Copyright (c) 2007-2024 THE THRASH METAL GUIDE 0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z DFRONT SA (BRAZIL)
This outfit play dominantly classic thrash, but with a modernized, mechanical sound and more or less appropriate groovy insertions. The resulting blend is quite crushing its apocalyptic aura also enhanced by the very shouty, angry death metal vocal. "Vicio" is a cool Slayer-esque energizer, and "Medo" is another maddening headbanger with both hardcore and death metal touches. As a whole the dynamics is quite high the industrialized miasma dissipated at times by more original melodic touches ("Eu Não Aguento Mais").
Do Ceu Ao Inferno Full-Length, 2016 DHALIAX (SPAIN)
The debut: this band specialize in generally friendly retro power/thrash with very good emotional clean vocals and some pretty proficient lead guitar work. The pace remains within the mid-parametres for most of the time, but this isn't boring stuff, and the more vigorous gallops on "Evil's Slave" should do the trick for the rowdier side of the audience, including the short speedy saga "Blood on Fire". Elsewhere it's power metal that rules the proceedings the band not very interested in the headbanging opportunities their approach may present.
Blood On Fire Full-Length, 2019 Facebook DHUL KARNAIN (SPAIN)
Based on the full-length, this act plays intense one-dimensional thrashcore which develops in a samey up-tempo for most of the time, except for a few very surprising lyrical, acoustic sections which, albeit pretty misplaced, serve as a nice interlude from the otherwise unmemorable bash, topped by quarrelsome punky vocals which don't miss the opportunity to show their more melodic side on the aforementioned calmer moments.
Dos Cuernos Full-length, 2008 My Space DIA DE LOS MUERTOS (USA)
Based on the EP: a decent mix of modern and classic thrash/death metal which is fast and ripping for most of the time, accompanied by forceful death metal vocals, and a few heavier, pounding sections with a touch of late-80's Slayer ("Falso Poder"). Some of the guys are also members of the thrash metal outfit Agony.
Day of the Dead EP, 2005 Official Site DIABHOLICO (CANADA)
Ariel Martinez- the singer who sang in Kataklysm in an early incarnation of that band, is responsible for the ultra-brutal guttural vocals here which top heavy groovy death/thrash metal of the early Six Feet Under type, with more frequent faster passages, some of them pure hyper-blasts.
Diabholico Demo, 2011
Official Site DIABLO (FINLAND)
Based on "Icaros": this band plays modern thrash/death metal with borrowings from the progressive power metal scene. The mixture works, and the concentration is more on the progressive side, when the compositions get really interesting, sounding not too far from Nevermore, or Chaoswave (the excellent dark "Light Of The End"), despite their losing some of their thrash metal appeal. The singer is not bad, coming as a cross between James Hetfield and Chris Holmes, maybe lower-tuned than both; he does a fairly good job on the nice ballad "Chagrin". The problem is that there are clean vocals, which are hardly necessary. The other thing which might annoy is that the band has forgotten about the pure more aggressive thrashy numbers, which on their early efforts have always taken a considerable part, and there are not too many of them around ("Hammer" comes to mind, but that's about all) being replaced by less interesting groovy numbers ("Through Difficulties To Defeat"). The closing "Into the Sea" is a cool more complex thrasher with gothic overtones which is another testimony that the band has taken a new direction, away from their earlier more direct thrash/death metal approach.
Elegance In Black Full-length, 2000 Official Site DIABOLIC BAZOOKA (USA)
This is abrasive raucous, roughly-produced retro thrash/crossover which may as well be done by just one musician, the approach clinging between the short in-your-face hardcore ("Blood, Sweat, Metal") and the longer more entangled bash ("No Hope for the Liar") on which some truly intriguing lead guitar pyrotechnics can be come across. The guy exonerates himself with intense semi-attached semi-recitals, his hardcore pedigree again showing on his singing feats. "Humanity's Virtues" is another more intense piece, and "DTTFB" is 5-min of aggressive barrage with not much logic, a semi-chaotic pageant that has still has its characteristic unpolished charm.
