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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

DEMACRATOR (PANAMA)

Based on the "Purgatory" demo, this act serve energetic, also melodic, speed/thrash which reminds of early Helloween and Paradox the major annoyance being the semi-shouty death metal vocals which simply don't suit that kind of music. The sloppy production also hampers the proceedings although the very good lead guitarist soldiers on unperturbed by the unpropitious circumstances, and is by far the finest performer in the band. His colleagues match him on the first-rate shredfest that is the title-track which kin dof predates the melo-progressive flair the Death recordings would take a few years later. "Deceitful Future" is another cut worth mentioning the band changing the rhythm more often, producing a nice progressive composition with echoes of Paradox again.

Reign of Desolation Demo, 1991
Purgatory Demo, 1991
Terror Sight Demo, 1992

DEMAGOGY (COSTA RICA)

Brutal thrash/death with a curious technical "sting" which isn't fully developed due to the incessant speedy barrage which only slackens on the atmospheric doomster "731" and the short interlude "Res Cogitans". The final "Blackened Diplomacy" is the highlight with its twisting riff-patterns and the proficient leads the rifforama assisted not very ably by the very deep, guttural death metal growls.

Human Brutality EP, 2016

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DEMAHUM (RUSSIA)

Two songs of classic black/death/thrash metal combining morose funereal sections with ultimately blasting ones to an apocalyptic effect not far from the Aussies The Berserker on the latter, and the Finns Barathrum on the former.

Promo Demo, 2011

Official Site

DEMANCE (BELGIUM)

Quite well done Bay-Areasque thrash topped by not very convincing gruff semi-clean/semi-shouty vocals; heavy razor-sharp riffs attack you from all sides, sometimes speeding up ("The Reaper") to headbanging proportions, sometimes shredding in a more carefree crossover-ish fashion ("Willy the Frog"). "Dead for Nothing" is a steady mid-tempo marcher which best exemplifies the steam-rolling character of this obscure effort which also comes with a pretty clear sound quality.

Demance Demo, 1991

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DEMEAN (USA)

Heavy crushing modern thrash, which combines groove with brutal death metal passages ("June 5th, 1989") and clean vocals ala more raspy Ozzy.

Today We Rise Full-length, 2004

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DEMEMXIA (BOLIVIA)

Based on the demo, this act pulls out raw, aggressive thrash/death topped by more brutal low-tuned growls. The guys aim at the faster sector, but there is a slower break on almost every track. The sound is pretty noisy, and the riffs create a solid wall of a constant, chainsaw-like buzz which may tire the listener well before the end. Otherwise the band try hard under the severe conditions, playing with gusto recalling Benediction and Unleashed with a very goof bass support, the only ingredient which doesn't lose from the raw production qualities.

Demencia Extrema Demo, 2007
Human Terror EP, 2009

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DEMENCIA (COSTA RICA)

The debut demo: fast intense thrash/crossover well expressed on the aptly-titled splashing opener "Costa Rica Crossover". Later on things take a slightly milder, but no less speedy, direction reflected in the bigger song-length and the more elaborate thrashy riffage. The singer is an angry shouter not miles away from early Tommy Victor (Prong).
"Comando De Sumision" is a really intense affair the guys thrashing their souls out playing ultimately fast with a thick hardcore edge which is also accentuated by the shouty, but melodic vocals which are far from Tommy Victor this time. The speedy delivery grows into a cover of Agnostic Front's "Friend or Foe" at the end sustained in a mind-blowing speedy pace and followed by a purer attempt at thrash with the longer, but equally as brutal "La Romantica Historia de RAMBO!!!" and the short death-laced bomb "Nadie Va A ExtraFarte" at the end.

El Vendedor Papero Demo, 2009
Demente Alkoholiko Demo, 2010
Comando De Sumision Demo, 2011

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DEMENCIA (CHILE)

The full-length debut offers nice headbanging retro thrash: a non-stop thrash action with cool sharp fast-paced riffs and vicious vocals sounding like a mix between Mille Petrozza and Schmier. Among the raging guitars cool melodic leads and other hooks can be caught: "Agresion En Escenarios", but when the guys thrash without mercy, they can easily rank along with the best: "Metal Distortion", the excellent mix of intensity and melody "Carnada Infernal". Galloping rhythms replace the speedy riffage for "Sacro Bestial", but "Fobia" catches up with the fastest and most aggressive moments on the album: furious speed/thrash at its best. "Guerreros Del Metal" is another mighty nail in the coffin before the closing "Nuclear War" moves back a bit in terms of speed adding more melodic hooks ala early Helloween, finishing this promising debut in a classic speed metal manner.
"Religion of Sin": the guys take it easy, apparently burdened by the annoying trifles of the daily routine, but fortunately 5 years later they're ready with a follow-up. The band haven't lost their penchant for brisk invigorating rhythms and those who enjoyed the debut will be happy all over. The album opens with the more speed metal-inclined "Metal Religion", but the hard thrashing is just behind the corner "Murderous Of Weapon" serving the requisite doze of brutal old school riffs. Later on speed and thrash metal alternate both nicely supported by fine lead guitar work the saga finished with the maddening speed/thrasher "Mortal Sin" which seamlessly blends the two approaches as a finishing touch. This effort may be a considered a slight drawback compared to the debut sounding somewhat milder except, of course, for the harsh raven-like black metal vocals which give a distinctive touch to the band's style despite tha fact that their suitability is debatable.

Engendros EP, 2004
Nuclear War Single, 2007
Metal Distortion Full-length, 2008
Religion of Sin Full-Length, 2013

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DEMENCIA (EQUADOR)

A promising debut of intense retro thrash/proto-death with perfectly captured pristine production which bars the guitars from sounding more expressive, but otherwise helps the band channel veterans from the South American underground like Holocausto, early Sepultura, Chakal, as well as Kreator's seminal "Pleasure to Kill". "Hungry For Violence" moves towards purer death metal with a portion of less restrained blast-beats, but the stylish leads, the stylish semi-technical insertions (the hectic "Slaughter Never Ends"), and the sparse melodic hooks ensure that this won't turn into a brutal bashing bore. The vocals are shouty with a mixed death/blacky blend reminiscent of early Mille, but more expressive and hysterical.
"Straight For The Jugular" doesn't betray the band's staple sound, but adds more technical touches "Mass Aggression" coming with some stylish Coroner-esque flair and a wide arsenal of tempo changes. "Between Heaven and Hell" admirably blends aggression with intricate mazey riff-formulas, a shredfest of the highest order; and "Domesticacion" is a hectic, not very predictable number with sudden time shifts and less adherence to speed. The title-track reminds of the Destruction instrumental "Thrash Attack" initially, but later the tempo variety is way bigger the guys never settling for a single rhythm for more than a few seconds. "Pain Is Pleasure" moshes with conviction and vigour, but the more elaborate decisions spring up before long the band boldly throwing in a couple of superb Atheist-like knots on top of intriguing melodic variations. "Wall of Death" has a most tantalizing scratchy beginning before more chaos ensues with Atheist coming to mind again the busy guitar work drawing great schizophrenic vistas of psychedelic proportions. The closing "Ruidos" follows a similar trajectory with echoes of Destruction sneaking in again, with briliant schizoid riffs filling in the whole space the speed reduced to an extent again in order for those clever arrangements to fully shine. This is a true revelation showing these youngsters in a really bright light, distinguished rivals to Vektor and the likes.

Slaughter Never Ends Full-Length, 2011
Straight For The Jugular Full-Length, 2017

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DEMENCIA (PERU)

Based on "Todos Vamos A Morir", this act plays a brutal chaotic blend of thrash, hard and grindcore which is mostly fast and simplistic the guys lashing in a stripped-down manner expressing their anger and resentment in the form of direct speedy riffs and hoarse shouty vocals.

Esto Es Lo Que Somos Full-length 1999
Caminamos Entre Ruinas Full-length 2003
Todos Vamos A Morir Full-Length, 2010

Official Site

DEMENCIA EXTREMA (CHILE)

Energetic classic thrash metal with a bad sound quality and undeveloped shouty vocals; apart from the direct headbangers ("Frustracion Mental") the guys expand into a more thought-out song-writing with progressive overtones ("Muerte En Un Sueno"). "Necesidad De Luchar" is cool more intense speed/thrash with a nice operatic chorus background and good sharp riffage.

Demo I Demo, 2008

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DEMENSIA (INDONESIA)

This is a project of Psycho 666, one of the metal gurus in Indonesia, who has more than two dozens of acts under his belt. An admirable dedication to the world of metal, which in this case he chooses to thrash in the good old school manner, the speedy barrage lacking variety, Psycho voting to stick to a gruff shouty death metal baritone behind the mike. It all comes together as one speedy melee from which one can distinguish the dramatic pounder "I'm the Grand Orchestrator", and the atmospheric chugger "Breaking Down, I Worship the Insane". The sound quality is a bit fuzzy, betraying the one-man-does-it-all enterprise.

Diorama Phobia Full-length, 2019

Official Site

DEMENTARIA (ARGENTINA)

Fast intense thrash crossing both tendencies sticking more to the classic patterns moshing out with sharp headbanging riffs the sound coming close to Dew-Scented, at times timidly moving towards the death metal field. The guys lash without mercy in a predictable, but competent, manner offering a dual vocal attack (hysterical vs. low growl) as well.

Violencia Extrema Full-length, 2009

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DEMENTED (SWEDEN)

A rising star in the 80's thrash metal tradition: good music along the lines of early Testament. Some songs have a jolly, crossover spirit ("Dog Tag"), similar to "Nightmare (Coming Back to You") from Testament's "Practice What You Preach"; others thrash in a fairly aggressive manner: the opener "One Offer"; "Taste Like Human" is another speedy thrasher, boasting great melodic leads. The predominant pace is quite up-tempo actually; although the sound is more old school-based, modern implements can still be heard: "Bloody Monday", again recalling Testament, their 90's works.

Demented Full-length, 2005

Official Site

DEMENTED (USA, CA)

Aggressive thrash metal with hardcore elements (the title-track) reminiscent of the Evildead debut.

We Call It Quits Demo, 1988

DEMENTED (USA, IA)

This obscure outfit play edgy intense thrash which is both fast and stomping the chaotic leads giving this recording a somewhat more masterful aura than it actually deserves. The delivery recalls Evildead's debut and early Sacred Reich the main difference coming from the singer who is a brutal deathy shouter distantly echoing John Tardy (Obituary). There is a lot of vigorous bashing to be savoured here, and generally the guys know what they're doing especially when these surreally proficient leads spring up out of nowhere.

Pacification By Violence Demo, 1991

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DEMENTED AGGRESSOR (USA)

Wild chaotic thrash/crossover which isn't far from the exuberant aggression of Wehrmacht, but the guys here have a good sense of melody at times ("Dead Pig Joe"), and change the pace more often. On the other hand, the short pieces ("Guts And Beer") are pure death metal brutality and will literally raise the dead not without the help of the very shouty, to the point of hysteria, semi-death metal vocalist.

Demo Demo, 1988

DEMENTED TED (USA)

A fairly nice obscurity paying tribute to the Floridian movement by inserting a healthy doze of thrash mostly for therapeutic purposes. he more technical embellishments cling towards Death and Nocturnus, and engaging shredders like "Existence Lies Beneath" and "Despair" can easily qualify for "Human" with their clever twists and turns. "Psychopathology" is a whirlwind of spastic, vitriolic riffs, and "Incisions" is only a marginally more linear headbanger. "Liquid Remains" thrashes with a lot of style, too, but it's "Geneticide" that steals the show with its spinning Coroner-esque rhythms and the delightful pounding excursions; an absolute stunner which alone certifies this album's presence on the very front row. The vocalist is the typical deathy shouter who doesn't take a lot of space, and is seldom overbearing playing secondary fiddle to the very good music. Later the guys regrouped under the name Beyond, and released another album of modern Pitchshifter-esque industrial.

Promises Impure Full-length, 1993

DEMENTIA (BRAZIL)

Based on the debut demo, this band play classic thrash with both power and speed metal elements encountered, but the rough sound quality doesn't do justice to the inspired musical approach. The guys thrash with conviction recalling their Bay-Area colleagues (Testament, above all) not focusing too much on the technicality, but bashing with vigour elaborating things a bit on the semi-balladic "The After Life". The vocalist hesitates between James Hetfield and Chuck BIlly, and does a fairly decent job as such maybe hitting the high registers more often than both.

Sand Castles Demo, 1991
Unhealthy Conduct Demo, 1992
DEMO Demo, 1993

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DEMENTIA (FINLAND)

The tireless Roope Latvala (also Stone, Waltari, Children of Bodom, Warmen, Sinergy, Latvala Bros, etc.)'s well concealed secret, this one-album-wonder is a commendable slab of classic thrash/death metal in the best tradition of the early Swedish school (Edge of Sanity, Merciless, Dismember). This is straight-ahead stuff with cool sharp riffs, staying closer to death metal in the beginning, taking sudden technical turns ("Never", and especially the twisted guitars in the second half of "Born in Cold") which could have been more since Latvala can really pull the technicality out of his sleeve more than now and then. After the pounding death metal on the first couple of numbers, comes another sudden turn to fast-paced retro thrash on "Peacemaker" which influences the rest finishing the album in a brisk thrashy fashion taking various forms: the mid-paced stomper "I Deny", the clever semi-technical galloper "United by the Fear of the Loss of Time", the explosive heads-down thrash on the closer "Roadkill". Coming less than a year after the release of a nice technically-minded all-instrumental album under his own name (Latvala Bros), more could have been expected by this effort in the technical department, but having in mind that the majority of the death metal brotherhood had seriously mutated into various other styles at that point, this album is a nice attempt at keeping the classic flame alive during those "gruesome" for metal times.

Dementia Full-length, 1995

DEMENTIA (HOLLAND)

Minimalistic dark modern thrash in the mid-tempo, of course coming with the obligatory for the time groovy moments, and the very unexpected stylish entries into a more technical thrash/death metal territory: the aggressive, but also technical "Inside Your World", sustained in the best tradition of mid-period Death. No more pleasant surprises of the kind, although the closing intense faster, progressively-laced (think mid-period Voivod) "Regression" is very close to being another one.

Watching The Dawn Full-length, 1995

DEMENTIA (JAPAN)

The debut EP: two tracks of first-class speed/thrash, with great guitars, soaring vocals, and infectious choruses, which will also remind you of the contemporary power/speed metal scene, but in a very good way.

Struggle for Rebel EP, 1985
Bang Hard EP, 1987

Vibrations of Doom

DEMENTIA (PAKISTAN)

Two tracks of groovy melodic thrash: edgeless mid-paced riffs and brutal low death metal vocals fight for domination with varied success...

The Plague Demo, 2008

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DEMENTIA (USA, IL)

Another good work from the metal underground: this is an interesting take on classic thrash with heavy, mid-paced to slow, doomy tracks with hypnotic riffs which don't change too often, but create a consistent compelling sound. The vocals are melodic, high-pitched, but fit the music perfectly. The style isn't too far from the Canadians Zions Abyss, but Dementia are more thrashy and never really step fully on a doom metal ground. If you like thrash metal with a more original twist, this band is well worth tracking down.
The demo is whole 13 tracks long neither of which is included on the full-length. The style, however, is pretty much the same: heavy pounding thrash with doomy overtones nicely speeding up on the sharp galloping "Battery Death Battery" and "Ripped And Torn", and the energetic semi-speedster "Steel Hammer". There are moments of power metal ala Omen & Griffin ("F.O.A.D.) as well, but more aggressive touches ala the Bay-Area ("Mercenary") are not missing, either. The bass-bottom is very good coming with a thundering echo ala Leif Edling (Candlemass), and the singer sings in a less attached lower-pitched tember still sounding convincing all the way.

Cursed From The First Demo, 1989
Recuperate From Reality Full-length, 1991

DEMENTIA (USA, KS)

Intense energetic old school thrash offered by these obscures, the pulverizing Nuclear Assault-esque "Death Central" leading the show, the latter also welcoming the complex but still fairly dynamic diverse "HIV" and the choppy semi-technical shredder "Through the Mind's Eye". The restless immediacy presented on "The Silent One" is another worth-pursuing side, the cool clean mid-ranged vocals doing a decent job as well alongside the lead guitarist who shines particularly bright on the complex labyrinthine saga "T.P.A. (The Political Arena)".

Through the Mind's Eye Demo, 1989

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DEMENTIA (USA, PA)

This is pretty decent retro power/thrash released during most inhospitable for the genre times, but the guys aren't perturbed by the dominant trends, and mosh with little remorse, alternating speedy blitzkrieg numbers ("Fall from Grace") with heavy squashing ("The Black Widow"), the former side gradually taking the upper hand. "B.A.D. (Bondage and Discipline)" is a merry crossover jump-arounder, and "The Elders" is an epic semi-galloper with echoes of Attacker and Metal Church. "Terror from Beneath" is a rousing speed/thrasher with more complex embellishments, the highlight on this capable recording which also wins point from the attached forceful semi-clean vocalist.

The Insanity Chronicles Full-length, 1996

DEMENTIA SENEX (ITALY)

A modern mix of straight-forward thrash/death metal and groove; the music constantly shifts from very fast sections to slow pounding ones. The latter kill the tempo quite a bit although they fit better the sinister low-tuned vocals.

Sun Goes Down Behind EP, 2009

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DEMENTOR (COLOMBIA)

The demo: good intense old school thrash with ripping qualities and sparse death metal elements (scattered blast-beats, etc.) the latter compensated by the several softer speed metal sections (the merry-go-round "El Comienzo De La Destruccion"). This is straight "putrid thrash metal" (like the title of one of the songs says) all the way ably assisted by the screamy evil deathy vocals and the not very proficient lead guitar work.
"Evil Twisted Minds" is a logical elaboration on the approach from the demo regardless of the huge gap between them. So this is a rousing speedy roller-coaster, sitting on the thin dividing line between speed and thrash in a manner of early Destruction, with sparse excursions into proto-death ("Profanator"). Staggerings towards the slower parametres are not to be encountered simply because this is nothing more than "putrid thrash metal" like on eof the song-titles describes so well.

Asalto Infernal Demo, 2007
Evil Twisted Minds Full-length, 2018

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DEMENTORS (CHILE)

Based on "Torment of the Black Synod", these folks serve evil sinister speed/thrash/proto-death metal which moves on hyper-speed for at least half the time, the guys moshing on full-throttle with "bombs" like "Nocturnal Rites" and "Necroforce" falling from all sides. "Soldiers of Black Steel" overdoes it a bit with a few less controlled blast-beats, but the good tone is seldom broken with a couple of more moderate speed metal hymns ("Fuerzas Malevolas") providing the requisite balance. "Maelstrom in the Skies" is the other untamed ripper coming with an over shade of black, the band lashing with less restraint near the end, the vicious black/deathy vocals only too eager to unleash more hellish tirades as a finishing touch.

Dementia-Violence-Blasphemy EP, 2011
Torment of the Black Synod Full-length, 2017

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DEMENTRA (INDIA)

This band have a longer discograpphy than the one provided here, but this album should suffice at this stage. What is on offer on it is some noisy modern post-thrash of the direct simplistic variety with angry death metal vocals and a few attemps at a more quirky play which remain just variations because of the songs' short length. This is the reason why this effort has a rehearsal feel to it with some ideas just hinted at as though the guys were just practicing for the eventual more serious recording.

Burn the Moon Full-Length, 2012

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DEMIDEAD (ITALY)

Based on the full-length, these folks specialize in heavy squashing modern post-thrash which reveals a surprisingly energetic side on “Everything Burns”, but mechanized groovy sprawls like “Rorschach Test” and “Pollution Eden” fail to generate much excitement, the headbanging winner “52 Rise” standing tall in the middle, “When My Demons Overcome” bouncing and grooving a bit longer, trying to create some 10-ton hammering drama in the process.

Demidead EP, 2019
War Against Ourselves Full-length, 2024

Official Site

DEMIFRAG (TURKEY)

This is intense modern thrash with gruff, quarrelsome vocals. The music crushes not forgetting about the more dynamic side of the genre, and here come "I Hate My Fate" and "Dark Souls" to bang the head among the dominant officiant, steam-roller riffage. "Kill For Us Tonight" is a frolic crossover merry-go-rounder, preceding the atmospheric doom closer "December The 19th".

Demifrag Full-Length, 2016

Official Site

DEMIMONDE (GERMANY)

This act is the prequel to the outstanding progressive metallers Complex 7. Music-wise this is suitably complex, progressive metal again, with alluring melodies dancing around, the lengthy semi-balladic saga "Decay and Rebirth" nicely summing up the dominant mood with a compelling more aggressive second half, turning the tables towards the good old thrash, the marginally more immediate riff-patterns of the creepy suggestive "The Commission" very close to reaching the labyrinthine grandeur of their compatriots Deathrow's "Deception Ignored", with another speedy passage served at the end to an even bigger conundrum-like setting. The short choppy "ROF" is pure tech-thrash in its essence, a sharp cutting stylish riff-engine running on full-throttle, the not very fitting rough semi-deathly vocalist the weakest link here, including on the title-track, a more dramatic piece with an elegiac quasi-doomy flair, the choppy more dynamic sections later elevating this pretty effective cut to a near-thrasher. Brace yourselves for "Impressive Deception", please, a possible nod at the mentioned Deathrow magnum opus, a superb intricate all-instrumental mosaic of tight riff-knots, arresting melodic pirouettes, and some surreal Oriental atmospherics clouding the very lofty musicianship, the guys really pulling it off on a demo stage, before embarking on a really impressive career later with the numerical moniker.

Soliloquy Demo, 1995

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DEMINION (USA)

Groovy post-thrash/post-death with a few doomy arrangements those bringing the sound not too far from Acid Death at times. Don't expect any fast-paced surprises although the dynamics are big, especially with energetic groovers like "Self Abuse" and "Suffer Will My Soul" around. The vocals are typical shouty death metal ones seldom interrupted by cleaner, more emotional croons.

Dark Inside Full-length, 1998

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DEMIRICOUS (USA)

Retro thrash in the Slayer vein with modern production; not bad although too one-dimensional. "Two (Poverty)" tones down the speed and intensity introducing groovy sections in the Pantera vein, bringing the sound closer to the modern tastes; however, tracks like the 1.5-min explosion "Expression of Immunity" are major headbangers and keep the tension throughout.
"Chaotic Lethal": the band are back after a long 15-year hiatus, and they carry on with their modern/old school thrash blend, peppering the scenery with explosive headbanging cuts ("Terminal Future", "The Follow"), the Slayer reference pretty legitimate once again. The heavy atmospheric lustre of "Fuck the Fire" is a requisite digression, but the guys quickly get out of the mid-paced traps with the brutal relentless "Merciless Slut Cult", the latter's vehemence also reflected in a couple of sections from the lengthy ambitious progressive closer "Faith Crime".

One (Hellbound) Full-length, 2006
Two (Poverty) Full-length, 2007
Chaotic Lethal Full-length, 2022

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DEMISE (SWEDEN)

Three songs of dark rough thrash (the debut demo) made by the guys who later went on to form Agretator, Darkane, Non-Human Level, and numerous other acts. The band was actually formed by Jesper Granath, the man behind Agretator, God, God BC, etc., but he left soon after the release of this recording. The style doesn't bear any overt technical marks, but the tracks are cleverly concocted with a rich brooding sound reminiscent of the Infernal Majesty debut with sudden fast developments whcih border on proto-death. The singer, Pierre Richter, a faithful companion of Granath having taken part in all of the aforementioned bands, delivers with his forceful scary shouty tember emitting a lot of authority and dramatism.

Prophesy Demo, 1991
Visions Demo, 1992

DEMISE (USA, Massachusetts)

Based on the "The Petting Zoo" demo, these guys come up with fast aggresive thrash obviously following the path carved by Slayer and Dark Angel. The 4 tracks offer a lot of headbanging, since there is seldom a slower moment. Later the band changed their name to Experiments in Fear, and the music acquired a more melodic, but equally as fast, edge.

The Petting Zoo Demo, 1989
Experiments in Fear Demo, 1990

DEMISE (USA, Oregon)

A 3-track demo of intense thrash/death metal ala Incubus' debut; the difference here are the stylish melodic leads which can also be quite fast and screaming when needed. The guys usually shred at lightning speed with the obligatory slower breaks included as well, and these are the moments when cool technical hooks can be heard. But these leads overshadow everything...

Devious Deception EP, 1992

DEMISE AWAITS (USA)

This is cool intense speed/power/thrash in the spirit of the 80's American scene: think Laaz Rockit, Helstar, Have Mercy, etc. even Forbidden's debut is touched on the intense ripper "Extract". "Omega" is a less intense power/thrasher, but the longer "The Nothingsoul" comes out again with all guns blazing "shooting" fast fiery riffs with panache also making promises for the future band exploits. The singer has a forceful high-strung clean tember which touches Russ Anderson (Forbidden again) at times, but generally his delivery is less melodic and lower-tuned. The sole drawback would be the rough production which gives the guitars an accompanying chainsaw-like sound.

Demise Awaits EP, 2009

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DEMISE OF GIDEON (USA)

Modern thrash metal with progressive/atmospheric tendencies; the music is not very eventful, though, developing in a predictable mid-pace with rare adherences to a faster proto-death metal play. The guys have a good taste for melody reflected in a few nice passages including a great balladic section on "Twingence": the highlight here accompanied by fine emotional female vocals which are way better than the unimpressive main death metal growls.

The Demise Of Gideon Full-Length, 2010

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DEMISE OF SANITY (UK)

Based on the full-length debut, this British band indulge in modern thrash/post-thrash which is on the heavy side for most of the time also acquiring some speedier tendencies ("Blood of the Dragonmen", "Final Symphony"), but there's a lot of epicness involved as well ("Ride of the Norsemen") including a few merry rock'n roll rhythms ("Dressed to Kill") those recalling the last two Megadeth albums. For dessert the guys serve a cool energetic cover of Annihilator's "King of the Kill" done faithfully with panache.
"Nine Realms" is a better-constructed, more thought-out affair, the title-track an assured epic power metal hymn, thrash materializing on the rowdier more dramatic "Where Giants Dwell", and by all means on the unfettered death/thrashing closer "Ragnarok", a wild brutal finale to this otherwise not very lively affair.

Blood of the Dragonmen Full-length, 2011
Aftershock EP, 2013
Nine Realms Full-length, 2020

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DEMISE OF SANITY (USA)

Based on "In the Midst of Stones and Fire", this act specialize in heavy modern power/post-thrash which has its moments although it's largely a plodding, not very imaginative affair which clings too much towards the balladic/semi-balladic side consequently sounding quite doomy (check out the vintage doomster "Season of the Witch", or the excellent Cathedral-worship "Deadspeak") on quite a few times. The singer suits the seismic atmosphere with his gruff semi-shouty timbre which he strains quite a bit at times.

Falling into Madness Full-length, 2011
Towards the Guilded Edge EP, 2013
In the Midst of Stones and Fire Full-length, 2015

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DEMISER (USA)

The demo: a 3-tracker of primal direct old school black/thrash which also goes towards a more speed metal-based delivery ala the Portuguese Alastor and the Germans Hellish Crossfire. Raw intense stuff without any deviations from the fast-paced trajectory, accompanied by harsh not very comprehensible death metal vocals. Some of the band members also play with the black/death metal hybriders Primitive Warfare.
The full-length doesn't betray the epitomized on the demo delivery, the speedy fiesta seldom interrupted, the speed metal-ish veneer of "Deathstrike" nicely complementing the hardcore-ish abrasiveness of "Raw Fucking Vomit", the blast-beating urgency of "Unholy Sacrifices" turning the tables towards pure black, with thrash returning to the fore later ("Demiser the Demiser"), giving room for more volatile configurations on the diverse mellower epicer "Warfuck Demon Lust".

Surrender to Sin Demo, 2018
Through the Gate Eternal Full-length, 2021

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DEMIURG (RUSSIA)

Good but hardly exceptional progressive thrash with gruff death metal vocals and touches of industrial; the riffs are razor-sharp and the pace is never fast staying in the mid-paced parametres for most of the time. There is a nice keyboard background on almost every song, as well as occasional clean vocals, which are quite bad, synthesized. The sharp wall of riffs is almost impenetrable, which makes the tracks sound quite close to each other, and with the non-changing tempo one may not feel when one composition ends, and the other one starts. "Prince of Light" breaks the monotony, mixing faster sections with ambient orchestral ones. "Bastinado" is cyber-industrial ala The Kovenant's "Animatronic" with awful industrialized vocals. "Omut" is a great varied number, adding black and death metal to the proceedings, blasting out at quite a few times in the best tradition of Dimmu Borgir. The other highlight is the more energetic complex "The Applied Eschatology"; the closing atmospheric instrumental "E.S.P." is also worth checking out: there's nothing metal about it, but at least it sounds different.

Bastinado Full-length, 2005

DEMIURGE (PHILIPPINES)

Heavy abrasive thrash with both modern and classic elements and angry shouty vocals; the Bay Area is an obvious influence, think late 80's Metallica and Defiance, and an aggressive hardcore attitude springs up from time to time: "Slaves of Christ". "Victims" is a stylish touch, abandoning the pounding guitars, showing the guitarist capable of pulling out something more melodic and even technical. The closer "Demiurge" is brutal thrash/proto-death in the beginning, and it's a pity that later on the guys settle for a much less impressive doom approach, completely forgetting about thrash metal.

Demiurge Full-length, 2004

Official Site

DEMOCRAZED (GERMANY)

These German folks serve a decent blend of classic and modern thrash which mixes both sides not very evenly giving preferences to the latter also incorporating really cool melodies all over those more obvious on the longer material ("Bastard Walk") which borders on the progressive. "Schizophrenic Soulgrinder" is a smashing speedster arriving after a string of not very impressive long numbers, but its immediacy is cancelled by the closer "Rot in Pieces" which stomps forward in a march-like manner not varying the officiant mid-tempo a lot consequently pulling this effort towards the dull side in the 2nd half. The singer is a quarrelsome growler with a harsh, not very clearly heard at times, tone.

disease:mankind Full-length, 2013

Official Site

DEMODEUS (SPAIN)

Modern thrash/death metal mixing fast blitzkriegers with slower groovers on a slightly noisy background with brutal growling vocals.

Lugubre Existencia Demo, 2011

DEMOLATOR (COLOMBIA)

This Colombian trio provides modern melodic thrash/death metal of the Gothenburg school, only more thrash-fixated, and a bit more varied, boasting wild shredders like "Ninos De Guerra" and "Oscura Realidad". The guitar sound is a bit thin, especially in the lead department, but the riffs are clearly heard, and create an invigorating headbanging atmosphere.

Demencial EP, 2009
Nif1os de Guerra EP, 2011

Official Site

DEMOLATRA (HONDURAS)

Based on "Profetas de la Destruccion", this band play acceptable classic thrash which marches onward with both fast-paced fervour (the title-track) and more pensive mellower rhythms ("Exterminio Masivo"), the pogo in the second half carried by the insistent "Una voz Enmudecida" and the uncompromising barrage "Armas Nucleares", the vocals delivering the goods in a shouty hardcore fashion, sounding comprehensible and suitably confrontational.

Mayo 54 Full-length, 2018
Profetas de la Destruccion Full-Length, 2023

Official Site

DEMOLICION (EQUADOR)

Aggressive early Brazilian thrash with a very thin guitar sound which creates the impression that the guys rehearse in the largest beehive in Equador. Apparently the demo contains material recorded during different periods of the band's existence since this bee-like buzz disappears on a couple of songs replaced by more controlled, but almost equally as fast speed/thrash with nods to the German school, plus one pure power metal anthem ("Noviembre Negro") included near the end.

Demo I Demo, 1989

My Space

DEMOLISH (BRAZIL)

Good classic thrash, fast and intense, recalling a lot of veterans from the 80's; their compatriots from Sepultura are given most nods, with the German scene a close second. Seldom does the music acquire proto-death tendencies ("War That Kills Innocents"), but it's all-out vintage speed/thrashers, like "Awake" and "Anger Within My Veins", which will make your day. "Last Days" decreases the speed a bit, relying more on galloping rhythms, but is not bad at all, as well as the last song "Realm Of Death": straight in-your-face thrash assault ala early Slayer.

Signs of the End EP, 2005

Official Site

DEMOLISHER (FINLAND)

Based on the EP, Demolisher are typical representatives of the modern thrash/death metal genre. These guys are perhaps more diverse offering heavy groovy sections ala Fear Factory and Puncture as well as parts which recall the Swedes Hypocrisy's slower doomy material, but the peace is often broken by furious, brutal blast-beating passages.
The full-length is a brutal death metal affair with sparse thrash insertions. There's a lot of atmosphere in the beginning on the opening duo which rely on heavy doom-soaked breaks with sudden blast-beating passages which could also pass for adherences to black metal even. "Closed from the Mortals" is a nice short sinister piece which influences the remaining longer compositions where the moroseness becomes almost intolerable; and "Crusifix Head Crush" is more than welcome after that with its brisk technical thrash/death shreds. The closing "Covered With Files-Guarded by Reptiles" is a doom/death masterpiece, a high-octane cut with ship-sinking riffs and a few surreal decisions ala Morbid Angel. The singer is a brutal low-tuner whose rendings are at times not very easy to get into.

Deformation Demo, 2005
Enter the Suffering EP, 2007
Plague District Full-Length, 2012

Official Site

DEMOLISHMENT (BRAZIL)

Based on the full-length, this act serve intense hardcore-ish, also deathly, retro thrash which comes close to the bridled aggression of "Reign in Blood" mixed with surprisingly melodic touches on the longer material ("Challenger", the gorgeous leads on "Direcionado Pela Fome"). Shades of proto-death ("Insurgent", the stylish more technical instrumental "The Devils March") boldly pop up here and there alongside more officious mid-paced stompers ("Abscond") where the intense forceful shouty vocals acquire a marginally more lyrical shade. Some of the band members also play in the death metal formation Forceps.

Our Fury Is Unleashed EP, 2013
Liturgia Negra Full-length, 2018

Official Site

DEMOLISIS (ECUADOR)

Based on “Lethal Infection”, this act specialize in regular old school thrash with a Bay-Area flavor, the moshing vehemence of “Collective Ignorance” meeting the more immediate thrash/crossover layout of “Metal y Destruccion” and the heavy semi-intricate skeleton of “Prison Riot”. The shouty hardcore vocals can be a bit grating on the nerves, but definitely suit the hyper-active demeanour of “Prison Riot” and the abrasive groovy rudeness of “Order to Kill”. Earlier some of the musicians were involved with the short lived retro thrash outfit Trial by Fire.

Violent Speed Attack Full-length, 2017
Demolisis EP, 2022
Lethal Infection Full-length, 2024

Official Site

DEMOLITION (AUSTRALIA)

The full-length sees a band offering pretty decent classic speed/thrash metal with a boosted modern production quite similar to the last couple of Paradox albums ("Collision Course", in particular). "Maniac" is a confident speedy opener, and "Strike You Down" is a lashing mid-pacer with Bay-Area overtones. "Sweet Revenge" mixes the two sides on a proto-modern base, but "Means Of Control" is a staple retro speedster of the more light-hearted variety. Then comes "Deadly Trail" which is a furious thrasher, and "The Fool Parade" which is just a bit more laid-back but also more technical. "Rip It Up" slows down also adding clever melodic hooks and excellent leads which are on a pretty high level on the whole album and again, strongly recall Paradox. "The Torture" will "torture" you with another portion of stomping mid-tempo riffs, but "Digital God" will rip you apart with its raging guitars plus another great lead performance. The closing "Kill Zone" is bound to mosh, and it doesn't disappoint with its fast fearsome rhythms. The singer may be the only drawback to some singing in a gruff semi-death metal manner lacking the more attached semi-clean tone of Charly Steinhauer (Paradox).

Strike Force EP, 2007
Kill Zone Full-length, 2011

Official Site

DEMOLITION (AUSTRIA)

Old school thrash metal; the style on the debut is heavy, mostly mid-tempo; "Existence" is faster and more technical, and kind of reminds me of present-day Kreator. "Relict IV" moves closer to the modern death/thrash metal sound, and the Gothenburg influence is more than clear on most of the tracks (Dark Tranquillity, Amon Amarth), resulting in much more standard music; some speed has been sacrificed in the process, and with a few exceptions ("Over Nails", "Coroner's Inquest"), the songs are heavy, mid-tempo affairs, and slightly one-dimensional.

...In The Beginning EP, 1998
Out of No land Full-length, 2001
Existence Full-length, 2004
Relict IV Full-length, 2008

Official Site

DEMOLITION (MEXICO)

Based on the full-length, this outfit indulge in crisp energetic retro thrash that bursts at the seams on "Fucking War", the more tamed Bay-Areasque layout of "Demolsih" decidedly a loftier model to follow, "Hematologhicphobia" picking on those intricate embellishments, leaving the more immediate bash for the concrete title-track and the speed metal winner "Old School". More sizzling mosh with "Sea of Blood" and the shattering closer "El Hombre ha Caído", the shouty near-hysterical vocals giving their fair share to the boiling environment.

Fire Power EP, 2017
Apocalypse Now Full-length, 2019

Youtube

DEMOLITION HAMMER (USA)

This band came out of nowhere at the last stage of the classic thrash period, when many of its older practitioners were rushing to adapt to the modern tastes, more or less successfully. Their splashing debut is actually the last pure aggressive thrash offering, before the thrash/death metal hybrids (Massacra, Merciless, Devastation, Revenant, Invocator, Demolition Hammer's own "Epidemic Of Violence", etc.) offered a compromise between the old and new styles. "Tortured Existence" throws a fine bridge between the aforementioned acts and the more extreme side of thrash represented by Slayer, Dark Angel, Possessed, Torture, etc. The guys thrash with force without necessarily sticking to the speed-only aesthetics, varying things with heavy, steam-roller riffs and the casual semi-technical hook (check out the excellent "Gelid Remains" for both deviations). The singer sounds pretty convincing for the thrash metal standards, with a vicious, mean-ish blend ala Mille, but lower-pitched and more throaty. A crystal clear production qualities and a surprisingly mature level of musicianship make this album a perennial delight for both old and young fans.
"Epidemic Of Violence" is another brutal thrashterpiece, this time death metal-oriented as well, the opening "Skull Fracturing Nightmare" being a sweeping "Reign in Blood"-worship. The next "Human Dissection" shows that this album will not be "obsessed by speed", but adds a nice doze of heavy technical riffage with echoes of Death's "Spiritual Healing". Both sides come immaculately blended on "Pyroclastic Annihilation", a prime thrasher with a more furious death metal edge near the edge. More, this time clearer, thrash metal fury comes with "Envenomed", before the sheer death metal madness "Carnivorous Obsession" rocks your world down to the very base, another commendable nod to the father(s) of death metal. Some of your fillings will definitely fall out on the explosive "Epidemic of Violence": extreme, in-your-face thrash at its fiercest. This exhausting piece is followed by the ultimate thrash metal cut "Omnivore", a total headbanging paradise, which after all these years will throw any sane human being into spontaneous mosh all over town. No inertia lost on the devastating closer "Aborticide", thrash/death metal at its uncompromising best, which puts an end to this no-brainer of an album in most relentless fashion.
"And now what?", is the very logical question after such a creative peak, but in this band's case the answer had better not been provided at all: the guys decided to eventually succumb to the modern trends, which led to the departure of two of the members (James Reilly & Vinny Daze(R.I.P.)), who later appeared under the name Deviate NY with just one, albeit pretty cool, demo recorded in 1995; while the rest moved on with "Time Bomb": a major disappointment comprising generic, uninspired modern post-thrash with no traces whatsoever left of the band's previous output. Their drummer Alex Marquez later became one of the drum gurus on the death metal circuit, with participation in famous acts like Cephalic Carnage, Malevolent Creation, Solstice, Hellwitch, etc.

