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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

D1STRAUGHT (UK)

Based on the sophomore, this is competent retro thrash played with the requisite intensity and a sense for the more intricate. There are also a few catchy gallops ("Perpetual Life") to be savoured here, as well as some truly exquisite lead guitar work ("Bajo Control"), the vicious spat-out vocals doing additional damage with heir spiteful presence, the encompassing progressive aura of "Psicosis" crossing Death with bouts of dense staccato technical riffage.

Money Equal Death Full-length, 2013
Majestic Twelve (W. T. T. C. O. C) Full-length, 2021

Official Site

D.A.M. (UK)

Like Slammer and Xentrix, who appeared around the same time to catch the last train to the classic thrash metal genre, D.A.M. feel more comfortable staying close to the Bay-Area scene, and as such do a pretty good job, especially on the sophomore. "Human Wreckage" is a decent debut starting quite ambitiously with the somewhat monotonous duo "Death Warmed Up" and Killing Time" which is a heavy mid-paced march without any technical pretensions despite the length. The album has its more interesting, technical moments, though: the energetic and elaborate "Prophets of Doom". Those of the kind are not many, but slower moody tracks could be found as well: "Infernal Torment". The band manage to keep the songs from merging into each other by varying the tempo and adding cool melodic choruses to the proceedings: the title-track (this is actually a more power metal-based number, the only one here, fortunately). The last piece "F.O.D." is a true revelation, albeit only 2-min long: a stunning mixture of technical and aggressive riffage which comes too late, but is a very worthy addition.
"Inside Out" begins with the first three songs raising the flag of the Bay-Area sky high, in an energetic and headbanging tempo. Towards the middle the music becomes more complex and technical, but loses the biting edge, and the songs are longer including one not very convincing ballad ("Winter Tears"). Fortunately the guys return to the more winning formula later on, and despite the presence of another not very appropriate heavy/power metal number ("Circles") and another heavy semi-ballad ("Beneath Closed Eyes"), this album delivers the goods almost as well as the debut.

Human Wreckage Full-length, 1989
Inside Out Full-length, 1991

D.A.M.N. (GERMANY)

Based on "Vermochtnis": melodic Swedish thrash/death metal with progressive pretensions coming from the epic length of at least half of the tracks, and more intriguing guitar decisions. The music flirts with death metal more and is quite fast although the riffage is mostly melodic with more than obvious nods towards Dark Tranquillity and At the Gates.

"Forbidden Anger" tones down the aggression and is an overall more melodic affair developing in mid to up-tempo with sparse raging outbursts. The music stays closer to death metal again with progressive-tinged sections near the end where the longest compositions have been placed, the final opus "Hall Of Fame" alone closing on nearly 8-min being a cool varied number constantly mixing heavy stomping with fast furious riffs, ending in a downbeat depressive mode ala Katatonia.

Vermochtnis Full-length, 2006
Forbidden Anger Full-length, 2009

Official Site

D.B.C. (CANADA)

One of the better known Canadian thrash metal bands; their self-titled debut is an impressive outburst of energetic fast-paced thrash with touches of hardcore. There are stylish decisions here and there, mostly in the beginning of the songs "Deadlock" and "Monument", which create the impression that the guys warm-up for something really technical, but soon does the direct thrashing start, and seldom lets loose. The aggression sometimes goes even beyond Slayer and Dark Angel: the brutal grinding "Lies", the short explosive "Power and Corruption", and generally there's no speed lost here. The 2nd half is more restrained, with the sound getting more hardcore-based, with clear nods to D.R.I. except on the soft rock-ish closer "Trauma X".

The band were actually aiming higher than that, and the follow-up is a much more technical affair, quite progressive and complex sounding at times with a distinctive Voivod-flair. This offering will be a big surprise to those who loved the debut, simply because the approach is entirely different; there are no speedy, aggressive numbers except for a few sections, and the riffs meander and turn, creating an effective, but at times quite a complicated landscape. Musically the band have considerably grown-up, and Phil Dakin sings less angrily. The soft peaceful approach on the opening "The Genesis Explosion" will leave many disappointed, especially when there's nothing really technical involved to compensate it, but comes "Heliosphere", and things get both more aggressive and more complex. The aggression disappears, but the complexity remains for the rest of the songs being quite jumpy and hectic on "Exit the Giants", which is a really stylish technical thrasher. "Estuary" promises a more energetic entertainment for a while, and remains relatively straight-forward; the same can't be said about the excellent abstract Voivod-ish "Humanity's Child" and "Phobos And Deimos" (this song may have influenced Voivod later for choosing a title for their 1997 opus), or the creepy spacey closer "Infinite Universe" which nicely combines surreal riffage with sharp edgy guitars, sounding quite "out there" most of the time. Despite the sudden change of style, this album is a fairly satisfying listen showing the guys's more mature, proficient musical side.

The band had a third album ready as an immediate follow-up to "Universe" which was later released under the title "Unreleased", but its release was delayed for five years. It's only six tracks and the style tries to preserve the technical patterns established on the previous effort by adding more energy ala the debut which makes the tracks more immediate, occasionally featuring some stylish guitar work ("Siren's Song"), but quite often are the riffs unimaginative as well settling for repetitive mid-paced patterns with only the last "Root To All Evil" trying unsuccessfully to liven up the morose atmosphere. This is hardly a worthy follow-up to "Universe", and would have sounded even more confusing if released immediately after it. Six years later, when there were just a few fans still remembering them, this short effort could have served as a cool, unexpected (and also "unreleased"), but not exceptional reminder of the good old 80's and their underground heroes.

Dead Brain Cells Full-length, 1987
Universe Full-length, 1989
Unreleased Full-length, 1995

Official Site

D.E.A.D. (JAPAN)

Based on the "Digital Ecstasy & Die" EP, this act indulge in industrial digitalized thrash which obviously tries to follow the lofty models of Ministry and Die Krupps, but this is too radio-friendly and dancey to even please the less capricious 90's crowd, ending somewhere in the vicinity of mid-period KMFDM only without the female vocal support.

Digital Ecstasy & Die EP, 1993
Hell EP EP, 1995
Minus Full-length, 1996

D.E.A.D. (INTERNATIONAL)

An Australian/Swedish collaboration this one, namely the former In Flames member Niels Nielsen and the ex-axeman of the long-since-extinct progressive thrashers Bezerker, who have selected the modern thrash/death idea to spread around this time, the semi-complex chugs of the opening "Before I Die" interlacing with direct lashing riffs of "Death Toll". "Race to the Grave" adheres to a few not very controlled blasts, and "Dead" is a tamed mid-tempo chugger with sparse atmospheric additives, those kind of dissipated by the very shouty rending death metal vocals.

Of Vile and Hate Full-length, 2024

Official Site

D.E.I.M.O.S. (POLAND)

Soft thrash/crossover mixed with punk and heavy metal; tender stuff mostly mid-paced with careless scattered clean punk vocals.

Atma Full-Length, 1992

D.E.T.H. (BRAZIL)

Based on the "Rehearsal" demo, this band pulls out a brutal intense mixture of thrash and proto-death metal not far from Vulcano and Sarcofago, but with a dirty sound and screechy apocalyptic vocals which are not very well heard throughout. The guys try to play as fast as possible and at times manage to synchronize their efforts to produce more meaningful stuff from which the short screaming leads seem to be the best part.

Hell Demo, 1987
Rehearsal Demo, 1987

D.F.A. (CANADA)

This music is made by the same guys who are behind the wild thrash/death/grind project Poser Disposer. Here they are more controlled offering fast aggressive thrash/crossover coming as a cross between Sick Of It All and Cryptic Slaughter.

Defy False Authority Full-length, 2003

My Space

D.F.C. (BRAZIL)

Based on "O Massacre Da Guitarra Eletrica", this is a good thrash/crossover band with a style similar to Ratos De Porao's less thrashy works (their early period before "Brazil"). There are some brutal moments, too ("Mafia Do Jaba").
"Sob o Signo de Sate" is in a very similar vein; merry, but intense as well, thrash/crossover with short explosive tracks which seldom go beyond the 2-min mark and consequently seldom contain anything more than the usual friendly bash which is as close to the hardcore fraternity as it is to the more extreme examples from the early-80's punk scene (Discharge, Broken Bones).

TChan Nan Nan Nan Nan Full-length, 1994
Igreja Quadrangular do Triangulo Redondo Full-length, 1996
Farofa Kind Live album, 1998
Sob o Signo de Sate Full-length, 1999
O Massacre da Guitarra Eletrica Full-length, 2002
DxFxCx/ANFO 7" EP, 2004
O Mal Que Vem Para Pior Full-length, 2005

Official Site

D.F.W.B. (USA)

Rough modern post-thrash mixed with hardcore; the angry death metal vocals lead the show the music being a more brutal version of the roller-coaster performance of the heroes Pro-Pain with a pinch of faster-paced rhythms ("With the Bear") the latter element giving the effort a big refreshing boost. The dominant jumpy riffs are often interrupted by more vivid passages including a few nice melodic tunes ("Into a Steaming Pile of Peanutty Brown Bear Feces", the excellent closing instrumental "The Ballad of Bear Hunter Billy Dugan and the Insurmountable Cave Spelunking Expediton").

D.F.W.B. EP, 2016

Official Site

D.G.I. (ARGENTINA)

This is intense modern thrash of the more dynamic variety with shades of both death metal and hardcore. There's a little bit of groove involved, but on the other hand there are several melodic moments as well as a few screaming leads. The singer is an angry hardcore semi-shouter with a gruffer death metal blend.

Intensivo Full-length, 1998

D.H. (BRAZIL)

Based on the debut, this band sound almost unaffected by the modern trends of the 90's and try to come up with intense thrash/death metal of the old school, similar to Sadus' debut. They only partially succeed, however, as the guitar sound is very thin, the singer is an awful hardcore shouter, and the songs make sudden, sometimes awkward jumps from a more quiet into a more aggressive section, and then backwards. Some faster passages are pure black metal ("Illusions", etc.), and the overall tempo is quite energetic, but often degenerates into mindless bashing ("Cerebral Wash", and elsewhere).
“Days of Hate” is another fervent moshing beast, the band having returned from the dead after a lifetime of hibernation, emphasizing on the death metal side more this time, the aggressive “Envy” and “Psychosis” leading the uncompromising pack, “Cerebral Wash” bringing back the thrash with fiery determination, the second half woven of a few more hard-thrashing tunes (the title-track, “Forgotten People”), the final “Bonanza” an all-instrumental nuance of power/speed metal tenderness.

Human Deformation Full-length, 1994
Verdades da Vida Full-length, 1998
Days of Hate Full-length, 2023

D.HATE (UKRAINE)

This is heavy, doomy modern post-thrash spiced with sparse, but not very appropriate, sudden faster outbreaks of the core variety. The singer is a throaty death metal semi-shouter, and more attached, more soulful singing could have been more beneficial.
"L.I.F.E." is a more brutal and a more aggressive recording sticking more often to the fast-paced parametres without completely forgetting about the choppy breaks. "F. F. F." is a very surprising short hectic technicaller which overshadows everything deeming the second half of the album virtually unlistenable except for the spacey doom-soaked closer "Cobra".

Game With Ghosts Full-Length, 2011
L.I.F.E. Full-length, 2015

Official Site

D.I.V. (RUSSIA)

This band shares members and ideas (both are open nazi bands) with another Russian formation -Korrozia Metalla. D.I.V. are the better ones music-wise; their debut is furious, raw thrash, frequently bordering on death metal; the musicianship is not so bad, and the guitars are quite sharp; the songs are long, but the delivery is direct and straight, nothing technical if we exclude "Bal U Satani": a nice, more ambitious song, closing on 11-min, featuring some really great hooks, and numerous tempo changes.
Despite the 4-year gap between the two albums, "Mein Kampf" is a fairly satisfying slab of 80's thrash, less aggressive than the debut, but fast-paced and energetic with a couple of heavier semi-groovy numbers thrown in and one great speedy Oriental piece "Hesh" which is clearly the highlight.
"Russian Frost" is another good work with energetic retro thrashers mixed with heavier, groovier ones, and with several more melodic pieces clinging towards the balladic sector. In other words, the guys have made the transtition towards the other side, and for at least half the time this effort is a tribute to the 90's post-thrashy scene. "Rap Monkey" is a pounding steam-rolling groover which sets the scene for the less impressive side of the album, but "The Night of Long Knives" brings back some of the old school vigour with bouncy lively rhythms. The title-track is a steady mid-pacer, again more on the classic side, and "Right to Die" is a cool heavy semi-ballad with a strong bass presence. "Alien" is a fine choppy modern progressiver the band alternating between more intense sections and more lyrical deviations, all the way to the angrier more belligerent "Ugly Creature" which straddles between heavy groovisms and livelier headbanging passages. "Lenin From Hell" is an entertaining power/thrasher with a dramatic stomping rhythm-section, and "You're not Gonna Fuck Her" is a fairly cool retro speed/thrasher, its merits partly clouded by the brooding post-thrasher "Mad Dog" at the end. The vocals are gruff semi-clean, sometimes singing, sometimes reciting, but generally doing a good job without emitting too much emotion.
The band's later efforts took a more modern industrial semi-thrashy turn albeit still retaining the more aggressive thrashy roots on some of the songs. By the way, these latter endeavours have been considered as parts of the own project of Sergey Taydakov, the band's founder and only permanent member, run under his own name.

Devils' Sabbath Full-length, 1988
Mein Kampf Full-length, 1992
Russian Frost Full-length, 1996
Werwolf (Oboroten') Full-length, 2001
Beshenye Psy Full-length, 2001
Myortvaya Golova Full-length, 2003
Umiraj Full-length, 2004

Official Site

D.I.Y. (ITALY)

Based on the "Shadows of Grime" 2-song demo, these Italians push the boundaries of the genre towards less restrained death metal territories, and they manage to create havoc not far from the one of their compatriots Schizo (the drummer Pat Pappalardo was also a member of Schizo at the time). Both compositions are fairly lengthy (5-8min), and it's admirable that the band manage to hold this ultra-brutal bash the whole time without shedding a tear. At present some of the band members operate under the name Southern Black Sand where the style is groovy post-thrash; and some of them had tried more retro-sounding stuff, in the thrash/crossover arena, as Waste with one EP released in 1999.
The "Church Wants More" demo is another extreme unrestrained affair the guys shooting a raging bullet after another, short brutal cuts with little musicality present, "Ash..." trying to fit into the more proficient confines with a couple of more sensible riff-patterns, but still this is a wild proto-death recording which significance, like the one of the subsequent demo, in spawning the extreme metal genres is barely deniable.

Church Wants More Demo, 1988
Shadows of Grime Demo, 1991

D.K.R. (BRAZIL)

These guys lash out jolly energetic thrash/crossover in the vein of mid-period Suicidal Tendencies and Excel. The band keep respectable speed throughout thrashing with force on a few moments with sharp but also melodic riffs; it's a pity it all lasts for just over 12-min despite the presence of 8 tracks. The band's guitarists are also involved in the act Persecution where they play more aggressive retro thrash.

What the Fuck is... D.K.R.? Demo, 2009

My Space

D.M.B. (ARGENTINA)

This act offer a mix between modern and retro thrash/crossover whic is fairly dynamic and at times moshes out with a fair amount of passion: "Realidad Demanda", the surreal semi-technicaller "Religion Genocida", the proto-death outrage "Virgen del Suicidio", etc. "Nuevos Suicidas" is outstanding thrash/death with a Death flavour, and the closing "Instrumental" is a very cool quiet epitaph to this nice intense offering.

Santuario de la Demencia Full-length, 2014

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D.N.A. (USA)

Intense dark thrash with echoes of Deathwish; the tracks, however, are shorter and have a kind of an undeveloped feel as though the guys had a very limited time booked in the studio (although this may have been a garage) and had to rush in order to come up with something. Not surprisingly, the sound quality is awful putting the bad shouty singer up front also giving a very thin screamy edge to the guitars.

Victim in Damnation Demo, 1989

D.N.R. (BRAZIL)

The abbreviation stands for... see the album-title; otherwise the band thrash on with an abrasive edge without breaking the laws of modern thrash too much except for several more aggressive deathly moments (check out the closing rager "Parasitas"). Shades of post-thrash and hardcore can also be felt here and there also in the vocal department where the guy rends his throat in a forceful overshouty fashion. Slow and fast tracks take turns as either side reflects the optimistic mood permeating this recording. Some of the band members also play in another modern thrash formation: Stupid Vision.

Do Not Resuscitate Full-Length, 2013

Official Site

D.O.G. (CANADA)

Wild amateurish thrash/crossover with clear hardcore pretensions; fast optimistic stuff served with an awfully fuzzy guitar sound, with short 1-2min tracks, direct very simplistic riffs, and indifferent punky vocals.

A World of One Divided by All EP, 1987

D.R.E.A.D. (USA)

Based on "Hymns of Chaotic Lore", these folks deliver modern "dreadful" post-thrash which keep good balance between the more playful side ("What's Done Is Done") and the more hard-hitting one (the battle-like "Down Come the Hammers"). "Systematic Sacrifice" is a wild unbridled headbanger, but this more brutal side isn't very extensively covered if we exclude the angry shouty deathly vocalist.

D.R.E.A.D. EP, 2009
Test of Time Full-length, 2017
Hymns of Chaotic Lore Full-length, 2018

D.R.I. (USA)

The kings of crossover/thrash; the band has been an enormous influence on the genre, with almost every second thrash/crossover band readily borrowing from them. Their first efforts were punk/hardcore mixtures, and it was with "Crossover" when they wrote the rules of the genre, although to talk about thrash metal there would be a bit farfetched. "4 Of A Kind" followed a similar pattern, but with "Thrash Zone", like the title suggests, their music took a decidedly more thrashy direction, and most of the time the sound on this one was all-out thrash with longer tracks, sharper riffs and slower heavier compositions. Crossover delights are certainly thrown in later on, but at that point the guys have already entered too deep into the "thrash zone" with no signs of getting out soon.

A 3-year break followed which was good in consideration with the swiftly changing tastes during the early-90's and a time for the band to look around and make "amendments", but "Definition" was another take on the good old classic sound with more nods to thrash again, with nothing of the old speed and energy being lost, except for the light balladic tendencies on "Say It" and the pleasant crossover closer "Let It Go".

"Full Speed Ahead" doesn't justify its title quite well, since at least half of the songs are mid-paced at best ("Dead Meat" is almost doom metal), but nonetheless offers stripped-down thrash/crossover, now sounding more towards the hardcore spectre on the shorter and faster tracks, seeing the guys going back to their roots at a time when almost every 80's act was trying to adjust their sound to the demands of the 90's. Well, it was hardly time for thrash/crossover, especially in the very barren 1995, and the band split-up soon after that. The release of a couple of Best Of Compilations and the "Dirty Rotten Power" EP, containing three songs from "Full Speed Ahead", in the new millennium are apparently signs that the guys are planning to come back.

Crossover Full-length, 1987
4 Of A Kind Full-length, 1988
Thrash Zone Full-length, 1989
Definition Full-length, 1992
Full Speed Ahead Full-length, 1995
The Dirty Rotten Power EP , 2001

Official Site

D.S.O.L. (BULGARIA)

Modern thrashcore which is both heavy and fast offering quite a diversity in the music department; in the vocal one we have a forceful semi-death metal shouter who suits the heavy seismic guitar work well. Nothing too exceptional, just angry simplistic stuff with both Pro-Pain and Madball close soundalikes.

Awakened In This Life Full-Length, 2010

D.T.A.L. (SWEDEN)

Based on the "Dark Dimensions Of War" demo: these obscure Swedes specialize in dark foreboding thrash of the intense variety wrapping the traditional German speed/thrash elements in an ominous gothic atmosphere which eventually takes one "victim": the long (9.5-min) sinister opus "Don't Fear The Winter" which loses the speed for the sake of a not very impressive, one-dimensional mid-paced delivery. The following "Visions Of Darkness" is even longer (11-min), but at least the approach is more dynamic, and interesting tunes have been inserted which work well with the more aggressive riffage. The singer is a scary death metal semi-growler who suits well the somber tone of the music.

The debut demo is not as good the guys thrashing in a more ordinary crossover manner finishing this badly produced mess with two cover versions: Motorhead's "The Ace of Spades"... ha ha ha!, no, not this time- "No Class" from the Brits' more laid-back rock'n roll repertoire; and Venom"s classic "Black Metal" played faster standing for the highest achievement on this otherwise fairly lacklustre work.

Solitude Demo, 1988
Dark Dimensions Of War Demo, 1990

D.T.H. (CHILE)

Based on the 1st demo, which is only 2 tracks, this act plays vicious brutal thrash/proto-death with an awful sound quality which makes parts of the songs barely audible; early Messiah could be cited as a close soundalike including in the vocal department where the singer grunts in a hellish scary manner.

Vomito Social Demo, 1988
Multitudes Demo, 1989

Fan Site

D-GRADE (HOLLAND)

The full-length: heavy, but playful, groovy post-thrash with an industrial shade akin to Ooomph and later-period Skrew; there is a sudden switch onto full-scale aggressive retro thrash on "Cold", and this even happens once again till the end, on the closing "Killer in the Mirror", which thrashes really hard the whole time, too, and one could only wonder what would happen if the guys give more freedom to their more aggressive nature later. This band could actually be viewed as the continuation of the classic thrashers Spartacus who released two demos in the late-80's/early-90's so it should come as no surprise their adherence to more classic riffs from time to time.

D-structive D-Vice Full-length, 1997
Good For Nothing Worthless Piece Of Shit EP, 1999

D-HUMAN (GREECE)

3 songs of unimaginative groovy post-thrash with rehashed riffs and the staple quarrelsome vocals, those here being a bit more aggressive, with a touch of death metal.

Demo Demo, 2011

D-OZZ (RUSSIA)

Based on "", this band plays minimalistic old school power/thrash metal of the less energetic mid-tempo with shades of gothic in a way not miles away from the Swedes Cemetary, plus half-drunken Lemmy-esque vocals and melodic guitar work. There is no variety at all and all songs tend to merge together.

Piece Of Granite Live album, 1998
V Predelah Dosegaemosti Full-length, 2004
Deti Poroka Full-length, 2007

Official Site

D3ATHCHARG3R (CANADA)

This band offer ordinary modern thrash/death with expressive brutal death metal vocals. The guys rely on the heavy pounding side of the genre and volcanic riffs from all sides will make the fans' day, but those looking for any fast-paced deviations would only be consoled with the energetic "Sexual Deviance" and the several galloping passages on the bonus track at the end "Devilution (Devilz By Definition)".

Forged In Steel Full-Length, 2012

Official Site

DAARGESIN (GERMANY)

Based on the self-titled debut, these guys play heavy abrasive thrash which tries to give a fair share to both the classic and the modern sound. The guitars are predominantly heavy in mid-tempo with sparse faster moments which are actually the classic "trace" in the band's approach. The riffs weigh, but the delivery is too one-dimensional, and more dynamics could have lifted up the music which is supported by gruff semi-clean vocals which change the pitch here and there being quite intelligible the whole time recalling Chris Astley (Xentrix).

Daargesin Full-length, 1995
Dracul Full-length, 2002

Official Site

DACHAU (BOSNIA AND HERZEGOVINA)

The first demo sees a band pulling out capable American power/thrash metal moving from laid-back power metallers ("P.O.M.") to more intense thrashers ("Greed"). The latter, however, are not a very common phenomenon, and near the end the guys lose it surrendering to more ordinary heavy metal with balladic and doomy overtones to which the emotional clean vocals suit better.

Demo Demo, 1989
Demo II Demo, 1990

DACTYLION (USA)

This band pull out modern dry post-thrash which circles around the progressive, but too much groove and too much chugga-chugga riffage ruin the more stylish intentions. "Blood" is a cool dramatic progressiver but the rest is too unfocused and lacking ideas to really please the more demanding fans.

