semi-balladisms ("A Timeless Illusion"), speed metal walkabouts ("Resonate"), and some seriously inspired classic thrash on "Monster in Disguise", the highlight here if we exclude the vehement speed/thrash rhythms of "Land of the Plague".
“Vortex of Death” is a crisp energetic affair, Cline thrashing with verve and gusto, producing both semi-technical roller-coasters (“Sigil of the Scorn”) and heavy intense hammers (the title-track), the more melodic sentiments unleashed on “Symphony of Defiance” bordering on melo-death at times. The all-instrumental piece “March of the Tyrant” is pure speed metal joy, as is the more aggressive thrash-laced “To Keep Darkness Alive”, the epitaph provided in the form of “Damage Inc.”… yes, a Metallica cover, done with understanding and professionalism.

Evil Within Full-length, 2004
Where the Sleepless Go Full-length, 2017
Souls Of The Lost Full-Length, 2018
A Beautiful Chaos Full-Length, 2020
The Dying Earth Full-length, 2021
Land of the Plague Full-length, 2023
Vortex of Death Full-length, 2023

Official Site

CLINIC (RUSSIA)

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

CLOCK PARADOX (FINLAND)

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 doom/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 doom/industrial abstractism without any certain direction. It's all professionally done, but ultimately lacks a soul and inspiration which 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

CLOCKWORK (SWITZERLAND)

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

CLONE (THAILAND)

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

CLONUS (SPAIN)

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 second 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

CLOSED CASKET (AUSTRALIA)

Modern Swedish thrash/death metal from Australia; nothing new, but competently executed with admirable thrashers ("Maybe It Just Might") scattered around. "Ride With Us" is a nice thrash/death hit and the guys really pull it out in the melody department although this comes for the sake of the speed in the second half where there are very few fast-paced tracks ("Oracle") to be savoured the prevalent tone becoming more officiant and epic with Amon Amarth-esque reverberations culminating in the excellent short closing instrumental "The End".

Thy Blood, Thy Word EP, 2008

My Space

CLOWN ALLEY (USA)

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 moshing 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 three laid-back rock-ish numbers with the exception of the aggressive thrash 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 already taken their necessary portion of headbanging tunes.

Circus Of Chaos Full-length, 1986

CLUSTERFUX (USA)

Based on "Thrash Mongrel", 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.
“Defy” doesn’t defy any already established formulas by the guys, “Blood” following the frivolous unpretentious models from previous recordings unerringly, with more unbridled mosh arriving with both ” Defy (The Tempter)” and “Bomb Blast, Anthrax, Gas Attack”, the more melodic mid-paced sentiments of “With Intent” violated irreparably by the short brutal “Letters” and “Rawhead”.

Thrash Mongrel Full-length, 2003
Problem Reaction Solution Full-length, 2009
Abandon Your Gods Full-length, 2012
Defy Full-length, 2024

Official Site

CMX (USA)

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 leveled unemotional timbre.

Johannes Kastaia EP, 1988

CO-EXIST (UK)

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

COALISSION (ARGENTINA)

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

COATHANGER DELIVERY (USA)

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

COBOLT 60 (NORWAY)

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

COBRA (COLOMBIA)

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 mean-ish 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.
"La Victoria del Metal" is another high-octane roller-coaster, the band staying more on the speed metal side of the roster this time, with free-flying eagles like the title-track and the very aptly-titled "Bombarder" leading the fervent show, the measured hard'n heavy trots of "De Regreso a las Calles" pacifying the setting, another such respite served in the form of "Rebelion", before "Iron Cobra" levels the ground with smattering wild rhythms, an all-instrumental orgy of fury, the guys most brutal creation so far.

Grito en el Abismo Full-length, 2010
Tiranía Full-length, 2014
Sin Dominio del Tiempo Full-length, 2017
La Victoria del Metal Full-length, 2022

My Space

COBRA (PERU)

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

COBRA (RUSSIA)

Three 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

COBRAFUMA (PORTUGAL)

Old school thrash/crossover with crisp brisk numbers, some of which are fairly adequate all-instrumental presentations (“Cobril”), whereas others are more intense roller-coasters (Ace”). There are also overt shades of punk (“Buraco”) and even speed metal (“Coma do Rock”), the gruff deathly vocalist not trying very hard to accommodate the stylistic vacillations, among which is also the raucous compilation at the end “Punk Hits”, which are more of thrash-peppered hits.

Cobrafuma Full-length, 2023

Official Site

COCKPUNCH! (USA)

Merry frolic thrash/crossover with sincere references to the good old punk days, so there'll be lots of good time here with the pogo-ing 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

COCKROACH (GERMANY)

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. The title-track 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 that 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 least 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 first 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 second half is nothing to talk about the guys shredding in mid-tempo sounding not very inspired with a solid power metal aftertaste left in the listener's mouth. Decidedly 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 lashing 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

COCOBAT (JAPAN)

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.
The debut isn't very far behind being a slightly more convincing conglomerate of modern influences, ranging from typical aggro-groovers (the title-track) to weird semi-technical jump-arounders ("Another Me") with echoes of Meshuggah, to minimalistic funky experimentations ("Guy, Plathome Pizza Mix"), to messy rock-ish jam sessions ("21st Century Schizoid Man", the frivolous rock'n roll non-sense "Punch You"). There's some not very well suppressed retro thrash vigour ("Can't Wake Up") roaming around, but the groovy grip is too tight for such rebellions to produce the desired result, the band messing it up further with the clumsy boring blues/ballad "Cry of Pain" and the poor man's Death Angel (think "Act III") funker "Sideball Uncle". The bass player is clearly the star of the show, but his dexterous burps can't compensate for the total lack of imagination, the quarrelsome hardcore/death vocals another banal ingredient.

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

CODE RED (GERMANY)

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

CODE RED (JAPAN)

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

CODENAME DEMOLITION (HUNGARY)

Based on “Power over Demons”, this band play dark brooding retro thrash that relies on seeping morose atmosphere (“With Blood And Steel”), the galloping fervor of “Echoes Of Despair” still on the tenebrous side, the actual thrashing spree commencing with “Mind in Decay”, transforming into more aggressive proto-death accumulations on “Escape” later. The mean blacky singer is a fitting choice all over, including on the heroic speed metal anthem “Eyes of the Watchers” and the vehement moshing crescendo unleashed on “Eternal Resilience”.

End of Patience Full-length, 2024
Power over Demons Full-length, 2024

Youtube

CODEON (FINLAND)

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

CODEX: FACTORIA (CANADA)

Based on the full-length, this act pull out vociferous abrasive old school thrash with covert deathly overtones those recalling the early Swedish scene (think Entombed, Unleashed). Several renowned stars from the Canadian and US metal field can be noticed participating throughout like Dave Padden (Annihilator), Adam Tranquilli (Blood Feast), Dave Carlo (Razor), and Rob Urbinati (Sacrifice) the guys trying their best to epitomize them accordingly amidst the heavy seismic riffs which take over in the second half with "Warborn" attempting something more energetic before "Dying Like a Slave" drowns everything in doom metal pessimism, the final stroke being a cover of Venom's... but of course "Black Metal", rendered in a fast less compromising than the original manner, a dynamic exhilirating way to end this diverse "all stars" show.

Engines of the Slavestate EP, 2016
Cause Destruction Through Tyrants Full-length, 2018

Official Site

COFFIN BIRTH (CANADA)

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

COFFIN CREW (GERMANY)

Based on the self-titled, this act indulge in modern post-thrash with heavy steam-roller riffs and rare but effective ventures into more aggressive territories ("After the War"). The pace is moderate and not very eventful, the groove ("The King Is Dead") overtaking the ether at times in a not very imaginative fashion, the shouty quarrelsome vocalist accommodating all stylistic switches, including the wild less bridled jumper "Eye of the Whirlwind". Some of the band members also play with the modern thrash/deathsters Pain Machine.

Undead Army Full-length, 2015
Open Your Gates Full-length, 2018
Coffin Crew Full-Length, 2022

Official Site

COFFIN DUST (USA)

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 doom 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 deathly 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

COFFIN RITES (USA)

This act were earlier known as Coffinrot where the style was more expressed classic death metal. On the album here they combine thrash, death and black in a fairly sizzling fashion, the aggressive expletives on "Cryogenic Awakening" and the bombastic black metal arrangements on "Heart of Darkness" not giving thrash too many chances to shine. Full-fledged deathly atrocities ("Mask of Sanity") take turns with imposing doom complications ("Human Erase"), the final result clearly on the hyper-active side. Some of the musicians are also busy with the melodic deathsters Echoes of the Fallen, among other extreme metal outfits.

Human Erase Full-length, 2021

Official Site

COGENCY (GERMANY)

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

COGNITIVE DISSONANCE (USA)

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

COHOL (JAPAN)

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

COHORT (AUSTRALIA)

Based on the EP, these Aussies offer three pieces of fast dark retro thrash with more dramatic, progressive 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

COILCRY (SWITZERLAND)

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 volcanic delivery of Soulstorm and Grope. Needless to say, there are no moments of speed to be witnessed here, but this playful heaviness isn't a bad listen, especially for those who are fonder of the doomier side of the 90's trends. The patient ones will be eventually 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

COLD (USA)

Based on the "Shadows of Obscurity" demo, this band play pretty decent old school thrash/crossover, the riff-fest clinging between fast-paced rippers (the title-track, "Demon Breed"), which are the majority, and more sophisticated semi-technical excursions ("Voice Of Authority"), the prevalent hyper-active delivery surely tolerating wilder Slayer-esque explosions ("Walk Of The Plague") as well as longer more tamed stompers ("Psychotic Eyes"). The intense semi-clean/semi-shouty vocalist is a very tangible presence, too, his vociferous antics tearing the aether with passion to spare. Most of the band members operate now under the name Cholos on Acid, the style not far from the one here, maybe a tad more modern.

Nothing Left Inside Demo, 1990
Shadows of Obscurity Demo, 1990
Cold Cuts Demo, 1994

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COLD COLOURS (USA)

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

COLD FATE (AUSTRALIA)

Based on "Return to Reality", these lads serve lively retro power/thrash which comes served with a slight abrasive edge, the latter ingredient only aggravating intense propositions like "Cause For War", but not doing much justice to thought-out laid-back tracks like "Worlds Fall Away". "Return To Reality" is a welcome return to headbanging territory, and "Sins of the Father, Sins of the Son" is a more ambitious, more colourful opus that gets nicely mirrored by the multi-layered progressiver "The Final Call". Pay attention to the virtuous very proficient lead guitar work, and certainly to the attached but not very melodic semi-clean/semi-declamatory vocalist.