Tortured Existence Full-length, 1990
Epidemic Of Violence Full-length, 1992
Time Bomb Full-length, 1994

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DEMOLITION INC (DENMARK)

A very good band who play aggressive modern thrash along the lines of their compatriots Sacrificial, or the Germans Dew-Scented, but with nods to the old school and without shades of death metal (or at least very few: the blasting for a while "Loathe Entirely" ("Laserguided Freedom"), which also offers nice technical licks as well).

Laserguided Freedom Demo, 2004
Demolition Inc. Demo, 2005

Official Site

DEMOLITION PIT (USA)

Based on "Y2K", this act specialize in groovy post-thrash, a typical product of that time, jumpy friendly stuff which becomes more stomping and confrontational on the dynamic "Vicious Circle", the shouty semi-hardcore vocalist not creating such a big belligerent drama, the doom/sludgy dragger "Torture Chamber", slowing things down by a healthy notch, the more dynamic semi-thrasher "ConfronKillTime" restoring some dynamic faith at the end.

13 Lessons in Aggression Full-length, 1996
Major Death Patrol EP, 1998
Y2K Full-length, 1999

Official Site

DEMOLITION PROJECT (ARGENTINA)

Pantera worship, spiced with more melodic, slower decorations (the very cool short acoustic instrumental "El Indio"), but the approach is pretty much the same: hard-hitting angry thrash, accompanied by a certain amount of groove. The singer is a dead ringer for Phil Anselmo, but the guitarists offer more variety, sometimes going into a more classic Bay-Area thrash metal territory ("A Pure Mind").

To Live This Way Or Die Demo, 2006

Official Site

DEMOLITION TRAIN (GREECE)

Based on the full-length, this band play merry-go-round old school speed/proto-thrash in the vein of early Exciter and Motorhead. "Unleash the Hordes" is a speed metal winner also recalling the Metallica debut later matched by another rousing speedster, "Metal Mayhem". "Hell on Earth" is an uplifting rockis hymn, but the rest is sustained in vigorous up-pace the musical approach aptly supported by clean high-strung, semi-shouty vocals.

Kill Your Boss EP, 2011
Unleash the Hordes Full-length, 2015

Official Site

DEMOLITION 4 (HOLLAND)

This is classic thrash/crossover which comes accompanied by a very hissing sound quality, the friendly layout of "Don't Pass the Line" violated by the hyper-active veneer of "Let Children Be", the bouncy bass-driven "Dark Age" another vehement occurrence. The shouty semi-declamatory singer is quite appropriately-selected for the music at play, the latter acquiring steadier mid-paced parametres for "Let Children Be".

Demo Demo, 1990

DEMOLIZER (DENMARK)

Based on the full-length debut, this act serve unbridled old school thrash, the hyper-active musical carnival assisted by shouty death metal vocals. The more carefree aura of short rippers like "N.T.C." will bring the winds of thrash/crossover at your doorstep, not to mention the 50-sec shredding insanity "Gore". The only respite from the fast-paced freighter seems to be the heavy atmospheric "Until the Day I Die", the deathly shouty vocals trying to please everyone without making too many compromises with their intense over-the-top delivery.. Some of the band members are also active with the groovy post-thrashers Radtskaffen.
"Post Necrotic Human" is a more controlled entry, the band still thrashing with passion, but both "Fascist State" and "Crossfire" display a more bridled side of the moshing side of the genre. Still, there's nothing wrong with more pensive musings like "Sarnarth" or longer exercises in semi-balladic digressions like "Killing a Friend"... it's just that the guys' real power lies in less merciful headbangers like the final "Warmonger".

Ghoul EP, 2018
Thrashmageddon Full-length, 2020
Upgrade EP, 2021
Post Necrotic Human Full-length, 2023

Official Site

DEMON DAGGER (PORTUGAL)

Based on "Inanna Ishtar", this band plays heavy 90's thrash metal ala Pantera and Machine Head, with all the trade marks of this sub-genre. "Burn The Flag" is a good attempt at a more up-tempo thrashing, but such moments aren't too many. "Cain Complex" increases the intensity, moving the sound towards the modern thrash/death metal fields, but the music has lost its bite, often sounding too melodic and derivative. On top of that bad clean vocals spring up here and there to assist on the more romantic sections. "Force Fed On Mayhem" thrashes with passion, but the rest is ultimately ruined by a clumsy blend of soft passages and heavy-handed groovy ones.

Aftershock Full-length, 1999
Inanna Ishtar Full-length, 2003
Cain Complex Full-length, 2009

Official Site

DEMON M0RDER (USA)

Based on "Last Walk of the Remaining Disciple", this outfit specialize in fast blitzkrieg old school black/thrash which rushes through the speakers with the utmost intensity, the guys seldom pausing for a break, lashing merciless rhythms to no end, the more epic, also blacky, veneer of "The Midnight Horse" a welcome digression, the other more respiteful moment being the more complex diverser "Bewitched by the Curse of Miseria", a more sensible exercise in black/thrashing madness which also more overtly favours more the vicious albeit subdued death metal vocals.

Black Magic Extermination EP, 2021
Within the Rust and Chaos Full-length, 2022
Last Walk of the Remaining Disciple Full-length, 2022

Official Site

DEMON PRAYERS (GREECE)

These Greeks pull out intense bashing classic thrash, but there are the requisite slower moments where the guys stick to less painful mid-paced riffs relieving the pressure from the other much faster material which is assisted by throaty semi-shouty hardcore-ish vocals.
The full-length is a paradise for the headbangers who will mosh around with a wide smile on their faces" a major statement of intent being the raging 6.5-min opener "Evoke the Pain". The guys keep the brutalities afloat and come close to the less bridled moments from the works of Rigor Mortis and Hallows Eve. At some stage the sound will inevitably bear some connotations to death metal ("Damnation Enslaved"), and the mid-relief "Tyranny ("Respect Your Life or Die)" will be more than welcome with its more friendly slower rhythms. From then till the end we have aggressive super-fast stuff excluding the heroic epicer at the end "Under Snow and Blood". This is a cool effort which sees a new rising star on the Greek metal horizon ready to conquer on a worldwide scale even.

Fields of Hate Demo, 2012
Morbid Terror EP, 2013
Evoke the Pain Full-length, 2014

Official Site

DEMON RIPPER (MEXICO)

Based on the full-length, this band play brisk intense old school thrash which excels in both speedy choppy ("Bastard", the modern-ish energizer "Bastard.") and more complex, more eventful sagas ("Slayer", the excellent speed/thrash opus "Mental Disorder") where the guys aren't far from hitting some noteworthy progressive parametres. The vocalist is a shouty semi-deathster who suits the music, recalling Max Cavalera.

Evil Bikers EP, 2018
Mind Reset Full-length, 2020

Official Site

DEMON SEDUCTION (GERMANY)

Based on the full-length, this band play modern thrash/death which is more on the friendly, playful side where the mid-pace rules, and the speedy escapades (the title-track, the cool progressive melo-deathster "Get What You Deserve") aren't that many. The steam-roller approach on the remainder creates a somewhat officiant tone summed up by "The Aftermath" at the end which is a nice doomy instrumental losing the brutal low-tuned death metal vocals.

Demon Seduction EP, 2015
Dissolution Full-length, 2017

Official Site

DEMON'S FLESH (ARGENTINA)

This is interesting, albeit a bit overdone, progressive thrash/death metal with very long compositions, easily going over the 10-min mark. The pace is mid for most of the time with a couple of sudden fast sections, but the frequent change of tempos and melodies will keep you on the alert. Still, some may get tired of this as some songs are really lengthy, and at some point you may not be sure whether you listen to the same track. Certainly there is a tendency towards sprawliness, similar to Opeth, but here there are very few balladic or acoustic interludes; the thrash riffs keep flowing, but the lack of many headbanging parts make them sound a bit samey. Some of the band members also take part in the black metallers Nightkarnation.

Oh, Lord, Amen Full-length, 2008

Official Site

DEMONA (CHILE)

The 2-song promo shows quite a capable speed/thrash metal outfit with a female singer relying on speed the way the Swedish acts from the near past F.K.U. and Cranium do. No complaints, the guys shred like crazy leaving a little room for a more laid-back speed metal sound on "Ataque de Locura Homicida" which will throw you directly in the early Helloween camp.
The "Metal is Me" demo offers a relentless speed/thrash metal attack all over, sometimes furiously thrashy ("Demona"), sometimes softer with a speed metal vibe ("Metal Is Me", which strongly reminds me of Piledriver's "The Executioner" from "Stay Ugly"). The old school spirit is nicely captured on every track, but some amendments in the vocal department are necessary: the singer, whose name is Constanza, and is the only band member at this stage, also playing all the instruments, pulls out a very thin emotionless clean timbre which is simply not on par with the better music.
The full-length is finally ready seeing the band offering brand new songs not heard on any of her previous recordings. The dedication to speed is admirable the album capturing the unbridled spirit of albums like Angel Dust's "Into the Dark Past", Helloween's "Walls of Jericho" (but, please, don't expect any guitar pyrotechnics ala Kai Hansen) and Not Fragile's "Who Dares Wins" with both hands and holding it till the very end. She has also improved her vocal performance now sounding both emotional and forceful and authoritative at the appropriate moment. This is one of the biggest entertainments to come out of South America in recent years: speed/thrash at its both catchiest and most headbanging best. It's another story how this approach will be accepted on a string of albums, but at this stage it works on all counts also producing more stylish excursions in to the genre: the engaging speed metal opus "Metal Through The Time"" which also sees the short introduction of male vocals. More aggressive thrash will befall you on "Poisoned" near the end, as well as the very cool cover version of the Germans Wardance's "Heaven is for Sale" "Don't Play with Fire"; this is a desirable tribute to one of the first female-fronted speed metal acts (and one of the finest speed metal albums of all times) on the scene Demona being obviously influenced by the emotional falcetto of Sandra Schumacher. This is a solid retro offering which doesn't sound stale or banal for a split second, and raises the flag of 80's speed/thrash higher than some of the most renowned practitioners nowadays.
"Speaking with the Devil" is a constant speed/thrash downpour which makes this act one of the most dedicated to speed outfits on the scene right now. This is dirty "dirty speed metal" all the way, like the title of one of the songs says so well, but the sound quality is crystal clear and greatly favours the rapidfire riffs which will literally make you dizzy: there's hardly any stop from the high-speed train offered, except probably on the more moderate mid-pacer "Stronger than the Hardest Stone", and on the jumpy melodic avantgardism Caid Deceit, Demona", a cool offbeat composition. This is a highly entertaining effort that sees an act playing what they can do best without too many deviations from the chosen path.

Promo Single, 2008
Metal is Me Demo, 2009
Metal Through the Time Full-length, 2012
Speaking with the Devil Full-Length, 2013

My Space

DEMONATH (CHILE)

Based on the "El Vivo En Ancud" demo, this band offers a wild, and a bit undeveloped blend of thrash and death metal which at times sounds quite brutal, but one could hear cool guitar parts (and leads) if he listens carefully. The style moves towards Sepultura and Slayer; the former are honoured with a noisy, not very convincing cover version of "Arise".

Fornication Demo, 1997
The Gods Are Stalking Full-length, 1997
El Vivo En Ancud Demo, 2001
Demonath 1996-2003 Best of/Compilation, 2003

DEMONATION (CANADA)

This obscure band reminds me of the Brits Deathwish: they combine faster, intense thrashers with mid-paced, dark, doomy tracks. These guys are not as proficient musicians as the Brits, but their music delivers the goods, and their sinister, brooding guitars could have been an influence on the doom/gothic acts which sprung up a few years later in the 90's (check out the excellent "Dark Age New Dawn"). This is atmospheric music, partially ruined by the very thin sound of the leads. The vocals are also dark, being mid-ranged death metal ones.

Demonation Demo, 1992

DEMONAX (USA)

This band is from where the Fates Warning guitar player Frank Arestie started his career. The style on this album has little to do with the progressive metal masters, opting for a more direct power/speed/thrash metal blend close to Liege Lord and Exciter. The songs are cool and memorable, ably supported by semi-clean, mid-ranged vocals that don't change much throughout, but suit the music just fine. The guitars are not "strangers" to a more stylish play ("No More Rats"), and thrash takes over on quite a few songs (the heavy energetic "Evil's Cast Aside", the great speedy "Power of Dark" and "Lay Down The Law"; "Play That Metal Mean", which sounds like a leftover from "Violence and Force"). On the other side we have the edgeless heavy/power metal hymn "Down On Your Knees", which is the only drawback here.

Demonax Full-length, 2001

DEMONBREED (UK)

Britain has made its contribution to the modern thrash/death metal scene. Demonbreed are a part of it; the music is heavy, occasionally groovy, mid-paced, recalling modern-day Entombed.

Middle Finger Up EP, 2004
Closer To God Full-length, 2005

My Space

DEMONCRUSHER (CHILE)

Technical/progressive death/thrash metal with very good Shrapnel-influenced guitar work, which truly shines on the excellent instrumental Onicocriptosis , which also offers great bass performance. "Garden of Tears" increases the brutal, heavy riffage, but the guitar play remains on a high level. "Tumor Violento" calms down again, providing a couple of atmospheric balladic passages, along with some twisted moments where the bass reigns supreme. "Sonic Boom" hits the top with its jumpy hectic rhythm and sudden time changes, and "Chernobyl" (remember the disaster in Russia, at that time still the Soviet Union) is finally something more conventional, sustained in a more direct faster headbanging manner, even blasting out for a while.

Violencia Exponencial Full-length, 2008

DEMONDEATH (MEXICO)

Based on the full-length debut, this outfit specialize in fast, remorseless classic thrash which relies on direct simplistic riffs which are especially evident on "Human Thrash" which title very well exemplifies the approach here: basic, primal old school sound spiced by the more interesting galloping section ("Heretic Priest"), or the casual tribute to the Metallica debut ("Time to Get Wasted"). The singer is a semi-clean semi-shouter who pulls more emotional performance than the one that usually comes with the style.
"Demondeath III" relies on the same formula, and the band mosh with verve and motivation, playing with more flexible riff-patterns ("Ayreon") on occasion, where shades of something more intricate rise, also helped by a few heavier semi-galloping ("Omnimous") decisions. "Phil Barrera" is another formidable thrasher, but watch out for "Trichotomy of Madness", a creepy minimalistic dirge with echoes of late-80's Slayer.

Human Thrash EP, 2014
Kingdom Covered by the Darkness Full-length, 2015
Evil's Victory Full-length, 2019
Demondeath III Full-length, 2023

Youtube

DEMONIAC (CHILE)

Based on the full-length debut, these folks pull out quite cool speedy blitzkrieg old school thrash which is reflected in generally lengthy compositions (5-7min) although the delivery is pretty straight-forward for a large portion of the time although the title-track makes some claims at more elaborate ways of execution with the more meandering guitar work which also nods towards the death metal movement. Impetuous roller-coasters like "Cheating Destiny" and "Dimorphic Feelings" will definitely keep the headbangers happy all over whereas "Death Comes" will make the more serious sit and listen with bigger attention due to the several more intriguing decisions. The shouty semi-death metal vocals don't participate much, leaving at times the impression that this is all-instrumental music going on.
"So It Goes" is a different beast, the band throwing the excellent progressive thrash wonder "RSV-Fool Coincidence-Testigo", a multifarious carnival with addictive melodic excursions, surreal atmospherics, and impetuous fast-paced passages. "The Trap" is tight non-fussy bash, and "Extraviado" is a weird jazzy etude of the calm soothing variety. More surprises later with the excellent bombastic speedster "Equilibrio Fatal", a complex roller-coaster with lofty bassisms, a dress rehearsal before the title-track hits, a near-20-min encyclopaedia of progressive thrash, a summative exercise with plenty of great music to savour, a magnanimous achievement that alone certifies the band's golden status on the South American metal horizon.
“Nube Negra” retains the brave experimental spirit of its predecessor, the multi-faceted operatic title-track introducing the eventful amalgam on display, the guys shooting “Acaro” afterwards, a bombastic hyper-active representation with references to the prog-death realm, the symphonic virtuoso implements of “La Caida” reaching out for the extreme progressive territories where also the fervent speed/thrash shredder “Granada” belongs. “Veneno” is a short hyper-blasting blackster, and the closer, the fittingly-titled “El Final”, is another larger-than-life compilation with thrash not playing a very prominent role anywhere.

Judgement of Death EP, 2012
Intemperance Full-length, 2017
So It Goes Full-length, 2020
Nube Negra Full-length, 2023

Official Site

DEMONIAC (SERBIA)

An obscure, but worthy debut- speed, power and thrash metal shake hands here, and although there are the cheesy moments which inevitably "accompany" combinations like that, songs like "And After All" and the fierce closer "Total Thrash" wave the flag of thrash metal sky high. The nice melodic vocals are worth mentioning, too.
The "Coming Again" demo is another commendable slab of speed/thrash metal sharing only one song with the full-length (the title-track). The attack is full-on here starting with the exemplary speed/thrasher "Heavenly Tigers" sustained in the best tradition of the Angel Dust debut. Pure thrash will welcome you on the more Bay Area-sque "Holy War" which is another sure-handed piece of fury, before "Living In Another World" calms the ball down with heavy epic power metal hymns livening up quite a bit towards the end with fierce speed/thrash riffs. "Satan's Warriors" is another heavy pounding song with a strong 80's American metal flavour again serving something for the headbangers in the second half. "Fight For Your Pride" is straight-ahead speed metal if we exclude the misleading heavy metal beginning. "Rising Power" is a blistering speed/thrasher with a few slower stomping throw-ins, and the closing "Power of Metal" tries to sum up all nuances heard here ending up sounding quite diverse, more in the power/speed metal camp. The singer falls a bit behind the good energetic music singing in a not very emotional clean mid-ranged manner, seldom attempting something higher and more dramatic.

Coming Again Demo, 1989
Touch The Wind Full-length, 1992

DEMONIC CREMATOR (UK)

Based on "Blizzards of Hate", this act plays a classic mixture of thrash, death and black metal which recalls early Bathory with a more melodic twist, the latter accentuated on in the middle ("Screaming Winter"), where the more officiant delivery will also remind you of the Austrians Summoning ("Stronghold", in particular: "Screaming Winter") and early Burzum ("Rain Of Skulls"). The singer semi-whispers in a scary, witch-like fashion, and adds up nicely to the eerie, macabre atmosphere.

Blizzards of Hate Full-length, 2009
My Dying Breath... EP, 2010
Crucified Full-length, 2011

My Space

DEMONIC EXECUTIONER (USA)

Based on the "Master" demo this guy, the name Adrian Barron, specializes in pretty cool all-instrumental thrash/death metal. The compositions are lengthy with numerous nuances covered, but the musicianship isn't very complex or entangled Barron concentrating on the straight-forward riff-application which on "Torn Apart" comes with a couple of less bridled blast-beating escapades. "Last Chance to Die" is a very good example of contrived, nearly leadless shredding, an exemplary headbanging fest which carries on on the pounding, less speed-prone "Blink of an Eye". Brilliant virtuoso leads take over for a while on "Cruel World", another admirable display of musical dexterity Barron wrapping it on in a more subdued, less flashy manner.

Demonic Executioner Demo, 2017
MS Demo, 2017
Master Demo, 2018

Official Site

DEMONIC FORCE (USA)

Roughly produced, but inspired speed/thrash in the vein of Hallows Eve and Rigor Mortis; so expect generally fast-paced moments, including brutal uncontrolled blasts ("Demonic Force") as well as several mellower passages (the quasi-epicer "Dark Future") where the leads reign supreme taking the upper hand which on the rest has been provided for the dramatic, but limited singer whose attempts to shift form the mid-ranged frequency sound quite laughable.

Demo Demo, 1988

DEMONIC LAUGHTER (ITALY)

Based on the 2006 demo, these guys play retro black/thrash metal mixing the speedy approach of the Japanese wave (Barbatos, Abigail, Sabbat, etc.) with the heavy primal one of early Venom. The faster tracks are by far more appealing, one of which is a very cool cover of Mayhem's "Deathcrush", but the boring 5-min acoustic "Interludium" could have been skipped, as well as some dragging sections from the longer and slower numbers.

Necromadness Demo, 2005
Demo Demo, 2006

DEMONICA (USA)

This band is the "child" of none other than Mr. Hank Shermann, the Mercyful Fate guitarist, who has summoned under his flag members of Forbidden, one of whom is the Americans' founder and mainman, the guitar player Craig Locicero. However, the music concocted is just a decent mix of modern and old school thrash with a boosted modern production reminding of Overkill's "Killbox 13"; the delivery is mid to up-tempo with semi-groovy implements which are more audible on the slower tracks ("Luscious Damned", the semi-balladic "Palace of Glass"). "My Tongue" is vicious aggressive thrash, and "Alien Six" is close to the Destruction sound after the reformation in 1999, but the guys prefer to thrash in mid-pace most of the time often leaving the better faster aspect of their music aside.

Demonstrous Full-Length, 2010

DEMONIFICATION (SINGAPORE)

Based on the demo, this band plays old school thrash with vicious, black-ish vocals, slightly recalling early Bathory. This is cool fast-paced stuff along the lines of early Destruction and Kreator. "Thrash Attack" surely fulfills the promises given with its title, being a smashing speed/thrashing killer which will remind you of the Destruction instrumental of the same name from "Infernal Overkill". "Hell of Hell" is more aggressive, a nod to Kreator's "Pleasure to Kill", and "Mental Torture" is another raging number jumping on the death metal wagon. This is a total headbanging delight which isn't too far from the blitzkrieg approach of the Japanese Fastkill as well.
The full-length is a more brutal affair with bold shades of death and black metal brutalizing the environment, leaving thrash on the wayside for a large portion of the time although the latter has the final say on the excellent more elaborate "God-Less", and ona couple of short blitzkrieg moshers among which "We Are Demons" is the highlight with the longer and more intricate "Satanic Deadly Warlords" a close second. The Sodom cover of "Outbreak Of Evil" is also worth mentioning, a fairly faithful, punky rendition of this hit save for the hysterical blacky vocals.

The Holocaust Continues... Demo, 2003
Hell Metal Full-length, 2004
Bonded By Siamese Hellfires Split, 2006
Obey The Antichrist Full-Length, 2018

Official Site

DEMONIK (SPAIN)

These guys were previously known as just Demon, but had to change their name after the British heavy metal legends of the same name reformed. Based on the debut, the music on offer is classic speed/thrash with screechy death/black metal vocals and a few clever moments ("A.D.M.") which are like an "oasis" amid the pedestrian dominant delivery that gets more vivid on the more complex closer "Confrontacion", a furious thrasher for at least half the time.
"Rise from Chaos" starts misleadingly with the hyper-active roller-coaster "Burning My Soul", and although later on a couple of cuts (the raging "Chaos", in particular) reflect this less bridled approach to the old school thrash genre, the band are more interested in diversity and more flexible riff-patterns this tendency especially nicely captured by the gigantic 25-min saga "Voices from Hell", and by the 14-min "To Live", two eventful behemoths which kind of devaluate the presence of the other material as they pretty much deplete what this effort is about.

Demon Full-Length, 2010
Rise from Chaos Full-Length, 2018

Official Site

DEMONIZED (CHILE)

Based on "Demonized Legions", Demonized is a very promising old school thrash metal band, very close to the Bay-Area sound, but at the same time having something in common with the German thrash metal scene as well: "Thrash Metal Warrior" with its fast swirling riffs will definitely remind you of Destruction's "Curse The Gods". At the end the band pay tribute to the Chilean thrash metal veterans Necrosis with a cover of "Kingdom Of Hate".

Unholy Thrash Metal Demo, 2000
Thrashing for Something Demo, 2001
Promo Demo, 2004
Demonized Legions Demo, 2005

My Space

DEMONIZER (BELGIUM)

Furious thrash/black metal attack of the old school with Kreator's "Pleasure To Kill" serving as a base; sometimes the black metal blast-beats go way over into a Darkthrone or even early Cradle Of Filth-territory. The thrash metal fans might not like these moments very much, but they will also find enough good thrashy riffs to stay put.

Thrashing Force...Attack Full-length, 2003
The Essence of War Full-length, 2005

Official Site

DEMONKRATZIE

Furious thrash/crossover, which is obviously influenced by the similar exploits of Wehrmacht, but the hysterical screechy vocals will scare you, and these guys go over the top, with blasting pieces like "O Imperio comeou a Ruir" and "Assistindo o Fim". We can't talk grindcore here, but this is not too far behind.

Demoncracia 666

DEMONNIA (BRAZIL)

A 3-song EP showing an act with an eye towards the more stylish side of the modern thrash/death metal hybrid which is delivered in a hyper-active, very energetic manner with wild speedy shreds alternating with seismic pounding passages all this topped by very brutal low-tuned, barely audible at times, death metal vocals. The adherence to blast-beats is not very overt, but on "The Inept" they co-exist very well with the complex arrangements the latter reaching Necrophagist-esque heights also showing a lot of promise which should materialize on the band's future "exploits".

Demonnia EP, 2013

DEMONOID (SWEDEN)

Demonoid is a side project of the Therion members who have decided to play more aggressive metal again for a change. Well, don't expect the twisted death metal of early Therion; the music here is mostly thrash with death and black metal influences. This is good stuff with brutal, but also technical riffs. The symphonic ultra-fast black metal parts ala Cradle Of Filth and Dimmu Borgir are somewhat misplaced and are the downside of the album. Christopher Johnson has conquered many styles through the years, and his so far solitary venture into thrash metal territory shows that the thrash bands have been lucky to not have himself as a competition at this stage.

Riders of the Apocalypse Full-length, 2004

Official Site

DEMONOLOGIST (UKRAINE)

This act pull out decent retro thrash with innocent black metal connotations dispersed throughout, largely through the witch-like rending vocals. Expect brutal deathly accumulations on "Psycho Path" and "High on Evil", and sinister pounding developments on the doom-laden "R'lyeh", the headbanging factor not as prominent in the second half, replaced by effective macabre mid-pacers like the excellent semi-technical "Extra Malice" and the creepy power/thrash closer "Ashes in Air".

I Curse, I Dance Full-length, 2021

Official Site

DEMONS OF OLD METAL (UK)

This outfit play harsh abrasive modern thrash/post-thrash so this isn't exactly old metal. Anyway, the guys march on with very heavy abrasive guitars which bring this album to the industrial cohorts at times ("Open Wide And Scream", "Grind"). The noise comes as too much on some tracks, a situation partly relieved by the playful semi-clean singer who keeps the party going with his spiteful, but catchy antics.

Dominion Full-Length, 2015

DEMONSEEDS (USA)

This band is a project of Michael Haaga, a former singer of the death/thrashers Dead Horse. The style is typical modern power/thrash metal with touches of Sabbath-ish doom and some psychedelia thrown in.

Kneel Deep in Hell's Grasp Full Length, 1999

DEMONSTEALER (INDIA)

The Demonstealer (also the technical death metallers Reptilian Death, etc.) is the man behind this effort ("This Burden Is Mine"), and he lives up to his reputation providing intelligent, sophisticated progressive thrash which comes a bit overdone with the gigantic length of the compositions and the numerous nuances which sometimes come with a lot of gorgeous melodies ("When The Hope Withers And Dies"), at others shred with handsome technicality involved ("This Burden Is Mine"). "Frail Fallible" is not a very necessary tiresome ballad, and "Where Worlds End" is an epic rouser which retouches the more aggressive delivery from the beginning in top of some cheesy keyboards. The Demonstealer provides both the brutal deathly and the very cool emotional clean vocals their "duels" always convincing without the pompous theatricality of many other similar performances.
"The Last Reptilian Warrior" is sustained in a similar vein with a bigger emphasis on melody perhaps the shorter, more compact material ("Sculpting the Archetype") delivering in a slightly better way with not much ado, the more twisted longer compositions ("The Perspective of Evil") sharing some of the cavernous Morbid Angel-esque aesthetics opposing to the wayward melo-brutality of cuts like "The Weak Shall Perish". The title-track is a surprisingly lyrical semi-doomster, and the closer "Rebel in Space" is the only pure thrasher the band tearing it loose with wild unrestrained rhythms.

...and Chaos Will Reign... Full-length, 2008
This Burden Is Mine Full-length, 2016
The Last Reptilian Warrior Full-length, 2018

Official Site

DEMONSTRATION (CZECH)

An obscurity which offers classic power/speed/thrash with Paradox-esque echoes and a few atmospheric touches with the presence of keyboards. The music is not very fast (the exception being the maddening lasher "Gilotina"), and the guys definitely have ideas to pull it through, but the bad unrehearsed shouty vocals and the awful sound quality are major detriments for this effort to be considered seriously.

Osudnej Den Demo, 1991

DEMONTHOR (BRAZIL)

Based on the EP, these guys pull out black/thrash which ranges from slow atmospheric numbers to faster headbanging ones, two from each approach, the former being the more attractive side, carrying a certain psychedelic shade with them, not far from more recent Satyricon and Thorns.

A Night For The Demon Full-length, 1999
Miss on the Altar EP, 2002

DEMONTHRONE (CANADA)

Roughly-produced black/thrash metal ala early Bathory with a fuzzy guitar sound and sinister hellish semi-whispering vocals; the delivery is energetic with sparse doomy breaks (the heavy tribute to early Celtic Frost "Skullshredder").

Angel Slayer Demo, 2008
Necrolisis/Demonthrone Split, 2008

Official Site

DEMONWOMB (AUSTRIA)

This is a decent attempt at mixing classic and modern thrash with bad angry vocals and with a pinch of hardcore on the musical approach, also expressed in the short song length (2-3min). The guitars are pretty sharp, and serve well both the fast and the slow moments which alternate throughout in equal dozes.
The EP is pretty much in the same vein trying to sound a tad more classic perhaps the hardcore remnants still around now recalling early Pro-Pain quite a bit. The variety is bigger as well some of the numbers being admirable heavy explorations ("Deception") with a shade of doom. The singer is a bit better now his shouts being less rending and even emotional on occasion.

Demo Demo, 2011
Cursed EP, 2012

DEMONZTRATOR (FINLAND)

The debut: fast blitzkrieg retro thrash the band seldom switching off the speedy autopilot which also goes through several more brutal death metal transformations ("Peacemaker") as well as the odd hardcore-prone rager ("Amisha Mi Papa-Papa,Juctice"). "No Way Out" surprisingly provides a nice balladic respite, a tendency developed further on the more moderate power/thrasher "Parasites"; the rest is sheer speed the remorseless musical delivery topped by mean semi-declamatory vocals. Some of the musicians also play with the retro thrashers Freedomination, and the death/thrash hybriders The Scourger.
"Sinister Forces of Hatred": the carnage is quite full-on here, too, and the headbangers will waste no precious moment, the more technical choppier stoppages on "Proclamation" by all means elevating the approach to loftier parametres, but this particular agenda receives not much support later, the guys intent on thrashing the neighbourhood with explosive pieces like "Acid Remains" and "Crossing the Rubycon", although a needed antidote to this intense mosh pops up at some stage, the dark atmospheric "Into the Mouth of Madness", and partially the mid-paced chugs on the closing "Embryonic Evil".

Forgotten Acts Of Aggression Full-Length, 2017
Myriad Ways of Dying EP, 2019
Sinister Forces of Hatred Full-length, 2021

DEMORALISER (UK)

Modern thrash/death metal of the Gothenburg variety, but completely lacking dynamics also sticking to frequent metalcore breaks evolving around repetitive mid-paced to slow patterns to no avail.

Conveyance EP, 2011

DEMORD (RUSSIA)

These Russians pull out a varied modern blend of death and thrash with strong Oriental undercurrents. The approach is also curiously semi-technical with cool meandering guitars ("Field Hospital") accompanied by unobtrusive keyboard implements (the closing title-track which also offers the only blast-beats on the album). The main vocals are gruff death metal-ish but their performance is "obstructed" by more expressive raven-like ones as well as angelic female ones.

Cry Of My Soul Full-Length, 2015

DEMORIEL (GERMANY)

This German formation play intense classic speed/thrash which follows the patterns established by his compatriots quite faithfully. As a result we have another chapter from the movement reminiscent of early Tankard, Vectom, Exumer, Necronomicon, etc. There's a mellower crossover element running through some of the tracks ("Napalm Attack"), but the speed metal aesthetics never get lost, especially on total knockouts like "Eating People" and "Fatherland" which race with the speed of light. The closer "Only the Beast" even reaches death metal drama also helped by the throaty semi-death metal vocals which also resemble Tom Angelripper.

Soap Factory Full-Length, 2013

Official Site

DENATA (SWEDEN)

A more classically inclined thrash/death metal hybrid, closer to thrash, sounding like a nice combination between the German scene and the Bay Area. The style recalls the French No Return, and more particularly their debut and "Machinery". This is cool headbanging stuff with death metal vocals; there's no variety between the albums, but this is hardly a complaint. On "Art Of The Insane" there's a very cool cover of Celtic Frost's "Morbid Tales".

Necro Erection EP, 1999
Departed To Hell Full-length, 2000
Deathtrain Full-length, 2002
Art Of The Insane Full-length, 2003

Official Site

DENDERA (UK)

This power metal formation hardens the course on "Mask of Lies", incorporating quite a bot of thrash into its skeleton, the rowdy title-track receiving a hefty boost from the emotional but forceful clean vocalist whose deathly shouts are probably not very necessary. The semi-balladic poignancy of "Scream in Silence" is surely a respite, and it works well in the company of the similarly-styled "Fading" and the seriously agitated thrasher "Guiding Light". A full-blooded ballad ("The Fall") materializes in the second half, but watch out for the belligerent "Inside My Head" and the doom-soaked closer "Drag Me Below". Some of the band members were earlier playing with the power metal cohort Power Quest.
"Pillars of Creation" is also on the more bellicose side of the spectre for at least half the time, the modern angry groover pummeling the listener into a more or less submissive state, the nice melodic vocals alleviating the pain a bit together with the measured mid-paced chugger "In High Tide". The galloping semi-technical impetuosity of "Disillusioned" is a stylish reminder of the Nevermore repertoire, and "The Daylight Ending" is an uplifting hoping speedster, its carefree optimism silenced by the bellicose power/thrash rhythms of "The Chosen One". Brace yourselves for more pulverizing power/thrashing with "Undone", before the progressive galvanisms of "Edge of Tomorrow" engulf you for about 9-min, a varied ride with cool melodic leads and alluring semi-balladic interludes.

Pillars of Creation Full-length, 2015
Mask of Lies Full-length, 2024

Official Site

DENET (CZECH)

Based on "Krev", this is a good mix of thrash and death metal from the old school. Death's "Spiritual Healing" is an obvious influence but there are tracks which are slow, moody, with clean vocals.
"Terrestrial Dying" is the lesser achievement featuring a mixture of late-80's Metallica and the Black Album, with vocals firmly in James Hetfield-territory, which is far from bad, but there are some not very convincing moments, like the pop ballad "God Save Us the Love", which would better suit acts like Quiet Riot or Poison, and another one: "I Pray", which is better, recalling the Testament efforts in this field. The last song: "Mortuary", is a stunning turn into death metal, with a strong nod to Death's "Spiritual Healing" again, suggesting at what was to come later.

Terrestrial Dying Full-length, 1993
Krev Full-length, 1997

Official Site

DENIAL (SWEDEN)

Apart from the fact that the Dark Tranquillity mainman Mikael Stanne has a guest appearance here, there is not much to write about this EP: modern groovy post-thrash in a clumsy mid-tempo and dull repetitive riffs; hardcore-ish outbursts try to lift up the mood, but only once do they extend into a whole song, the 1.5-min "Humanity Fails".

Rape Of The Century EP, 1996

DENIAL (USA, NC)

Competent, well played old school thrash metal; the music is heavy, slightly reminiscent of the D.B.C. debut, but is more technical and with longer tracks. "Insane Asylum" shows the more ambitious nature of the band with a more complex song-writing and more intricate guitar work, but such moments are not too many. But even in its more straight-forward side the music is still quite impressive: "Antichrist President", a great short headbanger which would hardly leave anyone indifferent. Both sides of the band's music (speed and technicality) are nicely fused near the end in "Sentenced", the album highlight. This was a promising debut which, unfortunately, sank almost without a trace in the growing indifference towards the thrash metal genre in the 90's.

Antichrist President Full-length, 1991

DENIAL (USA, TX)

This outfit provide fast brutal old school thrash that alternates between moshing ragers ("Last Painful Seconds") and heavy on-the-verge-of-groove trots ("In My Eyes"), the shouty confrontational vocalist holding his own with bellicose panache. "Bodies in Manifest" is a welcome letfover from the "Arise" (Sepultura) sessions, whereas "The Deliverance" is an effective curious slow-burning all-instrumental piece. Some of the musicians were also engaged with the death metal formation Slow Grind and the thrash/crossover heroes V.S.I.

Last Painful Seconds Demo, 1996

Official Site

DENIAL FIEND (USA)

From the line-up of this new act one name will strike a cord: none other than the legendary Terry Butler (Obituary, Death, Massacre, Six Feet Under). Otherwise this is cool heavy thrash/death metal which at times has the playful vibe of early Six Feet Under or mid/late-90's Entombed ("Return to the Tombs of the Cursed Blind Dead"), but there are songs which thrash admirably, accompanied by more interesting riffage ("Flesheater"). The sound is never very aggressive, and the songs stick from each other, making up for an entertaining listen.
"Horror Holocaust" offers a similar blend, the thrashterpieces ("Stuck Pig/Bleeding Out") being quite a few despite the fact that some of them come with a merry proto-stoner vibe in the lead department. "A Fiend Without a Face" in the middle is a formidable steam-roller, influencing the remaining material that decreases the speed quite a bit. The vocals, courtesy of the former The Accused vocalist Blaine 'Fart' Cook, are scary semi-hysterical/semi-screamy rendings, which at times take a cool semi-clean shade, and become much more intelligible.

Dead Awakening EP, 2007
They Rise Full-length, 2007
Horror Holocaust Full-length 2011

Official Site

DENIAL OF LIFE (USA)

This is old school metal of which thrash is more widely presented. The approach marches onward with generally fast-paced riffs, some of those boldly bordering on hardcore (the short corrosive "Downfall"). Expect the brief lyrical instrumental right after, a really nice piece of soothing music art; and the radio-friendly sing-alonger "Antifreeze". The second half wakes up for rowdier behaviour, with the intense bullets "Bloodsaint" and "Cruzified", the high-strung shouty vocals better suited to those restless tunes than to the welcoming hard'n heavy demeanour of "Disassociate".

