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E.A.K. (PORTUGAL)

Based on "MuzEAK", these guys play crunchy modern thrash with metalcore borrowings which is more on the laid-back, mid-tempo, and consequently the more boring side. "Ears Have You" is a forceful 10-ton doomster, but the following "Nasty Haircut" provides the only more energetic riffs here. The singer is an ultimately annoying hysterical shouter who deafens the instruments at times ruining things even further.

Musclecore Full-length 2006
MuzEAK Full-Length, 2011

Official Site

E.H.E. (SERBIA)

This is diverse thrash/crossover which ranges from pure unbridled outbreaks ala early Prong and The Accused to moderate, even clever, riffs in the spirit of early Voivod (the first 2 albums). Not bad, but pretty short, and with a bad sound quality making the guitars sound a bit noisy at times.

Beer 'n' Chicken Demo, 1991

E.N.D. (CROATIA)

Based on the demo, these guys blend unrestrained crossover with heavy groovy post-thrash. The results of such a "therapy" are predictable since quite a few bands from the more and not so distant past have tried their hands on something similar. So don't expect any aims at originality: all this is rehashed heavy riffs without many lively moments (one such one is the energetic Pro-Pain-esque headbanger "My Vision"; and of course, the unexpected grinding bomb "Che Bella Ragazza (E Mia)", a total early Carcass worship!). The singer is a gruff death metaller who suits the squashing musical approach most of the time.

"Illustrating Evil" is a mechanical sterile effort now trying to capture the robotic magic of the more recent Meshuggah albums, but the stompiness here is so big that the fan may just lose interest at some point since those heavy chugga-chugga guitars are never-changing, and might get on the nerves a bit in the 1st half. Later on the sound becomes more attractive with "Sentenced" providing fine faster-paced passages also giving a desirable push to the album which finishes with another smashing headbanger, the semi-technical shredder "All Foregone".

Shortest Distance From the Truth Demo, 1999
Depravity Full-length, 2009
Illustrating Evil Full-Length, 2013

Official Site

E.S.T. (RUSSIA)

Based on the debut, this is a more thrashy version of Motorhead with a certain Exciter flavour as well. There are more traditional heavy metal numbers and ballads, but most of the time the music is speedy and enjoyable. "Joker" is a pure Motorhead worship, a lively unpretentious roller-coaster, and "Father" is a jolly crossover joy with Russian folk elements. "Knife" is a more aggressive cut, it's a knife after all, but nothing overtly thrashy, and "Remember Kathy" is a romantic balladic idyll. The rest is the Motorhead boogie ("Moscow Outskirts", "Russian Vodka") accompanied by frequent shouty choruses, the more serious element being the imposing epic hymn "Ten Holy Jolly Years", and partially the thrash/crossover abraser "Red Beast", this one vintage early Exciter. The singer is vintage Lemmy (R.I.P.), maybe hoarser and throatier, and seldom makes the attempt to actually sing.
The band's later works have no relation to the thrash metal genre, being on the heavy/crossover side with Motorhead again being the main target for worship.

Electro Shock Therapy Full-length, 1989

Official Site

E-FORCE (CANADA/FRANCE)

Eric Forrest keeps himself quite busy after he left Voivod. Apart from the industrial/death/thrash metal outfit Project Failing Flesh, he also takes part in this band. Of the two bands, this one is much closer in spirit to Voivod; actually this is very similar to "Negatron". It starts in a very cool intense manner with "Mayhem" (actually, the real beginning is a short haunting intro: "Satanic Rituals") which thrashes with conviction and a certain industrial edge. Later things become only more interesting with a more complex dark sound and nice stylish guitars on "Germ Warfare". "Belief" preserves the darkness, but increases the intensity, resulting in the album highlight. "Psychopath" is a slow doom track but effective and creepy. The second half of the album contains shorter more direct tracks with a stronger industrial shade but quite cool and dynamic, graced by nice melodic guitar hooks ("Global Warning"). The untitled song, which finishes the album, is the most aggressive one with a touch of post-black metal ala later period The Kovenant, also brought by the more vicious tone acquired by Forrest (his style on the other material is quite similar to the one on the Voivod works). Those of you who loved the Voivod period with Forrest, and are pulled back by the new unimpressive output that band has released in the more recent years, will be delighted.