Figures in Black Full-length, 2011
Return to Reality Full-length, 2023

Official Site

COLD REALITY (HUNGARY)

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

COLD SHADOW (USA)

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 sparse 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

COLD STEEL (USA)

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

COLD WAR SURVIVOR (USA)

Hardcore meets thrash/death meets groovy modern post-thrash metal; enough said for the moment... earlier the guys were known as Critical Mass, the style more on the retro thrash side. The debut holds a tad better, the band even moshing with a covert semi-technical sting ("American Elegy", the crunchy not very predictable "Divided Time"), the heavy dramatic "Wall of Lies" another intimidating presence. The shouty death metal singer by all means serves his purpose, especially on the more brutal death-laced material ("Bloodworth", "Abduction"),

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

Official Site

COLDBLOODED FISH (CZECH)

Based on the full-length, this band play brisk old school thrash with a not very pronounced crossover edge; the intense overshouty vocals are definitely an acquired taste with their noisy presence, but the music delivers as the guys also inserting a couple of more laid-back ("Aimin' High"), more playful hymns the most at times also acquiring a more stylish, semi-technical lustre (the lengthy atmospheric "Forbidden Dreams") as opposed to the more stripped-down, hardcore-prone material ("Life Is an Open Grave").

With the Fishes EP, 2016
Malvarma Full-length, 2018

My Space

COLDE (TURKEY)

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

COLDSPOT (GERMANY)

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

COLDWAR (IRELAND)

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 thrashier rhythms dispersed within, but the real up-tempo moments are not many at all the guys steam-rolling with a consistent heavy proto-doom 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

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COLEMESIS (COSTA RICA)

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

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COLISION MX (SPAIN)

Energetic brisk thrash/crossover 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

COLISSION (VENEZUELA)

This EP consists of just two 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

COLLAPSE (ITALY)

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

COLLAPSE (UK)

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 second half isn't 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

COLLAPSOR (USA)

Based on the compilation, this act deliver wild bashing retro thrash/death/grind that moves at the speed of light for at least half the time, the vicious pummeling unleashed on cuts like "Senseless Power" and "Rips from the Entrails" scaring the squeamish with ease, "Garbage Idols" a brutal hard/grindcore amalgam, "Apologize to the Future" only a tad more controlled, featuring one of the very few mid-tempo breaks on this exhausting outrageous recording, which also wins a few vehemence points from the guttural death metal vocal department.

Collapsor Full-length, 2023
Spit on the Nation Compilation, 2023

Official Site

COLLIDE (LATVIA)

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

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COLLISION (HOLLAND)

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 riffs 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 being 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

COLLISION (POLAND)

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 timbre.

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

Official Site

COLONNELLI (ITALY)

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.

Verr0 La Morte E Avr0 I Tuoi Occhi Full-Length, 2015

Official Site

COLONY DROP (USA)

Raucous abrasive retro thrash/crossover which possesses both a calmer subversive (“Remade”) and an openly confrontational (“Supplicant”) streak, the epic melodic embellishments on the rousing “Stand Against the World” close to being the highlight, the bouncy power/speed metal swagger of “Heartwrench” the only seeming diversion, if we also exclude the proto-groovy “The Guillotine”. The vocalist semi-shouts comprehensibly, not trying to pour too much emotion into the not very aggressive musical melee.

Brace for Impact Full-length, 2023

Official Site

COLOUR TRIP (GERMANY)

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

COLOURFAST (JAPAN)

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 (based on the debut) 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

COLP (CZECH)

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, especially 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

COLPORRHAPHIA (CZECH)

Based on the "Discord" demo, this 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

COLUMBARIUM (RUSSIA)

This band specialize in pretty cool retro semi-tech-thrash that pulls several stops with the varied shredder "Black Candle", before the heavy behemoth "Misruled Times" steps on the earthshaking pedal for a change. "Male Unholy" is an atmospheric balladic instrumental, and "Supreme Death" is hectic thrash with wild screamy lead sections. The singer is a not very rehearsed semi-reciter who deserves less accolades than his comrades with his subdued presence. Some of the band members were also involved with the technical death/thrashers Processor and the heavy metal formation Haker.

War Apotheosis Demo, 1997

Official Site

COLUMBIAN NECKTIE (CANADA)

Modern thrashcore which develops on a dominant up-pace, the more confrontational nature of "Schnook" by all means a welcome digression, the purer thrashy extrapolations of "Room to Breathe"a close second. Later on the listener will come across more violent bash, the Slayer-esque ball of bile "Lose to Play" and "Evangelist in my Soup" fully justifying the intense quarrelsome shouty vocals.

Yer on the List Demo, 1995

COMA (GERMANY)

This is a blend of modern 90's post-thrash (a bit) and retro thrash which still holds on to the frayed ends of the classic canons with more rigorous cuts like "Shackles Of Tradition" and the fast-paced intimidator "Decay Of Life". "L.S.D." matches its title with more intricate guitar work, and "Eye for an Eye" follows the same pattern, a more technical proposition the axemen hindered a bit by the buzzy production, the singer possessing a steady mean semi-clean timbre which is often just background support.

Demo Demo, 1994

COMA (ITALY)

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 debut 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.
"Disorder" is a wilder affair the band moshing with reckless abandon more than just now and then, with impetuous cuts like "Cursed to Mankind" and "Time" shooting the album way beyond the mere thrash/crossover confines, all in a good way. Even the marginally mellower material (the heavy atmospheric "Nightmare", the more complex closer "Buried") exudes this barely stifled tension, the guys confidently producing their finest hour so far, a seriously-executed retro thrash opus with only winks (the short hardcore explosion "FBN") at the band's more frivolous past.

Coma Demo, 2009
Mindless Full-Length, 2013
Disorder Full-length, 2019

My Space

COMA (USA)

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, -paced, a bit chaotic and technical, and reminds 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 rhythms 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

COMA CLINIC (FINLAND)

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

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COMANDO ETILICO (BRAZIL)

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 benefiting 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

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COMANIAC (SWITZERLAND)

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 benefiting 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 concentrating on both the more complex and the more aggressive side of their repertoire.
"Holodox" is a more technical offering the guys shredding with dexterity and vision on the excellent title-track, a very promising beginning which gets translated into a more orthodox galloper on "The New Face of Hell" before "Art Is Dead" offers both more melodic and slower deviations. The more intricate arrangements return with "Head of the Snake", a compelling progressive roller-coaster that gets superseded by a string of all-out moshers, the laid-back balladic "Bittersweet" putting an end to the assault.
“None for All” continues with the more intricate leanings from the preceding entry, but the speedy lashing riffs dominate the soundscape, except on the excellent melodic pageant “Desolation Manifest”, an anomalous spacey occurrence that firmly occupies the highlight position, with both the meandering epic title-track and the short all-out assault “Start the Madness” making justified claims at it, the more pensive side of the album (“Long Life Doll”, “Nothing but Lies”) albeit standing on the more lyrical semi-balladic side, including the closing idyllic shorter ‘Self Sacrifice”.

Return to the Wasteland Full-Length, 2015
Instruction for Destruction Full-length, 2017
Holodox Full-length, 2020
None for All Full-length, 2023

Official Site

COMATOSE (BULGARIA)

This is outstanding technical/progressive power/thrash with echoes of Psychotic Waltz and Deathrow, a perennially-surprising maze of time and tempo shifts, the minimalistic abstracticism of "Camel In The Desert" siding well with the more aggressive stylish histrionics of the title-track and the jarring Watchtower-esque jolts of "Incubus". "Little Symphony" is, expectedly, a classical variation with strong echoes of Helstar's "Nosferatu", a galloping shredding all-instrumental masterpiece which transfers its virtuoso character to "Barren Fields", a more lyrical ballad-prone piece but equally as spell-binding. "Two in One" is a creepy atmospheric cut with great melodic leads, and "Awake In The Sleep" follows the same not very climactic formula the latter shaken and stirred by the more frenetically executed "Breath". Although the energy gets lost to an extent in the second half, this opus is well worth the attention of a wide gamut of metal fans: there's a lot to savour here including the not very attached, but effective authoritative clean vocals ala Joey Belladonna (Anthrax).

Exdead Full-length, 1993

COMATOSE (USA)

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

COMBAT (USA, CA)

Two 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

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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 riffs with 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 uplifting 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

COMBAT SHOCK (RUSSIA)

Based on the full-length, this band play wild intense old school thrash/crossover, the more academic heavier clout of "Enemy" eradicated by the presence of vicious raging numbers ("Digital Warfare", "Warlord of the Wasteland"), the steady shouty semi-clean vocalist aggravating the environment additionally. Watch out for the remorseless mosher "Death Sentence" and the closing choppy semi-technicaller "Everything Goes Wrong".

Sacrifice EP, 2017
Everything Goes Wrong Full-length, 2022

Official Site

COME HORRID SIGIL (USA)

Cool modern progressive thrash/death that exudes quite a bit of energy from stylish restless shredder “Ethereal Appear”, before “Dead Obelisk” makes a nod at the Swedish melo-death movement with a hefty pinch of Darkane-sque intricacy. The all-instrumental 2-part “Dream of the Stellar Horde” odyssey comprises quite piano tunes, heavy atmospheric accumulations, enchanting melodic leads, and ethereal doom ambiance. Some of the musicians are also busy with the retro thrash/death hybriders Black Breath.

Dead Obelisk EP, 2023

Official Site

COMIN' TRUST (UKRAINE)

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 marvelous, 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

COMMANDER (GERMANY)

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

COMMAND PRESENCE (USA)

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 there 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 chaotic 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

COMMAND6 (BRAZIL)

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 second 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

COMMANDER (USA)

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 isn't 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

COMMANDO (MEXICO)

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 riffs, 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

COMMON DEAD (USA)

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 second 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

COMMON ENEMY (USA)

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

COMMUNAL GRAVE (PAKISTAN)

Two 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 (NORWAY)

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 wasn't 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 aren't of the very aggressive or intense variety. On the sophomore release thrash metal isn't 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 doom 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 two 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 officiousness replaced by several jumpier sections in the second half. The second part is a volatile, bouncy jazz-like number with virtuoso 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 parametres in the second part that also closes this very entertaining opus, a true return to form for one of the more prominent metal providers of the new millennium.
"Hiding from the World" doesn't drastically change the epitomized formula, the lengthy stomping opener "Plunder of Thoughts" setting the scene for the arrival of other similarly-shaped heavy atmospheric behemoths, the more lyrical semi-balladic title-track coming with both the most lyrical and the most belligerent moments here. In fact, quite a few compositions cling towards the balladic/semi-balladic sector, this gimmick somewhat wearing thin at some stage, the lively thrashy chops on "Face in the Crowd" a very welcome digression. Later one may find him/herself skipping through the lengthy 10-min quasi-doomster "Born Without a Heart" the second half saved by the more intense shredder "Scavengers Await", before another 10-min behemoth ("Forgotten") wraps on this pretty decent but somewhat cumbersome opus.