The Space Between Dreams Full-Length, 2016

DAEMON (DENMARK)

This band was formed by Anders Lundemark- the man who also sings in the Danish death metallers Konkhra. The band's first two albums are strictly in the death metal camp, and are not too far from the works of Konkhra. This one featured here boasts cool aggressive thrash metal in the modern day Kreator-vein with nice riffage reminding of the 80's Bay-Area scene as well. On drums we have the great Gene Hoglan.

Eye For An Eye Full-length, 2002

DAEMONDROID (RUSSIA)

An unusual approach to the genre full of atmosphere and quite a bit of death metal, among other influences. Regardless, the delivery is not bad all the trade marks introduced on the opening instrumental "Triplicity" which shreds in consistent mid-tempo surrounded by sinister keyboards. Then the bad's more complex infatuations spring up on the following "Lethal Failure" which is an engaging thrash/death metal opera with a wide gamut of nuances including a few short hyper-blasting black metal passages. The operatic style carries on until it hits the industrial oddity "Rusty Railroad ...to Hell" which is a total Front Line Assembly and Celldweller worship. More surprises on the final "Mystical Incident on the Martian Orbit" which is a spacey "odyssey" ala Hawkwind and early Rush making this short effort a fairly uneven, and not very satisfying in the long run, listen.

Lethal Failure Full-Length, 2012

DAEMONIUS (SWEDEN)

A 3-track demo of fast, but not very aggressive, thrash/death/black metal with vocals which could barely be heard, and are shouty hysterical, at times acquiring those very irritating semi-whispered qualities. The musicianship is on a very low level, especially on the slower sections where the guys unsuccessfully try to capture the magic of early Celtic Frost.

Daemonius Demo, 1992

DAEMOS (USA)

Excellent power/thrash metal with great stylish riffs and a bit strained hardcore-ish vocals.

Dying God EP, 1998
Facing Down Full-length, 2001
Summer 2004 Sampler EP, 2004

Official Site

DAEVA (USA)

Based on the full-length, this act serve classic black/thrash that is played at the speed of light for a large portion of the time, the blasting urgency of "Arena at Dis" the most brutal occurrence, which is followed by the virtuoso-prone pounder "Passion Under the Hammer", an arresting dramatic epicer with an alluring lyrical epitaph. From this moment onward the band storm the scene with aggressive hyper-active gimmicks, but don;t forget to smack the progressive roller-coaster "Luciferian Return" at the end, a diverse kaleidoscope of moods and time-changes that also fully utilizes the shouty death metal singer. The musicians also take part in the death metallers Trenchrot and the doom metal cohort Crypt Sermon.

Pulsing Dark Absorptions EP, 2017
Through Sheer Will and Black Magic Full-length, 2022

Official Site

DAEVAS (GERMANY)

Extreme ultra-brutal black/thrash/death; the inordinately awful sound quality hinders the listener from comprehending much from this chaotic offering which is really fast and relentless assisted by very hysterical scary black metal vocals. Some of the band members tone it down big time with their other project: the black/thrash/ambient formation Femegericht.

The First Arrival... Demo, 2004

Official Site

DAGA (BOLIVIA)

Modern thrash/death which varies the tempo with intense moshers ("30 Seconds") taking turns with slow officiant pieces ("Out of Control") the latter dominating the landscape bringing some monotony with it towards the end. The vocals are gruff guttural death metal ones and take quite a bit of space.

Voices Within Full-Length, 2017

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DAGARA (FRANCE)

Based on "Reminiscence", these folks offer a modern blend of thrash, death and metalcore the screechy/shouty vocals adding more drama to the "melting pot". There are more intriguing patterns ("Nil Admirari") to be come across, but generally the approach is too scattered all over, making sense at times on the more aggressive material ("Ame Anonyme"), and partially on the diverse progressive Orientalism "De Mes Impropres Ailes".

Dagara EP, 2008
La regle du Je EP, 2011
La route du chaos Full-length, 2013
Reminiscence Full-length, 2017

Official Site

DAGGEROSE (SLOVAKIA)

A capable classic power/thrash outfit who exude an epic feel both from the music and vocal department, making razor-sharp cuts like "Ordo Ab Chao" unjustly forgotten chapters from the early Iced Earth catalogue. The vocals possess both depth and pathos without hitting the higher notes too often and do a fairly good job all over, especially on the heavier material ("Fire from the Sky"). The several unbridled explosions ("Dagger & Rose", the maddening "Tombkeeper") will create quite a few headbanging moments, but watch out for the more lyrical escapades as well, like the doom/ballad "Sophie", the semi-acoustic ballad "The Unknown", and the sprawling epic "Lethal Beauty" which give the band members more chances to display their proficiency, especially the singer. Some of the musicians also play with the classic heavy metal formations Janesession and Strygon.

Tombkeeper Full-length, 2019

Official Site

DAGOBA (FRANCE)

Another band to feature the French drum legend Franky Constanza (Imperial, Outburst, among other acts); based on the debut EP: this one is strictly for the groovy 90's post-thrash lovers, mid-paced chuggy stuff, which at its best comes close to Machine Head's "The More Things Change,..." with the fashionable for the time mix of the angry hardcore shouts and the clean alternative vocals; heavy riffage aplenty with very timid attempts at varying the pace so it's probably good that there are only 6 songs here.

Release the Fury EP, 2001
Dagoba Full-length, 2003
What Hell Is About Full-length, 2006
Face the Colossus Full-length, 2008

Official Site

DAGON (USA)

The full-length debut: Gothenburg-influenced thrash/death metal; think Dark Tranquillity with a pinch of thrash and nice melodic guitar work plus two vocal styles fighting throughout, one more death metal-ish, the other on the black metal side.
"Terraphobic" fits this description as well although the sound is much closer to thrash metal this time, and the melodic hooks have been increased making some songs sound quite catchy in a playful, Children of Bodom-like manner. "Full Speed Ahead" is probably the only track which is pure death metal and justifies its title quite well.
"Back to the Sea" is another melo-death/thrash affair without any particular surprises. The guys follow the well established formula unerringly, attempting something more playful on "Walk the Plank" and the Gandalf-esque "The Dog of the Sea", the energetic aura carried by "The Drifting Isle" and the rousing epic speedster "Fortune Favors the Bold".

Secrets of the Deep EP, 2005
Paranormal Ichthyology Full-length, 2007
Terraphobic Full-Length, 2009
Vindication EP, 2011
Back to the Sea Full-length, 2018

My Space

DAGOTH (USA)

This obscure act have done a very good job on their only album pulling out exemplary retro thrash metal with sharp guitars, vicious raspy vocals, and varied songs. After the short more speed metal-based opener "Death Rides Again" which is an obvious nod to the Anthrax number with a similar title from "Fistful of Metal", both title and music-wise, starts "Terminal" which is furious thrash/proto-death. Then the speedy patterns come back on the excellent galloping "The Mind's Eye" before technical thrash takes over on the fast frantic "Aggression". "Toxicide" thrashes in a more controlled fashion with nailing pounding riffs, but "Ashes to Ashes" is raging semi-technical thrash at its most unbridled best. Technicality and speed reach new dimensions on the chaotic "Welcome to Reality" which touches proto-death again. Time for a "break" with the 1-min brutal hardcore joke "Bull Dyke" after which comes the sweeping piece of Slayer-esque aggression "Catatonic". "Hammer & Anvil" is way more intense than the similarly-titled same year's Judas Priest number from "Painkiller" although it's the slowest song, lashing heavy jumpy riffs from beginning to end. The closer "Scarred" thrashes with full force producing a couple of swirling screaming leads as a finishing touch. At the dawn of the genre metamorphosis these underground heroes had effortlessly summed up all the best from the past decade, crossing over several influences, ending up with an original individual approach.

Tone Zone Sessions Full-length, 1990

Official Site

DAHACA (POLAND)

This band specialize in laid-back modern power/post-thrash which branches out into pure metalcore on quite a few times making this unspectacular effort even less interesting. Rehashed groovy patterns aplenty will one come across here, the more lively dynamic moments not enough to dissipate the established boredom which is only partially dispersed on the 2 instrumental pieces which at least are devoid of the annoying shouty death metal vocals.

The Pure Misanthropy Full-Length, 2012

DAIJ (RUSSIA)

One of the lesser achievements from the Russian metal scene; thrash meets classic heavy metal resulting in not very energetic, one-dimensional songs with a very few sharp headbanging riffs.

Vynoven Tem, Chto Zhiv Full-length, 1996

DAILY INSANITY (GERMANY)

Based on the full-length, this band play classic thrash with vehement tendencies, the patient steel gallops of "It Doesn't Matter" pricking the listener's conscience alongside the wild restless "Warchild" and the heavy atmospheric march "Marching Drummer". However, it's the guys' desire to bash with intensity, leading to the maddening proto-death rager "I Am the Mission" which also matches the subdued but authoritative death metal vocals. Earlier some of the band members played with the retro thrashers Scram.

Conspiracy EP, 2018
Chronicles of War Full-length, 2021

Official Site

DAIMONOS (BRAZIL)

Based on the full-length, this band pull out intense black-ish death/thrash with rending death metal vocals. The music has both aggression and melody in spades as evident from the cool shredder "My Tormentor". "What Can You Do For Me" introduces some death metal tunes and a choppier, more technical delivery, and "Beyond" consolidates the brutality with a portion of spastic blast-beats which remain a more regular "decoration" on the subsequent material.

Daimonos EP, 2014
Intense Madness Full-length, 2016

Official Site

DAKSINROY (GERMANY)

Based on the debut, this outfit pull out intense classic thrash with modern production which is direct and simplistic with a less overt hardcore edge ("Parasite") also reflected in the relatively short song-length (2-3min). Some pieces acquire more dramatic death metal overtones (the pounding dramatizer "Nightmare") and sound better than the rest due to the more proficient execution and the bigger diversity offered. The singer also belongs to the death metal side with his guttural semi-shouty delivery.

"Tournament of Destruction" may see the guys reaching the semis, or at least the quarters, on such a tournament with their bulldozer-like, heavy approach which gets even more aggressive with the casual insertion of the more brutal death metal riff ("Obsolesence"). "Paranoia" is an instant headbanger's hit, again death metal decorated, and "Riot" arrives right after it to pour more fire into the already pretty dynamic melee. Things become pleasantly melodic on the bit slower "Who Knows", and the delivery stays on mid-tempo grounds for a string of numbers making the 2nd half less interesting and repetitive the technical fast-paced exiting riffs on the closing "Dictatorshit" more than welcome to bring back the life. The singer is now more subdued, but equally as brutal, with his authoritative macabre growls.

Desouled Full-length, 1998
Demons of My inside Full-length, 2006
Dystopia Full-length, 2008
Tournament of Destruction Full-Length, 2013

Official Site

DAMAGE (FINLAND)

Damage were one of the first bands in Finland who started to play a more extreme brand of metal. Their music is more on the melodic side, sounding close to the first two Exciter albums, with nods to Exodus' debut in the more aggressive parts. There are nice heavy doom-soaked moments ("Time of Madness"). This is very cool, speedy music which at its best ("Mental As Me") comes very close to the legendary "Violence and Force". Later this band changed their name to Warmath, and their music took a more technical and a more aggressive direction.

Damage EP, 1986
The Immortal Death Full-length, 1987

Vibrations of Doom

DAMAGE (PERU)

These Peruvians pull out cool old school speed/power/thrash which begins with a nice twisted all-instrumental intro. Although later on strives at originality aren't detected that prominently, the band deliver well with fast-paced rippers like "The Sentinel" and "The Streets Burn", the title-track offering a few more contrived pirouettes, before "Far Fire Night (F.F.N.)" shoots a more relaxed power/speed metal veneer, thrash coming back for the closing stomping mid-pacer "Poseidon (The Origin)". The vocals are hoarse semi-clean, an inebriate baritone with echoes of Lemmy (R.I.P.).

Sentinel Full-length, 2023

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DAMAGE (SWEDEN)

Based on the "Scattered" demo, this band play old school thrash/death which is very badly produced, the fuzzy sound quality taking away quite a bit from the fun. Said fun comprises a couple of more proficient atmospheric surprises ("Lack of Remorse"), but by-and-large this is vicious pummeling bash which acquires a more tolerable doom-prone shade on "Transforming Seasons", the guttural death metal vocals creating more noise on the forefront. Later on the band continued their career under the name Dread, where the style was doom/death; and some of the band members managed to reach the official release stage in the late-80's with the death metal formation Coercion.

Tempus Erit Demo, 1995
Black the Sky Demo, 1995
Scattered Demo, 1996

Youtube

DAMAGE (USA)

The debut: this is fast ripping old school thrash stuff which circles around brief bursting breezers ("Soldiers of Peace", the Kreator cover of "Pleasure to Kill"), the actual moment of musical proficiency called "A Moment of Silence", a lead-driven instrumental number, after which the mosh resumes on full-throttle, the choppy groovy "Endstate" breaking the carnage which climaxes on the wild proto-death closer "Fallout".
"Godless" is a more controlled offering, the heavy thick stomps of "Of Fire" readily welcome by both the marginally more dynamic "Atone" and the cool more elaborate saga "Sanctum Bellum". The title-track begs to differ with an array of fast lashing riffs, but "3:15" is another more thought-out shredder, a formula followed al the numbers in the second half save for the speedy roller-coaster "Ritual Sacrifice".

Fatal Solution Full-length, 2021
Godless Full-length, 2024

Official Site

DAMAGE I.D. (SWITZERLAND)

Based on the "No Defeating Your Throne" demo, these Swiss specialize in classic thrash/crossover with rough, hoarse hardcore vocals. The approach hesitates between D.R.I. and Attitude Adjustment as the energetic delivery never gets broken with both punk and hardcore nodded to throughout.

No Defeating Your Throne Demo 1997
Damage I.D./Elision Split, 1997

Unofficial Site

DAMAGE I.N.C. (NORWAY)

Fast aggressive thrash/crossover which races on with both short ripping headachers ("Me") and somewhat monotonous abrasive mid-pacers ("The Electric"). The singer is a not very pronounced muffled reciter, his presence negligible at best.

The Very 1st Demo Demo, 1990

DAMAGE I.N.C. (UK)

This act specialize in cool dynamic thrash/crossover which rages with passion on the aptly-titled "Firestorm", and generally the guys take no prisoners later on, with both "Fighting for America" and the more hardcore-flavoured "The New Realities" rushing onward with little fuss, the lyrical acoustic diversion "The Quiet Side" a very surprising oasis amidst the hyper-active shenanigans, the otherwise not very expressive semi-shouty/semi-declamatory vocalist taking a calmer more restrained fall on that one. Later the band regrouped under the name Diekriest, and released another 3-song demo of retro thrash.

The New Realities! Demo, 1986

Youtube

DAMAGE MY GOD (PORTUGAL)

Based on "Psychotic Truth", this outfit play aggressive thrash/death with very guttural death metal vocals. The delivery clings more towards the death metal side for most of the time recalling the good old Swedish veterans Entombed, Dismember and Unleashed. The music is expectedly fast and ripping despite the not very clear sound quality which tries to deafen the razor-sharp guitars at times the latter even providing a few more melodic tunes on the closing Benediction-worship "Insalubrious Bard".

F.U.C.K. Fuck Underground Cocksuckers EP, 2011
Psychotic Truth Full-length, 2014

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DAMAGE RITE (LEBANON)

Not surprisingly, this album begins with Oriental tunes, and later on these Middle Easterners pull it off with intense headbanging rhythms which start pouring out from the opening "Whispers of Ages" the guys changing the tempos although the blitzkrieg approach seems to suit them better: check out the relentless "skirmishes" "Homicidal Death Machine" and the melo-death/thrashing title-track. "Chaos of Souls" is an excellent more technical shredder, but deviations of the kind are not very common as the band are strictly focused on the moshing side of the genre.

The Dehumanizing Factor Full-Length, 2017

Official Site

DAMAGE S.F.P. (FINLAND)

This is largely old school thrashism despite the abrasive guitar sound and the harsh shouty hardcore-ish vocals. The approach tolerates a couple of more interesting deviations like the intricate quasi-progressiver "Death of Innocent" and the hypnotic stompiness of "Ruthless Fate", not to mention the beautiful acoustic instrumental piece "Insomnium; but doesn't delve deeper into the moshing side of things where the short ripping proto-deathster "Grain Brain" and the spinning speed/thrasher "Crying for Relief" belong.
“Punished by the System” lets in power and speed metal into the thrashing melee, the final outcome on the more varied side, the welcoming sing-alonger “Exiled from Paradise” butting heads with the speedy energizer “Face your Demons” and the more immediate headbanger “Punished by the System”, the light-hearted “Track, Load & Charge” pacifying the environment, before the cover of Motorhead’s “Iron Fist” electrifies it for a bit over 2-min, the biggest contrast thrown here being the 6-min soulful ballad “Unfreeze Me”.

Damage S.F.P. Full-length, 2019
Punished by the System Full-length, 2023

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DAMAGE SOURCE (GERMANY)

Based on the full-length, these folks deliver vintage classic thrash which tolerates the odd more atmospheric/doom digression ("Aeons Of Nothingness") as well as the casual more brutal deathly sweep ("Golgatha"). The throaty forceful vocals also belong to the death metal camp, but music-wise this is much closer to thrash with ripping headachers like "Enlightenment" and "Down In The Depths" propelling this opus forward, with a couple of more intriguing technical walkabouts ("Praise The Disease") providing the element of surprise. The band members are also busy with the funeral doom metal formation Nauthik, and the black/death metal hybriders Sadism Unbound.

...Come Deterioration! EP, 2016
Aeons of Nothingness Full-length, 2018

Official Site

DAMAGED (USA)

Based on the debut demo, this act serve brisk ripping thrash/crossover with a fast heavy thumping on "Riot", and with energetic sharp riffs on "Hell and Back", the vocalist singing quite well in the sidelines with a pronounced semi-clean baritone, showing bigger versatility on the balladic section of the latter composition. Some of the band members also played in the heavy metallers Frigid Bitch and Aftershock.

Demo Demo, 1986
Demo Demo, 1988

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DAMAGED CORPSE (BELGIUM)

Raw noisy thrash with a hardcore edge; the songs are short 2-min outbursts, generally fast, but the musicianship is purely amateurish and there's not really much to enjoy here unless you're a fan of the undeveloped, brutal side of thrash/hardcore.

False Reality, True Profit Demo, 1989

DAMAGED FAITH (USA)

This obscurity is heavy crunchy modern-ish thrash which weighs a ton with the steam-rolling riffage and the mammoth rhythm-section although the good melodic singer provides the necessary melodic relief. Otherwise the music resembles the one on Sacred Reich's "Independent" and Flotsam & Jetsam's 'Quatro", maybe with a more overt groovy flair. There are a few more intense pieces ("Have Gun, Will Shoot") to be found, but this effort is already a product of its era, albeit one of the better achievements.

Damaged Faith Full-Length, 1993

Official Site

DAMAGED REICH (UK)

This band specialize in energetic retro thrash which does have its laid-back stopovers ("The Truth Was Never Known") as well as its more intricate side ("The Damaged Realm"), the title-track leading the headbanging fiesta which later gets enlarged by the galloping "The Code" and the closing no-bars-held attack "Aftermath".

Death Becomes Us All Full-Length, 2019

DAMAGEFLAG (IRELAND)

Three tracks of uplifting vigorous power/thrash of the old school helped by a crystal clear sound quality. The guys thrash with force adding the melodic hooks and leads whenever appropriate never losing the merry mood except on the final "Lezbianz" probably where they start bashing in a less bridled manner with hard proto-death riffs the otherwise cool mid-ranged clean singer acquiring harsher "lezbian" tones on this one again with a shade of death metal.

Lezbianz EP, 2012

DAMAJ (UK)

Based on the full-length, this band play modern/classic power/proto-thrash which seldom gets too rowdy, but the steady mid-tempo should win the listener over, especially when the latter comes boosted by the odd vigorous gallop ("Wrath of the Tide"). "Testament of Judas" is a cool energetic, more complex composition, and the vocalist is a cool mid-ranged clean baritone perfectly suiting the not very diverse character of the music.

Give Me Time EP, 2013
The Wrath of the Tide EP, 2017
Ashen Path Full-length, 2018

Official Site

DAMARILL (AUSTRALIA)

The full-length shows a band playing heavy modern gothic-tinged thrash, not far sound-wise from Sentenced's "Amok". The music is varied, sometimes mid-paced, sometimes up-tempo (the nice more aggressive thrasher "Snakes"; the longer but constantly thrashing hard "Singularis"), but the opposition between the gruff low-tuned death metal vocals and the clean alternative ones, which are assisted by more melodic semi-balladic breaks, isn't very well balanced. Still the music delivers mixing sharp riffs with melodic hooks the whole time.

Heart.Hands.Mind EP, 2006
I Of The Storm Full-length, 2009

Official Site

DAMARUS (USA)

This album begins with two stomping heavy proto-modern thrashers, and just before it turns into another Flotsam & Jetsam's "Quatro" clone, comes "Cell 315 (Decomposure)" to thrash your day in a major headbanging Bay-Area fashion. But then arrives "Hollow Mirrors" which is a good heavy mix of ballad and mid-paced thrash with a more modern edge, followed by the similarly-styled "Plight of The Slaves". Still, more fast surprises come along the way: "My Friend" is another vigorous thrasher, but the following "Aurora Borealis" "kills it all" being a tender lead-driven ballad; a good, by the way, dreamy piece; all this amalgam finished with the excellent Metallica rip-off "The Day I Die", a heavy pounding number very similar to both "Of Wolf and Man" and "Harvester of Sorrow". The singer doesn't hide his fascination with James Hetfield, and does a fairly good job singing in a clear attached way. Some of the guys also take part in the deathcore project Cry Havoc as well as in the progressive power/thrashers Xex.

Cell 315 (Decomposure) Full-length, 1995

My Space

DAMATOR (CZECH)

Based on the "Dissenter" demo, this band play acceptable dynamic retro thrash/death that straddles between early-90's Messiah (think "Choir of Horrors, above all) and Therion's first instalment, the atmospheric lure of "Paranoia" contrasting with the overt extremity of "Crystal Shards" and "Triumph of the Death", the husky semi-declamatory deathly presence of the vocalist partly robbing the really cool "Crucifies Our Souls" of its balladic romantic lustre. "Beyond the Rubicon" is a cool complex entangled shredder, and "Splitters of Life" is a fervent somber drama with quite a few twists and turns. Some of the band members also participated in the the doom/deathsters Black Heaven.

Dissenter Demo, 1992
Nekrolog Svedomí Demo, 1992

Youtube

DAMIEN (SWEDEN)

This band has shared a singer and a guitarist with Hexenhaus. So, can we expect great technical thrash from these guys, too? The answer is no: the music on this EP is power/thrash of a more simplistic nature but also quite good. "Not a Pleasant Way to Die" is a heavy stomping track which will remind you of the Nasty Savage debut. "Death Is Part of the Process" is a mighty speed/thrasher, which needs just a little bit to find place on albums like Toxic's "World Circus" (maybe it's the not as technical guitar work), for example. "Knights of the Realm" is slower, more power metal-based, with a great, but very short technical break in the middle, showing that the guys would have been capable of more, if they had lasted longer.

Requiem for the Dead EP, 1988

DAMIEN BREED (GERMANY)

An interesting, unusual progressive power/thrash metal band who center their music and lyrics around the-rise-of-the-antichrist theme taken from The Omen trilogy. The music is heavy, the songs are complex with the appropriate menacing atmosphere, but the approach is kind of one-dimensional, with no much speed involved, except for one track: "Silver Shine". With that small complaint aside, this album is a good example of the more unconventional and original side of thrash metal. Later the band changed their name to Seelenwinter where the music took an even slower, almost gothic turn, with few ties to thrash.

