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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

CP 24 (GERMANY)

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

World Between The Lines Full-Length, 2004

Official Site

CRAB PHOBIA (SWEDEN)

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

Vol.I Demo, 1989

CRAB SHACK (USA)

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

Crabshack Demo, 1992

CRACK (ARGENTINA)

Based on “MorbosaTempestad”, this act serve dynamic retro speed/thrash that offers fierce gallops (“Patriota”), impetuous fast riffs (“De Raza Metal”), and some fairly fierce thrash on “Agonia”. The title-track is a more moderately executed cut, but both ”Parcero” and the more technical wonder “Corruptor” raise the dynamic bar quite high, the hoarse semi-clean/semi-declamatory vocalist a relatively relevant addition.

Salvajemente EP, 2020
Canibal Argentino Full-length, 2022
Evolution EP, 2022
Morbosa Tempestad Full-length, 2024

Youtube

CRACK (CHINA)

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

You Are Always in the War EP, 2011

Official Site

CRACKDOWN (GERMANY)

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

Enough Is Enough Full-Length, 2011

CRACKDOWN (PORTUGAL)

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

Against The Rules Demo, 1996
Blame Demo, 1997

Fan Site

CRANEAL (ARGENTINA)

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

Furia es Dignidad Demo, 2005

Fan Site

CRANEO CANDENTE (ARGENTINA)

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

Igual Que Ayer Full-Length, 2012

CRANEOSCURO (CHILE)

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

Esclavizados Full-Length, 2012

CRANIAL CRUSHER (BRAZIL)

Based on the full-length, these lads serve old school thrash/crossover which can be both dramatic and stomping (Tendencia Suicida") and ripping and vigorous and bashing (the lively roller-coaster "Vida Sem Sentido"). Run for cover on the maddening headbanger "Ciclo da Degradacao", although the all-instrumental odyssey "Resiliencia Depressiva" going home with all the laurels being an exemplary diverse thrashterpiece, missing the semi-shouty hardcore vocals gracing the remainder. Some of the band members also play in the retro thrashers Keeptor.

Necropole EP, 2016
Putrefakt EP, 2018
Ciclo da Degradação Full-length, 2023

Official Site

CRANIUM (CANADA)

Based on the "Necropolis" demo, this act specialize in emulative 90's post-thrash with echoes of The Black Album, the early Metallica endeavours also showing up above ground on the sturdy mid-pacer "Atheist". The vocalist is a total James Hetfield impersonator, and does a good job, one that deserves a more distinct musical accompaniment than this trite copycat stuff.
"No Exit" is a heavy power/speed/thrash concoction, the guys rolling onward in a consistent mid to up-tempo, the melodic embellishments on "Man" giving this effort an imposing epic touch. "Warrior's Pride" enlivens the setting with sprightly galloping rhythms, before "Savage" explodes in a fervent speed/thrashing crescendo. The short ripping "Kill" add another vital doze of thrashiness to this varied slab which also boasts the stylish all-instrumental odyssey "Doom".

No Exit Demo, 1988
Necropolis Demo, 1994

CRANIUM (SWEDEN)

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

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

My Space

CRANIUM CRUSHING (BRAZIL)

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

Reaper of the Lives Demo, 2008

My Space

CRAPULENCE (GERMANY)

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

Darkness Remains Full-Length, 1999

CRASH (BULGARIA)

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

Unreal Dreams Demo, 1993

CRASH (SOUTH KOREA)

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

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

Official Site

CRASH ATLANTIC (RUSSIA)

Modern abrasive power/thrash which militant march-like veneer is only too obvious on the tank-like “Metal Meltdown”, before a surprising balladic touch is offered on “All That Matters”, a spacey tractate that is surrounded by the rowdier all-instrumental “Sunrise” and the semi-balladic etude “The Word of Serenity”, vocal-less again. In fact, half of the racks featured are instrumentals-only, the singer, whenever he’s in action, providing a mean thin-ish clean timbre.

Generation Full-Length, 2024

Youtube

CRASHDEATH (CHILE)

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

Conspiracy Theories Full-Length, 2017

CRASHED (FINLAND)

This is just two tracks, "This Man" a macabre but also melancholic doom/thrash hybrid with steady patiently-woven riff-patterns; and "Commercial Bloodshed" which is just a nostalgic acoustic instrumental. The rough death metal vocals are suitable for the first cut, but based on just two compositions it's hard to tell what exact genre these troubadours had chosen on their demos before and after. Some of the band members had also exercised a similar brand of music for two more demos under the name Chrystler at around the same time.

This Man/Commercial Bloodshed EP, 1992

CRASHKILL (BRAZIL)

Based on the full-length, this band play typical old school thrash which is full of optimism and vigour, the crunchy semi-intricacy of "Artificial Intelligence" moving the otherwise pretty unpretentious delivery into more demanding realms. Still, it's fiery outbursts like the title-track and "Digital Conflict" which propel this recording forward, with the hyper-active roller-coaster "Year of Darkness" another plus in this album's resume. The same, however, can't be said about the hysterical shrieky vocals which add their over-the-top contribution to this effort. Some of the band members also play with the groovy post-thrashers Skin Risk.

Hate Zone EP, 2017
Consumed by Biomechanics Full-length, 2020

Official Site

CRATERFACE (AUSTRALIA)

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

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

My Space

CRAVEN IDOL (UK)

The demos: a black/thrash metal mixture with a sinister atmosphere and vicious terrifying vocals, not too far from the Canadians Megiddo, with an early Bathory flavour on the slower parts which are often intercepted by ultra-fast ones, and perhaps this demo would be of bigger interest to black metal fans. This band shares members with the death/thrash metal outfit Scythian.
The EP is more for the black metal fans featuring intense sinister black metal with not many nods to thrash. The sound is a potent mix of fast and slow passages ala early Burzum, rich in atmosphere and menace.
The full-length is a sweeping symphony of thrash, black, and death metal taking their tolls the atmospheric black metal passages leading the pack without stifling the other styles. Cuts like the epic anthems "Codex of Seven Dooms" and "Left to Die" are really worth checking out, but their appeal to the thrash metal fan would be minimal those strictly belonging to the fields of black metal which are apparently the band's major target.
"The Shackles of Mammon" also shows the band's fascination with black metal more, but it's "Black Flame Divination" that brings thrash back into the fore, and later we have the diverse epic thrasher "Dashed to Death" and the excellent "Celtic Frost meets Bathory" closer "Tottering Cities of Men" which battle-like rhythms provide cool atmospheric closure to this eventful, diverse saga.
"Forked Tongues" clings more towards the black metal idea again, but the band provide entertainment for the fans with furious Oriental-peppered blasts ("The Wrath of Typhon"), speed/death/thrash abrasers (the title-track), and sprawling 9.5-min epics ("The Gods Have Left Us for Dead").

Demo #1 Demo, 2006
Recrucify Demo, 2009
Ethereal Altars EP, 2010
Towards Eschaton Full-Length, 2013
The Shackles of Mammon Full-Length, 2017
Forked Tongues Full-length, 2021

My Space

CRAWCELL (DENMARK)

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

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

CRAWL (USA)

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

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

CRAWLEY (SWEDEN)

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

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

CRAWLINE (DENMARK)

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

Dawn Of The Blind EP, 2004

CRAWLING MANIFEST (USA)

Based on "Radical Absolution", this act serve decent old school thrash which major flaw is the gurgling, not very comprehensible shouty death metal vocals. The music delivers with shard edgy headbangers like "Nothing to Lose" and the more technically-performed shredder "Radical Absolution". "Blood Born" is a not very exceptional heavy stomper, and "Revolution" is an uplifting frolic speed metal anthem.

Forevermore EP, 2016
Battlegrounds Full-length, 2018
Lords of War EP, 2019
Radical Absolution Full-length, 2021

Official Site

CRAZER (RUSSIA)

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

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

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

Born To Kill Demo, 1992
Your Cross-Your Death Demo, 1993
The Womb Demo, 1995
Bez Tormozov Full-Length, 1998
Moden-Depo Full-Length, 1999
Oderint Dum Metuant Demo, 2001
Dreams of Guiliotine Full-length, 2004
Enforcement Full-length, 2008
Naskvoz Full-length, 2011
Zloi Full-Length, 2016
Factui Full-Length, 2022

Official Site

CREATE A KILL (USA)

Members of the death metal formation Gruesome, plus the Dekapitator and Exhumed vocalist Matt Harvey, have decided to pay their tribute to the burgeoning retro thrash movement, and here they are with this fairly nice effort which moshes with might from the get-go the guys firing on full-throttle with wild shredders like "Cold Blooded" and "Crave the Blade", with more diverse semi-technicallers ("Decimate", the formidable steam-roller "Reap the Whirlwind") later thrown in alongside the odd heavy mid-pacer ("Gauntlet of Pain").

Summoned to Rise Full-length, 2018

Official Site

CREATE/DESTROY (AUSTRALIA)

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

Organic Perception Full-Length, 2012

Official Site

CREATION OF DEATH (POLAND)

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

Purify your soul Full-length, 1991

CREATIONISM DENIED (BRAZIL)

Based on the full-length, this Brazilian duo play intense blitzkrieg old school thrash which is led by a forceful shouty deathster behind the mike. This is a fast-paced downpour characterized by lashing bullets like "Bastard Humans" and the more technical twister "Wraiths of Roanoke", the intensity dropping a bit in the second half, the closing "March with Me Slaves of Death" indulging in heavy seismic rhythms as a finishing touch.

Piercing Darkness EP, 2019
Hateful Creation Full-length, 2021

Official Site

CREATURES (USA)

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

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

Official Site

CREDGIDENCE (USA)

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

Credgidence EP, 2012

Official Site

CREED (UK)

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

The Third State Demo, 1991

CREEDLESS MINDS (PORTUGAL)

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

The Awakening Demo, 1994

CREEPER (USA, NY)

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

Creeper Full-length, 1992

CREEPER (USA, TX)

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

War Machine EP, 2010

Official Site

CREEPIN' DEATH (BRAZIL)

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

Rehearsal Demo, 1988
Demo Demo, 1989

CREEPIN' DEATH (ITALY)

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

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

Vibrations Of Doom

CREEPING DEATH (GERMANY)

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

Forgotten Tomorrow EP, 1998

CREEPING DEATH (SPAIN)

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

Creeping Death Demo, 2006

My Space

CREEPING VENGEANCE (SWITZERLAND)

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

The Diary Full-length, 2005

My Space

CREEPMIME (HOLLAND)

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

Shadows Full-length, 1993
ChiaroscuroFull-length, 1995

CREEPSHOW (USA, IL)

Based on the full-length, this band provide intense sharp classic black/thrash which aptly juggles through the two genres, with both blast-beating hegemonies (“Blackstone Keep”) and epic melodic pageants (“Wicked Tome”) interlacing throughout, the operatic non-metallic cavalcade “Geheimnisnacht” contrasting with the brutal extremities unleashed on “Reign Of The Goblin King” and the concrete blitzkrieg thrashisms on “Ossuary Waltz”. The vocalist is a hysterical shrieker along the lines of Danny Filth (Cradle of Filth), only that the guy (or a girl) here comes a bit too helium-induced at times.

Bump in the Night EP, 2020
Creepshow I Full-length, 2023

Official Site

CREEPSHOW (USA, ML)

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

Creepshow Demo, 1989
Funeral of the Earth Demo, 1991

CREHATED (ITALY)

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

Anthems Of Hate Full-length, 2008

Official Site

CREMACION (MEXICO)

One musician, the name Moises Rodríguez, is in charge of everything here revealing steady stomping classic thrash topped by horrifying shouty death metal vocals. The man calms down (the friendler power/thrasher "Alcoholokaiser") at times, and generally this isn't very speedy stuff the album carried by hypnotic mid-pacers like "Hatred" and "Blasphemous", the exceptions (the speedy roller-coaster "Satan Invocation", the ripping thrashing ball of fury "Black Leather Reaper") served towards the end.

Alcoholokaiser Full-length, 2020

Official Site

CREMAINS (CANADA)

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

Back from the Graves Demo, 1987

CREMASTER (POLAND)

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

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

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

Official Site

CREMATE (GREECE)

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

Enchanting Black Recess EP, 1995

CREMATOR (ARGENTINA)

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

Cremator Demo, 2008

My Space

CREMATOR (AUSTRALIA)

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

Home Style Surgery EP, 1988

Vibrations of Doom

CREMATOR (USA)

These guys' debut is a truly impressive progressive power/thrash affair seeing a rising star on the metal horizon. "The Ending of Fall" opens the album in a most compelling fashion with hard thrashing riffs and excellent clean emotional vocals as the delivery is choppy and unpredictable the guys shredding with the utmost intensity, with stylish technical guitars recalling Helstar, Realm and Toxik. An absolute stunner followed by the quiet semi-balladic stomper "Rainy Nights" which carries on with the intricate shreds in a more officiant epic manner. "December 22nd" is an intricate riff-dense mid-pacer with a rousing galloping finish, and "The Absence of Her Majesty" caries on with the gallops notching it up in the aggression department. "Winter Breeze" is a heavy doom-laden proto-galloper with more dramatic accumulations and brisker technical arrangements in the second half, also speeding up admirably at the end. "Tears of Regret" shreds in a more minimalistic fashion with stylish technical motifs which never leave the mid-paced parametres, but are simply a wonder to listen to with their spiral-like configurations. "The State of Depression" is a tender lyrical ballad cancelled by the hard-hitting guitars on "Envy of the Lovers" which speed up gradually, reaching semi-headbanging proportions for a bit in the middle before the delivery moves towards pounding more elaborate rhythms with nice lead sections assisting on the side. This is a true find, one of the finest achievements from the US metal scene of the new millennium. Some of then band members are also active with the heavy metal formation Shining Force.
"The Coming of War" is another masterpiece of old school progressive/technical greatness starting with "Damnation", an epic battle-like rouser which grows into the furious galloper "The Eyes Are Watching", a remorseless shredder which more orthodox tactics are overwritten by the more technical histrionics on the following "The Anvil" which recall the debut also pouring more melody into the proceedings alongside a nice memorable chorus. "The Other Side of the Mirror" is a great progressive power/thrasher with a more officiant stomping beginning before the band embark on an impetuous speedy "excursion" with more technical embellishments. "The Coming of War" is "the coming" of superb vortex-like riff-formulas and steel gallops the latter transformed into a whirlwind of super-fast crescendos bordering on death metal. "Something Wicked This Way Comes" is a technical shredfest at its most stunning, a most captivating concoction of fast-paced strokes and classical-oriented tapestries wih echoes of Helstar's "Nosferatu" and Spirit Web. "The Man in Blue" has a prolonged balladic inauguration, but the hard-hitting rifforama resumes before long the guitar feats reaching Shrapnel-like dimensions. "Remember Geronimo" will make you "remember" the 80's American scene with its vigorous speedy build-ups and the outstanding vocal performance including in the catchy chorus sector. "The Fight to Stay Alive" is progressive power metal with more laid-back epic arrangements ala early Fates Warning and Warlord, a quiet less exuberant epitaph to this standout opus, one of the highlights of 2017.
"La isla del Diablo": the new heroes of American metal are here again, and they by no means disappoint with both a quieter and more intense take on their intricate style.; this is another no-brainer for the band fans who will thoroughly savour the urgent no-gimmicky thrashiness of the opening title-track before "The Divine and the Demonic" covers everything in suggestive mid-paced stompiness and sudden speedy skirmishes. Vintage Helstar gets unleashed on the short galloping technicaller "Blood Eye", the delivery staying on this ground for a number of pieces among which "A Night of Broken Glass" is a particularly dramatic varied thrasher. "Am I" follows the same immediate/complex juxtaposition, a progressive symphony second to one that would have been a highlight on "Nosferatu" even, "A Telescopic Tale" and "When My Words Have Failed" both traversing less exuberant balladic waters. The assault resumes with the glass-shattering rager "The Hour Glass" with more sophisticated aggression arriving with the exquisite roller-coaster "Prophecies of the Three Witches", an elaborate twister and turner which leads to the 9-min introspective ballad "A Bridge to Nowhere", the hectic hyper-active arrangements of "The Wise Shall Understand" the last nail in this very exciting coffin which offers a very contrasting entertainment of quiet meditative and aggressive brutal strokes.

Winter Solstice Full-length, 2013
The Coming of War Full-length, 2017
La isla del diablo Full-length, 2019

Official Site

CREMATORIAL DEATH (USA)

This is rough thrash/death which is just a bit more than wild bash ("What Will It Matter") with some of then most rending guttural death metal vocals ever. Semi-rehearsed stuff which has its unpolished charm and even a tad of semi-technicality ("Nothing New").

Demo Demo, 1992

CREMATORIUM (BRAZIL)

The demo: rough heavy old school thrash metal with a resounding bass bottom, but with unpleasant low-tuned death metal vocals; things surprisingly come out of the deep underground on the stylish crossover-like "See the Evil", and even improve on the longer epic- sounding "Sangue E Orgulho", and the weird dark doomster "Sangue E Orgulho" (watch out for the great violin outro here) despite the almost complete loss of speed. The guitar tone is quite fuzzy, though, obviously emulating the examples from their motherland's early scene.
The full-length is a more abrasive affair, with an overt shade of black metal present, the vocals not way more expressive being blacky witch-like rasps. Dirgy creepy anthems ("O Posseso", the atmospheric doom "Ritual") to the dusk and her embrace are provided all around, but expect also a more epic layout ("Evil Priest Preach Lust Disbelief And Fury") on occasion, and a more optimistic speed metal clout on the short pulverizing "Guerreiros de Sata".

Holy Inquisition Demo, 2002
Temple Of Satan Full-Length, 2022

My Space

CREMATORIUM (URUGUAY)

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

In My Mind Demo, 1992

CRETACEA (MEXICO)

The debut: classic thrash which is played with both an eye on the aggressive ("Settle with Your Life") and the more complex (the lengthy more elaborate "Burning All"), the shrieky blacky vocalist rending his lungs a bit unpleasantly at times. "Slayer Pig" is a dramatic mid-tempo hymn, and "Frenesí" is an absolutely grand short melodic instrumental, a true display of musical craftsmanship.
“Carnivore” follows a similar path, the elaborate meanderings of “Nothing to Live For” interlaced with the bashing qualities of the still engaging title-track and the appropriately-titled “Killing at Speed´S”. “Loose Tongue Scum” is just a heavy plodding stomper, but both “Chihuahua Esta Podrido” and the Slayer cover of “Angel of Death” will blow your socks off, relentless tiring headbangers.

Disecta Desmembra Full-length, 2022
Carnivore Full-length, 2024

Official Site

CRETIN (HOLLAND)

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

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

CRI D'AMES (FRANCE)

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

Redemption Path Full-length, 2007

Official Site

CRIAL (FINLAND)

Energetic old school thrash with somewhat unsuitable rough semi-death/semi-shouty vocals; the band play with conviction thrashing hard with the odd more crossover-prone edge ("Elan Kuin Elain"), the more serious tone of the diverse shredder "Addiktio" nicely adding to the wider appeal of this entertaining slab of old school thrash kickassery.

Kohti Kaaosta Full-Length, 2019

Official Site

CRIMEWAVE (USA)

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

Summer Demo 2k12 Demo, 2012

CRIMINAL (CHILE)

One of the most famous Chilean metal bands, Criminal played quite good thrash/death metal on their early works during the 90's, before moving onto a more restrained, post-thrash, groovy sound on their more recent albums. "White Hell" sees the guys adding more speed, to the point of blasting out on quite a few times, resulting in a decent slab of modern thrash/death, quite on par with their early efforts. There are moments when the sound starts to drag a bit, recalling their more recent output, but watch out also for classic thrash/death metal surprises, like "The Infidel" and the cool headbanging closer "Sons of Cain".
"Akelarre" is another sure-handed slab of modern thrash/death metal, alternating fast with slower songs in the beginning, finding a good balance between the two sides. The slower part takes more space in the middle where a string of heavy pounding tracks may stretch your nerves a bit, especially when not much compensation is offered till the end, the last numbers remaining in the mid-paced camp, the closing "La Santa Muerte" boasting a great doom outro, arguably the finest part of the album.
"Fear Itself" rages on with dignity, the band taking no ill-measured adventurous steps, the hyper-active death/thrash mix spearheaded by the jumpy semi-technical "Shock Doctrine" and the more elaborate, progressive opus "Scream of Consciousness", the immediate vehemence of "Summoning the Apocalypse" and the stomping urgency of "Animals to Gods" keeping the deathsters in check as the rest is more on the thrash metal side.
"Sacrificio" is a more aggressive offering, the guys moshing with bigger force, "Caged" and "Live on Your Knees" leading the brutal show which gets embellished with the intricate virtuoso-driven "Zona De Sacrificio", the band letting themselves get carried away with some seriously proficient musicianship. Elsewhere such prowess isn't witnessed, but the leads remain on a fairly high level, the hectic semi-grindy anomaly "Theocrazy" a curious footnote, pairing well with the deathly sniffs on the furious "Sistema Criminal".

Victimized Full-length, 1994
Live Disorder EP, 1996
Dead Soul Full-length, 1997
Cancer Full-length, 2000
No Gods No Masters Full-length, 2004
Sicario Full-length, 2005
White Hell Full-length, 2009
Akelarre Full-length, 2011
Fear Itself Full-length, 2016
Sacrificio Full-length, 2021

Official Site

CRIMINAL CHRIST (JAPAN)

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

Cryptic Doom Demo, 1986

CRIMINAL JUDGE (BELGIUM)

The demo: three tracks of well-constructed classic thrash with ripping riffs and expressive shouty, semi-declamatory vocals which at times scream sky-high to a positive effect. The band shred with an understanding of the genre canons, sticking to the Bay-Area formulas (Exodus' debut, above all) keeping the fast pace the whole time, the overall convincing delivery also ably supported by the catchy shouty choruses.
The "Criminal Judge" EP is a modern 90's recording with the expected thick groovy riffs, but also with a couple of more energetic Bay-Areasque decisions ("Thou Shalt Not Kill"), the abrasive mid=tempo gravity of "Fear the Proles" not easy to overcome by the intriguing mosher "Governed by Fools" and the curious minimalistic doom on "Criminal Outrun", the band cooking a passable mix between the two trends without succumbing to the numetal caprices.

Frozen lunacy Demo, 1990
Criminal Judge EP, 1995
When It's All Too Late... EP, 1998

Official Site

CRIMINAL JUSTICE (GERMANY)

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

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

Official Site

CRIMINAL MOSH (BRAZIL)

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

Violeancia Expledcita EP, 2008

My Space

CRIMINAL SANITY (USA)

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

Demoralize Full-length, 1995

Official Site

CRIMINAL SIDE (ITALY)

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

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

My Space

CRIMINALLY INSANE (USA)

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

Mistaken Demo, 1990

CRIMSON (USA)

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

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

CRIMSON CALIBER (CANADA)

Based on the full-length, this act specialize in right as rain retro thrash, the deathly vocals the only betrayer of that cause, the band offering both mid-paced joys ("The Final Slaughter") and fast-paced walkabouts ("Burning Horizon"), the hectic semi-technicalities on the short "The Way" cancelling the moody atmospherics on the somewhat clumsy "Patient Zero", but pairing well with the variegated intricate histrionics on the really cool "Soul Slicer".

Red Dawn Rising EP, 2017
Manufactured Genocide EP, 2018
Covenant Tyrannis Full-length, 2021

Official Site

CRIMSON DEATH (USA)

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

Destined To Die Demo, 1987

CRIMSON JIMSON (CANADA)

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

Freak Full-length, 1992
Blunt Trauma EP, 1993

CRIMSON RIVER (HOLLAND)

Based on the full-length, this act provide decent melodic retro power/thrash with an abrasive colouring and alluring melodic configurations ("We Are the Knights"), the steady mid-paced "Armada" ensuring the less extreme part of the audience stay with this entry, which also raises the flag of epic metal on the fist-pumping "Requiem". The lead guitarist makes the cool instrumental "Katyusha" his own, whereas the singer sticks to a hoarse semi-clean timbre the entire time, trying to pitch it higher on the rousing speedy closer "The Wild".