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
Hiding from the World Full-length, 2020

Official Site

COMMUNION (CHILE)

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 timbre, 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

COMO ESTA LOCO (GREECE)

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

COMPASSION DIES (USA)

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

COMPLEX (CHILE)

The debut: 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 sections, 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.
"Humana Involucion" is another assured effort, the band thrashing with gusto and intricacy on "Zona de Sacrificio", the few death metal grunts added exacerbating the setting which settles for more restrained mid-tempo histrionics with the crunchy "La Ira Del Olvidado". "Nativa Depredacion" adds a pathos-like epic touch to the proceedings, its officiant stomping rhythms swept aside by the blitzkrieg thrashing of "Lanzan Sus Dados", before the title-track recedes to more entangled prog-thrash. The fiesta comes alive again in a fountain of dazzling fretwork on the noteworthy closer "Balas Contra el Pueblo" with the lead guitarist especially busy for the provision of several virtuoso etudes.

Desde El Poder Full-Length, 2015
Humana Involucion Full-length, 2020

Official Site

COMPLEX 7 (GERMANY)

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, 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/progressive 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 complex 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

CONCATENATION (POLAND)

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 energizing 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.
“Existence Full of Promises” is a marginally more dynamic affair, the semi-technical violator “Racing Through My Burning Mind” aggravating the setting big time in the beginning, dwarfing less striking exercises in death/thrashing modernism like the pounding choppy “Your Doom” and the heavy pounder ‘Sear My Mind”. The brief hardcore-ish aura of “Mantra of Self Destruction” is not a throwaway, either, complementing well the doom-clouded reverberations of “Existence Full of Promises”.

Grinding My Soul EP, 2013
Empty State of Humanity EP, 2015
Mindeater Full-length, 2017
Existence Full of Promises Full-Length, 2023

Official Site

CONCEALED (USA)

This is retro thrash that features both jarring hectic ("Amaticulas") and plain intense ("Dream") pieces, the forceful semi-clean vocalist coming close to the attached timbre of Chuck Billy (Testament) on occasion. "Silencer" is a heavy ten-ton chugger, and "Vicious Game" is a cool stylish speed/thrasher, the highlight on this roughly-produced obscurity.

Concealed Demo, 1988

Official Site

CONCEDED (USA)

Groovy 90's post-thrash developed in a monolithic mid-tempo, the steam-rolling rhythm-section seldom broken with "Renegade" being a livelier proposition with more volatile riffs, and "Black Earth" throwing in a couple of more intense headbanging moments. The second half is more convincing comprising the more ambitiously executed roller-coaster "Deception" and the uncompromising squashing closer "Fade Away".

Welcome To Hell Full-Length, 2018

CONCEDO NULLI (HOLLAND)

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/doom passages topped by the unholy shouty death metal vocals ala Glen Benton (Deicide). There's 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 simplistic stuff with the modern groovy death metal outfit Twister of Truth.

Critique of Pure Treason Full-Length, 2012

Official Site

CONCEIVED BY HATE (EL SALVADOR)

The EP: two tracks of fast intense thrash/death metal of the modern type, one atmospheric melodic, still death/thrash number ("Believe"); and one tender acoustic instrumental ("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.
"Putrid Realms of the Occult" introduces quite a bit of black into the proceedings with Impaled Nazarene an obvious influence. So expect hyper-active blitzkriegers like "Centroamerica Belica" and "Oraculos del Tiempo" the venomous witch-like vocals facilitating the blackening process which occasionally hits hyper-blasting dimensions ("En Las Aguas Del Súcubo").

Witness of Decay EP, 2009
Pestilence Reborn Full-Length, 2012
Death & Beyond Full-length, 2016
Putrid Realms of the Occult Full-length, 2020

Official Site

CONCEPT INSOMNIA (GERMANY)

Based on the debut, this act play melodic modern thrash of the not very exciting mid-paced kind with sparse 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 audience, 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

CONCEPT OF HATE (BRAZIL)

This is modern post-thrash with several faster-paced implements like the inordinately lively shredder "In Human Nature", and the jumpy "Just in Case of Loss Read It" which have to compensate for the presence of mellower semi-ballads like "Hanged Man's Ballad" and the dramatic doomster "Prometheus". The singer shouts a bit too much ruining the more laid-back moments which are more than just a few.

The Monster You Created Full-Length, 2018

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CONCEPTOR (GERMANY)

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 isn't bad with his leveled semi-clean timbre.

Deconception Demo, 2012

Official Site

CONCEPTOR (NORWAY)

An obscure act who play atmospheric technical thrash with forceful semi-clean vocals, quite interesting, with plenty of mood swings and time-changes which are never for the sake of the aggressive cutting riffs 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 stylish 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

CONCILIATOR (USA)

Dynamic hyper-active speed/thrash supported by intense spatout semi-shouty vocals; the virtuous melodic walkabouts on "Vicious Circle" are more than welcome as well as the more speed metal-inclined "Prisoner". "Distorted" is another short slab of energetic headbanging goodness, and "Shock Value" is bashing vitriolic thrash to the bone, the venomous singer adding more fuel into the burning furnace.

Demo Demo, 1988

CONCINER (USA)

This is intense classic thrash which rolls on in both a heavy and speedy fashion, the leveled semi-declamatory vocals grumbling comprehensively on the side. The hectic semi-technical riffs on "How Does It Feel" can probably pass for the highlight, the straight-ahead mosh of "Mosh Burn" the most vigorous proposition, opposing to the meek creepy veneer of "Council of Lies", receiving support from the short bursting hardcore-tinged "Guess What".

Social Disorder Full-length, 2021

Official Site

CONCLAVE (BRAZIL)

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

Youtube

CONCRETE (HUNGARY)

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 moshers 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.
"High Evolution" arrives after a huge hiatus, but the band sound angrier than ever, shooting biting bullets all over, the explosive opener "Quellcrist" sweeping the scene, setting the stage for a string of similar fiery cuts, with "City (Part II)" and "Live Fast, Chase Death" tumbling walls with ease, Slayer's mythical "Reign in Blood" coming to mind more than just now and then, the more hardcore-based flippancy of the short breezy "Oh No Oh Fuck" also working to the guys' advantage, never pausing for a single break throughout, producing a pummeling fist in the audience's face.

First Attack EP, 2006
Revelations of Perdition Full-length, 2011
High Evolution Full-length, 2023

Official Site

CONCRETE AGE (RUSSIA)

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 moshing 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 second part is actually more conventional and much less intense and more atmospheric the guys turning to doom/gothic at times, the closer wrapping 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 those 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").
"The Totem of the Great Snake Pt.II: Covenant" is the next chapter from the Great Snake saga and as such it exudes energy in spades with more brutal deathly leanings ("Dragon`S Grave", the ripping outrage "Vandal") interfering frequently. Moderate mid-pacers ("Kama Sutra") are also included to balance things out although their number should have been bigger, the closing pagan/folk closer "Follow the Sun" the other mellower moment.
"The Roots of the Concrete Age": a second instalment for one year, this opus serves the same diverse package with wild, also infectiously melodic, moshers ("Endless Rain") crossing swords with more moderate progressivers ("Pain") and engaging power/thrash conglomerates ("Voices of Nations"), the emphasis on melody quite big save for the more brutal proto-death outrage "Among the Monks" at the end.
"Spirituality" is another scattered but decent affair which wins the most points from epic rousing speedsters like "Welcome Back", the death/thrashing title-track by all means a dynamic occurrence, contrasting with the nice lyrical Oriental etude "Isis Flower". The Orientalism occupies the second half much more fully, leading to a string of mild barely metal-ish cuts.
"Bardo Thodol" is a variegated fare, the guys moshing on full-throttle the entire time, "Purity" crossing over towards less tamed death metal waters, the melodic Orientalisms on "True Believer" still accompanied by restless headbanging rhythms, the addictive folk heroics on the short all-instrumental "Trite Puti" a true highlight. Elsewhere the band either shred energetically with moderation ("Ridges of Suffering") or bounce in a more welcoming friendly manner ("Thunderland"), the festive mood seldom broken on this catchy diverse recording.

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
The Totem of the Great Snake Pt.II: Covenant Full-length, 2018
The Roots of the Concrete Age Full-length, 2018
Spirituality Full-Length, 2020
Bardo Thodol Full-Length, 2022

Official Site

CONCRETE COFFIN (USA)

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's 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 aren't 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

CONCRETE EARTH (HOLLAND)

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

CONCRETE FORCE (GREECE)

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 guitar 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

CONCRETE FUNERAL (CANADA)

A classic death/thrash compendium this one, at times brutal and uncompromising (the aggressive bombs "Drown" and "Holocomb"), at others heavy and stomping (the proto-modern "Toxic Fuck"). Something marginally more complex ("Mattress Stains") gets stirred, but the band simply don't rely on such gimmicks too much as it's untamed mosh the band members are primarily interested in, the rending shouty death metal vocals nicely accommodating all the unleashed outbursts.

Ultimum Judicium Full-length, 2019

Official Site

CONCRETE IMPACT (USA)

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

CONCRETE SLEEP (SWEDEN)

This is the same band known earlier as Formicide, a good underground 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

CONCRETE SOX (UK)

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

CONCRETE WORDS (FINLAND)

This is modern thrash with sparse 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

CONCRETENESS (BRAZIL)

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

CONDANNA (ITALY)

Based on the debut demo, this cohort indulge in very raw, unrehearsed old school thrash which is really marred by the awful sound quality. On the music front things are a tad better with "Final Sin" serving a couple of more intricate riff-patterns on a dark atmospheric mid-paced base; and "Evil Conviction" offers some jazzy eclecticism on a hectic thrashy background, the harsh shouty death metal vocalist making his own individualistic contribution to the musical weirdness that needs quite a bit of refinement before it starts ticking correctly. Some of the band members were also active with the retro thrashers Thy Gate Beyond and Necrowar.