Ave Satani Full-length, 1994

DAMIEN THORNE (USA)

The band's debut is a competent, quite good for its time power/speed/thrash metal effort. It starts with the forceful up-tempo power/thrasher "The Sign of the Jackal", before "Fear of the Dark" (Iron Maiden later did a very good cover of this song... ha ha, kidding, of course!) speeds up admirably coming close to the greatness of Exciter's "Violence & Force". "The Ritual" is a more melodic heavy/power metal interlude, after which the more aggressive and faster sound comes back with "Grim Reaper": an awesome speed/thrasher, followed by another more laid-back number: "Hell's Reign". The next "Escape Or Die" is a true revelation: speed metal at its finest, with great guitar melodies and sharp riffs. "Siren's Call" is a nice companion piece to the previous one, being a short brisk speedster ala early Helloween and Vectom. "Damien's Procession" is the prototypical galloping American power metal track, embodying the movement in an impressive manner, closing this commanding debut.
"Wrath Of Darkness" was recorded as a direct follow-up to it, but problems with their label hid it from sight for 15 years when, finally, it saw the light of day. Its age clearly shows, and thrash metal is anything but a distant memory. It has its moments, though, with its dark, brooding songs and melodic, characteristic higher-pitched vocals. The music is slower and more complex with a few reminders of the more straight approach on the debut: the heavy power/thrasher "Mistress Of Evil"; the aggressive galloping sinister "The Other"; the excellent dark speed metal killer "Former Life".
"Haunted Mind" comes as a revelation bringing back the thrash metal riffs, and combined with the dark atmosphere of the previous release and some progressive overtones, stands for the band's finest hour. The opener "Dark Ancestor" is a very good way to begin this album, with its hypnotic heavy mid-paced riffs. "Haunted" is a nice little, again mid-tempo thrasher. But then starts the more thought-out material, with the more elaborate, and slower, almost doom-flavoured "The Suffering". If this one spoils the impression a bit, "Clairvoyant" does a lot to restore the faith: a mighty up-tempo power/thrash number- a great reminder of the once very strong American power/thrash metal scene. Things get even better, with the aggressive speed/thrashing delight "Exit Jeckyll" in the best tradition of late 80's Helstar. "Dante's Mire" is high-octane doom metal, with a faster thrashing ending, but it would be of more interest to the Saint Vitus and Candlemass fans. "Fire In The Sky" is the obligatory heavy/power metal track, but "Claudia Night" is vintage speed metal with a heavy doom-laden twist in the middle. However, the classic heavy metal sound stays around for "Raise Your Horns", which pulls the more experimental and varied second part down. "Enter The Nightmare" is a satisfying closer, though, sounding quite similar to the opening song, scoring high, making this effort one of the better comeback releases of recent years.
"End of the Game": the guys lost the inertia after their pretty good comeback release, but they are quick to reclaim it with a very determined return to the old school sound, for better or worse. The opening "The Clincher" is vintage 80's American power metal, and the joy will even get bigger on the next "Face Reality", which is a great power/thrasher with dark Oriental tunes, a very cool reminder of the guys' previous offering. "Me Against The World" is a happy speed metal cut, taken directly from their debut; and "Fire" is a nod to the heavy/doom metal scene, with jolly overtones again. When "You'll Come Around" is happiness all the way through, some may start wondering what the hell happened to the sharp guitars. They return with another speed metal hymn: "Indulgence", and with the intense galloping thrash on "Tarantula", the highlight here. But that's about it from the more aggressive side since afterwards comes a string of softer power metal anthems with a touch of speed ("Psychosis"; the invigorating closer "Escape Or Die 2012") here and there. The vocalist Martin DeBourge (who also sings for the progressive metal outfit 7th Overture) is in top form, his melodic high-pitched antics compensating for the not very energetic musical approach. Generally the album will not disappoint and could be viewed as a pretty faithful follow-up (or a prequel) to the debut, but the powerful dark overtones of the previous effort are missing for most of the time, replaced by not as impressive optimistic notes.

The Sign Of The Jackal Full-length, 1986
Former Life EP, 1998
Wrath Of Darkness Full-length, 2001
Haunted Mind Full-length, 2005
End of the Game Full-length, 2011

Official Site

DAMIEN'S TRAIL OF BLOOD (PORTUGAL)

The full-length shows a band treading modern thrash metal waters with shades of both doom and death. This is not very energetic stuff adhering to doom/death quite a bit, and one will be delighted to hear a few faster surprises, like the crossover-tinged "Suicide Note, Part One", for example. Still, this is more on the slower side of the spectre, and as such may keep the doom/death metal fans happier.

Damien's Trail of Blood EP, 2007
The Beginning Of The End... Full-length, 2010

My Space

DAMMERCIDE (ITALY)

Modern thrash/death metal of the Swedish type with a certain progressive edge; not bad, with good lead guitar work and clever riffs. The band don't keep the music in a constant energetic tempo, but quite often insert slower, atmospheric passages. Still, the shorter, less varied compositions work better: "Entangled Sun", "Hormonal"; those are more dynamic and carry a bigger technical charge.

Link Full-length, 2000

DAMN YOUTH (BRAZIL)

Based on the full-length debut, this band play dynamic ripping classic thrash/crossover the guys' blitzkrieg, no-bars-held approach tolerating a few more technical escapades ("Progress") as well. The guitar work is really good, and the sound quality is crystal clear, giving all the instruments a nice click. Short stomping digressions ("Skate Revenge") gel well with vigorous headbangers ("Dynamite is all that we Need") all sides handled by the intense quarrelsome shouty vocals with the requisite level of anger and spite.
"Descends into Disorder" is another purely moshing beats, the band shooting their staple bullets ("Sociopath Corporation of Surveillance", "Your Leader Will Fall") with the utmost intensity, the more restrained shredding on "Restitution" drawing slightly different vistas for a bit, the more intricate riffage of "Descends into Disorder" making strong claims for the highlight here. You've got to run for cover on the short explosive "We Are Your Fear" and "Genocidal Policy", the guys not fooling around, including on the heads-down smashing closer "Assassination Plot".

No Mercy to Nazi Sympathy EP, 2016
Breathing Insanity Full-length, 2018
Descends into Disorder Full-length, 2023

Official Site

DAMNABILITY (USA)

Cool thrash/crossover with speedy, sometimes technical, riffs ("Accidental Existence" is an excellent technical instrumental), and a singer who sounds close to Steve Souza from Exodus, maybe higher-pitched. The music is filled with tempo changes, but is mostly energetic and fast. "Power and Soul" is a cool attempt from the "funk-meets-thrash" genre ala Mordred, but better, featuring stylish leads, but when the next song "Watching Me, Watching You Die" carries on in the same vein, you might find yourself hoping that this would be the last one from this type.

Demo Demo, 1990

DAMNAGE (USA)

Based on the "Harsh Reality" demo, this band still sound pretty classic: this is cool heavy, mostly mid-paced thrash reminiscent of the Brits Xentrix, or 90's Sacrifice in the faster sections. The guitar work is simplistic, but has its hooks, plus really good leads.
The debut demo is another heavy affair with good memorable riffs, again mostly sustained in mid-pace, with a few pretty catchy hooks (check out the semi-balladic opus "Persecution Solution", a dramatic eventful composition) and stylish lead guitar work (the closing steam-roller "Living Inferno"). The singer is a convincing semi-cleaner who is helped on the choruses by his colleagues.

Damnage Demo, 1989
Harsh Reality Demo, 1991
Bludgeon Demo, 1993
Expressions of Anger Demo, 1996

My Space

DAMNAKLEEZ (USA)

A cool and a very obscure gem of aggressive thrash ala Possessed's "Seven Churches" and Whiplash's debut, mixed with speedy assaults similar to Destruction and Kreator. This demo easily surpasses most of the full-length releases at that time, great music that will satisfy both the aggressively-inclined fans and the speed lovers. The furious riffs from "Victory of the Wicked" will bring you back to the first days of death metal. It's hard to believe that with so much talent at display and the very fashionable for its time sound, these guys had remained buried deep in the underground.

Angel Of Evil Demo, 1986

DAMNAS (UK)

Four songs of cool retro speed/thrash in an energetic up-tempo with a good taste of melody, both in the riff and the lead department ("The End Begins"); "Corrupt Mind" is a really engaging number, starting as a ballad, and later speeding up, remaining in the mid-paced parameters with nice galloping rhythms and again, fine melodies. "Threshold" and "Profit Lies" are full-blooded intense speed/thrashers; "Threshold" offers nice semi-technical deviations and is a great track, a seamless mix of haunting melodic licks and sharp headbanging riffs.

Damnas EP, 2008

My Space

DAMNASTY (USA)

Based on the 1992 demo, this act offer classic power/speed/thrash ala Meliah Rage and later-period Laaz Rockit, solid mid-tempo stuff with not bad levelled mid-ranged clean vocals. "Excruciant" is a dodgy 10-min quasi-doom stroll with a belated more dynamic galloping development, and "Echoes" is a sure galloping winner, the thrash returning with the valiant "Don't Get Too Close". The speed metal joy "Three Sided Metal" wraps on this enjoyable recording, which aptly mixes the three styles without messing it up. Some of the musicians earlier took part in the cult thrashers Havoc ("The Grip", 1986).
The 1989 demo is another tasty morsel, comprising just three tracks, "Rapscallion" being a steady mid-paced stride with raucous crunchy riffs; and "Don't Get Too Close" is a more abrasive shorter journey recalling early Sacrilege. "When Darkness Falls" is a dark atmospheric semi-ballad on which the otherwise passable vocals can't be heard clearly, creating the impression that the man doesn't feel confident on the more romantic stuff.
The 1993 stint is another commendable achievement, comprising the choppy crunchy mid-pacer "Breakfast In Hell", the semi-galloping battle-rouser "Prossesor", and the chuggy but effective semi-technicallers "Your Other Face" and "Shotgun Wedding" the latter raising the dynamics high with echoes of Anthrax. The only piece which doesn't quite belong here is "SEXX", a sleazy semi-musical non-sense.

Demo Demo, 1989
Demo Demo, 1992
Recorded Live @ Play (@ DAMNASTY's Practice Studio) Demo, 1993

Official Site

DAMNATION (CANADA)

"Speed Anarchy" is a vicious, brutal slab of speed/thrash sounding like a poor and a more aggressive version of Slaughter's "Strappado". There are semi-successful attempts at mixing aggressive riffs with stomping, Celtic Frost-like ones ("In The Rubbish Of The Church"), but most of the time the guys bash without mercy producing some of the most aggressive and relentless tunes of the mid-80's. Despite its raw, and slightly undeveloped nature, this demo has definitely been an influence on the death metal genre including in the vocal department: these unholy deathly growls would be hard to match even by many of the contemporary death metal singers. This recording must have scared the fans even worse than the same year's efforts of Slayer and Dark Angel: not for the faint-hearted.
The "Aggressive Repulsive Symphony" demo is another chaotic piece of brutality now sounding even closer to death metal with touches of grindcore. The musicianship is below par, but in terms of aggression one could hardly find half a dozen acts at the time who had played such sincerely brutal music. More technical prowess is evident on the final rager "Slamming In The Depths Of Hell", but it may remain unnoticed due to the equally as rough muffled sound quality as on the rest.
The "Damned in Nation" demo is another portion of extreme aggression only that here the guys have messed it up a bit: instead of jumping on the death metal wagon which at that time had already shaped up, they have inserted slamming hardcore passages which mix awkwardly with the more brutal grindy ones. Still, some cuts can easily qualify for the early death metal competitions: "Deadly Faust" (check the excellent chaotic leads on this one), the spontaneous less than 1-min outburst "Exepte Vices", the slamming piece of death "Bastard Live", etc. There are whole 13 tracks here, but their very simplistic corey nature creates the impression that the songs are twice as little despite the improved production qualities.

Speed Anarchy Demo, 1986
Aggressive Repulsive Symphony Demo, 1987
Damned in Nation Demo, 1989
Demo Demo, 1992

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DAMNATION (GREECE)

This is heavy modern thrash metal with sparse faster outbreaks which come more death metal-tinged and to which the gruff vocals suit better. There is a certain hardcore feeling sneaking through so it should come as no surprise that a few months later the guys changed their name, and surrendered to the up-and-coming at the time metalcore trends.

Theater Control Law Demo, 2005

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DAMNATION (USA)

Badly produced, but intriguing power/thrash with a few more engaging progressive decisions. Still, the more immediate headbangers ("Hollow People", the excellent technicaller "Free Man's Worship") deliver the better, especially the short explosive "Holocaust" and the refreshing speed/thrashing closer "Tomorrow's Mourning". The singer is a bit of a spoiler with his unemotional semi-shouty, death metal-ish timbre.

The Beginning Of Time's End Full-Length, 1992

DAMNATION ARMY (SWEDEN)

This is a one-man band (Thomas Nyholm is the name) and as such he does a good job resurrecting the old school black/thrash metal sound from the works of early Bathory and Sodom; this guy emphasizes more on the thrashy side, and his music is probably better technicality-wise with good solo work.
"Death Macabre" is a cool energetic affair that sees the man epitomizing a more aggressive, death-oriented sound with a shade of black ("Ancient Evil Rituals") also present here and there. In fact, the delivery comes quite close to the one of early Dissection with the excellent soaring melodies (check out the gorgeous short instrumental "Demons Abyss") and the wintry sinister atmosphere, the hyper-active template solely betrayed by the more brooding epic "Death Macabre (Part II)".

Towards Damnation EP, 2003
Misanthropic Satanarchy Full-length, 2003
The Art of the Occult Full-length, 2004
Tyrant Full-length, 2006
Death Macabre Full-length, 2019

Official Site

DAMNATION GALLERY (ITALY)

This very diverse outfit have added some hard-hitting thrash on their third instalment, and as such this effort belongs here. On vocals we have a diva but her manly, also deathly, growls surely fit the aggressive death metal-based "Angomarcia", but not really elsewhere. Thrash comes alive on the short non-fussy "Never Say Goodbye", but later on we have dirgy doom ("Fog"), more complex thrash with shades of doom again ("Your Will Shall Be Done"), and epic fist-pumping power/thrash ("Emptiness") where the girl tries a more comprehensible cleaner timbre for a change. Some of the band members also play with the melo-death/thrashers Sick Therapy Armageddon.

Enter the Fog Full-length, 2022

Official Site

DAMNATION REIGN (AUSTRALIA)

Staccato rhythmic classic thrash/death is on display here, the choppy semi-technical delivery of the opening "Talons in Darkness" later carried by the bashing contrivances of "I Am Abyss" and the galloping urgency of "Shadow of a Dark Queen". The second half is woven of fast ripping pieces, "Chaos Rapture" leading the pack there, stood up by the doom-clad officiousness of "Among the Black Trees".

Rapture and Ruin Full-length, 2017

Official Site

DAMNATIONS DAY (AUSTRALIA)

This young Australian band provide melodic classic power/thrash which covers a wide range of moods and musical decisions. The mellow radio-friendly opener "Invisible, The Dead" is a big misleader since later on the guys thrash with force and quite a bit of speed unleashing merciless numbers like "The Meaning", "I Am", and "Reaper". "Ghost in Me" is a nice acoustic ballad with excellent vocal performance (the singer is very good all over with his dramatic semi-high clean voice) after which the thrashing continues on full-throttle with the raging "Reflections" which is superseded by the heavy semi-ballad "Carried Above the Sun" and another very nice acoustic ballad a s a finishing touch ("A World to Come"). There are quiet moments here, no argue about that, but there's also quite a lot of wild moshing to be done so there should be few unhappy with this fairly promising beginning.

Invisible, the Dead Full-Length, 2013

Official Site

DAMNATIONS PRIDE (SWEDEN)

This very short-lived act only left this three-tracker behind, but this is one really impressive blend between thrash and doom with both currents intercepting each other on every number the officiant keyboard-dominated moroseness of "Face In Disguise" frequently carved by hard-hitting spasms of mid-tempo, semi-intricate thrashiness and progressive dramatic arrangements those not far from the ones found on their compatriots Midas Touch's only opus "Presage of Disaster" released the same year. The excellent clean emotional vocals serve fine both styles, "The Great Divide" acquiring more sinister parametres with alluring balladic respites tussling with more intense thrashoramas some of those bordering on the gallop, a couple of infectious melodic tunes circling around to heighten the drama which reaches Candlemass-esque proportions towards the end. "Fuegin" is a crunchy somber thrasher with sudden more lyrical sweeps, a contrasting but delightful blend which also knows its more aggressive thrashy character the latter also reflected in a couple of more stylish schizoid riff-patterns. This is a sheer gem, a perfect example of how two seemingly disparate genres can co-exist together so well.

Damnations Pride Demo, 1989

DAMNATORY (SWEDEN)

Cool American power/thrash metal made in Sweden with a hefty doom vibe; this is nice heavy crushing music that will remind you of Nasty Savage's debut and early Jag Panzer. The vocals sound a bit strained at times, obviously struggling with the higher tones which they try to conquer every few minutes. On the darker moments ("Nailed to the Cross") the band resemble their compatriots and peers Candlemass, but there are more lively cuts ("War Without Sense", "Into My World Beyond") to which one can also add the excellent short jumpy instrumental "Beyond and Back". "Cemetary Of Life" is a magnificent 8-min dark stomping thrash metal opus, the highlight of the album, with the excellent semi-technical shredder "Scars Within the Psyche" a close second.

The Madness Never Ends Full-length, 1990

DAMNED BY GOD (SWEDEN)

Modern thrash without any particular highlights; at least it manages to steer clear of the Gothenburg formulas moving towards the more clinical execution of Dew-Scented and Carnal Forge. The 2-part "The Machine" shows a more ambitious side of the guys' repertoire, but elsewhere the approach is right as rain including the orthodox shouty death metal vocals.

Twisted In Darkness Full-Length, 2015

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DAMNED CREED (GREECE)

Based on the full-length, these Greeks specialize in intense fast-paced thrash ala mid-period Sepultura, Gammacide and Devastation. Don't expect any sophistication here, folks: this is speedy raging stuff with steel riffs, deathly leanings, and a few genuine technical implements (think Gammacide). The songs flow into each other due to the never-ending aggressive bash and the whole album works as one big fist in the face the only moments of "tenderness" provided on the longer "Enslaved Thoughts" including a breath-taking balladic exit. "Embers Blaze" near the end is an exemplary technical cut in the spirit of later-period Death, and one may wish there were more of the kind here the closer "N.A.P." being another more immediate head-splitter with piercing leads and stormy paces. The vocalist shouts in a rending death metal-like manner, a fairly typical for the genre, bit inspired approach. Hopefully, these talents are still alive and well to serve another portion of the same soon.

"Choose a Side" is a commanding follow-up capturing the bridled energy of its predecessor quite well thrashing out in a direct sincere fashion and one may regret that the technical moments from the debut haven't been accentuated on: "Mutiny" clings more towards the semi-technical side and partially the clever shredder "Inhale the Hate", but the guys give up at some stage and start moshing with passion: check out "Doomsayers of Creed" which contains a nice melodic motif, and the short outrage "Enemies Among Us". There's energy to spare here, and the headbangers will have their time jumping on this one all the way through.

Dystopia EP, 2007
Enslaved Thoughts Full-length, 2009
Choose a Side Full-Length, 2013

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DAMNED GRAVE (CANADA)

"Blaspheme Culte": this is a faithful dedication to early Venom resurrecting the primal sound production so well that one may mistaken this effort for a lost Venom album if it wasn't for some sparse modern insertions. The singer is also close to Cronos, maybe a bit more throaty and lower-tuned. The guys change the pace always keeping things on the dynamic side sometimes with galloping rhythms ("City of God"), sometimes with the odd brutal blast-beat ("Dissonant Aggressor"). The band should be given points for the old school atmosphere created so capably, but from a musical point-of-view they still have some catching-up to do even with regards to their main influence.

Pure Fucking Hatred Full-length, 2008
Blaspheme Culte Full-Length, 2009
The Eternal Sea EP, 2009

Official Site

DAMNED PLAN (SPAIN)

Modern heavy thrash/death metal of the semi-metalcore type with a not very convincing vocal duel (the painfully familiar clean-gruff one), clumsy rehashed riffs, and an overall not very inspired attitude.

Beyond Strength Full-length, 2010

Official Site

DAMNED RITUAL (SPAIN)

Modern thrash/death metal which comes served in various paces some of which are pure blasting outrage ("Scum"; but of course!). There are also nods to he Swedish school ("Times of Wrath") provided, in other words there's something for everyone regardless of the fairly derivative execution including in the "guttural vs. screech" death metal department.

Roots Of Evil Full-Length, 2017

DAMNGOD (FINLAND)

Heavy groovy post-thrash, mostly mid-tempo with the exception of the energetic thrash/crossover number "One Of The Nine"; "Fuck Your P.M.A." features some dynamic thrashing, too, but the slower alternative sections "kill" those attempts. The vocals cling more towards the death metal camp reminiscent of the ones acquired by Massacra on their last two efforts. Part of the guys also take part in the death/gothic metal outfit Before the Dawn.

Holy Terror EP, 2008

Official Site

DAMNNATION (ISRAEL)

A progressive power/thrash metal band who have taken their name from the Americans Hades' album. The music is more complex, and at least to these ears better sounding than the one on the aforementioned Hades album. It starts with the softer, progressive power metal number "Forsaken Child", but the sound gets heavier on "Temple Of Light". Then "Peacebreaker" softens down again and later on this effort offers little to the thrash metal fan: the short, more straight-forward "Media"; the up-tempo, Oriental-tinged "Nothing Else to Do", the heavy progressive "Fun". Still it remains fairly entertaining recalling the early works of the Canadians Eidolon mixed with more recent Iced Earth.

Mentally Trapped Full-Length, 2005

Official Site

DAMUDOT (SPAIN)

These Basques offer modern post-thrash with metalcore branchings and as such may not the be the most recommended listen to the hard-boiled thrash metal fanbase. The excitement wears out quickly the band refusing to speed up although some of the melodic licks are quite fascinating (check out those on "Heriotza Da Bakea Dakarren Bakarra"). The singer is a capable throat providing nice clean croons with a few harsher notes added here and there.

Heriotza Da Bakea Dakarren Bakarra Full-Length, 2012

Official Site

DAMZELL (JAPAN)

A really good mixture of power, speed and thrash metal; on "War Songs" the music is mostly speed/thrash metal with great tempos, good soaring guitar lines, and very good high clean vocals; it's only on "Fist & Steel" where the band take a break and offers a nice semi-ballad with an epic feel. The material mirrors Paradox, above all, as the compositions are also lengthy with a lot happening within, the emblematic "Iron Cross" setting the tone with steel sharp riffs, virtuoso melodic leads, and dramatic speedy accumulations. "Terrorizer", contrary to its sinister title, is a very cool semi-balladic stomper with more energetic quasi-galloping decisions implanted later. "Head Bangers" is, naturally a headbanger, a frolic unpretentious speedster, slightly betraying the dominant serious mood of the album, the latter also missing from the closing "Aces", another uplifting nod at early Helloween and Vectom. "Endless War" emphasizes on the speed again, but its moderately intricate as well, and you have to watch out for the gorgeous leads on that one.
The debut provides a similar blend of the three styles with more nods towards the speed metal scene (think early Running Wild, Tyrant (Germany)). The happy-go-lucky heavy metal anthems ("Death March") are inevitably surrounded by edgy energetic speedsters (the Helloween worship ("Street Passion", "Prologue", check the stupendous leads on that one) also recalling their compatriots Sex Machineguns and early Aion. "Black Chapel" is a boisterous power metal sharper, and "Ready to Kill" is a rowdy thrashier proposition.