Crimson River EP, 2019
Here's to the End... Again Full-length, 2023

Official Site

CRIMSON SLAUGHTER (SPAIN)

The debut: ripping Slayer-esque old school thrash; among the established one-dimensional bash one can distinguish attempts at a more serious play (the semi-technical leanings on "Buried Beneath the State", the excellent twisting "My Fist, Your Face") as well cool melodic lead sections ("Wretch God"). The closer "Punisher" is an exercise in restraint, a squashing steam-roller without any speedy temptations. The singer is a very shouty quarreller whose angry antics may pass for death metal-ish rumblings at times.
"Surveillance States": the approach has become a tad more complex with more thought put behind the proceedings with "Horror Chamber" early reaching near-progressive heights with "Ruthless Pacificator" another more entangled proposition despite the raging strokes embedded later. "Trophy Hunter" brings back both the Slayer and the death with its uncontrolled, brutal lustre and the remaining material obediently follows this unrelenting formula "Corporatocracy" and "Decaying World" spitting fire and bile leaving "Order Through Terror" to deal with a couple of more intricate tricks scattered among the exhausting speedy skirmishes.

Cycle of Decay Full-Length, 2016
Surveillance States Full-length, 2018

Official Site

CRIMSON STEEL (GERMANY)

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

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

Official Site

CRINGE (USA)

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

Unleashed Full-length, 2002

Official Site

CRIOGENIA (CHILE)

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

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

Official Site

CRIONIC (CZECH)

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

Different Full-length, 1993

Official Site

CRIONIC (DENMARK)

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

The Land Which Once Were Demo, 1986

CRIPPER (GERMANY)

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

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

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

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

Official Site

CRIPPLE (SWEDEN)

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

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

CRIPPLED FINGERS (CZECHIA)

Based on "Warzone: classic thrash performed with vehement hardcore intensity; imagine a blend of Madball and early Exodus, with short rippers ("Threshold") taking turns with more serious shredders ("God of the Sun"), the former side the prevalent one graced by a couple of heavy stomping exercises like "Wasted" and the Biohazard-esque abraser "Brainwashed".
"Through the Pain" has acquired a decidedly more modern sound, the thick grooves of "Torch" obliterating the more technical aspirations of "One in a Million", "Moshpit Killing Machine" eventually speeding up at some point, the second half picking up on those more dynamic sounds, "Born in Failure" moshing with disguised malice, the closing "Bigger than God" another heavy moshing winner.

Mass of Terror Full-length, 2016
Warzone Full-Length, 2019
Through the Pain Full-length, 2024

Official Site

CRIPPLING MADNESS (POLAND)

Based on "Wladcy Nocy", this act specialize in pretty cool ripping dynamic old school thrash/death which is led by threatening shouty death metal vocals. Run for cover on remorseless headbangers like "Pancerna Piesc" and "Klatwa Insmouth", the lofty more technical nature of "W Swietle Prawa" a sure highlight, with both "Wladcy Nocy" and "Noc Zywych Trupów" firmly staying on the more entangled side of the spectre, the band also reveling in their proficiency on the excellent closer "Zerwij Lancuchy", a prime headbanging delight with sharp precise riff-patterns.
The debut is another cool hyper-active affair, the band lashing steel sharp riffs with reckless abandon, courting then proto-death parametres on the maddening "Bestialski Rzeznik", the stylish semi-technical shreds on "Wyniszczajace Szalenstwo" accompanied by dazzling short lead sections. Prepare for some less restrained deathly madness on "Smierc Nadchodzi z Lasu", the more controlled complexity of "Droga Wojownika" also serving the most melodic rhythms here.

Ponad Zwlokami Full-length, 2019
Wladcy Nocy Full-length, 2023

Official Site

CRIPTOFONIA (ARGENTINA)

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

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

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

Official Site

CRISALIDE (ITALY)

Based on the demo, these Italians fit very well into the 90's groovy picture with their heavy brand of post-thrash which tries to run away from the predictability with more complex arrangements (the longer thought-out "Decide"), but the dominant tone is too familiar for the band to strike a note despite the proficient execution and the convincingly consistent pounding guitar tone which only gets broken on the closing unexpected "fury" "Fucking Police" which is 1.5-min of raging thrash/death. The singer is a forceful semi-cleaner who avoids the aggro-tones relying more on a more emotional delivery.
The full-length is a decidedly more exciting affair, the melancholic semi-balladic veneer of "Acid Rain" deftly mixed with the near death metal-ish impetuousness of "Apocalyptic" and the thrashing urgency of "Apophis Impact". Elsewhere it's the mid-paced stompiness of cuts like "Dark Inside" and the delightfully melodic "God Is A Lie" that dictate the plot, but one shouldn't bypass the more aggressive shredders "What A Silence" and the more contrived "My Fury Cleave" which place this opus way above average examples for the genre excluding the not very original shouty death metal vocals.

Crisalide Demo, 1996
Pulp Your Brain Out Single, 1996
Insane War Single, 2010
Dark Inside Full-Length, 2019

Official Site

CRISANDEMIA (ARGENTINA)

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

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

Official Site

CRISIS (ARGENTINA)

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

Repido y Sucio Demo, 2011

Official Site

CRISIS (UK)

Based on the debut demo, this band play choppy semi-technical thrash that sits somewhere between the Bay-Area and the more complex shenanigans of their compatriots Acid Reign. One really has to concentrate in order to follow the rhythmic changes on "A Man's Man", for instance, whereas "Prisoner Of Conscience" provides interesting balladic motifs which is close to capturing the magic of Onslaught's "Welcome to Dying" if it wasn't for the insistent, vociferous bass. "Walk The Crooked Path" is an intriguing funky jumper "winking" at another British performer from that time, Re-Animator, and "Inner Visions" is a relatively more linear speed/thrashing roller-coaster with nice more intricate accumulations. The singer is not exactly an asset with his indifferent mid-ranged semi-clean baritone, but not much passion is needed on this engaging, unpredictable musical template.

I'll Give You Demo, 1989
Demo Demo, 1990

CRISIS (USA)

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

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

Official Site

CRISIS CALL (GREECE)

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

End of Destination Full-length, 2018

Official Site

CRISIX (SPAIN)

The debut: this is an intense mix of classic (more) and modern (less) thrash which will make you break quite a few porcelain cutleries around your house (check/don't check "Internal Pollution", the 6.5-min of non-stop thrashing barrage "Fresh, Collector Machine"). A pinch of Swedish melo-death/thrash is provided on "Holy Ponishment", as well as some cool proficient leads on "Dead By The Fistful Of Violence". "Spawn" is a stylish nod to the more technical side of the genre which should have had more "followers", also excelling in the melodic department. There's no speed lost here all the tracks being intense lashers, the closing "Mummified By Society" culminating in both the fast and technical department: an encompassing piece with sharp riffs, soaring melodies (mostly in the lead section), and more complex arrangements. The guys were previously known under the name Crysys with a style quite similar to the one on display here.
"Rise...Then Rest" is another intense offering the band now sounding much more modern with the Swedish school taking a firmer grip on the band's approach. Some of the shorter material is on the edge of falling into hardcore ("Bring 'Em To The Pit") saved by the excellent proficient leads and the really nice "excursions" towards the more technical side: "Those Voices Shall Remain", the serious longer speedster "Frieza The Tyrant". The increased focus on melody becomes more evident in the 2nd half where the guys relax with the jolly-feel-good crossover number "Waldi Gang" at the end.
"From Blue to Black" is a more blitzkrieg offering the band shooting a bullet after bullet in the form of short ripping tracks touching the more technical ("G.M.M. (The Great Metal Motherfucker)") on occasion, slowing down at times ("T-Terror Era"), too, where the approach becomes a bit self-indulgent with virtuoso sections accumulated for their own sake. Fortunately, the second half doesn't fall back on those missteps, and the guys thrash their souls out including on the longer 7-min closer "Fallen".
"Against the Odds": the energetic roller-coaster-like fiesta carries on full-throttle here, the band epitomizing a more stripped-down, hardcore-ish ("Leech Breeder") approach here and there, with seriously intense headbangers ("Technophiliac", "Xenomorph Blood") keeping the mosh going all around, the guys slightly complicating the environment on the final uplifting diverser "The North Remembers".
"Full HD" doesn't break any new ground, the band moshing on in their familiar manner, the title-track and "Macarena Mosh" exhibiting again some more vigorous hardcore-ish flair, leaving the serious thrashing spree for the short fiery "Beast" and "John Was Born for Metal". This is a fast non-fussy presentation, the guys having already settled for this uncomplicated straight-forward approach with effortless abandon.
"Still Rising... Never Rest" is a re-recording of the band’s sophomore entry. Not too many alterations, just boosted production and a slightly more melodic sentiment implemented on some of the compositions.

The Menace Full-length, 2011
Rise...Then Rest Full-Length, 2013
From Blue to Black Full-Length, 2016
Against the Odds Full-length, 2018
Full HD Full-length, 2022
Still Rising... Never Rest Full-Length, 2023

Official Site

CRIST (SERBIA)

This is fast blitzkrieg thrash/crossover with dynamic simplistic riffs and leveled shouty hardcore vocals. "Visions and Nightmares" is a tad more diverse with a wider array of tempos covered, but it's the lashing urgency of "Silent Majority" that will leave the most positive impression, a speedy non-fussy cut that may even pass for full-blooded thrash.

Powerdrive EP, 1988

Youtube

CRISTAL NEGRO (ARGENTINA)

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

Marchando al Olvido EP, 2007

Official Site

CRISTO (ARGENTINA)

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

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

Official Site

CRITICAL DAMAGE (ITALY)

Based on the debut, this act provide intense but not very coherent modern thrash; disheveled semi-technical stuff which shuffles between choppy crunchy quasi-groovers ("Getting Stronger") and more diverse progressive excursions ("Clear") where multiple nuances get crossed to mixed impressions. The creepy minimalistic layout of "Hollow Swallowed" could be viewed the highlight on this strange album which also boasts a more comprehensible heavy metal anthem (the title-track). The singer sticks to a rending shouty death metal baritone. Some of the musicians also play with the brutal deathsters Brutal Murder, and the heavy metal formation Motor Trinken.

Critical Damage Full-length, 2000
Destiny Rules... Full-length, 2007

CRITICAL DEFIANCE (CHILE)

The debut: right as rain classic thrash with mid-period Sepultura and Devastation obvious influences as well as the early exploits of Rigor Mortis. In other words, expect hyper-active shenanigans for most of the time with a few more intricate embellishments ("Spiral of Hatred", the labyrinthine more melodic roller-coaster "Onset") and the obligatory mellower heavy stomper ("507"). The vocals are intense shouty semi-clean ones, and amazingly suit the more brutal moments without exerting themselves aggression-wise. The musicians are also active with several other outfits like the old school thrashers The Aggressor and Demoniac, the heavy metal cohort Trascendencia, etc.
"No Life Forms" takes no prisoners whatsoever, the short bursting "Altering the Senses" setting the tone very well, with more sonic violators ("Dying Breath", the hardcore-tinged "Edge of Consciousness") following suit, the more technical shredder "Elephant" and "Kill Them with Kindness" also bringing swathes of death metal at your door, not to mention "Warhead (Emotional Fallout)", a brutal face-melting grindcore outrage.
“The Search Won't Fall” is another super-intense fare, the pummeling “The Search Won`t Fall” violating the setting almost beyond repair, with both “Long Distance (The What's to Come)” and “44 Minds” following the same brutal trajectory, the short grindcore etude “Full Paranoia” compensated by the lyrical semi-acoustic instrumental “Margarita”.

Misconception Full-length, 2019
No Life Forms Full-Length, 2022
The Search Won't Fall?.?.?. Full-length, 2024

Youtube

CRITICAL EXTRAVASATION (RUSSIA)

The EP: three Russian troubadours specialize in some really captivating modern technical thrash/death which follows a more twisted Coroner-esque direction on the serpentine angular rifforama "Primal Rage/Sick Minds" before "Dismembered" indulges in stomping dramatic intricacy and sudden spasms of fast-paced brutality; watch out for the several dissonant walkabouts on this one. The "Body Count" of Morgoth from their debut "Cursed" comes next, played faithfully and consequently betraying the precise technical tone of this effort, the latter finely captured by the blitzkrieg shredder "Mental Prison" which develops along the melo-death lines established by Arsis and the Canadians Quo Vadis. This is a really promising beginning by this young batch who are also behind the exploits of the progressive death metal formation Skyglow.
The full-length is a sure no-brainer, the guys fulfilling all the promises made with the EP three years back, the short head-spinning opener "Waltz of Hypocrisy" a waltz indeed, but of dense technical rhythms and thick staccato riffs. "Clotted Negligence" is a dynamic but meandering affair, a more orthodox shredder which gets superseded by the stomping less urgent "Doctrine of Atrophy". "Feast on Dreams" is a blistering cavalcade of dramatic vortex-like extrapolations, and "Redeeming Flames" is an enchanting leftover from the Atheist sessions, a supreme exercise in tech-thrash/dearth with constantly overlapping time and tempo-changes. "Devastating Virtue" is another eye-opener but the layout is more hectic with linear speedy rushes intercepting the intricate knots, the guys reveling in their consummate dexterity on "Derniers Mots" as well, the final cut which bemuses the listener with swathes of dense complex rifforamas, death metal again taking the upper hand for a first-rate "Coroner meets Atheist" showdown.

Morbid Existence EP, 2019
Order of Decadence Full-length, 2022

Official Site

CRITICAL FEAR (BRAZIL)

The debut: this is angry retro Slayer-esque thrash which is constant merciless exhausting (for the listener, but probably for the musicians as well) bash, the guys playing as fast as possible inevitably crossing the border into a hardcore territory ("CCCP") and generally delivering the goods with their stripped-down sincere attitude which reaches early Cryptic Slaughter-esque extremes near the end ("Near Future") proto-blasting with passion at times. This isn't bad at all, but is by no means for the faint of heart the shouty high-strung/semi-clean Sean Killian-like (Violence) vocals another asset.
"A Real Danger" arrives whole the years after the debut, but the band as angry as ever, the inspired bash starting from the moment you press "play", and never lest go, the guys peppering the landscape with a pleiad of relentless headbangers ("Fascist", the brutal deathly "Moving on"), the short bursting "Lies" easily bordering on hardcore, leaving wounds all over the posers' bodies... leeches as well, as evident from the more varied but still pretty intense "Leeches", the guys' middle fingers raised high on the final "Middle Finger for All", an enjoyable diverse all-instrumental trip.

Conflicts Full-Length, 2011
A Real Danger Full-length, 2022

Official Site

CRITICAL LEGACY (FRANCE)

This is retro thrash which mixes brisk speedsters ("Run or Die") with more laid-back crossover jokers (Asskicker"), the more intense thrashier clout of "Ananna" and the more complex nature of "Gangrena" spearheading the show the latter also winning a few points from the semi-clean/semi-shouty vocalist who stretches himself a bit more on the encompassing 10-min closing saga "13 Novembre".

Keep the Flame Alive Full-length, 2020

Official Site

CRITICAL MASS (HOLLAND)

Rough-around-the-edges old school thrash that is a cross between ponderous heavy tractates ("Impossible Death"), calm balladic/doom etudes ("Child Molester") and more vivid interpretations of the thrash idea ("War"), the shouty death metal vocals suiting the brooding environment, the latter lacking dynamics but still alluring the listener with its deceptively morose aura.

Different Demo, 1992

CRITICAL MASS (TURKEY)

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

Dark Colour Demo, 1992

CRITICAL SOLUTION (NORWAY)

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

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

Official Site

CRITIKILL MASS (USA)

A curious outing this, a mix of classic power/thrash and modern post-thrash, the guys alternating longer progressive-inclined compositions ("Eternally Cursed") with straight-forward mid-tempo cuts ("Deadly Voices") and atmospheric balladic/semi-balladic strolls ("Forbidden Souls"), the latter type close to being the highlight with the more proficient execution. Full-fledged thrash is hard to come by, the melodic clean singer also not presupposing the setting for any rowdy exploits, the closing "Sodamn Insane", a take from a 1992 demo, the most aggressive occurrence although again there's nothing overtly thrashy on offer.

The Massacre Begins EP, 1994

Youtube

CRIVITS (HOLLAND)

Roughly-executed semi-amateurish thrash/crossover the guys bashing in a sincere hardcore fashion ("Back off Security") on occasion, but watch out for the longer and more dexterously-performed "Look at Yourself" and the closing "Survival of Thrash", not exactly thrash this one but an enjoyable epitaph to this very unpretentious recording which also boasts not very attached declamatory punky vocals.

Don't Look At Us, Look At Yourself Demo, 1989

CRO-MAGS (USA)

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

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

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

Official Site

CROATOAN (USA)

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

Croatoan Full-Length, 2015

Official Site

CRODOR (POLAND)

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

Epitomizin' Demo, 1993

My Space

CROM (SPAIN)

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

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

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

Fan Site

CROM (USA)

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

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

My Space

CROMLECH (USA)

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

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

CROMM CRUAC (HOLLAND)

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

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

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

Official Site

CROMOK (MALAYSIA)

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

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

Official Site

CRONATION (BELARUS)

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

Five Steps To Die Demo, 1999

CRONIC DISORDER (USA)

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

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

Official Site

CRONOS (ROMANIA)

Doom metal mixed with more intense thrashy parts; worth hearing just out of curiosity. This is dark heavy music with a lot of seeping atmosphere, mid-paced riffs with pensive slowmotion stopovers and moody deep deathly vocals.

... Si Voi Ucide Timpul EP, 1998

Official Site

CRONOS (VENEZUELA)

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

Rules Full-length, 2003

Official Site

CRONOS TITAN (GERMANY)

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

Aspirin Damage Demo, 1987
Final Effort Demo, 1989

My Space

CROPSY (USA)

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

The Burning Demo, 2011

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CROSKILL (BRAZIL)

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

www.badongo.com/file/3561810; this is the link which will take you to the place from where you can download this album, provided for you by the band's founder Eri Soares.

Escape Into Fantasies Full-length, 1991

CROSS EXAMINATION (USA)

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

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

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

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

Official Site

CROSS FADE (USA)

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

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

CROSS HATRED (POLAND)

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

Cross Hatred Full-length, 2017

Official Site

CROSS OF IRON (POLAND)

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

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

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

CROSSBONES (ALBANIA)

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

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

Official Site

CROSSCUT (GERMANY)

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

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

Official Site

CROSSED STREAMS (CANADA)

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

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

Official Site

CROSSFIRE (IRELAND)

Based on the full-length, this act deliver decent progressive old school thrash that is reflected in relatively lengthy compositions, some of those exuding energy in spades ("Book of the Dead"), others built around seismic heavy riffage ("Lost All Control"), the impetuous fast-paced riffs of "Who Goes There?" matched by the straight-ahead barrage unleashed on "Coercion" every bit of the way. "Turned to Stone" is a mellower power/thrasher, but the final "Prometheus" is a complex tapestry of riffs and rhythms, a larger-than-life all-instrumental odyssey which loses the harsh but authoritative semi-clean vocalist somewhere.

Bound in Skin EP, 2018
Switch to Reset Full-length, 2023

Official Site

CROSSFIRE (TURKEY)

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

Aggression Treaty Full-length, 2005

Official Site

CROSSINGATE (FRANCE)

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

2K6 Demo, 2006

Official Site

CROSSWRECKER (FINLAND)

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

Black Flame Divination EP, 2010

My Space

CROSS-EYED MARGUERITE (USA)

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

Demo Demo, 1992

CROTALUS (USA)

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

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

My Space

CROTALUS (USA)

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

Terrificus Full-Length, 1995

CROWDBURN (SWEDEN)

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

Ignition Full-Length, 2013

CROWHILL TALES (HUNGARY)

Based on the EP: quite intriguing modern thrash with industrial overtones, not straying far away from E-Force and even the Voivod works with Eric Forrest ("Torn Apart To Motion") on the more abstract sections if we exclude the bigger vocal variety which includes a nice cleaner tone from time to time. There are clumsier moments, like the overlong semi-ballad "Narporja", for example; and the gigantic 11-min "Behind The Mirrors" is a bit dragging at times; but fans will bow to the excellent speedy closer "Before Birth" which shreds with mechanic dispassionate abandon reaching an almost death metal-like drama on top of the operatic structures in the middle. This is a promising beginning which provides the needed antidote to the overcrowded at present classic thrash metal wave.
The full-length acquires a more simplistic approach despite the length of some of the songs, the over 9-min semi-balladic elegy "Suicidal Generation" not generating too much excitement with its monotonous layout. "Shattered Harmony" desirably introduces more stylish, more technical riffs, but such energy is not very common on an album which spends most of the time justifying the progressive metal tag with doomy sleepers like "I Were a Crow" and not very convincing Opeth-esque emulations like "Distressed". The EP showed so much promise which here, unfortunately, are barely fulfilled if at all.

Before Birth EP, 2013
If I Were a Crow Full-length, 2018

Official Site

CROWLEY (POLAND)

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

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

CROWMORPH (FRANCE)

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

Chroma EP, 2011
Aversion Full-length, 2016

Official Site

CROWN COMPASS (HOLLAND)

This act indulge in modern thrash which is at times complex ("Ecdysis") and labyrinthine, at others is melancholic and melodic "(Gilbert"). A few compositions (the title-track) meander a bit too much without adhering to a particular style, but watch out for "Transborder Migration", a stylish dynamic prog-thrasher, and for "A Limited Number of Heartbeats", a heavy steam-roller which fully epitomizes both sides of the vocal spectre, the growling deathly and the clean passionate one.

The Drought Full-length, 2022

Official Site

CROWN OF SCORN (USA)

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

Agenda 21 Full-Length, 2014

CROWN OF MALEVOLENCE (USA)

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

Pestilence Unveiled Demo, 2011

Official Site

CROWN OF THORNS (USA)

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

Loneliness Is Black Full-length, 1994

Fan Site

CROWN THE LOST (USA)

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

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

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

Official Site

CROWNEAR (RUSSIA)

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

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

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

CROWNED IN BLOOD (USA)

This is modern power/thrash which doesn't win too many points from the strained shouty death metal vocals; the music is suitably bouncy, seldom leaving the established mid-tempo parametres, the guys mixing more officiant quasi-progressive cuts ("Blinded by Faith") with marginally more dynamic roller-coasters ("Drifting Into the Deep"). "Broken Sanity" could pass for a relatively pleasant surprise, a cool romantic ballad with clean vocals the latter mixing with nice female ones on the closing gothic melancholy "The End of Heartache".

A Damned Generation Full-Length, 2019

Youtube

CROWS OF DOOM (AUSTRIA)

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

Arise of the Berserk Full-length, 2009

Official Site

CROWSKULL (USA)

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

Crowskull Full-length, 2017

Official Site

CRROMBID TRAXORM (RUSSIA)

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

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

Demo Demo, 1993
The Stogoff's Family Death Full-length, 1994

CRUCIAL FIX (USA)

Dramatic and very well done Metal Church-esque power/thrash which hits the top very early with the excellent dramatic hymn "Eerie Hauntings" which will also remind of Sanctuary and Omen. "Smell The Death" is a smashing galloper with vicious screamy leads; and "The Face That Shares My Skull" is a wild sweeping speed/thrasher the otherwise cool emotional clean singer unleashing a few piercing hellish screams. "The Zombie" is a fascinating mix of doom and faster-paced shredding, and the following "Instrumental" is a pounding semi-technicaller. "Solid Steam" is dramatic power/thrash with standout vocal performance, and "To Be Or Not To Be" arrives with the next slab of less bridled fast-paced thrash. "Blinded Minds" is another larger-than-life blend of fast and slow thrashing before the closing "Disgusting" wraps it on with lashing fiery riffs and a few dramatic build-ups. This would be a no-brainer for all metal fans, a true gem of old school metal which should find a wider exposure.

Crucial Fix Full-Length, 2015

CRUCIAL UNIT (USA)

A thrash/crossover sensation with a very uncompromising, intense delivery, akin to other similar bands, like Psychic Possessor and Municipal Waste, maybe more deeply rooted in punk; based on "These Colors Get The Runs", the guys take no prisoners with their direct approach topped by slightly irritating, screechy hysterical vocals. Some calmer moments await you along the way: the parody "Bruce Springsteen Needs The Workers, But The Work", the rock/punk joke "No Loafin'". The guitar work is quite captivating and melodic at times ("Keep Punk Moderately Dangerous"), but the "uglier" side of their style is just around the corner: the brutal grindcore explosions "Cleanliness Is Next To Godlin" and "Communitea III".