No Future for Doom Demo 1993
Sentence of Birth Demo 1995
Oltre il destino Demo 1997
Pathological Internal Pain Demo 1999

CONDEMN (USA)

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

CONDEMNATION (GREECE)

A very interesting entity which is built around deeply atmospheric dark overtones which makes it hard to categorize; the base is classic power/thrash, but there's a lot of perverted romanticism ala later-period Rotting Christ at play as well; in fact, the famed Greeks hadn't even touched upon this trait of theirs at the time when this effort got released. The title-track is a perfect illustration of the music at play, fast and at the same time lyrical composition which may as well be the first genuine gothic thrash piece of art. "Frontiers of War" is a speedier proposition, a wild hyper-active ride augmented by the rough semi-shrieky vocals ala Mille; "Reign of Terror" being an effective dramatic mid-pacer with sudden fast-paced outbursts. "Among Hatred" carries on with the less exuberant trend, but watch out for the thrashing skirmishes which rise out of nowhere, keeping the tension high throughout, helped by the presence of ephemeral keyboard motifs here and there. The very good sound quality is another big plus in the resume of this delightful one-EP-wonder.
The demo delivers dark albeit energetic old school thrash which on “Evil” is pure evil bash with poignant melodic moments. “Condemnation” is a sprawling progressive epic with numerous nuances and influences, the lead guitarist particularly busy with several breath-taking melodic tractates. “Graves in the Darkness” would remind of the band’s compatriots Nightfall with its atmospheric build-ups, and the title-track is another lengthy extrapolation with an alluring balladic interlude and intriguing time and tempo-changes. The deep guttural deathly vocals suit the atmospheric musical setting, again recalling the Nightfalls. Some of the musicians also played with the power metallers Casus Belli.

Words of Paranoid Demo, 1991
Entering the Gates of Doom EP, 1993

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CONDEMNATORY (SWEDEN)

The band offers modern thrash/death metal with a style not too far from At The Gates but with a thrashier 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

CONDEMNED (AUSTRALIA)

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

CONDEMNED (CANADA)

Classic power/thrash that by all means has the bite and the verve ("Contradiction"), also aggravated by the shouty near-hysterical hardcore vocals, the sterile modern-ish "Second Coming" ending up being on the noisier side of the spectre, where also the rowdy nervy "The Power" belongs. Some hard-hitting thrash comes pouring out of "In the End We See", the most aggressive composition here, an abrasive confrontational headbanger. The band continue their career under another name, Desolate Rage, the style pretty much the same.

Nemesis Full-length, 2007

Official Site

CONDEMNED (USA)

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's room for more crossover-laced songs ("Grandpa", "Nice Fit"), too.

Seeking Power Demo, 1989

CONDEMNED AD (SWEDEN)

Based on the full-length, this band play modern power/thrash with thick abrasive riffs and a cool soulful ballad ("Follow a Failing Leader") thrown in in-between the rowdier material. Said material is seldom on the very energetic side, the semi-balladic pageant "Save Me from Myself" the most positive moment from it, the proto-mosher "Crawl in the Dirt" going away with the laurels for being the fastest cut here.

Will I Cheat Death One More Day...... EP, 2017
Time Waits for No One EP, 2018
Follow a Failing Leader Full-length, 2022

Official Site

CONDEMNED EXISTENCE (USA)

Based on the full-length, these folks deliver modern thrash/post-thrash which straddles between the more intense histrionics of early The Haunted and some surprisingly effective melodic brand of the good old 90's post-thrash pageants ("Apparitions", "Roasty") where the band display bigger musical proficiency with "Devouring Essential Time" offering more pacifying balladic/doom vistas to again more positive effect, the aggressive semi-shouty death metal vocals doing their thing on the side without necessarily sounding very relevant the whole time.

Following the Beaten Path Full-length, 2006
8 Feet Under Full-Length, 2019

Official Site

CONDEMNED TO ROT (USA)

This band specialize in modern progressive thrash/death which starts quite ambitiously with the 9-min extravagant title-track which, if nothing else, 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 deathly outbursts. The concoction surprisingly works, and "Did You Hear That" raises the lathe even higher with a portion of virtuous 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 two 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

CONDITION CRITICAL (USA)

Three 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 timbre 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

CONDOR (NORWAY)

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 sparse 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 timbre 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 black metal 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 expect 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

CONDUCTION (AUSTRALIA)

Modern thrash/post-thrash which by all means moshes hard ("Lifeblood Dry", the semi-technical "Overhauled") at times, but expect also more contrived walkabouts ("New Moon Awakens") where also some groove sneaks in treacherously, the band experimenting with some industrial tricks on the closing odyssey "Closing Of The Gate". The vocal variety is big, the man unleashing deathly growls, piercing blacky shrieks, and cool clean attached croons at various times throughout.

The Future Detached from You Full-length, 2022

Official Site

CONDUCTOR (SWEDEN)

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

CONFABULATION (NORWAY)

Based on the full-length, this trio serve ripping modern thrash with echoes of Cockroach and Dew-Scented. The riffs fly with force, the shouty death metal vocals provide an additional gust of intensity, but watch out for heavy more melodic deviations like "Face of Greed" and the gothic ballad "Trapped", these cuts revealing a more diverse side of the band's repertoire, one that cringes before unrestrained shorters like "Tin Foil Soldiers" and steady speed/thrashing merry-go-rounders like "Way of the Charlatan".

Seeds EP, 2019
Mental Alchemy Full-length, 2020

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CONFECTOR (SWITZERLAND)

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

CONFESS (IRAN)

Based on "Revenge at All Costs", this act specialize in heavy, occasionally dynamic, modern post-thrash which flirts with both doom ("Phoenix Rises") and fuller-fledged thrash ("Ransom Note") throughout, the catchier character of "Megalodon" expanding the palette, the latter also receiving a more complex, near-progressive baptism on the engaging epicer "Hegemony". Some of the musicians are also involved with the extreme progressive metallers Endolith.

Beginning of Dominion Full-length, 2012
In Pursuit of Dreams Full-length, 2015
Revenge at All Costs Full-length, 2022

Official Site

CONFIDENT (POLAND)

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

CONFINED (USA)

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

CONFLAGRATION (NORWAY)

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

CONFLAGRATION (RUSSIA)

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 six 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.
“Exhausted” is a decent showing once again, the guys courting the bay-Area this time, the complex exercises “The Punisher” and “Destructive Generation”, already heard on the debut, keeping then intrigue high, the blasé-executed balladic title-track tending to the romantic side of the audience. “All Pervading Hate” is a noteworthy diverse prog-thrasher, and “Green Season” is another more intricate saga with sharp lashing riffs and nice proficient leads.

Destructive Generation Full-Length, 2011
Exhausted Full-length, 2023

Official Site

CONFLAGRATOR (SWEDEN)

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

CONFLICTED (CHILE)

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 timbre 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 unadulterated hardcore those cuts seldom going beyond the 2-min mark.

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

Official Site

CONFRONT HATE (PORTUGAL)

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, deathly version of Phil Anselmo.

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

Official Site

CONFUSED (USA)

Three tracks of fairly 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 timbre the guy often helped by his comrades for the production of several catchy choruses.

Demo Demo, 1991

CONFUSED (USA)

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

CONFUSED ADDICTION (GERMANY)

This is a fairly cool blend of classic Bay-Areasque thrash and thrash/crossover the guys entertaining the audience either with dynamic short rippers ("Skate or Die") or with more intense exercises in full-fledged thrash ("Waste No Time"), with "Reality" suddenly becoming more technical and mazey, with "False Ideals" adding an even more intricate fibre on top of vehement speedy strokes, recalling the Swiss Lunacy. The vocals are suitably semi-shouty/semi-declamatory, not completely devoid of passion. Some of the musicians were also active with the death/thrashers Hypothermie and the similarly-styled thrash/crossover outfit Bloodeagle.

Confused Addiction EP, 1992

CONFUSED MIND (JAPAN)

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

CONFUSION (USA)

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

CONFUSION MASIVA (URUGUAY)

This outfit indulge in brisk dynamic classic thrash which is carried by both speed ("Devastacion"), but "Especie en Extincion" is a stomping volcanizer, and "Ficcion" flirts for a bit with thick seismic proto-grooves. "El Poder" is an uplifting crossover hymn exacerbated by the very shouty hardcore vocals.

Especie En Extinci?o?n EP, 2023

Official Site

CONGENITAL MUTATION (UK)

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/doom 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 six pieces altogether lasting for a bit more than half an hour.

All too Human Full-Length, 2011

My Space

CONGLOMERATORZ (USA)

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 laurels 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

CONJURATION (USA)

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 technical guitars in the best tradition of Sadus again, Hellwitch and Atheist.

Reality Of Life Demo, 1990
Conjuration Single, 1990

CONJURE (ECUADOR)

Based on "Releasing the Mighty Conjure", these lads deliver vintage retro speed/thrash with frolic melodic hooks and optimistic energetic tempos the overall delivery staying closer to speed metal, the title of "Speed Metal Legacy" exemplifying this cool tribute to Helloween, Scanner and Vectom which main detriment are the not very fitting death metal-ish vocals. "Beyond (The Gates ov Hell)" is an imposing progressive opus, a perennial speedster the only genuinely serene place here being the acoustic instrumental closer "Embrace of Death". The band members are also busy with the black/thrash hybriders Angel Negro and the similarly-styled Alcoholic Rites.

Feeling the Power EP, 2016
Condénate al Cuero y metal Full-length, 2016
Speed Metal Bestial EP, 2018
Releasing the Mighty Conjure Full-length, 2018

Official Site

CONNECTED (FINLAND)

Based on the full-length, this is a death/thrash compendium, more on the retro side, with intense throaty death metal vocals. Raging "neurotic" headbangers ("Neurotic") alternate with stomping atmospheric mid-pacers ("Trail of Lies"), the vehement "Bitter End" transferring the delivery towards the realms of death, the friendly sing-alonger "Against the Prophecies" brightening the thick ominous setting, and the ripping title-track closing the proceedings in an appropriate hyper-active manner.

Dimensions EP, 2020
The Degeneration Full-length, 2021

Official Site

CONNIPTION (USA)

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 listener 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", canceled 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 second 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 staple power/thrash saga is presented here without any cosmetic alterations the guys 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

CONQUERORS (FRANCE)

Based on "Stormbringer", these lads pull out hyper-active classic speed/black/thrash which is boosted, or marred depending on the taste, by the hysterical screechy blacky vocals. "World Eater" brings the winds of black with its unbridled blast-beats, and "Altar of Tempest" is a nice more melodic epicer. There's no restraint exercised anywhere, this is a tiring assault on the senses which will also satisfy lovers of the early Brazilian wave (Sarcofago, Volcano, Holocausto, etc.).