Forrest is back with his new band, after a 5-year pause, and "Modified Poison" shows the band ready to do some major damage once again. The opener "Deviation" is quite straight-forward, a great energetic thrasher with a technical edge, carrying very little from the heavy industrial charge of the debut. After the title-track tells a similar story, it's clear to the listener that Forrest's gang would offer entertainment of a different, but equally as appealing, kind. Well, not for long, as "Agent 99" is vintage mid-90's Voivod: a fine progressive thrasher with a number of moods and rhythms changing within. "Malpractice" brings back the intensity, even with a slight death metal shade, and "Revolution Riot Act" is classic speed/thrash at its best with a nice technical twist. "Disillutioned" slows down considerably introducing a high-octane heavily industrialized complex sound which works fine with the more direct thrashy riffs. "Exterminator" is first class technical thrash which will take you back to the times of "Killing Technology", followed by the brilliant abstract, but also raging delight "Perfexionist": something which even Mekong Delta, or Deathrow would be happy to have in their discography. "Wired" is more light-hearted industrial thrash ala Ministry and Skrew, and the closing "Victory" is another more twisted slower elaborate addition to this great collection of songs which would be hard to beat even by the much bigger names on the scene. Seldom can one hear such a good mix of straight classic, technical/progressive and industrial thrash metal with such a wide appeal.
"The Curse...": it took a while for Forrest to sum up his cohorts for the next effort, but here they are, later rather than sooner. What may be a pullback for the band fans is the more direct delivery devoid of the stylish technical touches of the previous releases. The guys are now way more straight-forward in their hymns sounding much more old school as well, and pull out a few admirable thrashers: the corrosive semi-galloper "Serpent's Kiss", the dramatic accumulator "Awakened", the more successful attempt at the more prgressive sound "Psyclone", etc. "Devoured" is a cool read of early Voivod while "Mass Deception" is a nice dry headbanger later supported by the galloping histrionics of "Infexxxous". The final "The Curse of the Cunt" will curse all cunts around, and apart from that serves more carefully-structured progressive thrash with a wider gamut of tempo and time-changes on a sterile, abstract base, the only more modern-sounding number here. If one manages to lay aside his hopes for technical exuberance, he/she will have to enjoy this cool translation to the retro thrash canons done with a hefty quasi-futuristic twist.
"Demonikhol": the guys are Canadians now, having changed their nationality under the careful guidance of Mr. Eric Forrest. Whether in France or in Canada, the band seem to have lost their penchant for writing enchanting technical riffs and they try to compensate with noisier industrial environment for the lack of the latter. Alas, this new gimmick could be quite annoying to some since it hardly makes them sound more convincing. Regardless, if one manages to adapt to this new sound, he/she may be able to savour the cool headbanging character of a couple of tracks, like the rousing dry headbanger "Invasion" which tries to capture the modern intensity of Voivod's "Negatron". "Insidious" is a fine sinister creeper, and the title-track is another up-tempoer where the sterile riffage works in a better way. The closer "Last Call" is just noises and is a total waste of space seeing the band taking a new futuristic direction which is hardly the wisest decision.
"Mindbender" would hardly bend too many minds as the band again sound too simplistic and standard to make too many heads turn. There's this abrasive thrascore vibe ("Provocation", "Traumatized") running underneath, the quasi-industrial dirger "Hellucination" bringing the requisite doze of diversion, alongside the more laid-back power metal progressiver "Hypnotic", the diversification campaign in the second half leading to the quiet balladic instrumental "Futures Past", and the quirky, interesting modern progressive saga "Dehumanized", the relatively faithful cover version of Voivod's "Insect" from "Negatron" wrapping on this not very focused, somewhat naively scattered opus.

Evil Forces Full-length, 2003
Modified Poison Full-Length, 2008
The Curse... Full-Length, 2014
Demonikhol Full-Length, 2015
Mindbender Full-Length, 2021

Official Site

EAGLE SHADOW FIST (GERMANY)

This is modern stuff, a thrash/post-thrash/metalcore conglomerate which is expectedly accompanied by a gruff shouty/clean emotional vocal duel; the musiciansip hits highs not very common for this particular style, with "Silent Assassin" being a particularly decent quasi-progressive opus, and "Firethorn" touching the melo-death realms where acts like In Flames and later-period Dark Tranquillity belong. "Pure Scars" is another track worth mentioning, a more intense ride bordering on retro thrash, the closing "Warkiller" another notable shredder with echoes of the Bay-Area.

Eagle Shadow Fist Full-length, 2018

Official Site

EAGLES PREACH (DENMARK)

The line-up here includes former members of Invocator; otherwise this is a nice, more technical version of the good old thrash, but hardly reaching any Artillery-like heights although the songs are lengthy and the guys keep them interesting with various paces, screamy leads, and frequent moshing sections. There are a few intriguing melodic variations (the great playful tunes on "Eagles Preach") and when the band keep it shorter (the nice basher "Cries of War") they shine brighter: don't forget to check out the closing piece of fury "Death Penalty" which will split your head open. The singer is nothing striking singing in a mid-ranged semi-clean/semi-declamatory manner not quite matching the better music. The production is quite muddy making the instruments not very clearly heard at times.

Rule No. 1 Demo, 1990

EAR-SHOT (GERMANY)

This band's line-up includes Andreas "Andi" Siegl: a former member of the speed/thrashers Paradox. Based on the full-length debut: you won't hear anything like Paradox here; this is groovy post-thrash reminiscent of mid-period Machine Head (after "The More Things Change...") with the obligatory melodic breaks and clean vocals which are quite good, by the way, as opposed to the Phil Anselmo-like main ones.

Emotions EP, 2000
Earshot EP, 2004
The Pain Full-length, 2007

Official Site

EARLY GRAVE (FINLAND)

This Finnish duo specialize in retro death/thrash with a dark tenebrous sound quality, the not very pronounced, guttural deathly vocals creating somewhat oppressing atmosphere. This isn't very fast-paced stuff, with playful semi-gallopers ("Witchery") dissipating the thick somber cloud later, with doomy escapades ("Sluts of Hell") balancing the situation, the latter picking up some inertia eventually, with the abrasive headbanger "Grail of Insanity" and the death metal pummeler "Roaches".

Early Grave Full-length, 2021

Official Site

EARLY GRAVES (USA)

Based on "Goner", this act pulls out abrasive hardcore-ish modern thrash alternating between fast blitzkrieg and groovy dragging numbers with noisy heavy guitars and brutal semi-shouty death metal vocals.

"Red Horse" offers exactly the same stuff with probably more speed included as the numbers don't "stagger" too often towards the mid-pace. The vocalist is more annoying now his shouts reaching the hysterical pitch with ease. Still, there are some "gems" to be found on this otherwise pedestrian offering: the aggressive proto-deathster "Apocalyptic Nights" which tries to capture the manic intensity of mid-period Carcass also with a few appropriate blasting additions.