No Reason Full-length, 2022

Official Site

DENIED (SWEDEN)

Based on "New Army For The New Revolution": these guys pull out heavy mid-paced modern thrash that isn't bad despite its derivative nature. Crunchy pounding riffs galore will one find here as well as tasteful, but sparse guitar work. Shades of 90's Flotsam & Jetsam are all over the album as well as echoes of the Black Album, 90's Chastain, etc. There's a lot of dynamics involved: the heavy aggressive "Rise"; the more diverse "Lazarus"; the energetic rock-ish "Red Threat", the multi-layered "F.E.A.R.", which is a nice combination of peaceful passages and hectic jumpy riffs.
"Let Them Burn" would be quite a surprise the band incorporating 90's power metal into the picture by retaining their biting thrashing riffage. The vocals (if those are the same ones) are more on the clean, more emotional side and fit the frolic power/thrash landscape which now sits between the classic and the modern trends. The guys aptly mix contrasting numbers: the nice ballad "Garden of Stone" vs. the intense headbanger "Constant Rage" before they bring some of the heaviness of the debut in the second half which may enchant the doom metal lovers (the imposing doomster "The Black Room") at times. Without re-inventing the wheel, the guys translate well on the contemporary music horizon by widening their scope without sacrificing much from their early repertoire.
"Freedom of Speech" carries on with the power/thrash vibe from its predecessor as the band have epitomized more laid-back mellower elements into their arsenal, with hymns like "Don't You Know Me" and "Scarred Soul" staying more on the power metal side. "Domestic War" courts the groovy tendencies a bit more, whereas "The Devil In Me" shows bigger musical prowess with touches of epic and progressive. "False Truth" is the only full-blooded speed/thrasher here if we exclude the bonus track which is a nice uplifting cover of Twisted Sister's "Stay Hungry".
"Humanarchy" is a more aggressive offering, starting with the inspired mosher "Divided", the pounding title-track marching with determination, the speed/thrashing slogan "Flesh Made God" the possible highlight on this effort which also has its mellower side, one of which is the overlong balladic saga "Maintenance of Insanity" and the radio-friendly bouncer "Don´t Cross That Line".

7 Times Your Sin Full-length, 2005
New Army For The New Revolution Full-length, 2008
Let Them Burn Full-Length, 2013
Freedom of Speech Full-length, 2018
Humanarchy Full-length, 2022

Official Site

DENIED EXISTENCE (USA)

This is interesting: progressive power/thrash with slow, almost doomy melodies and complex song structures, and a dramatic, high-strung singer whose voice is a bit rougher version of Leather Leone (ex-Chastain) spiced with the more hysterical pitch of David Wayne (R.I.P.). The style is actually close to a thrashier Chastain (the works of the 80's), or less technical, and slower, Hexenhaus. The guitars are not overtly technical, but the riffs are heavy and interesting, and there's enough energy involved in the proceedings. All tracks are nice examples of a mixture of slow, atmospheric melodies and faster, sharp guitars. "Virgin Blood" is a particularly good number with sinister choruses, maybe the only one which stays closer to doom metal most of the time. There's one ballad, too: "Birth (An Endless Circle") which slows down considerably, but is quite good.

The Future's Past Full-Length, 1999

DENIS VLACHIOTIS (AUSTRALIA)

This promising young guitar virtuoso parted with his colleagues from the technical thrash metal outfit Dred to concentrate on his solo career which has so far produced this 4-track EP which sees the guy delivering strong performance with the leads prevalent, as expected, but there are enough pure riffy sections of the power/thrash type with frequent speedy expansions. The music isn't an exact take on the Dred style, but is closer to Marty Friedman's "Dragon's Kiss" and Jason Becker's "Perpetual Burn", only faster. There are numerous classical references as well as several Latino deviations ala Marc Rizzo, plus a not very obtrusive presence of keyboards here and there. The music is by all means technical, but this isn't the main point here, Vlachiotis clearly intent on showing his skills beyond the mere thrashing shredding the latter reaching its culmination on the encompassing "Everlasting Allegiance": a larger-than-life speed/thrashing opus mixing razor-sharp riffage with meditative balladic interludes.

Imperishable Ferocity EP 2007

Official Site

DENKARE (JAPAN)

This is a highly entertaining band who speed/thrash in an ultimate old school manner, the main difference coming from the high-strung childish female vocals which give a very individualistic flair to the proceedings. The music is raging and fast, quite consistent throughout the albums featured here, with some virtuoso musicianship displayed on the side of the guitarists whose performance is not far from the one of their colleagues and compatriots from Sex Machineguns and Aion. This is really good stuff, inspired dynamic old school stuff, if you can get past these arousing child-like (or rather, teenager-like) antics which may actually excite you in a very good way...

Non-Human-Killer EP, 2007
Call of Elder Things Full-Length, 2010
??????(??) Full-length, 2011
??????(??) Full-length, 2011
??????II Full-length, 2011
??????? Full-Length, 2014

Official Site

DENOUNCE (UK)

Cool modern thrash/death metal: At The Gates meets thrash metal; there are successful attempts at a more technical play, but not too many. Still, these guys are superior to the many The Haunted and Carnal Forge clones walking around the metal scene nowadays.

The Inner Workings of the Hate Game EP, 2005
The Art Of Broken Teeth EP, 2006

Official Site

DENTIST OF DEATH (SPAIN)

Energetic old school thrash/crossover close to Lethal Aggression and Rumble Militia; the guys experiment with the funky sound on "Porn (is All I Need)", but rest assured that there will be speedy riffs there, too, this one being the longest song, along with the blitzkrieg thrasher "Perfect Organism", lasting for whole 3-min compared to the very short length of the other material. "Coneheads" is another really good all-out thrash attack spiced with a few laid-back passages and very screaming leads. Their compatriots Storbais also come to mind as well as Su Ga Tar, but judging by the more elaborate arrangements on the aforementioned "Coneheads", these guys definitely have something up their sleeve which would hopefully find a fuller realisation on the full-length.

Pornoaliens Demo, 2009

DENY (GREECE)

Cool retro thrash metal akin to Sacrifice and early Whiplash; so expect raw, fast-paced thrash, accompanied by not very pleasant, hoarse vocals recalling the early attempts at singing made by Simon Forrest on the early Cerebral Fix works. The guitar work is simplistic but packs a punch producing really worthy speed/thrashers: "Detonation", "Paradise in War", the great intense riff-fest "Remove Yourself" in the best tradition of early Destruction.

Back on the streets Demo, 2004

DEONA CART DELUNA (MALAYSIA)

Four songs of modern thrash with horrible hysterical synthesized vocals (they sometimes come accompanied by brutal low growls) which don't really suit the relatively laid-back music which develops in mid-pace with sudden fast outbursts. The guitar sound is quite abrasive, though, and there is a very sparse use of leads.

First EP EP, 2009

Official Site

DEPARTMENT OF COREUPTION (USA)

Based on the demo, this act provide rough intense thrash with a not very overt hardcore flair. The pace is mid with very heavy rhythms which border on proto-death on the wild chaotic basher "My World". The vocals are shouty with a deathly edge but are mostly all over the place also screeching on occasion.

Hanging Material Demo, 1988 Poverty Stricken EP, 1990
The Resurrection EP, 2006

My Space

DEPARTMENT OF CORRUPTION (USA)

Based on the demo, this is good interesting thrash metal with a heavy sound and semi-technical riffs, not miles away from Anacrusis's debut, but with a much worse sound quality. The tempo changes nicely from slower stomping parts to faster technical ones. Rarely does the music smell death metal, and the vocals are vicious semi-black/semi-death metal ones.
The EP is another fairly cool affair offering a monolithic heavy sound comprising the cool energetic galloping number "What's Up Doc", the frenetic aggressive speedsters "Free Will Free Hell" and "2 TO 3", the punk joke "What I Like (Live)", and the stylish jumpy technical opener "Conscience Captured". The singer this time acquits himself with gruff hardcore semi-shouts.

Hanging Material Demo, 1988
The Resurrection EP, 2006

Official Site

DEPARTMENT OF INTOXICATION (USA)

There's only one musician, John Beck is the name, who acquits himself with not very aptly-stitched, sloppily produced power/thrash which clings between Venom and Celtic Frost (the early endeavours of both), the established mid-paced delivery seldom experiencing stumbles along the way, the mean semi-clean vocals trying to create more drama on the side. "Criminal Justice" is pure punk ala Dead Kennedys, and "Crowd Control" is a composed crossover parade.

Demo Demo, 1987

DEPICT PATHOS (SWEDEN)

This is the second stop for the mighty Pathos after the short spell they had as Valcyrie. The music is nothing short of outstanding again being assured progressive thrash which introduces the labyrinthine structures from the get-go with the unpredictable "A Fall From The Sky" which excels in the melodic lead guitar department. "Lady Beware" is a wilder thrasher, still pretty complicated, and "Dionysian Pneuma" is a quiet instrumental bringing serenity for about 3-min. "The Song of Complaints" is an engaging, almost 10-min, opus which clings a bit more towards the semi-balladic/doom side; and the closing "Beware" is aggressive speed/thrash without too many gimmicks, a fair epitaph to another exemplary display of musical mastery, and a sure-handed rehearsal before the start of the Pathos career.

Elude The Decree Of Destiny Demo, 1992

DEPLETION (PAKISTAN)

This is two songs of atmospheric, brooding thrash/death which is mid-paced with the casual more speedy "intrusion" ("Human Drones"). The guys aim at the more melodic fields which results in a few nice memorable passages with slight Oriental motifs. The singer is a brutal low-tuned deathy growler.

Demo Demo, 2010

My Space

DEPONIA (SERBIA)

Based on "Fuck It All", these guys "fuck it all" with modern abrasive semi-industrial thrashcore of the heavy proto-groovy variety. The music is kind of one-dimensional with repetitive mid-paced riffs which break the pattern at times starting to jump suddenly in a hectic Helmet-like fashion. One will be delighted to hear sparse pure thrashy outbursts ("Shadowrun"), but on an album of 15 songs their number should have been much bigger.

Fuck It All Full-length, 2000
Sick Skara Full-length, 2002

Official Site

DEPRAVER (SWEDEN)

Modern abrasive thrash which has both shades of hardcore and industrial; the created miasma works well with semi-technical jumps ("At War with Myself") provided as well on top of some ambitious progressive thrashing ("King's Gambit", "Parasites"). "Precious North" is a surprisingly vivid shredder with noisier build-ups introduced later the latter acquiring more officiant, doomier overtones for a string of tracks. The singer is a hysterical rending shouter who kind of suits the bleak futuristic musical landscape.

Chasing Shadows Full-Length, 2017

DEPREDADOR (ARGENTINA)

A heavy blend of classic and modern thrash, more modern-sounding probably, mostly in mid-tempo, slowing down to stoner/doom at times, but the riffs are sharp and meaty, and the overall approach is not far from the one of the Italians In.Si.Dia, their 2nd album, more particularly. The faster material reminds of the Scots The Almighty and Skid Row's "Slave to the Grind" (the song): "Mi Pais", "Bajo Tu Sombra". "Mezcal" is a cool heavy semi-ballad with Metallica overtones.

Suplicando Furia Full-Length, 1997

Official Site

DEPREDAM (USA)

The debut: this is dark doom/thrash/death that may lose the listener's attention on the longer material (the sprawling depressive dirge "Testimonial"). In fact, the fans have to prepare for a not very eventful, mid-paced at best, approach akin to the one of the Germans Warhammer, the lyrical semi-balladic etude "Ord" an interesting playful stroke. "Therapy" is a livelier thrasher with crisp energetic rhythms, a desirable more melodic proposition which is ruined by the not very suitable rough death metal vocals.
"Ragnarok" doesn't stray from the chosen path the guys chugging onward in an intimidating mid-tempo fashion, but the jarring dynamics all over ensures the good mood especially on the more active material (the semi-headbanging "Eulogy for the Metaphoric") to which the perfect opposite is the soothing ballad "Han Ska Alltid Alska Dig" where clean emotional vocals spring up for a while. Elsewhere it's the rowdy battle-like hymn "War Noises" that is worth mentioning, and probably the short ironically-titled energizing ripper "Pacifier" near the end.

Mayday, Mayday Full-Length, 2019
Ragnarok Full-length, 2019

Official Site

DEPREDATION (GERMANY)

Based on the "Ruhrpottmetal" demo, this is excellent classic thrash metal obviously influenced by the Bay Area scene, but also featuring speedy riffs akin to Tankard or Paradox. There are both heavier, somewhat technical, tracks and more light-hearted faster headbangers.

Live in Ratingen Live album, 2002
Megaton Scythe Demo, 2003
Ruhrpottmetal Demo, 2005

Official Site

DEPREMACY (USA)

This enthusiastic duo deliver crisp classic thrash along the lines of Exodus, Testament and Heathen; in other words, the flag of the Bay-Area is raised high and the guys spare no energy keeping the headbanging going the whole time thanks to rousing anthems like "Typhon's Reign", the more complex and varied "Labyrinth of Hate" (watch out for the short lyrical deviation on this one), and "Left to Die". There's plenty of melody going together with the fast-paced arrangements giving this very good effort a fairly individual at times face (the Oriental semi-technicaller "March of the Proles") the latter also achieved through a few more aggressive death metal-ish moments also reflected in the brutal deathly semi-shouts which cross with the prevalent shrill shouty, somewhat hysterical, main vocals.

Exorcism EP, 2011
Darkness Arise EP, 2012
Scars of Treachery Full-length, 2016

Official Site

DEPRESSION (AUSTRALIA)

As you can see, the information here is not complete. The first part is pure hardcore with almost no traces of thrash, but in the second half things start taking a nice shape: "Have A Look Around", followed by a brilliant semi-technical "Instrumental" and the very good closer: another instrumental, "Spiritual Warrior", a great atmospheric piece.

DEPRESSION (FINLAND)

Based on the "Thirsty Life" demo, this act specialize in fast dynamic retro thrash which is woven of both aggression and melody, as evident from the diverse title-track, the more ordinary mid-pacer contrasting with the brilliant hectic technicaller "Fried Veins". "Holy Lies" is another entangled shredder, the guys even giving their compatriots Stone a good run for their money with these crooked musicalities, the singer standing on the side line with an attached clean timbre recalling Hansi Kursch (Blind Guardian).

The Frogs Demo, 1990
Thirsty Life Demo, 1991
Demo Demo, 1992

Youtube

DEPRESSIVE AGE (GERMANY)

This band literally saved thrash metal from being obliterated completely from the 90's music scene. They raised the hopes high that thrash metal would survive at least in Germany, and would even continue to flourish. The band could be viewed as the leaders of the progressive/technical thrash metal movement which virtually started with their debut. And this was exactly the case on the band's first two albums which were fabulous progressive thrash metal works, quite aggressive at times, but also with original complex song-structures, with interesting avantgarde elements and very good melodic, alternative vocals. These guys have managed to forge a really compelling sound, combining complex song-structures with fast-paced, intense passages, often interrupted by slower atmospheric ones. The debut contains the more elaborate and technical material, whereas "Lying In Wait" offers a more aggressive and sharp sound, with shorter tracks and more accessible arrangements. The traditionally difficult third album was a deviation from the hard course into an alternative form of progressive metal which had very few "remnants" from the biting thrash metal sound of the previous efforts, but was strangely enchanting and interesting. After this one the band's music changed direction quite radically, and gradually left the metal field, causing them to change their name into D-Age, where the style shifted into a new wave-ish post-rockabilia with borrowings from alternative, punk, etc.

Innocent In Detention EP, 1992
First Depression Full-length, 1992
Lying in Wait Full-length, 1993
Symbols for the Blue Time Full-length, 1994

DEPTERA (RUSSIA)

Dynamic modern thrash with the odd technical hook the latter having a nice dry sterile edge not far from Altered Aeon and Biomechanical; the singer is angry with shades of low-tuned death metal growling at times. The riffs are pretty sharp changing the tempo the whole time, even blasting on occasion, where the approach comes close to the controlled chaos of Suffocation. "Fucking Disease" is a confident minimalistic technical creeper with another super-aggressive blast near the end giving a lot of hope for the quality of the eventual full-length.
"Gravity" is another teaser consisting of four songs from which the opening "Gravity" is a less restrained brutalizer; "Anxiety" is a clever shredder in more moderate tempos producing exquisite technical entertainment with a few quiet moments; "Velocity" is again more on the brutal side with a few not as controlled blasts; and the final "Break Stuff" is an intelligent rendition of the Limp Bizkit hit by preserving the staple for the stars breakdowns still managing to bring it close to their style.

Pressure EP, 2011
Gravity EP, 2013

DEPTH CHARGE (USA)

This outfit serve capable retro power/thrash standing somewhere on then road from early Metal Church to Overkill, the speedy, also shorter, material ("Strapped") gelling well with the heavy pounding tunes of "Trisect Odyssey" and the friendly hard'n heavy motifs of "Night and Day", the obvious filler here. "Technically Insane" isn't exactly a technical number, but its bouncy power metal rhythms perfectly fit the emotional clean singer.

Depth Charge Full-length, 1995

Youtube

DEPULSOR (GERMANY)

Based on the full-length: fast ripping old school thrash which is propelled forward by speedy skirmishes like "Failed Treachery" and "Butcher of Souls", the more laid-back heavier character of "Walking Amongst the Undead" a somewhat cumbersome proposition. The semi-technical twister "Violent Tendencies" can pass for the highlight, but watch out for the excellent speedy instrumental "Instruments of Violence", and for the rip-roaring non-fussy closer "Close to Death". The hoarse shouty semi-clean singer is alright, but his attached tirades lack depth,and sound a bit strained.

Nightmare of Humanity EP, 2017
Walking Amongst the Undead Full-length, 2021

Youtube

DER GEIST (ITALY)

This Italian formation specialize in modern thrash/death with expressive shouty death metal vocals. The music is served in various tempos with a sophisticated semi-technical edge which is disguised in more conventional Swedish school riffs. The slower material (the cleverly-concocted "Another Cutting Weapon") seems to carry the bigger technical charge while the faster cuts sound more ordinary, with timid shades of Darkane sneaking in (the dynamic closer "The Struggle Within") the very good melodic leads gracing both sides leaving the most positive impression from this cool, but hardly striking effort.

The Pain We Don't Feel Full-length, 2012

Official Site

DERANGED (CANADA)

Brutal devastating thrash on the second demo, and more restrained and technical one on the first; both styles are expertly delivered as the preferences would probably go for the second one for its better production and ultra furious character- listen to it if you dare!

Premonitory Nightmare Demo, 1988
Place of Torment Demo, 1989

DERANGED (SWEDEN)

Classic power/thrash exemplified by the heavy but welcoming rhythms of "S.I.M.P.A.", the wild militant riffs of the headbangers' ball winner "War Victims", a cool semi-technical walkabout; and the dark morose atmospherics of "A Vision", the very good clean attached singer quite close to being the highlight at times. Later on the guys carried on under the moniker Ancient Slumber for two more demos, the style remaining the same.

Masterly Sailing, My Brother, Masterly Sailing... Demo, 1992

Youtube

DERANGED (USA)

Hectic restless classic thrash/crossover with casual more technical leanings; expect some really stylish riff-work on the spastic "Environmental Decay" before "The Puzzle" startles the listener with a portion of corrosive hyper-active riffs. Stylish leads introduce the vehement proto-death rager "Demagogue", the bursting approach remaining for a string of cuts among which "The Red Death" is a total outtake from Atheist's "Piece of Time". "Technical Nation" is a jazzy jumpy all-instrumental anomaly, and "Thrunky Fash" is another curious vocal-less number of the unpredictable Atheist-esque variety, the emotional attached punky singer taking a break towards the end.

Anarchy Demo, 1991

DERANGED THEORY (USA)

This new act specializes in cleverly-constructed modern thrash which has both an industrial and technical vibe. The dark complex riffs of the opener "Abandoned by the Gods" are suddenly replaced by much faster fiery ones on the shorter and more immediate "Blind to the Suffering". Later on the approach becomes a bit more ordinary with more adherence to the Swedish patterns which get more obvious on the shorter material ("Headless But Not Horseless") which come with a more brutal death metal edge and nice enchanting balladic leanings on the excellent instrumental "Terminus Est". The closing "Voice of Eclipse" is a true revelation bringing the best from everyone involved to a produce a dramatic technical vortex its only flaw being the rough brutal death metal vocals.

Steel Clad & Super Bad Full-Length, 2012

DERANGER (BELARUS)

Based on the Best of Compilation, this act played (the first demo) low-tuned minimalistic black/thrash metal with awful rending vocals which are barely audible for most of the time. Later on the music ("Zombie") moved towards more sensible thrash/death metal ala Messiah, and during their final stages the guys started playing retro thrash of the fast direct variety akin to Slayer and early Kreator. The sound quality all over is bad but this is intentional; the band apparently wanted to remain deep underground.

Satanic Frost Demo, 2007
The Goat Demo, 2008
Black Hammer/Zombie (live) Single, 2009
Zombie/Possessed Single, 2009
Power of Satan Demo, 2009
Flag of Hate Demo, 2009
Broken Heaven Best of/Compilation, 2009

DERETLA (USA)

Good modern technical/progressive thrash/death metal; "Altered" is a nice lead-driven intro, and "Celestrial Arrival" is a confident jumpy stomper. "The Creatures....They Have Become" is a fine nod to later-period Death in a steady mid-tempo which remains for the more standard pounding "Empty Skull". "Guide to Purpose" is a calm semi-balladic piece with great melodic leads, but "Walls Divided" is already edgier with intriguing technical hooks. "No Response: concentrates on the impressive lead guitar work again abandoning the bolder technical performance which may leave a certain aftertaste in the listener after the EP is over due to its slightly uneven nature. The vocalist is hardly the highlight with his subdued growly tone which is comprehensive, but pretty low-tuned.

Altered EP, 2011

Official Site

DERIDE (NORWAY)

Jumpy modern thrash/metalcore which is more on the lyrical side that side greatly helped by the tender clean side of the vocal amalgam. This is too boring and rehashed to make one stand through the whole album since the same riff-patterns keep repeating on every track to an ultimately dull effect.

Scars Of Time Full-Length, 2001

DERIDE (USA)

Typical standard modern thrash which is not much more than repetitive rehashed riffs the major detraction being the spacey balladic passages which are nice and atmospheric, but are quickly superseded by the next portion of noisy groovy or proto-hardcore passages. The band spread their wings wider later on incorporating elements from heavy metal, hard rock ("Fallen") and to some this may be the album's saving grace because the guys pull out the softer stuff with more panache if we exclude the gruff shouty vocals which are not very pleasant and take quite a bit of space.

The Void Full-Length, 2012

DERRANGED (USA)

The first demo: Frolic optimistic retro thrash quite comparable to Anthrax, with a few funky moments ala early Mordred. Not bad at all, with "Forever Now" putting the playful Les Claypool-like bass up front, the bigger dynamics on the crossover-ish "Keep In Mind" moving things around, the steady sharp riffs on "Ruthless People" keeping the situation on the edge of headbanging. "Abstract Utopia" is a weird proggy composition with varied musical solutions recalling Death Angel's "Frolic through the Park", the good mid-ranged clean vocalist sitting between Joey Belladonna and John Bush… no kidding.

Demo Demo, 1989
Demo II Demo, 1990

DES-POZ (JAPAN)

Cool, competently executed classic thrash with speedy ripping riffs and shouty, slightly hysterical vocals; some more technical choppiness can be detected on the short shredder "Bachelor", and "Diesel" is an interesting quasi-progressive composition with complex arrangements developing on a volatile jumpy background.

Des-Poz Demo, 1989

Official Site

DESACRATOR (USA)

This is the early incarnation of the avantgarde thrashers/post-thrashers Thought Industry. The style here is again pretty weird although way more standard than the eccentricity of the Thought Industry works sounding like a twisted, more technical version of the Bay-Area. "Wishing Well" is a solid mid-pacer with very good melodic leads, and a few unexpected time-changes, while "Ecocide" is more aggressive and faster although it pales in comparison to the next "Malice Rancor" which is a major headbanger with blazing leads again. "The Lonely and the Damned" is a very cool semi-ballad with nice galloping alternations, and could be viewed as a major rival to Flotsam & Jetsam's similar exploration "Escape from Within" that same year. "Electronic Apparition" follows the mid/late-80's Metallica patterns, but adds its own characteristic eclectic twist, including a great balladic shift, and the next in line virtuoso lead section, which literally makes the lead guitarist the star of the show. "Genesis by Revelation" is an ambitious undertaking: a heavy progressive piece with faster passages, another nod to Metallica with echoes of the obscure technical/progressive thrash metal act Forced Entry. The final "Malevolent Winds" is bound to jump in the opposite direction offering faster more vivid rhythms, but the lead guy steals the show for the umpteenth time with some of the finest leads around, both technical and melodic. And a few words about the singer: the man is quite an asset, too, with his diverse range pulling out fairly attached emotional performance reminiscent of Scott Holderby (the first Mordred singer).

111mzd Demo, 1988

Fan Site

DESARME (PERU)

Based on "Es tu Error", these guys have come up with some of the most ferocious brutal sounds from South America in recent times. This is unbridled aggressive thrash/crossover quite close to the early outrages of Cryptic Slaughter. There's hardcore, there's grind, there's even death metal here, but there are a couple of more restrained merriers which branch out into sincere punk ("Futbol"; the melodic instrumental extravaganza "La Mosca") for not very good measure. The guitars are quite noisy and come with a certain mechanical edge which are ably matched by the shouty angry vocals.

Corrosion (en la Nacion) Full-length, 2004
Es tu Error Full-length, 2005

Official Site

DESASTER (BRAZIL)

A 2-song demo of very violent and brutal thrash/death which in terms of speed and intensity surpasses almost everything created until that stage in the Brazilian underground (and not only there).

Demo Demo, 1988

DESASTER (GERMANY)

One of the first 90's bands who rediscovered thrash metal's 80's roots; their style is quite consistent throughout their career, being black-ish thrash in the vein of Sodom, Destruction and the likes with power, epic, and even death metal elements thrown in. These guys aren't meant to make a revolution in music; they just want to show to the world that there is nothing better than the good old thrash.
The debut is the band's least diverse effort concentrating more on black metal with majestic medieval atmosphere akin to mid-period Immortal, with a pinch of thrash metal thrown in ("Devil's Sword"). "Into a Magical Night" is exemplary atmospheric black metal with more extreme symphonic passages ala Dimmu Borgir, but the rest seldom leaves the mid-tempo being long on atmosphere and drama.
"Hellfire's Dominion" starts with the maddening black metal on "In the Ban of Satan's Sorcery", but soon after settles for mid-paced epic thrash with a few edgier moments: the intense Germanic thrash shred on "Expect No Release"; the brutal hyper-blasts on "Past...Present...Forever...". The end is too quiet for such a release the last two compositions being folk/epic opuses in the vein of Bathory's "Nordland" with the thrashy guitars taking a secondary role to the atmosphere.
"Tyrants of the Netherworld" begins in a similar to its predecessor fashion, with the more extreme black metal opener "Nekropolis Karthago", to make room for thrash metal for the forceful retro thrashers "Victim of My Force" and "Profanation" the latter a standout aggressive shredder with proto-death shades. Things only get better later, with the smashing speed/thrash fest "Sworn to Avenge". Time for more black metal with the furious Immortal-esque "Tyrants of the Netherworld", after which the thrashing madness carries on with the fine nod to the early German school "Call on the Beast". "Battle Oath" is the staple epic thrasher, followed by more blitzkrieg thrash on the raging "Disciples of Darkness". The end is the traditional one for the band, with the calm epic/viking instrumental "Reign of Tyrants".
"Divine Blasphemies" again tries something more brutal in the beginning with the super-blasts on the opening title-track, but this touch is just for distraction of the listener since later on the music returns to the typical for the band mixture of black and thrash metal alternating the two sides throughout the album. The sound has become more melodic, a tendency shown with the mellower power/thrasher "Alliance to the Powerthrone".
"Angelwhore" is no different from the previous offering, serving the trade mark extreme black-ish beginning, before switching to retro thrash for most of the time with slow and fast tracks taking turns, with the closing "Revelation Genocide" being a nice aggressive Slayer-esque number.
"666 - Satan's Soldiers Syndicate" bears no surprises, starting with the explosive death/thrash on "Satan's Soldiers Syndicate", before moving onto more laid-back speed/thrash with an Exciter and Motorhead flavour ("Hellbangers"). Still, the sharper Germanic thrash is just around the corner ("Vile We Dwell") as well as the sparse brutal black metal outbursts ("Fate Forever Flesh"). The exit "More Corpses for the Grave" breaks the created a long time ago pattern of softer slower tunes, and continues the thrash metal mayhem in a vigorous German fashion.
5 years later the band are alive and well, and "The Arts of Destruction" shows no remorse from the very beginning opening with the furious black metal madness on the title-track which finds some time for more laid-back epic riffs ala Moonspell and mid-period Bathory amidst the raging blasts. The thrash/death saga starts with the next "Lacerate (With Rans of Doom)" which is a cool melodic headbanger. "The Splendour of the Idols" keeps thrashing on, but "Phantom Funeral" is another epic blacky cut, a very cool atmospheric song. Then the thrashing "carnage" begins reaching extreme death metal proportions on "At Hell's Horizon". "Possessed and Defiled" is a great epic hymn with doomy tendencies, an enchanting melodic composition which could stand for the highlight on this diverse offering which delivers in every department spanning several sub-genres all blended well, preserving all the staple characteristics of the band's encompassing style.
"The Oath of an Iron Ritual" is the next in line for the band larger-than-life conglomerate of styles and influences, but thrash plays a more prominent role here thanks to inspired roller-coasters like "End of Tyranny" and "The Cleric's Arcanum". "Haunting Siren" is the epic deviation, a heroic battle rouser cancelled by the short dynamic "Damnatio ad Bestias" and the more brutal, death-laced "Conquer & Contaminate". "The Denial" near the end is an epic blaster compensating for the relative lack of death metal until that point, the 7.5-min closer "At The Eclipse Of Blades" combining speed, power and thrash, giving it a hefty epic boost to produce the definitive battle hymn of the new millennium.
"Churches Without Saints" is a jolly good, very unpretentious affair crossing goofy thrash/crossover excursions ("Learn to Love the Void") with vintage speed metal winners ("Failing Trinity"), the epic moderation of "Exile is Imminent" carrying a lot of catchiness with it as well, the title-track serving the gods of pagan doom, above all. The short "Hellputa" is a remorseless ripper, but the actual strife at brutality here are the hardcore-prone "Armed Architects of Annihilation", and the black metal atrocity "Primordial Obscurity" towards the end, the band meshing way too many styles to make this recording an appetizing listen.

A Touch Of Medieval Darkness Full-length, 1996
Stormbringer EP, 1997
Hellfire's Dominion Full-length, 1998
Tyrants of the Netherworld Full-length, 2000
Divine Blasphemies Full-length, 2002
Angelwhore Full-length, 2005
Infernal Voices EP, 2006
666-Satan's Soldiers Syndicate Full-length, 2007
The Arts of Destruction Full-length, 2012
The Oath of an Iron Ritual Full-Length, 2016
Churches Without Saints Full-length, 2021

Official Site

DESASTER AREA (GERMANY)

Based on the "Restricted Area" demo, this band play very fast ripping classic thrash which will sweep you away, literally, with the unbridled virulence of smashing explosions like "Violence and Terror" and the more complex but equally remorseless "Rustle of a Key". "Under A Curse" is a tribute to the speed metal movement in the guys' homeland (think Warrant, Vectom), and "Evil rains" is a complex roller-coaster with overt progressive pretensions, a varied saga with a lot of twists and turns. The vocals are attached and semi-clean, not reaching for any unfathomable heights, but moving along with hoarse confidence. Some of the band members also played in the power metal act Voluntary.
The debut demo offers more complex and less intense music with a wider variety of riffs, the more immediate character of "Nightmare" sitting dignified next to the doom-flavoured epicer "Retaliatory Attack" and the sparing speed metal winner "Metal Fight". "Desaster Area" is another timid power metal pageant, the band diversifying their palette with milder mellower strokes.

Violence and Terror Demo, 1986
Restricted Area Demo, 1987

Youtube

DESCENCUS (DENMARK)

Thrash/death metal of the Gothenburg school, quite brutal at times with Norwegian black metal elements present as well.

Winter Breeze Demo, 2003
As Darkness Descends Demo, 2003
Bewildered Existence Demo, 2004
Exploited Innocence Demo, 2005

Official Site

DESCEND (MEXICO)

Death/thrash with a more classic edge, with a dark quality, mixing fast blasting sections with more controlled mid-tempo ones. The style resembles mid-period Messiah, but is more straight-forward, although "Request To Creator" is an 8-min opus, alternating between raging and more quiet moments the whole time. No such surprises on the good aggressive thrasher "Remembers From The Past", except for the balladic inclusion at the end.

Request To Creator EP, 2007

DESCEND (SWEDEN)

A decent entry into the modern thrash/death metal hybrid, varied music with technical, even progressive (the Opeth-sque "A Sudden Sense Of Clarity" and the dreamy balladic cut "Through The Eyes Of The Burdened"; the atmospheric complex number "Disambiguous") pretensions the former culminating on the puzzling Oriental piece "The Life Delusion". There are not too many happy moments for the headbangers since this is more thought-out stuff with quite a few not very easy-to-swallow moments.

Through the Eyes of the Burdened Full-length, 2011

Official Site

DESCENDANT (USA)

This power US trio deliver cool melodic modern thrash which is full of some of the most infectious hooks of recent times. Mid-period In Flames are a very close reference point, but there are also elements of death/doom as well as sudden technical twists ("The Gatekeeper") which may make you a bit bewildered at first, but when they become more frequent later on (the excellent puzzler "Death Depraved") one will find out that here he/she has a band who will not be content merely emulating their Gothenburg colleagues. And, indeed, "Images" is a brilliant speedy instrumental with haunting atmospheric tunes, and the following "Left In Pieces" is almost 8-min of stylish technical thrash/death taken straight from the Atheist and Sceptic textbooks. The surprises don't end here, though, and the immediate track is another great instrumental ("Descendant of Darkness") of the balladic lead-driven kind. "Sonic Lust" is a galloping speed/thrash anthem graced by an unexpected fast technical interlude, and the closer "Behind the Lies" is a diverse offering blending technicality, balladic digressions, and direct headbanging parts into one interesting whole. There is certainly quite a big potential in this new act who gather several approaches under one roof, but it seems as though they are still looking for their most fitting face which will definitely take a more coherent shape soon.

Descendant Full-length, 2011

Official Site

DESCENDENCY (USA)

Based on the full-length, this band play ripping modern thrash ala early The Haunted with a few deathly leanings. The vocals are harsh shouty supervising the intense hyper-active melee which also contains a few inspired gallops ("Necrotizing Minds") and a couple of more entangled configurations ("Arduous March") those not far from Darkane at their most proficient. The sterile robotic chugs on "Hate Prop 1.98-4" could be viewed another highlight as they would bring both Meshuggah and Voivod to mind, but watch out for the several pure raging sections where the shadow of the old school looms very heavily. In fact, the approach in the second half becomes more technical with "Island off the Coast of Earth" adding another portion of less ordinary riff-patterns to the nicely contrived carnival, the band adding several really intriguing configurations with minimal participation from the vocalist.

EP EP, 2015
Vestige Human EP, 2017
Generate the Genocide Full-length, 2019

DESCENDENT (USA)

The demo: two songs of fast intense thrash/death metal, both heavy and fast, but relying more on crushing mid-tempos where the approach comes close to the one of Obituary.

Descendent Demo, 1994
Degeneration Full-length, 1995

DESCENDER (CROATIA)

This new Croatian band offer fast blitzkrieg classic thrash not far from Morbid Saint and Torture. The production is certainly more polished, and the guitars are given a big boost which favours the riffs, but not the leads that much which sound muffled. "Thrash Burn Kill" is the new thrash metal hymn of the new millennium, but every other track here can qualify for this position. Raging fury emits from proto-death lacers like "Betrayer", "Black Cat" the sole "apology" offered this cut being a more moderate speed/thrash metal anthem. The vocals are clearly on the death metal side, but are comprehensive except on the moments when they try to scream in a scary Tom Araya-sque manner (not very successfully at this stage). This is an admirable dedication to the old school sound which would make quite a few heads bang with passion in the days to come.

Descending Into Chaos Full-Length, 2012

DESCENDING (GREECE)

The famed guitar virtuoso Constantine (Mystic Prophecy, Nightfall) plays here, to help in the creation of this modern thrashism which is quite close in spirit to modern day Annihilator (see the album-title for more references), the main difference being the harsh death metal vocals. This is music which is both intense and melodic (check out the infectious riffs and leads on the crowd pleaser "Part Of The Game"), the guitars having a slightly dry mechanized sound. "Killer Instinct" and "The Creations Remains" are forceful shredders, and "Raging Cold Blood" is a capable nod to the Swedish school, Dark Tranquillity's "Haven", in particular. "Day To Die=Die Today" is another headbanger worth mentioning, but the quiet moments are not just a few, either, abandoned at the very end where the final "Trust" will shoot you at close range with its rapid fire approach.
"New Death Celebrity" is a better offering, way more aggressive, now bringing death metal forward as well as more technical decisions, both aspects well reflected on the ripping opener "No Other Gods Before Me". The songs after that develop in a sweeping fashion with fast and slow passages alternating, accompanied by the regular blast-beating sections. The melodic deviations are the laid-back romantic piece "How Much This Life Weights" and, partly, the mechanical shredder "The Energy". The rest is speedy and pretty hectic but seldom abandons the well established melo-death/thrash formula.

Enter Annihilation Full-length, 2008
New Death Celebrity Full-length, 2011

My Space

DESCENT (UK)

The debut: modern thrash/death metal with nods to the Swedish scene spiced with slower groovy sections in the Pantera-vein. The follow-up is more intense and edgier the guys thrashing more wildly with the obligatory more brutal deathly escapades. The groove is not as widely covered this time, but some playful tunes ("World Of Dreams") have sneaked in here and there to probably diminish the hard-hitting nature of the remaining material. This same playfulness completely overtakes the proceedings in the 2nd half despite the presence of isolated vicious blast-beating passages.

In The System Full-length, 1999
This Violent Reality Full-Length, 2007

Official Site

DESCOMUNAL (ECUADOR)

The full-length: groovy alternative post-thrash sounding like more aggressive Rage Against the Machine; heavy repetitive riffs topped by hoarse semi-clean vocals will one find here, plus the obligatory metalcore breaks as well as several heavy breakdowns ala Biohazard.
The EP: the approach is harsher here, with clear pretensions at mechanized modern thrash/death metal not far from mid-period Meshuggah, but kind of wilder and not as focused, with a pinch of Mindrot/Soulstorm-esque industrial as well. Still, the riffs squash majorly, and the sudden blasting "surprises" ("De Oscuro Final") will make you jump on your seat. The singer is pretty harsh and shouty this time, with a synthesized blend. The final "Ya Basta (Vivo)" is an early recording with a much worse sound quality, a pure retro death/thrasher of the direct bashing kind.