Ready to Attack Full-length, 1989
War Songs Full-length, 1992

DANCEHALL SATAN (GERMANY)

Thrashcore of the more classic variety, fast but laid-back, stuff with an open punky attitude expressed in the loads of jolly melodic hooks which are a big contrast to the gruff throaty vocals which come with a certain hysterical shade.

Beyond Good & P.C. EP, 2008

DAN BAUNE'S LOST SANCTUARY (GERMANY)

A German duo, one of whom is Dan Baune naturally, specializing in passable but not very striking retro power/thrash which loses points from the meeker, more timid material (the heavy metal sing-alonger "Temple of Fear", the melancholic balladic drama "God of War"), the compensations for those not coming exactly in draws, the wild speedster "The Arconite" one of the exceptions. Dan's the vocalist, and his cool mid-ranged, not excessively passionate croon can even pass for the highlight here.

Lost Sanctuary Full-length, 2021

Official Site

DANDO GUERRA (SPAIN)

Based on "Street Warriors", this act provide typical melo-thrash/death of the Swedish variety, the shouty but hoarse hardcore vocals assisting with their not very compromising vociferous stance, the friendly trots on "La Tormenta" proving contagious in the second half where the delivery gets mellower and more welcoming in a way not too far from later-period In Flames.

Más Allá del Fuego Full-length, 2016
Street Warriors Full-length, 2023

Official Site

DANGER (CHILE)

Based on the self-titled, this band play energetic classic thrash which is exemplified by both wayward gallopers (“Despertar”) and bashing all-out headbangers (“Tormento”), the cool attached clean vocals a bit too soft for the remorseless musical melee. Brace yourselves also for the maddening “Peligro de Muerte”; and for the equally vehement speed/thrash tornado “Ira en Descontrol”. The band members are also engaged with the death/thrash hybriders Portentous, and the old school thrash units Demencia and Grendel.

Peligro de Muerte Full-length, 2020
Danger Full-length, 2023

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DANGER (COLOMBIA)

Two songs of raw energetic speed/thrash metal with a clear early Metallica influence; the guitars are very fuzzy, and the singer semi-shouts in an intelligible quarrelsome manner completely deafening the instruments when in action ably helped by the loud shouty choruses.

Grito De Libertad, Single 1987

DANGER CROSS (GREECE)

Based on the "Recitation of Death" demo, this band takes the sound of late 80's Flames on a more extreme level. Clearly influenced by their more renowned compatriots, these guys pull out quite fast and brutal thrash/death metal, one of the first hybrids of the kind in Europe. There are more quiet, slower breaks, but the band is way better sticking to sheer speed and aggression.

Recitation of Death Demo, 1988
The Art in Pain Demo, 1989

DANGEROUS (CHILE)

The full-length: metal "heritage" from Chile we have here, one that lashes speedy relentless riffs from the get-go bringing memories of Rigor Mortis and Devastation on top of some really great melodic leads (check the ones on "Victims Of Hate") ala Kai Hansen (the song-title could be a reference to the Helloweens?). "Thrash on the Streets" is a surprisingly technical affair, considering the "dirty street" title which would befuddle the listener further since within a short span of time the guys have inserted several influences. The speed/thrashing rifforama continues with "Murderous Tradition" and from this moment onward the approach gets more immediate and linear excluding the elusive progressive leanings on "Executioners Of Mankind" and the glorious lead sections on the closing speedster "Running Amok". This is a really good effort which could win a few more points if the passable declamatory semi-clean singer pulled it out with more emotion. Some of the musicians are also active with another classic thrash resurrector, Chaotic Bastard.
The EP contains similarly-sustained material ranging from thought-out progressivers ("Depression") to even more captivating technical exercises ("Resource of Self-Destruction") with a wide gamut of riff-patterns and tempo shifts. "Humanity's Downfall" is an excellent dramatic roller-coaster, and "Voices from Another Dimension" is again more on the less elaborate, but alluringly technical side, an all-instrumental proposition with a cavalcade of dazzling virtuoso leads. All the way to the final "Venganza", the most linear piece here, a bashing headbanger closing this effort with verve and passion.

Metal Heritage Full-Length, 2015
The Shackles of Existence EP, 2017

Official Site

DANGEROUS MUTATION (SPAIN)

Based on the full-length, this one-man band, the name Francisco Javier Martinez, plays aggressive bashing thrash/death with stylish leads, frequent proto-blasting passages, and casual displays of a more technical song-writing ("There Will Be Carnage"). "Relentless Stabbing in a Fractured Skull" serves a few more moderate mid-tempo strokes, those also present on the gigantic 10.5-min odyssey "Infinite Horrors" at the end, Martinez choosing the doomy template to explore as a finishing touch, his vociferous deathly baritone supervising the hyper-active soundscapes with brutal panache.
The EP is the first slab of the thrash/death hybrid practiced by this batch, "Dismember the Deadites" an assured rowdy headbanger, "Sick, Twisted & Dissected" embracing the death metal patterns more fully, the doom-clad drama of "Together As One" a welcome deviation, before ".44 Caliber Brain Surgery" rips through the speakers, a remorseless breezer, a cover of Demolition Hammer.

Ripped in Half EP, 2021
Infinite Horrors Full-length, 2021

Official Site

DANIEL WAX OFF (UK)

Based on the full-length, this act, who named themselves after a popular line from the "Karate Kid" film, offer impetuous classic speed/thrash with a more or less overt hardcore edge and a fuzzy guitar sound which betrays its modern origins. Otherwise, the band stick to pure thrash/crossover in the second half, moshing wildly with a good sense of melody ("Square Tails"). "6AM Thrash Attack" would be a really rude awakening even for the hard-boiled thrashers, a really aggressive slab with a rousing shouty chorus. The vocals are appropriately semi-shouty and punky with a slight shade of melody sneaking in on the more lyrical "shreds".

Puttin' Oot da Thrash Full-length, 2014
Night of da Shred EP, 2014

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DANOS (GERMANY)

Crusty black/speed/thrash that isn't very far from the stuff offered by the guys' compatriots Hellish Crossfire, with a more expressed epic flair which would inevitably bring mid-period Bathory to mind. The epicness ("Secret Sorcery", the excellent melodic "Blazing Sky") prevails at times, but the band make sure the dynamics remain with faster-paced (the title-track, the Venom-esque "Rampage Instinct") numbers timely provided, the vicious black-ish vocals taking care of the sinister witch-like background.

Doomsday Witchcraft Full-length, 2018

Official Site

DAOR (FINLAND)

These are four tracks of intense modern thrash/death with gruff death metal vocals; good music with expressive dramatic riffage and effective, but sparse lead inclusions. The songs are sustained in a crushing mid-pace with crunchy, pounding guitars leaving the more melodic infatuations for the last composition "This Great Divide" which is a nice blend of hard-hitting riffs and quiet balladic passages.

From The Bleeding River Demo, 2010

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DARCANE (FINLAND)

This band is the former Holocaust (Finland) and the present Mind-A-Stray. The bands' styles vary throughout the years from excellent Bay-Area thrash to post-thrash strongly influenced by Metallica's Black Album.

Survivors of the Holochaust Demo, 2002
The Very Worst of Darcane Best of/Compilation, 2003
Anamorphica Demo, 2004

DARCHAIC (SLOVAKIA)

Based on "Purgatorium", this outfit offer crunchy modern thrash/death metal which lacks depth and aggression and relies on repetitive mid-paced patterns and sudden spasmodic blasts which are awkwardly accompanied by very melodic leads. This mish-mash has its more vivid moments: the dramatic dark piece "The Reign of Cain", the brooding doominess of "Diogenesis", the lyrical digressions on the final "Purgatorium"; it's just that it tries to embrace too much without paying its fair share to the aforementioned basic genres ending up sounding like an incoherent gothic metal opera which was reportedly more structured and less scattered on the debut.
The debut is more epic-sounding touching Amon Amarth at times ("My Demons", "Languedoc"), but isn't completely devoid of speed ("Euphoria" is a nice little thrasher). The closing "Dust To Dust" is a gigantic 1-min opus which manages to squeeze a few hard-thrashing moments among the progressive sprawlings, and even ends up being a fairly engaging listen.

Spirit Black Heretic Full-length, 2010
Purgatorium Full-length, 2012

Official Site

DARCHITECT (BRAZIL)

The debut: this is energetic old school thrash with a somewhat mechanical guitar sound and very guttural death metal vocals. At times the music comes with a nice technical edge ("Elevate into Dark") with echoes of Megadeth, but generally the approach is more on the rigorous, bashing side as exemplified by headbangers like the title-track and the excellent more elaborate closer "Thy Blood on My Hands".
On "The Visiting" these lads serve dark atmospheric death/thrash/doom which is more on the modern side, the more complex character of cuts like "Hidden Voices" and "The Lighthouse" displaying bigger ambition, also nothing up the death metal presence, the latter always boosted by the hoarse guttural vocals. The middle is occupied by strange ethereal doom/balladic tractates, one of them ("Evanescing Hopes") purely acoustic, another ("Mirrors of Illusion") an epic doom elegy. The diversity gets even bigger later with the power metal galloper "Behold Me as I Fall" added for not such good measure anymore, the clean vocals epitomized on it only adding to the confusion, the guys returning to the more vigorous thrashy patterns with the closer "Adrift". Some of the band members also play with the heavy metal formation Aryuz.

Mechanical Healing Full-length, 2017
Blasphemus EP, 2020
The Visiting Full-length, 2021

Official Site

DARGOLF METZGORE (GERMANY)

Based on the EP, this band offers your average modern thrash/death metal, both fast and melodic with sparse blast-beats, with references towards At the Gates and early Dark Tranquillity, above all, the main difference coming from the gruffer lower-tuned vocals.
"The Path to Madness" is almost pure death metal "madness" the band lashing like demented all the way through not forgetting about the melodic aspect of the genre which is mostly reflected in the slower, more meditative numbers ("Negator Of God"). This is diverse, semi-progressive music which is partly marred by the use of not very appropriate clean vocals. "Saharian" is an excellent short technical head-splitter later matched by the admirable guitar pyrotechnics on "Labyrinth Of Ruin"; the rest is more on the hyper-active side as the rhythms and riff-changes are too frequent for one to be able to notice all the nuances present.

Captured Thoughts Full-length, 2006
Guts, Blood & Booze EP, 2007
Blood Rush Full-length, 2009
The Path to Madness Full-Length, 2014

Official Site

DARK (CZECH)

Based on "Zyezn Gamballe & Mental World", this band plays ordinary, unimaginative modern 90's post-thrash with a strong melodic edge, often clinging towards the balladic type, sounding like a very poor version of The Black Album, or 90's Flotsam & Jetsam. At times the music takes a very aggressive edge: "Endless Envy", which sounds almost surreal on the bleak, listless landscape with its death metal riffs. No idea how the other works of the band sound like, but based on this one the guys richly deserve their underground status.

"Sex 'N' Death" sees the guys in a better and much more inspired shape pulling out quite intense, but also technical Massacra-esque thrash/proto-death. Good semi-technical stuff which will also remind you of the later transformations of Messiah and Protector from the 90's. So expect fast-paced music, seldom very brutal ("The Focus of Pus", "Sex Shop of Dr. Fucktor"), with cool technical breaks, nice more melodic hooks, and low-tuned death metal vocals. The more technical moments go straight into Death territory ("Making My Blood Boil"), and generally the songs are nicely technically-decorated, with a couple of stylish leads present. Watch out for "Deadly Coitus": a fascinating mixture of raging very fast play and nice balladic breaks, plus the compelling opening technical riffs.

"Under The Bottom", having in mind the weak material offered on the predecessor, should be no surprise with its boring repetitive riffs trying to shift now from the thrashy patterns into a very unconvincing mix of gothic and 90's groovy post-thrash which clings towards doom too much, and is consequently mid-paced at best. Nothing really worth checking out except perhaps for the interesting attempt at an alternative ballad at the end "I and My Puppet" which at least sounds offbeat.

Sex 'N' Death Full-length, 1992
Zyezn Gamballe & Mental World Full-length, 1994
Under The Bottom Full-length, 1996
Dark Gamballe Full-length, 1998

Official Site

DARK ABBEY (SWEDEN)

This is the band who later changed their name to Epitaph, and left a more lasting impression on the metal scene. The style is not quite similar to Epitaph: what we have here is an early thrash/death metal hybrid recalling the Swedes Merciless and the French Massacra.

Blasphemy Demo, 1990

DARK AGE (CHILE)

Melodic semi-progressive thrash/death metal which strangely reminds of Dark Tranquillity's "Haven"; fast riffs take turns with slower, stomping ones, and in-between them come more elaborate progressive passages. The sound gets unpleasantly groovy and clumsy on some songs ("Void Grip"), other times it goes into doomy waters ("Stolen Sanity"), again offering a non-desirable deviation. The good side are the more immediate thrashers ("Deity Of Rage", the nice complex instrumental "Strong Evidence Of Hostile Aggression"), which carry a cool technical edge, but should have been more.

Psychotic Side Full-length, 1999

DARK AGE OF TECHNOLOGY (USA)

Based on "Ragnarok", this act serve modern quasi-progressive thrash which doesn't rely on speed too much but moves onward with a consistent mid-tempo march, the academic epic veneer of the semi-balladic title-track a slowdown of some sort, the sleepiness induced compensated almost immediately by the hard thrashing anthem "The Trier Inquisition". No any more surprises of the kind, the doom/semi-balladic epitaph "Pressure and Anxiety" another testimony for the band's anti-climactic proclivities.
"Dehumanify" is a darker more atmospheric recording but the band don't take it easy, and here comes "Strombringer" to bring not only storm but a vortex of fast ripping rhythms, the more entangled developments on "Omnissiah" pairing well with the more epically-performed "The Great Crusade". "Revolt of the Peasants" is a dragging brooding tractate, and "Daemonifuge" is a morose doom walkabout, the guys failing to capitalize on the more promising dynamic beginning.
"The Torment Nexus" is another varied offering, the band blending pounding doom-prone strolls ("The Torment Nexus") with friendlier power/thrashers ("Ignition Point") and occasionally more dynamic pieces ("To Serve Man"), the lead guitar work on a consistently high level, making up for the monotony instilled at some stage.

Dark Age of Technology Full-length, 2018
Ragnarok Full-length, 2020
Dehumanify Full-length, 2021
The Torment Nexus Full-length, 2022

Official Site

DARK AGES (SWEDEN)

Based on the demo, this band play dark indeed mid-paced thrash of the old school, the stomping riffs of "Kingdom of Fire" recalling the early Xentrix exploits; in other words, there's an audible Bay-Area sniff in the delivery, the title-track touching doom with its elephantine rhythms. "The Abyss" is a nice short lead-driven instrumental, missing the cool steady mid-ranged semi-clean vocals. Some of the band members also played with the retro thrashers Virgin Sin.

Temple of Death Demo, 1999
Valley of Death Full-length, 2011

Official Site

DARK ALADAS (SPAIN)

This is heavy groovy post-thrash which apart from the plodding and repetitive riffs offers more dynamic and more melodic crossover numbers: "Nada Por Crear", the cool little Pro-Pain-esque headbanger "Deseaste Tener", "Odiando. T.". The closing instrumental "Trismus" is a cool touch as well providing hard-hitting doom-laden grooves for about 7-min.

Muestra Los Dientes Full-Length, 2007

My Space

DARK ALLIANCE (USA)

These are two songs of progressive power/thrash in the vein of Sanctuary and Helstar. Lengthy compositions with some striking musicianship involved, in the form of invigorating galloping riffs, blazing melodic leads, intense headbanging sections, squashing doomy passages, and very good attached clean vocals. This "dark alliance" could have lasted longer: there is quite a potential on display here...

Dark Alliance Demo, 1991

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DARK ANGEL (USA)

True legends of thrash metal, Dark Angel started their career with the inspired, but rough and a bit unfocused, "We Have Arrived" which hesitated between intense all-out thrashers ("Welcome to the Slaughterhouse", "Merciless Death") to much milder power/speed metal hybrids ("Vendetta"). Don Doty's performance is also shaky ranging from throaty proto-growls to much cleaner, almost wailing John Cyriis-like, vocals (check "Vendetta" again). No flaws of the kind, though, on "Darkness Descends", which is a shattering lesson in speed and brutality, aggressive "merciless" thrash which, along with Slayer's "Reign In Blood" the same year, rocked the metal fan's world down to its very roots. With much tighter musicianship, without any non-thrash "dissipations" this time, this album remains one of the most brutal recordings of the mid-80's, also featuring a remastered version of the band's early hit "Merciless Death" from the debut, as well as hints at a more ambitious song-writing: the 8.5-min of total thrash fury on the excellent diverse "Black Prophecies". This album also introduced the legendary drum virtuoso Gene Hoglan who stayed with the band until the end.

"Leave Scars" is an elaboration on the approach from the aforementioned "Black Prophecies" seeing the guys evolving further into a formidable perfectly polished thrash metal machine. The short fiery delivery of the preceding effort has been preserved for a couple of tracks in the beginning, but later on the compositions are much longer, although there is seldom mercy shown the band thrashing fast and tight throughout with bold hints at more interesting things to come. This album also introduced Doty's replacement: Ron Rinehart, whose semi-declamatory antics sound a but annoying at this stage, although to these ears they seem to be a match, most of the time, to the rapidfire musical approach which only falters on the off-beat Led Zeppelin cover of "Immigrant Song" thrown in the middle.

The band's swansong is one of the last masterpieces of the fading thrash metal movement, a grandiose album of tight complex thrash metal, played with both technicality and aggression, a crushing display of the genre at its finest, managing to justify the really ambitious, and pretty boastful, description which was put on the album cover ("9 songs, 67 minutes, 246 riffs!") at the time of release. This, however, would not have been possible without the participation of Brett Eriksen, the ex-Viking guitarist, who joined the band for this last "temptation", and co-wrote most of the songs in team with Hoglan. Rinehart here sounds much more convincing incorporating quite effective attached clean singing, the perfect booster to this ultimate tour de force, which doesn't hide its fascination with the dark sterile sound of Metallica's "...And Justice for All" (the smashing galloping riffs on "Sensory Deprivation" are a nice reverberation from "One"), sounding like the much more logical epitaph to their more renowned colleagues' "flirtation" with the genre, than the latter's much vaunted Black Album.

One could hardly think of a better finish to a short, but eventful, career, but one should also start thinking about resurrecting this "monster", which remained one of the few veterans left unchallenged by the resurgent interest in the genre of recent years. The guys attempted a comeback, as a matter of fact, in 2002 with Hoglan, Rinehart and the founding guitarist Eric Meyer getting together again, with the help of the new member, the bass player Danyael Williams, and things looked really promising until a sad accident, which caused Rinehart a serious spinal injury, forced the band to disband once more. Unfortunately, Rinehart will not be able to perform on stage again, so it remains to be seen whether his former colleagues would manage to find him an able replacement...

We Have Arrived Full-length, 1985
Darkness Descends Full-length, 1986
Leave Scars Full-length, 1989
Time Does Not Heal Full-length, 1991

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DARK APOSTLE (USA)

The debut: these "dark apostles" indulge in intense modern thrash/death with more macabre black metal overtones which also come from their corpse-painted faces. The guys play quite fast reaching blasting extremes ("I Am the Crucifier") with ease, and tracks like the detonating semi-technicaller "The Judas Cradle" only make the proceedings more appealing. On the rest the thrashy melee is guaranteed nicely supported by the cool bass bottom, but hampered by the hissing sounds emitted by the guitars at times.
"Apocalyptic Cabal" continues with the "carnage" experienced on the debut the by notching a bit the black metal elements for the sake of the thrashing ones. As such this recording would be of little interest to "Mandate" one of the few full-blooded thrashers here the rest embracing the black/death metal hybrid whole-heartedly the title-track at the end strongly recalling the early exploits of Dark Tranquillity and In Flames.

Arcane Omniscience Full-Length, 2012
Apocalyptic Cabal Full-Length, 2016

Official Site

DARK ARENA (USA)

This band is a side project of two members of the progressive power/thrash metal masters Antithesis. The music is a more melodic version of that band: progressive power/thrash of the more traditional variety, also resembling the Symphony X's more aggressive material ("The Divine Wings of Tragedy") with powerful, high vocals courtesy of Juan Ricardo, the singer who also did a fine job on the only Ritual (USA) album. The music has all the necessary elements of the 90's power/speed metal genre which might be a drawback to some: galloping rhythms, catchy choruses, keyboard melodies, balladic passages ("Dark Sorrow" is a great acoustic instrumental), even some epic ones. The thrashy riffs dominate on some parts, but the sound stays truer to power metal, but is definitely worth checking out: there is enough technicality, mixed with a good sense of melody, involved to attract your attention.
"Flowing Black" is a big improvement over the debut even beating the two Antithesis efforts on the best moments. "Eclipse Of The Sun" opens the album in an awesome crushing technical fashion later adding cool melodic leads and a nice chorus. "9 Days Below" is more dynamic with brisk galloping riffs and a more aggressive thrashier attitude also reflected in the vocal participation featuring a few gruff death metal inclusions as an addition to the very good clean mid-leveled main vocals. "The Holy Grail" is a masterpiece of jumpy technical thrash with dramatic Oriental melodies, and a great doom exit with a brilliant technical twist at the end, which has a worthy follow-up in the face of "The Offering", a diverse progressive opus with an imposing dramatic speedy beginning later enriched by great lead sections, hard thrashing riffs in mid-pace and several stylish technical hooks. "Dirty Bomb" is a more immediate energetic up-tempo power/thrasher with balladic insertions, but the technical prowess returns with "Another Day Gone By" although on this one the leads are again the highlight if we exclude the very intriguing twisted beginning. "Blind Leading The Blind" is a cool, albeit not exceptional, semi-ballad with the lead guitarist stealing the show for the umpteenth time. The end is a true revelation: intense galloping speed/thrash with fine progressive passages in the beginning, plus the closing one which is a great abstract Coroner-esque lick. Although the guys have come with a really strong material here a certain feeling remains that they still have quite a few ideas up their sleeve which would hopefully find a fuller realization on future releases.
"Ode to the Ancients" is "an ode" to the progressive side of power/thrash and as such it delivers on all counts with sharp lashing riffs, beautiful melodies, a couple of furious passages, and some impressive performance from the singer who this time dares into the higher registers quite a bit recalling Warrel Dayne (Sanctuary, Nevermore). The album is divided between short more immediate (the ripping headbanger "Hittman") and longer, more engaging compositions (the heavy shredder "Myth and Superstition"). "Thrive" is almost doom-oriented with its high-octane seismic guitars influencing the following Nevermore-worship "Sever", before "Lost in Shadowland" acquires mellower, more balladic overtones. "Pretenders to the Throne" is an impetuous galloper with nice melodic insertions, and "War in Heaven" is a more spacey progressiver somehow logically leading to the closer "Animus Acerbus" which is the only pullback being a full-fledged lyrical ballad.
"Non Human Contact" is a compilation album containing songs which were leftovers from the previous album, in league with a few numbers of similar fate from "Flowing Black", plus a couple of very good covers: "Sacrifice" of the obscure American power metallers Torment; Death's "Lack of Comprehension", Scorpions' "Sails of Charon", and Crimson Glory's "Red Sharks". At the end there are also several never released before tracks from their first 2000 demo.
"Worlds of Horror": a great, also quite unexpected return from these masters of the dark intricate arts... the sad demise of the guitarist Paul Konjicija in 2019 darkened this camp some more, also obstructing the musical endeavours of the remaining crew members, but here they are again, thrashing in honour of their departed comrade, all the guitar parts in the album courtesy of him. The vocalist Juan Ricardo is also gone, replaced by a new throat, Brian Allen (Vicious Rumours, Last Empire, etc.), whose emotional clean tirades are perfectly acceptable. On the music front expect a continuation of the guys' technical/progressive take on the old school thrash idea, with heavy macabre marchers ("Dark Arena") siding with epic atmospheric thrashers ("Annunaki Arise"), the deviant jumpy riff-patterns on "Damnation Within" flowing into the awesome steel gallops on "Bite the Bullet". The speedy immediacy of "Sacred Rite" is more than welcome, especially when paired with the dramatic pathos-inducing anthem "Destiny Bridge" and the closing acoustic elegy "Abandoned".