Premium Iced Tea EP, 2001
Moshzilla EP, 2002
Crucial Unit/Municipal Waste Split, 2002
These Colors Get The Runs Full-length, 2003

Official Site

CRUCIBLE (USA)

Based on the 1990 demo, these guys literally walk over the thrash metal spectre presenting us with quite an appealing cocktail: there's a Slayer-like aggression, there are stomping sections ala Sacred Reich's "The American Way", there are interesting tempo changes all that topped up by superb bass work reminiscent of Steve Digiorgio. The music takes a considerable technical edge on a few times, and the leads are quite stylish ("Lethargic Mind") the only downpoint perhaps being the vocals which are too low in the mix sounding like a rawer version of Chris Astley from Xentrix.
The "A Dying Breed" demo is another very appetizing cocktail, the moshing urgency of "Plague of Uncertainty" leading the show the latter becoming way more complicated on the excellent labyrinthine 8-min opus "Terrapocalypse", the balladic romanticisms of "My Time of Suffering" cancelled later by a bout of raging shreds. "Barren Fate" is an excellent pummeling intricate instrumental, setting the scene for the larger-than-life title-track, a mazey also bashing on occasion delight which entangled layout gets simplified to an extent on the atmospheric tech-thrash wonder "Raped of Thought". The progressive thrash idea stays firm on both "Complete Contrast" and "The Crucible", that last composition stirring a most handsome vortex of stupendous technical riffs, bass-driven pirouettes, and unchecked lead-driven virtuosity. The only unmitigated blemish on this tantalizing mosaic are the rough hardcore vocals which semi-recite raucously the entire time.

Demo Demo, 1990
A Dying Breed Demo, 1992

Youtube

CRUCIBLE OF HATE (USA)

Modern post/thrash/post-death which straddles between Massacra's "Sick" and Entombed's "Wolverine Blues", generally pleasant feelgood stuff the best moments ("Disenthrall", "Death by Fucking Annihilation") also siding with Carcass' "Swansong" with their more playful nature. Deviations like the nice ballad/semi-ballad "Callous Hand of Justice" are more than welcome as they bring a vital doze of melody including in the vocal department with emotional clean vocals which oppose to the main semi-shouty death metal ones.

Dark Metamorphosis Full-length, 2018

Official Site

CRUCIBLE OF SCORN (CANADA)

Heavy, mostly mid-tempo thrash/death sustained in a more melodic manner, the infectious jumpiness of frolic cuts like "Legacy of Demise" and "Norse God (Of Fuck Yeah)" lulling the listener before the latter gets stressed, but just a bit on the more aggressive material ("Burn in Hell"), also by the brutal semi-shouty death metal vocals. The more serious, nearly progressive, nature of a couple of numbers ("Glory of It All") towards the end only adds up to the positive impression created by this not very usual, entertaining recording.

12 Months in Estonia Full-length, 2018

Official Site

CRUCIFER (USA)

Based on "Pictures of Heaven", this is heavy stomping thrash/death metal with certain doom/death parts, not too far from Asphyx, but great energetic thrashers like "Death Becomes Us" will surely keep you awake. In the more technical sections the band reminds of another great short-lived Dutch band: Nocturn. Depending on the taste, the longer, slower, complex songs might be viewed as the better side of the band ("Pictures of Heaven", "Sister Crematorium") although their thrash merits are debatable, but the atmosphere and musicianship displayed are hard to match. The band raises the technicality on a higher level in the second half offering a couple of really nice technical death/thrashers ("False Sense of Hope", "Impaled") before returning to the slower, dark sound on the closing "And Once Again...", which still provides technical moments, mostly in the bass department.

The "Festival of Death" demo is aggressive thrash/proto-death with a haunting keyboard background at times reminiscent of Nocturnus and early Therion. The music also recalls Infernal Majesty and Massacra on the more aggressive sections. The vocals are very brutal low-tuned, and aren't very comprehensive. The band's staple doom passages are already here ("Crucifer"), but come rudely interrupted by very intense fast ones. "Atheist" is cleared off them and is a nice take on dark doom-ornate thrash/death with intriguing technical moments. But then comes "Mindrape" which is 1.5-min of fierce death/grind. "Flowers" is another very good mix of doom and thrash/death, and the closing "Post Nuclear Dream" is a great retro thrasher with a masterful technical edge.

The "Separation" EP clings more towards doom metal in the first half which is with a better sound quality, and is the less appealing one, whereas the second one comes with a much worse sound, but music-wise is way better providing stylish technical thrash with abstract elements which are considerably ruined by the noisy guitars. Again the two grounds are covered in a way similar to "Pictures of Heaven", but are too harshly separated from each other, both music and sound-wise.
"Sickly Divine" is another capable offering mixing heavy macabre doomsters ("Grace") with furious thrashy cuts ("Soul Within") also trying something hectic and more technical ("Left Hand Path") on occasion. The energy is generally higher than on the previous efforts also assisted by the odd crossover cut ("Green With Envy") seldom staggering towards the prevalent at the time modern trends: the doom/groover "Sickly Divine", the playful jumper "No Color". The singer preserves his throaty deathly timbre which is still a safe choice for the music at play.
"Hell Is for the Hopeful" indeed, and the veterans are swift to remind of themselves in a competent but hardly striking old school fashion with this slab, the remorseless bashing qualities of cuts like "Soul Within" hard to ignore, although the dark atmospheric approach epitomized for "Deity In Black" and the macabre "Pearls Before Swine" could be the better option for some. Said approach prevails in the second half where dirgy strolls like "Laughing As I Suffer" and "Vamachara" cloud the dramatic restlessness of "Bury The Breathless", the latter also hampered by the awkward closure "Airlane", a dancey electronic non-sense.

Pray for the Dead EP, 1992
Festival of Death Demo, 1992
Pictures of Heaven Full-length, 1993
Separation EP, 1995
Sickly Divine Full-length, 1996
The World Dies (1989-1999) Full-length, 1999
Pictures of Heaven 2007 Full-length, 2007
Hell Is for the Hopeful Full-length, 2024

My Space

CRUCIFERAE (FINLAND)

Atmospheric dark thrash/death in a predictable mid-tempo and nice additions, like orchestral passages, organ tunes, acoustic deviations, etc. There are plenty of melodic hooks and slower distractions, and fans of mid-period Sentenced and harsher gothic acts like Evereve and Crematory will also find a lot to like here.

The Light Prevails EP, 1997

CRUCIFIED (CANADA)

Based on the first demo: excellent dark sinister thrash metal sharing some of both the morose ominous aesthetics of the Brits Deathwish and the brooding semi-technicality of early Coroner. The demo opens with the cool instrumental "Infliction Of Pain" which lashes in a sure-handed up-tempo manner for over 5-min without losing the speed for a split second. "Something Wicked" begins in a nice balladic fashion, but later on this piece turns into a first-rate epic thrasher in a dramatic steam-roller mid-pace well supported by the deep emotional semi-clean vocals ala Jon Van Doorn (Deathwish again). Amazingly, and not coincidentally probably, this act also has a cover of Black Sabbath's "Symptom of the Universe", also put in the middle in a way similar to "Demon Preacher" (the Deathwish album). The similarities between the two acts don't end here, though: check out "The Funeral/Cremation Damnation" which follows suit: the doomy beginning will nail you down in a way no worse than Saint Vitus and early Candlemass but soon it turns into a virtuous thrash metal crescendo which in its turn is replaced by a heavy mid-paced passage in the second half. More vigorous thrash metal of the galloping variety comes served with "Sign Of Evil" and the closing "The Enemy Within" the latter thrashing pretty hard at some point reaching a speed metal intensity at the end.

Infliction Of Pain Demo, 1990
Wheel of Hate Demo, 1990

CRUCIFIED (JAPAN)

Based on the full-length, this act provide modern melo-thrash/death which is firmly oriented towards the headbanging side of the spectre, with wild breezers ("Cries of the Dead", "Shout At The Soul") passing by in a rush, overtaking milder more lyrical propositions ("The Shining Path"), the harsh shouty death metal singer deafening everything when in action. Some of the musicians also play with the death/thrashers Bereaved, and the symphonic black metal formation Ethereal Sin.

Ritual of Resurrection EP, 2013
The Grievous Cry Full-length, 2021

Official Site

CRUCIFIED MORTALS (USA)

The EP: the guys from the death metal pioneers Nunslaughter have decided to give themselves a chance on the thrash metal wagon, and the result of this "frivolity" is excellent classic thrash of the faster more aggressive type similar to Torture's "Storm Alert" and Rigor Mortis; the music is constantly speedy with occasional slower breaks ("Masked Mu"), also reaching for more extreme means: the death-ish "Converted", which would "convert" anyone into a raging death/thrash metal maniac. "Sentenced" is probably the best number here which, among the wall of fury and aggression, finds time to pleasantly surprise with more stylish guitar work of the semi-technical chaotic variety.

The full-length debut is finally out, and it's self-titled; a sign of what? The twisted 1.5-min instrumental intro "The Seance" promises more technically-tinged fun, but "Sordid Treachery" will scatter your illusions immediately being a raging ripping thrasher ala Slayer and Evildead. "Hidden Tomb" and "Resurrected Fiend" follow suit lashing fast sharp riffs in a remorseless fashion, and "Figure in Black" is the definitive leftover from "Reign in Blood", with the next 2-min of proto-death fury "Desecrating the Dead" a close companion. "Perpetrator" is an extreme thrash/deathster ala later-period Protector, and later on there is very seldom a mid-tempo passage to be encountered the guys thrashing wild without mercy until the end which comes in the form of "Doom", which is the furthest track from doom possible being another fast-paced headbanger. Despite the 7 year-gap the guys meet the expectations on all counts fitting into the contemporary picture pretty well with their commitment to the direct stripped-down side of the genre refusing to elaborate on the several gimmicks heard on their demo.
"Psalms of the Dead Choir": the guys went silent after the auspicious debut, but here they are thrashing like demented once again covering the "nomansland" between thrash and proto-death with a bullet after bullet shot at the suspecting listener who will look in vain for any rest. "Ominous Creatures" may be considered a break from the "assault" with its laid-back dramatic accumulations, but for the rest one has to have a tough neck to go through the numerous headbanging passages.

Converted by Decapitation EP, 2004
Crucified Mortals Full-Length, 2011
Psalms of the Dead Choir Full-Length, 2016

Official Site

CRUCIFIED WITCH (USA)

Retro thrash with a sniff of death, the latter largely coming from the aggressive shouty vocals. Melody and rowdier abrasiveness get mixed on nearly every composition, the headbanging winner "The Fall of Goliath" nicely decorated with a portion of delectable melodic leads. Watch out also for the ripping more contrived anthem "It Seems Like You're Wrong This Time", an interesting saga with several twists and turns, the latter also provided on the hectic semi-technicaller "Buried Deep in South Carolina".

Crucified Witch EP, 2016

Official Site

CRUCIFIER (GREECE)

The "Escape Or Die" demo offers fast thrash with hardcore touches; only "Heroine's Death" slows down, but just for a while. The intensity is so big that at times the sound borders on death metal.
"Cursed Cross" abandons the hardcore and death metal-influences, and with a more compact sound is a much better offering which shoots the band straight to the top of the thrash metal movement in Greece; this is actually excellent classic thrash metal which will remind you of many great bands from the 80's: Slayer, Sepultura, Sacrifice, Destruction, among others.
The full-length debut is a fairly brutal affair the band crossing thrash with death for a pummeling listening experience the relief coming in the form of more relaxed thrash/crossover numbers ("Innocent World") those also coming with a pleasant technical vibe. "Merciless Conviction" is a more flexible composition with sustained in a more laid-back manner recalling mid-period Death, before the aggression comes back with "Suffering Hours", but in a more sophisticated manner, more engaging fashion the latter also partially covered on the remaining numbers.

Merciless Conviction Full-length, 2002
Escape Or Die Demo, 2004
Cursed Cross Full-length, 2006

My Space

CRUCIFIST (USA)

The bass legend Dan Lilker has formed this band with the help of two members from the doom metallers Orodruin, and the final result is a crushing mix of doom, thrash and a bit of death metal. All three styles alternate within the song structures creating a compelling sound reminding of Usurper, Lair of the Minotaur, Dream Death and early Celtic Frost. There's also an abrasive black- ishness present on the shorter tracks ("Skull Smashing Face Ripping Death", "Demon Haunted World") with an early Bathory flavour, but the twisted doom-ornate riffage is just around the corner ("Honor"). "Curse Of The Plasma Hound" and "Tumefaction" suddenly switch onto aggressive death/thrash bashing in the middle although both come "decorated" by nice heavy doom passages. "Witchgrip" is a stylish flirtation with more technical guitars followed by the good cover of Angel Witch's "Angel Of Death", before the epic doom thrasher "Anus Mundi" closes the album in a stomping crushing manner also offering a cool chaotic technical exit. Music-wise this effort contains very little to relate to Lilker's other bands providing a nice doom-fixated twist to the classic thrash metal sound.

Demon Haunted World Full-length, 2009

Official Site

CRUCIFIXION (JAPAN)

Based on the "Necrolatry" demo, this band plays aggressive thrash/death metal, and are probably the first ones who introduced the death metal side of the genre in Japan with very good guitar work sounding like a better version of the Brazilian bands around the same time (Volcano, Sextrash, etc.). The sound quality as bad and takes away a considerable part of the music.

Corpse Decapitation Demo, 1986
Necrolatry Demo, 1987

CRUCIFIXION (VENEZUELA)

Based on the full-length, this act indulge in old school prog-thrash supplemented by casual more brutal death metal runs. There’s quite a bit of music to be savoured, from urgent melodic dramas (“El Peso de tuTraicion”) to lyrical balladic tractates (“La Hija Del Rey”) to some solid hyper-active death/thrashing. The creepy technical delight “Clarity of Madness” is by far the highlight here, the epic pompous progressivisms of “Emptiness Rules” a close second, the vocal diversity reflected in largely hoarse semi-clean tirades and harsh deathly shouts.

Clarity of Madness EP, 2022
Souls Full-Length, 2023

Official Site

CRUCIFIXIONHAMMER (USA)

Raw, deeply underground, black/thrash sounding like a more extreme Venom the echoing semi-whispering vocals a really scary addition. The band sticks to the one-dimensional Venom-esque mid-pace for most of the time with the exception of "Final Revelations" which is indeed the "final" song, and thrashes faster and harder akin to early Bathory and the Canadians Megiddo. Although the level of musicianship isn't high at all, kudos should be paid to the guys for creating the genuine early-80's underground atmosphere so well.

Graveyard Lust Demo, 2009

CRUCIFIXIONS (SLOVENIA)

This is a curious, not very even mix of power, thrash and death metal which stays on the dark brooding side of the spectre with heavy mid-tempo riffs applied extensively, with the obligatory doom balladisms ("My Blood") lined up. "Justice Is Dead" is a nice speedster brightening up the situation, and "Master of My Life" is a merry melodic roller-coaster with epic power metal tendencies. Quite a varied package as a whole wrapped in a somewhat monotonous, not very eventful aura.

Killing Machine Full-length, 2018

Youtube

CRUCIFLICTION (CANADA)

The debut: interesting classic thrash with technical overtones; the guitars are accompanied by an annoying fuzz at times, but the lashing riffage can pass the test even with it around. The energy is omnipresent although the tempos alternate the whole time including with the odd galloper ("Human Target"). "Malice" is a curious jumpy semi-ballad, but her relatively soft character is immediately compensated by the short ripper "Shreds of Existence". Another, this time full-blooded, ballad ("Til Death") comes right after and its more than 7-min will kill the listener's pleasure almost beyond repair. The band offer another compensation with a string of more vigorous energizers, but the 9-min long uneventful quasi-doomster "The Dystopian Arsenal" levels things up near the end. The leads are good, and the singer has a suitable gruff mean timbre, and the album would by all means appeal to a fairly wide circle of metal fans.
"K.K.N.D." is a noisier offering, the guitar boost close to turning into industrial (the title-track and elsewhere), the thickening sterile clout dissipated by the energetic "Nothing to You" and the short non-fussy headbanger "Inquisition". The technical element is completely missing, the mellow heavy/power metal cheeser "Reconcile This" not doing much to elevate the level of this unfocused effort which nearly strikes gold at the end with the more cleverly performed shredder "Annihilation".
"Heresy" is a decidedly better effort than its predecessor, the more intricate lustre of "Procession of the Damned" a nice reminder of the debut's serious progressive pretensions. Later on the guys blend brief breezy speedsters ("Shreds of Existence") with heavy steam-roller trots ("Iraqistan"), the galloping rushes of "Human Target" invigorate the setting big time, but the album also wins from the presence of a couple of mellower semi-balladic cuts ("Malice", "Til Death"), the diversity further insured by the inclusion of the final "The Dystopian Arsenal", a dramatic power/thrasher with a volatile complex structure.
"Trinity" is by no means superior to its predecessor, the band now experimenting with power and again quasi-industrial, cuts like "Greed" recalling Megadeth's 90's period, "Idolatry" the only openly confrontational thrashy tune, with "Laceration" also going with all the guns blazing at some stage to mosh the hell out. The guitar work is poignantly melodic at times, especially on epic sprawls like "Coveting", the vivid sprightly rhythms of "W.H.O.R.E" another reminder of Dave Mustaine's gang.

Heresy Is Met With Fire Full-Length, 2013
K.K.N.D. Full-length, 2019
Heresy Full-Length, 2022
Trinity Full-length, 2024

Official Site

CRUCIFUCK (SPAIN)

Old school thrash which relies on fast, slightly abrasive, riffage which isn't bad at all, and some of you out there may get a headache on speedy explosions like "Abnormal Obsessive Hatred". Relieves can certainly be found: the laid-back power metal anthem "Extreme Ways", the surprisingly tender ballad "Cancer", but those moments lack the support of the singer who rends his throat in a semy-hysterical punky fashion. Some of the band members are also active with the death metal outfit Ultratumba.

Obermensch Full-length, 2012

My Space

CRUCIFYCE (BRAZIL)

This Brazilian outfit indulge in twisted, quasi-progressive modern post-thrash which also emits a lot of melody ("Souls of My Death") as well as some admirable stomping Celtic Frost-esque riffs ("By the Killer's Hand"). The diversity is big, for better or worse, including the excellent headbanger "Plucking Brains" which will pluck your brain big time with its urgent rhythm-section aptly supported by the closing pounder, the latter again flirting with echoes of the legendary Swiss.

Freedom Is Gone Full-Length, 2016

CRUDATOR (MEXICO)

This band play retro thrash/crossover which is on the more aggressive side, also vocal-wise due to the singer's more intense deathly timbre. Impetuous moshers ("Motch", "Pulque") fly from all sides in quick succession, with descents into pure hardcore ("Perseguidos") sparsely provided alongside purer thrashy excursions ("Lambe Huevos", the cool semi-technical fury "Cruda Mortal") and isolated ambient/industrial cuts (the effective atmospheric bonus track "Techno Mortal").

Finish Him!!! Full-Length, 2019

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CRUDE BASTARD (CHILE)

Based on "Return To Painsylvania", this band indulge in right as rain old school speed/thrash which moves from impetuous gallops ("The Crude Bastard") to brutal Slayer-esque outbursts ("Lord Moneyman"). The second half takes a turn towards much more thought-out and serious music the guys pulling out several long progressive compositions among which "Brutal Violation" is a masterpiece of "violent" headbanging thrash crossed with nice melodic sections lasting for nearly 9-min. "Corpses In Paradise" is a rousing epic speed/power metal anthem, and "Painsylvania" is rigorous speed/thrash its hard-hitting character cancelled by the closing "With The Fist Full Of Blood", a calm power metal hymn with dark sinister overtones. The vocals are very good clean emotional ones and are close to being the highlight.
"Rotten Crypts" is a very good recording, beating the debut by miles, which already sounds fairly invigorating and attractive on the short opener "Schizophrenic" before the band follow up with the faster-paced shredder "Falling in the Shadows" and the more intricate Megadeth-esque delight "Bells of Crypt". "Critical Counter" is a nice speed metal-ish proposition, and "Lord Moneyman", already heard on the debut, is more direct headbanging thrash. More melodic configurations come to play on the excellent "Diabolic Eye", a choppy technicaller second to none before the guys explode on the "Moneyman is Back" cannonade, the final odyssey being "Final Justice", a straight-ahead speed/thrashing roller-coaster, a more than a fitting epitaph to this very cool effort.
"Terror" is another pretty cool recording the band sticking to their hyper-active but also fairly melodic approach, with "Extinction" opening the proceedings with fiery blitzkrieg guitars, the restless speed/thrashing urgency of "Dead Alive" another high point. "Painsylvania", already heard on the preceding full-length, is a turn to a more ambitious song-writing the energetic base still legitimate all over, upgraded to smattering gallops on "The Crude Bastard", another echo from the previous opus. "Agartha" is rigorous speed metal with soaring melodies and infectious leads, and the title-track tries to justify its "terrifying" title with a portion of choppy semi-technical riffs still on a pretty speedy base, the melodic aesthetics largely reflected in the blazing leads.

Corpses in the Paradise Full-length, 2009
United by Hate EP, 2010
Return To Painsylvania Full-Length, 2013
Terror Full-Length, 2017
Rotten Crypts Full-Length, 2020

Official Site

CRUDELIX (USA)

Nice crisp old school thrash with sharp ripping riffs and expressive high-strung vocals; the band prefer the speedier ways of execution, and the moshers will by all means have a very good time with this recording jumping on invigorating cuts like "Invasion del Metal" and "Conspiracion Venganza". Towards the end the guys complicate the environment a bit with more intriguing arrangements which culminate on the more moderate and more diverse closer "Desechables".

Cuna Martir Full-Length, 2017

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CRUDUX CRUO (FINLAND)

Based on the "Follow the Leader" EP, this guy, the name Nito, indulges in fast ripping classic thrash, Nito following the intense musical proceedings with a curt spatout deathly timbre. "Fatal Hospitality" is a dark brooding mid-pacer, the digression here, with "As The Womb Becomes A Grave" offering another doom respite as opposed to the unbridled vigour of the title-track.

Malefic Visions EP, 2020
Follow the Leader EP, 2021

Official Site

CRUEL BOMB (USA)

Based on the "Man Made" EP, this act provide modern/retro thrash/post-thrash affair, a short effort which busts with energy, the intense semi-shouty/semi-declamatory signer leading the show with panache. There's variety in the approach as "Bombed Squad" comes out with a heavy groovy lustre as well, this squad scared away by the unfettered vehemence of the short trailblazer "A-10".

Manhattan Mischief EP, 2019
Trinity Terror EP, 2020
Man Made EP, 2022

Official Site

CRUEL EXPERIENCE (GERMANY)

Based on "Eternal Suffering", this is rough amateurish aggressive thrash/death metal which often adheres to uncontrolled spasmodic blast-beats the latter taking turns with more laid-back sections in the vein of early Six Feet Under; on top of that there's one awful joke rock-ish closer "Schnauze Voll Blues": skip it if you can. The singer also tries to imitate Chris Barnes, but his "chants" are more intelligible.

Hate Flows Full-length, 2002
Forward Full-length, 2003
Eternal Suffering Full-length, 2004
Suffocated in Emotions Full-length, 2006

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CRUEL FORCE (GERMANY)

The debut: energetic early German black-tinged speed/thrash metal very close to early Destruction and Nocturnal (the guitarist Teutonic Slaughter also plays in that band) with two major differences: the gruff death metal vocals and the stylish melodic leads. The relative peace is broken rudely with the furious black metal assault "Forces of Hades", but its aggression is nicely compensated immediately by the jolly speedster "Leather and Metal" which is an obvious allusion music-wise to the Metallica debut. Things slow down for the good cover version of Bathory's "Necromancy", quite faithfully done. All heads will bang on "Deathstrike" and all the remaining four songs till the end which turn this album into a delightful unpretentious roller-coaster.
The "Ancient Black Spirit" single is just two songs one of which, the title-track, is a speedy/proto-thrash boogie ala Exciter and Tank, and the other one is a cool cover of the Brits Holocaust's early hit "Heavy Metal Mania", of course, partly ruined by the gruff death metal vocals.
"Into the Crypts..." is very close in spirit to the debut producing a bit noisier Germanic speed/thrash metal which leaves the chosen field with calmer more power metal-based hymns ("Cruel Force"), or with interesting cover choices: the pretty faithful version of Piledriver's "Metal Inquisition" from the Canadians' debut, only ruined by the rough unemotional semi-death metal vocals which actually recite for most of the time.