Deceptive Condolences EP, 2014
Conqueror Full-length, 2015
Dawn of War Full-length, 2019
Stormbringer Full-length, 2021

Official Site

CONQUEST (USA)

Based on "Rage", this band plays good modern power/thrash metal slightly 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/doom "Stoned Me"; the tender balladic "Empty"; the heavy metal joy "Forever Free".
"No Boundaries" is playful rock-ish 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 four songs of a more aggressive material now the thrashy part of the guys' repertoire returning with a noisier industrial 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.
"Paradox" sounds decidedly more classic than its several predecessors, the dynamic opener "Of the Devil's Creed" later supported by the equally brisk "King of the World" and the more playful "Walking Dead" keeping the optimism high all over, the balladic pageant "He Shall Return" splitting the album into two, the second half containing friendlier more welcoming songs, thrash materializing on the more bellicose "Valley of the Damned", and partly on the heavy seismic pounder "Dying to Live".

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
The World Has Gone to Hell Full-length, 2019
Paradox Full-length, 2024

Official Site

CONSCIOUS ALARM (USA)

This US trio provide vicious intense retro thrash/death supported by very screechy semi-black vocals. The music works on all counts despite the muddy sound quality, "Bird of Prey" doing away with a couple of more clever guitarisms, the short acoustic Oriental instrumental piece "Phantasm" another pleasant deviation from the remainder which is focused on sharp hard-hitting rhythms, the dark atmospheric "Sin Vision" a cool brooding minimalism.

Tears of Fury Demo, 1991

CONSECRATOR (USA)

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

CONSFEARACY (USA)

This is the German/USA act Prophesy who changed their name recently; the group is based around the two 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 deathly 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 get more brutal on the last two songs, 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

CONSPIRACY (AUSTRIA)

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 which may pass for the highlight on this fairly pedestrian effort.

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

Official Site

CONSPIRACY (GREECE)

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 indeed 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

CONSPIRACY (NORTH MACEDONIA)

Typical retro power/thrash which isn't built on any speedy patterns, and will offer more lyrical cuts (the semi-balladic "Shadow in the Bone"), relaxed heavy metal anthems ("Scream of Osiris"), and not very boisterous power metal compositions ("Retribution"). "Everlasting Hope" is an invigorating fast-paced offering, but such moments are few in-between, the passable, not very emotional semi-clean vocalist supervising the proceedings with cautious, not very pronounced authority.

Dehumanized Full-length, 2019

Official Site

CONSPIRACY (NORWAY)

Based on the “Welcome” demo, this band play atmospheric old school power/thrash which is characterized by both lengthy tale-telling sagas (“Raef Epac”) and short sketch-like jokey etudes (“For Your Ears Only”), the balladic elegy partly ruined by the not very expressive clean mid-ranged singer. The operatic progressiver “The Truth Never Hurtz” is surely the highlight, a heavy thumping stroll with dramatic clever riffage, the short lively “Deathliverance” the only claim at rowdy unruly demeanour. Later members of this act went onto much bigger glories with Green Carnation and In the Woods.

For Your Ears Only Demo, 1991
Welcome Demo, 1993

Youtube

CONSPIRACY (SWEDEN)

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

TTReincarnated Full-length, 2006

Official Site

CONSPIRACY (USA)

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 leveled, impassionate, semi-declamatory voice.

Lack of Society Demo, 1990

CONSPIRACY (USA, MICHIGAN)

"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-leveled semi-clean tone with the casual higher-pitched deviation.

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

Official Site

CONSPIRACY AD (ITALY)

Based on the full-length, this band play classic thrash/death with both heavy threatening behemoths ("Bloody Revenge") and fast ripping outbreaks ("Enslavement"), the shouty death metal vocalist not sparing his lungs behind the mike. The more varied quasi-progressive nature of "The Endless Darkness" isn't prolonged elsewhere, but there's enough death/thrashing madness ("Death and Blood", the semi-technical cruncher "The Sadness of Mankind") scattered around to satisfy the more pretentious lovers of both genres.

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

CONSPIRACY OF SILENCE (BELGIUM)

A 4-song demo of heavy/doom 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

CONSPIRATOR (GERMANY, Hamburg)

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

CONSPIRATOR (GERMANY, Hesse)

A side project for two members of Witchburner; based on "Cannibal Of War", the style isn't 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's 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

CONSTANT THREAT (USA)

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 entire time.
"Threatology, Vol. 2" is safely back on more rigorous thrashy ground the approach clinging between immediate headbangers ("Engine of Doom") and heavy, a bit one-dimensional stompers ("Hail to the Fallen Ones"). The sinister mid-paced urgency of pieces like "Evoking Fear" is by all means worth mentioning, unlike the overdone progressive veneer of "Fall of Elysia" which is too clumsy and unfocused to keep the listener perennially entertained.

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
Threatology, Vol. 2 Full-Length, 2019

My Space

CONSTRAINT (SWITZERLAND)

Based on "Dead End", these folks provide abrasive modern thrash/post-thrash which also flirts with death (the title-track) in a more playful melodic fashion. "Your Last Day" is a cool energetic mosher, and "In Ships They Come" is a fine dramatic shredder, the guys alternating their repertoire, still giving reference to the faster-paced pieces among which "Throw the First Stone" is a worthy blitzkrieg roller-coaster. The vocals are harsh shouty death metal ones, suiting better the more death-prone material (also the melo-death worship "Doomed to Die").

Between War and Terror Full-length, 2015
Dead End Full-length, 2020

Official Site

CONSTRICTED (USA)

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 perhaps 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

CONSTRICTOR (RUSSIA)

Quite cool old school power/speed/thrash with dark undercurrents, think a combination of Nevermore and the Swedes Pathos. Soaring speedsters ("Witches of the Night") alternate with heavier more intricate shredders ("Damien"), the epic progressive flavor brought by "In the Hands of Fate" nicely implemented by the excellent technical roller-coaster "Street Jackals" and the impetuous fast-paced sweeper "Judgement Day". "Insanity" is a less fussy speed/thrashers, and the final "Ravages of Time" is an encyclopaedic saga lasting for 11.5-min, a summative exercise in classic speed/power/thrash with a fine memorable chorus. Some of the musicians were earlier occupied with the grindcore cohort Zemlia Smerti.

Ravages of Fate Full-length, 2022

Official Site

CONSTRUCDEAD (SWEDEN)

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 two 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

CONSTRUCT (SWEDEN)

The debut: 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 harsh shouty vocal participation not so widely covered on this one.
The EP is a more sterile, stiffer affair with more frequent slower deviations, and although the title-track blasts through the speakers in the best tradition of early Dark Tranquillity and At the Gates, it's the more officiant epic arrangements on "Through These Years" and the stomping urgency of "Mind Under Siege" that occupy bigger space and dictate the proceedings.

World Decay Full-Length, 2013
Observations Full-length, 2017
Time Machine EP, 2019

Official Site

CONSUMED BU FURY (USA)

Modern groovy post-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

CONTAINMENT (FINLAND)

Three songs of simplistic retro thrash metal mixed with sparse 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

CONTAMINATION (GERMANY)

The debut: 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 deathly 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.
"Traumatic Recollections" is more ambitiously-woven with longer, carefully-assembled numbers where quite a few things occur bordering on the progressive ("Transformed Monstrosity", "Curse Of The Tomb"), not to mention the encompassing 12.5-min all-instrumental saga "Lost In Psychotic Dreams", the total opposite to the fast ripping closer "The Devil's Experiment".

Nightmare Asylum Full-Length, 2014
Traumatic Recollections Full-length, 2020

Official Site

CONTEMPT (DENMARK)

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

CONTEMPT (USA)

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

CONTINGENCE (USA)

Industrial thrash which doesn't hide its fascination with Ministry and Swamp Terrorists, among other industrial metal luminaries. The delivery is unnecessarily noisy at the start although the atmospheric electronic gimmicks ala Front Line Assembly ("Mordant Atrophy") work quite well if not even better than the harsh guitar-driven soundscapes the latter still producing a couple of captivating moments, like the intense steam-roller "Infestation" and the intimidating doomster "Fabricate". "Incarceration Unavowed" is an appetizing industrial extravaganza touching the weirdness of G.G.F.H. whereas "Cracked & Tainted" is a surreal shredder ala early Treponem Pal although the highlight remains the excellent operatic thrasher "Contempt" the atmosphere enhanced by a sparse use of keyboards. The singer perfectly matches the apocalyptic picture with his heavily synthesized semi-death baritone which he doesn't change throughout, creating a somewhat artificial, robot-like feeling.

Necropolis Full-Length, 2001

CONTINUUM (FRANCE)

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/thrash 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

CONTORSION (SWITZERLAND)

The demo: retro thrash with a dark doom 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 friendlier 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

CONTORTION (USA, CA)

Based on "The Common Thread", this band play modern dystopian post-thrash that is covered by a hefty layer of industrial, the latter ingredient unable to stop the feverish moshing riffs on "I Am No One" and the steady crunchy rhythm-section on the friendlier "Antivirus". Expect a wall of noisy mechanized sounds on "Guttersnipe", before "Evolve" serves a cool cleanly-sung chorus as opposed to the main harsh shouty deathly tirades, the more stylish bounces of "No Destination" and the cool melodic licks on "Among the Stars" dispersing the stiff sterile environment a bit towards the end.

Manipulation of the Mind Full-length, 2004
Masterpiece of Domination Full-length, 2008
False Flag Paradigm EP, 2014
The Common Thread Full-length, 2024

Official Site

CONTORTION (USA, TX)

Expect heavy groovy post-thrash quite typical for the time of release, the steam-roller exigency of “Train in the Vien” pared well with the energetic valour of “You Know Me” and the Pantera-squetrampler “My Aggression”, an aptly-titled number which is backed-up handsomely by the galloping delight “New War”. This last track the finest showing here, it still has some kind of a competition, first from the fine dirgy tribute to mid-period Six Feet Under that is “Warriors Pride”, and then from the near-progressive diverse closer “Cutting the Teeth”, a nice bouncy ride with a few groovy stopovers, the vociferous Phil Anselmo-sque vocalist standing tall with his confrontational inclusions.