Alien Factor EP, 2006
Alien Factor Full-length, 2006
Flowing Black Full-length, 2009
Ode to the Ancients Full-length, 2013
Non Human Contact Full-length, 2013
Worlds of Horror Full-length, 2021

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DARK ARMY (USA)

Just one guy (the name is Jon Williams) is behind this noisy amalgam of post-thrash and industrial which (based on the EP) develops in an energetic mid-tempo fashion with heavy, but repetitive, guitars and unpleasant synthesized shouty vocals. The music has a peculiar playful tone which may remind you of Die Krupps and even KMFDM, but the man relies too much on the technology to pull it through ignoring his musical skills a bit for the sake of noisy landscapes on a pounding guitar base.

Dark Army EP, 2001
Death Throes Daemonicus Full-length, 2002

Official Site

DARK AWAKE (SPAIN)

Dark gothic thrash/death metal of the modern type, mid-paced with a fuzzy guitar sound; the music is too melodic at times adhering to balladic passages, and generally there is a lot of atmosphere, especially on the 8-min progressive opus "Witness of Fate". "Maud-Evelyn" blasts out for a while in a furious black metal fashion starkly contrasting with the other much softer material.

Ragnarok Full-length, 1999

Official Site

DARK BLACK (USA)

Based on the full-length, this act provides vintage classic power/thrash along the lines of early Iced Earth, Liege Lord and Dragonwyck. The music is energetic without being too speedy relying mostly on galloping riffs ("Sellsword", "Ancient Stone Sentinel") and cool melodic hooks with a pinch of the twin guitar duels of Iron Maiden. The singer has a cool clean timbre but is buried too deep in the mix that sometimes it's really hard to be heard clearly. Tracks with an epic "decoration" will also remind you of Drifter and even Bifrost: "...With Lightning Speed". Straight thrash is hard to be found here, but the mix works fine despite its obvious infatuation with melody.

The Barbarian's Hammer EP, 2005
The Sellsword Full-length, 2009

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DARK CELL (UK)

Based on the "Promised Lands/Evilution" demo, this act specialize in harsh quasi-industrial modern thrash, the very shouty deathly vocals adding more to the artificial noise generated ("Promised Lands"). Some much nicer cleaner vocals pop up on all over, turning the otherwise suitably angry semi-ballad "Evilution" into a less serious industrial vaudeville with a surprisingly brutal near-death epitaph.

Promised Lands/Evilution Demo, 1999
Cursed Ones Demo, 2003

DARK CENTURY (CANADA)

Based on "Murder Motel", this band play brutal thrash/death which is perhaps more death metal-based, including the vocals, the guys playing with force sticking to the up-pace for most of the time seldom lashing with stomp ("Kill the Crowd") and playfulness. "Dead Birds" is an appropriate technicaller which gives rise to a couple of more aggressive, more clever pieces the series finished with the nice closer "Gore On My Snare" which provides a portion of less intense, but equally as intriguing riffs.

Days of the Mosh Full-length, 2008
Murder Motel Full-length, 2014

Official Site

DARK COSMOS (CHINA)

Modern heavy power/thrash metal with numerous metalcore references, among which the clean vocals seem to be quite cool, and should have been better covered than the gruff death-ish shouts which dominate the landscape. Music-wise this is melodic emotional stuff which lacks speed and sharpness, and the frequent balladic sections should come as no surprise gracing at least half of the songs.

Metal Heart Full-Length, 2009

DARK CREATION (GERMANY)

Based on the "In the Name of Torment" demo, this is intense thrash/proto-death in the spirit of Possessed and early Protector. The singer is a vicious death metal growler often interrupted by a snarly black-ish raven. The songs are fast-paced one of which crosses the borders of good behaviour towards brutal black/thrash/death: "Church of Lies". The end is occupied by the Slayer cover of "Postmortem".

Campaign in the Sign of Evil Demo, 1998
In the Name of Torment Demo, 1999

DARK DAY DUNGEON (SWITZERLAND)

Based on "Know Your Enemy", this band plays modern thrash with shades of metalcore. Paradoxically, the music is more on the slower atmospheric side, the guys only lashing more aggressively on the death metal-laced "Burning Symbols", which livens up the situation near the end with sharp At the Gates-esque riffs.

Dark Day Dungeon EP, 1999
Know Your Enemy Full-length, 2002
Let the Sin Begin EP, 2002
By Blood Undone Full-length, 2005

Official Site

DARK DESIGN (USA)

This new formation, who were previously known as Nocturnal Fear when they played classic thrash/death metal, play epic modern power/thrash which has its common sides with the 80's American scene (Jag Panzer, Omen, Savage Grace on the faster moments), but there are angrier elements to be caught: the nice fast-paced progressiver "Dragonmount", although the officiant tone is seldom broken the closing "Spice World" (!) being a sprawling power metal saga giving a lot of room to the very good soulful singer to perform who could be even considered the highlight here.

Prey for the Future Full-Length, 2013

Official Site

DARK DREAM (GERMANY)

This young German outfit offers an interesting diverse sound which is based on a heavy mix of thrash and doom metal accompanied by low-tuned death metal vocals and quite a few intriguing decorations (the Oriental rhythms on "Out of Control"; the nice balladic beginning of "Fight", which is an otherwise cool gothic anthem). Still, the faster numbers work better: the dynamic technical "Infected by Desperation", which abandons the morose, sleepy tempo; or the jumpy, again technical, even progressive "Monster", adding more nice Oriental atmosphere. "My Soul Will Roam on Forever" is a typical example of the dominating doom-infused sound of the album, but the creepy technical riffage, combined with the heavy one, makes up for an engaging listen. Then comes "Revolt", which elevates this effort to higher levels, providing another doze of first-rate technical performance and cool headbanging moments. The closing "On Fire" carries on in the same vein, including more ordinary passages from the Swedish thrash/death metal scene, plus quite good operatic female vocals which turn it into a fine progressive thrash/gothic/death metal opus. Although the slower moments prevail, there is more than enough here to satisfy the thrash metal fan, especially the one who likes his thrash more thought-out and technical.

Behind Dead Eyes Full-length, 2007

Official Site

DARK DECEIVER (GREECE)

Two guys are behind this project and it sees them thrashing with passion by balancing the approach between the modern and the classic school, and between slower and faster numbers. The sound has a thick dark, gothic feel to it which goes well with the macabre semi-death metal vocals the latter especially fitting to the morose doom-fixated parts ("Poimandres").

Divide Et Impera Full-Length, 2012

Official Site

DARK DECEPTION (USA)

Based on the "Tales Of Dark Deception" demo, this band offers a potent blend of speed and thrash metal. The music is heavy and pounding, but there are quite a few moments when it speeds up quite a bit, and if we add a considerable number of stylish technical hooks thrown in here and there, look no further than Torture's "Storm Alert", or Viking's "Man of Straw".

Sadistic Intentions Demo, 1988
Tales Of Dark Deception Demo, 1990

DARK EMPIRE (USA)

The band debut (not reviewed here), is a cool slab of progressively-laced power/speed metal, a sound typical for the other two acts where the singer Jens Carlsson (Persuader, Savage Circus) displayed his vocal talents. On this work the guys have hardened the sound, adding a certain doze of thrash metal into the power/speed proceedings, and the final mix is worth checking out. The music comes as a more aggressive, and more technical, version of Savage Circus, and really takes off on the faster compositions ("Salvation Denied", "Humanity Dethroned"). The "Prelude" in the middle is a very interesting instrumental of technical power/thrash metal followed by the superb heavy progressive thrash monster "Haunted". More speed comes to bang the head that doesn't bang, on the furious "Possessed (We Are One)", fully compensated on the closing "Closure" (is this not a very appropriately chosen title?!): a peaceful balladic composition; not bad, but hardly the best option to finish such a fast-paced energetic effort.
The "dark empire" is rising again, and "From Refuge to Ruin" shows the guys, who are now a trio, in an inspired form again, pulling out the staple convincing mix of speed, progressive and thrash mixing all in a cool, memorable way on the opening "A Plague in the Throne Room". Heavy crunchy riffs take over on the longer "Dreaming in Vengeance" which is a brooding moody composition with an overt doomy edge, and the following "The Crimson Portrait" is just a bit faster. Formidable aggressive thrash is the order of the day on "Dark Seeds of Depravity", but don't expect two in a row of the kind the title-track being 10-min of pensive heavy progressive which at least scores high in the lead department. "Lest Ye Be Judged" offers more explosive speed/thrash, the intense delivery ably supported by a few deathly growls which try to oppose to the cool attached clean vocals. The death metal vocals stay around for "What Men Call Hatred" which is an otherwise good mid-paced shredder before "Black Hearts Demise" makes the heads bang with another portion of fast'n hard riffage which gets well translated on the closing mega-opus "The Cleansing Fires", a diverse 14-min song which blends furious proto-death passages with very quiet balladic ones, constantly changing creating an encompassing, operatic atmosphere. This is another pretty good effort from the band who surely have more up their sleeve to offer in the days to come.

Humanity Dethroned Full-length, 2008
From Refuge to Ruin Full-length, 2012

Official Site

DARK ENTROPY (USA)

This formation play buzzy modern thrash which has power and aggression aplenty, but the noise in the guitar and drum department is a major obstacle at times. The band stick to heavy volcanic riffs in mid-pace which surprisingly get interrupted by more melodic inclusions ("Broken Night") and sudden fast sections ("Sins of Our Fathers") which even smell death metal. The singer shouts in a not very pleasant, unrehearsed fashion, but suits the undemanding, ultra-heavy, musical delivery. Some of the band members are also involved with the more dynamic death/thrash metal act Central Disorder.

Demo Demo, 2011

Official Site

DARK FROZEN ARK (COLOMBIA)

This Colombian formation play cool edgy old school thrash, generally fast-paced with an added death metal-ish drama ("Melancholy" which is full of addictive melodies both in the lead and riff department) at times. "Darkland" is a surprisingly slow piece with some epic touches, but don't expect too much mercy shown elsewhere. The singer is a subdued death metal grunter, but is comprehensible and tolerable.

Through The Iced Sky Demo, 2010

Official Site

DARK GOD (CHILE)

Based on the debut, this formation indulge in dynamic retro thrash/death which is built exclusively around fast blitzkrieg riffs and little else. The stomping vulnerability of "God in Your Mind Upon the Darkness" is more than welcome, and "Dust of Death" is a semi-galloping wonder without too many fast-paced atrocities. The rest is one melting speedy melee topped by husky shouty black metal vocals. Some of the band members also play with the black metal formation Invert Cross.
"Slaughter All" serves a very similar layout, the more technical chopper "Slaughter All" opening the proceedings with twisted panache, the status quo retained thanks to more intricate excursions like "The Goddess of the Witches" and the brutal death metal outbursts "Culto de Submundo" and "Nicromance". "Death Comes for All" is a slower proposition, the band flirting with the doomy structures for a bit, producing the finest moments on the album, with thrash given a chance on the ripping headacher "Attack of Demon's", but not much elsewhere.

Cremation of the Saint Full-length, 2019
Slaughter All Full-length, 2022

Youtube

DARK INTENTIONS (HOLLAND)

Based on the full-length, these guys pull out energetic edgy thrash/crossover; fast optimistic stuff with slightly gruff semi-death metal vocals. A few modern proto-groovy moments can be caught ("Today is the Day"), and the mid-paced stomper "It Dies Today" isn't bad at all; it's just that they can't stand on the way of moshers like "Whispers" and "Suffer Severe". Watch out also for the cool heavy doom closer "Empty Eyes".

Remorse Will Die Today EP, 2005
Destined to Burn Full-length, 2008

Official Site

DARK ISLAND (ITALY)

A 4-track demo of classic power/thrash with nods to the American 80's metal scene; this is mid-paced music, on the melodic side, with balladic overtones ("The Dessert", "Play Cheat", which speeds up nicely at the end) and simplistic, but catchy guitar work.

Killing Inside Demo, 2007

Official Site

DARK LEGION (CANADA)

Brutal stuff: fast, intense thrash/death, one of the early examples from the death metal genre, with very suitable deep death metal vocals; the music is simplistic and raw, with no big musical merits, but from a pioneering point of view this demo scores high.

Psychosis Demo, 1986

DARK LEGION (CANADA)

Based on the “Psychosis” demo, these lads bash rough raucous speed/thrash that comes accompanied by the worst sound quality out there, the energetic ”Banishings” pairing relatively well with the cumbersome crunchy “Illusion”, “My Every Command” topping this not very slightly representation with sprightly brisk riffs. The singer is a passable semi-declamatory presence who does try to sing decently at times. Later some of the band members went onto bigger glories with the legends Sacrifice, and some were earlier jamming with another retro thrash metal formation, Massacre.

Psychosis Demo, 1986
Rehearsal Demo, 1987

DARK LEGIONS (SWEDEN)

Cool black/thrash which will take you back in time when bands like Celtic Frost, Venom, Bathory and Sodom were the order of the day. The band keeps a good pace with fast numbers, but heavy slower ones (hence the Celtic Frost influence) are also present.

Satanic Destroyer Full-length, 2006

DARK MANTHRA (COLOMBIA)

These Colombians pull out classic black/thrash which is vicious bash for at least half the time, pretty fast and dynamic stuff with a few death metal leanings (the opener "Vientos De Guerra"). Things go towards the melodic thrash camp later in the second half, and some melodies one may find addictive (check out those on "Doncella Lujuriosa"). Blast-beats are certainly applied, but their presence is not annoying. The vocalist is a demonic raven-like screecher fitting the intense musical approach just fine. The guys are also active with the death metal outfit Rotten Spiritual, and the black metal purveyors Sinner Serpent.

Vientos de Guerra Full-Length, 2013

Official Site

DARK MASTER (CANADA)

This is raw pristine black/thrash in the spirit of the very early days of the genre, mixing early Sodom and Venom with more happy-go-lucky rhythms with a crossover shade. So expect generally up-tempo riffage and rough, underground vocals with more of a death metal shade, but suitable enough. "Mourning Star Morning" is a pleasant melodic surprise, a nice epic power metal cut with echoes of Children of Bodom; which influences the last two tracks, both being more laid-back with more concentration on melody, although the latter could hardly be felt too much, due to the very noisy muddy sound quality.

Upon The Altar Full-Length, 2011

DARK MASTER (CHILE)

A brutal and vicious mixture of thrash and death metal similar to early Protector and the Brazilians Vulcano; the sound quality is very bad, and at times what you'll hear is just an impenetrable wall of sound; well, the guitars can be distinguished most of the time...

Undead Slaughter Demo, 1989

DARK MEMORIES (SPAIN)

Based on the full-length, this act serve dark gothic-tinged power/thrash of the old school, which comes decorated with epic doom-clad strokes on the epic "Down with the System", the female singer abandoning her clean high-strung tirades for the sake a few brutal deathly grunts. The gothic/doom sting becomes more pronounced on "Destination Hell", the band very seldom speeding up beyond the mid-pace, the only genuinely angry cut being "Amaxophobia", and the closing dramatic invigorator "Lost Nightmares".

Chapter I: Inceptum EP, 2020
Amaxophobia Full-length, 2022

Official Site

DARK MIND (SPAIN)

A 3-song demo of heavy mid-paced thrash of the classic variety, rich on atmosphere; the riffs are sharp, and the music slides down to power/thrash metal at times ("Visceral Love", which boasts fine leads and a good chorus), and this is where the guitars "flirt" more with melody, producing some fine moments. The singer is the big flaw here with his semi-clean mid-ranged timbre which completely lacks emotion and is inappropriately interrupted by the occasional death-ish growl.

Fire at the Ardennes Demo, 2008

DARK MIRROR (USA)

Based on the debut EP: classic power/thrash metal ala Sanctuary; heavy mid-paced, sometimes doomy, stuff with very good emotional high-pitched vocals, a bit harsher than the ones of Warrel Dane, but equally as screamy. "Asylum" crushes with force, a potent doom-guided thrasher; "At The Edge Of Reality" is on the other pole: a brisk speedster also recalling Deadly Blessing and Damien Thorne. "The Arrival... Unholy Crusade" adds a nice epic shade to the proceedings and may remind you of the legends Warlord (USA). "Forever Young", which isn't an Alphaville cover, is a fine mid-tempo power/thrasher with cutting sharp riffs.

The full-length debut is a cool slab of 80's American heavy/power metal, but there isn't much to relate it to the thrash metal field.
“Portrait of Evil” is again more on the power metal side without any particular thrashy surprises, but “Patterns of Chaos” hardens the course as evident from the very opening title-track which is an intense quasi-progressive power/thrasher with later-period Death tendencies also reflected in the more aggressive death metal vocals. “Psycho Navigator” is a great short galloper, and “Kairos” again acquires more ambitious, progressive dimensions, but it’s on “Immortalized” where things hit the top length-wise the band settling for 8.5-min of not very eventful mid-paced power/thrash. The second half is much less interesting the guys returning to their staple melodic power metal antics consequently ruining the impression from the beginning which promised much more clever execution.

Visions of Pain Full-length, 2007
Immortalized EP, 2008
Portrait of Evil Full-length, 2009
Kairoi EP, 2013
Patterns of Chaos Full-length, 2015

Official Site

DARK MIST (PORTUGAL)

Four tracks of classic thrash metal with gothic overtones which come in the form of nice melodic leads and the odd keyboard background. The guitar work isn't very sharp, and the concentration is clearly on melody bringing the sound close to the early efforts of the Greeks Nightfall.

Behind a Black Curtain Demo, 1995

Fan Site

DARK MORDOR (SLOVAKIA)

Based on the debut demo, these guys pull out aggressive thrash/proto-death with a very buzzy guitar sound and unrehearsed throaty death metal vocals. The band bashes tirelessly through the 11 tracks, two of which are pure instrumentals, showing a little mercy here and there which never extends into a whole song. The title-track is a tiring experience lasting for whole 13-min offering one-dimensional monotonous thrash mostly in mid-pace. Some of the guys also take part in the power/thrash metal outfit Midnight Scream.
The "Agonia" demo is cool more restrained retro thrash the death metal now almost completely gone as well as the vocals since the tracks are largely instrumental affairs with plenty of interesting moments on an energetic semi-technical base "Agonia Moci" rising above the pack with its more technical riffage and a more complex structure also featuring one of the sparse vocal excursions on the demo.

Zehuba Jeivota Demo, 1992
Na konci je smrt Demo, 1993
Agonia Demo, 1994
Symbol Alfa and Omega Demo, 1996
Corpus Delicti Demo, 1997
Dark Millenium Demo, 1999

My Space

DARK MYTH (USA)

A good demo of dark technical/progressive power/thrash which sounds like a precursor for the sound epitomized by Nevermore a few years later. Certainly, it bears resemblance to Sanctuary's "Into the Mirror Black" as well, as the music is heavy and mid-paced for most of the time, adhering to balladic pauses which are a good deviation since the songs are long (two of them are beyond the 10-min limit), and the lack of speed makes them slightly tiring experiences at some point. The singer has a good mid-leveled clean tone, and his higher shouts are not bad at all. "Black Is The Faith", which is shorter, is a nice take on more hard-hitting thrash, still in mid-tempo, but sharp and biting with a cool faster twist at the end.

...And Darkness Shall Follow Demo, 1993

DARK NATION (USA)

The debut: a thrash/death metal hybrid of the classic variety sounding close to the early Swedish attempts in the genre (Dismember, Entombed, Merciless, early Cemetary); the music favours death metal more although the vocals are too screechy for the style rending in a higher-pitched, almost hysterical, way to a not very positive effect. The guitar work is fast and intense, and the guys keep the tempo up for most of the time despite the presence of heavy doom-laden passages on almost every song.
"Land of the Dead" is in the same vein the band thrashing on with a bit more variety (the creepy semi-technicaller "Rising" which also boasts very good leads; the mid-paced shredder "The Cleansing"). The songs have a characteristic epic/pagan flavour recalling Bifrost and partially Sacrifice. The speed gets lost completely in the second half and the morose semi-balladic closer "Conspiracy" comes as no surprise, the guys relaxing too much maybe preparing their exit from the genre towards gothic/dark metal territories.
"Kingdom of Eternal Night" is a more complex, more technical offering, the entangled configurations on "Dressed in Fire" leading towards the more progressive realms, the choppy staccato riffage on "Death Appetite" pairing well with the dark melodic atmospherics of "Eyes of the Abyss", the macabre doomisms on "Christian Holocaust" a tasteful diversifier, "Defiled" giving a chance to the lead guitarist to display bouts of virtuosity.

War on the Church Full-length, 2002
Land of the Dead Full-Length, 2013
Kingdom of Eternal Night Full-length, 2021

Official Site

DARK ORDER (AUSTRALIA)

A nod to the 80's scene with more aggressive death metal elements; for fans of Slayer, Devastation and Sepultura. Both albums are in the same vein: merciless aural assaults, containing a few heavy up-tempo numbers where shades of 90's groove could be heard as well as an occasional adherence to blast-beats on the faster ones.

"Cold War of the Condor" sees the band having not forgotten how to pull out the good old school thrash metal although here it comes mixed with quite a few other influences, and this effort can pass for the band's finest hour moshing out with a nice technical edge at times. "Dissension of the Raptor" is a sure-handed opener with heavy meaty riffs delivered in a cool hectic fashion, but "State of Siege" is all-out speed/thrash, a faster and more aggressive number. "A Lament For Victor Jara" is a very surprising unexpected tender acoustic ballad, and the next "Tears of the Exiled" is a more ambitious slower take on the thrash metal idea with doomy overtones. This diversity may worry the listener, but "Caravan of Death" will put him back on track being a great jumpy technical death/thrasher with loads of riffs and tempos. "Villa Grimaldi" may be considered another unmitigated pullback as it's also of the semi-balladic variety, also of the progressive type which, despite the couple of heavy brutal guitars present, fails to deliver as well. "Operation Condor" is 8-min of exemplary technical thrash/death metal seamlessly blending raging semi-blasts with clever elaborate decisions. The alternation between faster and slower songs continues till the end which is preserved for another romantic ballad "Requiem Eternal" which is longer and better, but again is kind of off-context except as considered a valuable addition to the varied nature of this good, but too contrasting for better or worse, album.

5000 Years Of Violence Full-length, 1998
The Violence Continuum Full-length, 2002
Cold War of the Condor Full-length, 2010

Official Site

DARK PHANTOM (IRAQ)

Based on the full-length, these Middle Eastern folks specialize in cool classic speed/thrash which doesn't win a lot from the gruff death metal vocals which are at times surprisingly well interrupted by very good cleaner ones. Anyway, the lads thrash on in a frank, straight-forward fashion infusing their delivery with appetizing Oriental melodies (the atmospheric doom-flavoured "O! Holocaust"), and definitely doing a better job when mixing those tunes with some frenetic headbanging thrash ("Atomosphere").

Beta EP, 2013
Nation of Dogs Full-length, 2016

Official Site

DARK PREMISES (USA)

This band play ordinary noisy, groovy post-thrash which only strife at originality is the several stylish attempts at melody ("Music Is All"), or the sudden more aggressive deathly outrages ("Extinction"), the former accompanied by much more melodic vocals as opposed to the quarrelsome, very shouty main ones.