"Under the Sign of the Moon" is in a similar vein speed/thrashing in a steady self-assured manner the rough death metal vocals now sticking out more awkwardly because of the more moderate riffage. Otherwise the music is right as rain with the addition of a more evil misanthropic atmosphere which brings the band close to some black/thrash metal acts (Sabbat, Aura Noir, Abigail, etc.). The title-track isn't a nod to Bathory music-wise, like some may expect because of the title, but is a nice epic thrash cut with heavy doom guitars and an accentuated officiant atmosphere. This offbeat composition, which lasts for whole 8.5-min, is like an "oasis" surrounded by much shorter numbers where the musicianship is fairly basic with the final "The Gallows Prayer" another "calm" (there's no storm after that) of the softer power metal kind. The musical proficiency on those slower cuts is bigger, but they sound kind of off-context regardless of how much they increase the band's appeal.
"Dawn of the Axe" is a decent moshing fun all the way through, the guys' assault vintage early German speed/thrash thanks to rousing numbers like "Night of Thunder" and the breezy speed metal champion "Death Rides The Sky", the more controlled pounds of "Devils Dungeon" darkening the gloomy horizon, before "Across the Styx" complicates the environment with a more diverse arsenal of hooks an rhythms, the same layout epitomized for the closing "Realm of Sands", an epic fast-paced odyssey with memorable lead sections and stomping dramatic developments.

Into the Crypts... Demo 2008
The Rise of Satanic Might Full-length, 2010
Ancient Black Spirit Single, 2011
Under the Sign of the Moon Full-length, 2011
Dawn of the Axe Full-length, 2023

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CRUEL HATE (PORTUGAL)

Based on the "Beyond Beliefs" demo, this formation provide dark morose thrash/death which shares some of the operatic pompousness of the Greeks Nightfall when it gets more deathly ("Tormented Cries"). "Perpetual Riot" is a moderate atmospheric galloper, and "Condemned To Live" is an aggressive headbanger with a cool quasi-progressive aura ala later-period Messiah. The singer is a comprehensive semi-death metaller who leads the show with panache, albeit not very clearly audible at times.

Dying in Fear Demo, 1992
Beyond Beliefs Demo, 1993

CRUELITER (ARGENTINA)

This act specialize in a fairly cool modern/classic thrash hybrid which starts very promisingly with the brisk semi-technical retro thrash "Instrumental", before the band begin to violate the environment with rowdy vehement headbangers like "El Camino Maldito" and "Asmodeo". The screechy very shouty blacky vocals are probably not the best possible choice for this kind of music, but few would complain exposed to the multifarious masterpiece "El Camino Maldito", a seamless conglomerate of speedy skirmishes and breath-taking balladic interludes. "Falsos" is a more straight-forward ripper, and "Cruel Decision" is a dynamic jumpy speed/thrasher with covert technical tendencies. "Bestial Guerrero" is another more ambitious proposition clinging towards the progressive, a multifarious shredder with numerous delightful moments for the regular thrasher.

Elite de los Crueles Full-length, 2020

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CRUELLA (USA)

Based on "Shock the World", this band pulls out decent speed/thrash metal which hesitates between merry speedsters ("The Awakening") and laid-back hard'n heavy fillers ("Mr Potato Head"), or even pure tender ballads ("Cruella"). "Living Death" switches onto full-ahead speed/thrash, and the much slower pounder "Shock The World" isn't too far behind with its seismic 10-ton riffs with a certain doomy vibe. The closing "Pushed Off The Edge" is aggressive thrash with a strong bass bottom and ultra-fast rhythms exiting the album in an imposing vigorous fashion. The singer is all right with his dispassionate mid-ranged voice which passes through the motions with monotonous semi-declamatory antics.

Vengeance is Mine Full-length, 1989
Shock the World Full-length, 1990

Official Site

CRUELTY (BELARUS)

Based on the split where the guys participate with three songs, this is very good old school thrash/death metal close to early Pestilence and mid-period Death so there isn't much bashing to be heard, but what's offered is interesting sophisticated technical/progressive passages well reflected in the songs' length as well. The latter are intriguing versatile compositions with plenty of tempos and riff landscapes topped by intelligible semi-death metal vocals.

Shadow of the Dead Split, 2002
Shadow of the Dead Demo, 2002

CRUENTATOR (ITALY)

Members of the brutal deathsters Bowel Stew have decided to give their fair tribute to the good old thrash for a change, and have done a pretty decent job on this headbanging roller-coaster which takes its inspiration from early Slayer, above all, so expect short bombastic blitzkriegers delivered with the utmost intensity also recalling other extreme artists like Hypnosia, Gammacide, and Devastation. There are no intentional respites along the way even on longer, more carefully plotted cuts like "Barbaric Violence" if we possibly exclude the mellower, more speed metal-fixated "The Nightstalker", the mean shouty vocals perfectly fitting the hyper-active soundscape.

Ain't War Hell? Full-length, 2018

Official Site

CRUENTION (FRANCE)

The promo shows a competent act playing dark black/thrash metal. The riffs are decidedly thrashy, but there's a lot of atmosphere created by the keyboard background, the vicious raven-like vocals, and the occasional melodic gothic/black Cradle of Filth-like tune. The music isn't very fast except for separate moments the songs being mostly mid-paced, heavy on atmosphere and mood.

Promo Demo, 1998
Rudis et Indigesta Moles Full-length, 2007

Official Site

CRUENTUS (ITALY)

The debut: this is the first effort of musicians who later went on to create similar cleverly-crafted music with acts Raza De Odio and Glacial Fear. This is complex progressive thrash/proto-death with long compositions where numerous nuances shake hands without messing it up every member of staff pulling out quite a performance, especially the bassist whose pyrotechnics are really admirable. "Seeking the Truth" arrives to alleviate the complex picture with less elaborate arrangements bordering on Agent Steel-like speed/thrash the similarities also greatly helped by the attached clean high-strung voice of the singer on this particular one who replaces the gruff death metallic antics of the main man. Things become serious once again on the 10-min opus "Under the Same Sky" before the clean vocals spring up again on another shorter relaxer, "Conditioned Mind" which is a hectic listen strongly recalling Realm. The tile-track is a heavy semi-ballad without any seeming technical highlights influencing the meditative closer "Paths in Memory" which could pass for a full-blooded ballad. This is a kind of a not very even listen at the end which, despite its undeniably good side, may not attract hordes of fans in the long run due to its hesitation between the complex and the accessible.
"Fake": a return after a gigantic hiatus; what to expect from the band this time? This is surprisingly a much more immediate affair the guys just bashing in a concrete semi-thrashcore fashion at the beginning before things get slightly contrived on the more controlled "Never Forget". Not much to discuss later as the delivery is very simplistic the band just jamming semi-seriously, not having any intentions on creating anything mind-stimulating, the approach staying closer to the modern side of the spectre. A total u-turn from their initial multi-layered style.
"Night Embrace Me" is another wild hyper-active affair, but the approach this time is oriented towards the death metal patterns, the band racing with the speed of light ("Slain", "At the Remains"), the fast frenetic pace never changing even on the longer more thought-out compositions (the atmospheric more flexible "Wonders"). The non-stop bash acquires more intriguing semi-technical tendencies on "A Fist From Within" towards the end, but the real surprise here would be the closing "Each Dawn I Die", a complex meandering epic but still far from the layout of the Manowar song of that name.

In Myself Full-Length, 1996
Fake Full-Length, 2019
Night Embrace Me Full-Length, 2020

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CRUENTUS (SWEDEN)

Based on "Fossilized", this act specialize in old school black/thrash, wild not very bridled music which doesn't hide its fascination with the deathly realms ("The Catalyst") either, the blitzkrieg neck-sprainer "Nihil Ultra" demolishing the neighbourhood systematically, the vicious raven-like vocals suiting the hyper-active setting like a glove. Black metal prevails on "The Lost Ones", with doom showing its heavy head on "Prey". The epic lustre of "Relentless Scourge" may remind of mid-period Bathory with a more extreme twist, and the closing "Primordial Reprisal" tries to enmesh all the heretofore heard nuances into one sizzling, moderately complex melee.

Night Embrace Me Full-length, 2020
Fossilized Full-length, 2022

Official Site

CRUISE MISSILE (SWITZERLAND)

Raw thrash metal similar to early Messiah; actually, it's the Messiah singer R.B.Broggi who lends his vocal abilities to this band; the music is more of the mid-tempo variety and a tad less aggressive than Messiah's.

The Legend Demo, 1987

CRUMBLE (ROMANIA)

Based on the full-length, this Romanian trio serve brisk old school thrash which can be straight-forward and explosive (“Born from HATE”) and also moderate and thought-out (“Devil's March”). Brace yourselves for the ripping non-fussy moshers (“No Name”, the hardcore-ish “Metal Fags” and “Strike”), the semi-declamatory vocalist equally capable of singing with bigger passion as evident from the pummeling thrashing delight “Thrash?!” at the end.

Born from Hate EP, 2019
We Will Crumble the System Full-length, 2024

Official Site

CRUMBSUCKERS (USA)

The band's debut is a very good fusion of punk/hardcore and thrash (although thrash is an elusive definition here). The follow-up brought about a more metallic, technical sound, a clear sign of the band's ambition to move into the metal realm with a wider gamut of influences including borrowings from power and heavy metal. Still, invigorating pieces like the technical shredder "I Am He" and the closing smashing title-track are major head-splitters, and should leave no one disappointed. Despite its undeniable qualities, without the energetic punk/hardcore spirit of the debut, this release failed to grab the attention of the metal fanbase as successfully.

Life of Dreams Full-length, 1986
Beast on My Back (B.O.M.B.) Full-length, 1988

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CRUOR (BRAZIL)

This is an interesting album: it combines the early 90's works of Flotsam & Jetsam with intense speedy parts which aren't too far from Paradox, or even Sodom's "Persecution Mania": the album closer "Torture". However, this is just the base on which a lot more has been placed; the music twists and turns into many directions: there are quiet atmospheric moments, balladic ones, crossover touches ("Galeria de Horrores"), even jazzy funky passages ("Banditry") which are suddenly broken by more aggressive riffage, or by screamy, but quite good leads: a typical example for this diversity is the excellent 8-min instrumental "Mortal Reality". There are a lot of progressive elements in the band's style, and while these sections aren't very easy to swallow, here come the straight thrashy ones to save the day; so you can't possibly get bored with this one. The album is actually split into two parts that are mixed together: short 1.5-2 min tracks, and longer, more complex ones. The overall result is quite close to Flotsam & Jetsam's attempt at more elaborate music "When the Storm Comes Down", but this is way better. Near the end the guys have seemingly gotten tired with the complexity, and the last two songs "Slow Death Machine" and "Seca" are very good more conventional aggressive thrashers which still retain a certain amount of the technicality.

These obscures are back with this invigorating slab (the "Unburied" EP) of the good old thrash which wastes no time nailing you down with the intense mosher "Whitechapel". The assault continues on full-throttle after that with "Septem Sermones Ad Mortuos" and two other speedsters which stick to the direct no-gimmicks delivery without any reminders of more ambitious aspirations which couldn't have possibly developed fully on this short 5-song (the first piece is just a short intro) EP. The guys are also active with their other formation from the early 90's, Dark Fate, with whom they had one solitary demo released in the distant 1991.

Insane Harmony Full-length, 1995
Unburied EP, 2010

Official Site

CRUSADER (USA)

Based on the full-length, this act offer classic power/speed/thrash, and their encompassing approach will keep a wider fanbase happy including those who like their metal epic and pompous: the war-like "Witch Hunt", the progressive epicer "Arturius (i Prelude to War ii Battle on the Moor iii Lest We Forget"); etc. Thrash isn't very extensively applied the band playing with more melody and focus on the power/speed metal side.

Rise of the Templars EP, 2011
Onward into Battle Full-length, 2013

Official Site

CRUSADIST (USA)

This band play a classic death/thrash blend which reaches operatic progressive ("The Unholy Grail") heights at times, at others ("Tempered in Black Flame") it straddles in the vicinity of more recent Amon Amarth with uplifting epic strides. The melody takes over in the second half for the sake of the speedy excursions, the rude awakening served in the form of "Beyond the Count of Grief", a bombastic proto-blasting deathster which epitomizes the shouty deathly vocals just fine, the melodic lead guitar pyrotechnics on "The Noble Savage" another highlight, the lead guitarist the major performer here with his consistent near-Shrapnel interference.

The Unholy Grail Full-length, 2019

Official Site

CRUSH HATRED (GERMANY)

Bashing Germanic thrash of the old school with a rough production quality and bad shouty death metal vocals. Nothing to lose your sleep over although the passion emitting from this mish-mashy effort is at times quite worth noticing (the violent piece "Pyroclastic Extinction") and the closer "Ubiquitous Force" is a cool sweeping speed/thrashing proto-death laced opus with not very impressive thin leads.

Destructive Greed Demo, 2008

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CRUSHER (FINLAND)

Four songs which offer a blend of feelgood Exciter, Motorhead-like riffs ("Metamorphose"), black metal hyper-blasts ("Mass Destruction"), Swedish death metal ("Hate Is My Messiah"), and crossover ("I'm The Batter You Are The Ball").

Crusher Demo, 2005
Metamorphose Demo, 2007

Official Site

CRUSHER (FRANCE)

Based on "Corporal Punishment": a typical for the time, and especially place/country, thrash/death metal hybrid sounding like more brutal Massacra; the music is more death metal-based, and slower doom passages ala Bolt Thrower are present as well although their involvement isn't as expertly applied. The vocals also strongly recall those of Karl Willets and they could pass for the band's strongest asset.

Undermine EP, 1993
Corporal Punishment Full-length, 1993

CRUSHER (GERMANY)

A lengthy 6-track EP which offers your average crunchy modern thrash with the odd melodic decoration which is mostly mid-tempo, but the riffs crush with force ("Into the Pit") at times. The singer is suitably gruff with a semi-clean timbre which carries quite a bit of melody as well.
"Redemption" is a decidedly more intense affair, and the listener will be delighted to hear the dynamic headbanger "Son of a Pit" and the diverse speed/thrasher "D.ysfunctional I.dentity D.isorder". "The Journey" would be another speed/thrashing journey with a cool melodic edge as well as "Operation: Rescue" towards the end, leaving the more elaborate delivery for the more serious "A Way Out", a nice speedy roller-coaster with great melodic leads. There's not much literal crushing to be savoured here, but the capable execution and the dominant fast-paced riffage should keep the fans happy.
"Unleashed" is both a more classic-sounding and a more complex offering, those extensions coming for the sake of the intensity; this is largely an uplifting mid-tempo affair with a few more dynamic ("The Others") hints, the overall delivery now recalling the early exploits of Schmier's Headhunter. Some imposing epic song-writing ("Empty Space") also comes to play, and generally there are quite a few catchy sing-along ("The Great Escape") moments, the crossover joke "Bier" at the end another nod to their mentioned peers.
"Uprising" is a decent moshing beast, the hyper-active winners "B.A.T." and "Savior" rushing onward with little restraint, whereas "I" is just a heavy stomper, leaving room for the arrival of both the moshing delight "The Cave" and the speed metal relaxer "Before the Storm", with power metal coming to play on the ambitious 8.5-min epicer "The Price of Life".

The Airfield Tapes EP, 2010
Redemption Full-length, 2016
Unleashed Full-Length, 2020
Uprising Full-length, 2024

Official Site

CRUSHER (TAIWAN)

Thrash/death metal of the Swedish school, not miles away from Dark Tranquillity; the guitar work is very cool with very stylish leads, and these guys look well set to make a more lasting impact on the music scene, at least in the Far East, if they step the pedal harder on the technical side of their style.

Armageddon EP, 2007

CRUSHER (UKRAINE)

The debut EP: this Ukrainian trio plays decent classic thrash metal with boosted sharp riffs, successful attempts at melodic insertions, short but effective leads of the screaming type, and mean gruff death-ish vocals. The guys prefer to lash fast and tight with casual breaks along the way which only increase the appeal of moshing speedsters like the closing "Living for...", for example.

The "S(k)atanic Ride" EP is just two songs: the title one which is a fast blitzkrieg cut; and the Slayer cover of "Jesus Saves", done quite faithfully.

"Endless Torment" wouldn't be a very big surprise to the band's fans since most of the tracks have already been heard on the preceding demo and EP. So expect the already established old school speed/thrash played with a big intensity reaching Slayer with ease (the cover of "Jesus Saves" is also here) also helped by the very good sound quality.

Politishit EP, 2010
S(k)atanic Ride EP, 2011
Endless Torment Full-length, 2012

Official Site

CRUSHING BRAIN (CHILE)

This is intense retro speed/thrash which resembles the early feats of Kreator at times, including in the screechy vocal department. The melodious speed metal anthem "For Power and Domination" changes the scenery for a bit, but once the smashing "Llegando al Infierno" and "Horizontes del Caos" arrive, the setting acquires those hyper-active parametres that are hard to alter. "Metal Thrash" is indeed a metal thrashing madder, and "Tormentor" is, needless to add, a cover of Kreator, played faithfully with a slightly more accentuated speed metal edge. Some of the band members were earlier seen in the death/thrashers Plan Macabro.

Cenizas Full-length, 2024

Official Site

CRUSHING FORCE (USA)

Vicious intense classic thrash/death which is built on short raging cuts ("Dragged to the Grave", "Created to Destroy") which still find room for brief but stylish melodic leads. "Living for Nothing" adds a surreal more technical edge to the proceedings the latter also kept in check on the cool Death-esque closer "Undead Warfare". The vocals are harsh guttural death metal ones, and occupy quite a bit of space.

Remnants Of Devastation EP, 2020

Youtube

CRUSHING JACKHAMMER (HOLLAND)

A brand new act who pull out awesome old school thrash metal along the lines of Rigor Mortis. This is great fast-paced music with cutting sharp riffs and vocals which resemble Bruce Corbit quite a bit, but are more aggressive and throaty. The guitars have a slight technical edge, and at times come close to the pyrotechnics of Mike Scaccia. There are moments where the guys seem to take a break from the intense thrashing which sound slower, but quite crushing. With the word "thrash" present in four of the seven song-titles here, it's clear that the band look no further than the good old 80's so prepare your handkerchiefs and tissues: there'll be a lot of nostalgic memories with this one. There's always "time to thrash"... especially when it's done in such a good way.

Time To Thrash Demo, 2008

Official Site

CRUSHING SUN (PORTUGAL)

Dry post-industrial modern thrash/death metal of the heavy groovy type with angry semi-shouty vocals; the music is varied, though, and the steam-rolling riffs are intercepted by more intriguing ones bordering on progressive which in their turn are followed at times by more quiet semi-balladic ones. So in other words, there's variety and dynamics, but except for the chaotic piece of mechanical brutality "Grey Scent" near the end there isn't really any speed present, and the listener may get tired at some point "roaming" around those bleak abstract landscapes which at their best come close to the robotic atmosphere of Voivod's "Phobos" (the closer "Strip and Deceit", etc.).

TAO Full-length, 2010

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CRUSHING THE DECEIVER (USA)

A modern take on the thrash/death metal idea with some outstanding fretwork which reaches lofty classical proportions ("Guide the Way to You") here and there. Elsewhere the approach is more standard although cuts like the blitzkrieg shredder "In Gods Hands" and the impetuous speedy title-track can't possibly be complete throwaways, the intense shouty deathly vocals being on the more ordinary side.

Crushing the Deceiver Full-length, 2018

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CRUSTACEAN (HOLLAND)

Based on "Insaniac", these guys are obviously fond of Slayer, but mix their fondness with old school death metal, and as a result we have a very cool sound. The band have found the perfect balance between the raging thrashers and the heavy numbers which sound as though directly taken from "South Of Heaven" or "Seasons In The Abyss". Few bands nowadays have managed to capture the 80's Slayer magic as well as these guys.

Their full-length debut, on the other hand, is probably the better achievement with more technical guitar work and a sound closer to the Bay Area scene (early Testament, Vio-lence) although the fascination with Slayer has started to show up ("Injected with Blood").
"Greed, Tyranny and Sodomy": eight years is a long absence from the scene, especially for a not very well known act; the guys have eventually found time for a new recording which continues in the same Slayer-worshipping vein so expect intense old school thrash all the way through with a boosted modern production. The band play with confidence, although the predictable delivery could have been spiced with some deviations: even the slower, stomping tracks ("Pearls Before Swine", "Contaminated Blood") are vintage late-80's Slayer, the singer trying to adjust his tone to early Tom Araya, succeeding for most of the time with his assured semi-declamatory antics. This is a good dedication to a great act, but without the more aggressive death metal sounds of the past, the band could hardly be considered anything more than mere Slayer wannabes at the moment.

Headcleaner EP, 1995
Burden Of Our Suffering Full-length, 1998
Satanized EP, 2000
Insaniac Full-length, 2003
Greed, Tyranny and Sodomy Full-length, 2011

Official Site

CRUSTED (HUNGARY)

Modern power/thrash metal which is moderately groovy and heavy without overdoing it. The guys try to keep a vivid mid-pace throughout, even raising the headbanging flag on a couple of tracks: "Hallgasd", the short pounding thrasher "Szallj Ki!". The singer is a gruff semi-whisperer clinging somewhere between the black and the death metal genre, and doesn't quite fit the mellower musical approach.

CruSted Full-Length, 2010

CRUX (CZECH)

Crux share members with two other bands from the Czech metal scene, Root and Denet. Based on the demo, the band's music is a raw, but frequently interesting combination of thrash, black and doom metal. "Navrat Vladce" is an aggressive frantic opener with a great bass bottom and a cool slower, dark second half. "Rev Smrti" is slower, but still thrashes intensely with good mid-paced riffs. "Demoni Temnot" is pretty much in the same vein, and the listener might start wondering whether there would be any more aggressive play on this one. The answer comes in the form of "Belzegor" which is even slower and more melodic. "Klic Prvni" is a very good 9-min doom metal epic, and is not totally unexpected in consideration of the direction taken with every subsequent song. "Awathea" is a nice quiet acoustic instrumental closing an album which would appeal to quite a few fans from several metal genres.

Rev Smrti Demo, 1991
Rev Smrti Full-length, 2000

Official Site

CRUXMORTIS (BELGIUM)

Heavy thrash with a rough, not very pleasant death metal singer who uses synthesizers here and there which makes him sound even less appealing. The music goes into quite a few directions: most of the time it's classic thrash of the stomping, not fast variety, but early modern 90's implements sneak through as well as pure doom metal sections ("Sickminded Maniac", "Deserve to Live"). A mixed bag as a whole, would also appeal to fans of the doom/death metal wave which started around the same time in their neighbours Holland.

Demo Demo, 1991

CRUZ DE ACERO (ARGENTINA)

One will have no second guesses as to who these guys are modeled after: the heroic flagship of veterans like Hermetica and Horcas as been raised sky-high once again in the country of the gauchos, and it seriously threatens to overtake the tango clubs around the pampas. This band's delivery is milder perhaps with frequent stretches towards hard rock and power metal the fast-paced spice provided by vigorous cuts like "050" and "El Loco Juan". The vocals are warm clean-ish with a non-changing mid-range.

Cruz De Acero Full-Length, 2016

CRUZ DUCKS (UK)

Fairly intense thrash/crossover ala Wehrmacht and and Psychic Possessor; the approach even brings the winds of proto-death at times ("Sun And Sand And Sea And Beer"; the maddening basher "Acid Bath") where the insanity even reaches Cryptic Slaughter-esque dimensions. The singer is kind of a relief from the brutal musical scenery with his detached punk-ish timbre which is the only more melodic occurrence on this aggressive downpour.