Contortion Full-length, 1998

Youtube

CONTORTION (USA, NY)

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

CONTORTION SESSION (USA)

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

CONTRA (SWEDEN)

Based on the "Revolution" demo, this band pull out pretty effective retro prog-thrash that on "So Hard To Live" is all-instrumental deviant semi-intricacy;"Lets Start a War" is a heavy dark pounder, also introducing the cool levelled clean vocalist amongst dazzling melodic lead sections and several noteworthy riffy twists. "A New Day" doesn't quite bring anything new, but its entangled rhythmic jolts strictly belong in the tech-thrash department, the final result a spacey dreamy progressive journey with a pleiad of time and tempo changes. Later on some of the band members formed the thrashcore act Skull.

Revolution Demo, 1989
Contradiction Demo, 1990

Youtube

CONTRA NATURA (PERU)

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

CONTRACT (SWITZERLAND)

This outfit play first-rate modern/classic prog-thrash/post-thrash which is built on semi-intricate chuggy riffs ("Story of N.H.B."), the weird extrapolations on "Smart Feeling" bordering on Mekong Delta-sue eccentricity, the tight crunchy rifforamas on "Wall-less Labyrinth" hinting at Defiance-sque possibilities. "Violine" is a standout tech-thrash shredfest which entangled lustre is gracefully continued on "Syndicate", a more leveled but equally intriguing creeper, the mean spatout James Hetfield-like vocals doing a decent if not exactly spectacular job compared to the other musicians' proficiency. "Sleeping Downfall" is full to the brim of brilliant virtuoso leads, the tight dense riffs on "Positive Souls" another lofty phenomenon despite its quasi-groovy aura and the wilder headbanging second half. "The Joke Song" is a schizoid marvel with fascinating riff-knots wondrously circling around, with fusion and funk arriving at some stage to add more to the highbrow music, the latter finalized by "Circle Worker", a steady mid-tempo post-thrashing delight with nice melodic configurations, the thick tech-riffage intact, too, the band really making their homeland a hotbed for mind-stimulating music, standing proud next to their compatriots Coroner and Calhoun Conquer.
The "Characters" demo is another really noteworthy entry, "Eyes Lie" being a standout creation in the annals of progressive thrash, a multi-layered kaleidoscope of moods and rhythms, "Insanity of Brain" betting on eclectic minimalism, a schizoid marvel with an equally weird fast-paced passage. "Stones" is an atonal melodic delight, a fascinating blend of quiet balladic sections and choppy mid-paced riffs, the exiting etude notching up the intricacy, the latter standing tall for "Nameless", a tight diverse shredder with alluring melodic tricks and the obligatory speedy crescendo. "Separate Ways" bets on heaviness and semi-balladic arrangements, an anti-climactic closure to this impressive outing which also boasts very good production qualities.
The "Abyss" demo is a less polished entry, with two cuts ("Nameless", "Separate Ways") from it later finding place on the following demo. The sound quality is decidedly muddier, the title-track roving the environment with crunchy rowdy riffs, the balladic break provided carrying on on "No Reason to Save", a pensive stride with abrupt speedy accumulations and arresting melodic lead sections. "Contract" is a straight-forward basher with a couple of more stylish, also quieter, stopovers, and "Rage" is nothing like what the title suggests but is a tender soulful ballad with capable cleaner vocals.

Abyss Demo, 1993
Characters Demo, 1994
Natural Being Full-length, 1998

Official Site

CONTRADICTION (GERMANY)

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 first one is a pure gothic number ala Cemetary with very good female vocals; the second one is the highlight of the whole album being great atmospheric, but also quite technical and speedy; the third 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 three 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 second 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

CONTRASTO (ITALY)

Based on the self-titled, this Italian trio practice pretty decent classic thrash/death which acquires both technical and modern tendencies as time goes by, the harsh shouty death metal vocals contaminating the environment with their venomous vigour. "Guarda" is a nice more intricate sweep, and "Pazzia" is a more light-hearted speed metal hymn. Cool progressive moments rise on the stylish shorter "Mille Anni", this stylish ingredient also showing up on the more dynamic closer "Sputa".
"Eterno" is a surrender to the numetal vogues, and as such is a not very exciting groovy affair. There's little to relate this unsightly outing to its much loftier predecessor, the guys just plodding throughout, with only "Tradito E Venduto" displaying bigger thrashier prowess for a bit. The rest is skippable by an standards, modern or classic.

Contrasto Full-length, 1997
XXS Strong EP, 1999
Eterno Full-length, 2003
17 Full-length, 2005

CONTRATAQUE (VENEZUELA)

This act pull out brisk bouncy classic thrash which also comes accompanied by a more or less overt progressive edge (the heavy suggestive “Hecatombe”, the ripping diverse “El Elegido”), the lyrical semi-balladic ”El Mazo” paling before the full-on thrashers “Esclavos del Poder” and “Hecatombe”, “Éxodo...Campos Toxicos” serving a bout of modern-ish quasi-groovy rhythms to match the confrontational hoarse tirades of the singer. Some of the band members are also occupied with the retro thrashers Necrosis.

Autodestruccion Full-length, 2022

Official Site

CONTRITION (DENMARK)

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" which 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

CONTROL (USA)

This not very known act was the 1st attempt of some prominent figures on the metal circuit to create more aggressive music: the first Metal 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 which 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-thrash 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 materialize on the works of Agent Steel, Savage Grace, Attacker, etc.

Demo Demo, 1984
Demo Demo, 1985

My Space

CONTROSIGILLO (ITALY)

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 compositions 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 timbre which is quite leveled and could have tried a few higher pitches to spice things up.

Controsigillo Full-Length, 2012

Official Site

CONTUSIO (BOSNIA AND HERZEGOVINA)

Based on the full-length, this act serve quite intense technical old school thrash/death, more death-oriented, which can be both complex (the labyrinthine opener "Holy Shadows from the Empty Grave") and direct and bashing (the still twisted brutalizers "Hate" and "Human Fatality"). "Rogus Funeral Pyre" switches to more flexible all-instrumental speed/thrash for a change before all the technical guns come blazing on the exquisite "Resurrection of Irony", mind-blowing tech-thrash/death which later partially finds its match in the bouncy choppy "Slay by the End" and the closing twister-and-turner "Contusio". A really good opus this one, making one take the scene from this small country more seriously...

Trauma of Detonation EP, 2011
False Emotions EP, 2014
Unrest in Peace Full-length, 2019

Official Site

CONTUSION (USA)

This is the Judas Priest song from "Defenders of the Faith" done in seven different ways... kidding of course! This is a mild, friendly hesitation between the old and the modern school done in a mellow power/post-thrash 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

CONVICTED (GREECE)

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 aren't 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's nothing technical, just pure relentless thrashing for a little less than 7-min.
The self-titled sophomore effort is an obvious step 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.
“Seeds of Deception” is a sure return for the band on the scene after a hefty period of absence, the staple for them intense delivery pretty much intact, the steam-rolling “Objection” gelling well with the short to-the-point “Total Termination” and the near-hardcore ravager “Chasing My Tail”. The slow-burning drama on “Human Barcode” is also well noted, the playful rhythms on the crossover etude “Code Red” seriously contrasting with the engaging quasi-progressive vistas on the doom-prone “Vaccine-Nation”.

Nuclear Escape Full-length, 2004
Convicted Full-length, 2010
Seeds Of Deception Full-length, 2024

Official Site

CONVICTION (SWEDEN)

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

CONVIXION (GREECE)

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

CONVULSED (ITALY)

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

Blind Enough To Obey Demo, 1988

CONVULSION (SWEDEN)

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

CONVULSIVE TENSION (RUSSIA)

This is an interesting albeit flawed atmospheric progressive metal/thrash of the old school which opens with the ambitious diverse 9-min saga "Wolves", the guttural death metal vocalist gurgling sinisterly in the background, changing his venomous approach to a cleaner semi-recital for the dark/gothic pageant "Warriors of Universe". Later on more energetic tunes ("Living Hell", "Pidmanula"), but this is too variegated to hold the thrash fan's attention the whole time, including with the lethargic balladic closer "Never Say Die".

Ruler of Being Demo, 1995

COOL HEAD KLAN (HUNGARY)

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 harder coming 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

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COPROFAGIA (MEXICO)

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 officious thrashy doomster "Murder Passions"; the atmospheric decorations on the more elaborate "Justine"; the beautiful lead-riff duels on "The Abees". There isn't 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 four full-lengths released of classic power metal.

Coprofagia Demo, 1992
Sade's Inheritance Demo, 1994

COPROSTASIS (BULGARIA)

Heavy, aggressive thrash/death metal is what these guys offer here; the style often recalls Autopsy, or early Six Feet Under, with a thrashier edge. When things become faster ("Zaklan v Duskoreznica", "Zadrusteni Grobista"), 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

CORAJE (EQUADOR)

Retro thrash/death metal which straddles between melody and aggression the whole time both sides mixed on nearly every track, "Experimento Judicial" concentrating more on atmosphere the guys settling for a less urgent mid-tempo on this one. The ripping nature of cuts like "Wakan Nanki" and the title-track propel this opus forward alongside the aggressive semi-shouty death metal vocals.

Tu Historia, Mi Historia Full-Length, 2018

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CORAL (ARGENTINA)

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-thrash 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

Youtube

CORDURA (SLOVENIA)

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 problems 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 alluring nature of this standout opener. "Surrealism of the Divine Element" is a more immediate technicaller with operatic keyboard embellishments and gorgeous melodic leads, and the title-track 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

CORE (USA)

Modern 90's thrash/post-thrash that is largely thick dense dirge with "IT" leading the robotic stiff pack which is close to transforming into something volatile and more compelling on "Machine", but the balladic tranquillity of the instrumental "Hint of Jazz" (no hint of jazz here) stifles those more ambitious displays. "Spirit" rises for some more rigorous thrashing, but this is far from the old school, the mechanic execution and the overt sniff of industrial way too pertinent for this to be a more flexible offering, "Expired" another tank-like abraser which at least suits the confrontational hardcore vocals.

Machine Demo, 1995

CORE DEVICE (USA)

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 timbre which has both emotion and intensity covering quite a range of moods. "Sixth Sense" is the highlight here, a mighty doom/thrash 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

CORE FIRE (USA)

Quite decent dry mechanical modern/classic thrash which has its robotic charm without necessarily sounding too stiff. From the measured mid-tempo trots of "Ascent" to the choppy speedy arrangements of "Whispers and Lies" there's some charm involved here, not without the involvement of the decent semi-declamatory/semi-clean vocalist. "Arena" recalls The Black Album with its playful inoffensive grooves, and "Last Sacrifice" is a nice wink at the classic canons with more aggressive pricking riffs, the same approach epitomized for the nice diverse shredder "Fields of War".