Humanity's Virtues Full-length, 2023 Official Site DIABOLIC FORCE (BRAZIL)
The title of this EP already suggests a lot; this is a side project of two members of the Brazilian thrashers Farscape. The music isn't miles away from the Farscape's Germanic thrash-worship: it's more aggressive and will remind you of early Kreator and Sodom's "Persecution Mania", with a touch of death metal. The band plays fast and aggressively, with only "Nuclear Beast" being a deviation from the pattern moving towards a stomping heavy sound ala Celtic Frost; a great track, by the way.
Old School Attack EP, 2003 My Space DIABOLIC HERITAGE (GERMANY)
Modern thrashcore of the heavy mid-paced variety which can become faster-paced on occasion ("Bateman-Syndrom") and generally the approach is not stale and tedious, but moves around recalling at times Pro-Pain, at others Madball, among other heroes. For a demo the sound is really clear boosting both the guitars and the expressive shouty singer whose quarrelsome antics fit the angry character of the music.
Diabolic Heritage Demo, 2011 Official Site DIABOLICAL (SWEDEN)
Based on "Synergy", this formation provide quite cool thrash/death metal with obvious leanings towards the Gothenburg school, but the guys here have a nice sense of technicality which goes well with the prevalent speedy riff-patterns, and they manage to create one of the better examples of the sub-genre in the new millennium. The shadow of At the Gates can be felt as well as the one of Carcass' monumental "Heartwork" the guys shredding with the utmost intensity at times producing admirable blends of speed and technicality: "Human Control", "The Passenger", finishing this death/thrash fiesta with the slightly underwhelming "Haven" which may be a reference to their compatriots Dark Tranquillity title-wise, but in terms of execution this is strictly for Opeth lovers, a dreamy semi-balladic composition which somewhat betrays the technical speedy crescendos encountered earlier. The vocalist is very close to the hysterical rendings of Jeff Walker (Carcass) serving them with a bit more attached, also lower-pitched, way.
Deserts Of Desolation EP, 2000 Official Site DIABOLICAL DEMON DIRECTOR (AUSTRALIA)
Based on the "The Death Sentence" demo, these guys offer old school thrash along the lines of early Venom and Destructor. The music is laid-back, seldom bites with power, and the most aggressive thing is probably the vicious semi-death metal vocals. When the guys give up thrashing with speed, at which they are not good at all, they manage to produce nice mid-paced epic tracks ("Day of the Antichrist") in the spirit of mid-period Bathory and their compatriots Destroyer 666. The rest is raw primitive thrash with no many musical merits, trying to emulate the sloppy production qualities of the early 80's attempts at more extreme music.
As Darkness Hits Demo, 2007 My Space DIABOLICAL DISMEMBERMENT (USA)
Based on the "Hell on Earth" demo, these guys offer very brutal death metal with the odd thrash metal break. The music is quite fast and relentless throughout, and the singer is the ultimate low-tuner, an extreme grunter of the least comprehensible type. Reportedly on their earlier demos the band were more thrash metal-inclined, although this may be hard to believe having in mind this vocalist. Both guys (there are only two people in the band) are also responsible for the doom/death metal formation Cemetary Visions with whom they have one full-length released.
Nocturnal Blood Bath Demo, 1997 Official Site DIABOLICAL MENTAL STATE (PORTUGAL)
Based on the full-length, these folks deliver modern thrash/post-thrash which can be quite intense ("The Town") on occasion, but also expect a couple of officiant doom developments("Elements of War") as well on top of some more ordinary groovy walkabouts ("Anger Within") which the shouty hardcore vocals accommodate only too well.
Basic Social Control EP, 2014 Official Site DIABOLISCHES WERK (GERMANY)
This is old school thrash/death which by all means has its moshing side ("The Excremist"), the latter also expressed through less bridled
deathly expletives ("Murderer", "False Flag"), the more moderate character of the brooding epicer "Banner of Doom" also rudely interrupted by
violent semi-blasts. The gruff death metal vocals are surely a match, including on the several shrieky attempts. Some of the band members also play with the black metal cohorts Kommando and Dysangelium.
Beast Full-length, 2021 Official Site DIABOLOGY (USA)
A thrash/crossover parade which frequently borders on pure hardcore, with a few more melodic sentiments ("Defiling Innocents", the power metal-ish "Seas of Eternity") also scattered throughout, the speed/thrashing roller-coaster "Seed of the Prophet" soaring high above the rest due to its more thrash-clad veneer, the damage mostly done by the hysterical rending vocals.