Alcohol Abuse Demo, 1987

CRUZADAS (BRAZIL)

The EP: the opening "Troia" is an epic power/thrashing instrumental which is followed by the speed metal hymn "Despertar", and the more aggressive speed/thrashing "Templo da Escurideo". The songs are decorated by catchy choruses, good bass support and melodic fast-paced riffs. Some of the band members had been previously in the doom/death metal act Aqueronte.
The full-length is a happier and cheesier affair comprising long epic compositions clinging more towards the 90's power/speed metal field thrash barely touched on isolated moments. It contains merry-go-round galloping riffs aplenty surrounded by infectious, catchy hooks from all sides. The gruff mid-ranged singer falls behind the more proficient musical execution lacking the passion which usually goes with this kind of uplifting music.

Guardies Do Apocaledpse EP, 2005
Idade das Trevas Full-length, 2010

My Space

CRY HAVOC (FRANCE)

Based on the "Calling" demo, this band play classic semi-technical power/thrash that on "Frightening Tale" is an admirable Bay-Areasque worship, a steady complex shredder in the vein of mid-period Megadeth, above all, the cool attached clean singer doing a good job on the side. "Willy Wants To Fly" would be a pullback, though, a friendly semi-balladic tractate, and "Ancestral Blue Marble" is only marginally bouncier, an atmospheric power metal hymn which at least shows the vocalist again in fairly bright light.

Demo Demo, 1991
Calling Demo, 1992

Youtube

CRY OF DEATH (RUSSIA)

This outfit serve abrasive, badly produced classic thrash of the dark brooding variety bordering on doom and gothic. The second half acquires melancholic balladic tendencies with shades of later-period Katatonia and Paradise Lost. The lead guitar work is the highlight, but isn't given too many chances to shine due to the very fuzzy guitar sound. The guys later had a more lasting career under the name Sphynx where the style shifted towards power metal.

Vse Eto ne Loj Demo, 1997

CRY OF TERROR (HOLLAND)

Based on the debut, these guys come up with raw intense thrash metal which sounds not too far from Sacred Reich's "Ignorance" mixed with some crossover aesthetics. The sound is fairly aggressive and fast, reaching Slayer extremes at times: "An Inhuman Choice", the brutal proto-death "Don't Feed Me With Your Words". "Loser" is first-rate aggressive instrumental thrash, and the immediate follower "Absurd Hate" pours something more of the same adding guitar licks ala Mike Scaccia (R.I.P.; Rigor Mortis, Ministry). Finally something slower for a break towards the end, "Life Such-As Hunting Wild" which even abandons the thrash metal idea for a while, but "Black Memory" largely compensates for that with its furious merciless death-tinged riffage which goes on with full force on the closing "Born to Survive". It was good to know that still there were bands in Holland in the late-80's who were not afraid to bash tirelessly as opposed to the technical wave which was at its peak at around the same time.

The sophomore effort offers longer and a little more thought-out songs although the intense thrashing never stops, like on the 8-min opener "The Prodigal Son". "Holy Truth" is a shorter blitzkrieg thrasher, but "Bloody Terrorist Transaction" increases the length again introducing clever semi-technical riffs which in this case is for the sake of the speed. "Four Walls" is expectedly faster, but the intensity gets lost, and this piece has a strong crossover tinge. The alternation between more immediate shorter and longer more serious compositions continues with "An inhuman Tension", which provides a cool blend of speedy and more technical riffs, which on the closing minute turns into furious Slayer-esque thrash. "Little Poor Man" is a direct continuation of this closing minute, a brutal aggressive number which influences the closer "Storm Inside": another heads-down merciless headbanger. The more extreme death metal-ornate moments are gone, and this album proudly waves the classic thrash metal flag high in a way no worse than same year's Sepultura's "Arise".

Terror of the Concrete World Full-length, 1989
Unnatural Prospects In A Concrete World Full-length, 1991

CRYMEN (EQUADOR)

This band play ordinary speed/power/thrash which sits between the old and the new school changing the pace from one song to another the squashing Pantera-sque sections ("Signos de Maldicion") producing the best results, at least to these ears. In the middle the pace decelerates sticking to more predictable mid-tempo patterns "Estoril" arriving in the second half to pour more dynamics into the stale delivery. The singer is another prototypical hardcore shouter who's merely an expected standard addition to this pedestrian unexciting affair.

Infecto Full-Length, 2006

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CRYO INFERNO (MALAYSIA)

A 4-song promo of mellow alternative post-thrash which gets more aggressively hardcore-ish ("Radical") at times, or industrially serious ("Epik (Si Pemburu Kepala)"), both deviations not bringing much delight, pulling this short effort towards the forgettable sector.

Promo EP, 2010

Official Site

CRYOGENIC (AUSTRALIA)

The Promo is just two songs which show a band enamored by the heavy sludgy sounds of both Crowbar and early Pitch Shifter. Still, there's a strong post-thrash sting which is more evident on "Bring it on". And yet, the channeling of the aforementioned British heroes, a striking similarity in the vocal department as well, is more than obvious and may make one interested in tracking the full-lengths down.
"Ego-Noria" is indeed a heavy steam-roller the band semi-thrashing with a lot of doom and sludge "lurking" in the background. The intense moments are not few at all, and smashers like "Death By Misadventure" are almost death metal-like intense. "Stalemate" is another hard-thrashing piece of metal, faithfully followed by the closing "hammer" "Redneck", another faster-paced deviation which makes this album the more speedy proposition to the hordes of doom/sludge enthusiasts "devastating" the world at present.

Promo Demo, 1997
Suspended Animation Full-length, 1997
Ego-Noria Full-length, 1999

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CRYOGENIC ACTIVATED (GREECE)

This is a modern death/thrash offering which is graced by a throaty shouty death metal throat, "Lust for blood" a cool intense basher, and "A Living Hell" an acceptable lyrical power/thrasher. The second half is much less exciting, the guys wasting their time with some bland insipid melo-metal courting the Swedish canons, but in a much less aggressive, plain cheesy if you like, manner.

Disclosure Of Hate Full-length, 2012

CRYONAX (USA)

Cool classic thrash; the style isn't very heavy with a melodic singer; the tempo is mid-paced missing the necessary edge of the stuff played by the Bay Area acts whose model the guys try to follow. The music takes a nice technical turn at times: the instrumental "The Awakening" with the bass playing a major role. "Stand And Be Counted" shows the more melodic side of the band where the guitar work is really soft and playful, but unfortunately this is the dominant sound here.

The Awakening Demo, 1992

Official Site

CRYONICS (USA)

Based on the "E=MC Thrash" demo, these guys deliver intense old school thrash supported by gruff hardcore vocals which don't shout aimlessly, but try to sing in a more aggressive, sometimes openly deathly, fashion. Slayer's "Reign in Blood" and the Sacred Reich debut come to mind almost immediately, but there's more variety here with the inclusion of more frequent slower passages. The sound quality is a bit muddy faithfully emulating the one from the good old days.

We're Better Than Daytime TV Demo, 2007
E=MC Thrash Demo, 2008

My Space

CRYOSHOCK (SWEDEN)

Based on the "Cold Front Rising" EP, this trio serve intense modern thrash/death metal mixture which is quite close to the early-90's models established by their compatriots Dismember and Unleashed. The approach is more on the death metal side initially with ripping headachers like "Decimation Process" and the title-track violating the environment although mellower remedies are almost instantly provided in the face of the epic mid-period Bathory-sque proto-doomster "Through the Wastelands", and the brooding but playful Venom-esque mid-pacer "Day of Disease". The vocals are shouty and intense deathly ones, but suit all stylistic swings without shining too much.

Cryoshock EP, 2017
Cold Front Rising EP, 2019

Official Site

CRYOSTORM (UK)

Based on the "Destroyer Of Ardor" EP, this act plays typical modern thrash/death metal which comes straight from the Gothenburg textbooks without missing on one single ingredient. The music is energetic and melodic, and the pace is well mixed with a capable alternation between fast and slower passages. More clever, technical rhythms spring up on "Beyond Victory" and the ripping, hectic "I Am Anomaly", both overflowing with catchy melodic hooks which also stay around for the dramatic closer "Furnacing (I Defrost)", an infectious cut with some of the finest melodic tunes around some of which are provided by keyboards.
The full-length is another modern thrash offering which is full of memorable melodic tunes the lead guitarist by all means the star of the show with some of the finest licks to grace these ears recently. Again, originality is hardly the first word which comes to mind when listening to this album, but the sheer energy behind the recording which only goes down for a bit on the mid-paced shredder "The Vivid Night", is admirable and should keep fans of early In Flames and Dark Tranquillity all the way to the longer dreamy closer "Apocrypha" which is the other stop from the energetic modern thrash/death roller-coaster.

Vivify EP, 2009
Destroyer Of Ardor EP, 2011
Version Full-Length, 2013

Official Site

CRYPSIS (UK)

The EP: a power trio from Brighton pulls out vigorous retro thrash metal with mid and up-tempo numbers mixed well, "Cold" being a very good example of the former with its intense spiral-like riffs ala early Coroner, and "Message From Death" representing the latter with its fast proto-hardcore rhythm.
The full-length comes with a very noisy abrasive guitar sound which is a detriment for one to fully enjoy this modern update on the good old thrash/crossover. The tempos jump and twist at times creating a more technical landscape, but those moments are never developed beyond the spasmodic unpremeditated whim. After the string of short unpretentious numbers comes the engaging closer "Annihilation Of The Ignorant" which is an opus of doomy proportions with its hypnotic monotonous sections in the second half those contrasting with the much more intense 1st half where the guys just bash chaotically with atonal dissonant guitars without much sense. This isn't completely bad, but the band have the skills to do a much better job.

Choir for the Carrion EP, 2010
The World Rots Faster Full-Length, 2013

Official Site

CRYPT (USA)

Cool intense thrash reminiscent of Nasty Savage's "Indulgence" quite a bit, both in the pounding semi-technical guitar work and the forceful semi-clean vocals. This is good music seriously marred by the noisy sound quality which blends steam-rolling numbers ("Once Buried Twice Unearthed") with aggressive speedy outbursts ("Wrong Intent") adding the odd more stylish element (the jumpy diverse galloper "Fear As A Factor"). The leads are quite cool, both screamy and melodic, but again, the bad sound takes away quite a bit from the musical delivery.

Mask of Hate Demo, 1990

CRYPTED ROOTS (USA)

The debut: this US duo specialize in brisk intense thrash that has its more intricate quirks ("Killing Frenzy"), but more often than not it adheres to either energetic proto-gallops ("Wake Up, You're Dreaming") or crunchy semi-balladic idylls ("Incorruptible"), the atmospheric diverser "I Persist" the clear highlight here, the more doom/ballad-immersed elegy "Mitt Fjellhjem" a close second. The lead guitarist is the possible star of the show with his tasteful melodic licks, overshadowing the not very expressive shouty death metal singer.
”Æonian Justice” is a more complex affair, the intense lashings of “Interstellar Exile” mixed with both elephantine seismicity (“Interstellar Exile”) and spacey progressivisms (“Withering”). “Pagan Pantheon” is a nervy quasi-epicer, and “Lacerate the Sky” is a short deathly brutalizer, the cleaner, more emotional side of the vocal duel given more freedom on the power/thrash carnival “The Banshee's Cry” and the semi-balladic elegy “Echo of the Lost, Pt. 1”.

When Atoms Split Full-length, 2023
The Skinwalker Waltz EP, 2024
Æonian Justice Full-length, 2024

Official Site

CRYPTER (USA)

The demo: a cool entry into the classic thrash metal resurrection movement containing four songs of dark creepy (also "crypty") thrash alternating brooding passages with faster headbanging ones in a way not far from Sacrifice and the Poles Hellias. "Bastogne" slightly shifts away from those patterns being a contrasting mix of consistent heavy mid-tempo riffs and abrupt spasmodic blasts (the latter are very short, don't worry). "Sacred Altar" begins with a quiet balladic passage, but there won't be disappointed later since the guys thrash with force with a couple of more moderate atmospheric sections still present. The singer could be viewed a distraction with his hoarse shouty blend which comes as a more hysterical and less convincing Simon Forrest (Cerebral Fix).

The full-length is built around the songs from the EP so expect a retro bash this time served with a not very clear noisy guitar tone and even more hysterical overshouty vocals. Consequently the fun isn't as insured some of the new material bordering on sincere hardcore ("Class War") at times which makes the better numbers ("Rise", the excellent Destruction-esque roller-coaster "Elite Society Slave") work harder to compensate for lapses of the kind. The closing "Angel Of Death" has nothing to do with the Slayer song; it starts in a misleading balladic fashion, but later turns to an impetuous piece with deathly ornamentations and some tasteful melodic lead guitar work.

Out of the Crypt Demo, 2009
Suffer the Hands of Filth Full-Length, 2014

My Space

CRYPTIC (FINLAND)

An awful sound quality impedes the guys' efforts big time here; still, they do their best to produce forceful intense thrash/death metal which starts imposingly with the 10-min early Celtic Frost worship "Tomorrow's Gift" before moving onto the faster material which still mixes the speedy riffs with seismic tunes all supported quite well by the very good bass work. The singer growls in an intelligible death metal manner recalling early Tom G. Warrior at times.

Rack of Death Demo, 1988
Demo II Demo, 1989

CRYPTIC (GERMANY)

This is modern speed/thrash metal with great melodic hooks which some may view as the more aggressive "bastard child" of Children of Bodom. The guys move forward also adding slower compositions on regular terms, but sweeping speedsters like "Predator One", or cruncny thrashers like "My Messiah", lead the pack here big time. Still, the delivery falls into cheesy "traps" too often to be labeled as anything more than just the next trendy "one night sensation". Later the guys changed their name to Encryption and released another similarly-styled album in 2000.

Shrouded in Mystery Full-length, 1997

CRYPTIC (POLAND)

Classic thrash/death metal in the spirit of the Floridian school alternating fast blitzkrieg numbers with mellower semi-technical ones both delivering well, some coming with nice melodic tunes ("New Existence") bringing the winds of doom/death with them. Death metal is much more widely covered, though, leaving not much room for cool galloping thrashers like "Nightmare". The other hit in the thrash metal target is done with the closing "Spiritual Suicide" which is another thrasher of the softer dreamy kind to which the deep throaty death metal vocals are not a match at all.

Infinite Torment Full-length, 2009

Official Site

CRYPTIC (USA)

This is energetic retro thrash topped by intense semi-shouty/semi-deathly vocals; more cleverly-executed cuts like the title-track tone down the speed and introduce lyrical balladic passages before all steam-rolls into one smashing mid-paced melee on the intimidating "Resurrection", the lead guitarist shining on "God of Death (G.O.D.)" with his inspired pyrotechnics.

The Gates Full-Length, 2019

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CRYPTIC ART (POLAND)

Based on the "In the Fog of Frustration" demo, this act serve retro power/thrash, a little bit of death as well, with brutal deathly vocals which intertwine with nice cleaner ones, the delivery clinging between more immediate cuts ("War of the Icon") and more elaborate, also death-prone, ones ("I Walk Alone."). A few really captivating melodic tunes can be captured, too, especially on the encompassing progressive thrash/deathster "The Bleeding Within" which meanders through a myriad of interesting musical decisions recalling early Therion and the Dutch avant-gardists Phlebotomized.

Cryptic Art Demo, 1995
In the Fog of Frustration Demo, 1996
Thorns of Passion Demo, 1998

Official Site

CRYPTIC CROWN (GERMANY)

This retro thrasher boasts a crystal-clear sound quality which especially savours the heavier, pounding side of the band's repertoire ("Crystal Meth", the formidable Bolt-Throwersque march "Black Soul"). This latter side is nicely balanced by the fast outbursts ("Black Pearl of Death") where the shadow of the good old death metal is only too tangible, also supported by the intimidating growling singer.

Weapons Full-length, 2019

Official Site

CRYPTIC DEATH (GERMANY)

Both demos show a band miles away from the average achievements of the genre at the time. This is instrumental music of a very low quality mixing furious thrash riffs with screaming contrasting leads, and is really hard to compare to anything out there; maybe early Messiah, partially or completely drunk, playing live without a singer trying hard to remember their early repertoire while on stage... this description should be close.

Megathrash Demo, 1986
The Watcher Demo, 1986

CRYPTIC LORD (USA)

Both demos are examples of fast-paced speed/thrash close to early Blessed Death, early Metallica and Exciter. The music is simplistic, but catchy, with a Motorhead flavour present on the lighter tracks. "Speak to Defy" is perhaps the better effort with a more aggressive sound and sharper guitar work.

Speak To Defy Demo, 1990
Sanity's End Demo, 1991

CRYPTIC MASS (COLOMBIA)

This is traditional old school thrash the band alternating between fast vehement cuts ("Wilson's Insanity") and slower pounding hymns ("Blindness"). The former side predominates sometimes wrapped in less pretentious Motorhead-fixated speed metal-ish clout ("Forget"), sometimes fighting its way through thick stomping numbers like "Pullback and Charge". "Desolacion" is a sheer headbanging delight, closing this effort with aplomb, the cool attached semi-clean vocals pairing well with the rest of the team.

Psycho Crisis Full-length, 2020

Youtube

CRYPTIC OATH (USA)

Based on the self-titled full-length, this band pull out interesting modern tech-thrash which begins with the short spastic marvel "Psy-Op" before branching out into more sprawling progressive territories with the drier Meshuggah-esque "World of Hurt". Guitar virtuosities aplenty will one come across on "Annunaki Postulate", but the choppy clinical riffage remains, becoming more intriguing on the volatile "Cursed" and the more urgently executed nod to Darkane "Faint Traces". The vocals reside in the semi-clean/semi-shouty camp, sparsely updated with the casual deathly grunt.

Distortion Theory Full-length, 2012
Inciting Insurrection EP, 2015
Cryptic Oath Full-length, 2019

Official Site

CRYPTIC PROPHECY (USA)

Based on "Born of Chaos", this act specialize in modern melo-thrash/death metal which is more on the friendly side of this hybrid the guys focusing more on atmosphere evocation ("Nocturnal") as genuinely fast-paced moments ("Dream", the semi-technical shredder "Inferno") are only few in-between. The witch-like black metal vocals greatly contribute to the depressing, morose tone of the album its lyrical pretensions strengthened by the inclusion of several serene, all-instrumental short etudes.

Plight of the Warrior EP, 2009
Cryptic Prophecy EP, 2011
Risen from the Ashes Full-length, 2017
Born of Chaos Full-length, 2018

Official Site

CRYPTIC RITES (POLAND)

Based on the "Attack from the Past" demo, these guys play vicious black/thrash/death metal mixing speedy Impaled Nazarene-like outbreaks with heavy stomping riffs along the lines of Bolt Thrower. There's another duel in the vocal department between the very low-tuned death metal vocals and the raspy black metal ones.

Murder Handmade Demo, 2005
Live Extraction Demo, 2007
Attack From The Past Demo, 2008
The Return Of Skullcrusher EP, 2008

Official Site

CRYPTIC SHIFT (UK)

This outfit indulge in noisy underdeveloped raw retro thrash which hisses and buzzes into all possible directions capturing the attention of the bass-driven funky "Slaughtergazm", and partly on the dramatic mid-pacer "Leviathan Walk". The rest is surely a waste of time including the very bad semi-shouty death metal vocals on top of the awful sound quality.
The "Beyond the Celestial Realms" EP: the guys are obviously content enough with producing EP's, demos and singles, but at least the job they do on those is nothing short of outstanding. After an imposing atmospheric intro (the title-track) the guys start moshing really hard with the exhausting shredder "Voyage Through Dimensions" which later serves nice progressive passages among the stylish riff-patterns. "Deathcrusher" is a virtuoso technical masterpiece, one of the finest achievements in the genre of the past few years, a smashing display of technical proficiency also providing a spacey interlude in the middle. "Spore" is another less ordinary headbanger with a nice oblivious, balladic section; and the final "Glacial Reclamation" is a smashing technical ripper with sharp blitzkrieg guitars; another testimony of the band's musical prowess which should finally materialize in a full-length release that would place them on top of the British metal wave where they rightfully belong.
The full-length is finally here, and although it only consists of four compositions, it goes for over 45-min due to the opener "Moonbelt Immolator" which is nearly half an hour long; an encyclopaedia-like saga which sums up the band's entire repertoire with fast ripping sections, dissonant passages, dazzling melodic lead pirouettes, entangled technical vortexes, dirgy doom vistas, and more. After such a depleting showdown "(Petrified in the) Hypogean Gaol" sounds like a hardcore outtake although it's a fairly accomplished modern intricate thrash/deathster with serpentine riffs, mechanical walkabouts, and some really impetuous shredding. "The Arctic Chasm" notches up the atmosphere, and the approach is expectedly more restrained, the band creating seeping dramas through heavy escalating rhythms and sudden speedy crescendos, the doom/balladic exit another intriguing decision. "Planetary Hypnosis" is a standout progressive/technical number, a transmogrifying chameleon of fast-paced deathly urgency, entangled Coroner-like configurations, and some enchanting Vektor-like spacey-ness. Another brilliant work of metal art by these guys who may as well be the finest purveyors of the technical/progressive metal idea from the Isles in the new millennium.

The Old Chapel Demos EP, 2014
Beyond the Celestial Realms EP, 2016
Visitations from Enceladus Full-length, 2020

Official Site

CRYPTIC SLAUGHTER (USA)

One of the finest, and the fastest thrash/crossover bands; their debut pushed the boundaries of metal in a way similar to the Wehrmacht works from around the same time, both acts competing as to who could play faster, the competition being won by the heroes reviewed here by a looong shot. Listening to "Convicted" on regular terms one may develop very serious migraine: this is ultra-extreme brutal stuff, and some may say that grindcore was virtually born with this album, predating Napalm Death's "Scum" with more than a year, and they can't be blamed: constant blast-beats with barely a few seconds offered as a relief (there's no space for more, the songs are seldom more than 2-min long) in the form of lightly slower sections will either make your day or ruin you for life. Whatever the outcome, there's no denying the fact that this album was a big influence on the development of the more extreme side of metal.
Those prepared for a similar exhausting listening experience on "Money Talks" will probably be delighted although the slower breaks now are slower and longer, dangerously stretching into a whole song in the middle: "Freedom Of Expression", and later on also "flirting" with punk on "Too Much, Too Little", and with a more melodic form of hardcore on "Positively".

"Stream of Consciousness" increases the presence of the bass which is never a good sign for the high speed lovers, and indeed the extremity has been diminished even further than on the preceding effort, now the slower parts clearly dominating over the fast ones with even some attempts at a semi-balladic song-writing(!): "Drift", and quite a few pointless really slow "drifting" tracks. As a result we have a very ordinary, and not really engaging, take on hardcore seeing the band falling behind acts like D.R.I., Wehrmacht and Cro-Mags who by that time have embraced the thrash metal idea much tighter.

Their swansong "Speak Your Peace" has very little to do with their past showing the guys willing to join the thrash metal cohorts at probably the least appropriate time, and this is the reason why this otherwise very stylish exercise on technical thrash remained underappreciated and ignored by many. This hallucinogenic mechanical effort is a nice companion piece to same year's Holocausto's "Negatives" and Anacrusis' "Reason" (and here one must also add the German one-album-wonder Of Rytes, with Mem Von Stein (Exumer) on vocals, whose "Without...", released 1 year later, is probably the closest soundalike to the album reviewed here) and was a big influence on the modern technical thrash scene from the 90's up to present times: Meshuggah, Obliveon, Baghead, Aleister (France), Aftermath (USA, Chicago), mid-90's Voivod, etc.
The opener "Born Too Soon", which is 5-min(!) long, is a masterpiece of abstract surreal technical thrash, full of puzzling time signatures and illogical guitar decisions which will literally stun the band's fans with its radical shift from their basic sound; followed by the more updated "remnant" from the past "Still Born, Again" which is faster and hardcore-ish, but the harder-to-swallow insertions are there, too, and this is far from an immediate headbanger. "Insanity by the Numbers" is more direct mid-paced thrashcore, the only relatively more conventional "filler" here, but on "Co-Exist" be prepared for the next portion of elaborate unusual riffage, this time served on a slow, almost doomy base. "Deathstyles of the Poor" gives a nice technical twist to thrash/crossover, before "One Thing or Another" mutates into a cool creepy technical thrasher. The mutation stays around for "Divided Minds", which speeds up nicely, and is a good reminder of Voivod's "Killing Technology" and DBC's "Universe". The title-track is an odd doom song with a weird robotic main riff, something which was later perfected on efforts like Voivod's "Phobos". "Killing Time" is an excellent closer: another meisterwerk of jumpy hectic technical thrash, a fascinating and engaging mix of fast intense sections and abstract twisted passages which go even beyond the distorted genius of the Japanese Doom on a few times.