We: The Guillotine Full-length, 2008
Goner Full-length, 2010
Red Horse Full-Length, 2012

My Space

EARLY MAN (USA)

Based on "Death Potion": an energetic feelgood mix of modern and retro power/thrash metal which thrashes intensely on a few moments ("Someone Else's Nightmare", "Killdrone", etc.), and it's those moments that bring the classic 80's spirit on the album. "Through Chemtrails" is a stylish throw-in in the middle: a nice lead-driven instrumental "flirting" with the main theme from the Halloween movie in the beginning. The closing "Six Mothers of the War God" abandons all the power metal cliches, which have graced at least half of the songs here, and moshes in a less bridled thrashy manner providing the most aggressive riffage in a sure-handed Bay-Area fashion.
The debut full-length is in the same crossover vein mingling several styles: power, thrash, and doom, in this case, as the latter kind of predominates ably assisted by the very cool Ozzy Osbourne-like vocals. Even the slower doom tracks are in an energetic brisk pace seldom slowing down sounding not too far from the ones on Cathedral's "Carnival Bizarre". There are a couple of more intense thrashy pieces, of course, in various tempos, which lift the mood up with sharp hard riffs.
"Thank God You've Got the Answers for Us All" clings more towards the power and doom metal side and as such will seldom warm the hearts of the thrash metal fanbase; this is a cool proto-early Black Sabbath slab a very cool tribute made to the (grand)fathers of all things heavy with the closer "The Longer the Life".
The "You Fancy Me Mad" EP is a 3-tracker which serves heavy mid-paced numbers with doomy overtones which still contain the requisite short faster sections to capture the thrash metal fan's attention although the Black Sabbath shadow is quite strongly felt, especially on "Obey & Conform" which could have been a leftover from "Masters of Reality".

Early Man EP, 2005
Closing In Full-length, 2005
Beware The Circling Fin EP, 2008
Death Potion Full-length, 2010
Thank God You've Got the Answers for Us All Full-Length, 2014
Halloween EP, 2014
You Fancy Me Mad EP, 2014

Official Site

EARSHOT (USA)

Weird avantgarde thrash/post-thrash which has all the requisite jumps and twists (check out the spacey oddity "More Air"), but goes over the top in terms of bizzarreness on "Prime" although the next "Mrs. Goathead" is a cool trippy Voivod-ish piece with a nice memorable chorus. The singer is an indifferent clean throat who doesn't participate a lot sometimes emitting odd animal-like (probably goat-esque) sounds.

Earshot Demo, 1991

EARTH (MEXICO)

Modern thrash we have here, one that is quite dramatic and even intimidating on "Denizens", with some more entangled layout materializing on "A World of Lies", before the title-track displays an unfettered deathly vigour, also supported by the shouty rending vocals. The ball calms down with the measured mid-tempo trot "Mind Blown", with another doze of complexity rising with "Deceive the Pain", the furious crescendos unleashed on "New Reign" a delight for the headbangers. Some of the band members are also engaged with the progressive thrashers Disologist and the thrash cohort Axis.

[Un]Human Full-length, 2024

Official Site

EARTH AD (CANADA)

Based on the "A Crucifix" EP, this band play raw amateurish death/thrash metal, spiced with hardcore which is surprisingly non-aggressive with slower doom moments and very vicious low death growls for vocals which is the only brutal thing here.

A Crucifix EP, 1993
These Days Full-length, 1998
On the Surface Full-length, 2005

Official Site

EARTH COLLIDER (USA)

This band play old school thrash which at times is plain semi-amateurish bash with overt shades of hardcore, the very hysterical screechy vocalist not creating a very positive impression either. Things majorly improve on the title-track, a more seriously performed power/thrash opus, plus the charmingly chaotic shenanigans on "Cult of Hate" can also pass for something marginally interesting, but by-and-large this is unpretentious, not very professionally-executed barrage.

Twilight of Man Full-length, 2020

Official Site

EARTH CRAWLER (USA)

Glen Alvelais (Forbidden, Testament, Hatriot, Tenet), the famed guitar player is in charge here for the production of this energetic modern thrash/death metal affair which moshes hard on cuts like "Through the Ashes" and "Black Veils", but expect groovy implements in the form of the stomping "Our Decline" and the lyrical power/thrasher "The Rest of Us" were good clean vocals appear to disrupt the dominant overshouty death metal ones. Of all the mentioned bands the delivery is closer to the one of Tenet with similar semi-technical ways of execution (the closing delight "From Below") applied at times. Some of the band members also play in another modern thrash formation, Falling to Pieces.

From Below Full-length, 2017

Official Site

EARTHBLOOD (FINLAND)

Based on the “Witchburner” EP, this band play modern thrashcore that is also fairly intriguing with a shade of psychedelia on the title-track, the growling death metal singer pitching it higher here and there, including on the speedy dystopian roller-coaster “Sons of Heavy Rain”, “Swamp Hammer” switching to high-octane trad doom for a change, engulfing all other attempts at a more dynamic play. Some of the musicians are also busy with the black/death hybriders Arctora.

Primal Fury EP, 2023
Witchburner EP, 2024

Official Site

EARTHQUAKE (SWEDEN)

"The Truth" sounds so much like Metallica's Black Album that you might start wondering who influenced who as both albums were released the same year, and not far from each other. Earthquake stretch a little back, as a matter of fact, and reach "...And Justice For All" on some tracks. The sound is thick, heavy, but offers little outside a mere Metallica-worship. Alas, there's only one "present" for the headbangers: the "Dyers' Eve"-reference "All The Truth" where the leads are top-notch; the rest is either melodic, where one will hear one ballad: "Blindfolded", purely acoustic unfortunately, much softer than the Metallica masterpieces the same year, and one much better edgier semi-balladic instrumental "Euthanasia"; or very heavy with a strong doom metal edge: "Bridge To Fury". The singer does his job well, though, imitating James Hetfield quite well, except for his impotent performance on the aforementioned ballad.
"Theatricals" is the lesser achievement, now offering little to the classic metal fans, sounding pretty modern, still recalling The Black Album on the better moments ("Mirrorhead"). This time the ballads "Helluary" and "Colours" are really cool, heavier with a better more forceful vocal performance. "E. Black Snow" splashes in the middle serving a couple of energetic headbanging riffs, and later on the listener will be "moved" around by the enjoyable speedy cover of The Bee Gees megahit "Stayin' Alive", strongly reminding of the Metallica approach on the "Garage Days Revisited" EP. A third unnecessary much more tender ballad ("MonoHolic") comes towards the end. The guys' well conformed with the ruling at the time trends sound could have made them a name, but they disbanded shortly after this album's release.