Delusionation Full-Length, 2016

DARK PSYCHOSIS (USA)

Based on "The Edge of Nowhere...", this one-man project (the alias Xaphan) indulge in dark atmospheric black/thrash of the old school which alternates between simplistic early Bathory-sque skirmishes ("Dead as Sheep") and officiant mid-paced epicers ("Born to Lose"), the two sides confidently pulled, the balladic idyll that is the title-track another tasteful addition. "Dark Call..." is a brooding quasi-doomster, Xaoahan serving a mean raven-like croon behind the mike, diversifying his repertoire on the gigantic closing funereal-like pageant "New Decay", this composition vintage Hades Almighty.

Obsessed by Shadows Full-length, 2005
Lord to None Full-length, 2012
Hymns of the Sabbatic Black Goat EP, 2014
The Edge of Nowhere... Full-length, 2020

Official Site

DARK RHAPSODY (UKRAINE)

This is dark doomy thrash/death metal with a crushing rhythm-section with echoes of Gorefest and early Death before it hits "Funeral Mournful Song" in the middle which is sinister doom/death ala Asphyx and Runemagick. The problem is that after this monstrous composition the guys never manage to capture the intensity from the beginning, and settle for slow morose riffs which reach a My Dying Bride and early Anathema-like melancholy on "Sarcastic Flourish", the depression further deepened by the low-tuned growling vocals.

Funeral Mournful Song Demo, 1994

DARK REGION (DENMARK)

A stomping, heavy obscurity from the Danish underground; the guys notch up the speed on "Contagious Fields" thrashing more wildly even providing a few more intriguing, technical breaks. The more complex infatuations continue with "Silence the Anguish" which moves in a seismic, also balladic at the beginning, fashion in the first half before it erupts into a cavalcade of speedy crescendos later. "Biological Threat" follows a similar pattern the band thrashing in a clever, moderately elaborate manner inserting an imposing pounding section in the second half. The singer doesn't impress that much with his rough, shouty death metal-ish baritone.

Memento Mori Demo, 1993

DARK SAINT (USA)

Based on the debut, this band, which is a one-man show, plays dark pounding doom/power/thrash with brooding dirgy riffs accompanied by sinister, semi-whispered vocals. The music is constantly mid-tempo and morose the only "light in the tunnel" being the cool, but short melodic leads; and the balladic exiting instrumental "From Whence I Came". The man overdoes it a bit on the few really long compositions near the end, but at least he shows his more melodic, clean vocal bravado on them, and he should by all means stick to this vocal approach more often in the future.
"The Ritual" is in a fairly similar vein, macabre seismic music which would mostly interest the doom metal fraternity, but the urgent aggressive shreds on cuts like "God Of War" and the title-track will be hard to ignore, even by the more fastidious fans. Still, it remains a minimalistic listen despite its audible echoes of veterans like Celtic Frost and Barathrum.

Dark Saint Full-Length, 2013
The Ritual Full-Length, 2015

DARK SERPENT (ISRAEL)

A cool release of classic technical thrash which combines puzzling decisions with more direct speedy sections in a way not far from the US underground heroes Intruder with a pinch of the Bay-Area (think early Testament). "M.K.C" is a ripping opener which also boasts great melodic leads among the technical thrashing madness which never lets the speed down. "Shot by Friendly Fire" gets more aggressive, with a few brutal deathly blasts roaming around, but "Fully Charged With Hate" adds heavy mid-paced riffage to the picture. Soon, however, the album returns to the speedy patterns from the beginning, but fails to recapture the genuine technical atmosphere. The last three tracks are live recordings of an older material coming with a fairly good sound quality and a more straight-forward delivery.

M.K.C. Full-Length, 2011

Official Site

DARK SIDE (HOLLAND)

"The Darkside-373K" is a most alluring opener to this obscure effort which sees a band enamored with the thrash/death metal hybrid, also having a penchant for beautiful melodies. The shorter material ("Dead End") is more thrash-fixated whereas the longer, more elaborate compositions ("Death Overcome") are multi-layered progressive opuses with quite a few nuances provided reminiscent of Incubus and Nocturnus. The vocals are typical gruff death metal ones, but are comprehensive and more attached than what usually goes with the style.

Full Eclipse Full-length, 1995

DARK SIGHT (ITALY)

Based on the debut demo, this band specialize in classic Americanized power/thrash which breaks the established mid-tempo mode with the blitzkrieg "Filthy Wings", a "remnant" of which lights the epic "I Swear" for more aggressive riffing at some point. The singer has a slightly sluggish clean baritone which doesn't quite shine, and more focus would be beneficial on future efforts.
The "Unmasked" shows a much more accomplished outfit with a more hard-hitting rhythm section and a more elaborate delivery reflected in the longer numbers ("Unreal", "The Asnwer") although the actual highlight here would be the shorter technical shredder "Out" which influences the final "Dots (Make You Life Count)", another speedy cut with an epic twist. The singer performs better this time although his dispassionate croons are again not on par with the better music.

Desire Demo, 2012
Unmasked Demo, 2013

Official Site

DARK SOUL ARCHITECTS (BULGARIA)

Excluding the thin unrehearsed clean/harsh vocals, the rest is quite close to hitting the top here on this sophisticated old school thrash affair which follows the path carved by mid-period Megadeth on stylish shredders like "Scream of the World" and "Grapes of Wrath", with "Speech of a Madman" attempting something more linear and power/thrashy, "The Eye of the Awaken Sea" providing the obligatory more aggressive, headbanging strokes.

Past Reflections EP, 2019

Official Site

DARK THERAPY (USA)

This formation pull out modern hardcore-ish thrash which is both groovy and dynamic, but the triggered guitars would be an annoyance for most of the time creating a lot of noise. Nevertheless, the leads are still striking and the guys try to provide several headbanging opportunities which work despite the sterile mechanical riff scenery. The singer is quite versatile shouting angrily at times, but at others manages to show his more tender, melodic side and generally leaves a positive impression.

Raised To Kill Full-Length, 2014

DARK VISIONS (BRAZIL)

This Brazilian outfit indulge in vicious intense thrash/death metal of the old school which is quite diverse with mellower tracks introduced here and there those coming with a solid doze of groove. The speed is present on most of the pieces, though, and the fans will have good time on invigorating headbangers like "Storm Comes from Hell" and "Sangue no Olho". The sound quality is not great making the guitars too fuzzy, and the singer is hardly an asset with his gruff low-tuned death metal timbre.

Sacrifice Of The World Full-Length, 2012

DARK VISITOR (MEXICO)

Retro thrash of the dark atmospheric type with guttural death metal vocals; alluring, intriguing melodic lashers ("Dia Oscuro") take turns with more relaxed mid-pacers ("Mi Miedo"), the latter the more widely covered option, the epic elegiac "Falso Creer" leaving the fields of thrash, branching into something more oblivious and gothic.

Visitante Extrano Full-length, 2021

Official Site

DARK WARRIOR (ARGENTINA)

A 3-song demo of passable retro thrash of the more laid-back, melodic type with, still quite up-tempo with not very good throaty, somewhat blacky, vocals. The last cut is a cool version of Destruction's "Mad Butcher".
The full-length is a more dynamic and intense offering the guys thrashing with a good sense of melody (check out the addictive leads on "Sounds of Death") at times descending to the fields of power/speed metal ("Dream Into Nightmare", the battle hymn "Bleeding Swords") to a generally positive impression. The second half is less aggressive the band sticking more to speed metal without too much thrash to be heard. Based on "Thrash is Violence" near the end "thrash" is not "violence", actually, but a happy speed metal tune. The singer now shouts too much to the point of deafening the instruments on quite a few times.

Thrash 'till Death Demo, 2010
The End of Peace Full-Length, 2015

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DARK ZODIAK (GERMANY)

Based on "Landscapes of Our Soul", this band play classic thrash which doesn't shy away from a couple of more brutal death metal developments ("Dance of Specters"). Heavy atmospheric stompers ("Sinister Demon") take turns with more dynamic roller-coasters (the title-track) the vocal duel providing the requisite drama behind the mike, with harsh blacky and growly deathly tirades spat out in quick succession, the balladic "Loss Until Eternity" throwing in the desirable lyrical respite before a string of speedy blitzkriegers wrap it on with energy to spare. Some of the musicians are also active with the retro thrashers Septic Christ.
"Ophiuchus" is a darker, more brooding recording, but rest assured that the staple for the band fast-paced walkabouts ("Heaven, Earth and Beneath", "Invisible Apocalypse") are amply provided all over, the abrasive atmospheric title-track attempting something less orthodox, but those respites don't seem to work as effectively, including the modernized quasi-industrial noiser "Humor". The guys wake up from their stupor eventually, and there's little restraint in vehement headbangers like "From Thrash till Death" and "2020 AD".

See You in Hell Full-length, 2014
Landscapes of Our Soul Full-length, 2017
Ophiuchus Full-length, 2021

Official Site

DARKANE (SWEDEN)

Darkane was formed by two members of the technical death/thrashers Agretator, after that band's demise. The music isn't too far from the one of the previous band being technical and experimental at times, maybe a bit Gothenburg-influenced and less intense: a really good band, one of the leaders of the Swedish metal scene nowadays. "Rusted Angel" is a sure-handed debut where the band prefers to lash more directly with faster and more accessible songs although their bigger skills are more than obvious on more complex numbers like the title-track and "Frenetic Visions". The music is almost pure thrash metal with the exception of the At The Gates-influenced "July 1999".
"Insanity" is a commendable follow-up, again concentrating on thrash more with crisp sharp riffs, fast pace, and excellent lead guitar work. The energetic up-tempo on the first two tracks moves up on the aggressive shredder "Impure Perfection" which introduces more technical hooks as well. The technicality remains for the drier more mechanical "Hostile Phantasm" which crushes with heavy dynamic riffage, the very cool music partially ruined by the bad semi-clean industrialized vocals. "Psychic Pain" is a superb fast technical/progressive thrasher with echoing, hardly audible vocals which at that point have completely given up competing with the much better music which here reaches the top. Relatively straight headbanging thrash awaits you on the next "The Perverted Beast" and the bashing speedy "Distress", which contains the only blasts on the album, and in the second half this song develops in a cool death metal fashion. "Inauspicious Coming" is a nice combination of fast smashing sections and slower progressive ones bordering on power/thrash. "Pile of Hate" elaborates on that same mixture turning into a fine progressive piece, a maze-y complex riff-fest with constantly changing fast and slower tempos, the former at times being quite technical.

"Expanding Senses" continues the technical tendencies from its predecessor with the guitar work (the leads especially) being almost as good, but is hardly superior, reducing the intensity and the speed in the process which results in the inclusion of quite melodic, gothic-tinged numbers: "Violence From Within", "Chaos Vs. Order", which are fortunately compensated by the short thrashy outbursts ("The Fear Of Oneself", "Fatal Impact").
"Layers of Lies" is probably the band's most aggressive offering with more frequent nods to death metal and more intense riffage. As a result we have several speed/thrash explosions ("Godforsaken Universe", "Decadent Messiah"), as well as impressive, also quite fast, technical tracks ("The Creation Insane"), topped by fine melodic hooks and orchestral keyboard-laced sections, quite well entwined with the twisting guitars.
"Demonic Art" begins with the impressive 1.5-min "orchestral vs. leads" intro, after which the guys start thrashing without any further ado with the intense direct "Leaving Existence". "Demonic Art" retains the aggression by adding some technical "decorations". "Absolution" slows down, but the following "Execution" lashes with no mercy once again, putting the technical performance a level up as well, offering great twisted technical guitars. The semi-clean vocals, which the band started to use on the preceding album, here are more accentuated on, but are far from the alternative blend of the numerous clean ones used nowadays. "Impetuous Constant Chaos" rages on: an impeccable fast-paced technical thrasher leaving a room for a slower progressive section. "Demigod" is a heavy pounding track with great lead guitar work and hammering riffs. Then the speedy thrashing begins, quite furious on "Soul Survivor" and "Still in Progress", and more controlled on "The Killing of I". The bonus track "Wrath Connection" is an exemplary technical piece with fast-paced guitars, fine lead performance and a very cool pounding heavy closing section finishing this nice release with style.
"The Sinister Supremacy" sees the band following a safe formula which has done them good in the past, but repeating it incessantly over and over would hardly make their fanbase, at least not the very diehard one, very happy. That same diehard side of this audience, though, will thoroughly enjoy this relatively faithful copy of their previous album which is probably bigger in diversity due to the several slower, almost progressive, breaks although the speedy more technical side again remains by far the more attractive one: "In the Absence of Pain", "Humanity Defined", "By Darkness Designed". Everything is again done professionally with style, but it sadly lacks soul and involvement the guys shredding in unison sieged in the inertia accumulated from previous efforts; which is sad since they could have used the 5-year gap to reinvent themselves, or at least to spice their now stale approach with some new gimmicks. Now this futuristic mechanized opera would only remind of so many similar works of recent years including several form the band's own catalogue.
"Inhuman Spirits" "Inhuman Spirits": the band storm the gates of the metal domain after eight years of absence. Expect some really furious beginning, in the form of the title-track, a virulent headbanger which makes way for the slower but more technical "Awakening", the more immediate fast-paced fiesta supported by "Embrace the Flames", with death metal showing its head more impertinently, but expect also a milder power/thrash layout on "Conspiracies of the Flesh". The band's staple technical extrapolations show up eventually on "Inhaling Mental Chaos", another brisk representation, but "Mansion of Torture" is a conventional melo-deathster, and "The Quintessence of Evil" is near-6-min of atmospheric quasi-doom monotony. The guys sound more linear and more standard now, and consequently not as exciting.

Rusted Angel Full-length, 1998
Insanity Full-length, 2001
Expanding Senses Full-length, 2002
Layers of Lies Full-length, 2005
Demonic Art Full-Length, 2008
The Sinister Supremacy Full-Length, 2013
Inhuman Spirits Full-length, 2022

Official Site

DARKBLOOD (USA)

The demo: this band play a blend of modern and classic thrash with a pinch of death metal ala mid-period Death with groove assisting here and there resulting in a less predictable listen with a few progressive pretensions which aren't completely justified due to the short song-length and the abrupt change of moods and riff-patterns some of them left unfinished. There are whole 15 songs here so one would by all means get a good impression about the guys' interesting, but quite incoherent at this stage, delivery.
The full-length is a cool impetuous recording with thrash and death metal blended in one sizzling melee, the ripping headacher "Aqua Velva" backed up by the excellent technical hecticer "Burn" and the blitzkrieg mosher "Dead Things", the technical exuberance not so widely covered this time if we also exclude the surreal diverse delight "No Name Maddox", a stylish nod at the dazzling brutality movement (Cryptopsy, Suffocation, Decrepit Birth, etc.).

Shelf Life of the Damned Demo, 2009
Dead Things Full-Length, 2024

Official Site

DARKCLUSTER (CANADA)

The debut: this is an interesting combination of modern contrived prog-thrash and evil raspy black metal vocals, the man, the name Akim Cloutier, the only musician involved in this stint, summarizing their challenging approach with the larger-than-life opener "Swarm of Mutation". The same delivery gets repeated on nearly every other composition, though, all of them being lengthy attention-consuming exercises where intricate passages take turns with quiet balladic interludes and less controlled fast-paced outbreaks. The exceptions are the dirgy doom brooder "Path to Outer Space", and the choppy robotic minimalism "Reaching the Unknown"; a not devoid of intrigue repertoire which also comes with a very good sound quality.
“A Plummet Through the Void and Beyond” follows the same engaging path as the preceding saga, only that this is all-instrumental stuff this time, the lengthy sprawling “Descent into the Abyss of Stars” towering over the more simplistic energetic trot that ”Beyond Outer Worlds Frontiers” is, the encyclopaedic 10-min saga “Echoes from the Far Reaches of Space” emphasizing on the striking melodic lead sections more, whereas “Epsilon Five” is a brisk anthemic power/speed/thrash combination. “Zeta Six” is a dreamy semi-balladic finale, a calm soothing way to end this varied progressive entry.
"Stellar Tomb" is another all-instrumental odyssey which sounds suitably spacey and psychedelic on the opening "Degradational State of Mind", and although "A View Beyond the Spectrum of Light" is an intense variegated shredder with both thrash and death tussled in equal dozes throughout, "At Peace Through Agonal Respiration" is still on the calmer side despite the speedy finale. "Rifting the Emptiness of Time" does way with a few less controlled blast-beats at first, but this is the staple for Cloutier diverse thrashorama which also materializes on the closing opus "A Great Resolve Beyond Reality" on which the man also displays his axeman skills with delightful melodic lead sections amply provided.

Spirit of the Void Full-Length, 2020
A Plummet Through the Void and Beyond Full-length, 2023
Stellar Tomb Full-length, 2024

Official Site

DARKCORPSE (JAPAN)

The Demo I is two songs raw hardcore-ish thrash which is more on the classic, and also mid-tempo, side despite the buzzy industrialized guitar tone which is a constant "companion". "Your Grave" is a stomping hymn in the best tradition of early Celtic Frost aptly assisted by the guttural death metal vocals.

Demo I Demo, 2011
Demo II Demo, 2012

Official Site

DarkCrucifix (INDIA)

Two Indian corpse-painters are behind this noisy fuzzy black/thrash metal delivered in mostly mid-pace with brutal low-tuned death metal vocals coming as a more dynamic early Celtic Frost with the casual more aggressive blast-beat thrown in.

Chapters of Damnation Demo, 2000

Official Site

DARKDAYRISING (HOLLAND)

Based on the "Underworld Dreams" EP, this band offers a fast and a potent mixture of death and thrash metal with a modern sound, as well as some atmospheric/doom thrashers ("Infernal Darkness").

Underworld Dreams (Mcd) EP, 2002
Ascent of Despair Full-length, 2005

DARKENED (USA)

Earlier these folks were known as Anul Death when the delivery was purer thrash. Based on the "Tales from the Darkerside" demo, the approach has moved towards darker waters reminiscent of mid-period Celtic Frost, the rough but comprehensive Tom G. Warrior-esque vocals gettng lost a bit on the playful heavy rocker "From the Shadows", but find their stride with ease on the intimidating doom-laden march "Remnants of a Tale", "The Summoning" providing the logical more dynamic thrashing closure, the delivery never getting wild and unbridled, the exercised control working to the band's advantage for most of the time.

Alone with Darkness Demo, 1989
Tales from the Darkerside Demo, 1990

DARKEND FATE (USA)

Another very good band buried deep in the underground: aggressive thrash reminiscent of Devastation and Torture. The band have clearly had potential for more technical performance, displayed on the excellent "Dead" from the "The Last Hour" demo, but the lack of any official release after that left these attempts without any further continuation.

The Last Hour Demo, 1989
The Only Witness Demo, 1991

DARKENIZED (NORWAY)

Heavy mid-paced modern thrash/post-thrash with melo-death motifs (the title-track) sneaking in timidly alongside occasional more progressive arrangements ("Tell No Tales") and the odd more academic doom flair ("Devil's Rejects"). Speedy escapades are out of the question as the guys aren't fonder of those at all; even a ballad ("Devil's Rejects") can be savoured towards the end, the latter surprisingly well pulled off by the otherwise gruff semi-clean, not very attached singer.

Gong Farmer Full-Length, 2019

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DARKER HALF (AUSTRALIA)

A good power/thrash metal band with a capable singer who sounds not too far from Rob Halford himself at times; the sound favours power metal a bit more, except on the last track "Holocaust" which thrashes in quite an aggressive manner aggravated by rougher vocals.

"Duality" is a much more aggressive offering, thrashing bravely, adding the odd melodic death metal element. The music is still on the more melodic side with very good solos and cool melodic riffage (check out "Duality"). "Stranded" is a very nice heavy semi-ballad, followed by the equally as melodic, progressively-tinged "Helpless". The thrashing continues afterwards, owing to three new songs, as well as the remastered version of the furious "Holocaust" from the EP plus the intense headbanger at the end "Heads are Gonna Roll" (not many relations to the Judas Priest hit music or vocal-wise this time), on which I see quite a few heads rolling from the mosh.
"Desensitized" is another modern melo-thrash affair with the singer now really shining with his clean emotional timbre which inevitably brings a few slight adjustments in the musical approach which settles for less eventful happy 90's speed/power metal at times ("End Of The Line"). The aggression of the previous album has been reduced, and now at least one third of the songs are mellow heavy/power ("Tomb Of The Unknown Soldier") metal offerings, a not very desirable shift from the guys' past approach.
"Never Surrender" is more consistent speed/thrash-wise, and the guys this time shred with more vigour, with speed metal assisting at very opening opportunity. In the middle there are a few slow balladic/doom cuts, but an immediate compensation is immediately offered in the face of the super-speedster "Duality", and later with the lashing mid-pacer "Heads Are Gonna Roll", and the aggressive pounder at the end "Anthem for Doomed Youth".

Enough is Enough EP, 2006
Duality Full-Length, 2009
Desensitized Full-length, 2011
Never Surrender Full-Length, 2014

Official Site

DARKEST AGONY (MEXICO)

Four Mexicans have decided to play some modern melodic thrash/death which tries to walk its own path by using choppy, crunchy riffs which aren't very fast and often are plain friendly with nice melodic hooks present. "Chronicles of a Possessed Mind" is a cool more aggressive shredder, but that's it from the more dynamic side. The singer is a gruff guttural death metaller who can't be heard very clearly at times.

Anti-Natural Evolution Full-length, 2014

Official Site

DARKEST COLOR (GREECE)

Ripping retro thrash is on full display here the guys taking no prisoners on instant headache causers like "Politician" and the bumpy title-track. Intriguing melodic deviations ("Jesus Christ") can be detected later as well as more intriguing, semi-technical walkabouts on the unpredictable "Immaculate Conception", before the guys relax to an extent with the Holocaust cover of "Death of Glory" this cut partly ruined by the not very suitable shouty semi-death/semi-hardcore vocals.

Deal with Pain Full-length, 2018

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DARKEST DAYS (USA)

Modern industrialized thrash with numerous dreamy atmospheric moments, heavy in mid-tempo; the music is without any pretensions and flows effortlessly, often offering soft heavy metal tunes as well. The best song is the heavily-charged doom/industrial cut "I Slip Away" which is graced by haunting Oriental hooks and sinister declamatory vocals.

Noone Knows Full-Length, 2009

DARKEST FEARS (BRAZIL)

This not very known formation deliver melodic power/speed/thrash which main merit is that it's strictly classic-sounding. The demo offers rousing speedy hymns aplenty ("Deadly Years", "Dead In The Long Avenue") alongside longer, more power metal-based numbers ("Deny". the Oriental-oriented "Arabian Graves"). The vocals are too bad and ruin the impression quite a bit being harsh, unrehearsed death metal semi-shouts.

Incomplete Minds Demo, 1996

DARKFALL (AUSTRIA)

Based on the "Winter Leafes" demo, this is prototypical Gothenburg modern thrash/death metal. The music stays closer to thrash than the one of the Swedish bands, and the vocals have a higher, slightly hysterical pitch. The tempo is mid-paced with the exception of the best song: the good smasher "They Are Few" (next time they should be more!).
"Road to Redemption" shows a bigger musical proficiency which comes for the sake of the intensity. The compositions have become longer and more eventful with not so overt technicality served ("Fading Away") at times. The Swedish canons are again obeyed to for most of the time, but more aggressive performance inevitably comes forward in the second half: "Rise to Dominate", the diverse energetic "Peacemaker", etc. The singer is the staple for the style death metal shouter, a dead ringer for Mikael Stanne (Dark Tranquillity).
"At the End of Times" doesn't betray the band's traditional histrionics as the Swedish thrash/death fiesta is in full swing here although the delivery is mellower with more leanings towards the progressive metal camp ("Deathcult Debauchery") some of which ("Ashes of Dead Gods") are really admirable achievements in the technical/progressive metal roster. The more immediate material ("Your God is Dead") isn't the fastest music in the world either, but the only genuinely feelgood cut is the closing "Land of No Return MMXVII" which can even pass for an epic power metal hymn.