This last release was way ahead of its time pushing the boundaries of the genre into unknown, untrodden waters, along with Holocausto and Anacrusis, and another one in the same vein could have made more heads turn having in mind the swiftly changing tastes in the early-90's (also considering the fact that the other two aforementioned bands abandoned this mechanical dry sound on future works: Anacrusis took a more accessible atmospheric/melodic direction on "Manic Impressions", whereas Holocausto metamorphosed into something so inaccessible and off-putting that I still have problems defining in tangible terms, on "Tozago As Deismno"). Alas, the band were no more after this one, to re-emerge in 2003 with a covers-only EP paying tribute to their colleagues and contemporaries from the hardcore circle (Bad Brains, Minor Threat, Attitude Adjustment, Gang Green) with a couple of less likely covers of evergreens from the repertoire of The Rolling Stones, Beastie Boys, etc.

Convicted Full-length, 1986
Money Talks Full-length, 1987
Stream of Consciousness Full-length, 1988
Speak Your Peace Full-length, 1990
Band in S.M. EP, 2003

My Space

CRYPTIC TALES (NORWAY)

First-rate technical/progressive old school thrash with echoes of Forbidden's debut; the band shoot everyone with the smashing headbanger "The Point', before "Indifference" complicates the environment with slower, more entangled riff-patterns and a breath-taking balladic interlude. "Obnoxious Dreams" is a compelling diverse progressiver with heavy dramatic accumulations and intriguing technical walkabouts, a mazey achievement with another alluring lyrical etude inserted. More of the latter at the start of "Condemned to Hell" which is an otherwise pretty dynamic galloping speedster, vintage Helstar (think "Nosferatu"). "The Exanimate" is 2.5-min of intense neck-spraining thrash, and "Lights Out" is a revelation, a near-doom slow burner with a steady hypnotic rhythm-section, twisted riffy formulas and a few faster-paced skirmishes. The vocalist is not exactly the main asset here, but his attached semi-clean/semi-shouty antics do have their raw unpolished charm.

Come Dusk... Demo, 1992

CRYPTIC VOID (USA)

A good 4-song demo of technically-minded thrash combining the heavy pounding riffs of late-80's Metallica with a more sophisticated approach, not too far from Megadeth and Forbidden ("Twisted into Form"). The last track "Armageddon" is a pure speed/thrash metal delight with fewer shades of the technical charge of the preceding numbers, a fast and very enjoyable track.

Inception Demo, 1988

Fan Site

CRYPTIC WARNING (USA)

Technical thrash/death of the heavy, not very fast variety; great crushing technical riffs with a singer who alternates between deep growls and occasional meaner higher tones: imagine a crunchier version of Carcass' "Heartwork" with a pinch of thrash metal and stronger bass presence. From the very beginning ("Internally Reviled") the stylish lead guitar work will grab you and will seldom let you loose. The band are experts at short technical numbers where the technical riffage is simply great, albeit often overshadowed by the even better leads. At times the guys obviously show an impulse to start bashing mercilessly, and this is exactly what happens on the excellent, but still technical "Counterfeit Corporeality". "Rite of Initiation" breaks the pattern being considerably longer than the rest, slower, even groovy and offbeat at times, but preserves the technical flair all over. After it the speed increases considerably for a couple of awesome fast-paced death/thrashers which also excel in technicality, and aren't too far from Atheist and Pestilence at their best. "Caught Beneath Conscience" crushes down like a steam-roller being slower, but very aggressive. "Man in the Dark" takes away some of the aggression being a nice peaceful, semi-balladic instrumental which pulls all the stops near the end with a nice technical outro. The title-track sums up all that was included in this album: the speed, the technicality, the slower sections, the groovy ones as well coming up with something new even; the very stylish jazzy ending. Unfortunately, it would be very unlikely to hear something new from this very talented outfit as they changed their name to Revocation although the style there isn't miles away from the one displayed here (check out Revocation's full-length debut "Empire of the Obscene"(2008), an awesome technical thrash/death metal offering).

Sanity's Aberration Full-length, 2005

Official Site

CRYPTKICKER (USA)

A typical "product" of the 90's, this band plays heavy groovy post-thrash similar to Pantera, but more aggressive with occasional nods to death metal. The riffs are smashing, hammer-like, and there's a sparse use of lead guitars. The vocals are also in the Pantera mould recalling Phil Anselmo spiced up with the casual more brutal deathly growls. Fans of the modern 90's tendencies in thrash should have no problems falling in love with this band.

Unusually High Level of Hate Full-length, 1996
Welcome to the Church of Hate EP, 1997
Blessed Be Thy Shame Full-length, 1998
Euphoric Slaughter of Life Full-length, 2000

Official Site

CRYPTOFONK (FRANCE)

This is a compilation by a very obscure French outfit who specialize in intense bashing retro thrash with a more or less overt hardcore sting. "Underlaying Threat" is a really cool semi-technical thrasher, and "Galactus" is another highlight bordering on the progressive with its bass-dominated quirks. From the newer material, placed at the end of the compilation, one can distinguish the rigorous shredder "Dignity's Dirge" among the sea of groovy fillers which at least fit the rough quarrelsome vocalist.

Initiating The Bagarre Compilation, 2016

CRYPTOGENIC (USA)

Retro thrash/death which is frequently on the maddening brutal side, the ravaging title-track phasing out the thrash deliberately, the vicious rending death metal vocals helping with the phasing cause, "Agonizer" another hyper-active violator with overt semi-technical tendencies. The more controlled mid-paced marcher "No God of Mine" brings back the thrash for a thrilling more complex ride, and "Christ Is Dead" is an intricate twisted miasma which can even pass for something from the Hellwitch or Vicious Circle textbooks. Some of the band members had earlier played with the old school thrashers Intense Regret.

Cryptogenic Demo, 1993

Youtube

CRYPTOMNESIA (USA)

An all-instrumental amalgam of thrash and death metal which blends slower sprawling sections with much more dynamic, even blasting at times, ones both dominated by the omnipresent leads also enriched with several keyboard backgrounds and orchestral arrangements. The music is rich in atmosphere and is predominantly mid-tempo with an industrial vibe coming mostly from the semi- synthesized guitar sound. This is an interesting approach which at times may recall the Spaniards (or rather Spaniard) Achokarlos, and as a work of general extreme metal delivers, and as such will please fans of the larger-than-life concoctions also coming with a pinch of progressive rather than the average thrash metal fan.

Primordial Oddity Full-Length, 2010

CRYPTONICA (BELARUS)

Creepy (also "crypty") industrial thrash/death which is full of surprising gimmicks, like the sudden brutal section on the opening "Labyrinths of Fear", for example; or the meandering semi-technicality on "Curse of the Cybernetic Age"; or the operatic drama on "Engines of Chaos". "Power Station" is an attempt at more conventional death metal, and "Top Secret" is the obligatory nod to doom metal done again with a solid pinch of death. The title-track is another less ordinary deathly roller-coaster with cool haunting melodies, and the singer plays his role in the dramatic build-ups with his attached intelligible deathly timbre.

Golden Rust Full-Length, 2010

CRYPTOBIOSIS (GERMANY)

Based on "Juggernaut", this batch specialize in retro thrash/death which is surely on the intense, hyper-active side ("Charged With Anger", "Enter The Cult") with death metal decidedly the more widely covered genre, the terrifying shouty death metal vocals another indicator in this direction. "Into The Void" is an excellent hectic, more technical proposition, and "Drawn Into Existence" is a nice heavy choppy mid-pacer with intriguing melodic hooks.

Temple of Sloth Full-length, 2017
Juggernaut Full-length, 2019

Official Site

CRYPTOSIS (HOLLAND)

A modern death/thrash mix with progressive pretensions, blending lengthy atmospheric excursions (the Oriental saga "Prospect of Immortality") with more direct stripped-down numbers (the headbanging winner "Transcendence"). The shouty semi-deathly vocals are fitting to the overall dynamic picture, "Conjuring the Egoist" partly betraying the vitriolic character of the majority with an imposing mid-paced structure. "Mindscape" is dark atmospheric progressive, not much thrash or death on that one, the final "Flux Divergence" making up for the loss of brutality with a portion of more intimidating rhythms. This is actually the retro thrash formation Distillator who changed their name after two capable full-length fares.

Bionic Swarm Full-length, 2021

Official Site

CRYPTOTOXIC (USA)

Death/thrash which is more on the modern side, a contrasting recording that straddles between heavy groovy odes ("Force Fed") and dramatic semi-technical walkabouts ("False Hope"), the ominous doom-laden decisions on "Destroyer of Beliefs" close to being the highlight. The pounding clumsiness of "The Mindflayer" brings nothing to the table except influencing a string of cuts at the end, the brutal guttural death metal vocals coming served with a deep quarrelsome baritone.

Cryptotoxic Full-length, 2021

Official Site

CRYSTAL COLOSSUS (UK)

One musician is in charge here, the name Mike Holmes, and he produces modern progressive thrash which is accentuated by his flashy guitar feats, the man a true six-string wizard who also knows how to mosh with passion as evident from the not very fussy "Tooth and Nail". Elsewhere the artist displays bigger versatility with wild untamed thrash and entangled mazey arrangements crossed on "God Armour", Holmes providing a husky deathly baritone behind the mike. "Calamity Season" is a more technical, more clinical affair with sharp tight riffage, and "Where I'll Stay" is a dramatic mid-tempo shredorama. "Split Shields and Red Fields" flirts with the realms of death, matching the vocal ferocity with both melodic and brutal moments.

Calamity Season EP, 2021

Official Site

CRYSTAL FAITH (CANADA)

This is fairly cool 80's American power/thrash metal with a hefty progressive edge on the longer tracks. The thrashy songs predominate (actually there's only one song which is pure power metal, "Electric Chair" that is), and the short numbers ("True Peace") will make your headbang in no time whereas the more complex and the longer ones will engage you in a more careful listen ("Life After Life", "Shadow In My Head"), but without overdoing it. The style is similar to Helstar, Aftermath, Stygian, Ritual, Wrath. The tempo never goes beyond the mid-paced sector, but the riffs are sharp topped by great high-pitched clean vocals which sound like a very interesting mixture between John Arch (Fates Warning), Buddy Lackey (Psychotic Waltz) and Mark Shelton (Manilla Road). Some of the band members also play with the retro thrash metallers Darkest Race.
"Welcome Back": these Canadian veterans are back, but this new outing is just ordinary classic power/speed metal, very few hints of thrash, the new singer a not very impressive semi-clean hoarse presence. "Electric Chair" is a marginally rowdier proposition, but this is too meekly and routinely executed to make anyone very excited about these obscures' return... welcome back? Sure, but don't expect a red carpet laid before you...

In the Forest Demo, 1989
Welcome Back EP, 2019

Official Site

CRYSTAL FATE (CANADA)

This is a one-man enterprise, the name Phil Arson (also the retro thrashers Active Arson), who moves on with a classic power/speed/thrash mixture, nothing overtly aggressive, the speedy hymn "Break the Cycle" enlivening the environment with its sprightly rhythms, the heavy stomps of "Exhilaration" introducing the other side of the album, "Tables Have Turned" serving the more intriguing quirk as an obligatory deviation. Phil presents himself as a clean/semi-clean performer behind the mike, unleashing a few mean-ish, not as comprehensible, tirades with a deathly shade; a slightly awkward decision provided that the music doesn't predispose for such brutal actions.
“The Star” retains the same blend of genres, the friendly heavy/power hymn “Heart of Stone” playing a bit before the exponents of speed like “Cutting Throughthe Vail” and “Nuclear Surprise”, but complements the hospitable trots on the title-track. “Return of the Gods” is the only full-blooded thrasher here, the jumpy sprightly “Regenerate” another exhibition of rowdier musicianship, the closing “Magnum Opus” also moshing with less restraint, the second half mattering more in terms of intended aggression.

Euphoria Full-length, 2022
The Star Full-length, 2023

Official Site

CRYSTAL LAKE (BRAZIL)

The debut: retro thrash with modern production and a hardcore/death metal singer; the music is fast and aggressive, in the Slayer and Atomica mould, with occasional slower moments (the heavy groovy "Self Hate", or the late 80's Slayer-influenced "Face Your Enemy"). Near the end the sound becomes considerably more brutal with two longer death metal-tinged tracks: "Wide Open Sores", "Bombardment", and the short 1-min bashing hardcorer "Marafo De Exu". The drums are put too much upfront in the mix, but not to the point of annoyance.
"Death Row" doesn't skip a beat from the no-bars-held character of the previous recording as the band mosh on with very little remorse if any at all if we exclude the dry sterile edge of the guitars which still can't stand on the way of vigorous blitzkriegers like "Devil or God" and "Driven" the latter a piece of unbridled rage bordering on proto-death. The more moderate material ("I Am Terror", "Another Hunt") is too clumsy with a modern groovy flair, this batch occupying the middle after which the guys have problems getting back to speed although "Blood Covered" moshes with vigour to spare, influencing the short semi-technical exploder "Runaway" at the end.

Terror Machine Full-length, 2007
Death Row Full-Length, 2018

Official Site

CRYSTAL MESS (CANADA)

Based on "Unholy Neckbreaker", this band offer "unholy neck-breaking" retro crossover/thrash reflected in short carefree pieces which border on hardcore ("Bitch of Burden") when things get too unserious. The singer is a restrained cleaner who doesn't shout or quarrel, but is curiously suitable to the very undemanding musical delivery.

Dark Corners Full-length, 2008
Worms of the Earth Full-length, 2010
Unholy Neckbreaker Full-length, 2012

Official Site

CRYSTAL MYTH (USA, MA)

Heavy power/thrash with stomping doom riffs sounding like a thrashy version of Saint Vitus at times; "Dragon's Breath" stirs the mood with a good headbanging rhythm, but the rest of the music is slower to mid-paced.

In Christ's Name Demo, 1989

CRYSTAL MYTH (USA, VA)

Based on the full-length, these folks pull out classic power/thrash akin to Reverend and Heretic which is characterized by razor- sharp guitars, excellent clean high-strung vocals, and quite a few influences, mostly from the heavy metal field. The invigorating opener "Hour Hands" is a bit misleading being an almost full-fledged thrasher, but later on the sound settles for mid-paced power/thrash with a few more aggressive moments ("Thoughts", the cool progressiver "Michelle") inserted. It's admirable that the guys manage to steer clear of any detrimental post-thrash gimmicks excluding the groovy dirge on the closing "Straight Through You".

Patiently Waiting EP, 1990
HIV (Helpless Innocent Victims) Full-length, 1993

Official Site

CRYSTAL SOMNIA (SPAIN)

This is good modern prog-thrash which has its more romantic deviations ("The Weight of Words") but by-and-large this is a dynamic complex riff-fest that also flirts with numerous melodious tricks ("The Monster I've Become"), the hysterical overshouty death metal vocals making the setting a bit less tolerable here and there, especially when they're not assisted by the much better clean attached ones. "Coward" reminds of mid-period Death with its elaborate formulas, and "Murum Charta" is a pounding drama the latter's accumulations matched by the equally heavy but more energetic "Cold War". The closer "The Philosopher" is, naturally, a cover of Death from "ITP", well performed with the appropriate both technical and melodic configurations.

Breaking the Silence Full-length, 2022

Official Site

CRYSTAL SWORD (UKRAINE)

This is dark power/thrash/black metal with gruff blacky vocals. The guys pull out forceful galloping riffs for most of the time the latter interrupted by the intense black metal moments ("Istinnyj Put'"), or by the better gothic proto-doomsters ("Mrak I T'ma"). The guitars are very melodic often supported by an unobtrusive keyboard background, the latter recalling mid-period Dimmu Borgir quite a bit.

Old Man Full-length, 2003

CRYSTALIC (FINLAND)

A pretty good act offering progressive thrash/death metal using later-period Death as a base. The compositions develop in a calm mid to up-tempo also recalling the Swedish scene: mid-period Dark Tranquillity, in particular ("Damage Done", "Haven"). The singer is a find with his forceful semi-shouty delivery ably assisting the technical sharp, but also quite melodic whenever needed, riffs both perfectly married on the excellent "Faith Redefined". Quiet semi-balladic breaks are added in the best tradition of Death's "Voice of the Soul" as well as sparse more direct headbanging sections ("Worlds Collide"). The bass support is really strong reminiscent of Steve Digiorgio. The songs never stretch into show-offy meanderings too much, and are quite memorable with characteristic semi-choruses and distinct melodic hooks.

Watch Us Deteriorate Full-length, 2007

Official Site

CRYSTALLNACHT (BULGARIA)

Three songs coming from the Black Sea coast to present steam-rolling Bolt Thrower-like death/thrash metal on two songs before speeding up on the final "In The Night" which is a fine intense smasher with brisk semi-technical guitars to which the very brutal low-tuned vocals are not fitting at all. There was potential here, but the band split-up shortly after with some members also seen in the still active death metal formation Reichsradio.

Nacht Demo, 2007

My Space

CRYSYS (SPAIN)

Three songs of fast-paced old school thrash following the German patterns- think Necronomicon, Destruction. After two brisk short numbers comes the long, almost epic "Mummified By Society", a multi-layered composition thrashing with both aggression and melody for about 7-min, moving things a bit towards Paradox's "Heresy".

Demonthrashion Demo, 2008

My Space

CUATRO X (GERMANY)

A modern mixture of thrash metal and hardcore; old-school thrashers might not find a lot to like here. "Hatefront" is the most emblematic work of the band, the title-track spearheading the energetic proceedings with undisguised vociferous glee, the moshing component later picked by numbers like the interesting semi-technical "Beast" and the straight-forward lasher "Rebuild", the vicious shrieky vocalist more suitable for a black metal formation, his efforts frequently accompanied by a thicker more shouty death metal throat, both vocal sides of the show interlacing on the intense closing roller-coaster "One Second to Erase".

At Nightfall Full-length, 2000
The Last Days Full-length, 2002
Hatefront Full-length, 2005

Official Site

CUG (POLAND)

This is modern thrash with not very overt hardcore shades, "Wedrowcy Z Piotrkowskiej" bringing a vital doze of more intricate classic thrashisms, the shouty death and the clean attached vocal variety interlacing throughout, trying to avoid the big industrialized ambition unleashed on the 9-min saga "Priorytety". "Suka" is a vivid pounding drama, and "Koniec Balu" is an intense pummeler with sinister proto-death elements.

Ziemia Obiecana Full-length, 2023

Official Site

CULT NENAVISTI (RUSSIA)

Noisy abrasive modern thrash/death metal with a very thin guitar sound at times clinging more towards the moody mid-tempo, and the ultra-fast semi-blasting moments are awkward, to say the least. The vocal participation is very sparse, coming in the form of industrialized semi-whispers, and it's good that it doesn't stand too much on the music's way.

Rehearsal Demo, 2006

CULT OF ENDTIME (FINLAND)

A 3-song demo of dark moody thrash/death with brutal low-tuned growls; heavy mid-tempo music with a nice speedy twist at the end on the energetic headbanger "Hornbuilder" which is otherwise built on cool heavy doom riffs ala Cathedral. Later on the band switched onto full-blooded death metal, with a full-length and an EP released later into the decade.

Demo Demo, 2010

CULT OF ORPIST (GREECE)

Based on the full-length, this is classic thrash/death which rigorously follows the bashing hyper-active trajectories (“Attack of the Zombie Cans”, “Chainsaw Justice”), the gruff death metal vocalist another relative exacerbator. The polished semi-intricacy of “Post Murder Suicide” could pass for the highlight if it wasn’t for the creepy atmospheric undercurrents of the diverse melodious “Post Murder Suicide”. Some of the musicians are also engaged with the retro thrashers Hostage.

Cult of Orpist EP, 2022
Attack of the Zombie Cans Full-length, 2024

CULTFINDER (UK)

Brutal intense black/thrash which rages on in a merciless manner blasting through the speakers coming close at times to the demented delivery of Impaled Nazarene, but on the other hand "Witching Curse" is a cool dark headbanger with thrash leading the pack appropriately assisted by the raw production qualities and the hissing witch-like vocals. One may be surprised to find out that behind this cacophony of aggressive speedy sounds stand 2 guys from the doom metallers Witchsorrow apparently exploring their opposite, much more extreme, side.

Black Thrashing Terror EP, 2012

Official Site

CULTIC PULP (HUNGARY)

Based on the "Crush Conformity" demo, this band play dark old school thrash which crosses fast sections with morose doom ones. The sound quality is pretty muddy, and the singer doesn't contribute a lot to the proceedings with his harsh, not very clear, death metal timbre. The leads make the most sense of the lot with their nice melodic blend, but they harshly contrast with the somber surroundings.

Crush Conformity Demo, 1992
Adrastea Demo, 1993

My Space

CULTO (ARGENTINA)

Four songs of laid-back modern thrash concentrating more on melody contrasting with the very brutal death metal vocals; "La Epidemia" is intense fast thrash/proto-death metal, but the rest of the material is mid-tempo at best clinging towards gothic at times with the melodic hooks present all over maybe stifling a bit the sharp riffage at times.

Demo Demo, 2010

Youtube

CULTURAL WARFARE (USA)

Based on the full-length, this band play retro but boosted, modernly produced thrash which doesn't win much from the noisy guitar sound every other artist's contribution the singer having to adhere to a couple of piercing hellish screams in order to make himself head. The man does a good job all over with his leveled, steady clean timbre, shining particularly on "Two Spirits", a nice heavy semi-ballad where some cool female vocals can also be heard. Elsewhere it's either sharp pricky mid-pacers ("Politikill") or ripping headbangers ("Scars Left Cold") that duel with each other for domination, creating quite a bit of drama as a result. Some of the band members are also involved with the classic speed/thrashers Taunted and Annihilation.

Ratten Krieg EP, 2012
Future Kill EP, 2017
Warmageddon Full-length, 2018

Official Site

CULTUS (TURKEY)

The band's debut is excellent speed/thrash close to the debut of the other 90's Turkish thrash metal heroes: Mezarkabul, and Paradox, but the singer here has a more melodic, albeit a slightly impassionate voice, and the guitar work is simply phenomenal calling to mind the one from the early Helloween albums (hello, Kai Hansen!) with a cool technical edge at times. There's no speed lost on this effort as there is no track where the pace staggers towards the mid-range except on several small sections: the joke punk-ish song towards the end ("Dastards'N Bastards") doesn't count. Certainly, there are moments which remind of the 90's power/speed metal scene, mostly in the choruses, but the riffage here is much more impressive and sharper.
It must have been an utter shock for their fans when they had heard their second effort which is groovy modern post-thrash, a lot inferior to the amazing debut, and released less than six months later (!)...

Bodhisattva Full-length, 1994
Eye Full-length, 1994

CUNNILINGUS (PORTUGAL)

This is stuff created by veterans from the Portuguese scene coming from all walks of metal among whom is the Alastor drummer J.A. The music isn't very pretentious modern power/post-thrash which looks at the Venom and Motorhead heritage ("Princesa Do Deboche") on the faster material with only a handful of cuts moving towards the more aggressive, purer thrash zone ("Muse Of The Flaming Copulation", "Tongue In The Cunt"). This is decent party fun topped by hoarse, abrasive, mid-ranged semi-clean vocals distantly recallling Cronos.

The Return of the Blasphemic Depravation Full-Length, 2016

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CUNTCRUSHER (COLOMBIA)

Based on the full-length, this band play retro thrash which is largely built around dynamic fast-paced rippers ("Burial Assault", "I The Savior"), "Blank Room" being a nice deviation into more sprawling progressive thrash with nice melodic leads and better cleaner vocals as opposed to the main semi-clean/semi-shouty ones. "Execution" is a prime headbanging delight, and "Printing Walls" is an intense, near-death experience. Some of the band members take part in the brutal death metal formation Pseudopathological Vivisection.