The Truth Full-length, 1991
Theatricals Full-length, 1993

EARTHSPLITTER (AUSTRIA)

Old school thrash with boosted modern production; the band mosh professionally, covering a wider range of tempos in the process, then brooding stomps on "Psycho War" pairing well with the frenetic pace generated on "Stars of Evil". The second half exhibits bigger complexity reflected in longer, more seriously-concocted compositions like "Smash Heads" and the pensive but still flexible "Hell". The vocals are harsh death metal ones and kind of miss the point on the more complexly-presented material with their indifferent grunting antics.

Earthsplitter Full-length, 2020

Official Site

EARUPT (BELGIUM)

Based on "Elements", these folks pull out industrialized groovy post-thrash which has some progressive pretensions ("Hooked on Life") ala the Devin Townsend projects, this connection also strengthened by the decent clean vocals. Shades of stoner/doom ("Bareknuckle Fight") and harsher sounds akin to Ministry ("Writings on the Wall") can also be come across, the noisy reverberations coming from the guitars stifling a couple or more intriguing riff-configurations.
"Nihilosophy" contains the familiar thrash/post-thrash combination with heavy chugs and more interesting riff-patterns on “Man or Machine”, the intrigue retained on the power/thrashing quasi-progressiver “Phoenix”. “Devil Inside” is a patiently-woven heavy stroll, and “Casting Shadows in the Dark” is another less ordinary accumulation of mind-stimulating sounds and officious groovy implements. The highlight here must be “Rain on Me”, a really compelling complex stomper, the good forceful clean vocalist leading the show with well-justified authority, including on the equally interesting, absorbing, not exactly screaming, “Screaming Ego Pain”.

Belief/Relief Full-length, 2013
Elements Full-Length, 2019
Nihilosophy Full-length, 2023

Official Site

EBENEZER (USA)

Based on "Moon Dialect", these folks specialize in all-instrumental progressive metal which has shades of thrash, speed and power all meshed into one interesting, but somewhat unfinished melee from which one will by all means savour the stylish lead guitar work. The delivery isn't very aggressive if we exclude the death-ornate "Celestial Irridescence" and the short brutal etude "Wendy"; the rest includes balladic interludes ("The Moon Made Me Do It"), psychedelic ambience ("Fish in the Sky"), rockish variations ("Father Oak Is Displeased"), and more.

Gleaming and Glittering with Gold and Wondrous Surprises for Young and Old Full-length, 2009
Moon Dialect Full-length, 2018

EBOLA (COLOMBIA)

This band play relaxed, moderate post-thrash/post-death which rich melodic background is too contrasting with the very screechy black metal vocals and the deep guttural death meal ones which assist them. In other words, there's quite a variety in the vocal department whereas music-wise this is officiant stuff with doomy overtones.

Colombia Amarga Full-Length, 2015

Official Site

EBONY SORROW (USA)

This is fast-paced, energetic thrash/death with frequent black-ish decorations with a bombastic operatic atmosphere. The music is diverse and intense "Supositorium" being a brutal 2-min outrage, but a bit away from the rest, which is more officiant and way more varied with a wider coverage of moods and tempos.

A Grimoire of Depravity EP, 2012

EBONY TEARS (SWEDEN)

Another one from the whole pleiad of thrash/death metal acts from Sweden who try hard to be the new At The Gates. This band's style is thrashier than the one of that legendary band and is also infused (at least on the debut) with quiet, acoustic moments and a considerable presence of violins which create a somewhat haunting atmosphere. On later works the band hardened the course (especially on "Evil As Hell"), introducing Floridian death metal riffs, and the final result is more satisfying although a certain number of their old fans were not very happy with the transition. Having moved away from the restraints of the Swedish death/thrash metal scene quite a bit and on the way to forget their own sound, the band members took a very strange decision, voting to change their name to Dog Faced Gods. Reportedly the style of this new formation is not miles away from the one of the band reviewed here.

Tortura Insomniae Full-length, 1997
A Handful Of Nothing Full-length, 1999
Evil As Hell Full-length, 2001

Official Site

ECCENTRIC PENDULUM (INDIA)

Based on the full-length debut, these folks pull out choppy modern technical thrash which at times is a sheer exercise in technical/progressive exuberance (the excellent meanderer "De-Engineer The Prevalent"), at others is just groovy semi-technicalisms ("Paragon Impermanence"). Both sides come blended on "Become Me" before "My Eucalyptine Depth" goes into a less eventful doomy territory. The closer "Anonymous Existence" is an 11-min extravaganza which spends most of its time in cool guitar-driven rifforamas, but the listener may not stand the several lengthy quiet balladic breaks which are too melancholic and oblivious to be considered a positive touch.
"Perspectiva Invertalis" is a sheer exercise in tech-thrash/death and as such soars high above its shaky predecessor. "Churning of the Blood Ocean" opens then proceedings with superb meandering riffs and surreal creepy decisions, "In Pretence" brutalizing the environment with dazzling death emtal-ish configurations, some of those courtesy of none other than Mr. Hannes Grossmann (Obscura, Necrophagist, etc.). "Encaged Visions of the Unobstructed" is a choppy nervy tractate with the stop-and-go technique applied to the maximum to a near-hallucinogenic effect, the anti-climactic obliviousness of "Cyclic Vicissitude" more than welcome with its fabulous melodic lead sections. "In Exile" is more on the orthodox side with its steady pounding rhythm-section, but "Narcissistic Myopia"' will make you spin in irregular circles with its dizzying riff-vortexes, those replaced by psychedelic developments and dramatic entangled accumulations on the final saga "Immersed in Reverence" which also boasts several admirable quieter atmospheric passages.