Consumed Full-Length, 2023

CORECOM (BULGARIA)

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 largely a doom-fixated 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

COREDUMP (FRANCE)

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 doom 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

COREDUST (FINLAND)

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

COREMASS (HOLLAND)

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

COREXIT (GERMANY)

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-balladic "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

CORNER STONE (RUSSIA)

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

CORNIGER CALVARIAM (ARGENTINA)

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 mixing 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 metal 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 Maldicion" 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 "Evocacion" 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 doom 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

CORNUCOPIA (SWEDEN)

This is retro thrash which is supervised by a raving black metal vocalist whose antics soar above the generally fast-paced proceedings, the more officiant stomper "Time of Contempt" pacifying the setting a bit, the more complex variations on "Met Your End" another welcome distraction. The second half lack energy and verve, a couple of dynamic developments on the closing "Your Mind is Dead... the End of Human Contact" enlivening the situation desirably, putting some life into this subsequently lethargic layout.

The Seventh Seal Full-length, 2022

Official Site

CORNUCOPIA OF DEATH (USA)

Based on the self-titled demo, this act specialize in rough energetic thrash/crossover not far from Attitude Adjustment and Spazztic Blurr. In other words, expect a few humorous moments among the simplistic hyper-active barrages among which "Suck My Floppy Disk" sticks out like a sore thumb being a nice more technical proposition. "Walking The Dog In Heavy Traffic" "contaminates" the environment with a portion of quirky bluesy tunes, the attached semi-declamatory punky vocals doing a decent job all over with their spacey, trippy feel.

Cornucopia of Death Demo, 1990
Nip It in the Bud Demo, 1991

CORONA OBSCURA (HOLLAND)

Decent classic thrash with not very appropriate screechy death metal vocals; short explosive hardcorers like "Mankind" could be a rude awakening for some as the dominant tone isn't as explosive, the band feeling more comfortable with heavy mid-paced riffs and sudden, more technically stirred dramas the culmination in this fascinating trend reached on "Suffer the End", with "Mission" attempting something wilder and more brutal to shake the dominant gloomy setting.

Corona Obscura Demo, 1996

CORONER (SWITZERLAND)

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

COROTTED (USA)

This is corrosive classic thrash which generates a fair amount of dark complexity on the longer material ("Dead on Arrival"), the linear mid-pacer "Kill for Die For" and the semi-balladic stroll "The Face of Darkness" take away some of the inertia accumulated, before "The Lie Within" escalates the pressure with another portion of speedy shenanigans. Pay attention to the steady hypnotic but not very energetic march "Born To Die", and by all means to the 8.5-min saga "Murder, Death, Kill.", a doom-laden all-instrumental experience lacking the cool mid-ranged semi-clean vocalist.

Kill for Die For Full-length, 2024

Official Site

CORPORAL DEATHBURGERS (NORWAY)

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-shouts 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

CORPORAL PUNISHMENT (FINLAND)

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 doomier trend isn't 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 doom-infused 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

CORPORAL SHRED (GERMANY)

The debut: 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 bashing of Dew-Scented ("The Council"). The singer has an assured clean timbre 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.
"Thrashtosterone" will surely raise your testosterone level to inordinate heights, the guys moshing in the expected fashion, the heavy stomps of "Regained Terror" pushing through the dramatic shreds of "Worthless" and the speedy heroics of "Chaos" and "Lies", "Hate" combining hard thrashing with more entangled mazey decisions.

Dressed in Blood Full-length, 2016
Thrashtosterone Full-length, 2024

Official Site

CORPORATE DEATHBURGER (NORWAY)

Based on the full-length, this act indulge in brisk roller-coaster thrash which borrows mostly form early Venom and Celtic Frost the musical barrage topped by intense shouty death metal 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 second 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

CORPORATION 187 (SWEDEN)

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 preferable 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

CORPSE (BRAZIL)

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

CORPSECANDLE (HOLLAND)

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

CORPSIA (BRAZIL)

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

CORPUS DELICTI (POLAND)

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 doom 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

CORPUS DELICTI (SWITZERLAND)

This band play right as rain retro power/thrash with sparse speed metal-ish ("Rising Darkness") elements peppering the environment. The second half abandons the impetuous fast-paced excursions, and focuses on more ambitious, thought-out compositions ("Blinded by Rage", "War") with an epic flair, with a joking take on the children's evergreen "Clap Your Hands" decorating the closing "Inquisition". The overshouty dramatic vocals are a bit too omnipresent, stifling the instrumental sections at times.

Break Everything Full-Length, 2018

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CORPUS VILE (CANADA)

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

CORRODED DETH (USA)

There is only one musician behind this project, going under the alias Nekros, who indulges in brisk modern/classic power/speed/thrash, the diverse amalgam stretching from melodic atmospheric mid-pacers ("Eternal Night") to hyper-active ripping headachers ("Death by the Electric Chair") to optimistic thrash/crossover pageants. The vocal delivery also fluctuates alongside the musical one, Nekros coming out with rough deathly grunts, clean attached tirades, and subdued semi-clean croons.

Armageddon Full-length, 2022

Official Site

CORRODING SUN (GERMANY)

This is retro power/thrash with cool dramatic clean vocals those at times intercepted by gruffer semi-clean and even plain deathly ones. The variety on the music front isn't that big, though, the dark mid-period Paradise Lost-esque "Just Reflections" a clear highlight with the progressive title-track a close second this one a nice dynamic shredder with echoes of Manticora and Paradox. The melodic sprawls on the final "Final Dawn" are a somewhat disputable finale, but overall this effort doesn't have any glaring flaws.

Corroding Sun Full-Length, 2019

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CORROSION (PARAGUAY)

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 deathly 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

CORROSION (MEXICO)

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 guttural shouty death metaller who takes too much space at times.

Punto de Quiebre Full-Length, 2017

CORROSION OF CONFORMITY (USA)

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, doom 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 doom-guided 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

CORROSIVE (ARGENTINA)

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 instrumental for most of the time.

Overcome The Darkness EP, 2016

CORROSIVE (USA)

A very obscure trio who, like many others at around the same time (or perhaps a bit earlier), were crossing death and thrash metal. The delivery is both chaotic and engagingly technical the guys alternating times and tempos, the pure volcanic stompers ("Skullfucker") working better than the other blends with "The Factory" being a nice twisted shredder ala Oppressor with the stop-and-go technique tastefully applied. "Nick" is another less ordinary thrash/death amalgam with great twisted leads carving burrows into the challenging rifforama. Expect a few faster-paced surprises on "No Surprise" as well as a couple of more entangled riffs, the nervy staccato sequence also extensively applied on the closing "Death Dream", a lengthy progressive opus with quite a few time and tempo changes. The lead guitar work is truly outstanding all over, and the vocalist is a passable death metal shouter who doesn't participate that prominently.

I`m Bleeding Full-length, 1994

CORROSIVE ELEMENTS (FRANCE)

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

CORROSIVE ELEMENTS (GREECE)

A 2-tracker of choppy semi-technical shredding ("Dreaming") of the modern type, and some steam-roller pounding ("Hate for All") which in the second half becomes a more violent, more energetic story, the intimidating semi-declamatory death metal singer another major exacerbator.

Aweinspiring Demo, 1998

CORROSIVO (BRAZIL)

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

CORRUPT (SWEDEN)

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's 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

CORRUPT (USA)

Based on the full-length, this band play intense bashing classic death/thrash which is woven of short explosive bombs ("Thrown into the Woodchipper", "P.U.Y.A. (Pipe Up Your Ass)"), the violent melee ably backed up by venomous shouty death/hardcore vocals. The relative respite is titled "Soul Stealer", a brief pounding march, but its presence won't be enough to keep the more squeamish around once the death metal ball of fury "Necrmancer" has passed. Some of the band members are also engaged with another retro thrash cohort, Vexxum.

Mind Control E.P. EP, 2014
Art of Torture Full-length, 2023

Official Site

CORRUPT CONSPIRACY (USA)

This young act play varied retro thrash which comprises lengthy 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

CORRUPT INSANITY (PHILIPPINES)

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 deathly 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

CORRUPT THE SYSTEM (UK)

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

CORRUPTED (IRELAND)

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

CORRUPTED (SWEDEN)

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

CORRUPTED INNOCENCE (USA)

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

CORRUPTER (MEXICO)

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

Brutal Suicidio Full-length, 1991

CORRUPTION (FRANCE, DOUAI, HAUTS-DE-FRANCE)

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 vocals 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

CORRUPTION (FRANCE, PARIS, ÎLE-DE-FRANCE)

Two musicians are behind this project which stays close to the modern thrash idea the lads doing a good job, shredding in a relatively energetic, semi-technical fashion ("Punish & Enslave") or attempting something less thrash-fixated ("Days of Red") with timid shades of groove. The very shouty quarrelsome singer aggravates the setting nearly beyond repair, but his vociferous rendings are fitting to the not very pretentious musical approach.

Corruption EP, 2019

Official Site

CORRUPTION (GREECE)

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

CORRUPTION (USA)

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

CORRUPTION INC (FINLAND)

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

CORRUPTOR (USA)

Based on the 2007 demo, this band pull out capable speed/thrash of the classic type, but with modern angry hardcore vocals. Two of the three 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

CORTEX (SPAIN)

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

CORTINA DE FERRO (BRAZIL)

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

CORUM (USA)

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 colossal 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 sinister doom/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

CORVO (BRAZIL)

This band play a retro/modern thrash blend supported by shouty deathly vocals; the music is both fast and pummeling ("Pago pra Ver") and slow and epic ("A Volta"), the fast-paced factor not playing such a big role here, the guys preferring to stomp and pound their way through, "Selva Urbana" a very good exemplifier of the dominant approach.

Calamidade Full-Length, 2022

Youtube

CORZARIO (COLOMBIA)

This Chilean trio deliver corrosive old school power/thrash that is definitely on the heavy epic side, “Carne de Canon” leading the pack, the balladic sentiments of “Contra el Tiempo” better suiting the cool emotional clean vocalist. More serious thrash gets stirred on “Corzario” and “Cuidad Capital”, the speed metal frivolities of “Magia Ritual” recalling the exploits of the guys’ neighbours Horcas and Hermetica. Jump to wild oblivion on the brisk “Noche de Sabado Negro”, the steel shattering gallops of the excellent semi-technical all-instrumental “Tormento” adding more fuel to the furnace at the end.