Winter Leafes Demo, 1998
Dimensions Beyond Demo, 1999
Firebreed EP, 2001
Dimensions Beyond & Winter Leaves Full-length, 2004
Phoenix Rising Single, 2006
Road to Redemption Full-Length, 2013
At the End of Times Full-length 2017

Official Site

DARKFALL (USA)

Based on "Destruction Through the Advancement of Technology", this band play dynamic modern thrash/death which doesn't lack raging moments (the proto-blasts on "Ascension Protocol"; the grinding "monstrosity" "Life Unworthy of Life"), but for most of the time keeps the more officiant tone by adding cool melodic licks on almost every track. In the 2nd half the sound becomes more death metal-prone the saga finished by the excellent 9-min opus "In Vain" which progressive build-ups will make many wish those were the backbone for the eventual next album.

Violent Social Propaganda Full-length, 2004
Hatred Is Purity Full-length, 2007
Destruction Through the Advancement of Technology Full-length, 2014

Official Site

DARKFLOW (SWITZELAND)

This is an operatic atmospheric take on the modern power/thrash idea, the guys relying on both mid-paced propellers (“Eternal Suffer”) and moody doom-laden (“It's Getting Darker”) pieces to pull it through, the gruff but emotional semi-clean singer leaving a positive impression with his engaged antics, including on the lyrical soothing semi-ballad “Let Me See You”. Thrash circles in the vicinity timidly, making a bolder entrance on the more dramatic, more dynamic shorter “Suicidal Headaches”.

Insane Circus Full-Length, 2023

Official Site

DARKHAT (GERMANY)

A 2-song demo of excellent speed/thrash along the lines of Paradox and Toxic Shock; the guys nicely vary things with slower semi-balladic passages all that topped by aggressive death-ish vocals.

Demo Demo, 1990

DARKKAM (SPAIN)

Melodic power/thrash metal with a crisp biting guitar sound and a good tempo, but the overuse of keyboards and the very clean melodic, soaring vocals (very good, but kind of not suiting to the style) lessen the impact. Apparently the band is willing to make a bigger appeal on the music scene, and other insertions used, like acoustic, balladic moments and catchy choruses would definitely win them many fans from all walks of metal.

Raedces de la Noche Full-length, 2007

Official Site

DARKLAND (GERMANY)

This is a fast and aggressive blend of hardcore and thrash with death metal vocals. The music is quite brutal, and one could hear some of the first blast-beats on the music scene.

Violent World Demo, 1989

DARKLIN REACH (USA)

This is mostly power metal along the lines of Omen and early Helstar, but it has its thrashy moments, too (check out the speedy "Contaminated Preaching"). The music is not very fast, although the opener "Impact & Elegance" might mislead you with its intense delivery, but after the next couple of tracks slow down considerably, one quickly realizes that this album won't be the best headbanging material. The sound has a certain epic feeling as well, but it packs a punch on a few times, topped up by cool, powerful, semi-high vocals.

Where Evil Dwells Full-length, 1992

Official Site

DARKLING (USA)

Based on "Sin King", this band play retro heroic power/thrash which concentrates more on the epic side so expect mostly heavy mid-paced guitars with a more expressed doom flavour on the longer material ("Rosetta Stone"). The singer does a fairly good job with his emotional versatile delivery not shying away from a few admirable high-pitches.
"Metal Reborn" introduces "metal" completely "reborn" which in this case means more aggression compared to the debut as evident from the razor-sharp title-track in the beginning. Later on some officiant mid-pacedness instills, but the dynamics doesn't get lost completely, and the 2-min headbanger "Darkworld" will rock your world big time alongside the more relaxed speedster "Whirlwind The Void", and the abrasive jumpy closer "Indifference".

Sweet Sister Vengeance EP, 2004
Sin King Full-Length, 2005
Metal Reborn Full-length, 2008

Official Site

DARKNESS (BRAZIL)

This formation provide old school roughly-produced thrash/death that strikes a cord with the balladic inaugurations at the start of "The Dead Mean?" and the title-track, the overall approach seeping with atmosphere in a way not too far from early Messiah, the similarity also quite strong in the vocal department. "The Pious" is a dramatic violent steam-roller, and "Falling into My Inner Abyss" is a lively albeit moody cover of the guys' compatriots The Mist from their sophomore effort "The Hangman Tree".

Khrophus Demo, 1993

DARKNESS (CHILE)

One of the first demos to contain a considerable doze of death metal from the South American scene; the music is still a blend of thrash and death metal, resembling the first two Pestilence albums, but not as fast, and heavier. "Under the Grave" is a cool nod to early Celtic Frost.

Demo I Demo, 1989

DARKNESS (COLOMBIA)

Based on the EP: this is melodic thrash of a very simplistic and basic nature with numerous hard-rock influences and moments reminding of Metallica's debut in the thrashier parts. "Soberaneda: Soberana Ironeda" continues the same line with slower guitar work, still classic-sounding, but pretty repetitive, except for the nice power/speed metal instrumental "Soberaneda" which is a cool nod to the speed/power metal scene at the time.
“Inhumanidad” is a classic power/thrash mixture which is predominantly heavy and mid-paced, the doom-ornate “Despierta” supported by the livelier trots on “Pandemia”, the short ripping “Malicia” raising the spirits sky-high, while “Violentos” moshes harder with a more overt thrashing edge, justifying its title with the most brutal riffs on the album. “Escapar” is a decent closer with an uplifting speed metal edge, giving further credit to this acceptable offering.

Espedas Malignos EP, 1989
Soberaneda: Soberana Ironeda Full-length, 1995
La triada EP, 1998
Guerrofobia Full-length, 2011
Inhumanidad Full-length, 2023

Official Site

DARKNESS (GERMANY)

One of the less known German thrash metal bands; "Death Squad" is a great debut thrashing with no mercy, presenting some of the finest thrashers around: the aggressive, direct "Critical Threshold", "Death Squad", "Staatsfeind", where the shadow of early Destruction is clearly felt. "Tarsmann of Chor" is an awesome instrumental, more melodic and a bit slower at times, with great leads and smashing riffs. "Faded Pictures" returns to the aggressive formula, but this time we have a nice, memorable chorus, something which very few bands from the thrash metal spectre could be proud of. "Burial at Sea" is a masterpiece of a more thought-out song-writing, with haunting guitar hooks, a great acoustic intro/outro, and despite the lack of any fast-paced sections, is a truly satisfying piece of heavy dark thrash.
The sophomore effort is another solid achievement with a more compact, slightly more technical sound. It starts in a scarily aggressive fashion, though, with the crushing "Bloodbath" which has a certain Slayer touch, and the following "Inverted Winds" isn't too far behind in terms of unbridled intensity. "Battle To The Lust" retains the speed by acquiring impetuous galloping parametres, but the guitar work takes a more polished, more intricate edge and nicely alternates between faster and slower parts. "Caligula" is another wayward galloping speed/thrasher which loses the ultra-speed to an extent, and "They Need A War" carries on in the same vein decelerating even more with less imaginative mid-paced rhythms. "Locked" is a short aggressive number with echoes of Slayer again, serving to break the "idyll" established for a while, and "Predetermined Destiny" is a more complex composition starting in an energetic thrashy fashion before settling down for a nice semi-balladic interlude in the middle, only to burst again later accompanied this time by superb melodic leads.
However, two albums of such a high quality were apparently the limit of the band's creative powers, and their last one is a fairly uninspired affair, relying mostly on remastered versions of the band's older material.
"The Gasoline Solution": it's the "gasoline" which provides a solution to the guys' problems cause here they are thrashing again after an era of hibernation. The band were one of the earliest exits from the German metal scene failing to produce the coveted third strong album, losing steam by the end of the decade. The two founding members and good comrades Arnd and Lacky are here, obviously not willing to carry on with their previous outfit Eure Erben anymore; but arguably the band's main asset from the past, the characteristic singer Olli, isn't a part of this new incarnation.
So will they be able to surprise the fans pleasantly now? Yes, they will, and with something to spare. Starts the opener "Tinkerbell Must Die" with a message more than clear (definitely not for children) thrashing wildly all the way to "Another Reich" which is more moderate in the beginning before the hard thrashing resumes in the second half never to stop again a "bullet" after "bullet" being shot at the expectant listener who will thoroughly enjoy this perennial roller-coaster which is close to reaching more dramatic death metal heights ("L.A.W.") at times, those compensated by the softer soaring speed metal flourishes on "Pay A Man". The title-track is a mid-paced epic followed by the aggressive explosion "Dressed In Red", and the closing "This Bullet's For You" which is a progressive semi-ballad with some of the most vitriolic riffs on the album embedded into the calmer sections. The band have done a good job and it would be interesting to see how they would fit into the fairly eventful German thrash metal scene in the days to come.
"First Class Violence" isn't a sloucher, either, and "Low Velocity Blood Spatter" quickly establishes the high velocity that permeates this recording all over, the more controlled shredding on the pounding "Neoprimitive" providing the requisite stopovers from the hyper-active roller-coaster which boasts impetuous gallopers like "See You on the Bodyfarm", and rigorous neck-sprainers like "Zeutan" and the title-track. A couple of more entangled rhythmic patterns can be detected on the jumpy "The Autocrazy (Autocracy) Club", but generally there aren't that many digressions from the rightfully chosen path which sees the guys fully revitalized to contribute more to the burgeoning old school wave.
The "Over and Out" EP pulls no punches once again, the band thrashing in the traditional old school fashion, the melodic sensitivity of "Dawn of the Dumb" a cool deviation bordering on melo-death. "Slave to the Grind" is, expectedly, a cover of Skid Row, performed faithfully without any ornaments, but of a particular interest would be the unplugged version of the band's early hit "Faded Pictures", a really nice soothing ballad with only the gruff vocals not doing it much justice.
"Blood on Canvas" continues the band's reinstatement of the old school, "Wake up in Rage" showing the guys up and ragey, the more atmospheric pounder "Nights in Turmoil" and the more frolic crossover joy "Human Flesh Wasted" instilling some element of surprise amongst the feverish melee, the latter also featuring the maddening "Defcon Four" and the sprightly "Roots of Resistance", the sprawling 8.5-min closer "Blood on Canvas" attempting something epic and more diverse, with thrash stepping aside here and there.

Death Squad Full-length, 1987
Defenders of Justice Full-length, 1988
Conclusion and Revival Full-length, 1989
The Gasoline Solution Full-Length, 2016
First Class Violence Full-Length, 2018
Over and Out EP, 2020
Blood on Canvas Full-length, 2024

Official Site

DARKNESS (ITALY)

Based on the "Unholy Sacrifice" split, this band comes up with vicious black-ish thrash which mixes heavy twisted riffage ala early Celtic Frost and Hellhammer with fast brutal parts. Those fast brutal parts aren't too many, and the concentration is clearly on heavy smashing music which delivers the goods albeit losing its headbanging potential quite a bit. "Aemathien" is pure funeral doom, but quite well done, balanced by the follower which is the fastest track here, "In the Empty Plane", and goes into brutal death metal territories. Apparently the guys are perfectly well-off staying in the underground, releasing splits on a regular basis.
"Anti Human Life" would be a pullback from the very beginning due to the raw pristine sound which merges all the instruments into one buzzy noisy melee which is topped by almost constant hyper-blasts those superseded by the aforementioned stomping sections in the vein of Celtic Frost and Hellhammer (check out "Darkness"). In the second half the approach starts to make more sense with more intelligible instrumental parts ("Let the Napalm Rain") where one can easily recognize the Bathory cover of "Raise the Dead" at the end made a bit sloppily with less energy and less spite than the original. One, however, has to have a much more vivid imagination in order to recognize the Mayhem cover of "Ghoul" which finishes the album; this cover is plain noise with nothing for the listener to hold on and catch the music of the Swedish veterans.

Let the Napalm Rain Demo, 2001
Pure Necrodarkness Split, 2002
Flag of Monotheistic Destruction Demo, 2003
Archdukes Of Hell vol.1 Split, 2006
Unholy Sacrifice Split, 2007
Kulto Split, 2007
Anti Human Life Full-Length, 2013

DARKNESS (MEXICO)

Based on the "Songs About Death" demo, this band plays fast aggressive thrash with a slight death metal touch; very good stuff which precedes the style adopted by the French Massacra a year later although the concentration here is more on speed rather than technicality.
The full-length is an impressive true moshing "beast" although the guys play around with more melodic configurations ("Death by Cable") with frequent technical walkabouts (the tile-track) disrupting the headbanging order including with a couple of engaging progressive shredders (the atmospheric delight "1957 Forest Green Lake"). Speed and technicality come seamlessly blended on "Brain Erotion" and "Falling Down" which will remind of several masterpieces from 1991 like Invocator's "Excursion Demise" and Assorted Heap's "The Experience of Horror". The closing "Breathing Violence" is another highlight with its creepy stylish rhythms which gradually grow into a formidable hyper-active skirmish. The vocals are shouty intense and make themselves heard with a vociferous authoritative pathos.

Songs About Death Demo, 1989
Post Scriptum Salmodia Demo, 1990
Requiem Full-length, 1994

Official Site

DARKNESS (NORWAY)

This band play dark morose, sloppily produced, classic thrash which is on the softer power/thrash side on the laid-back instrumental piece "Beginning", the furious "Darkness" livening the environment big time, not without the help of the gruff quarrelsome death metal vocals. "Aggressive Thoughts" is more on the pounding mid-tempo side, but "Last Human Sacrifice" is a vivid interpretation of the thrash idea, the support from "Dead Shall Be Dead" coming on the form of heavy dramatic rhythms.

No More... Demo, 1992

Demo Streaming

DARKNESS (USA)

A 3-songer of the most amateurish, most badly produced, thrash even conceived; this is horrible stuff done in your grandmother's backyard while she is preparing the barbecue for the next in line pensioners' gathering. Expect loads of noise, a very little bit of music resembling early Messiah, attempts at more brutal proto-death (again, this is very subjective due to the non-existing sound quality), and rending agonizing shouty death metal vocals. Seriously, even the most hardened completists would find it too much to spare 10MB of their hard drives for this...

Demo Demo, 1987

DARKNESS DYNAMITE (FRANCE)

Based on "The Astonishing Fury of Mankind", this band offers modern thrash with elements of metalcore; melodic stuff, nothing dynamite-like, mostly mid-paced with gruff semi-shouted vocals. The several sharp moments are dissipated by soft metalcore breaks, including two pure balladic instrumentals where the singer tries to give a more melodic blend to his style, and those moments may remind you of the last few Misery Loves Co. efforts which are the closest soundalike. "Dare I Say" is a good dynamic thrasher which comes near the end to bang the sleeping heads...

Darkness Dynamite EP, 2007
Through the Ashes of Wolves EP, 2007
The Astonishing Fury Of Mankind Full-length, 2009

My Space

DARKOLOGY (USA)

Excellent dark power/thrash metal with progressive overtones sounding like a heavier and a more aggressive version of more recent Iced Earth and Outworld (the singer of that band also takes care of the mike here); the other people involved in this project are the guitar wizard Michael Harris (also Zanister, Leather, Surgeon, Arch Rival) and the drummer Brian Harris (could be his brother?), who also hits the drums for Firewind, Decay, Solstice, etc. "Violent Vertigo" is a relatively energetic for the standards opener with brisk mid-paced riffs, but "I Bleed" is a heavy pounder with a crushing rhythm section. More heavy "darkness" comes with "Dark Energy" which is a bit more energetic, but all pales before the galloping winner "Nobot" which brings more optimism breaking the brooding atmosphere created until that point. "Eyes of Argus" is a nice heavy power/thrasher in the spirit of Sanctuary and early Nevermore, followed by the crunchy dynamic "Aura of Xhad" which nicely speeds up once again. "Alone" is a cool atmospheric progressive piece with semi-balladic shades, fully compensated by the speedy vigorous "Revitalize", which will indeed "revitalize" the listener also helped by the good higher vocals. The closer "Trance of the Gorgons" is a 10-min progressive opus, quite interesting with frequently changing rhythms and time signatures. The style presented here doesn't really recall any of Harris' other projects, opting for a more complex, more aggressive, and an overall more interesting approach.

Altered Reflections Full-length, 2009

My Space

DARKPHASE (TURKEY)

Based on the debut, this is thrash metal with touches of hardcore ala Nuclear Assault and D.R.I. The delivery is mostly on the speedy, headbanging side also recalling Wehrmacht at times ("The Mask Beyond the Lies", the lightning-speed "Shadows of Crime") with a few more or les big surprises thrown around, like the cool soulful ballad "The Truth Is Me", for instance, where the vocals take a nice cleaner turn as compared with the dominant semi-shouty hardcore-ish baritone which is also disrupted by fine female inclusions on the enjoyable varied thrash/crossover hymn "World of Sorrow".

Waining Moon, Setting Sun Full-length, 1994
Darphane Full-length, 2007

Official Site

DARKRIDE (GERMANY)

This new outfit deliver a modern power/thrash hybrid which isn't incredibly far from the works of later-period Angel Dust with whom the vocalist Carsten Kaiser has had a spell in the past. The not very eventful mid-paced drama is early established early with "Hammer Down", and although rebellious, more aggressive outcries ("Blood of My Soul") are provided, there isn't much to stir the blood here, especially with the triggered synthesized guitars and other modern gimmicks which at least don't hamper Kaiser's performance, the man acquitting himself with a steady emotional clean timbre all over, a few unnecessary black/death rendings notwithstanding.

Weight of the World Full-length, 2019

Official Site

DARKSEID (NORWAY)

Classic progressive power/thrash which indulges in long meandering compositions revolving around relatively smooth mid-paced configurations, with tender soulful ballads ("Heart on Fire", "Far Away") also featured, the dense enjoyable title-track epically decorated, sounding superior to the somewhat monotonous not very eventful "Cold Night/Heartbreak Ridge" combo. The vocalist is a rougher less melodic version of James Hetfield, spitting the lyrics in a samey not very attached mid-ranged fashion.

A New Day Rising Full-length, 1994

Official Site

DARKSHINE (ARGENTINA)

The debut: the police sirens and the thunders from the intro may throw you into a Def Leppard territory (remember "Too Late" from "Pyromania"), but once the abrasive guitar riffage begins, the listener knows that the South American gangs are a generally safe bet since they would seldom disappoint although would rarely offer anything too striking. In this case we have proto-modern power/thrash with sharp, albeit too buzzy, guitars and throaty semi-death metal vocals. The sound quality isn't great obstructing the guitarists' efforts who indulge in hard unmelodic shredding with a few galloping temptations.
"Psycomachia" follows the same path, maybe a bit more vociferously executed than the debut, with sharp heavy riffs freely roaming around, the headbanging factor not that prominent, the melodic decorations ("Vehemencia", the progressive semi-balladic opus "Genesis 4") taking over slowly but surely. "Deshumanizado" tries to break the mellower hegemony with a rowdier rhythm-section, but its proto-modern abrasive flair doesn't sound that detrimental.

Infeccion de Mentes Full-Length, 2013
Psycomachia Full-length, 2019

Official Site

DARKSHINES (SERBIA)

The debut: laid-back power/thrash metal with gothic/doom overtones; the main vocals are female of the mid-ranged not very expressive variety seldom spiced by more extreme male death metal ones. The music is mid-paced with sparse up-tempo sections which rather recall the 90's power/speed metal movement, and the guitar work borrows both from the classic and modern school clinging more towards the melodic rather than the sharp end.
"Love Is Never Ending" shreds harder now recalling the Germans Courageous and Perzonal War on the more intense moments although the gothic "ornaments" are here as well as the nice female vocals which are too tender maybe. The 2nd half is less impressive the hard-hitting riffage from the beginning disappearing more often turning the last few pieces into one appetizing gothic opera ala mid-period Theater of Tragedy.

Where Full-length, 2005
Love Is Never Ending Full-Length, 2008

Official Site

DARKSIDE (BRAZIL)

These folks were known earlier as Darksyde. The "Fragments of Time" demo: this is interesting folk-tinged power/thrash which suddenly branches out into wilder speed/thrash with echoes of Paradox and their compatriots Viper (the debut, above all). The compositions have a strong progressive flavour which can still be felt among the aggressive thrashing. The singer is very high-strung and his antics can be an acquired taste despite his efforts to provide numerous melodic relieves along the way the latter not far from early Warrel Dane (Nevermore, Sanctuary) even. The other more melodic aspect is the lead sections which are not very screamy due to the muffled sound quality. Some of the band members are also active with the heavy metal outfit Hellhoundz, and the black/thrash hybriders Necromorten.
"The Apocalypse Bell Part II-Legacy of Shadows": an imposing orchestral intro inaugurates this intense slab of old school thrash with aggressive deathy vocals. A lot of drama pours from the musical delivery as evident from "Legacy Of Shadows" which boasts a great melodic lead-driven passage. "Human Pest Control" is a standout melo-thrasher with a pagan feel reminiscent of the Brits Sabbat. The headbanging potential this effort has aplenty is nicely reflected on the galloping "Megashits On Microminds", and partially on the stomping shredder "Dust Devil". "Final State Of Violence" is the next in line intense mosher, and "Escape From The Doom Desert" is the calmer, still pretty dynamic, mid-pacer. The closer "Domination Underground" thrashes hard as a final call to ensure this album's more lasting appeal to the hard-boiled thrash metal fanbase.
"Gates of Time... and Fragments of Madness": the folk-tinged fiesta begins from the short instrumental intro "Hare Krishna", and although later the band mosh with more vigour and intensity ("Fragments of Time", "Spiral Zone") the melodic vibe remains quite tangible throughout reflected in both the lead and the riff department. Epic more power metal-ornate cuts like "Inferno" slightly dissipate the dynamic lustre, but watch out for rousing tributes to early Blind Guardian and Scanner like "The Guardian" and "Blessed by the Dark" which bring a vital doze of energy and also complexity into the otherwise stereotyped approach.
on the "Blessed by the Dark" demo the band play very cool classic power/speed metal as evident from the impetuous winner that is the title-track, a galloping semi-technical wonder with echoes of the Danes Manticora; and from "Mindstorm", a steady provider of stylish speed/thrashing strokes not to mention the excellent emotional clean singer who is also frequently helped by his comrades on the several catchy choruses. The guitar work is outstanding bordering on Shrapnel-like virtuosity more than just now and then; this is an awesome recording which can easily be viewed the band's finest achievement.
The EP is a more aggressive recording, the band moshing with more verve, with hard thrashers like "Throne of the Blind" and "Megashits on Microminds" supervising the proceedings, the vivid crunchy gallops on "Cyberchrist" another energetic boost. The meeker mid-paced "Anticizen One" is a slightly different story, but such a more timid occurrence can't possibly change the setting drastically.

Fragments of Time Demo, 1991
Blessed by the Dark Demo, 1996
Prayers in Doomsday Full-length, 2012
The Apocalypse Bell Part II-Legacy of Shadows Full-length, 2015
Gates of Time... and Fragments of Madness Full-length, 2018
Reliquia Ritual EP, 2021

Official Site

DARKSIDE NYC (USA)

Based on the EP, these guys provide still classic-sounding power/thrash with not very relevant shouty semi-death metal vocals. The sound quality is really muddy and more simplistic hardcore patterns ("Forgiven Not Forgotten") can be come across which are surprisingly not misplaced but make this small effort even more interesting, albeit with a strong unfinished feel.

Suffer in Silence EP, 1993
Ambitions Make Way for Dread Full-length, 1998

My Space

DARKSPELL (CHILE)

Classic thrash which is both fond of the dark atmospheric ("Tormented Mind") side of the genre and the more immediate, faster-paced ("Punished by Your Own Hand") one. The vicious raven-like black metal vocals aggravate the setting additionally, the latter acquiring more ambitious parametres on the diverse progressiver "Into the Darkness" and the semi-technical galloping shredder "Darkspell".