De Oscuro Final EP, 2005
Invalorable Full-length, 2007

Official Site

DESDEMONA (FRANCE)

Based on the first demo, this act provide raw dark thrash with awful semi-shouty death metal vocals which are put too up front and stifle the instruments to a big extent. The tempos change within the numbers, but there is not much musical proficiency to be witnessed the guys achieving a dark somber mood with little skill involved the rare more apt attempts at play hindered by the really bad production.
The "Moonlight Slaughter" demo shows the band having made a huge step forward now pulling out cool, still dark, mid-paced thrash which shared some of the morose doom qualities of Nightfall's early efforts. "Seed Of Failure" is an ambitious, largely instrumental, progressive opus which shreds in a solid mid-pace adding good melodic lead sections where the rhythms also become faster; some admirable bassisms also sneak in; in other words, this effort should have catapulted them to the official release stage, but the band sank almost without a trace with some of the musicians later resurfacing with the doom/death metal outfit Darken for an album release in 1997, before changing their name to Dark-N and epitomizing a more melodic gothic metal sound.

Demo Demo, 1992
Moonlight Slaughter Demo, 1993

DESDINOVA (FRANCE)

This formation serve a modern blend of modern and classic thrash which isn't very even also clinging towards the epic power metal side ("Seven") here and there. Generally there's quite a variety at display here as the album loses its initial bite gradually moving towards the power/post-thrash, and also semi-balladic and epic, arena without offering anything too striking, and the listener may lose his/her interest in the proceedings the ripping riffs on the closer "Across the Ages" a partial return to form. The vocals are not bad, though, their passionate clean dramatic blend suiting well the melodic musical approach.

Defying Gravity Full-Length, 2014

Official Site

DESECRATE (SWEDEN)

Based on the "Arranger of Disorder" demo, this outfit pull out intense Kreator-esque thrash the rapidfire delivery interrupted by cool melodic lead guitar work. "Minds of Justicia" is a more ambitious attempt at semi-technical thrash, but on a short effort like this those tendencies can hardly find a fuller realisation. Some of the band members were also active with another thrash metal outfit, Equinox, around the same time.

We Only Make Jokes...We Made You! Demo, 1988
Arranger of Disorder Demo, 1989
Lonely Disgrace Demo, 1989

DESECRATE (ITALY)

Wild frenetic thrash/proto-death which rushes through the speaker in a brutal manner recalling the guys' compatriots Schizo ("Return to Hell"), the consistent pummeling of "Black Death Is the Antichrist" bringing early Celtic Frost to mind, the vicious semi-whispered deathly vocals not very clearly heard for a large portion of the time.

It's Your Fate Demo, 1987

Official Site

DESECRATE (USA)

Based on the "Mental Massacre" EP, this act plays good speed/thrash metal which "courts" both the modern and the classic school. At times the music is heavy and pounding ("Overpowered") with a late-80's Metallica influence, at times is uplifting and speedy (the excellent short instrumental "Shizzle"), but at their best the guys pull out awesome semi-progressive speed/thrash (the 8-min opus "Mental Massacre") ala Manticora and Hellfire. The lead guitar work is good without taking too much space, and the singer delivers with his mid-levelled clean tone, although more emotion and the casual higher-pitch for the future would be beneficial.
The full-length is a sure-handed beginning for the band offering music similar to the EP with two tracks ("Trapped" and "Overpowered") also included there. "X-Machine" is an energetic mid to up-tempo speed/thrasher with heavy sharp riffs, and "Altered Creations", albeit slower, is another fine piece of hard-hitting thrash with forceful rhythms and good leads and melodic hooks. "Power Trip" is all-out headbanging thrash, and "Rising Terror", despite its formidable title, is calmer with a nice balladic interlude and technical overtones reminding of Helstar's "Nosferatu". Then comes the aforementioned "Trapped" which speeds up again, a tendency preserved on "The End" which is a nice blend of speed and technicality before the crushing pounding riffs of "Overpowered" "overpower" you in the best tradition of "Leper Messiah" ("Master of Puppets") offering a slight faster twist in the middle. The singer here sounds better with a more dramatic and attached delivery although his timbre isn't too different from the one on the EP. Although both efforts are good and proficient, it seems as though the guys are yet to develop their full potential; those technical moments can be elaborated on in the future, and the leads could probably be given more space; the guitarist can obviously show more like he already has on the longer compositions.
"Of Death and Damnation": the speed/thrashing saga continues here although the approach is much more modern coming with a pinch of melo-death as well. The band thrash with power, but now the delivery is a bit trite and not very inspired, and the cool riffs don't flow as naturally as before the death metal implements breaking the monolithic listening experience. Things drag even further on the clumsy mid-pacer "No Salvation" near the end, and on the equally as inept closer "The Gift of Pain" which also refuses to speed up reducing the album's score placing it in the below the average category.

Desecrate Full-length, 2005
Mental Massacre EP, 2008
At the Edge of Sanity Full-length, 2012
Of Death and Damnation Full-length, 2015

Official Site

DESECRATED (USA)

This is energetic classic death/thrash supported by growling semi-shouty death metal vocals. There are more technical histrionics ("Infernal Necrosis"), dirgy doomy hymns ("Drown"), creepy semi-intricate decisions (the title-track), and some aptly-stitched albeit bashing thrash/death ("Burn the Witch").

Ravenous Pestilence Full-Length, 2024

Youtube

DESECRATED GROUNDS (FINLAND)

Classic thrash/death crossing the early Swedish with the Floridian school the guys trying to mix a few paces within a single song. The "therapy" works with echoes of Asphyx and Bolt Thrower ("Sewing the Head Back") coming from the several doom-laden cuts which still can't stand a chance against the dominant blitzkriegers as exemplified by the short ripper "Filth". The vocals are very close to the ones of Dave Ingram (Benediction), maybe a tad higher-pitched.

Lord of Insects Full-length, 2017

Official Site

DESECRATER (USA)

Furious modern thrash/death with a strong Gothenburg sting; the guys shred with gusto leaving wounds all over your body from the lashing guitars which seldom try the mid-paced waters. The songs are longer, but the incessant mosh never stops and nothing technical springs up. "Soulless" is the mid-tempo deviation which is a dramatic piece with steam-rolling riffs. "Avenge the Dead" is a formidable galloper which energetic aesthetics are contagious, apparently, and here arrives another similar horse rider, "Dark Holocaust", before the closing "Buried Alive" buries you alive with the final portion of fast brutal riffage. The singer is the staple deathly semi-shouter, another predictable addition to this inspired but fairly derivative effort.

Wretched Full-Length, 2014

Official Site

DESECRATION (ITALY)

Based on the “And the Skulls Continue to Laugh” demo, this act serve bashing old school thrash influenced by the German models, above all; in other words, expect a downpour of fast vitriolic riffs in the vein of Vectom, Necronomicon, and early Deathrow the guys shooting a bullet after bullet, “Mind for Rent” a particularly intense cut, the more contrived “The Barbarians” a nice deviation from the norm, the latter also comprising the Agnostic Front cover of “Power”, this less-than-2-min barrage produced quite faithfully, the singer emitting spite and venom in spades in a way quite comparable to early Mem von Stein (Exumer). Later some of the band members continued with the much more celebrated technical modern thrashers Glacial Fear.

And the Skulls Continue to Laugh Demo, 1989
The Ways to Nowhere Demo, 1990

DESECRATION (SPAIN)

Classic thrash metal with a boosted modern production; there are moments of the 90's scene, but overall the guys mosh fast and tight in the spirit of Dew-Scented with the odd tribute to their American peers (Slayer, in this case): "Mental Anesthesia".
The full-length wastes no time breaking the ground floor with its rapidfire approach the band thrashing with gusto and a lot of speed which is at a maddening rate (check out "State Terrorism") at times reaching death metal horizons on "No Gods, No Masters". The final hit is a cool cover of Sodom's "Agent Orange" the forceful shouty death metal vocals suiting the approach although still being far from the more emotional tirades of Tom Angelripper.

Lords of Misery EP, 2011
Scorched Earth Full-Length, 2013

Official Site

DESECRATION (USA, AZ)

A furious mixture of thrash, speed metal and hardcore with short blasting tracks reminiscent of Wehrmacht, but these guys are more extreme and vicious- no kidding!

Who's in Control EP, 1987

DESECRATION (USA, CA)

"Psycho" is excellent aggressive thrash sounding like more restrained "Seven Churches" with a few more clever riffs; "The Summoning" follows the same pattern, but is faster with revolving Destruction-like melodies and punk-ish jokes ("Cowboys in Bondage"); the 1989 "Demo" is faster, a bit more melodic, with a certain shade of hardcore.

Cowboys In Bondage Demo, 1985
Psycho Demo, 1985
Live at Ruthies Inn, USA 26/12/1985 Demo, 1985
The Summoning Demo, 1986
Demo Demo, 1989

DESECRATOR (AUSTRALIA)

Based on the full-length, this band pulls out competent retro thrash which is pretty dynamic evidence given with the very first track: "Til Death" which is a prime relentless headbanger with nice melodic inclusions. "1800 Volts" after that is a dramatic galloper with very cool melodic leads, and "Bred, Fed Then Dead" is another more direct smasher with speed metal tendencies. The thrashing assault reaches Slayer-esque proportions in the middle, on "Slaughtered in Masses", despite the more relaxing mid-break, and "Serpents Return" is another galloping "horse" with more aggressive slamming passages. The mosh carries on until the end, making this effort a sure-handed entry into the quite voluminous classic thrash metal catalogue of recent years. The singer is a good forceful mid-ranger not far from Phil Rind (Sacred Reich).
"To the Gallows" is another entertaining roller-coaster which lifts the spirit immediately with the vigorous opening title-track, and later on the band don't spare themselves with blistering speed/thrashing delights like "Red Steel Nation" and "Serpents Return". "As I Die" is the quiet interlude being a nice ballad, but prepare to run for cover on the destructive headbangers "Hellhound" and certainly on "Thrash Is a Verb". "Brainscan" is an ambitious progressive closer which manages to keep the highly energetic thrashy atmosphere the whole time.
"Summoning" is also a brisk dynamic offering, the band putting a marginally more abrasive vibe on the guitars, the steam-rolling aesthetics on "Hate at First Sight" contrasting with the semi-intricate velocity emitted from "Belly of the Beast" and the sincere speed metal optimism of "Wipe the Slate". A cool attempt at a soulful semi-ballad ("A Light in the Dark") as well.

Desecrator EP, 2010
Live Til Death Full-length, 2011
Down to Hell EP, 2013 To the Gallows Full-length, 2017
Summoning Full-length, 2021

Official Site

DESECRATOR (COLOMBIA)

Fast uncompromising death/thrash metal of the old school; a brutal, but comprehensible, affair close to the Sadus debut and the Italians Schizo. The guys bash with passion producing furious neck-spraining moments along the way only relaxing on the short hardcore closer "Llevate A Esas Perras".

Terror Nuclear Demo, 2010

My Space

DESECRATOR (RUSSIA)

Based on the "Garden of the Hate" demo, these lads specialize in stylish atmospheric old school thrash which is rich on both sharp intricate riffs and arresting melodic leads. The title-track is the more melodious, more restrained exponent but comes "Master of Madness" and the situation becomes more restless and fervent, the lashing guitars easily creating moshing opportunities which "Perfect Victims" tries hard to dissipate with swathes of more laid-back sections and heavy slow-burning rhythms. The not very expressive mean-ish semi-clean vocals are far from an advantage, but their presence isn't that big.
The "Desire to Kill" demo is a more ordinary slab of classic power/proto-thrash that gains inertia with the energetic stroll "Total Stupor", but "Soldier of Night" is just a calm hard'n heavy anthem, and "Another Death" is an atmospheric epicer without any seeming highlights.

Garden of the Hate Demo, 1991
Desire to Kill Demo, 1992
Desecrator Compilation, 1992

DESECRATOR (SWEDEN)

Based on the "Black Sermons" demo, this band pulls out an early mix of thrash and death metal, fast and semi-technical, obviously influenced by early Death. All the three tracks are cool blends of aggression and technicality, without overdoing it in either department; "Necrosis" goes over the top a bit perhaps, with an overlong insertion of a middle doom break (the song is 8-min long). There are stylish keyboard implements to be heard, recalling Nocturnus. Later the guys changed their name to Ceremonial Oath, and produced two LP's and one EP of less interesting Swedish melo-death.

Wake The Dead Demo, 1989
Black Sermons Demo, 1990

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DESECRATOR (USA)

This very obscure band nicely mixes Slayer-esque aggression with early Celtic Frost, resulting in a really compelling sound. Without having any shades of death metal whatsoever, the band's sound is very heavy and brutal. Songs from the two types alternate, with "Eruption of Repression" near the end "marrying" both.

The Nightmare Calls Demo, 1987

DESEKRATEWHORE (CANADA)

Three folks, with just letters substituting for their names/aliases, are responsible for this fuzzy take on the retro black/thrash metal idea which comes with a certain touch of gothic/doom despite the quite a few more energetic sections ala Deathwish. On the slower moments the guys also resemble early Messiah, including the vocals which are deep underground growls of the more comprehensive type.
"Shadows of the Past" is a slower affair, with heavy sections taken directly from the textbooks of early Celtic Frost and Hellhammer ("Souls of the Insane"), plus long compositions ala early Burzum ("Illusions in the Mist"), and generally the songs are pretty atmospheric with not too many speedy breaks, partially ruined by the not very clear sound quality.

Illusions in the Mist Full-length, 2010
Shadows of the Past Full-length, 2011

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DESEKRATOR (NORWAY)

This is quite a mixed bag: there are speed/thrash metal moments reminding of Exciter ("Metal for Demons"), there are very awkward brutal grindcore numbers ("Aphice"), and there is a very annoying presence of ultra fast, blast-beating rhythms throughout the whole album. There is modern 90's thrash involved, too, but this wild mixture is just plain bad. There is punk, hardcore thrown in, too, as well as some awful industrialized vocals; you get the horrifying picture... I'm not sure that even the demons will like this kind of metal.

Metal For Demons Full-length, 1998

DESEKRATOR (USA)

Power/thrash sounding like a cross between the first two Nasty Savage albums (more thrashy than the debut, and less hard-hitting then "Indulgence"); at times the guys exceed in heaviness, moving onto a Celtic Frost ground ("Rituals").

Demo Demo, 1989

DESERT (PORTUGAL)

This 2-song demo shows a band trying to shift the thrash/crossover style into a more avantgarde mellower direction spiced with classic heavy/power metal moments as well, and a few genuinely technical riffs on the instrumental "Picture". This is an intriguing, albeit very short, effort with clean alternative vocals on the other track and quirky rhythms which could have developed into something really interesting if the guys had survived long enough.

Promo Demo, 1999

Official Site

DESERT NEAR THE END (GREECE)

The debut: this young Greek outfit specialize in modern power/thrash which sounds epic and battle-like with the machine gun riffs on the formidable "The Healer" leading the pack. The guys aren't very fond of speed and the album moves forward in a steady volcanic mid-paced fashion the drama reaching heights on "The High Pass" and on the final opus "The Desert Near the End" which would inspire many disheartened soldiers to go into battle immediately. The vocalist isn't bad with his forceful semi-clean tone who could add more melody on future efforts. The band were previously known as The Eventide where the music was mellower heavy/power metal reflected in a self-titled album released in 2007.
"Hunt for the Sun" is harder and faster than its predecessor by preserving the more elaborate character of some of the songs from there. Thrash is way better covered here and the hard-hitting sharp riffs are served to no end making cuts like "A Sunset of Our Own" and "Angel of the Deep" a regular presence in the modern thrash metal fan's menu. The more technical character of tracks like "Road to Nowhere" show another, not yet explored side of the band which only settles for a more epic execution on the penultimate "Eastern Path" which is a sure-handed battle instigator. The closing "A Distant Sun" is an eventful 8-min opus with echoes of early-Iced Earth and Manticora, a glorious speed/thrash hymn with a strong progressive flair never losing the intensity for a split second exiting this pretty cool album with aplomb, making this talented outfit the next hot proposition from The Balkans.
"Theater of War" is the next in line hyper-active mixture of thrash and death the guys lashing aggressive riffs relentlessly with odd flashes of melody. More carefully plotted compositions ("Under Blackened Skies", "A Martyr's Birth") again hint at possible progressive heights to be conquered later, and the last string of longer numbers partly fulfills these promises, especially the hard thrashing diverser "Theater of War" which compensates for the mellow nature of the balladic closer "At the Shores".
"The Dawning of the Son" is a more moderate calmer offering, the band still preserving the dynamic clout, but this is strictly speed/thrash with still something left from their deathly infatuations. The slower epic march "Iron Rain" is definitely a welcome respite, influencing a couple of compositions in the second half like the Blind Guardian-esque "I Am Hell And Hell Is Me". The seriously pulverizing "Obsidian Angel" is clearly the highlight, restating the band's dominant musical credo with gleeful panache.
“Tides of Time” brings back the wilder configurations from previous recordings, at least at the beginning, the hyper-active restlessness of “City of Eternal Flame” and “Oceans of Time” bring the setting to a boiling point fairly early, the patient gravity exuded by “Children of Lethe” a welcome occurrence, as is the semi-balladic serenity of “Half-Learned and Long Forgotten”. The speed/thrashing urgency of “Burn like the Sun, Shine like the Dawn” restores the high-speed parametres, but there’s more doom and ballad to come with the excellent, pacifying albeit epic closer “In the North of Every Man's Heart”.

A Crimson Dawn Full-Length, 2011
Hunt for the Sun Full-length, 2014
Theater of War Full-Length, 2016
Of Fire and Stars Full-length, 2019
The Dawning of the Son Full-length, 2022
Tides of Time Full-length, 2024

Official Site

DESERT STORM (GERMANY)

Based on the EP, this band plays typical 90's post-thrash, mid to up-tempo with no highlights whatsoever, quite monotonous and one-dimensional with the exclusion of the more intense "Goblin" which thrashes in a heavy pounding fashion adding quite interesting melodic leads (the theme is actually taken from somewhere, but I can't recall from where).
The full-length follows the same trend, the band not bothering with anything else but one-dimensional monotonous quasi-groovy chuggers, the doom-laden "Journey" bringing the setting to a stop, the remainder doing little to revive it if we exclude the weird trippy "Succubi" and the dramatic semi-technical accumulations of "The Dark Half".

Perspiration EP, 1994
Walking Straight to he Moon Full-Length, 1997

DESERTER (BELGIUM)

The full-length serves vigorous intense retro thrash with furious spinning riffs which are missing from the officiant stomping instrumental opener "Darkening Clouds over Utopia", but start pouring down from the next "Urban Gehenna" and never stop till the gory end even entering death metal territory with the brutal shredder "Carnal Carnival". "Cry of the Forsaken" is an excellent progressive speed/thrasher ala Paradox, and the closing "Warscar" is another more ambitious composition the guys providing several mellower passages to alleviate the very big dynamics which is accentuated by the vicious raspy deathy/black vocals.

Chernobyl's Beauty EP, 2014
Coils of the Lesser Serpent Full-length, 2017

Official Site

DESERTION (GERMANY)

Based on "In Rage", this band offers mellow power/thrash with a firm classic edge with adherence to ballads ("No Forgiveness", the short "Separate Ways"), doom ("Another Rage"), and speed ("I Stand Alone"). Cool stuff as a whole with semi-melodic mid-levelled vocals and generally not very edgy guitars sticking more to the power metal formula.

Desertation Full-length, 1996
In Rage Full-length, 2000

Fan Site

DESEVER (CANADA)

This band play modern thrash/death which is both melodic and aggressive. There are a few more interesting moments ("Ruination") present, but the delivery is more orthodox and linear; the same applies to the shouty death metal vocals which overdo it at times. "Psychosomatic" is a proto-blasting brutalizer, but "Moonhound" after it offers immediate respite with more laid-back optimistic riffs also supported by the closing "Dark Wings, Dark Words" which includes a calm balladic interlude alongside some really impetuous progressive guitar play.

Chronicles of Confinement Full-Length, 2015

Official Site

DESEXULT (DENMARK)

Artillery and Invocator could have had a strong competition if these guys had managed to break the ice and leave the underground. Earlier they occupied the latter under the name Samhain, and did an admirable pioneering job in spawning the death metal genre on European soil with a rowdy sincerely brutal demo. They are actually one of the first thrash metal bands from Denmark, second only to Artillery. Based on the 1987 III demo, the band's style is similar to early Slayer (the period before "Reign In Blood") mixed with crossover/thrash along the lines of Rumble Militia (who appeared later).
The "Fat Boys Wanna Rock" demo follows a similar Slayer-esque pattern with the less serious crossover gimmicks (the goofy spacey psychedelia "The Diet Song") still floating around including on the 8.5-min behemoth "Cloth Society" which is expectedly a varied offering the guys inserting a couple of more melodic embellishments some of which come from the lead department. "Deception" is a sudden turn to a more technical song-writing with a few delightful more twisted riffs, and "Sardonic Laughter Before Nothing" is an interesting more stomping exercise in sinister semi-bashing thrash/proto-death with echoes of Slaughter, and macabre doom deviations. The vocalist semi-shouts in a forceful semi-clean fashion and leads the show with panache without actually singing too much.
The "Pana Wichee Salitu" demo displays bigger musical proficiency, and all the songs are lengthy complex exercises in diverse, albeit not very technical or progressive thrash the band trying to cover a wider ground, eventually succeeding in elevating some of the material (the diverse but surprisingly dynamic 10-min saga "Synthetic Rise") to loftier dimensions with more inspired fretwork despite the muddy sound quality and the thin guitar sound. "Sound Check" keeps respectable speed throughout for nearly 9-min, with a couple of melodic walkabouts inserted, the latter not that prominently featured on "Melancholy", a choppy bass-driven roller-coaster which unleashes a few delectable virtuoso lead sections as well.
The "Saurian Dance" demo is a rawer pristine affair which comprises the heavy stomping all-instrumental title-track, the bashing hardcore-ish "Deception", and the lengthy bass-heavy odyssey "Sardonic Laughter Before Nothing", a clumsy dragging basher with a few exonerating stylish lead pyrotechnics.
The debut demo, which title has nothing to do with S.O.D.'s seminal debut, but means "Soon Our Demo Finds Our Album Deal", is a violent deathly barrage, a logical follow-up to the wild Samhain demo, a vehement unbridled affair which early shatters everyone's nerves with the bashing violator "Evil Courier", before "Fateful Day" restores some normalcy with heavier more laid-back rhythms, but only for a bit as this is pretty much the most brutal recording on European soil in the early-80's, rivalling Messiah's same year's "Hymns to Abramelin" every bit of the way, if not even surpassing it on the 6.5-min of all-out vitriolic death that is offered on "Megalomania". "Rebirth" calms down a tad, clinging more towards the thrash realms, but "Ground Zero" is in-your-face proto-death pulled with no remorse whatsoever... not for the squeamish this recording.

Live 7.3.86 Demo, 1986
S.O.D.F.O.A.D. Demo, 1986
Saurian Dance Demo, 1986
Demo III Demo, 1987
Fat Boys Wanna Rock Demo, 1987
Pana Wichee Salitu Demo, 1988

DESHODY (ITALY)

This act provide dry industrialized modern post-thrash which isn't very one-dimensional, but contains a lot of dynamics reflected in a frequent change of tempos. There are even a few fast-paced moments ("Code", "Memory Lapses") which are directly taken from the Swedish school. The heavy mechanical guitars may tire the listener towards the end as melodic relieves aren't offered aplenty here the guys dirging forward with no hesitation managing to capture at times the manic stylishness of their compatriots Glacial Fear.

Collapsing Colors Full-Length, 2014

Official Site

DESIGNIO (ARGENTINA)

Based on the split, this band plays speed/thrash of the more melodic variety, not too far from Horcas, the main difference being the gruff semi-death metal vocals.

Caotica Existencia Demo, 2007
Thrash Slash Vol. 2 Split, 2009

DESILENCE (GERMANY)

Modern thrash/death metal: think Dew-Scented with a stronger presence from the Gothenburg scene (Dew-Scented's drummer actually takes part in the recording process). A good sense of melody is displayed here but otherwise this isn't something we haven't heard many times before.

Antisilent Demo, 2003
Wreck the Silence Full-length, 2008

Official Site

DESLOK (USA)

Based on the "No Peace, Know Pain" demo, this is cool energetic thrash with crossover tendencies and an overall aggressive attitude akin to Evildead's "Annihilation of Civilization".

Instant Death... Just Add Water! Demo, 1988
No Peace, Know Pain Demo, 1989

DESMATRON (UK)

This band was formed by Ritchie Desmond, the man who replaced Martin Walkyer in the great Sabbat for "Mourning Has Broken". Listening to this demo, it's not hard to see why he had managed to impress the Sabbat guys: this is quite good fast-paced thrash intercepted by impressive atmospheric, sinister passages ("March of the Wicked"). The music actually resembles the one of early Sabbat quite a bit (listen to "Day of the Red"), and the guitarists do an admirable job changing riffs and tempos all the time, topping them up with excellent leads. Desmond's performance is impressive, too, and it's a pity that he had apparently felt quite nervous filling in the vacated Walkyier's shoes because here he handles all possible ranges with ease and confidence. The fine instrumental piece "Parametric Force" is probably the only place where your head will take a break from headbanging being more peaceful, but it will delight you with its brilliant guitar work. It would be a very unpleasant paradox if the band's demise had been caused by the ill-fated short spell of Desmond with Sabbat (which isn't very likely having in mind the big 4-year gap between the two releases).

Theological Void Demo, 1987

DESMODUS (ITALY)

This demo reminds me a lot of the Brits Xentrix, from the good, Chris Astley-like vocals, to the simplistic, but catchy riffs. "Domination" shows the faster, more aggressive side of the band, and is probably the better one; the rest, however, is by no means bad being cool, mid to up-tempo classic thrash.

Human Wreck Demo, 1992

Fan Site

DESMOTERION (VENEZUELA)

Based on the full-length, this act provide speedy blistering old school thrash/crossover reflected in relatively short explosive cuts which also carry quite a bit of melody along with the lashing riffage. "Thrash" and "Madeleine" are the leaders of the "pack" here the hyper-active melee adeptly accompanied by shouty hardcore-ish vocals.

Testimonio de sangre EP, 2013
D.T.N. Full-length, 2017

Official Site

DESOLATE ANGEL (USA)

Modern 90's power/thrash ala Flotsam & Jetsam from the same time with heavy "leftovers" from the 80's scene in the Sacred Reich's "The American Way" spirit. This is mid-paced, heavy music, one-dimensional which loses its edge here and there (the melodic, groovy "What I Need").

No Apology Full-length, 1995

Official Site

DESOLATE PLAINS (GREECE)

The debut: melodic gothic power/thrash which faithfully follows the path carved by their compatriots and peers Septic Flesh. "Discoloration of the Iris" is a great formidable pounder which perfectly exemplifies the dominant delivery which is quite interesting with progressive build-ups and occasional speedy escapades ("Beneath My Skin") not far from another Greek outfit, Dakrya. The main clean dispassionate vocalist is often interrupted by more brutal deathly throats the latter missing from the more imposing doom cuts ("On the Verge"). "Shadow of Eternity" is a nice progressive thrasher with atmospheric balladic breaks, and the title-track is an excellent more dynamic shredder with a fine duel achieved between the guitars and the keyboards. "Parasite" is full-blown gothic drama with heavier thrashier guitars, and "Taming an Inner Storm" is a superb dramatic semi-ballad which influences the following closer "When Birds Gather Low", a moody minimalistic "sleeper" that finishes this very good effort in a somewhat downbeat, but strangely fitting fashion.
"The Face of the Earth" is another cool opus quickly accumulates inertia with the diverse operatic progressiver "The Movement of Fear". Lyrical escapades and female vocal croons enter the scene with "A Final Thought", giving the delivery a dark-ish gothic aura which grips the album in its morose snare and seldom lets it loose later, "Across the River" attempting to break away with a portion of more intense rifforamas. Such escapades don't seem to be very necessary, though, as the album settles for this brooding gothic approach which still works alright, resembling the mid-period of their compatriots Rotting Christ ("Sleep of the Angels", "A Dead Poem").
"The Inexhaustible Imperfection of the World" is a decidedly more energetic affair, the band speeding with a both epic and melodic flair ("The Emotional Plague", "Mirroring the Abyss"), with more sentimental balladic elements ("Shadows") showing up here and there, the heavy dramatic pounds of "Pathology of Time" tussling with short brisk cuts ("Interislander") and intriguing more intricate spillovers ("The Mark") for hegemony, the catchy infectious closing title-track adding a memorable chorus to the diverse palette.

Practicing the Inner Arts Full-length, 2017
The Face of the Earth Full-length, 2019
The Inexhaustible Imperfection of the World Full-length, 2024

Youtube

DESOLATE VOID (USA)

Based on "No Sign of Better Times", this act offers a surprisingly energetic mix of sludge, hardcore and thrash with brutal death metal vocals which duel with hysterical husky ones the whole time. The speed goes up quite a bit at times ("Wreckage of Yesterday", the grinding sludge madness "Fucked and Furious"), and generally the slower doom/sludgers aren't many at all. The faster extreme touches get a full grip on the guys' other project Invicticus where they practice brutal death/grind.

Self Medicated Psycho Therapy Full-length, 2006
No Sign of Better Times Full-length, 2008

Official Site

DESOLATION (BRAZIL)

A typical blend of the fashionable death metal of the time and remnants of the dying thrash metal movement; keeps the speed at a respectable rate, but the approach is too one-dimensional to really stay in your mind.

In A World Of Terror Full-length, 1992

DESOLATION (CHILE)

Four songs of good aggressive retro thrash in the vein of Bloodcum and Num Skull. The guys lash out with a nice technical edge the good music assisted by subdued low-tuned death metal vocals. "Thrashers Never Die" deserves its title quite well being intense hard-hitting thrash with sharp stylish riffage lasting for about 6-min keeping the fast pace the whole time as well as the more clever decisions which will also remind you of Torture's "Storm Alert".

Thrashers Never Die Demo, 2006

Official Site

DESOLATION (USA)

Opening an album with an 11.5-min composition ("Relinquishing Oblivion" is the title) is a feat worthy of acts like King Crimson and Pink Floid; the guys here have tried hard, and have managed to come up with complex modern thrashism which has both dynamics and complexity. Howver, the band find it hard to retain the contrived plot and the sound soon turns to more ordinary thrash on the rest of the material. Regardless, the hard-hitting riffs will be a delight to listen to for most of the time, as well as the glimpses of technicality caught on more stylish pieces like "Temple of Hatred" and "Edge of Sanity, part 1". The other musical behemoth, the 10-min "The Executioner's Calling", isn't as satisfying overdoing it in the calm balladic department in the middle, and generally featuring less exciting riffage. The vocals are gruff shouty death metal ones and try to take quite a bit of space.

Monarch Full-Length, 2015

DESOLATOR (UK)

This UK trio provide abrasive old school thrash which is obviously enchanted by the early days of the German movement the band thrashing with gusto unpretentiously and effortlessly doing the major damage in the bass department where the guy really excels at times with his vociferous omnipresent support. The end is preserved for the slightly careless crossover version of Tankard's "Empty Tankard" who are arguably the most evident influence on the band.
The full-length is indeed a total attack on the listener who would enjoy this brutal, bordering on death metal at times, bashing the short explosive, aptly-titled, "Speed Killer Maniac" leading this collection of invigorating anthems some of them ("Toxic Assault") with a curious fuzzy sound which makes them sound different from the rest as though they have been recorded earlier. "High Speed Hangover" is an enjoyable roller-coaster speed/thrashing with passion for 6.5-min, a glorious tribute to the aforementioned German beer drinkers with shorter numbers giving the album a more individual face some of them ("Aggression Possession") being unbridled hardcore outrages; others ("Thrash Of Fuck Off") are brutal Salyer-esque thrashers with a direct clear message ("thrash or..."). More complex diverse thrash, again with a pinch of death metal intensity, arrives with "Survival of the Richest", but the buzz returns for a string of more immediate songs before the band wrap it up with a jolly crossover hit "Thirst For Freedom". There will be a wild moshing party on this frenetic eventful offering which sees the guys partially stripping away their initial influences and branching into something which may be hard to predict on future releases.

Demo Demo, 2011
Total Attack Full-Length, 2013

Official Site

DESOLATOR (USA)

The debut: a 3-track demo of fast evil black/thrash metal sounding like more proficient early Sodom and Bathory; the guitars are simplistic, but pack a punch, especially on the slower more atmospheric sections. The singer croaks like a raven reminding of Quorthon (R.I.P.), but less comprehensive.
The "The Bells Ninth Chime" demo boasts a much better sound quality, and in the music department we have an implementation of the more recent black/thrash metal school (think the Japanese trend: Sabbat, Abigail, Sigh, etc.). Spasmodic blast-beats haven't been spared the unprepared listener who will cringe on those passages, but there will be plenty of old school fun ala early Bathory and Celtic Frost for him/her to get back on track. The melodic tunes have been increased to the point of overtaking the hard-hitting riffage (check out "In The Sign Of Vengeance"), but they're a nice touch and give the demo a characteristic surreal shade.

Infernal Desolation Demo, 2009
The Bells Ninth Chime Demo, 2012

Official Site

DESOLENCE (USA)

Melodic modern thrash with both core and groovy elements thrown in; the vocal duel (gruff deathly vs. clean attached) is another ordinary gimmick, the not very eventful mid-paced music coming alive twice: on the vivid thrashcorer "Deceit", and on the near-moshing rager "Fail", the cool melodic guitars on that one recalling the Swedish movement (think mid-period In Flames, above all).

Catalyst Full-length, 2021

Official Site

DESOLUS (USA)

Based on the full-length, this band play pummeling ferocious old school thrash/death which is pretty much one uninterrupted wall of aggression quite reminiscent of early Kreator and Necrodeath. Expect no mercy whatsoever on violent headbangers like “From Man to Machine” and “Curse of the Technomancer”, “The Arrival (Of Evil)” being pure death metal madness, the shrieky mean vocals very close to the ones of early Mille (Kreator). The galloping escalations of “The Invasion Begins” are just an illusion, the guys more willing in bashing the hell out of everything and everyone, the hyper-active delivery inevitably hitting some grindcore perimetres on the final outrage “Panopticon”.

System Shock Full-length, 2024

Official Site

DESOLUTION (AUSTRALIA)

Modern dynamic groovy post-thrash, following early Pantera quite close, and producing decent results, even moshing out on a few times with brisk energetic guitars ("Faker"), or lashing steel mid-paced riffs ("Lean Against") to a not lesser effect. "Disconnected" at the end is a cool take on the jolly crossover style of early Suicidal Tendencies.

Desolution EP, 2009

Official Site

DESONRA (BRAZIL)

Based on "Discordia", this band play abrasive modern thrash which rolls on with quite a bit of energy, the rampant headbangers "A Faca Que Te Cega" and "Refem do Medo" supervising the proceedings, the more complex layout of "Vozes" diversifying the intense melee, the very shouty rending vocals not that grating on the nerves, the choppy heavy "Infesto" treading behind with determined swagger and a tinge of hardcore.

Desonra Full-length, 2018
Genocídio EP, 2021
Discordia Full-length, 2022

Official Site

DESORDEIROS DO BRAZIL (BRAZIL)

Thrash/crossover with a jolly punk-ish attitude, but with some quite furious tracks thrown in as well.

Desordeiros Do Brazil Full-Length, 1990

DESPAIR (GERMANY)

This band is more famous for the fact that it featured Robert Kampf, the man who founded the famous metal label Century Media, and Waldemar Sorychta who later made a name as a producer and a member of other more celebrated bands like Grip Inc, Voodoocult and Moonspell. They started greatly with the debut album "History of Hate" which set the tone for what followed: stylish and often quite interesting technical/progressive thrash ranging from hectic, speedy, and very technical moments ("History of Hate") to longer, slower, but also quite complex ones ("Constructing the Apocalypse", which is truly a masterpiece with its many time-changes, atmospheric breaks and precise technical guitars), all those coming with magnificent melodic guitar hooks, some of the finest to ever grace the scene. The concentration on this one is clearly on a "technique-meets-melody" delivery which raised this effort to the level of a masterpiece standing proud beside peaks of the genre like Sieges Even's "Life Cycle", Deathrow's "Deception Ignored", and Living Death's "Protected From Reality".
"Decay of Humanity", as expected, is another display of flawless musicianship which sounds very close to the previous offering, and bears almost no surprises except for the marvellous doomy, semi-ballad "A Distant Territory", one of the band's finest achievements which is like an "oasis" amidst the fast-paced technical numbers that surround it.

"Beyond All Reason" is by no means less striking, but the guys have concentrated more on the melodic lines, and one can't help but notice how proficient the leads are this time, the culmination being the marvellous instrumental piece "Crossed in Sorrow". The speed is there, even more accentuated on: check out the raging "Deaf and Blind", but is more often interrupted by slower, even semi-balladic sections as though the band were deliberately looking to make their music sound progressive and complex, something which was earlier achieved simply through a high level of musicianship. Still, technical masterpieces like "Imported Love" are hard to be ignored, and the outstanding guitar performance (some of those melodies will haunt you) makes this album another winner although this time the sound is quite close to Helstar's "Nosferatu" also helped by the rough, James Rivera-like vocals, losing its individual face which the debut, and even the follow-up, had all over. Whether this was the band's creative peak is debatable, but the band members went their separate ways after this one leaving a legacy of three standout works for the metal fans.

History of Hate Full-length, 1988
Decay of Humanity Full-length, 1990
Slow Death EP, 1991
Beyond All Reason Full-length, 1992

Vibrations of Doom

DESPERATE BRAINS (SWEDEN)

This is rough intense thrashcore which is played in a constant up-tempo with a few stylish lead inclusions and hysterical shouty vocals. The music has its echoes of Motorhead, but is more bashing and direct abandoning the simplistic formula on the more cleverly-constructed "Reject The System" and the monotonous mid-pacer "The Bomb". The sound quality is awful but kind of suits the raw character of the music.

Demo Demo, 1986

DESPERATE CRY (USA)

Modern thrash/death which is a hammering mid-paced affair for most of the time, the very brutal growling vocals adding further to the oppressive atmosphere which easily borders on doom ("Spreading Your Disease"), the style also recalling Obituary, the violent extrapolations on "Broken Hope, Flesh Reborn" arguably the most impressive moment from this otherwise monotonous tedious slab.