Slaughter Season EP, 2015
The Countenance Full-length, 2020

Official Site

CUNTSCRAPE (AUSTRALIA)

Thrash/crossover with borrowings from death metal and occasionally grindcore; very short, not very fast, mostly up-tempo, songs with the tongue-in-cheek humorous attitude of Lawnmower Deth captured really well although the guys could have benefited from longer compositions: cool energetic thrashy passages are left undeveloped, abruptly finished, because of the minute length of the material (the longest number "Wam Bam Didn''t Know You Were A Man" is 2.33-min long, and is the softest and least interesting one offering bland modern stoner/heavy metal).

Thrush Bang Mania Full-length, 2007
Split Roast Split, 2009
Papsmear Campaign Full-length, 2009

My Space

CURARE (GERMANY)

Based on the debut EP, this is a cool thrash metal band with a rich, dark retro sound similar to Risk's "The Reborn" and a couple of Bay-Area acts (Heathen and Testament. above all), but Curare have the tendency to speed up more often at times (the excellent technicaller "Generations Talk" and the shredding diverser "Distrust a Change"), and their song-writing is almost as complex and compelling save for the slightly one-dimensional ballad/semi-ballad "Place & Time". The musicians previously had another act, Wicca, with whom they released one very good effort in 1988.

The "Zeit" EP is industrialized modern metal akin to Rammstein having nothing to do with the first one. These guys must have undergone quite a metamorphosis in the span of a decade...
"Moments Before Detonation" comes too late to preserve the classic spirit of the EP, and this effort is run-of-the-mill modern post-thrash starting misleadingly with the energetic Bay-Area thrasher "Raw Conversation". Later on one will encounter a clumsy mix of heavy groovy tracks and uplifting short crossover ones with only one more pleasant surprise: the cover version of Exciter's "Violence & Force", done in a vigorous classic manner faithful to the original.
The demo is an enjoyable intense affair the band thrashing with gusto by adding the respectable nod to the modern post-thrash trends ("Imperfect Personality") including a couple of interesting doom variations ("Wrong Side of Civilization"), the wild thrashing shredder "I.O.U." providing the desirable contrast to those.
"Diary of a Barfly" is insipid groovy rock/metal with almost no shades of dignity save for the surprisingly vivid thrash/crossover joy "Six-Pack Surfers", and the playful eccentric thrashcorers "Newsflash" and the cover of Cycle Sluts from Hell's "I Wish You Were a Beer".

Just a Scratch EP, 1991
Accident on a Dancefloor Demo, 1994
Moments Before Detonation Full-length, 1995
Diary of a Barfly Full-length, 1997
Zeit EP, 2000

CURIMUS (FINLAND)

The debut: this Finnish outfit offer modern thrash with forceful death metal vocals. The guys rely on the mid-pace for most of the time, but the sound is intense thanks to the hammering riffs and the battle-like atmosphere created, not far from the war masters Bolt Thrower, only that the guitar sound here is crisper and not as dark. "Crusade" is a surprising headbanger near the end, complemented by the equally as furious closer "Resigned Eyes", but generally the concentration on this album is more on heaviness rather than speed and aggression.

"Artificial Revolution" is a noisier affair now bordering on thrashcore quite a bit with a few more proficient numbers ("Free Standing Nation") scattered around. "Faith & Obsession" is a wild deathster, but there's a lot of groove involved, too, as well as a few "love songs" (the stomping "Love Song") to a really "romantic" effect the latter atmosphere further enhanced by the good female vocals on "Preachings".

Realization Full-length, 2012
Artificial Revolution Full-Length, 2014

Official Site

CURIOSITY (POLAND)

A new Polish trio pulling out dark modern post-thrash in a predictable mid-pace with grungy passages and very heavy guitars. Nothing extraordinary, just smashing rhythms topped by forceful semi-shouty vocals.

Relief EP, 2010

My Space

CURRICULUM MORTIS (PERU)

Fast intense thrash metal not miles away from Sarcofago and early Kreator, even clinging towards the death metal side on the more brutal parts ("Reaper"). What makes this band stick out among the hordes of similar acts from South America is the nice melodic guitar lines which show up from time to time (especially those on the title-track) which have this unique folk/epic sound, and are quite fast, by the way. The vocals are brutal, violent, again recalling Sarcofago.

Sentencia de la Muerte Demo, 1987
Demo Demo, 1989

My Space

CURRISH (HOLLAND)

Based on the "Time for Change" demo, this act serve quite good old school thrash of the heavy stomping variety, with a steady vociferous bass bottom. The fast-paced surprises on "Endless Harmony" clinging towards the Bay-Area where also the attached clean Sean Killian (Vio-Lence)-esque vocalist belongs. "No Answer" is a nice progressive proposition with steel technical guitars, the melodic lead sections adding more credibility to this short but engaging effort.

Feed the Speed Demo, 1986
Time for Change Demo, 1993

CURSE (BRAZIL)

Noisy raw thrash/proto-death metal coming with some of the worst sound quality to ever grace these ears. Still, one can distinguish speedy energetic speed/thrash ala Rigor Mortis and early Devastation with simplistic guitars and awful shouty vocals which, fortunately, aren't so frequently applied.

Demo Demo, 1988

CURSE (COLOMBIA)

Based on the full-length, this band, earlier known as Tormentor, play a retro black/speed/thrash blend which is by-and-large a fast-paced fiesta exemplified by early80's German scene tributes like "Human Cruelty" and "Bestial Command" where the shadows of Kreator and Destruction are hard to disguise, except in the harsh deathly vocal department. The melodic aesthetics of "Impure Soul" are surely a cool digression, as are the more officious epic stomps epitomized on "Satan Spell". Elsewhere expect speedy roller-coasters among which "Ripping Black Knife" is hard-hitting uncompromising thrash, the final "Dark Desire" relying on heavy dramatic arrangements with a power metal flair.

Rise the Evil EP, 2021
Raise the Evil Full-length, 2023

Official Site

CURSE (PORTUGAL)

This is cool retro thrash with death metal overtones, not far from the early Death efforts and the Pestilence debut. The music is expectedly fast and energetic, graced by an atmospheric peaceful semi-balladic outro ("Down Your Veins") with nice leads. The guys are involved in other acts, including the more recent thrash metal heroes Fallacy, the heavy metal act Shivan, the death metallers Undertaker, etc.

Demo Demo, 1995

Fan Site

CURSE OF SAMSARA (USA)

The full-length: an interesting, curious blend of semi-technical modern power/thrash and more epic death metal arrangements; the band have the necessary skills to pull it through despite the contrasting mixture and manage to create the desirable dynamic setting coming close to the larger-than-life pictures of more recent Imagika if we exclude the not very pleasant shouty death metal vocals. Lyricism isn't a stranger to this effort, either: check out the great balladic lead-driven section on "The Curse"; neither are some stylish exercises in technicality (the excellent dramatic shredder "Pleasures Of Death") which are clearly the highlight and should have been more. Still, the band succeed in keeping the intrigue throughout and there are very seldom moments when one feels that they may have lost the plot for a while (the closing opus "Rise from the Ashes"). Some of the band members were previously engaged with the thrash Metal outfit The Dark Lords of Stonehurst with whom they had one full-length released in 2008.
The EP contains dark brooding thrash which is more ordinary than the delivery on the full-length. The band feel content enough to pull out sharp, choppy abrasive riffs which seldom leave the mid-pace and may bore the listener despite the relatively short duration. The vocals at least have been tamed a bit now less shouty and not as irritating.

Curse of Samsara Full-length, 2012
Breaking the Curse EP, 2015

Official Site

CURSE OF THE FORGOTTEN (HOLLAND)

This is standard modern thrash with strong Gothenburg undercurrents which at times turn to pure metalcore. Nevertheless, there's a lot of energy put into the recordings and the leads are quite good coming with a nice passionate melodic blend. The guys soften down in the middle the speed disappearing for a number of cuts which cling towards the semi-balladic to a more musically proficient, but not really exciting and eventful, effect. The guys excuse themselves with the engaging progressive opus "77" where a lot of furious thrashing encounters some more quiet Opeth-esque sections.

Building the Palace Full-Length, 2013

Official Site

CURSE OF THE NORTH (USA)

Nick Cates, an ex-member of 3 Inches of Blood, is in charge of the bass and vocals here; otherwise the music isn't much to talk about being an alternative form of the 90's post-thrash featuring a couple of cool melodic hooks and dreamy balladic sections (the nice cut "Oblivion"). "The Wastelands" is a more ambitious undertaking with progressive touches, but the slow-ish pace isn't enough to keep the mood high for the whole 7-min.

Revelations EP, 2011

Official Site

CURSE RITUAL (POLAND)

Raw Bay-Area thrash (based on the "Easy Madness" demo) sounding like a lesser Defiance; the guys try to blend fast-paced (the title-track) with slower pounding cuts (the aptly-titled "Respite"), but end up nowhere with dull clumsy guitar work, awkward tempo changes, and awful drunken semi-death metal vocals. Their guitarist Roman Batyra did a much better job in Geisha Goner a few years later.

Rehearsal Demo, 1989
Easy Madness Demo, 1990

CURSE THEM (USA)

Groovy post-thrash with intense death metal vocals; nothing new under the sun with dark overtones and a heavy squashing rhythm-section, the pounding urgency of "For Certain" and the thrashing intensity of "Savage" salvaging the somewhat tedious demeanour of the band. The balladic epicness of the final "The Haunting" can pass for a positive occurrence if it wasn't for these horrifying vocals.

Lost Shadows Full-Length, 2019

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CURSED (USA)

Based on the "Blood in the Water" EP, these lads serve a curious mix of black, thrash and death metal that boldly borders on the dissonant as the more thrash-fixated moments ("Old World Plague") seem to deliver the better slightly ruined by the throaty death metal vocals. "Holocaust" is an admirable short headbanger, but watch out for the brilliant lead-driven instrumental "Eulogy", a marvelous display of musical proficiency. Some of the band members were previously involved with the death metal formation Infestation.

In the Trenches EP, 2010
Blood in the Water EP, 2018

Official Site

CURSED BLOOD (GREECE)

Raw pristine, roughly produced classic thrash/death with throaty shouty death metal vocals. Brutal deathly escapades ("Silent Era") take turns with atmospheric doom-laden marches ("Taker of Life"), with thrash stealing a few precious moments on the shorter, more simplistic material ("Nailed"), crossing swords with death for the finest cut here, the diverse death/thrash hybrider "Backlash Rampage". Some of the musicians also play with the death metal/grindcore monsters Straighthate.

Taker of Life Demo, 2020

Official Site

CURSED EARTH (AUSTRALIA)

Typical groovy 90's post-thrash, mid-paced with a slight hardcore edge, one-dimensional and uneventful; "Jesus On Line" is the only more dynamic track here featuring more vivid thrashier riffage, and partially the crunchy "Spit In My Face".

Gravewish Full-Length, 1998

CURSED EARTH (IRELAND)

Imagine vintage Candlemass or Saint Vitus, the way they used to play in the 80's, mixed with nice semi-technical thrash riffs, and the result will be this album. This is by no means fast music, so fans of the more aggressive side of thrash metal will probably not like it a lot. But those who are into heavy, smashing riffs with a cool semi-technical edge will rejoice. A similar sound was displayed on the Americans Last Descendants' only release, but it featured some up-tempo moments, whereas here the only temptation at a faster play is on "Perfect Amour": a really nice thrasher, and partially on "Symbiosis". Hats down to this band who tried to keep the classic sound of thrash during the difficult 90's, by giving it a nice, more unusual touch.

Symbiosis Full-length, 1994

CURSED CARNIVAL (POLAND)

A cool mixture of classic and modern thrash coming close to modern day Kreator and another contemporary German act: Blood Red Angel. The tempos change all the time from mid to up and vice versa hitting the very fast ("Clawed Impostors") perimetres occasionally. The second part sees the guys obviously tired from the energetic approach, settling down for a more moderate mid- paced delivery. The instrumental "Fuck It", despite its silly title, offers nice dynamic speed/thrash metal also touching Paradox, plus genuinely creepy closing riffs with a doomy twist.

Taste the Fear Full-length, 2009

Official Site

CURSED ETERNITY (USA)

Modern Swedish thrash with elements of death metal, a standard energetic affair with several relaxing balladic passages (including the intro and outro), but the other extreme is also well covered: the brutal blasting cuts on "Tolerance Lost". The singer is good, though, delivering with a forceful semi-clean timbre akin to Charly Steinhauer (Paradox). Some of the band members released two demos of classic power metal under the name Shadowself.

Cursed Eternity EP, 2004

Official Site

CURSED SLAUGHTER (BRAZIL)

A cool entry into the Brazilian thrash metal catalogue of recent years: aggressive thrash of the old school mixed with some crossover aesthetics. The band rip hard-hitting riffs to no end the assault led by the forceful shouty vocals. Compulsive headbangers one will encounter on every corner the fun never stopping on this uplifting mosher which suffers a bit from the buzzy sound quality and the relative short song-length which leaves a few very cool riff-patterns kind of undeveloped.

Metal Moshing Thrash Machine Full-length, 2012

Official Site

CURT & THE CONTRAS (RUSSIA)

An unknown Russian entry into the early 90's thrash metal catalogue featuring pretty amateurish heavy thrash with a really bad abrasive sound, and awful rending vocals. The music takes off, but just for a bit, on the faster sections ("KGB"), but the level of musicianship is so basic that it's kind of good that those same sections don't develop beyond the spasmodic "outbreak of evil".

Hebephrenia Demo, 1990

CUT (SWITZERLAND)

Based on the "Hands Brains Machines" demo, this band play dirgy modern 90's post-thrash that is a bit playful on the jingly "Proud", the industrial gimmicks entering the arena with "No One Around", this one a total outtake from early Die Krupps and KMFDM, the horse semi-declamatory singer perfectly fitting then dispassionate cold scenery. "13" is a high-octane doom monster, and "Blow" is a more elevating groovy pageant, the short showdown wrapped on by the weird atmospheric but effective semi-balladic "Far".

Cut Demo, 1995
Hands Brains Machines Demo, 1997

The Demos

CUT THROAT (JAPAN)

One of the representatives of the wave of Japanese black/thrash metal bands (Abigail, Barbatos, etc.); there are only two original songs on their full-length; the rest is covers of songs of heroes from the 80's: Razor, Voivod, Hirax, Sacrifice, Exodus, Warfare. etc. The sound is raw, especially on the live tracks at the end, but the musicianship is surprisingly tight with cool sharp riffs.

Rape Rape Rape Full-length, 1999
Please show me your pussy EP, 2002
Anal Electrocution EP, 2005
Branded Then Whipped EP, 2006

My Space

CUTTHROAT (GERMANY)

Heavy, modern, groovy post-thrash which, for some strange reason, reminds of Skid Row's "Slave To The Grind" quite a bit, mostly in the music department.

Ten of Seven Full-length, 2005

Official Site

CUTTHROAT (USA)

Based on the self-titled demo, these guys offer cool thrash which is at times quite heavy and pounding ("976 Slut"), at others speedy and intense ("Dying Earth"). The guitar work is very sharp, and the riffs lash you like whips from all sides, all this coming with a very good sound quality. The singer has a good clean timbre slightly reminding of Michael Coons (Laaz Rockit), especially when he goes for the higher notes.

Cutthroat Demo, 1989
File To Death Demo, 1991

CUTTING DAISY (HOLLAND)

Atmospheric death/thrash metal, recalling the Danish Withering Surfaces, with a very tasteful use of keyboards and slower, doom/death passages calling to mind their compatriots Orphanage.

The Fools Crowned Themselves Gods Full-length, 2006

Official Site

CUTTIN' LOOSE (USA)

This is prime energetic thrashcore with surprisingly heavy guitars which don't let the pace drop a lot and it can't possibly happen with songs no longer than 1.5-min. There are several slower stomping moments, but this is an overall energetic optimistic effort done just for the fun of it assisted by merry clean semi-shouty vocals.

Skate to Hell EP, 2012

CYANIDE (SWITZERLAND)

An energetic obscurity from Switzerland which will remind of the German heroes Iron Angel and Warrant; fans of the good old speed/thrash hybrid will be delighted all over the guys also ensure good semi-clean vocals which try different ranges in way similar to Kai Hansen. "Metal Farts" is a prime speedy shredder also recalling Angel Dust, and "Stronzo Superman" is a fine diverse galloper which precedes the final string of cuts that are maddening short speed/thrashers with echoes of crossover. This is a really nice gem showing the Swiss metal scene as a fertile ground for high quality metal beyond the Coroner and Celtic Frost heritage.

Possessed By Evil Slippers Demo, 1987

CYANIDE (USA)

Brutal uncompromising thrash metal along the lines of Recipients Of Death and Morbid Saint; the music has a strong shade of hardcore as well ("Country Mosh-Cya"), and even punk ("Fucking"). The sound gets quite chaotic and disjointed ("Unstoppable Madness"): some slower riffs get mixed with ultra-brutal grindcore-ish ones, and this amalgam doesn't sound very appealing. When the guys slow down, which doesn't happen very often, they deliver the goods in a better way: the heavy mid-paced thrasher "Nightmare" which also speeds up quite a lot at the end. The instrumental piece "Transistion" closes the album in a more controlled manner, again nicely slowing down, even managing to sound occasionally semi-technical.

World Peace Six Feet Under Full-length, 1989

CYANIDE GRENADE (RUSSIA)

The debut: fast blitzkrieg retro thrash the remorseless delivery accompanied by husky death metal vocals. "Drunk Attack" is a cool uplifting all-instrumental speedster, and it surprisingly pairs well with the next "Welcome to the Slasher" which is a mid-paced smasher with speedier disruptions. "Quintessence of Death" moves up the brutality scale with less tamed death metal-ish outbreaks, but "Goat s Head" is a safe jumpy thrasher as well as the cool cover of Venom's "Black Metal", reproduced faithfully except in the vocal department.
"Kind of Virus" begins with an alluring lead-driven all-instrumental intro recalling Judas Priest's "The Hellion" from "Screaming for Vengeance". The guys lash with passion once again, and explosive pieces like "Birth of Hell" and "Salvation Denied" are major pogo-stirrers with the fiery riffs and the maddening tempos. A couple of vigorous gallops ("Don't Try to Forget") arrive at some stage to further aggrandize the setting, with bigger complexity provided on the excellent eventful title-track and on the closing roller-coaster "Entomb The Saint" which also repeats the short magical all-instrumental etude from the beginning.

Quintessence of Death Full-length, 2017
Kind of Virus Full-length, 2020

Official Site

CYANIDE SMILE (USA)

This is fairly stylish modern technical thrash which goes straight into later-period Coroner and Aftermath territory with the fervent shredder "These Scars", the angry semi-shouty hardcore vocalist the only non-conformist feature. Later on one will encounter fair tributes to the old school (the power/thrashing anthem "Stalemate"), dramatic cumulative quasi-groovers ("The Indignant Mass"), and stomping progressive labyrinths ("Cycle of Hostility"). Short twisted technicallers like "Innocence Lost" and "Degenerate" are pretty effective as well, the closing 9-min saga "Plague & Promise" summing up the album in a really handsome manner the guys thrashing, shredding and pounding in equal measure to create a captivating multi-layered masterpiece. Some of the band members were also involved with the gothic metallers Shakespeare in Hell, and the still extant progressive metal formation Menagerie.

Manifesto Full-length, 2012

Official Site

CYBER KULTUR (USA)

The awful sound quality mars this recording beyond the point of redemption; otherwise this is heavy, predominantly mid-tempo, power/thrash with bold doom flavours and good deep clean mid-ranged vocals. The approach is right as rain without any adventurous attempts except for the short funky experimentation at the end called "Parade".

Synthesis Demo, 1989

CYBER STRIKE (USA)

Based on "Spirit in the Machine", this act pull out pretty decent retro power/thrash that is characterized by steady crunchy up-tempo configurations, the more vivid "The Evasion of Truth" and the more overtly thrashing title-track trying to boost the prevalent sentiment. The semi-balladic aura of "Full Circle" is a sure fit, as is the pleasant speed metal-ish clout of "Smiling Through Sadness", the closer "Masque of Sorrows" emphasizing on the thrashy side to a full round of applause, one that also goes to the good composed mid-ranged clean vocalist.

End of Days Full-length, 2017
Cyber Strike Full-length, 2018
Salvation of the Wicked EP, 2020
Spirit in the Machine Full-length, 2023

Official Site

CYBERHED (GERMANY)

This obscure trio pulls out competent modern progressive thrash metal influenced by Voivod, Meshuggah, Obliveon, Alchemist, and the likes. The guys ably mix abstract and brutal riffs almost to the point of absurdity on the opening "Inheritance" and the next aggressive death/thrasher "Waiting For Her" that ends in a great surreal fashion. "Mother" is spacey progressive in the best tradition of Alchemist, but "The Cyberhed" switches on a more guitar-driven approach. "Anasstasia" is an eclectic atmospheric thrasher after which comes the short industrial noise "Mindraiser 6". "Lobotomy" is a modern progressive thrash masterpiece constantly switching from very complex labyrinthine sections to direct intense bashing ones. The closing "Worlds Embrace 8" concentrates on the more aggressive side thrashing with power without too many stylish decorations.

Face It Full-length, 1995

CYBORG (DENMARK)

This act was started as a side project for members of the death metallers Detest. The music on offer is still death metal- influenced, but is more along the lines of industrial modern thrash acts like Grope (from the same country) and Puncture. So expect heavy crushing riffs intercepted by speedy jumpy passages in the best tradition of Fear Factory ("Falling"), or with the occasional more classic-sounding death/thrash metal outburst ("Sow the Child"). The final brutal touch comes in the form of the very low-tuned grunting vocals.

Chronicles Full-length, 1996

CYBORG (ROMANIA)

This young Romanian act plays a dark semi-complex mixture of modern and classic power/thrash metal. The album develops in a peaceful mid to up-tempo with occasional more brutal throw-ins (the death metal section on "My Stabile Delirium"). Certainly the more dynamic parts are more appealing ("Skull", the cool early Metallica-influenced "Indefinite Culprit"), although the guitar work relies more on melody and heaviness. There are keyboards, sparse female vocals, balladic passages, and other gothic elements which kind of take away from the thrashiness. Two cover versions stand at the end: Celtic Frost's "Dethroned Emperor", done in a faithful pounding seismic manner, and Testament's "Over the Wall" which nicely translates the original's fury and even the stellar Scholnik's guitar wizardry, and one may regret that such energy was seldom heard on the original material offered previously.

The Last Thing You'll See Full-length, 2009

My Space

CYBORG HALLUCINATIONS (COLOMBIA)

This is the fruit of just one musician, the name Steve Layton, who specializes in steady monolithic old school power/thrash, the semi-technical cumulatives on "Hallucinate" leading the show, with the wild headbanger "Xintetize" and the intense proto-death pulverizer "Neural Meltdown" both standing guard with intent, the short all-instrumental exhibition of lead-driven virtuosity "Multiverse" by all means a welcome surprise, Layton assisting behind the mike with a mean spatout semi-death timbre, also adding another all-instrumental testimony of his admirable guitar prowess ("Zenith") at the very end.

Entheogenesys Full-length, 2021

Official Site

CYCLE (JAPAN)

This is a side-project of the Sex Machineguns members. Based on "Metal Circus", the music is very close to the one offered on the more recent efforts of the other band being merry heavy/speed/power metal, but here the mixture comes with just mere touches of thrash. The guys start lashing from the intro, and the opening "Air Force" is the definitive speed metal hymn something not heard since the early Helloween days. But the variety later on is expectedly quite big with just a few more aggressive "stops" on the way: the mid-paced crusher "Jumpin'". The rest is mild and happy and as such will find more fans on the heavy/power metal side of the spectre.

A Total Eclipse of the Sun Full-length, 2008
Metal Circus Full-length, 2009
Spactracks Full-length, 2010

Official Site

CYCLE BEATING (GERMANY)

Modern thrash/death with a good taste of melody, but lacking in the speed parametres; everything develops in a heavy, seismic fashion the melodic tunes walking hand in hand with the crushing riffage on almost every track creating quite a bit of monotony towards the end also thanks to the never-changing brutal low-tuned death metal vocals.