Ciudad Capital Full-length, 2018

Official Site

COSMIC DREAD (USA)

Based on the “The Incredible Flying Machine” EP, this one-man show, the name Tobias Ellis, delivers moody all-instrumental modern thrash, the proto-groovy skeleton of “WX-1” shaken and stirred by the fusion-esque expletives epitomized for “Nauset Rain”. “Dragon Fist” is a restless headbanger, and “Sandstone” is a slow-burning behemoth, merging with the futuristic doomisms of “Hell March”, which is a cover of the American video game composer Frank Klepacki.

Cosmic Theater EP, 2022
The Incredible Flying Machine EP, 2024

Official Site

COSMIC ENTITY (USA)

Based on "State of the Union", this one-man (the name Connell Glick) band play moderately complex, somewhat progressive thrash which is mostly on the classic side, the situation ruined to an extent by Glick's screechy blacky, plain hysterical at times, vocals. Interesting, labyrinthine variations on the thrash/death metal hybridization like "I Am Not a Crook!" are definitely worth mentioning, but the man kind of feels more comfortable when he bashes with bigger abandon ("Kill, Destroy, Obliterate!", "Pyhrric Victories (The Price of War)"). He also appropriately wraps it on with the cool atmospheric doomster "Worship the Bullet" which nicely fits into the not very compromising landscape with its contrasting, funereally elegiac nature.
"Goodthink Inc" is an even more ambitious affair, the 8.5-min odyssey "Rotting Mind" covering a wide gamut of thrashing complexity, the journey remaining on the prog-thrash side later, with another huge behemoth ("Dead Planet") following suit, a cool larger-than-life saga with a few really speedy ornaments. "Vivid Visions" is a short stomping death-laced digression, and "Gavel of Hypocrisy" is the other less intense proposition with intriguing twisted lead sections.

Nuclear Revolution Full-length, 2018
Mass Manipulator EP, 2018
State of the Union Full-length, 2019
Goodthink Inc Full-Length, 2021

Official Site

COSMIC HAZE (GERMANY)

This is the band previously known as Riff-Raff. As the case was with their previous style which clung between thrash and classic power metal, here the guys have decided to follow the same route, and have done a marginally better job. "Whip of Live" opens the album in an energetic, headbanging fashion, but later the sound slows down and becomes more technical and less predictable 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

COSMIC JAGUAR (UKRAINE)

This is a side-project for the lads form the prog-thrash wizards Bestial Invasion. The style resembles the one of the father band, but clings more towards the spacey/psychedelic realms, the bouncy not very predictable shredder "Teotihuacan: City of the Gods" opening the saga the latter acquiring more dynamic dimensions on "Temple of the Feathered Serpent", the quirky trippy deviations on "The Northern Underworld" bordering on Mekong Delta-sque surreality. The eccentricity gets toned down for the more linear, also more tamed "Our Lord the Flayed One", with "The Harbinger of the Sun" supporting this mellowing cause with a spasm of lyrical balladic developments; before "Chimalma: Mother of the Quetzalcoatl" rises for another more energetic showdown with sharp staccato riffs. It's not very clear whether this would be a full-time occupation or just an isolated stint, but it seems like there isn't anything too radically different on offer.
The “The Order of the Jaguar Knights” EP is a harder thrashing affair, the explosive “The Shorn Ones” creating numerous headbanging possibilities, the guys adding their staple idiosyncracies with subversive panache, “The Bleeding Tree of Tamoanchan” a free-flowing speed/thrash fiesta with an imposing operatic interlude, “Obsidian Mirror” combining the predecessor’s impetuosity with an array of more puzzling riff-formulas. A cool faithfully executed cover of Cynic’s “Veil of Maya”, earlier released as a single, wraps up this short package, another testimony of the musicians’ dexterity.
"El Era del Jaguar" is a sure step forward in nearly every department, the guys now shredding with a nice eye on the unorthodoxically intricate, the nervy abstracter "God of Sun and War" already moving the delivery away from the Bestial Invasion repertoire, the brilliant surreal "Eight Lord of Nights" sending it further into previously untrodden territories despite the hard moshing sections in the second half. Things get seriously progressive on the still pretty restless psychedelic saga "Solar Logos", with death metal materializing for a bit on the strange alien piece "Ashes in Eyes" alongside beautiful female clean vocals. "Obsidian Mirror" is a cool anomalous tech-thrasher, and "Decapitated Lunar Goddess" is a wilder proposition with choppy fusion-esque breaks and elusive wa-wa leads. "The Shorn Ones" is a more compact concise cut with thumping, also pretty eccentric at times, riffs, and "La Noche Triste" is an atmospheric marvel with a compelling "quiet idyllic vs. hard thrashing" juxtaposition, a really cool way to end this admirable entry into the prog/tech-thrash roster.

The Legacy of the Aztecs Full-length, 2023
The Order of the Jaguar Knights EP, 2023
El Era del Jaguar Full-length, 2024

Official Site

COSMOBLACK (AUSTRIA)

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

COSMOSIS (PERU)

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 isn't 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, especially 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 downnote 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.
"Ensangrentando el Mundo" is another worthy roller-coaster with a few genuinely intriguing moments among which one can count the diverse entangled basher "Caminando Entre Muertos" and the dramatic epic quasi-doomster "Ensangrentando el Mundo". More stomping drama served by "Colapso/Destino", the feverish closer "Postrer Ocaso" going away with a few brutal grindy and hardcore-ish portions.

Apoteosis-Estertor Demo, 2008
Winds of Apostasy Demo, 2009
Cosmosis Full-Length, 2012
Ensangrentando el Mundo Full-length, 2023

Official Site

COUNT OLAF (AUSTRALIA)

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.) thus 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

COUNTERATTACK (USA)

Based on the full-length, this act serve heavy dark retro thrash supported by harsh shouty death metal vocals. The more intriguing fast-paced expletives on "World Erased" assuredly lead the show, but the latter also spends quite a bit of time on tenebrous doom-laden walkabouts ("Good Man", the 9-min opus "Into a Bleak Midwinter"), the bright sunshine elicited from the playful "Final Breath" a somewhat debatable inclusion.

Counterattack EP, 2020
World Erased Full-Length, 2021

Official Site

COUNTERIGNITION (SERBIA)

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

COUNTER ATTACK (USA)

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

COUP DE GRACE (USA)

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

COURAGEOUS (GERMANY)

A 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 a tad more intricate 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 and semi-death on occasion, but fitting to the music at play. Although the song-structures are relatively complex, and the music is mid-paced with slower doom sections, the band don't 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 interesting way: "People Are People". The guys try to stick to the classic sound but inevitably 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 a bit less disappointing 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

COURTING PANDORA (AUSTRALIA)

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/death affair ala early The Haunted with the industrial colouring remaining. Later on we have the short hectic outburst "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

COVA (BRAZIL)

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

COVEN (USA)

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 doom 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

COVENANT (USA)

Mechanical sterile modern thrash with a strong industrial shade; jarring dry stuff which makes more sense on the choppy more overtly thrashy "II" (no song-titles here), the other more meaningful moment being "IV", a twisted creepy semi-technicaller which is later matched partially by the dynamic shredder "VI", the shouty death metal singer not very clearly heard due to the noisy buzzy production.

Insurgent Demo, 1995

COVENTRATE (MEXICO)

The debut: 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 stifled 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.
"Roots of all Evil" is the next in line ripping "monster", the band moshing on full-throttle providing plenty of "Thrashing of the People", like the title of the opener suggests, the remainder retaining the uncompromising course all over with "Apocriphal Dream" and "M.O.A.B (Mother Of All Bombs)" before "Brainless Consumer" unleashes a portion of friendlier speed metal-ish rhythms. "Speed Metal Command" is another more fulsome dedication to the good old speed metal, but such relative respites are totally appropriate, and by no means betray the hyper-active nature of the album.

Cannon Fodder Full-Length, 2015
Rat King EP, 2017
Roots of all Evil Full-length, 2019

Official Site

COVENTRY (MEXICO)

A friendly mixture of power, thrash and modern post-thrash; the delivery is within the mid-paced perimetres for most of the time with balladic/semi-balladic motifs ("Something Is Behind") prominently featured as well those not very well accommodated by the hoarse semi-clean vocals and their not very frequent more brutal deathly accompaniment. The galloping epic progressiver "The Wiccan" is clearly the highlight with the similarly-styled but more immediate "The Arrival" a close second.

The Arrival Full-Length, 2019

Youtube

COVERAGE (POLAND)

Based on the "Victim of War" demo, this is old school thrash/death led by very guttural, not very intelligible deathly tirades. The music delivers with its ferocious determination despite the really muddy sound quality, "To Kill" balancing things to an extent with more moderate heavier rhythms, but once bullets like "Unwanted Life" and "Blocksberg" start falling, the approach easily tumbles into the fields of death, the more intricate stomps of "Salem's Lot" not doing much to relieve the no-bars-held intensity. Some of the musicians later moved on with the death metal outfit Infamy and the power/thrashers Powerty.

Victim of War Demo, 1993
Warning Demo, 1994

Youtube

COVET CHAOS (UK)

"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

COVET DEATH CULT (SWITZERLAND)

Classic death/thrash… with a touch of virus, obviously; dark cavernous tuff with touches of technical stylishness (“Backfire”) and a dash of brutal despair (“Despair”). The computerized reverberations coming from the drum presuppose the presence of just one musician, the man providing a guttural not very articulate deathly baritone, the latter fitting the aggressive technical shredder “The Roots of all Evil” and the tenebrous macabre march “The Flame”. Make sure you pass by “Essence of Inhumanity” as well, a steady academic mid-pacer with a couple of intriguing melodic licks.

Mutation in Progress Full-length, 2024

Official Site

COWARD (CZECH)

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 instills 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.
The debut is a more straight-forward classic thrash affair, the shadow of mid-period Sepultura quite tangible on the more aggressive material, but expect a few more lyrical deviations on "Hero", with "Stepmother" becoming nicely technical and choppy. "War" acquires more brutal deathly perimetres, the signer keeping to this wavelength with his rough semi-shouty baritone, the expert melodic leads on "Singing of the Die Bird" also transferred on the closing title-track, a cool progressive opus with several interesting twists.
“Earth Gravitation” clings more towards its successor, dark sinister rhythms on a largely modern thrash base, with keyboard frequently ornamenting the environment, the heavy but playful “The Mad Game” the possible highlight, “Pervert” unleashing a few delectable melodic lead sections, and “12” marching in a vociferous abrasive quasi-industrial, but still pretty dynamic, fashion.

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

COZ DEF (CZECH)

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 pretty similar.

Down to the Thrashell Demo, 2008

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