The Sculptor of Negative Emotions EP, 2009
Winding the Optics Full-length, 2011
Tellurian Concepts EP, 2017
Perspectiva Invertalis Full-length, 2024

Official Site

EXHAURIO (FRANCE)

Progressive old school death/thrash which sweeps the charts initially with a brutal deathly lustre on "NNTP", before offering a fair amount of diversity on the sprawling tale-telling sagas "Resurgence" and the mechanical sterile "Elegy", the cream of the cake being the shorter but superb technical shredder "Six Pieds sous Mer", the "gruff death vs. shrieky black" vocal duel having a lot of fun taking turns, including on the closing atmospheric pounder "Insomnia".

Insomnia Full-length, 2024

Official Site

ECHIDNA (GREECE)

Based on the demo: melodic death/thrash metal of the modern type with nice guitar work which at times reminds of the Shrapnel bands; the guys break the pattern by adding more complex, progressive sections.

"Manifests Of Human Existence" is a more complex offering with clear progressive pretensions at times resulting in a lot of diversity both in the tempo and the riff department, the former never stepping over the up-one. The good news is that the guitar work never loses its sharpness although more technicality in this aspect could have been better. The guys concentrate on evoking atmosphere not far from Sadist, only with a more active participation of the bass which is a dominant instrument. A couple of lengthy orchestral-only instrumentals are thrown in as well ("Tractatus Cerebri act III, A Twisted State of Mind"), and the noisy thundering section in the second part of "The Pendulum" is too long perhaps, but everyone will be delighted on the only short exercise in technical thrash/death "Human Serpent" after that, before the closing "In Fanthomless Depths" puzzles you again with an uneven blend of abstract mechanical riffs and very quiet balladic sections which again take an undesirably long part of the song. The album by all means has its moments, but more focus on music rather than side effects for the future may win the band more fans.
"Escape from Civilization" is another pretty decent recording which is more homogenous and less gimmicky this time; atmospheric etudes intercept the hard elaborate thrashing on almost every composition, and the Meshuggah-esque stiffness that permeated some of the tracks from the debut is still here (the robotic dystopian "OrganiX"). Weird non-linear progressivers like "Yet No One Notices" and the creepy twister"Empire of Crime" can pass for the highlights, with the closing diverse roller-coaster "Cordyceps" a close second.

This Suffering Demo, 2006
Manifests Of Human Existence Full-length, 2010
Escape from Civilization Full-length, 2020

Official Site

ECHIDNA (PORTUGAL)

THe full-length debut: modern thrash/death metal, well done, mixing nice intense thrashing pieces ("Partisans Of Disonesty", "To Obey Is To Die") with less aggressive, but very effective more technical ones ("New Age Of Murder"). "Painkiller" is not a Judas Priest cover, but is an awesome up-tempo death/thrasher with a nice quiet interlude, maybe a bit overlong.

"Dawn of the Sociopath" is another capable offering thrashing in a brisk modern , alternating between fast and slow numbers with the cutting edge of the guitars never lost except on the brilliant balladic mid-break on "Obscuring My Reason"; and on the atmospheric 2-min instrumental piece "Catharsis". The album is thrash metal pretty much all the way with just a few more aggressive death metal leanings ("Dawn of the Sociopath") scattered around.

Tearing the Cloth EP, 2006
Insidious Awakening Full-length, 2008
Dawn of the Sociopath Full-length, 2011

My Space

ECHOES OF ETERNITY (USA)

Based on "The Forgotten Goddes", these folks play a modern brand of progressive power/thrash the musical cavalcade led by a beautiful diva named Francine Boucher. She provides a levelled mid-ranged croon with a thin angelic shade which at times doesn't quite fit the sharp hard-hitting riffs which on "Expressions Of Hesh" will also bring to mind their compatriots Prototype. Doomier ("Garden Of The Gods") and more atmospheric balladic propositions ("The Kingdom Within") are timely provided alongside catchy gothic pieces ("Lost Beneath A Silent Sky"), but when the guys (and a girl) decide to step on the pedal, they unleash a thrashing carnage no worse than Destruction and Kreator even (the title-track). It's a diverse package that will satisfy fans from several walks of metal.
"As Shadows Burn" treads a similar to the debut path although the opening "Ten of Swords" is a vigorous speed metal hymn which touches early Helloween and Iron Angel. Not so many outbursts of the kind later but the band retain the crunchy thrashiness from the first instalment with intense steam-rollers like "Memories Of Blood And Gold" and "Buried Beneath A Thousand Dreams", the appropriately-titled "Descent of a Blackened Soul" throwing a few blacky strokes onto the contrived canvas which receives another lively injection from the speedy shredder "Letalis Deus" before the final "Funeral in the Sky" provides a logical summation of all things that have occurred previously, an encompassing all-instrumental odyssey with fast-paced skirmishes taking turns with deep atmospheric passages.
"Ageless" is a heavier, more pensive affair the band removing the more aggressive thrashier additives to a large extent. "The Magician" attempts something more brutal for a change, but its example isn't followed by too many other cuts if we exclude the short ripping "Invocation to Venus" this one also featuring outstanding performance by Boucher. It's the stomping seismicity of "To the Sea" which dictates the plot here, the nice idyllic ballad "A Chance to Say Goodbye" indeed being a chance to say good-bye as the last three tracks are demo versions of old songs.