The Age Of Depression Full-Length, 2014

CYCLE SLUTS FROM HELL (USA)

The name suggests that this band shouldn't be taken seriously, especially after one expects to have girls here, and it turns out that there are only guys, some of them being part of quite a few of the big names on the scene: Overkill (Bobby Gustafson himself), Nuclear Assault, The Great Kat, Deadly Blessing, etc. The style is actually quite close to the jolly, unpretentious thrash played by the girl-bands like Original Sin, Meanstreak and Volkana, this time mixed with a certain doze of traditional metal.

Cycle Sluts From Hell Full-length, 1991

Official Site

CYCLEAM (FRANCE)

An interesting, somewhat operatic and gothic, take on the classic power/thrash idea, the friendly bounces of “Dream Cycle” supported by the steady mid-tempo trot epitomized on “Dawn of the Last Day” and the welcoming melodic roller-coaster “Wanderer of Dreams”. “Rebirth” is a potent gothic/power metal hymn, losing the deep warm baritones of the vocalist who comes back with full force on the confrontational Megadeth-esque shredder “Nameless City” and the excellent more optimistic speed/thrashing closer “Watchtower”.

Dream Cycle Full-length, 2024

Official Site

CYCLES OF REVOCATION (CZECHIA)

Based on the full-length, these lads specialize in very cool classic death/thrash with a hefty technical/progressive sting; from the dark subversive intricacy of the opening "Predestination" to the meandering progressive mosaics of the closing "Afterworld", this album will be a perennial delight for the listener. Make sure you fully savour the bouncy vigour of "Desperation", or the serpentine atmospherics of "Circle of Time", "Obsession" recalling the contrived histrionics of Death. The dense tech-death decisions on "Edge of Life" fight for the highlight here with the hectic overlapping accumulations of "It's Time", the vocalist firmly remaining in the guttural semi-shouty death metal camp, playing second fiddle to the lofty musical landscapes. The musicians are also busy with the power/thrashers Blackened Snake, and the progressive death metal outfit Inception of Fall.

Songs of Vomiting Mind EP, 2019
Cursed By Own Fate EP, 2020
Predestination Full-length, 2021

Official Site

CYCLO PROGANIGMA (GERMANY)

Three compositions of pretty intriguing progressive thrash with very unsuitable rending death metal vocals. The music totally rules straddling the fine line between the multi-layered heroics of early Toby Knapp and the melodic albeit rowdy ambition of acts like the Swiss Rest in Peace and the US progressivers Skitzo. "Pregnant Rigor Mortis" is an eventful far-reaching odyssey with myriad twists and turns which seamlessly flow into "Hectic Hemogurgle", a more clinical technical proposition which meanders with style to spare, a more patiently-woven tractate with a sprawling balladic mid-section and dazzling virtuoso leads. "Senseless Resistance" acquires a more abstract direction, the guys shredding with more angular riffage and more dynamic near-headbanging additives, the rough subdued death metal vocalist only timidly announcing his presence, leaving his colleagues to do the damage for most of the time as their talent is way superior. Some of the band members were also occupied with the thrashcore short-timers Wickedness.

Playboys from Hell (Musektion) Demo, 1994

CYCLONE (BELGIUM)

The title of the debut suggests very well what happens here: aggressive speed/thrash, not too far from the works of their colleagues from Germany Kreator and Destruction, but not as intense. The introductory "Prelude to the End" nicely warms up the listener for the speed/thrash metal madness which follows suit. The fast-paced formula is nicely betrayed by the heavy power/thrash stomper "The Call of Steel", after which the music becomes more speed metal-based for a number of tracks, also courting Exciter and Destructor. "Take thy Breath" restores the thrash domination with full force the latter also consolidated by the intense speed/thrashing closer "Incest Love".

The band inexplicably disappeared instead of nailing down a few more pieces of the same. After their second album was released four years later, it was clear the the guys were preparing their magnum opus. The musicianship is so much better that the band sounds like an almost completely different one with heavy technical riffs and longer, more thought-out songs which recall Metallica's heydays. Again we have a warming thrashy intro which seamlessly flows into the mighty "Neurotic": a great up-tempo technical thrasher followed by the slightly faster "So Be It": another masterpiece of dynamic semi-technical thrash. "Paralyser" mixes slower and faster sections, but "Throw the First" brings back the speed also increasing the technical performance a bit. Another slower track comes: "The Other Side", but the ball of fury which follows it ("I Am The Plague") will make you jump around in no time. "Crown of Thorns" is probably the best way to close this great work: a very cool instrumental which sacrifices the speed for the sake of heavy riffage, accompanied by nice leads the final result recalling Metallica's "The Call of Chtullu". Unfortunately, this climactic release was left without a follow-up because the band disappeared again soon after, this time for good.

Brutal Destruction Full-length, 1986
Inferior To None Full-length, 1990

Vibrations of Doom

CYCLONE P. (AUSTRIA)

This is industrial post-thrash with sparse hardcore outbreaks sounding like a mix of early Pro-Pain, Acid Bath and GZR. The singer tries both aggressive angry shouts and intriguing semi-clean tones. The music is crushingly heavy, in mid-tempo, with the aforementioned hardcore moments breaking the pattern.

Braindead EP, 1996

CYCLONE TEMPLE (USA)

This band is the continuation of the great Znowhite minus the girl Debbie Gunn. Of course, "Act Of God" can't be beaten so don't expect this to happen here, but Cyclone Temple pull out really cool heavy, at times semi-technical, thrash on their debut, calling to mind late 80's Metallica and Heathen's "Victim Of Deception", a surprisingly classic sound having in mind the year of release. Gunn's replacement, the singer Sonny DeLuca from the obscure thrash metal formation Enchanted (one demo released in 1989) does a fairly good job behind the mike with his warm emotional semi-high clean tone, and the others keep up the high quality thrashing far'n wide on the opening smasher "Why" which is a technical hard-hitter with sharp vivid riffs. "Sister (Until We Meet Again)" is mostly a chugga-chugga riffer with very heavy guitars before "Words Are Just Words" elaborates things further with its more complex semi-balladic delivery which turns to furious technical thrash in the second half. "In God We Trust" is a more immediate headbanger with direct rapidfire riffs followed by the larger-than-life title-track which shreds in a heavy manner with the semi-ballad touched again in the beginning. The last three numbers are more relaxed technical exercises not scoring high in the speed department, but satisfying enough with their consistent super-heavy rhythm-section. This was a good new beginning for the guys without the girl, but it remained to be seen how long they would hold the fortress of the classic sound...
The EP, which appeared about two years later, was already a pure aggro-breeder, post-thrash and groovy to a not very pleasant extent. After this bland release the expectations for the sophomore album weren't very high, and indeed it was another disappointment being a full-blooded product of the 90's, a pale shadow of the very good debut. It was no surprise the band's dissolution after it with neither of the musicians ever seen in another formation all these years.

I Hate Therefore I Am Full-length, 1991
Building Errors in the Machine EP, 1993
My Friend Lonely Full-length, 1994

My Space

CYCORAX (UK)

Based on the "An Insight to Fear" demo, this band play corrosive retro thrash which straddles between poignant balladic complexities ("My Own Worst Enemy") and intriguing mid-paced shredders (the all-instrumental wonder "Curious Panic"), the bass player unusually busy, his pirouettes definitely on the semi-virtuoso side. "Illuminanti" is a quirky piece with echoes of their visionary compatriots Wartech, but the not very convincing semi-declamatory vocals and the less adventurous musicianship leave this obscurity in the sidelines.

Towers of Silence Demo, 1987
Victims of Derangement Demo, 1988
An Insight to Fear Demo, 1990

Official Site

CYCOS ON ACID (USA)

Based on the full-length, this act offer brisk old school thrash/crossover which isn't a total stranger to rougher, more direct hardcore outtakes ("Cause and Effect") those the total opposite to more carefully-plotted thrashers ("Nowhere") both sides executed with panache without sounding awkwardly mixed. It seems like there's a bit for everyone here especially those who like the work of acts like F.K.U., mid-period Suicidal Tendencies, Municipal Waste, etc. Some of the musicians involved here were members of the already extinct groovy post-thrashers Cold.

Grab Your Brain Full-length, 2013
Problems EP, 2017

Official Site

CYCOTIC YOUTH (USA)

This is obscure madness which sits in the hardcore camp for at least half the time the rest occupied by more straight-forward thrash which not surprisingly provides the more listenable side of this wild underground "beast" which still has its more fascinating, melodic face (check the catchy hooks on "Killing Time" and elsewhere). The vocalist nicely fits into the hyper-active musical landscape with his attached semi-clean shouty antics.

Demo Demo, 1986

CYCRA (GERMANY)

These are the guys from Viscid Viscera, one of the best kept secrets from the German underground from the 80's, who rose for one more temptation here doing a fairly good job lifting the musical level up a few notches to come up with interesting progressive/technical thrashism which sounds like an illegitimate "child" of Vendetta's "Brain Damage" and Angel Dust's "Into the Dark Past". The muddy sound quality from the band's previous exploits remains, however: the guitars, or rather guitar, are given a buzzy sound which rules over the barely audible bass the latter given a sole chance to "speak" at the beginning of "Frightmares ". The compositions are lengthy within the 5-6min parametres and contain quite a few twists and turns the singer's vocal heroics spared on the nice quirky instrumental "Smashed Salad Syndrome" which also features very tasteful melodic leads and hooks. That same singer sings in the same manner as before, clean attached tirades without any high-pitches. The guys were by all means heading somewhere, but they never gave themselves a wholesome chance to walk with the finest.

Possible Side-Effect: Death Demo, 1987

CYDHIE GENOSIDE (POLAND)

Based on "Ashes to Ashes (Only Rosie Forever)", this band fits into the overall quite cool picture from the Polish scene: I mean the more technical side, occupied by Turbo, Wolf Spider, Astharoth, Atrocity, Geisha Goner. These guys are much more melodic than the others clinging more towards the power metal territory, but in terms of complexity they try hard to rank with them, like on the excellent "Reality...I'm Alive", but sometimes it's offered with some relief like the faster more direct passages on "Day After Day". "Come Back and Stay" is a cool ballad, and isn't totally unexpected having in mind the big sense of melody displayed before it. "The Bridge pt. II (Ashes to Ashes)" (where's pt. I?!) contains another lengthy balladic section, and until the end there isn't much in terms of thrash to be heard although the rough semi-clean tone of the singer is hardly the best choice for the softer moments. Reportedly their debut featured a much more aggressive and elaborate thrashy material.
Alas, despite being more aggressive and thrashier, the debut is a less ambitious affair the band mixing fairly heavy riffs with faster, sharper ones which still don't go for the speed a lot, preferring to lash in mid-pace supported by a thunderous bass bottom and rough, unrehearsed, semi-clean vocals. At their best, which happens very seldom, the guys touch Metallica's more technical period ("Uncertainty"), but most of the time this is a semi-amateurish offering with a not very good sound quality. Fortunately, later the guys managed to find the way to produce more sensible music.

"Flood and Field (For the Common Man)" has nothing to do with thrash, a tendency already started with the previous album; this is dreamy, balladic stuff which borders on heavy/power metal ("Crying") on the more lively moments, but generally this is music for the tender-hearted; not for hard-boiled fans...

...As a Goblet of Gore Full-length, 1989
Ashes to Ashes (Only Rosie Forever) Full-length, 1991
Flood and Field (For the Common Man) Full-length, 1992

CYHYRAETH (USA)

Based on the full-length, this act, who is fronted by a girl and one may find it hard to accept this fact due to the girl's rending death metal histrionics, play modern thrash/death which is rich in atmosphere and melody. The girl uses her more normal, cleaner vocal delivery at times to suit better the more lyrical passages which are also quite a few. Things become more dynamic in the 2nd half where rippers like "Awakening" and "A Farewell to Harm" will make you mosh around for a bit. "Servant to the Fire" is an assured classic headbanger near the end which promises more on future releases.

Disgraced EP, 2013
Servant to the Fire Full-length, 2014

Official Site

CYMONIC DRIVE (POLAND)

Groovy hardcore-ish post-thrash ranging from jumpy groovers to more intense outbreaks the latter coming close to Madball including in the angry shouty vocal department.

Time for Confrontation Demo, 1994

CYNIC (USA)

The legendary progressive metallers were following the thrash metal path devotedly at the beginning of their career as the start was more of the rough-around-the-edges type, the debut demo featuring three inspired cuts with shades of a more technical play, the hectic choppy "Once Misguided" moshing with gusto amongst the more intricate attempts and the stylish screamy leads, Jack Kelly's gruff shouty hardcore-ish vocals soaring above the hyper-active proceedings. "Weak Reasoning" serves creepy semi-technical developments initially, but later on the approach on the bashing early Rigor Mortis-esque side with shades of proto-death, those preserved for "Dwellers Of The Threshold", a more flexible roller-coaster with a wider range of tempo-changes including a few imposing stomping passages in the middle, with Paul Masvidal excelling in the lead department again alongside the more vociferous bass presence.
The "Reflections of a Dying World" demo moves up the technicality scale with Masvidal having taken over the vocal duties although his style is quite reminiscent of the one of the previous singer. The addition of another talented shredder (Jason Gobel) clearly shows, and "Denaturalizing Leaders" is a nice twisted thrasher with a fast/stomping alternation motif that leaves to make room for impetuous gallops and virtuous bassisms on "Extremes". "A Life Astray" moshes with more passion and energy, not too many technical embellishments here, the latter not that prominent on "Agitating Affliction" either, Masvidal adding his lead-prone contribution in a traditionally dazzling fashion.
The 1990 demo is a revelation, the first genuine indication that the band were aiming much higher, the delivery still more on the thrash side, but notched up considerably towards the progressive/technical department. "Lifeless Irony" is a diverse shredder with a thick riff-driven veneer, and "Thinking Being" is a nice complex headbanger with Masvidal interfering more frequently with his Shrapnel-like lead pirouettes among the steel precise rifforamas. "Cruel Gentility" is a masterpiece of shape-shifting, amorphous thrash with fast-paced layouts regularly carved by intricate burrows the latter echoing the not released yet Death's "Human". It's great to see one of the most original practitioners on the metal circuit giving such a lustre to the good old thrash when the latter was still in favour.

Demo Demo,1988
Reflections of a Dying World Demo, 1989
Demo Demo,1990

Official Site

CYNONYTE (USA)

The demo: modern thrash/death metal with a curious technical "sting" not far from more recent Invocator and Darkane. The guys thrash confidently on energetic numbers like "Dismiss The Reality" occasionally eliminating thrash metal from the formula at times: the aggressive deathy "Retribution"; the unbridled madness "Tree Of Life". Watch out for the final "Black Out The Sun": a nice melodic track with excellent virtuoso leads their impact slightly spoilt by the brutal low-tuned vocals. Some of the band members also play in the death metal outfit Torture Cell.
The full-length is a more ordinary-sounding affair the technical element almost completely missing the guys now shredding in a more direct, but not really striking manner producing pedestrian modern thrash without too many exciting moments. It's all competently done and all; it's just that the demo showed some promise which here is barely hinted at...

Black out the Sun Demo, 2011
Dead Dream Gallery Full-Length, 2014

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CYNTHIA WITTHOFT (POLAND)

This talented Polish guitar player is a nice companion to the Great Kat in the female instrumentalists' section. Witthoft is not as classically-inclined as the Kat, actually there are very few classical moments in her career. She provides instrumentals only, and in each album there are at least half a dozen of those which would be quite interesting to the thrash metal fan, especially those on "Girl of a Thousand Faces" which is mostly intense thrash shredding, favouring the classic sound more, with aggressive death metal sections, slow atmospheric black metal ones as well, one pure electronic experiment, and more. Apart from the very expert leads, she gives quite a room to the sharp riffage to develop, and as a whole there isn't too much of a technical show-off to bother the listener, maybe on a very few occasions. The tempos are quite varied, including a few super-fast brutal moments. The songs are normally-structured compositions, which simply miss the singer. Only "Porn Blues in My Bed" could be skipped by the extreme metal fans as it is a collection of blues-ish instrumental pieces (not much porn here) with not many relations to metal.

Death Experience Full-Length, 1999
In God We Cannot Trust Full-Length, 2001
Girl of a Thousand Faces Full-Length, 2002
Progressive Metal Experiment Full-Length, 2005
Porn Blues in My Bed Full-Length, 2007
Classy Metal & Charm Full-Length, 2007

CYPERUS (USA, NJ)

"Infliction of Pain" opens this demo in a furious way, a smashing 3-min speed/thrasher in the best tradition of Agent Steel's "Unstoppable Force" (think the song of the same title). Unfortunately what follows is just average power/thrash ala Savage Grace and early Laaz Rockit, not bad, but too disappointing considering the great start.

Nothing is Sacred Demo, 1987

CYPERUS (USA, WA)

This is cool progressive power/thrash metal with a heavy thick sound; the music isn't too far from A Lower Deep, or even Nevermore on the more inspired moments, but these guys come before them in terms of time, and are heavier than both. The title-track is a more light-hearted opener relying quite a bit on the modern 90's trends and doesn't really promise much despite the timid attempts at more technical performance. "No Fear" takes a more thrashy edge, and "Society Saves" speeds up admirably with nice sharp riffs. "No Regrets" is probably not the best continuation and kills the gained inertia, but is a commendable achievement in the balladic sector boasting heavy crushing riffage as well. "Say Good-Bye" brings back the intensity which again takes faster dimensions, on the energetic "The Nature of Things" which nicely combines direct and technical guitars, and is the best song here. "Invitation To Injury" is a major thrashing delight, quite fast and aggressive on some parts. After such good performance all over, the ending is by all means underwhelming: the doom metal opus "Beaty" is maybe slightly off the track, but is cool and heavy, but hats down to the guys for the cover version of this awful "Mississippi Queen" (other metal bands (Wayne (R.I.P.), etc.) have also tried their hands on this one; why!?): one can hardly come up with a worse choice for a closer of a thrash metal album.

Sanity Management Full-Length, 1992

CYPHER (HOLLAND)

The debut: this band, which line-up includes Joost van der Graaf: the bass player who was a member of the death metal masters from the mid-90's Creepmime, plays typical energetic modern thrash/death metal with a Gothenburg flavour. This is good stuff with sharp riffs without too many melodic trappings and casual leanings towards the old school sound.

The demo is three songs following the Swedish trends pretty closely, but with a faster, more brutal sound which calms down for the epic Amon Amarth-esque "The Flaming Brand Of Heresy", boasting great bass support. The rest is bashing madness with a few nice melodic implements.

Darkday Carnival Full-length, 2006
Tyrian MMVIII Demo, 2008

Official Site

CYPHOSIS (FINLAND)

Based on "To North and Under", these guys offer minimalistic modern thrash metal with epic/doom tendencies strangely recalling mid-period Immortal on the more atmospheric moments. The music is predictably mid-paced slowing down to doom metal at times (the excellent "Passage Of Evil"; the creepy gothic/doomster "To North And Under") where the approach doesn't shy away from Paradise Lost. On the other hand, we have the melancholic acoustic Opeth-esque ballad "Across Black Water". As a whole this is an encompassing delivery which mostly suffers from the not very convincing low-tuned brutal and more melodic gruff, ala Mathias Lodmalm (Cemetary), vocal duel. Some of the musicians also try their hands on more melodic progressive metal in Ancient Dawn.

Gods Torned Full-length, 2008
To North And Under Full-length, 2010

Official Site

CYPRUSS (USA)

A forgotten gem from the 80's US underground seeing a talented act lashing fiery riffs in a more or less bridled speed/thrash fashion. The style ranges from short explosive "aggressors" ("Infliction Of Pain") to heavy power/thrash pounders ("Beyond The Darkness"), to pure speed metal happinesses ("Running Wild"), to worthy attempts at the semi-ballad ("War Of The Lords"). The singer is a good addition with his versatile voice covering several gamuts including a few hellish screams where he'll recall both John Cyriis (Agent Steel) and Warrel Dane (Sanctuary, Nevermore), among other lesser known throats. Fans of early Helstar, Aftermath, Griffin, Hallows Eve, and Savage Grace will be delighted to dig this one.

Nothing Sacred Demo, 1987

CYRENCE (GERMANY)

A decent blend of old school and modern thrash touching more recent Paradox ("This Life") on the more inspired moments. The singer isn't bad at all with his cool attached clean timbre and he may be considered the main asset here. A few more engaging numbers can be come across in the middle ("the title-track, "I Won't Fall") where the speed gets decreased. "You Kill Me" compensates with a portion of fast blitzkrieg rhythms, but the final "Purity Control" is another reliever with its laid-back alternative riffage.

The Hospital EP, 2015

Official Site

CYROX (AUSTRIA)

Modern choppy thrash accentuated by a very contrasting vocal duel, between a growling/shrieky deathster and an emotional cleaner. A couple of rigorous headbangers ("Broken", "Frozen in Life") stir the instilled "idyll" established by friendly mid-pacers like "My Insanity" and "Won't Disappear". "Blackened Mind" is a decent attempt at a more progressive song-writing, but it's all too lyrical and poignant on the final "Can't You See" which fittingly exemplifies the leisurely mode in which this effort has been executed.

Beyond Control Full-length, 2020

Official Site

CYST (USA)

Very few bands have managed to capture the controlled aggression of Slayer's "Reign In Blood" like this one: intense, fast thrash attack from beginning to end bordering on death metal; a magnificent cover of "Angel Of Death" awaits you at the end; not for the faint-hearted.
"Despisers of This Mortal Coil": the band are back after a lengthy 10-year pause and they sound angry and ready to do more damage with their shattering old school sound. The band thrash with no remorse with Slayer again a fairly close soundalike on at least half of the tracks the proto-death lace springing up at times also reflected in very short spasmodic proto-blasts (the maddening "Slashed Throat Serenade"; the brutal basher "Face the Flesh"). The more relaxed side of the album ("Morals To Burn"; the melodic delight "Akrasia") sounds kind of more appealing where even some technicality can be felt. The end comes in the form of a good faithful cover of Sodom's "Agent Orange" which is played carefully with proficiency the guys paying their regular tribute to their peers from the good old days.

"Requiem of Ruin" sees the guys quick to capitalize on the thrash metal resurgence period and fans of all things old school (Slayer, above all again) will rejoice listening to this brutal spontaneous slab of thrash which will blow their socks off with the very first trio of songs although later on the guys calm down a bit spicing their venomous approach with a few more laid-back rhythms. The forceful shouty singer is another valuable addition his dramatic rendings being quite close to the ones of early Tom Araya the guy here coming as a bit more melodic perhaps. This is the good old thrash, the way we all know it so well, and as such this effort will surely find its acceptance among the fans without any problems.

Concussion Symphony Full-length, 2002
Despisers of This Mortal Coil Full-length, 2011
Requiem of Ruin Full-length, 2012

Official Site

CYSTROT (USA)

Epic/viking metal meets thrash/death for the production of this entertaining battle-like music which is expressed in the form of long progressive compositions where loads of tempos shake hands the final result a not very even concoction of Bifrost, Isengard, early Enslaved, and Dark Tranquillity with all influences introduced on every song each of them also graced by good versatile vocal performance which ranges from deep clean singing ala Fenriz (think his vocals on the Isengard efforts) to scary black metal hyper-rasps in the vein of Shagrath (Dimmu Borgir).

Nocturnal Escapade Full-Length, 2001

CYVOID (UK)

B'Hellmouth from the thrashcorers Send More Paramedics tries his hands on modern post-thrash of the laid-back type trying to break the rules of hardcore in a manner not too removed from Biohazard resulting in jumpy dynamic, but fairly predictable, stuff which moves towards the more alternative side of the spectre ("Time to Die") to a not very impressive effect. The closing "Landfill Gulag" thrashes a bit harder with hardcore passion, but again the inspiration is seriously lacking here.

Cyvoid EP, 2011

Official Site

CZAAR (CZECH)

A cool entry into the modern thrash/death metal genre which relies on hectic semi-technical patterns to pull it through and succeeds for most of the time with choppy rhythms, sudden tempo changes, and occasional clever explorations in technical/progressive thrash ("Lud i Ambiciozan"; the excellent dynamic technicaller "Extreme Messy Cooking" sustained in the best tradition of early Flaming Anger). More technical prowess for the future wouldn't be detrimental at all, and the singer could try to sing in a more attached manner: his gruff quarrelsome style is hardly the band's biggest asset.

Stari Panj Full-Length, 2011

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