Into The Darkness Full-length, 2020

Official Site

DARKTRACE (BRAZIL)

One musician, the name Diego Armando, is in charge of this modern post-thrashorama here, the heavy mid-paced drama going on for too long for this release to be considered anything too special. Diego shouts with little restraint behind the mike, suiting the not very exciting one-dimensional soundscapes which are more effective when courting the doom scene (the really convincing "Coldblood", the balladic elegy "Living in the Shadows"), the lethargic execution only lightly elevating this side of the album.

Darktrace Full-length, 2021

Official Site

DARKULT (USA)

This young outfit specialize in intense old school thrash which combines fast'n furious cuts ("As the Night Descends", the German school worship "Killer of the Night") with dark brooding quasi-doomsters ("Hell Hounds"), and a few looser shorters (the hardcore distraction "Raging Bitch"). The singer is a firm shouty deathster whose rendings may come as too much for the regular thrash lover.

Darkult Full-length, 2019

Official Site

DARKWATCH (USA)

A very obscure entry which sees an act playing quite cool progressive power/speed/thrash which is built around heavy pounding rhythms, virtuoso bass licks, and very good emotional clean vocals. There's a lot to savour here despite the very muddy sound quality; this is officiant imposing stuff with echoes of Sanctuary and Helstar partially underwhelming due to the complete lack of any fast-paced temptations.

Musica De Los Muertos Demo, 1991

DARKWAY (BRAZIL)

Based on the "Court of Iron" demo, these guys offer modern thrash/death metal in a fast energetic tempo, with a few nods to Slayer where the sound takes a cool classic direction for a while ("Violent Inertia"). There's no speed lost here, the riffs lash and bite the whole time, and the singer does a good job with his gruff semi-clean timbre.

Something About Rage Demo, 2004
Rest In Pieces Full-length, 2005
Court of Iron Demo, 2009

My Space

DAROSHAM (SWEDEN)

The "Warmachine" EP is two songs of buzzy black-ish thrash/death metal with a lot of melody, sounding like the black metal version of Amon Amarth, with a very similar consistent stomping riffage and epic references. The singer rasps in a scary black metal way but his antics are comprehensive and authoritative.

Warmachine EP, 2010
Behind The Eye EP, 2011

DARQUE CARNIVAL (USA)

Based on the “Gathering of Souls” EP, this act deliver acceptable 90’s post-thrash which settles for hospitable mid-paced riffs on “Lies”, the delivery seldom deviating from the norm, the brooding semi-technical “Enemy” siding well with the melodious diversions of “Head Pain”, including several electable lead sections. The singer is a hoarse semi-reciter whose more attached antics go straight into hardcore territory.

Gathering of Souls EP, 1999
All for Naught EP, 2005

Official Site

DAS CABINET (GERMANY)

This talented formation serve multi-layered, all-instrumental, modern progressive thrash with surreal melodies, twisted head-scratching sections, virtuoso leads ala Steve Vai, and more. There's a certain presence of keyboards and they create a macabre setting for this really ambitious musical picture. The band shred with both technicality and speed the latter never lasting for too long. "The Maze" richly deserves its title being a very diverse shredder ala Coroner embalmed in scary undercurrents mostly coming from the sophisticated semi-lead assistance. "The Curse of Baba Yaga" is a dramatic stomper with sudden technical "explosions" including a brutal death metal passage near the end. "Papanasam" is a weird spacey number with laid-back rhythms and not too much aggressive shredding. The beginning by all means looks promising, but will this turn into a full-length recording? It has the feel of a jam session done of musicians who don't intend to embark on a full-time musical career despite the high level of musicianship displayed here.

Das Cabinet EP, 2012

DASHBOARD (MEXICO)

Cool brisk thrash/crossover with very nice bass support which overshadows the guitars quite a bit at times, which in their turn are of the abrasive heavy type. There isn't so much speed covered as a whole as at least half of the songs are of the seismic mid-paced kind, the final damage done by the intense speedy closer "Kill", and the somewhat screamy hoarse semi-clean vocals.

1900 Full-length, 1992

My Space

DASTER (FINLAND)

Based on the single, this obscure Finnish trio pull out dark brooding thrash with brutal low-tuned death metal vocals. This is tedious stuff with a heavy repetitive rhythm-section which just for two tracks (the last one is just a 1-min joke) works all right.
The full-length is an elaboration on the EP and not only that, but the guys have improved their musical skills inserting numerous brutal death metal sections which are at times supported by impressive leads ("Vortex of Wrath"), or by funeral doom-soaked ornamentations ("Beyond for the Darkside"). The annoying part are the many interludes which last for just a few seconds and break the songs' flow with their non-song related nature. The vocals this time are more intelligible and a bit higher-tuned.

Darker Than Black Single, 1990
Inheritance from a Noble Soul Full-length, 1992

DATAVENIA (BRAZIL)

This is a heavy stoner/doom/post-thrash affair which stomps forward in an expected seismic manner except for a couple of interesting fast-paced escapades ("Even If It Dies"). The rest is too prone to the balladic/semi-balladic side helped by the good soulful clean vocals.

Welcome To The Underground Full-Length, 2016

DATURA (FRANCE)

This band play modern thrash/post-thrash which comes with a hefty doze of dynamics (the short spastic "Respect"), but expect also the minimalistic creepy "Red" and the abrasive quasi-groover "Sweet Pain Killer", the shouty confrontational vocals aggrandizing the interesting setting, the latter recalling the works of Grip Inc. Some of the musicians are also busy with the metalcore formation Sharp Edges.

Datura EP, 1997

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DATURA (USA)

Doom/death blended with more volatile thrashy motifs; the mixture works especially on the more dynamic cuts ("Battle Worn") and the more progressive-prone ("Charm of the Rat King") diversers as doom/death at times completely disappears becoming more prominent towards the end ("Ship Breaker"). The singer is a hysterical shouty blacker who doesn't always fits the more officiant delivery.

The Harrowing Full-length, 2017

Official Site

DAUNTLESS (FINLAND)

Based on the full-length debut, this band mixes thrash and death metal, at times having a clearly modern flavour (Dew-Scented), at times recalling the glorious 80's (Dark Angel, Slayer). The music is by all means professionally executed, but there is hardly anything new here.
"Imbalance" is indeed an "imbalance" between the thrash and deathly (very few of them, if any at all) rhythms the guys this time way more faithful to thrash with a delivery which is more on the minimalistic side with unobtrusive moderately sharp riffs bordering on post-thrash with not very overt shades of hardcore. The whole stuff has a strange semi-technical aura which is also supported by the several more atmospheric moments (the spacey shifts on "Nonexistent") and the few more dynamic escapades (the galloping intensity of "Worms"). This style kind of suits the band who should develop this aspect of theirs further even with the risk of exiting the thrash metal realm at times.

Cold I Am Demo, 1998
Inhumankind Demo, 1999
Modern Ways of Discipline Demo, 2002
Ruins MMIV Demo, 2004
Obey-Erase-Obey Demo, 2005
Execute the Fact Full-length, 2007
Death Row Poet Full-length, 2009
Imbalance Full-length, 2013

Official Site

DAVE DARROCH (USA)

A talented axeman becomes a thrasher here; after six full-lengths Darroch decides to try the harder side of the metal spectre, and he does a fairly decent job the music on offer being a mix of thrash, speed and power Darroch providing a shouty/semi-shouty hardcore-ish timbre behind the mike, mixing catchy mid-pacers ("Sinner") with sprightly dynamic speedsters ("Calvary"). "Silent Vatican" is a nice semi-balladic elegy, and "Unholy Island" is a noteworthy more complex speed/thrasher.

Unholy Full-length, 2020

Official Site

DAVIDIAN (GERMANY)

Both the band's name and the music will take you into a Machine Head's direction, and that's the right one. These guys have apparently been fascinated by "Burn My Eyes", and follow its pattern very closely. Having in mind that present-day Machine Head are far from the high standards of their early works (except for "The Blackening", of course), Davidian are perfectly acceptable to fill in the gap. Fans of the aforementioned band and Pantera will rejoice.
"Hear Their Cries" arrives after a long 5-year pause, and shows the guys embracing the retro thrash metal idea by not completely losing their heavy approach from the debut: "Judas Cross" is a cool up-tempo thrasher with a classic edge; this edge is present on the next "Count Your Beads", which also introduces some elements of old. But "The Prince" thrashes with conviction once more, even inserting furious blast-beats for a second. Later on more groovy moments mix with old school thrash ones ("Follow", "40 Days"), but most of the time the band unleashes a heads-down thrash metal attack again coming with more aggressive proto-death moments: the excellent intense "Little Man". Things remain quite interesting till the end, with the nice semi-technical headbanger "Empty Gold", and the heavy thrashing closer "Shadow". With the quality material on offer here, it would be better if the guys remind of themselves on more frequent terms for the future.
"Our Fear Is Their Force" is another intense modern thrash monster killing from the get-go with the ripping opener "Behind An Angelic Smile" which comes after a pompous orchestral intro ("F.S.O."). The massacre continues with "Manmade Hell" and with the thrash/death metal madness "Shattered Illusions" which will shatter your illusions big time that you will hear anything groovy or post-thrash here. Run to the dentist for new fillings after the smashing headbangers "Fake Society" and "Vicious Circle", where death metal is again an assistant, threatening to turn into more than just that. From this moment until the end the guys thrash with no remorse only relaxing on the atmospheric closer "Freedom Of Choice" which clings more towards the Swedish side, but is a desirable shift from the mosh which should keep entertained every fan of the genre, not leaving room for any ados (technicality or balladisms) whatsoever.

Abuse of Power Full-length, 2003
Hear Their Cries Full-length, 2008
Our Fear Is Their Force Full-length, 2012

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DAVIDIAN (USA)

Modern intense thrash with aggressive shouty death metal vocals; there's some progressive vibe lurking underneath these sterile, mechanized riff-patterns, but the guys walk their own path with dominantly heavy squashing passages recalling late-80's Slayer ("Despiritualies") quite a bit, complicating the environment with the dramatic progressive thrasher "System Condemned" which also introduces lyrical balladic strokes into the dispassionate monolithic structure.

Soulless Flesh Machine Full-Length, 2017

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DAWN AHEAD (GERMANY)

Based on the full-length, this act provide a curious mixture of straight-up classic thrash and modern groovy digression, both sides alternated in a not very even, somewhat awkward manner, "Anthem of the Fallen" is a more homogenous, also more complex proposition, and "I Command" is a ripping headbanger with the staple less exciting stopovers. Later on there are attempts at stoner/doom ("Among the Blind"), more atmospheric cuts ("Pride"), and certainly the larger-than-life extreme metal concoction "Summon The Black" at the end, a 10-min odyssey with a lot of music, not very congruent though, served within. The vocal duel, consisting of a steady mid-ranged clean and a harsh death metal-based one, is another shortcoming, the two approaches jumping each other without warning, failing to convince anyone that such a symbiosis behind the mike is advantageous.

Dawn Ahead EP, 2014
A Trip of Violence EP, 2018
Fallen Anthems Full-length, 2021

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DAWN OF CONFUSION (JAPAN)

Two tracks of laid-back melodic modern thrash/death, with loads of melodic hooks and leads, blasting out for a moment on "Dawn of Confusion"; the rest is mid-paced at best.

Sleepers Awake Demo, 2005

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DAWN OF CRUCIFIXION (BELGIUM)

The band are represented with two songs here, which see them serving playful black-ish speed/thrash metal of the old school which can get a bit more brutal on occasion (the blasting sections from "Belial Rex Imperator") to which the gruff low-tuned vocals are better suited.

Obscene Perversion in Genocide/Goat Ass Split 2010

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DAWN OF DARKNESS (HUNGARY)

This band play crunchy dynamic classic thrash which is mostly marred by the not very suitable rending shouty death metal vocals. The guys also has another less annoying side of his vocal exploits, a more subdued semi-clean one, one that better suits the calmer mid-tempo material ("Dangerous Birds", "Sufferers' Blood") to which one can also add the first half of "Programmed to Kill", an intriguing varied composition that ends in a most shattering headbanging fashion.

The First Seven Signs Full-Length, 2022

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DAWN OF DECLINE (FRANCE)

A 4-track EP of classic thrash/death metal which tries to sound moderately chaotic and technical in a way not far from early Suffocation, and admirably succeeds not relying on too much hyper-speed, scoring high in the lead department as well where one will hear brilliant melodies over and over in dramatic spiral-like structures. "Call Of Utopia" is a prime headbanger with a slight Swedish touch, and "Lost In Time" is a commendable technical speedster boasting stupendous leads which are some of the best to grace these ears recently. The only drawback would be the very guttural low death metal vocals which are not on par with the inspired musical delivery.

Kingdom Of Madness EP, 2010

DAWN OF DEFIANCE (URUGUAY)

This project is just one man: Diego Sendra, who offers cool dark thrash/death metal of the classic variety with his vocals being one of the lowest-tuned to ever befall these ears. They provide a good contrast to the more melodic music which is closer to thrash in the 1st half, providing a couple of epic/pagan moments along the way. The songs mix faster and slower elements the whole time, but with "Love Denied", which is a nice semi-ballad, comes a change of course to slower more atmospheric metal. "The Ungod Command" is a good reminder of mid-period Bathory, and "Haunted Dreams" is another potent blend of hard-hitting riffs and haunting balladic melodies. "Payback Time" closes the album in an energetic fast thrashy fashion with a fine balladic lead-driven twist at the end.

The Obscure Awakening Full-length, 2005

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DAWN OF ETERNITY (USA)

This is your average modern Gothenburg-styled thrash/death metal which feels quite at home in the USA, in particular, with hordes of acts walking the path of their Scandinavian colleagues. There are no surprises for the thrill seekers here, everything has been done hundreds of times before the alternation between the fast and slow numbers well achieved the deep guttural death metal singer also a fitting, but fairly predictable, asset.

Shadows Of Ruin Full-Length, 2013

DAWN OF ORION (USA)

Competent semi-technical death/thrash metal with vocals which will remind you of Martin Van Drunen (Pestilence, Asphyx, etc.); the music is close to the Pestilence's first two albums and the Asphyx's more up-tempo stuff. "To Hunt the Ethereal Sun" is a nice instrumental with a nod to the In Flames' heydays.

For the Lust of Prophecies Undone Full-length, 1999

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DAWN OF RETRIBUTION (AUSTRALIA)

Modern thrash with certain death metal additions; hard stuff, albeit hardly original or not heard many times before. The tempo is up with the casual blast-beat thrown in, and the obligatory Swedish melodic decorations. The singer is the prototypical death metal growler of the low type. Some of the musicians have also released one demo under the name Befallen where they concoct a mixture of black, thrash and death metal.

The Plan to End Humanity Full-length, 2010

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DAWN OF REVENGE (GERMANY)

Based on the full-length, these lads serve energetic modern thrash/core, the clean vs. harsh deathly vocal duel a really anal gimmick, not doing much justice to hyper-active representations like “I Need You”, the varied ambitious quasi-progressivisms of “Sanctuary” a deviation for the better for sure, leading to the meeker but equally diverse execution on “Curtain of Death”. Make sure not to drown in the sea of thick groovisms on “We Are Alone”, but guess the catchy chorus on that one should save you, alongside the ripping speedy mid-section.

Souleater EP, 2012
Souleater: Resurrection EP, 2021
Sanctuary of Hate Full-length, 2024

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DAWN OF TIME (SWEDEN)

A nice little demo containing two songs of vigorous classic thrash; "A Force Of One" is a short headbanger, whereas "The Quest" is longer and more varied with a couple of more restrained modern sections. The guitar work is pretty sharp, and the vocals are cool semi-shouted with a slight semi-death metal flavour at times. The guys keep themselves busier with their other formation Reclusion where the style is pretty much the same.

A Force Of One Single, 2000

DAWN PATROL (USA)

Based on the full-length, this power trio offer blistering intense classic thrash which rips through the speakers with fast lashing riffs the latter not "strangers" to some cool melodies: check out the short exploder "Lyndon Johnson", or the excellent progressive shredder "1984". The shifts in style come in the face of the light-hearted crossover hits "Democracy Delivered" and "Plan 9", and the hectic technical stomper "The Axeman's Jazz" which grace the second half where the more diverse compositions belong. The singer is an attached hardcore-ish shouter who leads the show with authority without taking a very dominant role.

Undead Horde EP, 2013
Police State EP, 2014
Democracy Delivered Full-length, 2015

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DAWNBREATH (BELGIUM)

Reportedly, earlier the band were playing by-the-book classic heavy metal. However, on the album here they have upgraded to full-on modern thrash with bold ventures into death metal, the forceful shouty death metal vocals nicely accommodating those more brutal attempts. The assault never stops with flying bullets like "Hellhounds Unleashed" and "Death Beyond the Souls" keeping the pogo going, the more melodic additives on "The Necromancer" and "Bloodshed Propaganda" winking at the Swedish movement.

Creatures of the Damned Full-length, 2019

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DAWNMASTER (SPAIN)

Based on the full-length, these Basques indulge in diverse not very predictable speed/thrash which is both modern and classic also throwing a "wink" or two at the hardcore and metalcore arenas in the beginning. When the guys take themselves seriously ("Blood for Blood") they manage to come up with cool melodies and rousing stomping sections. "Ardi Beltza" is a curious semi-technical modern shredder placed in the middle, but the guys don't follow up on its more stylish delivery opting instead for soaring speed/thrash on "Old Story" & "One Life" both Helloween worships with some blistering leads present. The closing "Dawnmaster" is another speed/thrashing winner with a good chorus which suffers a bit from the not very emotional performance of the flat limited singer.

Thrash Warrior Metal EP, 2010
Blood for Blood Full-Length, 2014

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DAWNPATROL (FRANCE)

Based on "Death to Traitors", this band play classic black/thrash which is both dark and ominous ("Barbarians of a New Dark Age") and dramatic and energetic ("Where Thermonuclear Winds Are Blowing"), the guttural death metal vocalist fitting the pessimistic musical canvas that changes to something more officious and epic on "Manhunt", before "Death to Traitors" explodes in fireworks of raging vitriolic riffs, with death metal also called for help amongst the black/thrash skirmishes.

Doomsday's March of the Dead EP, 2014
The Dawn of Steel Full-length, 2016
Bomber EP, 2016
Bonebreaker Full-length, 2019
Death to Traitors Full-length, 2023

Official Site

DAYCORE (COLOMBIA)

Brisk energetic thrash/death metal which starts crushing from the intro ("The History Has Spoken") providing numerous headbanging moments. This is not very aggressive stuff, staying much closer to thrash metal, with more classically sounding guitars, with the leads worth mentioning, especially those on the more melodic numbers ("The Eyes of the Future Mind", "World Warfare Competition"), although the highlight comes in the shape of the pounding more technical thrasher "World of Sadness".

The Beginning Of Purgatory Full-length, 2008

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DAY OF RUIN (USA)

This outfit acquit themselves with heavy quasi-doom modern power/thrash which is ultimately marred by the forced shouty death metal vocal performance. Its saving grace would be the sparse cleaner vocal insertions and the short, but cool, leads. The music has its moments, but they would rather please the doom/gothic fans (check out the fine morose elegy "Desire"). "Trinity" is an attempt at more serious thrash and remains the highlight with its dramatic cutting riffs and the unexpected time-changes. Another detriment is the buzzy sound quality which is all over this uneven effort making it sound like it has been recorded into some timber workshop, intentionally or not.

Human Monsters Full-length, 2011

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DAY40 (UK)

Based on the full-length, these folks pull out decent modern speed/thrash which "flirts" at times with the Gothenburg canons and manages to keep respectable speed throughout without sacrificing the numerous melodic hooks along the way some of which ("Circles") come with a strong folk flavour. "Too Soon Forgotten" is a heavy seismic stomper which splits the album into two parts the second one taking it easy in terms of speed finishing with the imposing doom cut "The Antiquarian" which excels in the lead department. As a whole there's a big concentration on melody which is definitely on the positive side here including the singer who possesses a versatile voice covering a wide gamut of moods and styles, from intense deathly growls to some impressive higher-pitched tirades.

Circles EP, 2013
Only the Stones Remain Full-length, 2014

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DAYS OF ANGER (SWEDEN)

The debut: A more energetic take on the modern post-thrash idea coming with the casual faster riff, but the guys feel safer grooving in a heavy slow-ish pace which also suits the several balladic attempts which bring the sound close to Down. "Life Form" literally brings some "life" to the album thrashing more aggressively, but don't expect this to last through the whole song. The singer is expectedly semi-shouty and angry, but his more soulful side can also be encountered on the aforementioned softer balladic sections. Some of the musicians are "survivors" from the classic heavy metal heroes Torch who were the first Scandinavian act to raise the metal flag high in the early/mid-80's; while others are involved in another contemporary post-thrash act Scaar.
"Rise Above It All" "rises" the band "above it all" with dynamic post-thrash rhythms which van even make the regular fan headbang a bit here and there. The guys have made sure that the listener won't fall asleep except on the 10-ton doomster "Night of the Damned" which is an entertaining cut nonetheless. "Hellride" would be a no-brainer to even the classic thrash lovers with its fast blitzkrieg guitars, but heads will start nodding in drowsiness on the overlong balladic dragger "Days of Anger". This not very impressive number carries others with it until the arrival of the final "Apathy" which is another more energetic mosher thrashing with more passion making the band's standard approach more tolerable.

Death Path Full-Length, 2011
Rise Above It All Full-Length, 2013

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DAYS OF GRACE (GERMANY)

Modern groovy post-thrash with shouted hardcore vocals mixed with cleaner ones; the music recalls the more melodic period of Machine Head (after 1997).
"Logos" shows that the guys haven't moved away from the initially chosen path as this effort is another groovy post-thrash affair with friendlier balladic insertions ("We"), but also expect more aggressive exercises in modern thrash like "Misery Loves Company" and "Believer Deceiver" as well as one quite interesting alternative progressiver ("Cold and Coat").

Fit for Society Full-length, 1997
Unio Mystica Full-length, 2004
Painter Full-length, 2007
Logos Full-length, 2017

Official Site

DAYS OF LOSS (AUSTRIA)

Modern death/thrash (based on "Life Is Decay") metal trying to sound both melodic and aggressive, the latter tendencies starting and finishing the album leaving the melodic parts to hang at times awkwardly in the middle, consequently ending up sounding like many other acts nowadays with clear nods towards mid-period Dark Tranquillity.

Sleeping Gods Lie Full-length, 2004
Life is Decay Full-length, 2009

Official Site

DAYSEND (AUSTRALIA)

Another run-of-the mill death/thrash metal band of the modern variety; these guys are perhaps a bit better than some of the others, with more tasteful guitar work recalling Arch Enemy.
"Within the Eye of Chaos": the modern thrash/death metal saga continues unabated without any innovations so don't expect this effort to surprise you in any way. It is actually inferior to the band's older material being too soft at times with borrowings from heavy and power metal, alternative and balladic leanings apparently trying to attract a wider audience in a way similar to Raise Hell's "City of the Damned" and The Haunted's "The Dead Eye". Good luck with that...

Severance Full-length, 2003
The Warning Full-length, 2007
Within the Eye of Chaos Full-length, 2010

Official Site

DAZD (SERBIA)

Based on the split with their compatriots Nakot, these guys pull out crusty speed/thrashcore with a slight death metal shade, the latter boosted by the shouty death metal vocals. The music is generally fast developing in a one-dimensional manner clinging more towards the hardcore side.

DazD Order of the Vulture Split, 2008
Nakot / Daed Split, 2008
Dazd Full-length, 2009

Official Site

DD (THAILAND)

Melodic heavy/power/thrash metal of the modern variety, mid-paced with numerous balladic leanings bordering on stoner/doom as well, surprisingly picking up speed near the end with two brisk headbangers, again with more melodic hooks.

Khon La Khua Full-Length, 2009

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