The Forgotten Goddess Full-length, 2007
As Shadows Burn Full-length, 2009
Ageless Full-length, 2019

My Space

ECLAMPSY (URUGUAY)

This is retro death/thrash with a buzzy guitar sound and a deafening bass-bottom; the music some kind of awkwardly mixes slow atmospheric passages with very fast ones recalling early-90's Messiah, but the bashing is taken directly from the Protector and Merciless textbooks; Morbid Saint are another close call. The singer is a brutal deathly growler but suits the aggressive delivery which becomes quite violent and brutal on the last couple of tracks those direct short bombs of fury, "killed" by the cool orchestral outro.

Extreme Feelings Full-length, 1994

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ECLECTIC SPAWN (MEXICO)

Based on "Panspermia", this act, which is virtually only one person named Martin Martinez (who also takes part in quite a few brutal underground acts including Yatrogeny) indulge in quite complex multi-layered progressive power/thrash which is strictly on the melodic side with numerous hooks from both the guitar and the frequently applied keyboard department. Things aren't deprived of energy completely, and "Dogon" is a nice speedster without any reduction of the complexity. The real highlights come in the second half when the guys really pull out a show of technicality on the Iron Maiden-influenced "Panspermia" and the atmospheric brooder "Hercolubus". The situation remains interesting till the end if we exclude the increased presence of those keyboards which overtake the guitars on quite a few times. The singer is another fine addition with his versatile clean emotional performance, but music-wise it's a bit all over the place, sounding overdone, having the feeling of a larger-than-life opera which still has a lot to say so one shouldn't be surprised if part two appears not long from now.

The debut is an even more elaborate affair with a more brutal sound bordering on death metal, but still quite pre-occupied and busy with two monstrous compositions present where one will get lost easily whereas the two shorter ones are not bad at all with their more justified claims at clever technical thrash/death. Martinez is obviously quite ambitious as evident from his impressive workload, but even after the sophomore effort the critical remarks remain: this is too full of music in order to be properly appreciated even by the progressive metal lovers.

Noosferic Full-length, 2006
Panspermia Full-length, 2012

Official Site

ECLIPSE (HUNGARY)

Based on the debut demo, which is just two tracks, this act specialize in intricate progressive thrash which provides too much for it to be swallowed after just one listen. The guys thrash with gusto and the more elaborate moments come with the necessary amount of intensity and quirky rhythms which intercept each other without annoying the listener. The numbers are long and there's a lot happening within the only complaint coming from the side of the vocalist whose indifferent semi-clean croons lack emotion and dramatism which could have been fitting to the serious musical approach. The sound quality is a bit muddy taking away from the melodic hooks and leads scattered throughout.

Demo Demo, 1990
The Man with Capitals Demo, 1992
Soft Orange Full-length, 1997
Ageless EP, 2001
Slowsonic Full-length, 2006

Official Site

ECOCIDE (GERMANY)

The stylish Oriental intro with the engaging title "This Soil Shall No Longer Bear Fruit" will enchant you big time, but later on the listener will come across a heavy crusty blend of doom and thrash metal with the Oriental motif still around. The singer is a girl, and her rendings are more in the sinister black metal camp although the musical approach may remind you of the first two Sacrilege albums with more concentration on the slower doom side of the style.

Ecocide Full-length, 2011

Official Site

ECOCIDE (HOLLAND)

The debut: quite cool old school thrash/death metal with strong echoes of early Pestilence and Death's "Spiritual Healing". The album is a blend of many tempos which are spiced with clever more semi-technical decisions. "Eye of Wicked Sight" and "Unknown Disease" keep respectable speed throughout, but the other compositions mix the pace sometimes reaching more complicated, quasi-progressive heights ("Terror From Beyond"; the more engaging closing technicaller "Beneath the Flesh") not far from Death's mid-period. The singer is the staple low-tuned death metal growler who doesn't make himself very clear, but his presence is by all means authoritative.
“Metamorphosis” is another assured tasty recording, the guys again clinging more towards the death metal realms, with the imposing violator that is the title-track, “Terminus” a delectable technical proposition with stylish swirling riffs. “Corrupted Reality” corrupts the reality big time with a handsome array of both fiery and intricate rhythms, the gradually accumulating drama on “On the Shores of Madness” the only more slow-burning moment here, if we exclude the several more tamed sections on the vortex “Vortex Singularity”. Expansive progressive heights are nicely reached on the entangled odyssey “Transcendence of the Mind”, whereas “The Flayed” merely rages with little restraint, warming up the listener for the arrival of “Among the Tombs”, another brief less restrained explosion of contrived hyper-active pyrotechnics.

Eye of Wicked Sight Full-Length, 2013
Metamorphosis Full-Length, 2023

Official Site

ECOLLAPSE (GREECE)

Based on “Dying with the Wolves”, this band play old school power/thrash which clearly has its heavy stomping side (“The Rise, the Fall”), the latter dominating the scene for most of the time, the guttural death metal vocalist by no means suitable for the mellow musical approach. “Cassandra's Dream” is a nice effective doom hymn, the possible highlight on this pedestrian entry which comes alive for a bit on the closing bouncer “Our Wine”.

Blood Season Full-length, 2014
Dying with the Wolves Full-length, 2023

Official Site

ECONOMIST (GERMANY)

A capable, albeit flawed, hesitation between the ruling 90's post-thrash and the classic power/thrash metal sound with a few more intriguing melodic "detours": the interesting semi-progressive "Innocently Introverted"; the semi-balladic "Flowing Thoughts", a really good composition with heavy overtones; the more dynamic thrashier "The Cage", and especially the really cool progressive power/thrasher "Environmental Funeral": an exemplary mix of heavy hard riffs and atmospheric progressive passages with a doomy shade. The guitar work isn't very crushing relying on mid-paced patterns with frequent adherences to the ballad on the longer songs, and the singer is a nice addition with his clean mid-ranged delivery. Some of the musicians had also released a solitary full-length of classic speed/thrash metal under the name Sudden Darkness while others had entertained themselves in a much more brutal manner with the death/grindcore "monstrosity" Ripping Entrails.