Nobody Believes Me Full-Length, 2020 Official Site DIABOLOS DUST (GERMANY)
Based on "Inferno", these guys offer modern power/thrash reminiscent of Perzonal War and Entera which is both melodic and intense at various stages. "Grace of Creation" is a cool galloping energizer closely followed by "Clouds of Malice" which is sustained in a similar vein. "The Lion Gate" is a nice heavy semi-ballad, but the more aggressive thrashy delivery ("Fire Down Below") is just around the corner and stays till the end except for the slightly more restrained closer "Fire Down Below". The singer is a cool attached cleaner with a tember not far from the one of Hansi Kursch (Blind Guardian).
Ruins of Mankind Full-length, 2010 Official Site DIABOLUS IN EXTREMIS (SPAIN)
This formation come up with right as rain old school thrash which is not supported very well by the abrasive sound quality which makes the guitars sound too pounding at times and gives the leads a very screamy edge. Still, the guys thrash on unimpeded by the obstacles on the way, and tracks like "Parar El Tiempo" and the thrash/crossover delight "Tie Your Mother Down" are major headbangers, the latter a nice speedy version of the early Queen hit. The album loses steam in the 2nd half the approach becoming too mild and more power/thrash metal-based acquitted by the aforementioned "Tie Your Mother Down" which is the closer. The singer has a drunken tember which at its most inspired may remind you of Gerre (Tankard). Some of the band members are also involved in the heavy/power metal outfit Sonem.
Parar el Tiempo Full-Length, 2012 Official Site DIADEM (SLOVAKIA)
This band play a rough, semi-amateurish brand of retro thrash which goes from short immediate bashers ("Sweetest Perfection") to more carefully constructed ("The Full Moon") pieces where the speed gets reduced considerably replaced by soothing semi-balladic rhythms. The variety is quite big throughout, but the musicianship isn't that great for one to stand with this recording till the end although "Picture of Ruin" isn't a bad shredder with covert semi-technical tendencies, and "Foreshadowing" is a nice melo-thrasher ruined by the gruff unrehearsed deathly vocals and the horrible production which at least favours the good bass performance.
Triteness of Dying Demo, 1991 DIAGNOSIS 303 (CZECH)
Modern abrasive thrash which can be both fast and stomping hardcore saying its word more than now and then due to the short song-length and the outrageous slamming sections where the vocals shout to an apocalyptic effect. This is direct simplistic music which sounds like a rehearsal for a bit more coherent effort.
Detoxxx EP, 2011 Official Site DIAGNOSTICO FINAL (ARGENTINA)
Based on the full-length: this is decent retro power/thrash metal with a muddy sound quality which on the best moments speeds up no worse than Horcas and even Lethal. Some duller modern elements can be heard, and the energy gets lost near the middle, on a short string of mellow power metal numbers, but this work scores way higher than the bland offerings from their more renowned compatriots from around the same time.
Diagnostico Final EP, 1999
"Doomed" contains more thrash overall, but the rowdy epicer "Queen of Weapons" and the lively shredder "Hurting Love" raise the spirits with panache, paving the way for the arrival of the galloping winner "Off With Their Heads" and the speed/thrashing march "Free (to Die)", the catchy but bellicose power/speed/thrash conglomerate "The Owner's Venue in the Basement" grabbing the award for the highlight, the title-track closing the proceedings with the expected bouncy sharp riffage.
Doomed Full-Length, 2023
Destructor EP, 2011
Satanico Dramatico Full-length, 2011
"Silver Horizon" is a return to more aggressive territories, but don't expect anything beyond the melo-thrash/death approach of the Gothenburg hordes. "The Serpent Holder" is a nice merry-go-round speedster "The Serpent Holder", but things aren't too speedy elsewhere although the acquired mellow epic tendencies in the second half aren't bad at all regardless of their non-thrash nature. Clean vocals have been sneaked in now, and their symbiosis with the staple harsh ones is quite listenable.