Spreading Your Disease Full-length, 1999

Official Site

DESPERATE SPINSTERS (USA)

Based on the full-length, this act provide slightly eclectic punky thrash/crossover which covers all possible tempos with both female and vocals, or rather semi-recitals, cross each other incessantly creating a lot of optimistic dramatism in the process as really hard-hitting thrashers arenot an option here.

Sexless Restless and Cruel EP, 2012
Gorgon in a White Dress Full-length, 2017

Official Site

DESPERATE TO KILL (MEXICO)

Based on the full-length, this act specialize in pounding dramatic modern post-thrash which is split between short hardcore-ish pieces ("Go To Hell") and more monolithic, more serious excursions ("45 Mil Toneladas De Justicia", the ripping "Ya Es Hora") on which some actual thrash can be savoured. Dirgy quasi-doomsters like "I Have The Right" only slow down the proceedings, but watch out for the excellent doom/balladic instrumental "Funeral", an outburst of lead-driven creativity that sadly has no match elsewhere. The vocalist is an angry shouter who leads the show with more drama than this not very exciting musical approach requires.

Kill EP, 2020
Sacrifice Full-length, 2021

DESPISE (GREECE)

The full-time members of this band are actually only two, one of whom is a girl (the bass player). She, as well as her colleague, does a fine job pulling out good classic 80's, Slayer-influenced thrash. The "State of Brutality" demo is vintage aggressive Slayer ("Reign in Blood"); the first half of the Best of Compilation features four songs which again remind of Slayer, but their late 80's, heavier period. Even though Despise don't offer much outside mere Slayer-worship, this is well executed music which captures the essence of the two sides of the Americans during their prime.

State of Brutality Demo, 1993
Indefinite Force LP Demo Best of/Compilation, 2006

Official Site

DESPISE & CONQUER (GERMANY)

This is an atmospheric take on the thrash/death metal idea sitting between the battle-like riffage of Bolt Thrower and the gothic-laced landscapes of Septic Flesh all this built around dark thrashy riffs in mid-tempo and nice haunting keyboard implements. Faster moments ("Fear My Thoughts") are inevitable some coming with a cool technical decoration, others with exuberant melodic leads. Operatic majesty is served on "Moonlight Serenade" which is a moody composition with a fine orchestral exit. The second half is a bit more one-dimensional offering pounding mid-tempo rhythms which don't change much throughout, but putting up a solid monolithic approach with a pinch of doom. The deep throaty death metal vocals leave a positive impression providing the requisite darkness in this department. Some of the musicians are also active with the death metallers Paranoiz, and the gothic metal cohort Stormgarde.

Invasion Full-length, 2012

Official Site

DESPISED (GERMANY)

It's a little "absurd" that the music of the these guys had impressed Sabine Classen (Holy Moses) to recruit them for her act Temple of the Absurd. Not that it's a total waste; it's that it's nothing more than the typical 90's aggro-thrash spiced with a less pretentious Motorhead-ish vividness from time to time. Shades of the already dead at the time 80's thrash movement can also be caught: the little hectic thrasher "Forever Stag", and especially the energetic speed/thrash metal hymn "Remembrance". The singer is put too much up front, and his angry shouts ala Jan-Chris De Koeijer (Gorefest) are hardly the most pleasant side of this album, and could distract the listener a bit.

Twisted Full-length, 1993

DESPITE (SWEDEN)

Based on "Clanched", this band explores the more dynamic side of modern thrash metal (think early The Haunted, Terror 2000) with heavy groovy passages to mixed, and also fairly predictable, results. The guitars have a dry clinical sound, totally devoid of any melody, the bleak atmosphere further increased by the rough shouty synthesized vocals. A stylish insertion is the final heavy ballad "The Cause And Solution" where some melodic choruses can be caught with even the main vocals taking a more tender shade.

In Your Despite Full-length, 2009
Clanched Full-length, 2011

Official Site

DESPOTIC HATE (BRAZIL)

Based on "Sons of Chronos", this act pull out classic thrash/death which is both on the intense and melodic side, with some stomping semi-technicality ("Incinerator") also sneaking in, the quirky spacey-ness of "Soul Grinder" another highlight. The longer more progressively-executed pieces ("Metamorphic Existence", "Panic, Pt. 1") don't add up to much, though, as they lose the accumulated inertia almost completely, also misusing the intimidating shouty death metal singer.

Despotic Hate Full-length, 2015
Sons of Chronos Full-length, 2019

Official Site

DESPOTIC ROBOT (USA)

The guys from the thrash/crossover heroes Ramming Speed harden the course here pulling out more aggressive thrash frequently bordering on death metal reflected in the spasmodic blasts scattered all over. Shades of crossover/hardcore spring up here and there ("Crucial Dude"), but most of the time this is extreme stuff of the direct bashing variety.

Despotic Robot EP, 2006

Official Site

DESPUES DEL CAOS (ARGENTINA)

Modern thrash/post-thrash accompanied by too shouty, to the point of hysteria at times, death metal vocals; The dominant approach is established by the moderately energetic heavy pounder "Fe", the sprightly stomps of "Mi Instinto" nearly instigating a short pogo session, before "Cruel Realidad" introduces an array of stylish melodic riffs and alluring proficient leads. Said formula takes the upper hand in the second half where one will savour the moody semi-balladic stroll "Desde Mi Ser" and the elegiac doomy saga "Limpia Tu Alma", the latter ruined by the exasperating quarrelsome vocal presence.

Despues del Caos Full-length, 2024

Official Site

DESPYRE (USA)

Based on the full-length, this act deliver a more aggressive version on the early Helmet histrionics; in other words, expect the good old 90's post-thrash delivered at your door by these Americanos who spice the not very exciting proceedings with the odd more intense stroke ("Liberate"), the dominant not bad clean vocals often disrupted by shouty hardcore rendings. "Complicated" turns the tables towards the Pantera school of thought with more aggressive stomps, but such outbreaks are not that frequent, the tone of the remainder way more peaceful, citing at times a garage rock influence as well ala Monster Magnet.

Irritation EP, 2017
Rise Up Full-Length, 2019

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DESSANT (HUNGARY)

Three cuts of decent classic thrash, the headbanging winner "Arulo" also accentuated nice melodic lead sections, whereas "Ujkori Megvalto" clings more towards the German movement with another portion of sharp vitriolic riffs. "Sur" is a carefree power/speed/crossover amalgam that at least utilizes the melodic clean vocalist better. Some of the band members later moved on with the much longer-lasting thrash metal outfit Remorse.

Demo Demo, 1990

DESTABILIZER (DENMARK)

Based on the full-length, this Danish trio destabilize the environment with raspy energetic abrasive riffs, the style firm classic thrash for most of the time, the speedy roller-coasters “Iconoclast” and “Progress” crossing swords with both melodious gallopers (“King Paimon”) and more intricate albeit equally vehement pieces (“Ex Inferis”), the maddening shorter “Panic” matching the vocalist’s spatout deathly intensity with sharp cutting guitars.

Rampage EP, 2021
Panopticon EP, 2021
Violence Is the Answer! Full-length, 2023

Official Site

DESTINITY (FRANCE)

This band started as a black metal outfit, and their first four (!) albums are well worth tracking down by fans of the genre. On "Synthetic Existence" the guys moved to death/thrash, and arguably started sounding more appealing. The tempos change frequently, and this is by all means technical stuff, acquiring progressive tendencies at times. There are quite a few atmospheric, keyboard-driven passages, as well as several orchestral sections, reminiscent of Bal-Sagoth. The brutal death metal parts dominate, and the very fast-paced nature of the material might startle some thrash metal fans, who will be less pleased than the death metal ones in the long run.
"The Inside" isn't too far from the style of its predecessor, but this time more pure thrash headbangers roam around (the raging "Murder Within" and "Ready To Leave" (but, please, ignore the clean vocals on this one) which smell early The Haunted, but in a good way; the mid-paced smasher "Thing I Will Never Feel"). Sheer speed is not the order of the day anymore, and atmospheric slower numbers lead the pack here: "A Thousand Falling Skies", as well as quite impressive more technical ones: "Inhuman Corrosive Report", "Enemy Process", and especially the twisted, Morbid Angel-like closer "The Inside".
"Resolve in Crimson" follows the path carved by its predecessors, but adds more aggressive riffage which still goes well with the excellent melodic lead guitar work. The style for the most part is pure Swedish death metal, at times stripped and direct, at others a bit more complex carrying the Dark Tranquillity and early In Flames influences openly on its shoulders. As such the headbanging fun will be guaranteed the guys playing fast and tight producing proficient music (check out the great atmospheric exit on the closing "The Hatred" which would rather make you love the band more rather than "hate" them) which would inevitably have its appeal for fans of the more recent wave in death/thrash metal.
"In Continuum": expect the good old Gothenburg sound to have permeated the entire recording, with epic mid-pacers ("Reject the Deceit") alternating with speedy quasi-progressivers ("Dawn Never Breaks"), the slower side of this repertoire dominating, blended with its opposite on the closing multifarious odyssey "Salvation".

Synthetic Existence Full-length, 2005
The Inside Full-length, 2008
XI Reasons to See Full-length, 2010
Resolve in Crimson Full-length, 2012
In Continuum Full-length, 2021

Official Site

DESTINY'S END (USA)

After the commercial and critical failure which "Multiples of Black" was, James Rivera decided to stop meddling with the Helstar name, and decided to join the band which offered the closest to his old band sound at the time: New Eden. Well, months after the announcement that he would be working with the band Rivera, accompanied by the complete New Eden line-up, minus the founder Colmenares, was seen in the new project Destiny's End, along with Eric Halpern, the guitar player who helped him on "Multiples of Black", and is now his constant companion, also taking part in Rivera's new act Distant Thunder. How he managed to talk those guys into coming with him, remains an unexplained phenomenon. If he had messed it up the way he did with the last Helstar offering, the metal world would have shown its unforgivable nature once again aggravated by the fact that he came close to ruining a very promising young act by taking away its talented line-up.

Well, "Breathe Deep the Dark" tells the opposite story: it's a stunning work of technical speed/thrash metal sounding like the best possible continuation of "Nosferatu"; a really great album which remains one of the highlights of the 90's. Just listen to the brilliant speed metal opener "Rebirth": such addictive riffs haven't been heard in a long time. The title-track is exemplary technical thrash after which the speed metal assault continues, but with a technical twist, on the gorgeous "To Be Immortal". More intense, but also technical thrash follows suit on the excellent "The Fortress Unvanquishable" which seamlessly flows into another thrash monster: "Sinister Deity", which was originally written for the demo which Rivera recorded under the name Vigilante. "Unsolved World" slows down, but the sharp shredding is all over it; "Under Destruction's Thumb" is not the fastest track here, either, but is truly satisfying with its heavy riffage. "Clutching at Straws" is another winner sounding like a leftover from "Nosferatu" with mighty, machine gun-like guitars and brisk tempos. "Where Do We Go?" (indeed "where", after such an album?!) is the break from the relentless speed/thrashing being a mild, mid-paced track; an idyll which is broken by the closing "The Obscure" which offers another feast for the ears with razor-sharp riffs galore.
It was clear that the band wouldn't be able to beat this astonishing work, and the hopes were for at least a decent follow-up. "Transition" starts the sophomore effort in a great speedy manner with the sounding pretty much in the vein of the debut opener "Rebirth". "The Watcher" doesn't betray the beginning being a fine galloping power/thrasher, and the next "A Passing Phase" is not too far behind introducing the technical elements combined with a great sense of melody. At this point things look quite good although the listener will notice the retouched guitar sound lacking the ferocious bite and edge which made the debut so unforgettable. "The Suffering" is the band's venture into progressive metal territory, but the laid-back approach hardly makes it the highlight, and the following speedy "From Dust To Life" is a big relief. The band's consistency in the progressive department pays off once again, with the soft, semi-balladic "Storm Clouds" which is accompanied by the also complex, but much edgier and faster "First You Dream Then You Die". And then comes the magnificent "The Legend": a riff-fest in the best tradition of the debut followed by the similar, but a bit slower "A Choice Of Graves". The last composition "Vanished" is again a display of the band's infatuation with the progressive sound, but the semi-balladic delivery ruins it considerably. An obvious step back from the band's first effort, "Transition" logically put an end to this short-lived, but essential, act which remains Rivera's finest "offspring" among his numerous other projects.

Breathe Deep the Dark Full-length, 1998
Transition Full-length, 2001

My Space

DESTINY DENIED (USA)

Four songs of modern thrash with very brutal death metal growls interrupted by sparse clean vocals the latter being not bad at all; the music is mid-paced with shades of 90's groove, and a few nice melodic hooks ala the Swedish school can be caught here and there.

Destiny Denied-The Unofficials Demo, 2006

Official Site

DESTINY DREAMING (USA)

Earlier this act were known as Eternal Curse when the style was progressive death metal (one demo in 1993). Based on the demo, the transition is towards state-of-the-art progressive power/thrash, marvellous labyrinthine music with echoes of Psychotic Waltz's "A Social Grace", Sanctuary's "Into the Mirror Black", and early Canvas Solaris. "Infinity" commences the arresting fiesta with a dreamy balladic etude, but entangled hard-hitting shreds appear before long, a multi-faceted mid-paced ride with dark overtones and alluring lead sections. The excellent clean passionate vocals are another major asset, demonstrating suppressed belligerence on the more dramatic moments, the latter the cornerstone on "Labyrinths of Strange", a fervent sizzling opus with jumpy heavy riff-patterns, hectic jazzy accumulations, arresting melodic hooks, and rowdier thrashy rhythms. After the several quiet introductions, "Delightful Tears" is finally a full-fledged ballad, a steady lyrical respite which hits a stone, or rather "Stones", a rampant prog-thrasher with intricate arrangements, heavy accumulations, crooked jazz/fusion breaks, more melodic ornaments, and sudden speedy outbreaks. Nothing beats this encompassing masterpiece, but "Acre of Barrenness" is no sloucher, the academic doom beginning swiftly turning into a tornado of lofty technical fireworks, with some hard-hitting thrashy riffs disturbing the piece, the dark Sanctuary-sque motifs more prominent here, but expect frequent vortex-like passages with the doom-prone references still participating on fairly regular bases, tussling with the more aggressive expletives for an eventful dynamic ride, a seismic behemoth that will satisfy a wide gamut of fans, including those who fell for the 90's Swedish progressive power/doom metal wave (Memento Mori, Pathos, Veni Domine, Memory Garden, etc.).
The full-length is a dreaming... sorry, dreamy progressive saga, no thrash and no doom, a cool albeit not very impressive recording that will satisfy fans of later-period Fates Warning, Threshold, and Royal Hunt, among other representatives of the progressive metal roster.

Horizons Demo, 1994
Water Breaks Stone Full-length, 1998

DESTITUTE SAVIOR (USA)

A cool combination of heavy, almost doomy thrash akin to late 80's Slayer and fast, aggressive one with a shade of death metal.

Exhumed Demo, 1989

DESTITUTION (HOLLAND)

A 2-track promo of energetic old school thrash metal in up-tempo with screaming leads and a very sparse participation of hoarse drunken dirty vocals. There are nods to the Metallica debut, mostly on "The Rhythm of Horses" (the song-title could be another reference to the Americans), and the guitar work is generally playful with a shade of crossover. All the band members except the singer take part in the heavy/speed/thrash metal outfit Xi-Void.
The EP is three songs of energetic retro thrash with good melodic guitar work which is boosted by the crystal clear sound quality. The tempos vary some of them being intense speedy ones ("Genesis") with a pinch of Forbidden and Exodus. The singer leaves a more positive impression now taking more space as well, but showing more professionalism with a more attached cleaner delivery.
"Beware the Fury of the Patient Man" is to be expected after the guys have been accumulating inertia for several years, and the effort here doesn't disappoint although it's more on the melodic, and also somewhat modernized, side the guys mostly relying on heavy mid-paced riffage which, when combined with faster rhythms ("Rhythm of Horses"), brings much better results. The guys having realized that at some pint, start serving more energetic cuts: the "vigilant" "Vigilante", the optimistic speedster "Guilty Until Proven Innocent", the ambitious closing title-track which is an overdone concoction of speed, thrash, power, and death metal trying to enter a Children of Bodom ground to mixed impressions.

Promo Demo, 2009
The Human Error EP, 2011
Beware the Fury of the Patient Man Full-Length, 2014

Official Site

DESTITUTION (USA)

Noisy buzzy guitars take away considerably from the joy here; otherwise this is heavy mid-paced thrash ala Abomination and Cerebral Fix on the more dynamic sections. The guitar work is heavy except on the energetic melodic twister "Mentally Detained" which comes like an "oasis" amid the one-dimensional squashing wall of sound.

Demo Demo, 1992

DESTRACTIVE (FINLAND)

This is bashing lashing old school thrash which doesn't win much from the harsh guttural death metal vocals. Less tamed propositions like "Goat" bring the winds of death, but the dominant delivery is more disciplined with officiant pounders like "Morbid Fate" and "Atomic Winter" pacifying the environment at least until wild proto-blasters like "Machine of Death" and "In the Glare of the Mighty One..." invade the aether with strong shades of black metal. Some of the musicians are also active with the melodic death metal outfit Earthgrave.

Propaganda Full-Length, 2018

Official Site

DESTRAGE (ITALY)

The debut: modern thrash/death metal with a technical twist mixing a more direct headbanging material with dry mechanical riffage; the mix kind of works although at times sparse metalcore borrowings can be caught, and the very tender clean vocals are simply no match for the aggressive angry main shouts. The tempos change too often within one composition, and that's why the less diverse tracks work better: the nice straight speedster "Digital Abuse", the opening Trivium-esque "Trash for Sale".
"The King Is Fat'N'Old" is a much inferior effort offering timid melodic modern thrash metal with a little edge bordering on metalcore quite a bit stretching indefinitely into the fields of ballad to the point of oblivion near the end. There is very little to connect this bland work to the vigour of the previous album, and often do the guys sound like an almost entirely new band.
"Are You Kidding Me? No." shreds forward with more clever, almost technical at times, riffs, but the approach is again mellow without any hard-hitting moments. Metalcore is still roaming around now accompanied by post-thrash their symbiosis seldom creating anything too meaningful the exception being the nice progressiver "Where the Things Have No Colour" which is rich in mood and atmosphere, but again misses something in the aggressive department.

Urban Being Full-length, 2009
The King Is Fat'N'Old Full-length, 2010
Are You Kidding Me? No. Full-Length, 2014

Official Site

DESTRIPADOR (CHILE)

The demo: heavy classic power/thrash, reflected in whole ten tracks, with a heavy bass bottom and good emotional clean vocals. Speed and melody are nicely intertwined on "Misterio", and "Resisten" is a cool epic anthem with impetuous galloping rhythms. Later on we have "Demostrondote el Terror" which is a seismic squasher, and the closing "eagle fly free" hymn with a nice semi-thrash engine to lift the spirit high.

Fuerzas Del Mal Demo, 2012

DESTRIPADOR (MEXICO)

Based on the full-length, this Mexican trio pull out crisp retro thrash which has all the energy available as evident from the attacking moshers "Maestro Alcoholico" and "Ataque Nacional", the intense shouty vocals excelling on the pounding drama "Exterminio", and partially on the tricky quasi-groover "Cristo Impostor". The two currents get seamlessly mixed on the ravishing "El Carro de la Muerte" with proto-death coming to play, "Psicopata Asesino" retaining the brutality with a little help from the hectic semi-technicaller "La Conquista".

Maquinas de Guerra EP, 2022
Thrash Room Full-Length, 2024

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DESTROCUS (BRAZIL)

A rough, not very rehearsed sound with obvious aspirations towards the early death metal hordes, but the awful sound leaves very little to be enjoyed from this very intense recording which still finds time for more sensible music on the longer and more thought-out "Oxygen Mask". The rest forms a noisy wall of sound from which the gruff deathly vocals stick out. Some of the musicians now operate in Gammoth, a more death metal-oriented band with one full-lengths and two EP's released in the new millennium.

Demo/Rehearsal Demo, 1989

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DESTROY (PERU)

Classic thrash coming with a bad noisy background which still manages to pull out the casual intense headbanger ("Alcoholicmosh") which comes accompanied by pretty shouty but quite clean vocals recalling Russ Anderson (Forbidden) at his most high-strung.

Destroy Demo, 2011

Official Site

DESTROY (PORTUGAL)

Thrash, death metal and grindcore meet on this vicious brutal affair which is one uninterrupted aggressive bash from beginning to end with the occasional heavy less relentless hardcore break.

Access Denied EP, 2002

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DESTROY MY ENEMY (PORTUGAL)

This band play intense modern thrash which borders on hardcore on the harsher moments despite the several engaging melodic sections (check out the title-track). There's a lot of energy put into the making of the album, and although there's hardly anything original here the listener should be able to mosh out on at least half of the tracks, also being mildly amused by the cool melodic lead sections.

One Step-One Decision Full-Length, 2013

DESTROYED EMPIRE (BRAZIL)

This young outfit offers a modern mix of thrash, death and gothic which tries to please fans of all the three styles and succeeds blending furious riffs with atmospheric dark passages the latter accompanied by good female vocals which nicely oppose to the main guttural growls, and to these ears are the better choice. "The End" is logically the closer and it offers heads-down lashing thrash the female singer taking the upper hand to a pretty positive effect, creating a beautiful surreal contrast with the raging guitars, and this should be the dominant tendency in the vocal department for the future.

The End Single, 2009

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DESTROYED IN SECONDS (USA)

Based on "Becoming Wrath", this act indulge in crusty deathly thrash/crossover topped by very shouty aggressive death metal vocals. The delivery is fairly energetic albeit pretty one-dimensional and not thoroughly engaging; that's why deviations like the spontaneous grindy "The Scarabs Nest" are more than welcome to dissipate the noisy boredom. Some of the musicians also play in the sludge/grindcore "monstrosities" Mange, and the death metal/grindcore outfit Eat the Living.
"Divide and Devour" follows the same model sounding even more immediate and simplistic than the first instalment, with short crusty headbangers like "The Badge" and "Wraiths" moving things onward with their catchy uplifting riffs. Don't expect any deviations from the established norm, this is closer to the stripped-down hardcore patterns than anything else.

Critical Failure Full-length, 2010
Becoming Wrath Full-length, 2012
Divide and Devour Full-length, 2020

Official Site

DESTROYER (COLOMBIA)

Based on the "Dark Command" EP, these guys pull out good speedy thrash metal of the early German school and the Portuguese Alastor; cool up-tempo stuff with a simplistic guitar sound and low mean, black-ish vocals. The last song ("Funeral") is slower, almost doomy, with a worse sound quality.
"Prepared For Discharge" is classic speed/thrash metal with the German trends again covered the widest. The music develops in a flying speedy fashion the whole time, at times moving onto pure speed metal ("Destroyer") although the vocals remain sinister and evil throughout, with a clear black metal edge. "Pornographic Death" actually slows down to power/thrash metal dimensions, but one would hardly notice this that same track surrounded by furious fast explosions one of which is "Funeral" from the EP (as a matter of fact, all the three songs from the "Dark Command" EP are featured here). The guitar sound is dirty obviously made this way to recall the early years, and succeeds as such although the leads are hardly favoured by that sounding quite screamy and unmelodic.
"Dark City Hunter" lashes harder and faster touching death metal ("Stages of Demonic Possession III-Demonic Possession") on occasion, and the listener should give them kudos for the inspired delivery which doesn't re-invent the steel, but at least provides good moshing fun not far from Kreator's "Pleasure to Kill" or Hypnosia's "Extreme Hatred". Near the end the bash becomes more violent with "Tren al Infierno", but the bonus track "Porno War Machine" is a fine more restrained speed/thrasher with great melodic tunes.

Destroyer Demo, 2004
Alcoholic Rites Of Metal Split, 2005
Dark Command Single, 2006
Prepared For Discharge Full-length, 2010
Dark City Hunter Full-Length, 2015

My Space

DESTROYER (GERMANY)

These guys have no illusions and stick to the best exemplified by their motherland classic speed/thrash without any deviations from the righteous path. The guys shred with competence their dynamic approach also having its more carefree side (the frolic crossover winner "Slashing Metal" which is not exactly what the title promises; the mellow power/speed metal distraction "Screams from the Coffin"). Otherwise the album is carried by the shorter, more intense material: "Unstoppable Thirst", the Angel Dust reminder "Slasher", the maddening headbanger "Stiletto Ripper", the shredding speedster at the end "Alcoholic Apocalypse" etc. The singer is a semi-shouty death metaller, and doesn't quite match the more friendly nature of the music. Some of the guys also play in the death metal outfit Mandatory.

Slashing Metal Full-length, 2013

Official Site

DESTROYER (POLAND)

Based on the split with the Norwegians Violated, these guys play melodic power/proto-thrash with a firm classic sound reminiscent of early Laaz Rockit and Meliah Rage. The tempo is predominantly mid, which is sad since when the music speeds up ("Metal Addiction", parts from "Trip to Hell") things become quite cool. The last song is a cover of the hard rockers Sweet Savage's hit "Eye of the Storm", and expectedly there's nothing thrashy about it.

Into the Fire Demo, 2003
6 Motherfuckerz Demo, 2007
Outbreak of Metal Vol. II Split, 2009

Official Site

DESTROYER (RUSSIA)

This Russian formation indulge in a mix of classic and modern thrash which clings more towards the modern side with shades of melo-death shining here and there including short sparse blasting moments (the final "Net Postadui"). Several tempos are covered the speedy side of the style paid a bit more attention with technicality coming second (check out the intriguing 8-min puzzler "Vii"). There are ideas to be come across here most of them left undeveloped, but the guys seem to be fonder of the more direct barrage at this stage, and as such this effort should be able to please the headbangers easily.

Budusti Net Full-Length, 2012

Official Site

DESTROYERS (POLAND)

The debut: this band fits nicely into the more technical side of Polish thrash metal alongside Turbo, Wolf Spider, Acrimony and Astharoth. Destroyers aren't as overtly technical, but there are enough interesting riffs and twists in their sound to label them as at least semi-technical thrash. Their music is quite fast-paced and enjoyable recalling Toxik's "World Circus". A highlight (or annoyance, depending on the taste) is the vocals which at times reach impossible heights even reachng out for the King Diamond pitch. The debut is an enjoyable affair, boasting brisk thrashers full of energy, like the opening "Straszliwa Kletwa". Then comes the brilliant technical speed/thrash feast "Zew Krwi", followed by the diverse heavier, and longer "Caryca Katarzyna" which decreases the speed for the sake of stomping hammering riffs. "Wino I Seks" (yes, you guessed right: "Wine and Sex"!) is more melodic speed/thrash, but on "Noc Krolowej dzy" the aggressive shredding continues, interrupted in the middle by a quiet balladic interlude. The remaining songs carry on in the same vein, with a few of the tracks being more speed metal-based: "Bastard", "Bastiony Ocmierci (Bulwark Of Death)", "Hammer Against The Inquisition", and it's those tracks which the future power/speed metal acts must have listened to carefully and taken notes.

The band's second album could be considered the better one, at least from a production point-of-view. The sound is tighter and more aggressive, this time with no leanings towards power/speed metal. The guitar work is more technical and polished as evident from the excellent biting opener "The Miseries Of Virtue". The speed gives room for pounding guitars in mid-tempo on "Histoire D'O", which nicely livens up in the 2nd half, for a couple of headbanging moments. "Oeachlet" is not the fastest song in the world again, but the technical edge of the guitars leaves little to be desired, lashing riffs from all sides. "Odyssey" is a kind of a semi-ballad, supported by a nice acoustic guitar play. The following "Nymphomania" (these guys are really fond of sex, hey! Well, who isn't...) starts in a similar fashion, but very soon the speed/thrashing starts with no bars held. "The Birth Of a Courtesan" is another speed/thrashing madness, as well as "The Craft Of Tyranny" which boasts a nice chorus if, of course, you have no problems tolerating the high-pitched very melodic vocals that can easily compete with King Diamond himself in the very high wailing department. "I Praise You, Lilith" is slower and more technical than the preceding couple of songs introducing a few slower stomping passages, suddenly interrupted by speedy outbreaks, and several technical moments, accompanied by stylish, but a bit fuzzy leads. Their sincere classic thrash approach was a delight to listen to, but with the changing of tastes the band chose the wiser alternative to disband, rather than succumb to the oncoming trends.
"Dziewiec Kregow Zla": more destructive material after a huge hiatus; more than welcome especially when coming out of the hands one of Poland's finest who haven't forgotten how to thrash with intricate sophistication. "Zemsta Roninow" is a really handsome inauguration, a dynamic speed/thrashing saga with smattering galloping rhythms, with "Jeszcze Gorsi" being a short ripping headbanger. The prog-speed/thrash fiesta commences with the thrilling unpredictable "Noc Lubieznych Cial", then angelic female vocals nicely interlacing with then main semi-declamatory male ones. "Czarna Smierc" is a steady mid-tempo shredder, and "Wszetecznica" is another more elaborate opus with a more insistent thrashier engine. "Krwawa Hrabina" is a relaxed power/speed metal joy, and "Bal" is a complicated number with tightly-woven speedy rhythms, all this building up to the encompassing near-11-min long closer, a highly entertaining summative exercise with a wide gamut of nuances covered, and a couple of really infectious lead-driven tunes. A really fine comeback from these veterans, with a useful upgrade of their effective retro proggy speed/thrash tactics.

Night Of The Lustly Queen Full-length, 1989
The Miseries of Virtue Full-length, 1991
Dziewiec Kregow Zla Full-length, 2020

Official Site

DESTROYERS OF ALL (PORTUGAL)

These Portuguese "destroy it all" with their brand of abrasive energetic modern power/thrash which has both aggression and melody mixed together on almost every song. Things get seriously technical on the unpredictable jumper "M4", but the closing "Astral Projection" will drown the listener in spacey progressive arrangements with sudden faster breaks "tearing" them apart to a fairly positive effect. The delivery is more elaborate than the usual one and the band can easily capitalize on the quality material presented here.
The full-length fulfills all the promises concentrating on the modern progressive side also inserting the odd more brutal death metal riff ("The Pain that Feeds"). Again the technical exploits are a rarity the title-track being one, a consummate shredder with blazing guitars and ripping tempos. The orchestral motifs on "Death Healer" give the album a larger-than-life decoration, intentionally or not, also strongly accentuated on the closing 12-min opus "Day of Reckoning".
"The Vile Manifesto" is an assuring death/thrash "beast" the guys moshing with passion and a bigger sense of technicality as expressed through the choppy shape-shifting "False Idols" and the diverse progressive "Break the Chains". "The Elephant's Foot" reminds of the more laid-back power/thrashy character of the EP, and "The Dead Valley" is an epic quasi-doomster ala Amon Amarth.

Into The Fire EP, 2013
Bleak Fragments Full-Length, 2016
The Vile Manifesto Full-length, 2019

Official Site

DESTROYTHM (USA)

This is modern mechanized thrash/death with some semi-technical tendencies at times. Things take a nice progressive turn on the diverse "Contagion Effect", and "Dead Man's Switch" is a wild headbanger of the less ordinary kind. "Righteous Indignation" moves towards the death metal side with less controlled rhythms bordering on the blast-beat. The singer is a pure death metal shouter, but his rendings are intelligible, and could be considered a valuable addition.

Destroythm EP, 2014

Official Site

DESTRUCCION EN CADENA (ARGENTINA)

Based on the debut, these guys provide a calm mix of modern and classic power/thrash which expectedly borders on Hermetica and Horcas on the more inspired moments which are intercepted by less imaginative groovy passages. There is a good sense of melody applied ("La Bala Perdida") here and there, but the heavy rhythm-section doesn't give them many chances to shine. The vocals are gruff and moderately angry and semi-clean becoming deathily aggressive at times.

Destruccion En Cadena Full-Length, 1997
Actitud Extrema Full-Length, 2010

DESTRUCCION EXTREMA

A wild mixture of classic thrash/crossover, modern thrash/death, and a slight shade of grindcore; there are semi-clean vocals, brutal death growls, unholy black metal shrieks, and more in the vocal department. At times the music calms down quite a bit, and these are the moments when it actually takes off, offering cool, even semi-technical riffs. If we exclude occasional furious blast-beat sections, the sound is not very aggressive, and near the end cool operatic clean vocals can also be heard, on a Bal-Sagoth, or a later period Therion, music background; the last few tracks are actually more melodic, with a considerable presence of keyboards, only loosely belonging to the thrash metal field.

Homenaje AV8 Full-Length

DESTRUCTION (GERMANY)

Arguably the greatest German thrash metal band; at the time when Sodom and Kreator were still not sure what direction to take, Destruction put German thrash metal strongly on the metal map with "Sentence Of Death". The next two albums are nothing short of the essence of European thrash metal- aggressive and even semi-technical at the same time. Mentioning technicality, this is the key word for the band's next efforts; "Release From Agony" took part in the establishment of the technical thrash movement in Europe together with the same year's works of Living Death, Mekong Delta, Target and Coroner. With a drier more clinical sound, this album pulled back some of the Destruction's old fans, but won them many new. And then came the big strike on the band's career, with the leaving of Marcel ``Schmier``. Andre Grieder from the Swiss colleagues Poltergeist was invited to help with his vocals during the recording of "Cracked Brain", which took the band's infatuation with technical playing even further. A strong effort on all counts, it was largely ignored by the majority of their fans mainly because of Schmier's absence.
Mike Sifringer tried to keep Destruction alive during the 90's, but the two EP's and the one full-length, which were released during those troublesome times, had better be forgotten, being modern, below average post-thrash with very few merits. "All Hell Breaks Loose" saw the return of Schmier in the band, but failed to capture the uniqueness of the band's previous output, and sounded more like a more aggressive version of the Headhunter debut "Parody of Life" with a boosting modern production, also featuring a re-mastered updated version of their early hit "Total Desaster". With the fans' illusions left aside, one can't help but admire the visceral power of the monstrous "The Antichrist": the finest achievement of the band since the reunion, and one of the best thrash metal works of the past ten years. Unfortunately, it also made the two following albums sound too meek and average.

"D.E.V.O.L.U.T.I.O.N." doesn't betray the razor-sharp delivery of the preceding couple of albums, and is another heads-down retro thrash metal affair, this time with a bigger number of slower, mid-paced tracks which alternate with the staple blitzkrieg thrashers, and sound kind of more interesting, with clever guitar hooks involved ("Inner Indulgence"). The Headhunter influence, which album was released a few months earlier, can be felt on more speed metal-based numbers, like "Odyssey Of Frustration", but hopefully the two acts won't merge together music-wise, like it happened with other renowned bands in the past, "ruled" by a celebrity (remember King Diamond/Mercyful Fate in 1998).
Well, one first have to settle for the fact that after the climactic "The Antichrist" the band would not be able to produce another album of a similar seismic quality. With this fact well settled in, the listener can indulge in the next chapter, called "Day of Reckoning" in this case, from the band's career which actually shows the guys hungry to thrash their souls out once more, and they manage to do this better than on the previous one. "The Price" is the staple fast-paced opener, but later on the picture is more varied with slower compositions, as well as some which sound as though having been written for Headhunter (the speed metal winner "Devil's Advocate"). One may catch touches of a more stylish play on "Sorcerer Of Black Magic", for example, but it's more direct thrashers like "Misfit" and "Church Of Disgust" which get the message through more efficiently; and fortunately this is where at least half of the material clings to. Schmier and Co. would hardly disappoint their fans with an off-the-path release in the near future, but at the same time they should not expect their idols to come up with "Release from Agony 2" (or is it "Infernal Overkill 2"; or "Eternal Devastation 2"? You make your choice!).
Your favourite teutonic thrasher is here again and it seems as though he plans to compete with Rage and Tankard in terms of productivity. "Spiritual Genocide" is the next chapter in the band's history, and it has a heavy boulder to carry because with a fifth consecutive mediocre effort the veterans could find themselves very near the bottom of the list, a humiliation which would be really hard to make up. But before one asks the question, "Does anyone really need another Destruction album so soon?", he/she should give a listen to the shattering opener "Cyanide" which is a neck-sprainer second to none. Hopes for another "Antichrist" arise at once, and "Spiritual Genocide" will keep those hopes floating around with its inspired speedy barrage with a pinch of elusive technicality. Things become even more interesting on the next "Renegades" which is more complex and serious still keeping the voltage high with a few portions of fast-paced rhythms. The more technical patterns stay around for "City Of Doom" which is graced by a few speed metal sections to only a positive effect (no doom metal here, folks). Time for more direct ripping thrash with "No Signs Of Repentance" which will lift up the spirits big time and will set the scene for "To Dust You Will Decay" (which is not an Angel Dust cover), and slows down a bit at times also full of plenty of atmosphere. The rest of the songs acquire a slightly mellower tone before the coming of "Riot Squad" (which is not a Paradox cover) which is another invigorating speedster although it sounds quite soft compared to the brutal closer "Under Violent Sledge" which will mosh your world in a way last heard on "The Antichrist". This is not the end, though: it's the cover version of Saxon's "Princess of the Night" done in a surprising speedy/crossover manner giving it a nice desirable individual touch. Then comes a second version of the number "Carnivore" with Tom Angelripper and Gerre (Tankard) helping Schmier ("Teutonic thrashers from all parts of Germany, unite!" this is an example well set); otherwise this composition is offered without any alterations from the original. As a result we have the best Destruction album since the aforementioned "The Antichrist", a strong effort which Schmier and Co. really needed in order to keep with the strong competition in their homeland (Paradox, Kreator, Tankard, Exumer, plus numerous younger practitioners) after the string of not very impressive albums of recent years.
"Under Attack" starts with the ABBA cover of the same title... kidding, of course!; our favourite German thrashers will never betray their devoted fans (their mid-90's abominations don't count), and what we have here is the umpteenth classic thrashy roller-coaster served in a more carefree speed metal-ish manner quite reminiscent of the preceding opus. The title-track inaugurates the roller-coaster with trippy uplifting rhythms which should keep everyone happy. A headbanger after headbanger follow suit the guys moshing quite hard on "Dethroned" recalling their magnum opus since the reformation "The Antichrist". "Getting Used to the Evil" is the obligatory reminder of the Headhunter legacy with a semi-balladic motif which could be quite a drag to some. No complaints since right after comes "Pathogenic" to sprain your necks which may straighten a bit on the other exercise in more complex speed/thrash "Second to None" with another wink at Headhunter. "Stand up for What You Deliver" gallops with the finest 90's heroes out there, another sign that the two acts, Destruction & Headhunter that is, are on the way to merging which to the band's die-hard fanbase may be equal to a heresy. To these ears this tendency is still debatable and at least gives a fresher approach to an already overly familiar formula. And, let's not forget the Venom cover of "Black Metal" served at the end turned into a frolic speed metal hymn, again at this stage a wise decision.
"Born to Perish" shows the veterans in a fairly decent shape once again, without taking any ill-measured risks with their age-old approach to the good old thrash. Pure unadulterated old school thrash is the order of the day, the band moshing onward with bullets like "Inspired by Death" and "Betrayal", Schmier as spiteful and mean as always behind the mike. The galloping friendliness of "Rotten" is vintage Headhunter, but the playful quirks of "Filthy Wealth" and the near-progressive gravity of "Butchered for Life" easily compensate for such unmitigated pitfalls. Still, the guys are in their nature when they shred without any ado, making vigorous cuts like "Tyrants of the Netherworld" and the more speed metal-prone "Fatal Flight 17" the real winners here, with the less bridled aggression on the otherwise more contrived closer "Ratcatcher" a fitting epitaph to this entertaining offering.
"Diabolical" is quite faithful in spirit to its predecessor, old school speed/thrash to the bone, deftly executed, but one can't expect anything less than one of the finest acts in the annals of the genre. Fast-paced lashers (the title-track, "No Faith in Humanity") breeze by, leaving some room for the heavy pounding power/thrasher "Repent Your Sin" to breathe. Later on there are other less compromising cuts (the more complex "The Last of a Dying Breed") to be come across, but those are far from stumbles, the more contrived fury of "State of Apathy" fighting for the highlight here, brushing aside the stomping drama of "Tormented Soul". "Servant of the Best" switches to pure speed metal, and the galloping "The Lonely Wolf" keeps it in that zone, those pieces again reminders of the headhunter repertoire, where also the lively hyper-active "Ghost from the Past" belongs. A goofy brisk thrash/crossover cover of G.B.H.'s "City Baby Attacked by Rats" is thrown at the end to finalize this cool vivacious recording.