New Built Ghetto Status Full-length, 1994

Official Site

ECOPRAXIA (COLOMBIA)

Classic thrash played by the books with sharp ripping riffs and shouty death-ish vocals; the guys don't aim at the speedy parametres the whole time, and more variety is offered on the longer numbers ("Venganza") as the shorter material ("Inmolacion") is clearly oriented towards the headbanging side. "Vidas Abnegadas" is another more varied cut with progressive pretensions which opposes to the string of more immediate ragers that follow it.

Muerte y Dolor Full-length, 2017

Official Site

ECTOPIA (UK)

Based on the "Hate Release" demo, this act serve modern quarrelsome thrashcore which is pretty wild on "Move" before "Ground Down" calms the ball down with more temperate, choppy rhythms, the confrontational semi-shouty hardcore vocals doing their own damage on the side, the band notching up the dynamics for the rowdier chugger "Abuse". Some of the musicians were also busy with the death/thrash cohort Winter of Torment.

Hate Release Demo, 1993
Ectopia Demo, 1996

ECUADOR CADAVER (ECUADOR)

Raw abrasive old school thrash/death with brutal shouty death metal vocals; not the best mix of the kind in the world and quite noisy sound-wise as well. Squashing steam-roller riffs ala Bolt Thrower attack the listener on the slower material which is better composed, with bigger musical merits. A lot of the songs are kind of unfinished ending abruptly making this offering sound like a rehearsal rather than an actual official recording especially with the several ultra-blasting passages scattered throughout.

Dark Path of Blood and Fire Full-Length, 2009

My Space

ED'S ATTIC (HOLLAND)

A 3-track demo of heavy doom/thrash which sounds like a predecessor to the doom/death metal wave that started in Holland a few years later. The main vocals are clear death metal ones, but there's an annoying inclusion of clean ones as well which aren't too bad, but together with the brutal singing just don't make sense. The music is surprisingly melodic, with a touch of early gothic even, despite the presence of more intense thrashier riffs here and there.

Demo 1 Demo, 1988

EDDY (CHILE)

This act plays dry mechanical modern progressive thrash metal which is instrumental-only, but is diverse with jumpy hectic riffs and great, both melodic and technical, leads with an abstract edge. The tempo is mid to slow with occasional faster "outbreaks", and despite the not very big variety in terms of tempos, the constantly shifting rhythms and riff-patterns will keep you guessing till the end which is kind of underwhelming expressed in the form of a long 9-min doom/balladic lead-driven extravaganza ("9 MonteserranoParte2"), a slightly boring uneventful exit from this otherwise interesting effort where the lead guitarist should be given a medal for his outstanding performance.

Eddy's Bag Full-Length, 2010

EDEN'S FALL (USA)

A good new band who play a fusion of Bay Area thrash ala Testament and dark power/thrash metal in the Nevermore mould. The guys concentrate on heavy, not very fast riffage, and with more energy added on future works things might be better, like on the only more up-tempo track here: "Chemical Dreams", which is graced by cool guitar melodies.

Harmony of Lies Full-length, 2006

Official Site

EDGE OF ATTACK (CANADA)

This is mostly power/speed metal with obvious nods to the 90's heritage. The thrash comes in-between in a way similar to the legends from the guys' (and girls) homeland from the distant past Messiah Force. The approach here is perhaps softer with more intricate offerings in a way also reminiscent of Manticora. The title-track deserves its title being a prime melodic speed/thrasher, and a couple of songs later on follow its bright example. The male/female vocal "duel" serves its purpose to provide the necessary doze of drama and is actually quite capably achieved never taking too much space. This is a decent cross over several genres and as such should find a wider audience even among the progressive metal fanbase.

Edge of Attack Full-Length, 2013

Official Site

EDGE OF FOREVER (USA)

This is the offspring of Jon Bodan (also the prog-metallers Halcyon Way), who here settles for dark macabre classic power/thrash, the keyboard presence stifling the hard-hitting riffs on “Descent into Oblivion” a bit. “Terminal Decomposition” is an engaging progressive opus, but things go a few notches up complexity-wise on “Keeper of Eternity”, an 8-min saga with a wide array of tempos, some of those close to the fierce thrashing parametres. Another ambitious layout has been epitomized for “Banished from Darkness”, an epic power/thrasher ala early Attacker which also has a back-up in the form of the more nostalgically-executed “Extirpation First Person”. Bodan also provides a rough semi-shouty death metal-ish baritone, a not very fitting choice having in mind the lighter musical background.

Edge of Forever Demo, 1995

Official Site

EDGE OF HUMANITY (USA)

This is an extreme progressive metal mix with thrash leading the way death metal following suit closely, taking the upper hand on the creepy shredder "La Madre del Vicio". "Airlock 27" is stomping doominess on a more urgent, dynamic base; and "Battle of Dessau Bridge" is jumpy modern thrashisms. The second half is more complex the highlight being the elaborate speed/thrashing melee on "The Masks They Wear", with the moody industrialized oddity at the end "Dragged Under" a close second.

Existential Massacre Full-Length, 2016

EDGECRUSHER (GERMANY)

Epic modern thrash which is several times on the edge of falling, or "crushing", into Swedish melo-death ala Amon Amarth, but intense thrash forcers, like "Soulsaver" "save" the day. The tempos vary although the prevalent one is the mid supported by melodic, but hammering, riffage with the casual galloping delight ("Deeper Than Hate") thrown in on occasion. The singer is a slight distraction with his brutal death metal tone, but at least his rendings are comprehensive.