Renaissance Full-length, 2002
Eternium Full-length, 2004
Mimic47 Full-length, 2006
Icaros Full-length, 2008
Silver Horizon Full-Length, 2015
"March To Calvary" is more controlled, now Celtic Frost even a bigger influence, with Abomination a very close call as well, except on a couple of hardcore-ish outbursts ("I Just Wanto To Get High", "Piss on the Holy Ghost") and the odd proto-death-laced deviation ("Prisoner of Wickedness"). The final "March to Calvary" is a nice melodic addition mixing the carefree spirit of Motorhead with the more experimental arrangements of "Into the Pandemonium". The vocalist is a dead ringer for Tom G. Warrior, maybe a bit higher-pitched.
March To Calvary Full-length, 2009
Welcome to "The Gallery of Bleeding Art"! The retro thrash/deathsters haven't forgotten how to produce mighty fiery riffs and this effort is a sure testament for that. The fast blitzkrieg numbers (the raging "Pavor Nocturnus") aptly alternate with heavier more seriously-plotted compositions ("Vertigo") bordering on the progressive and the technical, especially on the jumpy unpredictable "The One Who Bleeds". "Extinction" is a particularly macabre number its middle occupied by a theme recalling the introduction to Destruction's "Curse the Gods" wrapped by ambient keyboard-supported atmosphere. "Religionism" also shows more technical prowess with its twisted blend of sharp riffage and breath-taking melodies before the closing 10.5-min opus "Ashes IV" shows a very ambitious side of the band's repertoire this time taking a more individual direction losing the Opeth references to an extent. It works well maybe losing focus here and there, but is by all means worth exploring on future releases.
"A Thousand Deaths" is an exemplary work of the Swedish thrash/death metal movement, a riff-fest of the highest order blending technicality and melody to a really impressive effect. The guys thrash with no remorse putting to shame most of the practitioners of this massive sub-genre both at home and abroad. With At the Gates already gone by that time, this outfit looked like their most worthy successors raising the level up due to the numerous unobtrusive technical nuances. One would find it really hard to sit still on compulsive moshers like "Dead Angel's Choir" and "Until The Day Arrives", both short explosive cuts served with style to spare. "Under My Skin" is a more elaborate piece, the composition "Heartwork" mysteriously left behind. "An Opposite Law" is the relative break with its more restrained stomping rhythms before "Demonic" bursts in a cavalcade of fiery blitzkrieg riffs the latter coming under control on the closing "Profane Murder" which is a longer progressive cut of the pensive type, a bit underwhelming, but captivating nonetheless. The band took a long break instead of capitalizing on their masterful command of the style which was head and shoulders above most of the At the Gates "wannabes" roaming the scene at the time.
"Neogenesis" would be quite a surprise for the band fans since it shows a turn in direction towards more complex, progressive "cosmic" death metal (not much thrash here) with flashes of brutal technicality and an omnipresence of blast-beats at every seeming opportunity. The vocals now are very brutal and guttural, and the longer compositions are quite reminiscent of The Project Hate served with a pinch of industrial. This is by all means a surprise, but not a very pleasant one, at least to these ears who expected a further elaboration on their already fairly effective style.
Synergy Full-length, 2001
A Thousand Deaths Full-length, 2002
The Gallery of Bleeding Art Full-Length, 2008
Neogenesis Full-Length, 2013
The "Surrounded by Evil" EP is "graced" by another sloppy production, if not even sloppier, with the delivery moving up the aggression scale a bit this time, to introduce more speed, but all be prepared to cry on the 3-min soporific, balladic cut "Fathomless Dungeon". Otherwise, the band lashes out pretty intensely (the furious piece "Surrounded by Evil") reaching a mid-period Razor-like aggression with ease. The closing "The Prophecies Of Doom" has nothing to do with doom, but is the fastest song, belonging more to the speed metal genre. The vocalist hasn't improved a lot not, singing in a distorted semi-declamatory manner, often ending up buried in the noisy background.
Hour of the Black Demons Demo, 2008
The Death Sentence Demo, 2008
Surrounded by Evil EP, 2010
Gloom of the Dead Demo, 1998
Hell on Earth Demo, 2001
Diabolical World Full-length, 2019
Inferno Full-length, 2013
"Realidad Urbana" is an awful nu-metal "atrocity", a degrading mish-mash which should better be left unheard, having nothing to do with thrash.
Involucion Full-length, 2001
Realidad Urbana Full-Length, 2006