Sentence of Death EP, 1984
Infernal Overkill Full-length, 1985
Eternal Devastation Full-length, 1986
Mad Butcher EP, 1987
Release From Agony Full-length, 1987
A Black Metal Night EP, 1989
Cracked Brain Full-length, 1990
Destruction EP, 1994
Them Not Me EP, 1995
The Least Successfull Human Cannonball Full-length, 1998
All Hell Breaks Loose Full-length, 2000
The Antichrist Full-length, 2001
Metal Discharge Full-length, 2003
Inventor of Evil Full-length, 2005
D.E.V.O.L.U.T.I.O.N. Full-Length, 2008
Day of Reckoning Full-length, 2011
Spiritual Genocide Full-Length, 2012
Under Attack Full-Length, 2016
Born to Perish Full-length, 2019
Diabolical Full-Length, 2022

Official Site

DESTRUCTION AHEAD (USA)

Based on the "Mind Your Own Business" demo, this band play stylish semi-technical thrash which bears resemblance to the early attempts at the style from the same country: Ulysses Siren, and Have Mercy, but offering faster more aggressive rhythms as a whole only lacking in the production department where the guitars sound a bit muffled. The guys bash with brains and even the shorter cuts are technically-charged whereas the longer ones ("Bed Of Nails") are virtually invincible with their cleverly-changing tempos and intelligent screamy leads. The final track "Guilty Of What!?" was later used in the guys' other formation, Harms Way, to whom the approach here is quite reminiscent at times. Some of the musicians also had a one demo spell in the early-90's under the name Present Absence.
The debut demo is three songs, but the musicianship is sloppier and not as sharp the band speed/thrashing in a more relaxed fashion still producing the perennial headbanger "Acceleration Attack" in the vein of the Metallica debut. The sound quality is muddy boosting the bass for the sake of the guitars.

Darkness Will Fill Demo, 1988
Mind Your Own Business Demo, 1989

My Space

DESTRUCTION'S END (USA)

Aggressive thrash/crossover; quite fast, not too far from Wehrmacht, or Beyond Possession (the 4th track "Vengeance" is actually a cover of a song of this same band); "Zombie Attack" is not a cover of Tankard although it will definitely remind you of the Germans with its brisk speedy riffs.

Prepare to Die Full-length, 2005

My Space

DESTRUCTIVA (ARGENTINA)

Based on the full-length, this act serve cool classic thrash, the rough shouty/hardcore vocals not ruining the picture beyond repair, the fast vivid riffs sculpted in both short dynamic headbangers ("The Evil Inside", "Wicked City") and more laid-back mid-paced pieces ("War Child"), the proto-death vigour of the title-track confronting the dark oppressive aura of "Don't Trade with the Death" and the more thought-out progressive tricks of "Masks of Disgrace".

The EP EP, 2021
Prophecies of the New World Full-length, 2023

Official Site

DESTRUCTIVE (TURKEY)

These Turks occupy the second part of this split with the Greek retro thrashers Bio Cancer, and provide similar stuff: intense speedy old school thrash in the vein of Necronomicon and Darkness topped by husky proto-death metal vocals.

Endless Violence Split, 2011

DESTRUCTIVE AGGRESSION (GREECE)

Quite good 80's thrash metal reminiscent of another Greek band, Flames, and more particular, their best album: "Nommen Illi Mors". So in other words we have four songs of mostly up-tempo material, with sharp and simplistic guitars, and one smashing aggressive thrasher ("Perfect Holocaust").

Sacred Path Of Hate Demo, 1997

DESTRUCTIVE ANGEL (JAPAN)

This is modern, almost instrumental-only, speed/thrash which comes with a dry abrasive, fuzzy guitar sound, apparently intentionally, but to whose avail?! It takes away so much from the otherwise not bad riff patterns that in the end it would sound as an up-paced industrial effort than anything else. There is an overuse of keyboards which give the effort a very cheesy outlook more than now and then, and they compete with the speedy guitars the latter still winning in the long run despite their retouched sound and the frequent adherence to other non-metal gimmicks (violins, etc.).

Extreme Genocide Force Full-Length, 2009

DESTRUCTIVE CELL (USA)

Modern thrash/deathcore which by all means has its more pleasant, melodic moments ("Dead Inside"), but a large portion of the time is spent in plodding groovy traps, the guys coming alive on the vivid headbanger "Trials and Tribulations" but wasting too much time in a semi-balladic stupor on the not very imaginative "The Truth in the Lie". The vocals are very shouty and angry, and don't contribute too much to the proficient side of this otherwise pretty ordinary recording.

Trials & Tribulations Full-length, 2022

Official Site

DESTRUCTO (HOLLAND)

Old school black/thrash which is indeed modeled after the vicious brutal models from the Brazilian scene (Sarcofago, Vulcano, etc.), like the musicians claim. In other words, expect fast lashing rhythms to pummel you into oblivion from the get-go, with sophistication very low on the band's list, "In Service of No One" also recalling early Bathory with a more deathly twist in the vocal department. "Necromancy" provides purer 'raging thrash, but the rest is a blend of the two styles, with "Lycanthro Kommando" emerging victorious from the established abrasive noisy environment with a more proficient, also more melodic layout. The two band members are also active with the crusty blacksters Dodsrit, and the death/thrash cohort Nuclear Devastation.

Demonic Possession Full-length, 2021

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DESTRUCTONOMICON (USA)

This is classic thrash/crossover with jocund frolic tones; the guys have fun not thrashing with much force, but the fans will have their portion of more intense moments ("Black & White", "Stockholm Syndrome") despite the not very accentuated edge of the guitars. The singer has a nonchalant clean timbre in the mid-ranges, and he is often helped by his comrades on the shouty choruses.

Destructonomicon EP, 2013

DESTRUCTOR (USA)

Despite the obvious enthusiasm and energy put into the recording of the debut, the lack of certain music skills is the reason why it's hard to put this band's debut work on the same pedestal with same year's "Bonded By Blood" or "Hell Awaits". The style is speed/power/thrash metal which could have developed into something better in the near future, but the band split up. They returned in 2003 apparently encouraged by the thrash metal revival with "Sonic Bullet" which is an obvious improvement over the debut with better production and slightly more proficient musicianship containing an entertaining cover of Hawkwind's "Master of the Universe" in the middle, finished with two recent live versions of two songs ("Pounding Evil " and "Iron Curtain") from their debut.
"Forever in Leather" has its good speedy moments, but some of the songs lack a punch and pull the sound towards the power/heavy metal arena. The album starts in an awesome fashion with the first two tracks "Tear Down the Heavens" and "Skull Splitter" being mighty speed/thrashers, but loses steam little by little with sparkles of aggression here and there. The guys could be excused; after all, they have never been a full-fledged thrash metal band in the first place, and the final impression from this effort is actually more on the positive side.
"Back in Bondage": the guys are back after a really long break and their staple power/speed/thrash mix is pretty much intact with a more elaborate approach this time, but not to the point of progressiveness. "G-Force" is the good old 80's speedster, and "N.B.K." is the contrasting to it power/doomster, both sides expertly handled. "Powerslave" isn't an Iron Maiden cover but is a rousing power metal hymn with epic touches. The more ambitious epic side is evident on the 9.5-min opus "The Shedding of Blood and Tears" which may be too balladic for some tastes; but wait till you hear the very aptly-titled "Tornado", a full-on thrasher with raging guitars; and the excellent closer "The Triangle", another aggressive cut, a wild speed/thrasher recalling the Rigor Mortis exploits with a twist. Dave Overkill's performance behind the mike is traditionally impressive, and his dramatic deep baritone antics are another nostalgic plus on this really cool recording.
"Decibel Casualties": the guys are intent on making up for the lost time, and here is this next offering which sees them riding the wave of the good old speed/thrash with the energetic vigorous opener "Restore Chaos". "Keep the Faith" is a more restrained speed metal anthem, and "Metal Spike Deep" thrashes harder with a more diverse rhythm-section. "We Are Ready" recalls the US 80's power metal scene with the bouncy riffage and the friendlier demeanour, and "The Last Days" is the next in line heroic speedster aptly supported by the short instrumental galloper "Fiery Winds". "Metal Till Death" mixes all the three genres into one compelling "melting pot" clinging more towards the power metal side which disappears for the closing "In Hell", a speed/thrashing roller-coaster which also throws in a fine melodic lead section, but only to slightly dissipate the headbanging melee on this worthy finale to a diverse entertaining album.
“Blood, Bone, and Fire” is another capable showing, the band providing another decent conglomerate of thrash (not much), power and speed metal, the pulverizing “Iron Clad” stomping through the speakers, followed by the catchier “Never Surrender” and the varied shredder “Depths of Insanity”. The all-instrumental shorter “The Calling” raises the level of epicness, setting the scene for the arrival of the galloping behemoth “Dominate”.

Maximum Destruction Full-length, 1985
Sonic Bullet EP, 2003
Storm of Steel EP, 2007
Forever in Leather Full-length, 2007
Back in Bondage Full-Length, 2016
Decibel Casualties Full-length, 2017
Blood, Bone, and Fire Full-length, 2023

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DESTRUCTOR MOSH (CHILE)

Based on the "Violent Rehearsal" demo, these young Chileans pull out good old school speed/thrash reminiscent of the Whiplash debut and early Exciter, if we exclude the opener ("Nuclear Devastation"), which is a violent thrasher that would make even bands like Possessed and Dark Angel proud. The rest isn't nearly half as aggressive, but it packs a punch if you don't mind the annoying vocals which come up with laughable (and downright irritating) high-pitched screams ala the singers of Blessed Death and Anvil Bitch, but not even half as good.

Destructive Rehearsall Demo, 2006
Violent Rehearsall Demo, 2007

My Space

DESTRUCTORES DEL AMANECER (PANAMA)

Thrash/death metal hybrid, which sounds more on the classic side, fast-paced with really cool guitar lines, which could put it sometimes in the semi-technical category. The problem is the singer who, with his synthesized, death metal shouts, tries to ruin the good impression left by the others. "Destructores del Amanecer" is a fine instrumental; this time, without the detrimental presence of the vocals, the guys have put their effort into it, producing smashing riffs and, again, nice melodies. The guitar sound, unfortunately, is quite fuzzy, and is another detraction from the good music. The last track "Brutal Destination" is totally inappropriate, albeit pretty well justifying the "brutal" part of its title, being a brutal, furious death metal outbreak which would have been more suitable for the works of the Australians The Berserker.

Rebeldes Somos EP, 2005

Official Site

DESTRUCTURA (ECUADOR)

Modern thrash/death metal with metalcore references, melodic stuff as a whole with good guitar licks which deafen the weak quarrelsome death metal vocals. The guys shred with professionalism without producing anything too original, the Swedish canons well covered served with both speed and heaviness. The riffage isn't very "mecanic" except on a very few moments and even some more classic hints can be caught from time to time.

Mecanic Amoral Full-Length, 2012

DESTRUKT (FRANCE)

Based on the full-length, this band specialize in old school thrash which comprises both short energetic pieces (“Hell's Bursting Out”) and longer more atmospheric roller-coasters (“The Witch”), the furious proto-death veneer of “Racing Death” justifying its title on all counts, before the melodic embellishments on the relaxed crossover hymn “Broken Mirror” tests the gruff semi-declamatory vocalist a bit more, the latter spitting the lyrics more venomously on the closing violator “Metal Destruktor”.

Unleash the Destruktors Full-length, 2018
Wicked Night Killers EP, 2019

Official Site

DESTRUKTOR (AUSTRALIA)

Like many of the contemporary Australian metal acts, this band also features members of Destroyer 666 as well as one from Toxic Holocaust in the early stages. Based on the "Nuclear Storm" EP, these guys don't stray too much from early Destroyer 666: this is quite fast, and frequently brutal fusion of thrash, death and black metal, with the typical blast-beats throughout, as well as really good lead guitar work at times. The vocals are mostly in the black metal camp- vicious rasps, occasionally interrupted by death metal growls.

Brutal Desecration EP, 2002
Nuclear Storm EP, 2004
Metal of Death Split, 2007

Official Site

DESTRUTOR (BRAZIL)

Decent intense old school thrash metal mixing aggressive parts with proto-death elements ala Rigor Mortis and Morbid Saint, with less impressive hardcore-based ones where the guitar work is more simplistic. Check out the bass player, who is a really beautiful girl, going under the pseudonim Mary Thrasher, and also does a "beautiful" job on the bass.

Coer Profana Demo, 2009

My Space

DESTRÖYER 666 (AUSTRALIA)

This band is often considered the leading metal band of Australia for the past 10 years. From the rawer, old school mixture of black, thrash and death metal on the first works the band managed to develop a really interesting sound, which later incorporated more melodic epic/viking metal elements that increased their appeal. This is music which will find its way to the hearts of fans from all walks of metal.
Being busy helping hordes of acts in and out of Australia, the guys have finally found time to record something new again. "Defiance" is a cool mix of the basic extreme styles (thrash, black and death metal- for the uninitiated), but the more recently acquired epic approach has been well covered as well: "Blood for Blood", "Stand Defiant", the mid-period Bathory worship "A Path to Conflict", and although the speed there gets lost completely, the nice melodic lines deliver on all counts, and rest assured that the next blasting black/death explosion is just around the corner: "The Barricades Are Breaking". Seldom are the two trends mixed into one composition: "A Thousand Plagues". The closing "A Sermon To The Dead" is excellent elegiac epic doom, again recalling Bathory, but clinging more towards "Twilight of the Gods" this time.
The "See You In Hell" EP is just 2 songs both sustained in a heroic epic/viking spirit with Bathory a very close soundalike again, bordering on doom with memorable sing-along choruses. The complaint comes from the sound which is very fuzzy, and is a hindrance for the listener to appreciate the guitar work.
"Wildfire" really begins "wildly" with the sweeping "Traitor" and later the guys only show a little mercy although there's an overabundance of great melodies which give the album a strong operatic colouring. "Hounds at Ya Back" is a great epic hymn whereas the actual "hymn", "Hymn to Dionysus", is a viking doomster in the best tradition of later-period Bathory. The title-track is the other short brutalizer before "White Line Fever" enters with epic melodies and marching rhythms to a really imposing effect the latter also handsomely achieved on the closing "Tamam Shud", a pagan doomster with a nice memorable chorus.
The "Call of the Wild" EP accentuates on the melodic embellishments from the preceding opus, and "Violence Is Golden" is an infectious galloping winner that carries the winds of power metal proudly before "Stone by Stone" speeds up to furious headbanging dimensions. The title-track continues the speed metal trend on full-throttle assisted by a couple of piercing screams and a few more carefree Motorhead-ish shades, and "Trialed by Fire" is the obligatory viking battle-rouser, the possible highlight here, the guys not hiding their fascination with mid-period Bathory.
"Never Surrender" shows the band in a feverish light, the impetuous "Andraste" crushing with power, the playful crossover-ish "Guillotine" putting reins on the restless spirits for a bit, the dramatic fast-paced sagas "Mirror's Edge" and "Grave Raiders" clinging more towards the speed metal side. The epic melodic accumulations of "Savage Rights" keep the approach within the mellower realms, but comes "Rather Death" and the setting becomes alive with fiery blitzkrieg rhythms, with some epic doom clout added on the closing "Batavia's Graveyard" as a finishing touch.

Violence Is the Prince of This World EP, 1995
Unchain the Wolves Full-length, 1997
Satanic Speed Metal EP, 1998
King of Kings/Lord of the Wild EP, 2000
Phoenix Rising Full-length, 2000
Cold Steel...for an Iron Age Full-length, 2002
...Of Wolves, Women & War EP, 2002
Terror Abraxas EP, 2003
Defiance Full-Length, 2009
See You In Hell EP, 2010
Wildfire Full-Length, 2016
Call of the Wild EP, 2018
Never Surrender Full-Length, 2022

Official Site

DESULTOR (SWEDEN)

The hyper-active cyber-technical style of acts like Biomechanical and Altered Aeon is brought forward by these guys who unleash very intense speed/thrash with the inclusion of frequent blasting passages which create the impression that this effort may tumble into death metal fields which doesn't really happen. Expect wild frantic music reflected in short (3-4min) compositions which are very eventful decorated by cool clean vocals which should hit the higher registers more in the future since now they get stifled by the instruments at times. This may be an exhausting musical experience to the less prepared: pretty energetic fast shred all over with seldom a quiet moment.

Masters of Hate Full-length, 2012

Official Site

DESULTORY (HOLLAND)

These guys are all over the place offering a very uneven mixture of thrash, death/black metal and grindcore which comes as a not very smooth "marriage" between early Sarcofago and Impaled Nazarene, and this EP can be considered one of the first ultra-brutal efforts of the 90's predating the similar outrageous exploits of the aforementioned Finns with a few years. Really curious stuff topped by vicious apocalyptic Burzum-like vocals; not for the faint-hearted.
The demo tries to balance between thrash and death metal, but again the "symbiosis" isn't very impressive even without too many styles present, and at some stage the guys just surrender to pure semi-amateurish bashing which needs very little to pull you back completely.

Religious Extermination Demo, 1990
Desultory / Can't Deny EP, 1991

Official Site

DESVIRGHEITORS (SPAIN)

Modern thrash/crossover executed with less serious punk-ish attitude the latter coming from the band's earlier history when they were operating as a mere punk act. There's this rowdier thrashier vibe ("Criaturas") which comes to the surface more than just now and then, but largely expect short frolic cuts in the vein of "Pintura Rosa" and "Solo En Ti" where the good old hardcore is more than welcome to join the melee, the clean punky vocals semi-reciting on the side without hinting at any bigger singing proficiency.

Desvirgheitors Full-length, 1993

DETENTE (USA)

The first band which Dawn Crosby (R.I.P.) (Fear Of God) took part in. Not as striking and original as the Fear Of God debut album, this is perfectly acceptable energetic speed/thrash metal with touches of hardcore. This is good headbanging stuff with short fast-paced songs and simplistic, but sharp and catchy guitars. The first half is an all-out speed/thrash assault whereas the second one breaks the pattern, introducing slower tempos, mixing power and thrash on "Russian Roulette" and "Vultures In The Sky". Crosby's leaving to form Fear Of God put an end to what could have been a successful career.

"History I" is featured somewhere as a Best of Compilation since it contains the first Detente demo plus the early demos of the band Catalepsy, which was founded by the Detente members soon after that band's split-up. The first four songs are already familiar from the first Detente effort, but the Catalepsy material may raise some brows. The style isn't too far from the one presented on the only Detente album, and "Obituary Fear" is vintage old school speed/thrash metal with good thunderous riffs. Then the music slows down to heavy/power metal dimensions, on "Evil Within". All is corrected on the smashing "Under the Influence", and the next heavy hammering "Who Can You Trust". "Law and Disorder" is a nod to the 80's American power/thrash metal scene, and is kind of underwhelming with its more laid-back guitar work. As a whole this is a faithful continuation of the other act albeit missing its impulsive visceral power. Ann Bolein (also Hellion) does a good job behind the mike, staying true to the husky semi-clean delivery of Dawn Crosby (R.I.P.).
"Decline" introduces a new female singer (the name is Tiina Teal) who hasn't taken part in any known acts before, but her forceful aggressive performance is quite striking; her brutal hoarse shouts are well more extreme than the ones of Crosby (R.I.P.) or Ann Boleyn. Otherwise the music is vigorous old school thrash in a fast relentless tempo which smites you from the get-go with the furious opener "In God We Trust" which is immediately matched by the explosive "Predator" and "Kill Rush". It's "Degradation Machine" in the middle which tries to calm down, but just for a bit; this is another merciless display of the good old thrash with a few slower breaks. The attack continues with two more blitzkrieg numbers, until it hits the varied closer "This is Not Freedom", which nicely combines weighty doom riffs with fast intense ones, plus intriguing melodic Oriental leads. The band have done a good job here pulling out inspired direct performance which sounds way more aggressive than their debut, stripped of the hardcore/punkish leanings characteristic of the latter.
The self-titled EP which comprises three numbers, all-instrumental only, "Blood You Spill" being a heavy dirgy piece, and "Human Condition" being a sprightly thrash/crossover anthem. The moshing/thrashing vocal-less delight from the debut "Catalepsy" has been served without any drastic alterations, adding to this entertaining but very short effort.
The "Falke" EP contains the two cuts from the preceding effort, but this time there are vocals added the latter not really striking, male ones as well, on the dispassionate semi-declamatory punky side which hardly make the not very impressive quasi-doom clumser "Blood You Spill" shine too bright. "Human Condition" is more like it, but its abrasive thrash/crossover riffage needs more to really be viewed a highlight. "Seeds" is a weird atmospheric grungy post-punk piece, think Killing Joke meets Alice in Chains, its subversive fast-paced epitaph making it more enjoyable. "Fucked" is a semi-noisy quirkiness, an amalgamation of Amebix and Chrome, a hypnotic rhythm-fest with industrial overtones. This is nothing like the early Detente works, but does have quite a bit to do with the post-punk/punk movement; a new direction which could be worth pursuing.

Recognize No Authority Full-length, 1986
85475/8 History I Full-Length, 2008
Decline Full-length, 2010
Detente EP, 2018
Falke EP, 2019

Official Site

DETENTION (ITALY)

Based on the promo, this act pull out wild bashing classic thrash which is hampered by the very hissy production; otherwise, the lads bash with passion, reaching the deathly confines on the vehement "Coming Back From Hell", the spiteful shouty death metal-ish vocals by all means helping in this direction.

Demo Demo, 1988
In the Name of Science I Must Die Demo, 1989
Promo Demo, 1993

DETERRENT (FRANCE)

Based on the debut demo, these folks play aggressive thrash/death with expected echoes of Loudblast and Massacra. The musicianship is rather amateurish, though, and the sound quality is very muddy stifling all participants who try to produce something sensible on the stylish semi-technical "Absolute Fanaticism". The vocals are deep guttural death metal growls merging with the violent musical melee. The guys played in other acts in the 90's: the death metal formations Corpses and Cantar, but never managed to reach the official release stage.

Destroy It! Demo, 1990
Other Side of Reality Demo, 1991

DETERRENT (GERMANY)

These guys have definitely have original ideas, but their enthusiasm to show them to the world is much bigger than their actual compositional skills. There's so much put here that if they had left some of it for another album, things would have been a lot better. Almost all of the songs start in a fairly good manner (except the opener "Live!" which could seriously pull you back), but then come the tempo-changes, the weird riffs and the awkward, "what-was-that" parts (check/don't check the 12-min long opus "Maybe The Darkest Spot On One": my god!), and things get seriously perplexing, both in a good and not such a good way. Add the indifferent, very sloppy unrehearsed vocals and things get considerably mish-mashed. Progressive thrash this is, no doubt, and the best description would be "Mekong Delta and Deathrow's illegitimate offspring" which can still be considered a compliment. This is a very eventful and occasionally fairly intriguing but ultimately flawed entry into the progressive/technical thrash metal movement which was making waves at that time in Germany. A few years later some of the band members appeared with their new outfit, the death metallers Sudden Death, with whom the guys have two full-lengths and two EP's released; and early in the new millennium another act, Brett Pit, sprang up, too, involving the same musicians where the style on the only full-length so far ("Tritonus", 2001) is a more conventional form of thrash.
The demo contains some very good music with genuinely intricate arrangements the opening "Seductive Madness" along winning the price of admission with its intense technical delivery. Jumpy, not very predictable riffs arrive with the title-track which also finds time to thrash out with the best in the second half. "Beyond the Wall" is a technical accumulator second to none, an obvious emulator of the hectic Deathrow style on "Deception Ignored", and quite aptly done at that. The final "Legacy Of The Dead" is on the slightly more conventional side also boasting admirable bass implements. The singer is nothing special again his dispassionate clean singing pulling this very good effort down in a way similar to the full-length.

Obey Today Demo, 1989
Re-invention Full-length, 1994

DETEST (SWEDEN)

These obscure Swedes haven't done a Riot worship, like some of you out there may think, judging by the title. This is epic power metal with timid attempts at thrash relying on an imposing mid-tempo for most of the time consequently sounding quite close to their compatriots Heavy Load and partly Jag Panzer. The vocalist could have used more drama, though: his indifferent mid-ranged clean timbre falls behind the better battle-like music.

Thundersteel EP, 1990

Official Site

DETH BED (USA)

These folks provide heavy modern thrash/post-thrash that disperses steady mid-paced rhythms all around, the guttural death metal singer suiting the ponderous Obituary-sque "Bleed for Thee", whereas the more energetic "Speed Freak" tries to inject a vital doze of dynamics into the squashing melee. The very fittingly-titled "Slowly but Surely" wraps things on with reverberating panache, also providing the only genuine fast-paced passage on this entry. Some of the musicians were also busy with the gothic metallers Thirty 2 Life.

In Sacrifice Demo, 1995

Official Site

DETHERA (FINLAND)

A 3-song EP of energetic classic thrash metal with a nice technical edge ("Contaminated") and heavy punishing riffs on the rest topped by low-tuned death metal vocals and Swedish-styled hooks on "Madman In Chains".

Arts Of The Insane EP, 2007

Official Site

DETHEROUS (CANADA)

The debut: classic thrash/death performed as tightly as a mouse's ass; no unnecessary gimmicks, no ados of any kind, the guys just bash out with no mercy all over, spraining necks left and right, trying to race with the speed of light ("Ridden") at times; successfully. The apocalyptic shouty death metal vocals add further to the exhausting picture which can easily rival glorious blasts from the past like "Pleasure to Kill" and "Darkness Descends". Some of the musicians are also active with another death/thrash formation, Animosity.
"Unrelenting Malevolence" is a more aggressive offering, the guys bashing with hefty degrees of viciousness, the proto-death "Suspended in Agony" serving swathes of less bridled brutality, the restless rampant spirits mortified slightly on "Wretched Formations of Flesh", but hell's unleashed on the short twisted shredder "Erosion of Reality" and the death metal striver "Tormented by the Dead", the final "Skull Fracturing Nightmare" a nice reminder of Sadus' first with a marginally more entangled flair.

Hacked to Death Full-length, 2019
Unrelenting Malevolence Full-Length, 2022

Official Site

DETHLAHEM (AUSTRALIA)

A young outfit specializing in a dark heavy modern/classic thrash hybrid with more complex, thought-out compositions ("Grave of Repentment") where the mid-tempo formulas prevail, sidelining the several attempts ("The Good, the Bad and the Evil") at more vigorous headbanging ways of execution. The second half is less impressive with a more modern, more abrasive sound taking over, ironically recalling Risk's "Turpitude" on "Turpitude" before "Dark Knights" recaptures some lost ground with its more vivid, livelier execution.

The Birthplace of Deth Full-length, 2018

Official Site

DETHLEHEM (USA)

A mix of modern and classic thrash with borrowings from Swedish death metal, energetic stuff spiced with a few epic elements ala Amon Amarth, plus the odd grinding break. The screeching death/black metal vocals are kind of annoying, among the other quite a few vocal styles involved. The other complaint is the too big a number of short peaceful balladic instrumentals which leave the listener with just four pure songs to enjoy.
"The Ghorusalem Codex, Vol. 2: of Magick & Tyranny" is the better effort, now containing the sufficient number of songs to please the fan who would hear a diverse concoction of epic, thrash, death, and power metal with progressive overtones which only suffers from the lack of speed: "The Cliffs" is a more energetic number, but the rest is mostly mid-paced with "Spelljammer" near the end producing a few seismic high-octane doom riffs. The vocal duel is expected the clean side in this case being the better one of the emotional, attached type, the death metal one mostly serving unintelligible guttural sounds.

The Ghorusalem Codex Vol I: Enthroned Upon A Spire Full-length, 2009
The Ghorusalem Codex, Vol. 2: Of Magick & Tyranny Full-length 2011

My Space

DETHONATOR (UK)

The debut: melodic modern power/thrash which covers a wide gamut of moods and tempos "Blight" being the leader with its intense speed/thrash rhythms. On the rest the speed isn't so extensively covered, but "Trenches" is another ripper later on the "eagle fly free" status of the album firmly sealed by the soaring melodic anthems "Exorcism" and "Blood Feud" (check the leads on this one). The singer is quite an asset with his excellent soulful clean timbre recalling both Michael Kiske (Helloween) and Jeoff Tate (Queensryche). The guys were earlier known as Kaleb where the style was pretty much the same.
"Race Against the Sun (Part One)": the guys are back at the front after nearly a decade of hibernation, but the more aggressive thrashy elements have been reduced considerably the delivery now strictly within the heavy/power metal confines with only "Pyroclastic" reminding of the debut's more boisterous nature, and partially the galloping vigour of "Narcisside". It's a good album overall the presence of more brutal death metal vocals definitely a miscalculation, and should be avoided in the future.

Dethonator Full-Length, 2010
Race Against the Sun (Part One) Full-length, 2019

Official Site

DETHRASHION (GERMANY)

Prime direct modern-ish thrash stifled by the guttural brutal death metal vocals; the guys thrash on rigorously flirting with more melodic decisions ("Whisky Warrior") from time to time, even attempting something more progressive ("Paltriness", the excellent technical shredder "Visions") which ranks as high as the finest headbangers here like the explosive closing title-track "Assault Bombardment". Some of the musicians are also active with Bury Your Dreams.

Assault Bombardment Full-Length, 2017

Official Site

DETHRONE (FINLAND)

The band's debut showed a lot of promise with its heavy late 80's Metallica-influenced sound. The guys display both energy and technical competence, handling complex, pounding tracks like "Beyond the Wall", "City of Silence" although to these ears the more immediate, faster headbangers ("Black Dawn", "Predator") are the more appealing side of the band. "Haunter in the Dark" is a nice galloping instrumental with very effective heavy riffage and a great bass bottom. "Powermad" and "The Day After" introduce a more melodic, power metal-based sound, but work well, too, accentuated by cool lead guitar work.
Unfortunately, it was all ruined three years later on the sophomore release which has adopted a lot more melodic modern and insipid sound. The band attempted a transformation similar to the one of Anthrax and Flotsam & Jetsam, but the final result isn't half as convincing. The guys play with much more restraint, with friendly poppy tunes ("Hello Voice") spearheading this tepid fiesta which still tries to keep to the good old speed metal ("Father's Day") on occasion, including with a few more contrived thrashier moments ("Shadowplay"), but despite the positive impression such sparkles create, there isn't much to retain the excitement from them with banal groovy stompers ("The Decay") insulting the listener's intelligence alongside ridiculous funky nonsenses ("Censored Scenes", the jumpy operatic parody "Confessions of a Madman") and mellow lyrical attempts at the ballad ("Block the Sun", the heavier goofy "The Barrier Within"). The absolute highlight here is the short lead-driven instrumental "Out Through the Blue... into the Dark", 2.5-min of undisputable musical mastery.

Let the Day Begin Full-length, 1989
The Decay of a Man Full-length, 1992

Vibrations of Doom

DETHRONE (SWEDEN)

THrash/death metal with a cool classic shade with just a few inevitable Gothenburg leanings; the guys know thier craft well pulling out sure-handed headbangers, like the "break-facing" "The Facebreaker", or the sweeping death/thrashterpiece "The Global Profit". "When I Decide" is a typical early In Flames-worship, and "Forced Paranoia" is a less typical dry, mechanical shredder with Meshuggah-sque echoes. The singer is a throaty semi-shouter providing standard death metal vocals. The guys were previously known as Amygdala where the style was more conventional Swedish death metal.
The full-length clings more towards the modern side with Swedish death metal now "saying its opinion" more often although the thrashy side of the guys' repertoire is still pretty much here with intense ragers like "Deathwish" and "Greed". Whichever direction the sound swings to the band never let the speed drop the fiery riffage delivering, acquiring more epic tendencies on the long encompassing progressive closer "When I Decide". The vocalist now shouts more expressively creating quite a bit of noise when in action.
"Incinerate All" will surely "incinerate all" raising the flag of modern thrash/death high this time balancing things better as thrash is more widely covered. The riffs cut like a knife also hinting at something more technical (the cool mechanical shredder "Rat King"). "Morbid Existence" is a frolic laid-back speedster, but the approach is way tighter on the rest with blast-beats ("Spiritual Deception"; the ripping shorter "Where Darkness Dwells") appearing more or less expectedly.
The "State Of Decay" EP follows a similar to the full-lengths trajectory, the speedy cuts "Revolt" and "Room 101" forming the core of this hyper-active effort which only holds back from all-out speed on the only relatively calmer "Divine Supremacy", a more restrained shredder with a couple of dramatic stomping moments.

Dethrone Demo, 2011
Humanity Full-Length, 2013
Incinerate All Full-Length, 2016
State Of Decay EP 2020

Official Site

DETHROPIA (USA)

Classic power/heavy/proto-thrash with a good sense of melody permeating it, the playful pounder “Scorched Earth Tactics” and the psychedelic stroll “Under a Brooding Sky” not built on very energetic currents, the semi-balladic clumser “Fires of Dystopia” not winning too many points from the presence of the hoarse deathly singer, unlike the more confrontational hymn “Blaze of Conflict”. Some of the musicians are also busy with the heavy metal heroes Boreal Grin.

Good for Nothing Full-length, 2024

Official Site

DETONATED (USA)

Based on the full-length, this band pulls out competent retro thrash which shifts from the expected formula by keeping the songs longer (5-7min) and generally more interesting. One would be inevitably fascinated to hear constant thrashing for nearly 7-min with clever technical insertions on "King of Hell", or stylish blends of creepy, doomy and faster headbanging riffs on "Forced to War". "Mentally Possessed" is a less ordinary pounder with cool jumpy guitars, and "Reign of Terror" is a fine thrashing shredder ala Slayer with short demented leads. "Demons Upon You" closes the album with raging proto-death sections, giving this cool album a more aggressive colouring as a finishing touch. The singer has a forceful semi-shouty timbre which commands the proceedings in an unobtrusive, but authoritative manner.

Pre-Set to Annihilate E.P. EP, 2010
Set to Annihilate Full-length, 2011

Official Site

DETONATHRASH (CANADA)

A good demo of aggressive thrash metal bordering on death in a way similar to Possessed's "Seven Churches"; the sound quality is a bit muddy, but these guys are excellent musicians, and pull out awesome smashing riffs (check out "Cremations Of Souls"). This band is a proof that early death metal was not only a USA's "child".

Death on a Thrash Demo, 1987

DETONATION (HOLLAND)

On their debut full-length Detonation mix Swedish death with thrash metal sounding like a thrashier In Flames. Later thrash metal is almost gone with the band having chosen to concentrate on their death metal side.
"Reprisal" relies on modern semi-technical thrash to pull it through ending up somewhere between early Meshuggah and more recent Annihilator. Fast death metal elements are still present, but they are merely detonations... sorry, "decorations" the guys sticking to pounding mid-paced patterns making vigorous raging pieces like "Falling Prey" and the hectic technical masterpiece at the end "Insults To My Heritage" hanging with force as a finishing touch, making the listener a bit let down for not having encountered such ferocity earlier on.

Lost Euphoria EP, 1999
An Epic Defiance Full-length, 2002
Portals to Uphobia Full-length, 2005
Emission Phase Full-length, 2007
Reprisal Full-length, 2011

Official Site

DETONATOR (BULGARIA)

Thrash/death metal, a typical product of the late 80's-early 90's; the guys obviously "court" the French models on the scene (Agressor, Loudblast, Massacra), playing brutally and fast, but leaving quite a room for slower developments (th heavy opener "Okovite Na Obshtestvoto"). "Delirium" is another intense fast shredding instrumental, despite its misleading galloping power/thrashing section, which pops up later again; this is a really good number, exiting with style with a fine peaceful moment. "Putnikut Kum Nesushtestvuvasht Sviat" is a standout progressive composition, combining fast merciless thrash/death metal with beautiful melodies and atmospheric passages. "Kurvava Zora" will also remind you of Rigor Mortis, with the stylish guitar work and the fast relentless riffage. "Noshten Zov" is a great intermission: a breathtaking 2-min acoustic instrumental, after which the aggressive thrashing continues on "Vsichkoto", where the melodic leads make it sound even more appealing. "Traur" is another first-rate up-tempo instrumental, pure technical thrash- a fine display of high level of musicianship. "Othvurlenite" provides some of the most brutal death-laced moments on the album, and here quite a few of you will recall 90's Protector, but watch out for the excellent melodic section in the middle which the Germans could only dream about; galloping rhythms are thrown in later on, accompanying the leads, which hit the top on the closing part, ably assisted by the fine, more melodic riffs. This is another impressive offering from the Bulgarian underground, which has two downpoints: the bad sound quality, and the gruff, brutal, unintelligible vocals, which still fit the fast-paced stylish music. It's sad that acts like this one disappear without a trace after just one release, their demise apparently caused by the lack of finances, a very common obstacle for many bands from the East-European metal scene during the 90's.

Traveller To A Nonexistent World Full-length, 1992

DETONATOR (HUNGARY)

After the imposing, orchestral intro (which I can't recall where it comes from, but is pretty popular, at least around the Eastern block), these Hungarians unleash quite aggressive thrash with a touch of death metal, which owes as much to early Kreator and Necrodeath, as it does to the French acts Massacra and Agressor. The music is fast and vicious, with slight semi-technical "decorations", and a singer who has a sinister death-ish timbre, and it's sad that he is often stifled by the guitars.

Demo Demo, 1990

DETONATOR (RUSSIA)

Dark moody thrash/death metal with technical tendencies recalling Death's "Human" quite a bit, but the awful sound quality mars the guys' efforts to a large extent. The pace is mostly mid, and the faster additions are not too many, although they are the more attractive side: the little outburst of death metal aggression "Corpses Bane", the diverse semi-progressive closer "Pick Out Death". The guitar sound is very pounding and heavy topped by very brutal low-tuned vocals and short stylish leads very close to the ones of Chuck Schuldiner (R.I.P.).
The "Attack of Bacterium" demo is a more psychedelic, and consequently more ambitious achievement, the band spreading their wings wider, covering a wider range of influences, the stiff 7-min chopper "Dead's Ball" creeping not very obtrusively, perturbing the environment in a gradual, slow-burning manner, not much thrash or death on that one. The title-track rises for a more dynamic setting, a staccato thrash/deathster with dreamy balladic stopovers, an eventful not very predictable shredder which flows into the weird vortex-like delight "Chaotic Strangling", a more melodic but equally as dynamic proposition with ephemeral fusion-esque expletives also popping up towards the end. "Fatal Sense" is another intricate thrash/death hybrid marching crookedly with jazzy quirks intercepting the officiant march, the dazzling lead sections filling in for the melodic lapses. A bigger flight of the imagination was responsible for this slab, one that should have been given at least one more chance.

Fuckin' All Demo, 1992
Attack of Bacterium Demo, 1994

Official Site

DETONATOR (SWEDEN)

Based on the "The Burning Inferno" EP, these Swedish "detonators" serve heroic modern speed/thrash with progressive leanings which are accentuated by cool, soaring melodies and sparse very cool technical guitar work ("Cyanotic"). "In Awe They Come" is a nice dramatic stomper, and "Ikaros" is the only more power/speed metal-based number. The sound quality isn't great, though, making the drums hiss with a reverberating noise, also hampering the otherwise pretty cool clean vocals.

In Solitude-Reborn EP, 2013
The Burning Inferno EP, 2015

Official Site

DETONATOR (USA)

Old school Slayer-esque thrash metal with echoes of the early German scene as well; good stuff, with a very raw sound, obviously imitating the early production qualities of the 80's. The music packs a punch, being fast-paced, with cool screaming leads, which are more proficient than the rest, but are a good contrast to the heavy pounding riffs.

Age of Chaos Demo, 2008

My Space

DETONATOR 666 (CZECH)

Based on "Supremacy & Tyranny": stars from the Czech black metal underground have gotten together to pull out fast & furious, evil black/thrash metal sounding like the perfect soundtrack to hell. Impaled Nazarene shake hands with the Italians Vexed so expect uncompromising, merciless music from beginning to end.

At The Dawn Of Sadistic Infernal Holocaust Full-length, 2004
Supremacy & Tyranny Full-length, 2008

DETOURA (USA)

Modern thrash/metalcore not far from more recent Trivium; the clean/death vocal duel is, needless to add, fully-operational from the get-go, favouring the more dynamic material (the thrashy pounder "Not a Slave") the album annoyingly split by short instrumental interludes among which it's only the excellent lead-driven "Opaque Tranquility" that would make any heads turn although the lead guitarist steals the show elsewhere as well.

Here to Stay Full-Length, 2018

DETOXEN (UK)

The debut: these Brits pull out dynamic classic thrash with a Bay-Area flavour which is both fast-paced and pounding as the most interesting moments are on the nice progressive cut "Midnight Rush", the diverse pounding shredder "Declaration", and the elaborate speed/thrasher "Thrash 'Till Death" which is an obvious nod to early Metallica, the band's main influence. The singer doesn't disappoint with his hoarse semi-clean blend which he at times tries to model after James Hetfield.
“Dead Man's Weapon” doesn’t stray too far from the chosen trajectory, the playful vigour of “Infection” mixing well with the crossover impetuosity of “Tsar Bomba”, the admirable speed/thrashing complexities of “Join the Fight” influencing the pounding morose saga “Shattered Land” and the brooding urgency of the really cool “Shrapnel”.

Victims Full-Length, 2014
Dead Man's Weapon Full-length, 2023

Official Site

DETRAKTOR (GERMANY)

The debut: ripping intense old school thrash which loses points from the over-the-top very shouty hardcore vocals and the several quasi-groovy pitstops ("Not Many More") from the freighter the latter occasionally receiving a more serious progressive colouring ("Not Many More"). "Chupacabra" is a welcome less bridled explosion, but please don't pay attention to the closing "Don't You Smoke That Weed Boy", a bad groovy Biohazard-esque joke.
"Full Body Stomp" is a chuggier more modernized fare, the band playing less imaginative thrashcore for most of the time, a couple of more energetic cuts ("Evilusion", "Revenge") stirring the spirits a bit, but the remainder is strictly for the modern metal lovers, including the atmospheric soulful closer "Filth Me Up".

Grinder Full-Length, 2019
Full Body Stomp Full-length, 2022

Official Site

DETRIMENT (AUSTRALIA)

This is a diverse and unimpressive mix of punk/hardcore ala The Exploited ("Battle Hymn", "New Shoes") and fast intense, but raw thrash in the vein of Hallows' Eve.

Demo Demo, 1989

DETRIMENT (USA)

There is nothing "surreal", and the intriguing album-title is not deserved at all since the music is pedestrian modern post-thrash of the heavy abrasive type with semi-angry vocals which will surprise pleasantly with some decent singing on the heavy ballad "World Comes Down", the best song on the album with the dynamic power/thrashing closer "Spear Of Destiny" a close second.

Surreal Full-length, 2003

DETRITUS (UK)

A Christian thrash metal band can't simply be ordinary, especially if they come from the UK. The presence of Mark Broomhead from Seventh Angel raises the hopes even higher, and the music is anything but disappointing. "Perpetual Defiance" starts in a heavy headbanging fashion with nods to the Bay-Area (Testament, Metallica, their compatriots Xentrix as well). The guys have a more ambitious approach, shown with longer technical tracks, which again follow closely the Metallica way of the late 80's; as a result this album ends up sounding like "...And Justice For All", including the presence of one semi-ballad, not too far (but shorter) from "One".
"If But for One" is more light-hearted and much more diverse; at least half of the songs start with long balladic intros (including two short pure ballads: "Feel" and "Subtle Shades", and another heavier one: "Blindly Rejected"), and later develop into more energetic (but not much) thrashers. Of course, some numbers carry the dark heavy spirit of the debut ("Ler Peace begin With Me"), but the presence of jolly folk-ish Skyclad-like tracks ("Sailors' Farewell") retouch their impact. Variety doesn't always mean better, and this album is a good example of a variety of the not very convincing and impressive kind.
"Myths": wow, an unexpected comeback no more no less, these English veterans are back in the game, but this new opus is too clumsy and slow to produce the requisite positive impression. The band dirge and stomp their way in a stiff doom/balladic/semi-balladic manner, their approach having very little to do with their earlier thrash-fixated repertoire, the slow-motion trend brought by Mark Broomhead, the frontman and vocalist (also bassist) who lent his bassy abilities to their compatriots Seventh Angel for their last so far ("The Dust of Years", 2009) offering. He literally merges the music on offer here with the one of the Angels on the sprawling elegiac saga "Exoria". In other words, the band sound like an eighth angel, cumbersome doom stuff that can be downright lethargic ("Bloodstained Glass") at times. There are also stoner/rock non-senses ("Pharisee") as well as one more dynamic, on-the-verge-of-thrash proposition (the final "Forever Soldier"); not much to extract from this very downbeat, unexciting reunion stint.
The demo is a capable beginning for the band, the creepy insistent riffs of the title-track carving burrows into the brooding canvas, before "No Compromise" introduces energetic impetuous gallops and quiet balladic interludes. "Derange", an assured mid-tempo shredder, later found a place on the full-length, an occurrence which left our "No Mercy", a nice vivid short speedster. The morose semi-balladisms of "The Demise" are also an effective ingredient, the latter used extensively on the subsequent full-lengths.

Taste of Reality Demo, 1990
Perpetual Defiance Full-length, 1990
If But For One Full-length, 1993
Myths Full-Length, 2021

Fan Site

DETROM (CZECH)

A not very known act who pull out quite competent old school thrash bordering on proto-death on the more brutal moments ("Blizinec", the short rager "Tvrdz Pirty"). The guys shred with competence seldom letting the pace go down shooting short lashing numbers accentuated by a very good bass bottom and weaker semi-declamatory vocals. There are 14 whole pieces here and the fun is guaranteed all over despite the muddy sound quality.

Yesterday, Today and Tomorrow Demo, 1991

DETSUIT (FINLAND)

Classic thrash is what’s on offer here, “One for Devil” spitting heavy earthshaking rhythms, and “Detsuit” raging with little moderation, the shouty deathly vocalist serving his own nightmare behind the mike. Please, accept the more intricate embellishments of “I Never Died” as well as the doom-soaked melancholy of the closing “Interpreter of Death”.

Interpreter of Death Full-length, 2024

Official Site

DETTO (CZECH)

Based on the "Perpetuum Debile" demo, these obscure Czechs pull out pretty cool speed/thrash metal with crisp energetic riffage and good memorable choruses. All the four tracks are intense speedsters "Perpetuum Debile" featuring the odd more technical hook, and "Thrash And Roll" being an entertaining mix of merry rhythms and brutal shred.

Tanec ve Spaneclskidch Botech Demo, 1988
Zlej Tejden/Tanec Ve Spanelskych Botach Single, 1990
Perpetuum Debile Single, 1991

DEUS.EXE (GERMANY)

Modern industrial thrash/death metal with frequent nods to Fear Factory; the music is more complex, though, with fast thrashy sections alternating with peaceful balladic ones which are ably assisted by nice clean emotional vocals as opposed to the typical main death metal semi-shouts. There is a lot of dynamics involved, although the doom-laden depressing "Apocalyp-Tech" and the more moderate gothic-tinged "H+" instrumentals deliver the goods no worse.
"Collapse" is another futuristic "animal" a bit softer this time the band spicing their approach with more ambitious orchestral arrangements ("Bathed in Dark Matter") and with a bigger presence of clean vocals which are quite good, by the way. "Ecophagy" is a creepy atmospheric industrial opera which grows into the brutal death metal "decapitator" "Reduced to Planck Length" which is pure unbridled fury all the way. "Omniversal" is a more lyrical offering, almost balladic at times, again wrapped in atmospheric sinister undercurrents also aggravated by the scary tortured shouts used. More optimism with the merrier shredder "Pathogen" before the final string of tracks brings the sound close to later-period Strapping Young Lad with its over-the-top structures and more adherence to thrash (check out the lashing closer "The Broken").

Transhuman Full-length, 2008
Collapse Full-Length, 2012

Official Site

DEUS EX-MACHINA (MEXICO)

Based on the full-length, these Mexicans offer intense classic thrash which is both aggressive in a way not far from Devastation and Morbid Saint, and more cleverly-constructed on the longer compositions ("Ode for the Ultraviolence (2nd Movement in E Minor)"). The stripped-down bash is more widely covered, but surprisingly "Thrashing Terror" is a more technical number, not as vigorous, featuring a few intriguing riff-sections. The following "Labyrinth" tries to deserve its title with another portion of more complex decisions, and is another less ordinary cut. "D.E.M.E.N.T.I.A." is an engaging all-instrumental opus lasting for 8-min revealing a potential which is yet to be realised fully since later on the band engage in more straight-forward mosh which acquires more carefree crossover tendencies on the penultimate "Nothing". The closer "A Blinding Shade" is a potent mix of direct and more elaborate rhythms, a fitting finish to this not very predictable tribute to the old school also boasting good rough semi-declamatory vocals ala Max Cavalera (Sepultura).

Fields of Death EP, 2010
Standarized Full-length, 2012

Official Site

DEUS EX MACHINA (SINGAPORE)

A nice mix between classic and modern thrash; the guys prefer to pound with heaviness rather than going for the speedy numbers. Still, on a long song like "Warmonger", which lasts for more than 8-min, more intense riffage can be expected. "A Heretic Prayer" successfully tries to preserve the dynamics although the hammering mid-paced riffs and the stylish Oriental-laced solos steal the show. "In Memoriam" is a cool acoustic interlude with very good emotional female vocals, before "Inside" wins you over with another portion of crushing, this time even doomy riffage. "Visions Blind" is a nice closer adding more speed and technicality as well as angelic female vocals ala Liv Kristine (Theatre of Tragedy), and is the only more openly modern-sounding number.

The War Inside Full-Length, 2008

DEUS INVICTUS (USA)

Chaotic modern thrash/death metal with excellent lead guitar work and several intriguing abstract technical aspirations. Unfortunately, the band are eager to attract the modern crowd, and here come the numerous metalcore "decorations" to kill the joy from this otherwise diverse material which is served in the form of overlong (8-10min) compositions which twist and turn into many directions to keep the ship sailing, some of them pretty interesting, actually; but again, those metalcore leanings....

Staged In Awaiting Full-length, 2010

My Space

DEUS MORTIS (MEXICO)

On their only demo this band plays fast intense death/thrash metal with a slightly rough guitar sound and good forceful death metal vocals. The guys bash with no mercy until "Errant Legion" which is a mid-paced pounder with Celtic Frost overtones. Those overtones remain for the rest of the material which is a mix of fast and slow passages finished with the explosive thrash/deathfest "Same Destination... Death" which is vintage early Death.

Ominous Eyes Demo, 1993

Fan Site

DEUS NEMESI (ITALY)

This outfit specialize in pounding retro speed/power/thrash led by throaty deathly vocals, the proto-galloping character of the opening “Genesi” supervising the remainder which consists of the headbanging winner “La Scelta”, the progressive epicer “Battaglia”, and the idyllic balladic sprawl “Hands of Fate”, the marginally more dynamic “Leggenda” partly influencing the closing saga “Marcia dell Eterne”, a 9-min journey through the doom-infused corers of the power/thrash movement.

Leggenda Full-length, 2023

Official Site

DEUS OTIOSUS (DENMARK)

A 4-track demo of thrash/death metal of the old school, alternating between heavy slower and faster sections (on those the sound comes close to Benediction); "Kult of the Horned Snake" is a very cool speedy number with nice melodic guitar lines, shades of epic, and a few great slower thrashy sections.
"Murderer" doesn't betray the sound from the demo although the guys slow down more than now and then, but those moments are well worth hearing recalling Celtic Frost in their prime, among the purely epic references ("Thousand Arms of the Dead") which, albeit interesting, stifle the sharp guitars, bringing with them the taste of viking/black metal. The obvious loss of intensity may disappoint a bit, but large on atmosphere tracks, like the cool closer "Murderer", compensate for that. The band members spend more time with their full-time occupations: the classic speed/thrashers Victimizer and the more aggressive death metal-inclined Hideous Invasion.
"Godless" is the next chapter in the band's discography and as such bears no surprises the familiar thrash/death hybrid brought forward without many innovations except for the several atmospheric sections (the operatic one on "New Dawn" is truly a revelation and will remind of Immolation's heydays) which bring spice to this otherwise pedestrian affair which also shines for a bit on the orchestral black metal-tinged "Cast from Heaven". The singer isn't very pleasant with his ultimately brutal low-tuned growl which isn't very intelligible for at least half the time.
"Rise" will "rise" you all over the band now sounding way more aggressive with death metal implements inserted quite often blending with the doom-laden sections the latter gradually taking over the ominous doom shadows dissipated by the brisk speedy "Walk the Shadows". "Stand Up and Fight" is a friendly catchy hymn, but "Will and Fear" is another brutal whirlwind of vitriolic guitars which leave the stage for the closing "Fall of the West" which is more on the calmer, mid-tempo side also featuring a couple of cool melodic licks.
"Opposer" "opposes" to the more peaceful histrionics of past recordings, and branches out into more aggressive thrash/death ranging from unbridled blasters ("Kneel") to quite cool semi-technical speedsters ("Haunted") with echoes of Paradox even. "Towering Flames" is a surprising atmospheric doomster, but the title-track is a raging "beast" with a more overt death metal flavour. "Greater Horror" also favours the latter more, but is full of gorgeous melodies which overshadow the less striking stomping closer "March of the Unworthy".

Death Lives Again Demo, 2007
Murderer Full-length, 2010
Godless Full-Length, 2012
Rise Full-Length, 2014
Sis Mortuus Mondo EP, 2015
Opposer Full-length, 2017

My Space

DEUS PACIS (SLOVAKIA)

Based on the "You're Only Meat" demo, this act indulge in cool, albeit a bit uneven technical/progressive thrash which follows the illogical, clinical histrionics of Mekong Delta which on the opening "Maso" are accompanied by great stylish leads and tons of interesting time-signatures. "Sastny Blazon" is even more outlandish reaching progressive heights among sudden more orthodox riff-patterns, more great lead sections, and weird labyrinthine riff applications which become quite hectic at some stage, nearly causing dizziness. "Tancuj a Vykrucaj" is a speedier and marginally more conventional affair with the leads taking more space, also sounding more twisted. "Nech Zomriem" is a surreal psychedelic shredder without much thrash participating, and "Hornych Desa" is a chaotic fast-pacer nearly reaching proto-death parametres. The rest of the material loses the technicality completely opting for a mish-mash of styles among which the more aggressive bash is by far the better option. The sound quality is quite muddy, and the vocalist is just a rough semi-reciter who tries to give more edge to his tirades by shouting at times.
The "United Shit's of America" demo is another mixed bag, quirky progressive metal without any relations to thrash.

You're Only Meat Demo, 1991
United Shit's of America Demo, 1993
Chaos in My Head Full-length, 1996

Official Site

DEUS VULT (USA)

Although "Soul Assault" is listed as an EP in their discography, this is actually more of an LP with its impressive length of 35-40min. And this is very good because the guys offer smashing power/thrash metal ala Wargasm's "Why Play Around" with certain technical tendencies the latter touching Forbidden's "Twisted Into Form" at times. The opener "Waiting for White" starts as a ballad, not raising the hopes high, but it finishes in a great headbanging fashion. "Deus Vult" takes no prisoners with its fast intense pace, boasting great chorus and a genuine technical break in the middle. The remaining songs carry on in the same fast-paced pattern, but slow down more frequently, keeping the catchy chorus lines. The technical edge is more clear, especially on the last two tracks which are more varied coming with swirling, screaming leads.
The 1991 demo is just two tracks which sound like being left out of the EP being intense technical power/thrashers with plenty of stylish riffs and unexpected twists, especially the short 3.5-min instrumental "Transformation" which can literally "transform" you into an avid fan of the band in case of you haven't already become one at this point.
The 1989 demo is still on a more pristine level the guys thrashing in a more simplistic manner except for the excellent shredder "Instrumental Case" which is not exactly an instrumental, but is a really cool technical composition with heavy steady riffage. "Let It Be Known" jumps up and down creating at least a semi-technical feel, and "Sound And The Fury" is full-on headbanging thrash with dramatic, proto-death build-ups. "After The Fall" is a short speed metal delight, and the closing "Silent Spell" moshes out in an intense mid-paced fashion "flirting" with a few more technical quirks in the second half.

Demo Demo, 1989
Soul Assault EP, 1990
Demo Demo, 1991

My Space

DEUTERIUM (USA)

Modern thrash accompanied by harsh shouty death metal vocals; nothing new of striking but one could do a lot worse than splashing choppy semi-technicallers like "Necropolis Rebirth", or dramatic but melodic pounders like "Cryptid Carnage". The headbangers will readily welcome "Ed Gein's Shadow", a cool energetic cut; and by all means the explosive crusty closer "Web of Terror".

Hecatomb Full-Length, 2024

Youtube

DEUTERONOMIUM (FINLAND)

Based on "Deathbed Poetry: Hope Against Hope", these guys offer modern melodic thrash/death with echoes of Dismember and early Entombed. The band thrash with conviction often speeding up beyond the realms of thrash, but this is not a pullback since there's plenty of energy on display as well as the obligatory breaks from the intense delivery: the pensive semi-balladic elegy "Alive Immortal" which features a captivating melodic chorus; the heavy proto-doomster "Sun and Moon". The singer has an expressive shouty timbre quite reminiscent of Lars Goran Petrov (Entombed). Some of the musicians also play in the stoner metal formation Stoner Kings.
"The Amen" is a much more relaxed affair the band now semi-thrashing in a soft radio-friendly fashion the mellow riffage giving plenty of space for balladic and semi-balladic moments to sneak in. As a result there's not much thrashing to be savoured the guys never speeding beyond the serene predictable mid-pace relying on the pensive gothic atmosphere to pull it through, something with which their homeland is quite renowned.

Tribal Eagle EP, 1997
Street Corner Queen Full-length, 1998
Here to Stay Full-length, 1999
From the Midst of the Battle Full-length, 2008
Retaliatory Strike EP, 2009
Deathbed Poetry: Hope Against Hope Full-length, 2011
The Amen Full-Length, 2013

Official Site

DEVADATA (INDONESIA)

Based on "Disrespect", this band offer modern abrasive thrashcore which surprisingly clings more towards the mid-paced delivery and consequently becomes clumsy and repetitive somewhere in the middle. The singer quarrels throughout, but his rendings may seem the main asset on this decent unimaginative release.

Emotional Breakdown Full-length, 2006
Disrespect Full-length, 2014

Official Site

DEVANER (POLAND)

The debut: modern seismic abrasive thrash which is constructed around volcanic mid-tempo riffage; more intriguing melodic guitar work ("Sick World") sneaks in here and there, but the steam-rolling nature of the rest doesn't give too many chances for such escapades to shine although the closing "Aamon-Come to Hell" is another admirable attempt at a more flexible, gothic/doom-prone song-writing, partly ruined by the threatening shouty death metal vocalist.
"Never Forget Never Forgive" is a pummeling but not very fast-paced listening experience, the squashing title-track leading the stomping pack which livens up on the more energetic anthem "Song of Desolation", "Lusting My Blood" adding another doze of dynamics to the steam-roller melee. "The New Order" is a formidable earthshaking epicer, and "The Beginning Is the End" is an equally impressive slab with bigger complexity exercised, the total opposite to the closing "United Forces", the explosive immortal hymn of S.O.D. played without too many side-gimmicks.

Fear of Being Born Full-Length, 2017
Never Forget Never Forgive Full-Length, 2022

Official Site

DEVARIEM (GERMANY)

Based on the full-length, this formation indulge in fast blitzkrieg classic thrash which isn't totally devoid of death metal influence both styles intertwined in lengthy song-structures where several tempos alternate without creating too much progressiveness, but helps reduce the high-speed approach from the beginning the songs in the second half being more controlled, but also not very interesting. The singer has a cool inebriate semi-clean timbre which holds both melody and anger in equal dozes. Some of the band members had a one demo spell with the classic thrash outfit Smoking Valves.

Peace Was Never an Option EP, 2011
Planet Earth: Ground Zero Full-length, 2013

Official Site

DEVASTACION (ARGENTINA)

Based on "...Que Lo Pario!", this band plays good aggressive thrash bordering on death metal on the most intense sections, reminiscent of early Pestilence, Torture, Massacra, etc. This is fast-paced stuff with occasional slow moments (parts of "Pata, Sudor Y Sangre", which are compensated by the very few blast-beats used). The guitar work is excellent with a nice technical edge.
"Resistiendo al Engafio" is a bit more varied with more slow sections, but fast-paced headbangers like "Humanidad" and "Eternos" are still the order of the day, both nice blends of technical and melodic riffs. "En El Ojo Del Piquete" is a nice epic thrasher with very cool leads, but its serenity is totally cancelled by the furious "Politica Mierdera", although the balladic "Tributo" is just a song away.
"Del Martin Fierro" is a more relaxed offering, the band playing with more possibilities this time, with crossover and power metal also embedded into the sturdy retro thrash skeleton, with "A Contramano" and "Por Las Rutas" leading the pack, the speed/thrashing roller-coaster "La Forestal" the highlight here, the vehement Slayer-esque ball of fury "La Maquinaria de La Estupidez" a very close second.

...Que Lo Pario! Full-length, 1999
Resistiendo al Engafio Full-length, 2007
Del Martin Fierro Full-length, 2020

My Space

DEVASTATE (COLOMBIA)

Thrash/death influenced by Morbid Angel on the more intense moments, among others, which means that here you will get a stylish technical play as well as very brutal fast sections. The music of the Colombians is probably more thrash than death metal, but the blast-beats are too frequent for a full-blooded thrash metal release; there are straight parts where there are no traces of any technical guitars, and this creates the impression that various songs from this album have been recorded through different periods of the band's career; a slightly uneven effort, but it definitely has its headbanging moments.

Armies of Hate Full-length, 2006

My Space

DEVASTATING ENEMY (AUSTRIA)

Based on the full-length, these Austrians offer fast relentless modern thrash/death metal with a strong sense of melody. Early Dark Tranquillity are a very close soundalike music-wise whereas in the vocal department one will encounter a very deep brutal growler. When the guys slow down they manage to sound even technical ("As Bloodshed Begins"), but those moments are not very frequent, although near the end the sound acquires certain mid-paced semi-epic tendencies also recalling Amon Amarth.

The Gods Of Reason EP, 2009
The Fallen Prophet Full-length, 2011

Official Site

DEVASTATION (CROATIA)

Despite the bad sound quality and the weak, strained vocals, these guys manage to come up with cool speed/thrash on both demos, in the vein of Paradox, early Destruction, the Exumer debut. The last track from "The Upcoming Mayhem" is a cover version of S.O.D.: "United Forces", but the music has almost no traces of hardcore. Another cover awaits you on the other demo: the punks Discharge's "The Possibility of Life's Destruction" (both a little strange choices, since the band's sound has almost no ties to hardcore/punk). The sound on that second demo is more aggressive and faster, recalling even Slayer, but the musicianship on both efforts isn't that striking, but catchy and enjoyable, just simple and direct riffs.

The Upcoming Mayhem Demo, 1987
The Possibility of Life's Destruction Demo, 1989

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DEVASTATION (BELGIUM)

The debut: this young Belgian band provide cool classic speed/thrash sustained in a vigorous, energetic pace with the casual nod to death metal ("License to Chill"). The music has a big headbanging potential so the fans will spend plenty of time moshing around, the way the acts from the early German school had made you to (check out the perennial speed/thrash metal classic "Leather Jack Maniac", in the best tradition of Necronomicon and early Destruction). The singer shouts in an appropriate semi-hysterical fashion in the vein of early Mille. These guy would "thrash" even "in hell", like the title of one of the songs says; this is a cool addition to the Belgian metal scene and could soon rival the thrash masters From Beyond and the recently resurrected Channel Zero for domination at home.
"Pussy Juice Blues" is no-bars-held blitzkrieg thrash sweeping you from the very beginning and never letting you loose. The carnage" never ends "Pirate Trash" and "Burnout in Your Face" even going towards proto-death metal territories. As a whole, this effort is more aggressive the sole relief being the short crossover deviation "Rudolph, the Badass Reindeer" which is still performed at the speed of light slightly influencing the following "Toiletface", before the final "Who Stole My Beer" brings together Slayer and Kreator for one final melee of intense retro thrash.
“Rise of the Dead” is the band’s most aggressive achievement, a raucous thrash/death/black compendium which bets on vehemence (“Unholy Ritual”, “Undead”) from the get-go and seldom looks back, the formidable behemoth “Eternal War“ a truly sinister proposition, with black metal reigning with might on the appropriately-titled “Black Winter Night”, the simplistic corey “Blood Eagle” also recalling early Bathory.

Leather Jack Maniac Full-length, 2011
Pussy Juice Blues Full-length, 2015
Rise of the Dead Full-length, 2024

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DEVASTATION (USA, Chicago IL)

This band were no less talented than their namesakes from Texas, but they only managed to release one full-length. Their music was definitely more mature compared to the early messy efforts of the other Devastation; it is well executed aggressive thrash, not too far from the other band, with an early incarnation of the death metal vocals acquired by so many bands later (could have been an influence), and an overall more intense sound than the other extreme acts around (Possessed), acquiring proto-death metal tendencies on their second demo and the full-length. Later members of this band went on to form another one, Sindrome, but the style remained pretty much the same.

A Creation of Ripping Death Demo, 1986
A Re-Creation of Ripping Death Demo, 1986
Dispensable Bloodshed Full-length, 1987

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DEVASTATION (USA, Corpus Christi TX)

The band started in a very humble and unpromising way, to put it mildly, with primitive raw thrash and declamatory vocals, something which one might have problems calling singing. "Signs of Life" is so much better that one may want to check the debut once again; but, seriously, don't bother... From the very beginning, with the furious, and even slightly technical "Eye for an Eye" the listener knows that this is one of the cases where the band has quickly discovered the way leading to the top, after an embarrassing start. The awesome beginning has its match on the following direct smasher "Desolation". "Signs of Life" is relatively more controlled, with more clever riffs, which remain for the explosive "Retribution": thrash without mercy... "Tomorrow We Die" shows again the more intriguing, technical side of the band in the beginning, but relentless moshing is what follows later. "Contaminated" is 2.5-min of all-out aggressive thrash, followed by the much longer, 6-min "Fear of the Unknown", which is a nice diverse composition, finally offering something slower as a pause from the intense delivery. "Escape to Violence" is 2.5-min of heads-down brutal thrash, closing this impressive effort, paving the way for the band's magnum opus.

"Idolatry" arrived at a time when thrash metal had begun to fall from grace, and many 80's acts were changing their clothes, embracing other styles (death metal, post-thrash, etc.). Well, in this case we have another great offering of unadulterated classic thrash: extreme aggression all the way, spiced with a pinch of death. The uncompromising opener "Deliver the Suffering" hits you like a hammer, filling you with gratitude and bliss that thrash is still pretty much alive and well. "Freewill" is less intense with slower deviations; there is a lot of headbanging on this one as well. "Forsaken Hatred" creates illusions in the beginning that this might be an entertainment of the more technical kind, but the brutal guitars take over very soon after. "Souls of Sacrifice" finally fulfills the promises for a more elaborate, technical song-writing, bringing about loads of time changes and clever stylish guitars; the high level of musicianship displayed on this one would hardly make anyone notice the reduced amount of aggression. "Idolatry" starts with a nice acoustic intro, and later on relies more on heavy crushing mid-tempo riffs. "Legacy of Faith" goes back to the more intense patterns, thrashing all the way to "Subconscious", which carries on in exactly the same vein, going up a bit the aggression scale with death metal-laced sections. "Never Believe" closes the album exactly in the way it started: bashing thrash/proto-death, kind of a precursor for an eventual future transformation into a full-fledged death metal outfit. This transformation, however, never took place, since this was the last album the guys released. Still, hats down to them for making a more than a worthy exit from the scene, without messing it up like many other bands before and after.

Violent Termination Full-length, 1987
Signs of Life Full-length, 1989
Idolatry Full-length, 1991

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DEVASTATION DEVICE (USA)

This is your average modern thrash played in a workmanlike, dispassionate fashion. The guys possess all the requisite tools of the trade, but this is all too predictable and derivative to really strike a cord. You have the lashing guitars, the fast/slow-section alternation, the gruff death metal vocals, even the odd more stylish lead (the closing "Shudder"): all is here to produce a painfully strong feeling of deja-vu. Some of the musicians are also involved with the formation 11:34 where the style is pretty much the same.

Nation of Extinction Full-length, 2011

Official Site

DEVASTATION INC. (ITALY)

The debut: this is pretty decent energetic retro thrash ala early Overkill and Exodus with less expressive than those two bands, mid-ranged semi-clean vocals. The band thrash with gusto mixing the pace, but more often going for the fast-paced melee. "Justice Pattern" is sure speed metal winner ala the early German scene also boasting a very cool chorus, the highlight here. "Behind the Riverside" is another intense roler-coaster leading the pack in the second half which also comprises the more serious pounder "For the Liberty I Kill" and the closing semi-balladic progressiver "Between Dream and Nightmare".
"Beyond the Shape of Violence" is a bit more intricately-woven than its predecessor, and one would find very few reasons to complain on decent polished tracks like "Spear of Victory" and the more officiant galloper "The Perfect Shape of Oppression". The speed metal-based "Burn the Knowledge" is another optimistic addition to this energetic opus which surprisingly goes into much more laid-back doom waters on the final "Stolen Dreams of Tomorrow".

No Way for Salvation Full-length, 2016
Beyond the Shape of Violence Full-length, 2020

Official Site

DEVASTATOR (CANADA)

Mid-paced groovy thrash with elements of stoner/doom with catchy hooks ala early Six Feet Under and brutal death metal vocals; "Savage Wasteland" livens up in the middle to justify the album-title, but is completely cancelled by the very tender blue-sy instrumental "Waste" (yeah, waste it is, at least on a metal album). The sound is very fuzzy, and spoils the impression, especially on the more intense doom numbers one of which is high-octane doom in the best tradition of Saint Vitus: "Yea Though I Walk".
"Fragile Messiah" is a modern groovy post-thrash steam-roller, at least for half the time, which becomes strangely dancey and rock-ish ("Dirty Laundry") to the listener's shock, among other annoyances exiting the field at will on at least half the tracks. The singer rends his throat with his ultra-shouty delivery trying to seemingly compensate for the very mellow nature of the music which may have no relations to thrash whatsoever on the next recording. Some of the band members play more serious death metal stuff with Asphyxiation.

Savage Wasteland Full-Length, 2008
Fragile Messiah Full-Length, 2013

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DEVASTATOR (ITALY, Lucca, Tuscany)

Classic thrash with annoying, hysterical vocals which don't really sound like anyone else, maybe if you remember the ones used by Tourniquet on their first two albums: the high-pitched screams, these are close; lower ones in the hardcore-vein are added from time to time to perhaps lessen the shock. The music has influences from all over the spectre: Slayer, Kreator, Sodom (they also make a very energetic cover of "Agent Orange"), but... again, these vocals.
"Andatevene Tutti Affanculo!" is four songs of playful roller-coaster hadrcore-ish thrash; this is fast samey stuff which doesn't hide its fascination with punk ("Sfilata Di Moda") at times, although the hoarse semi-death metal vocals are hardly the most suitable ones for the latter style.
"La Musica fa Schifo" is a total take on the good old thrash/crossover, the guys producing a very diverse affair with nods to classic heavy metal, funk/jazz, hardcore, grind as well. Enjoyable multi-faced stuff as a whole, which begs to not be taken seriously.

Live to Make War Demo, 2003
Alive From Devastation Live album, 2005
Thrash 'n' War Full-length, 2005
Alcoholic Assault Full-length, 2007
UNderground 'n' Roll Full-length, 2008
Andatevene Tutti Affanculo! EP, 2010
La Musica fa Schifo Full-length, 2011

Official Site

DEVASTATOR (UK)

The debut: old school speed/thrash quite comparable to the Portuguese Alastor and the Germans Hellish Crossfire, only that here there's an covert infatuation with Motorhead's rock'n roll tactics ("Howling Night") those mellower moments compensated by raging black-peppered cuts (Hail Death") or very short bursting outbreaks ("Send Them to Hell"). The vocalist is a shouty deathster who leads the show with belligerent authority.
“Conjurers of Cruelty” comprises the same classic speed/thrash compendium which can be both hard-hitting (the title-track) and more optimistic (“Black Witchery”) with echoes of early Metallica, the speed metal idea (“Walpurgisnacht”) also flagged around before “Necromantic Lust” serves the obligatory rude awakening. “Deathspell Defloration” is a lengthy sleeper with a few doom-laden tricks provided, but ‘Bestial Rites” instantly compensates for those with the next-in-line portion of fast vitriolic riffs.

Baptised in Blasphemy Full-length, 2020

Official Site

DEVASTATOR (USA, CA)

Based on the "Crush and Kill" EP: cool 80's speed/thrash metal recalling Blessed Death and Anvil Bitch, but only music-wise (not in the screechy vocal department); "Burn the Beast" is much more satisfying, a more aggressive offering now seeing the guys thrashing out with the best out there. The sound has now moved towards the Bay-Area with the legendary "Bonded by Blood" an obvious influence. The music is fast and energetic seldom leaving the up-tempo, adding a couple of cool technical twists ("Slaughtered Like Pigs": yeah, you wouldn't expect that on a song of such title). "Rise of the Undead" gives new unexpected more extreme dimensions to the band's approach being an exemplary piece of technical aggression ala Hellwitch, maybe a tad more restrained. The guys have done a very good job here, and maybe it's time to break this vicious circle of releasing EP's only with something longer...

Fuck Everything EP, 2005
Crush and Kill EP, 2006
Slaughtered Like Pigs... EP, 2007
Burn the Beast EP, 2009

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DEVASTATOR (USA, FL)

Based on the split, this is a black/thrash metal band of the old school not too far from Alastor (Portugal), or Nocturnal (Germany), but badly produced with a thin guitar sound and vocals which are put too high in the mix, leaving no room for the bass to be heard. Those same vocals are cool vicious black-ish rasps recalling the mighty Quorthon (R.I.P.).
"Morbid Force" offers a fair slab of the same black-ish thrash which was present on the debut, maybe faster this time, also recalling early Kreator, but the flaws kind of remain, and the guitar sound is still thin, especially on the leads, albeit more audible. There are more serious attempts at song-writing: the almost 10-min closer "The Final Descension" which has parts which are pure thrashing, as well as parts where the symphonic black metal elements dominate, but not in an irritating way. The irritating thing is the intros which precede every song on this album (something which has already been done before, but in a better way, by the American black metallers Acheron on "Lex Talionis"); they are short, but quite meaningless... well, at least to these ears. The songs nicely vary from fast intense thrashers to atmospheric, even epic-tinged ones, carrying a mid-period Bathory flavour.
"Conjuring Evil" is a cool companion piece to the preceding album, this time with a stronger presence of black metal and longer compositions ("The Devil's Mark", "Worship The Gibbous Moon") which recall Bathory, both their early and mid-period. Still, some good thrashers are around to keep fans of the style happy: the mid-paced atmospheric "Summon The Night", the excellent up-tempo "Pazuzu, Demon Of Plagues", and especially the furious closer "Third Dynasty Of Ur", which doesn't stop thrashing mightily during its 7.5-min, graced by fine keyboard implements from time to time.

"The Summoning" is another cool release concentrating more on speed/thrash metal ala Whiplash, early Destruction and the Portuguese Alastor. "Four Emperors" goes a bit beyond the good taste with furious blast-beats, but the rest is fast-paced retro speed/thrash, topped by brutal black-ish vocals. The pace is kind of samey, but doesn't really wear thin, since the tracks are not very long, and the lead sections are lengthy, although nothing too technical or striking can be heard there. The final "Living Creatures Of Apocalypse, The Sacrifice" switches onto furious thrash ala Rigor Mortis, nicely alternating very fast parts with cool more laid-back ones. The guys also have two other projects: the black metal outfits Blasphemer and Ordine Nero.
"Nocturnal Slut" is very close in spirit to its predecessor speed/thrashing in a more carefree manner adding more variation (the epic stomper "Sepulchral Screams"; the early Bathory-esque closer "Pussy Troll Rock 'n' Roll") here and there, as well as the odd appropriate cover: the early Running Wild hit from the Germans' debut "Black Demon" ably boosted by the sinister semi-declamatory vocal performance.

Nuclear War EP, 2004
The End Full-length, 2005
Devastator/Blasphemer Split, 2005
Nuclear Proliferation Full-length, 2006
Morbid Force Full-length, 2007
Conjuring Evil Full-length, 2008
The Summoning Full-Length, 2009
Nocturnal Slut Full-length, 2010

Official Site

DEVASTER (ITALY)

Very good Germanic thrash- for fans of early Deathrow, the Exumer debut and Paradox; this is direct speedy stuff with very cool guitar work, which occasionally brings forward technical riffage ("Feverish Commando"), as well as melodic lines ("Infernal Evocation" which, despite its sinister title, is the most melodic song, rubbing shoulders with the speed/power metal movement). "Persecution", being the longest track here (6.5min), affords some slower passages, but the furious ending more than compensates for them. "Necrothrash" closes the EP in a truly aggressive manner, introducing proto-death sections.

Infernal March Demo, 2005

Official Site

DEVASTHATOR (COLOMBIA)

A Colombian trio which offers three tracks of raw primitive old school thrash in a never-changing up-tempo with gruff shouty vocals which sound so loud that at times completely stifle the hollow guitars. Sodom are paid tribute at the end with a lacklustre cover of "Outbreak of Evil", and the Germans' early efforts can actually serve as a reference point to the stuff heard here.

Accomplice of Evil Demo, 2008

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DEVASTRACKTOR (FINLAND)

Classic Germanic speed/thrash (think "Angel Dust meets Destruction") is offered here by musicians who are engaged in numerous other projects (the technical death metal virtuosos Inimicality; the brutal death metal "monsters" Tamakeri; the black metal "sorcerers" Tumult; etc.). Here they feel content enough to make your day with direct sharp riffage, mostly played in up-tempo, and cool mid-levelled semi-clean vocals. One can't go wrong moshing out to compulsive speedsters like "Devastracktor Battalion" and "Bring Upon The Fire", or relaxing, but just a bit, on the more serious, almost technical, "I.D.G.A.S", or the crushing stomping "Interlude" which comes too near the end to be an interlude. This is good headbanging fun which will remind of the good old days in a charming, unobtrusive way.
The "devastracktors" are here again thrashing in a frolic unpretentious way on the opening "Beer Force One" before engaging in a more intricate delivery on the next "Diesel Cobra", a shredding delight in a solid mid-pace for most of the time. This mid-pace will apparently the dominant leitmotif since it covers most of "Hangoverkill" as well except for a short speedy passage in the middle. The closing "For Whose Advantage?" is a cool crunchy cover of Xentrix's hit of the same title which again doesn't promise furious headbanging, but is a fitting way to finish this short rehearsal for the eventual sophomore full-length release.

Warhorsepowers & Megaton of Balls Full-length, 2011
Beer Force One EP, 2013

Official Site

DEVASTRUCTION (GERMANY)

Right as rain old school thrash is on offer here, the band seldom changing the rigorous formula, lashing fiery riffs in quick succession, "Church of Fear" being a particularly impressive sweeping speed/thrasher partly ruined by the screechy hysterically shouty vocals which create quite a bit of noise when in action including on the only seeming respite, the mid-tempo power/thrasher "Abducted". Some of thne musicians are also active with the classic thrashers Incivism.

Alien Thrash Force Attack EP, 2017
Space Force One Full-Length, 2019

Official Site

DEVERIA (USA)

Based on the full-length, this act induge in pretty good retro power/thrash which is assisted by excellent clean emotional vocals. Epic mid-pacers ("Suicide Forest") take turns with boisterous albeit heavy speedsters ("Demons Inside Me"), the semi-balladic elegy "Reign of Fire" another sure plus with its bouncy arrangements, also suiting the pathos-inducing vocals just fine. Another similar exercise ("Miracles") doesn't produce the same lofty results being also longer and a bit cumbersome, but the guys' agenda never lies with the headbangers' satisfaction as this is more composed, more power metal-based recording.

Deveria EP, 2010
Suicide Forest Full-length, 2021

Official Site

DEVIAN (SWEDEN)

Former and present members of the black metallers Marduk, supported by the bass metal guru Roberth Karlsson, whose list of metal acts in which he has taken part may be one of the longest ever (Facebreaker, Edge of Sanity, Scar Symmetry, to name just a few), get together to release this album of intense black/death/thrash metal; this is not a Marduk-influenced material, although shades of black can clearly be heard; the concentration is more on the other two genres, with stronger nods to death metal perhaps. The overall style is close to early Dissection and Dark Tranquillity, supported by sharp thrashy riffs and leads. The tempo is fast, and doesn't change much throughout the album, making it a slightly one-dimensional listen.
The guys aren't willing to lose the inertia, and here comes "God To The Illfated" to keep it up. With both releases separated from each other by less than a year, it's not a surprise the strong similarity between them music-wise; this is again thrash/death metal with strong nods to the Swedish scene this time cleared off all black metal reminders. The guitars are both sharp and melodic, and some of the hooks are simply addictive, especially those served with a genuine Oriental flavour ("The Unspoken", "Assailant"). The tempo is quite fast, and the slower breaks are more than welcome ("Saintbleeder", "Summerdeath"), when they come. Although death metal is again more strongly accentuated on, at least in the 1st half, make sure not to miss first-rate thrashers like "God To The Illfated" or the galloping speed/thrash delight "Awaiting Doom". The guys pay tribute to the more epic-inclined modern acts like Amon Amarth and Destroyer 666, on the closer "When The Vultures Have Left" which would stay proud even on Bathory's "Hammerheart".

Ninewinged Serpent Full-length, 2007
God To The Illfated Full-length, 2008

Official Site

DEVIANCE (CZECHIA)

This is pretty decent old school power/thrash which moves forward with steady mid-tempo riffs, the more intense material ("Rain Dance") recalling the Bay-Area fraternity. The highlight seems to be the choppy semi-technical instrumental "Humachine", with the contrived mosher "Crash" a very close second. "Entity" is a lengthy doom elegy, the mean semi-clean vocalist trying to control his spatout antics a bit more on it.

Freeze, Obey Full-length, 2021

Official Site

DEVIANT (UK)

Based on the "Lambs to the Slaughter" 3-track demo, this band play intense stomping retro thrash which is guided by leveled semi-clean vocals, the title-track settling for a steady mid-tempo march, before "New Sons Die" epitomizes a more frivolous crossover lustre. "Crown of Thorns" is a serious rowdy thrasher with both Bay-Areasque and technical tendencies, the band showing their skills on this one, also creating some intrigue regarding their other demos.

Dreamscape Demo, 1988
Lambs to the Slaughter Demo, 1989
A 17th Century Ghost Story Demo, 1990

DEVIANT (USA)

The demo is nice pounding thrash quite close to Nasty Savage's "Indulgence" with heavy, smashing guitars, speeding up a bit at times. The EP moves towards a Slayer-like aggression.

Faces of Death Demo, 1988
Balance of Power EP, 1991

DEVIATE NY (USA)

This is the continuation of the vicious thrashers Demolition Hammer, and is a much better effort than their last lacklustre release. The music flows in the same vein as the first two albums, hard-hitting brutal thrash with shades of death metal, very well done. There's perhaps more variation with slower heavier pieces ("Gallery of Death"), which work as well as the faster material; looked like a fresh new start for the band, but was left without a follow-up.

Gallery of Death EP, 1995

DEVIATED INSTINCT (UK)

Based on "Rock N' Roll Conformity", these veterans from the UK hardcore/punk scene could be viewed as the English answer to Cryptic Slaughter. The music on offer is often very fast and chaotic although generally more controlled than the one of the aforementioned Americans, but is savagely executed enough, with a characteristic sound of its own, also bearing resemblances to The Accused. When the guys slow down, they come up with pretty decent hard-hitting steam-roller thrash ("Through The Looking Glass"), but one can't possibly stand still on compulsive moshers like "Mechanical Extinction", and just nod. On "Guttural Breath" the band have slowed down considerably opting for a heavier less dynamic approach with more brutal death-tinged guitars; it offers almost nothing to the thrash metal fan, but its monolithic monotonous delivery is compelling enough.

Welcome To The Orgy EP, 1986
Consolidation Split album, 1988
Rock N' Roll Conformity Full-length, 1988
Definitive Instinct Best of/Compilation, 1989
Guttural Breath Full-length, 1989
Demo Demo, 1989
Nailed EP, 1990

Official Site

DEVIATION (USA)

Roughly-produced power/classic thrash that boasts the presence of the formidable complexer “Aggression Instinct”, a meandering wonder with sharp hard-hitting riffs. The very clean passionate singer is surely an asset, although his thin antics on the semi-balladic “Divided Ambition” serve to little purpose, the same flaw remaining for “The End”, the few hard-hitting riffs utilized lost in a sea of unmitigated lyrical tranquilities.

Deviation Demo, 1993

Youtube

DEVICE (BRAZIL)

Based on the full-length, this act provide competent fast raging thrash/death clinging between the old and the new school, thrashing fast with some nice lead guitar work following suit (check out "Under the Cross"). "Insanity" is a slower stomping piece with the leads again being the superior side. The "rage" reaches semi-blasting proportions ("Temptations Desert") here and there, but the officiant tone also "roams" around ("The Meaning of Horror"; the excellent dramatic "Thanatos (Morbid Curiosity)") accompanied by nice melodic tunes those recalling mid-period Messiah. The final "Petria dos Porcos" is a more intense death metal cut finishing this effort with aplomb which it by all means deserves.

Behold Darkness EP, 2007
Antagonistic Full-length, 2010

Official Site

DEVIL'S BLOOD (USA)

Based on the full-length, this is rough amateurish, very noisy thrash with some of the worst performance ever encountered in the history of metal by everyone involved, especially the awful shouter behind the mike who not even for once tries to hold a proper note. The bass dominates the guitar barely heard for most of the time. This could also pass for punk, hardcore, grunge, literally anything... not even for completists.

Alchohol Is the Devil's Blood... Full-length, 1987
Uncle Satan EP, 1989

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DEVIL'S ISLAND (USA)

Although having taken their name from a Megadeth song (from "Peace Sells..."), the style of this band only distantly recalls their legendary "godfathers". This 4-track demo mixes classic Bay Area-influenced thrash (Exodus, Testament) with the modern sound of the 90's (think Overkill). The guitar work is particularly good with nice leads and cool riffs. The tempo is, however, not very energetic trying to give credit to the 90's, too, and consequently losing in the process. The singer isn't a very big asset with his hesitation whether to stick to the more conventional thrash singing, or spice things up with more melodic tones (the mixture doesn't really work, at least for me). This isn't bad for a first effort, after all, and there's enough time for the band to find the right way on their future efforts.

Demo Demo, 2004

Official Site

DEVIL BEHEADED (USA)

Based on the full-length, this act, which is factually just one musician, the name David Cantu, specialize in dark brooding classic thrash which isn't very far from the doomy realms ("Demonic Entity"), the proto-death brutality of "As You Weep" trying to wash away those lethargic patches, but jumpy lively mid-pacers like "I Have Sinned" provide the middle ground between these contrasting sides, Cantu assisting the brooding academic procession with not very expressive mean semi-whispers.

Embrace the Cruel Winter Chill EP, 2014
The Stress Sessions EP, 2016
Pray for Blood EP, 2017
Hex Breaker EP, 2019
Never Above, Forever Below Full-length, 2020

Official Site

DEVIL CRUSADE (ITALY)

This Italian trio pull out decent retro power/thrash which even goes for a few more brutal death metal sections (the title-track) those not quite fitting into the overall friendly setting that is largely built on mild mid-pacers ("Raperiest", "Search & Incinerate", etc.) the mid-ranged clean vocalist keeping those afloat with his authoritative antics. "Wild Hunt" is a cool more dramatic epicer, and "Bonobo's Nightmares" is an atmospheric quasi-doomster, both signs of bigger ambition that should find further realisation on future recordings.

Mental Breach Full-length, 2020

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DEVIL MANMADE (FINLAND)

Modern post-thrash with heavy abrasive guitars and gruff semi-shouty vocals; the guys emphasize on melody more which leads to a couple of cool ballads ("Winter") with clear pretensions at the doom/gothic camp (think Lake of Tears, End of Green, later-period Sentenced). "Unlife" tries to lift the spirit up in the middle with more energetic crossover rhythms, but the guys are quick to "bury" those attempts under another portion of gloomy dark riffage, exploited by hordes of acts from their homeland, on the next couple of songs. "Blood Burning" is a surprising retro thrashing bomb thrown near the end, but again, the closing "Harmony" leaves it no chances to survive, the latter being a melancholic balladic composition offering dreamy depressive riffs for about 10-min with the leads being particularly good, producing a few haunting melodies along the way. Fans of the more aggressive side of gothic may want to check this out as well as those who like their post-thrash atmospheric with a strong focus on melody.

Born Of Nothing Full-Length, 2008

DEVIL ON EARTH (BRAZIL)

The debut: Brazil has been taking over as the leading metal scene of the new millennium, and this band is another fine addition to it. The album-title sums it up nicely, this is a pure old school speed/thrash metal attack in the fine tradition of early Destruction, Exumer and Kreator. The guys fit nicely along the horde of Brazilian thrash metal bands who have started down the road of the German sound- Executer, Farscape, Violator, Bywar, etc., but Devil on Earth are faster than those acts and more aggressive. A pleasant surprise awaits you at the end, a nice cover version of Exumer's immortal anthem "Possessed by Fire".
"Kill the Trends" follows the same no-bars-held trend as the debut the ban moshing with all the passion they can muster, the approach on unrelenting cuts like "Hellripper" and "Devilization" easily crossing the border towards death metal. "Feel The Pain" is a very surprising respite, a galloping power/speedster, an interesting deviation although such mild attempts at spicing the proceedings are ultimately mortified by the raging cover of the guys' compatriots Vulcano's "Witche's Sabbath" thrown at the end as a fitting restless, raging epitaph.

Hunting, Shooting, Slashing and Thrashing Full-length, 2007
Kill the Trends Full-length, 2018

Official Site

DEVIL ROLLING DICE (GREECE)

This is old school thrash, performed right as rain, think the more recent histrionics of the German heroes Sodom and Kreator; in other words, expect a few modern-ish tricks amongst the vitriolic retro bullets, the intense forceful semi-shouty Tom Angelripper-esque vocals doing a good job to exacerbate the environment which loses its steelclad headbanging nature on the welcoming "Eyes in the Dark". Progressive vibes start taking the upper hand in the second half with "Time & Regrets" and "Mr. Torso", the biggest ambition exhibited with the encompassing instrumental odyssey "Birth Suffering Death", 9.5-min of near-visionary shredding which alone makes this album worth a listen at least twice. Some of the band members also play with the power metal formation Sirius.

The Catastrophic Sequence Full-length, 2019

Official Site

DEVILCROSS (ARGENTINA)

This band play fast ripping old school thrash/death which is accompanied by harsh shouty death metal vocals. The sharp thrash histrionics of "Infinita Necrosis" deftly blend with the more expressive tech-death puzzles of "Ningun Lugar", the two currents mixed together on the rest, the brutal urgency of the final "Sanguinario" backed up by sizzling intricate decisions.

Human Crops Full-length, 2019
Necroumbral Full-Length, 2022

Youtube

DEVILISH (FINLAND)

Based on the debut demo: another underground gem from Finland; there's a golden mine out there, first-rate German thrash metal; Kreator and Destruction have new, very worthy followers.

This is A Good Day To Die... Demo, 1999
Armageddon Is Here Demo, 2000
Reign Of Evil Demo, 2002
Possessed By Hellfire Demo, 2004

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DEVILIZER (FINLAND)

This band play modern progressive-ish thrash with both metalcore and power metal additives, softening the setting to really mellow proportions (the sugary semi-ballad "This Ghost I Am") at times. In fact, aggression in its pure, non-contaminated form is very hard to come by here, the dominant approach being jumpy and mid-paced at best, with imposing orchestral elements ("Devil's Dance") scattered around to more dubious impressions.

The Obscuring Full-Length, 2018

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DEVILRY (RUSSIA)

An obscure release offering old school power/thrash metal akin to early Iced Earth sustained in a heavy pounding, mostly mid-tempo, sound. When the guys speed up, they can thrash along with the best: the excellent diverse "Can You See", a progressive masterpiece with standout guitar performance recalling Marty Friedman's early pyrotechnics in Hawaii. The other exercise in more complex progressive metal "Last Night" is a bit less impressive relying on the heavy mid-paced rhythm section to pull it through although the real hero here is the lead guitarist again. The closer "Riders of Doom" is not a Deathrow cover, but is a nice varied thrasher with very good leads and meaty doom riffage spiced with the odd faster break. The singer is traditionally for the Russian bands of that time not a very big asset, and his uneventful clean low-tuned timbre is often stifled by the guitars for the better.

Devilry Full-length, 1992

DEVILS DRUNKS (ARGENTINA)

The debut: this new outfit indulge in a modern semi-technical blend of thrash and death metal which mixes the pace on every composition a settled dark vibe handsomely retained thanks to brooding steam-rollers like "Abbadon" and the more vivid "Insane" (check out the nice balladic, bass-driven section at the end). The vocals are gruff death metal-ish but are fairly intelligible and don't impede the proceedings.
"Desterrados" follows the same path, and surprises aren't to be expected if we exclude the poignantly melodic "Devil World" and partially the tightly shredding semi-technicaller "Solo Quiero Beber", bigger musical prowess also displayed on the atmospheric steam-roller "Bajo Seis Pies", a cavernous miasmic number with echoes of The Chasm and Mindrot.

Devils Drunks Full-Length, 2016
Desterrados Full-length, 2020

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DEVILS HENCHMEN (UK)

Based on the full-length, this band play intense moshing classic power/thrash which is already pretty sizzling on the fiery opener "Grimace", the urgent stomps on "Green" a nice companion to both the hyper-active thrash/crossover cut "Bite Back" and the more atmospheric dirge "Time and Time Again". The shouty semi-clean vocalist makes the attempt to really sing at times, his more dramatic antics fitting for both the ripping "Hollow" and the insistently pounding closer "Oppressor".

Hatred EP, 2016
Control EP, 2017
Built by Hate EP, 2020
Control EP, 2022
The Deaf Choir Full-length, 2023

Official Site

DEVILS OF BELGRADE (USA)

Based on the self-titled effort, this outfit indulge in melodic, all-instrumental progressive post-thrash which is built around choppy, jumpy rhythms topped by interesting melodic leads/semi-leads. The open spacey-ness of at least half of the compositions may annoy the hard-boiled fans, but more intense shredders like "Nomad Death Worm" and especially the fast-paced thrasher "Breaching the Caleban Veil" will make the listener more attentive in no time. Near the end things become even better, first with the intricate technical piece "The Grace of Wrath", then with the diverse closer "Voidship Earthling"which borrows an element or two from the Sieges Even and the Zero Hour repertoire.

Tracks of the Cloven Hoof Full-length, 2008
Diavolja Varo Full-length, 2010
Devils of Belgrade Full-length, 2016

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DEVILZ BY DEFINITION (CANADA)

This outfit serve modern thrash/death which is both aggressive and melodic aptly balancing between the two styles with groove appearing at times to ensure the bigger diversity which also arrives in the form of several longer compositions ("The Devilution") in the second half where the delivery is enhanced by a few more epic death metal-ish touches ("System Is Flawed") where the shouty deathly vocals fit even better.

The Devilution Full-Length, 2016

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DEVIOUS (HOLLAND)

Based on "Domain", this band plays aggressive modern thrash/death metal. The balance is well distributed between the two styles as a slight preference is given to death metal, but in this case this is probably the better choice, since those numbers are the superior ones, especially the ones with a more technical inclination: "Boundless Domain", "Dead Cannibal Civilization", "Lowest In The Food Chain".
"Vision" is a capable follow-up, more atmospheric and a bit slower now sounding close to their compatriots Gorefest after the reformation with the odd brutal outbreak ala Suffocation ("Abide"). "Impulse Overload" is more than welcome with its uplifting speedy spirit giving the album the desired boost which results in the excellent progressive opus "Predefined" and the epic Amon Amarth-esque smasher "Validate", both graced by beautiful balladic passages. The closing "Disconnect" can also join this group being a cool mix of fast raging guitars and the characteristic balladic/semi-balladic moments which the band has mastered so well, although here they are probably a bit overused stifling the aggression of the riffage.
The Wolfhagen EP is a sure-handed of the good new Swedish thrash/death done with a strict following of the rules: the melodic guitar duels, the throaty semi-shouty vocals, the quiet interludes, the sparse use of keyboards, etc. The sound quality simply rips making every instrument very clearly heard including the forceful vocals. The bombastic atmosphere on the operatic cut Her Divine comes a bit unexpected, and generally there is quite a bit of subtlety here to be savoured reminiscent of mid-period In Flames and beyond. Expect a few frowns at the end on the dubstep remix of Respiration of Fear which will make the damsels (and not only) dance around with sweet memories of Clock DVA, Camouflage, and Covenant.

Acts Of Rage Full-length, 2003
Domain Full-length, 2007
Vision Full-length, 2009
Wolfhagen EP, 2012

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DEVIOUS MISFORTUNE (HOLLAND)

An obscure old school thrash/crossover entity which marches onward with little artistic ado, the guys still displaying a good sense of melody on "Out of Mercy", and even flirt with the prog-thrash parametres on the quirky bass-dominated wonder "Possession Is 9 Tenths of the Law". That last number can't be beaten, but the band continue to surprise pleasantly, first with the virtuoso lead guitar work unleashed on "ASAAD", and later with the jumpy not very regular rhythms on the technical chopper "Better off Dead", the cool semi-declamatory clean vocals admirably racing with the tempo changes, coming served with an elusive punk-ish timbre.

Meet the Disease Demo, 1987

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DEVOID (INDIA)

Modern thrash metal with slow and fast songs taking turns on a noisy shouty death metal background. The guitar work is good, but comes with a slightly buzzy sound which nicely gets lost for the jolly crossover closer "Beer Song" (bottoms up!).

A God's Lie Full-length, 2010

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DEVOLUTION (UK)

It's a real pity that this talented trio managed to only release this 3-song split, because what we have here is standout technical thrash with slight shades of death metal, way superior to the music presented by the two other acts included in the split although this one remained the least known. The music has its characteristic dark haunting sound which doesn't leave the mid-pace, but the riffage is stylish and diverse, suddenly bursting out with the odd speedy section ("Mediocracy"). "Negate (This Aftermath)" starts in a fast aggressive manner, but later on evolves into another whirlwind of technical guitars, interrupted by another more intense moment. "Condemnation-Manipulation" is more up-tempo, but surprisingly here the guitars have the most technical, almost abstract at times, edge. As a whole the style may remind you of Coroner's "Mental Vortex" which is the closest soundalike, but the guitar tone on this effort is darker, a tad less dynamic, and the time changes are not that frequent. Surely something big was in the makings, but sadly remained unmaterialized...

Grave/Deviated Instinct/Devolution Split, 1991

DEVOID (RUSSIA)

Vocal-wise this is quite close to Metallica, but on the music front we have choppier modern post-thrash that still indulge sin a few frivolous groovy frolicers ("Understand"), the full-fledged thrasher "Anxiety" sitting a bit uncomfortably next to the cool soulful ballad "Nothing Unusual". "Voices" borders on abrasive crossover, but the goofy cumbersome "Inner Diggin' Blues" is just a waste of space; as is the grungy funker "Traffic Game Beat".

Nothing Unusual Full-length, 1996

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DEVON EWY (USA)

This hyper-active recording comprises lengthy elaborate riff-patterns those accompanied by debatable mean death metal vocals the latter intercepted by better cleaner ones from time to time. The approach is strictly on the modern side siding with Annihilator's more interesting moments with the more stylish numbers ("Time to Mind") surpassing the Canadian(s)' repertoire with their unpredictable jumpy rhythms. "Vexatious Pawn" is a brisk varied speedster with a quiet ambient ending, and "Deluge" is an interesting progressive thrasher with a wide array of time and tempo changes.

No Strings Attached EP, 2017

DEVORA (CANADA)

A short roughly produced effort of intense blitzkrieg old school thrash with surprisingly proficient leads and a few more intriguing sections ("Into The Night"), but generally direct and simplistic with echoes of Destructor and Anvil Bitch, with passable semi-clean vocals and a very good bass bottom.

Black Out EP, 2016

DEVORCE (NORWAY)

This is dark, still classic-sounding, thrash with consistent heavy riffage with beautiful acoustic interludes (check out the 1.5-min instrumental "You re the One") and dramatic build-ups. The efforts moves towards a Black Album-esque post-thrash on the pounding "Seven Sorrows", but things become wonderfully dynamic on the energetic closer "Freedom of Choice" which is a merry speedy cut. The singer tries to emulate James Hetfield, but ends up sounding closer to Chris Holmes (Paradise Lost) due to his more aggressive lower-tuned delivery.

Pay the Price of Peace EP, 1993

DEVOTED TO HATE (HOLLAND)

Modern thrash metal meets crossover; the style will remind you of Madball, but with more balls (and definitely not mad). Very fast numbers are mixed with heavy, groovier ones.

Revenge... And A Little More Full-length, 2001

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DEVOUR (USA)

This is intense old school thrash with a less overt deathly sting and a couple of hardcore-ish throw-ins ("Hot Dog and Slurpee", "Don't Kill Yourself"). The full-fledged thrash attacks ("Evil Within") deliver the better whereas the more death-laced material (the title-track) is shorter and less exuberant bordering on the vitriolic Unleashed-esque barrage.

Living Dead Full-length, 2018

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DEVOUR THE MARTYR (AUSTRALIA)

This is modern thrash with expressive shouty death metal vocals. The musical approach isn't very impressive being a bit boring mid-paced riffage which sounds more appetizing when it comes closer to the semi-ballad ("The Closer We Get"). "Realm of the Toxic", on the other hand, is a cool dramatic ripper with vivid dynamic guitars before the closer "No Suicide Without A Homicide" further corrects the impression with a few portions of more stylish technical riffs.

Wasted on the Living EP, 2011

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DEVOURON (RUSSIA)

Very raw, amateurish thrash/death metal with a very thin, also buzzy, guitar sound and awful death metal vocals. The guys obviously try to imitate the brutal aesthetics of their more renowned compatriots Korozia Metala and D.I.V., but their musical skills are way inferior. This is modern thrash with expressive shouty death metal vocals, seldom producing more than plain noise with a rough, aggressive death/thrash background.

Fascinating Taste of Blood Demo, 1992

DEW-SCENTED (GERMANY)

One of the holy three of the modern thrash/death scene (the other two The Haunted and Carnal Forge) who brought forth the style in the mid 90's, and have been practicing it with little deviation from the path. Dew-Scented are probably a bit more classically-inclined than the other two, with frequent nods to the old school.
With "Invocation" the band continues the tradition with titles starting with "I", but in the music department we have mostly energetic retro thrash this time with the prototypical hoarse semi-death metal vocals. The moshing starts right after the dramatic lead-driven intro the guys throwing a bomb after bomb adhering to the odd more aggressive death metal-laced passage ("Have No Mercy On Us"). There are a few "pauses" along the way: the calmer mid-paced "Artificial Life" and another very good lead-dominated short instrumental ("Totem"), but heads fall from now until the end with compulsive headbangers like "Torn To Shreds" and "A Critical Mass". The closing "Slaves Of Consent" is a more complex technical song featuring several pounding heavy sections and more diverse tempo changes. This is a good effort which shows certain improvement in the guitar department (check those great leads!).
"Icarus" is the next chapter from the band's I-bound album-title catalogue, and it sees them hungry for some more intense thrash with both a classic and a technical edge. It pulls no punches with its raging character reflected in some of the less merciful shredders of recent times: the furious opener "Sworn to Obey", the dramatic speed/thrasher "Thrown To The Lions", the proto-death laced "bomb" "Gleaming Like Silver", etc. The leads are again on a fairly high level the others trying to match them, more or less successfully. The sparse slower moments ("Reawakening": this is not really "reawakening") are not as impressive, but fortunately they have been kept to the minimum. This album isn't a groundbreaking effort by any means, but isn't a step back either keeping the flame of thrash high and also the faith in the band who aren't likely to disappoint their die-hard fans any time soon.
"Intermination" shows the guys' determination to carry on with the I-album titled saga which brings more modern thrash/death metal to the masses. The band's fans would hardly be surprised, their idols thrashing with vigour and sharpness notching it up towards the death metal fields more ("Affect Gravity") at times, at others moshing out in a sure-handed classic manner ("Ruptured Perpetually"). "Survival Reaction" near the end is a cool energetic cover of the death metal veterans Solstice, and the album closer is another cover version, Repulsion's immortal hit "Radiation Sickness" expectedly served with the speed of light quite faithful to the original, and generally a fitting epitaph to this remorseless, ripping piece of music.

Immortelle Full-length, 1996
Innoscent Full-length, 1998
Ill-Natured Full-length, 1999
Inwards Full-length, 2002
Impact Full-length, 2003
Issue VI Full-length, 2005
Incinerate Full-length, 2007
Invocation Full-length, 2010
Icarus Full-Length, 2012
Intermination Full-Length, 2015

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DEWARSTEINER (ITALY)

Based on the "Still Fucking Alive" split with the black metallers Crossodomizer (also from Italy), this band plays brutal grinding black ala Impaled Nazarene on two tracks, and produce one long epic 9-min atmospheric black metal composition in the spirit of Burzum.
"Ethylic Lovestories" offers a more melodic material, with a certain part of the songs now being in the thrash/crossover camp. Still, not all of the aggression has been gone, and some explosive pieces can be found, but rest assured that all gets cancelled by the 8.5-min long "Alcohol Screams My Name" of laid-back Motorhead-ish rock'n roll. The guys explore the other extreme side of metal with their other act, the doom/stoner-oriented Drunk & Stoned.

Still Fucking Alive Split, 2008
The Oath Of Bacco Militia Split, 2008
Ethylic Lovestories Full-length, 2008

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DEXTERAM (COLOMBIA)

Predictable modern thrash metal which mixes the pace clinging towards the old school on the faster material ("The Preacher"). "Thrash Metal" could have been more aggressive, now full of too many melodic hooks; a situation improved by the rigorous speed/thrasher "Inquisition". Then comes "Give Me Your Soul" which will "give your soul" to the classic sound once again with a nice crossover overtone added, which also stays around for the really aggressive closer "Christ Must Die", which is an intense slab of music coming with a slight proto-death edge. The singer is nothing special, though, pulling out a pedestrian semi-shouty/semi-death metal timbre.

The Hidden Face Full-length, 2011

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DEZASTER (SINGAPORE)

The EP: playful, merry-go-round old school speed/thrash with very catchy melodies (check the ones on "Rot Away"), but with also some really hard thrashing involved ("Hypocrite"). "Live To Suffer...Suffer To Live" is a nice retro thrash/speedster, and "Stand Alone" is an entertaining early Metallica-sque roller-coaster which makes this short effort a very cool proposition from the Far East also accentuated by good attached clean vocals.
The full-length elaborates on the motifs heard on the EP, and as such bears no any too audible surprises, the band settling for a slightly more intricate delivery ("The Touch of Death") with echoes of mid-period Megadeth, with more linear speed/thrashers ("Toxic Community", the galloping wonder "Soul Bearer") lined up for a high-octane entertainment which never lets off, maybe acquiring more restrained speed metal parametres (the title-track) on occasion, but making sure everyone pays attention at the end on the rising technical roller-coaster "Bloodsucker".

Stand Alone EP, 2015
No Surrender Full-length, 2019

Official Site

DEZAZTRE NATURAL (CHILE)

This Chilean horde produces rigorous classic speed/thrash which gets mixed at times with less convincing proto-modern elements ("Eskupiendo Lava"), but generally the energy seldom drops, and prime headbangers like "Matanza" (the screaming leads on this one will pierce your brain) and the opening exploder "Azote Teluriko" will make your day in no time. The singer is a bit annoying with his undeveloped semi-hardcore tone, often assisted by the others for the release of plenty of shouty, sing-along choruses.
"Auto-Exterminio" is pretty much in the same vein maybe a bit more restrained this time, with a dissonant vibe coming from the oblivious guitar edge at times, but be prepared to run for cover on moshing headbangers like "Disekcion" and "Abusador". "Engendro Del Nivel" is a tad more relaxed hardcore cut, but more style is exuded from "Hidrodeath" and the melodic semi-technical thrasher "Sospechoza Simpatia". "La Guada1a Dekapita" also flirts with proto-death to a positive effect the latter consolidated by the frolic speed/thrasterpiece at the end "Pornoplegaria".
“Violencia Perpetua” is a more bashing affair, the guys flattening the scenery with punishing pummeling pieces (“Enjaulado”, the stylish semi-technical “Mente Podrida”), the stomping title-track instantly cancelled by the brutal escapades on “Callate” and “Union”. More lofty stylized shredding coming with “Sobredosis”, before the heavy elephantine riffs of “Dictadores del Terror” squash all the naysayers with the help of the closing steam-roller behemoth “El Legado de la Guerra”.

Dezaztre Natural Full-Length, 2012
H.A.A.R.P EP, 2014
Auto-Exterminio Full-length, 2016
Violencia Perpetua Full-length, 2024

Official Site

DEZEMBER (THAILAND)

This band offers intriguing technical/progressive thrash with shades of death metal. The full-length debut is a commendable effort, nicely mixing more complex numbers with more immediate, aggressive ones. The music is heads-down thrash with a few death metal reminders, and the tempo is never too fast; the jumpy guitar work will remind you of the Japanese Doom, although these guys here stretch the style towards more peaceful, baladic territories at times, which are not overused, and add up to the elaborate picture; some attempts at "techno-meets-guitar" industrial are also present, and are not too bad. However, the more direct thrashy riffs seem to work better, especially those coming with a slight pinch of death metal. As a result we have an engaging combination which will keep you focused for most of the time.
The follow-up boasts better guitar work, especially in the lead department, but as a whole is a less satisfying achievement; it often degenerates into more ordinary modern thrash, with a few sparkles of the technical skills displayed on the debut. Some tracks are pointless "funk-meets-groove" experiments, and spoil the picture quite a bit, along with the new industrial deviations, which this time are simply bad. The balladic moments are here again, but more frequently expand into a full-blooded ballad.
"Naturalism" comes after a long 7-year break, but shows the band in an inspired form once again. The sound is full-fledged progressive death/thrash metal, with longer songs which offer everything from the progressive spectre: jumpy jazzy guitars, proficient leads, quiet atmospheric passages, twisted time changes, etc. Some songs are really striking combinations of brutal, fast sections and very complex, multi-layered ones ("Slut", "Killer Bastard"), others are slower, less intense haunting pieces ("Betrayer") with abstract Voivod-ish riffs, which nicely contrast to the brisk, melodic leads. "Vilely Untamed" is a brilliant exercise in technical thrash metal with a touch of late-period Coroner, where even the groovy mid-section works just fine, ably supported by a nice flamenco acoustic tune. "Horny" sums up everything this album is about, containing all of the afore-described touches, not forgetting a very brutal death metal section near the end. And finally, one more conventional song as a finishing touch: "Peace", although the "peace" here is still quite jumpy. Not a dull moment with this really good album, which alone does a lot to make the thrash metal fanbase take acts from this part of the world with a certain amount of respect.
"Spiritual Leader" follows after another healthy hiatus, and shows the band in a more restrained light, abandoning the complex arrangements once again, thrashing in a controlled direct manner for most of the time adhering to power and speed metal as well whenever necessary. So this is laid-back thrash of the more conventional variety the main reminder of the band's previous works being the staple gruff semi-death metal vocals.

EP, 1993
Full-length, 1995
Full-length, 1997
Full-length, 1998
Naturalism Full-length, 2005
Spiritual Leader Full-length 2011

Official Site

DEZPERADOZ (GERMANY)

With this band Tom Angelripper gives his tribute to the Wild West with its cowboys, damsels and all. The music is melodic and thrashy, of course, recalling the Sodom albums from the mid 90's, or the works of the other Angelripper side-project under his own name; Desperados' music is actually edgier and darker. For some strange reason, Tom is missing from "The Legend and the Truth", which takes a whole pleiad of other metal stars to replace him behind the mike: Tobias Sammet (Edguy), Joacim Cans (Hammerfall) and the legendary Doro Pesch.
"An Eye For An Eye" offers another slab of jolly, light-hearted heavy/thrash, this time having a more modern, and a more aggressive, sound, not too far from Annihilator ("Hate", "Days of Thunder") at times. There is one cool short ballad ("A Tooth for a Tooth"), and two covers: one of Johny Cash: "25 Minutes to Go", and one of The Doors: "Riders On The Storm". Tom Angelripper is again missing from the line-up; maybe he feels happy enough at this point to just pull the strings behind the stage?
"Dead Man's Hand": unkle Tom is again missing from the line-up, and Alex Kraft, from his other act Onkel Tom Angelripper, has stepped in to replace him behind the mike. In the music department expect the same unpretentious frolic post-thrash'n roll which this time doesn't focus too much on the "thrash" side, but relaxes with merry tunes from the good old days courting country, blues, and stoner/doom along the way. A bit more life is poured near the end with the speedy cut "Showdown", but the last songs are pure ballad/blueses; a sure sign that unkle Tom loses his initial interest in pursuing a thrashier career outside Sodom.
"Call of the Wild" is a soulful country affair with only "Hell & Back" showing some forgotten Wild West vigour. The rest is for bar flies only... restful feelgood music which would hardly make you saddle the horses and ride into oblivion.

The Dawn of Dying Full-length, 2000
The Legend and the Truth Full-length, 2006
An Eye For An Eye Full-length, 2008
Dead Man's Hand Full-length, 2012
Call of the Wild Full-Length, 2017

Official Site

DEZRISE (GERMANY)

Based on "Vuijivaj ili Umri", this band serve straight-forward retro thrash/proto-death which blends hard-hitting aggressive riffs with sweeping melodies on almost every track. The attack is endless with shots like "Veseluie Smerti" and "Ne iz Stai" nailing the listener to the ground, but watch out for more stylish offerings like the intriguing semi-technicaller "Na Dne". The vocalist shouts not very pleasantly with a forced semi-death metal baritone, and it would have been better probably if his performance hasn't been so omnipresent.

Mirom Pravit Zlo Full-Length, 2014
Vuijivaj ili Umri Full-Length, 2016

DEZTROYER (GERMANY)

The German metal scene is full with one album wonders like that. This is outstanding thrash metal with a certain technical edge, which will catch you with your pants down. The style is close to that of the bands from the progressive/technical thrash wave which rose a few years later (Depressive Age, Entophyte, Lost Century, etc.), but is a bit more aggressive and faster, and less technical. It starts in an awesome fashion with the first three songs being fast and furious pieces ("Climate Change", "Ain't No Cure"), which are more straight numbers, with a certain early Angel Dust-vibe; "Solitude" slows down considerably, but retains the technical edge. Then the album returns to the speedy formula, this time even with more aggression involved: the blasting ball of fury "Can't Complain". It remains fast and intense until the end, finishing with a marvellous jolly rock'n roll joke "Souvenirs", featuring nice guitar melodic hooks. This gem boasts crystal clear production and immaculate musicianship; it's a pity bands like that disappeared after just one effort.

Climate Change Full-Length, 1990

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