Forever Failure Full-length, 2006

Official Site

EDGEFLAME (TURKEY)

Based on "Liberate Then Separate", this act provide enjoyable classic speed/thrash with a very good bass bottom which compensates for the not very impressive vocal delivery which is more on the gruff semi-death side. The dynamic approach never gets lost becoming too melodic and carefree on the merry instrumental "301". The rest of the material kind of gets infected by it and in the second half the songs are more on the speed metal side recalling German heroes like Vectom and early Tyrant. No complaints since the high energy unleashed should keep the fans happy alongside the infectious melodies and the clever winks at the 90's power/speed metal movement.

"Beyond The Pale Carcass" carries on in the same vein with an increased presence of the speedier numbers ("Awaken for Reign") some of which are turned into more complex, more diverse speed/thrashers ("Deceived By Gods"). The title-track is an epic power metal mid-pacer, but it's energetic merry-go-rounders like "Feared Butcher" and the choppy, semi-technical closer "Prey In the Asylum" that keep the ball rolling on this entertaining opus.
"Bludgeon the Incarnated" thrashes hard from the get-go with the ripping "Providence at Dawn", and later on little mercy is shown with the near-death experience that is "Sacrilegious Inferior", and the semi-technical blitzkrieger "Alpha Steel Revival". "Chamber Scars" adds a more volatile, technical flavour to this relatively short effort which also features the brief stomping modern thrasher "Departure to Salvation", and can easily pass for the band's finest hour so far.
“In Vaulted Halls Entombed” moshes hard (“Death Rising Above”) at times, but the corrosive broodiness of “The Weak” is a sure highlight, alongside the fearsome violent “Violence Feared” and the melodic gothic-flavoured trot “Reverence, Rejection, Retaliation”. Hold tight to the consistent mid-paced march “Catharsis We Hope”, but make sure not to miss the final well-measured thrasher “Nothing Left”.

Load Another Bullet Full-length, 2014
Liberate Then Separate Full-length, 2016
Beyond The Pale Carcass Full-Length, 2018
Bludgeon the Incarnated Full-length, 2020
In Vaulted Halls Entombed Full-length, 2024

Official Site

EDIBLE (IRELAND)

This is primal dragging thrash/proto-death/hardcore which shares a lot with the doom scene as well, and creates the impression that the guys just have fun making some messy noisy music without having seen their musical instruments too much before that. A true underground head-splitter with not much actual music involved...

Edible Demo, 1993

EDICIUS (USA)

Friendly laid-back thrash/crossover with crisp brisk riffs and slightly confrontational semi-clean vocals. The approach straddles between heavy, somewhat clumsy modern-sounding pounders ("Fallen") and more dynamic classic-sniffing roller-coasters ("Back Against the Wall"), the clear sound quality facilitating both sides without being a vital ingredient.

Neckbreaker EP, 1996

Official Site

EDITOR (SLOVAKIA)

Based on the "Temple Of Abomination" demo, this band plays dark thrash/proto-death, and although the guitars are quite fuzzy, the music is intense and fast-paced. Overall we have a nod to the French school, and more particularly early No Return, since these guys also like to insert Bay-Area riffs from time to time. "Voices In The Darkness" is a good atmospheric instrumental, slower than the rest, boasting fine melodic lead work. "Stop Kdh" is the joke crossover number partially ruined by the gruff low-tuned throaty vocals. "Anjeli Smrti" is a nod to the technical school echoing late 80's Metallica.

"Dovidenia v Pekle" would be such a surprise to those who have only heard the band's early demos that it would be infinitely hard for them to believe that this is the same act. This album is anything but thrash; this is some very jolly amalgam of heavy metal, folk, funk, punk, and bubblegum (think Depeche Mode's debut, but with mote guitars). By all means skippable, unless you get very drunk and want to pogo around on a very unpretentious musical background.

"Zero Option" is a "zero option" for the band who are now just another act falling into groovy post-thrash mediocrity. This is grungy, alternative, playful and all in-between not really worth the thrash metal fan's attention.

Temple Of Abomination Demo, 1991
Shut Up! Full-length, 1994
Zero Option Full-length, 1996
Game Over Full-length, 2002
Realita? Full-length, 2004
Svet je Proti nam Full-length, 2006
Pod Parou Full-length, 2008
Dovidenia v Pekle Full-length, 2011

Official Site

EDWARD (USA)

Modern thrash with bold metalcore breaks and harsh shouty death metal vocals; sounds generic on paper, and by all means it is in reality regardless of the few more progressive pretensions detected on the longer material ("The Return"). The short explosive bursters ("Hate") work better, but their number is not big enough to oppose to the sprawling, meandering and ultimately one-dimensional nature of the rest among which "Infinity" can be cited as a more pleasant deviation with its more melodic, less repetitive configurations.

Edward Full-Length, 2018

Official Site

EERIE SIN (ITALY)

A cool take on retro power/thrash metal with brisk guitars, varying tempos, and a few references to the modern trends. The guys know their craft reflected in compulsive all-out moshers, like "Heretics Genocide" and the lively opener "Seven Seals". "Nature's Curse" spices things up with heavy doom-laden riffs, and "Atomic Wrath" is a nice exercise in semi-ballad with a jolly crossover ending. More heavy crushing riffs on "No Surrender", before "Bloody Truth" arrives with faster tempos and cool melodic leads. The closing title-track is an atmospheric mid-tempo number which again consolidates the band's fascination with the doom metal sounds here served on a stomping power/thrash metal base. The guitars have a dry mechanical feel which at times impedes the sharpness, and the singer has a decent mid-ranged clean throat although he should try to mix things up by venturing into the higher-pitched registers for the future which would suit the music.

The Price of Our Hate Full-length, 2008

My Space

EEZEE (AUSTRALIA)

Based on the full-length: modern 90's post-thrash which nicely speeds up quite often with energetic classic riffs ("Face The Pain": check the leads on this one) and generally the music isn't boring at all. "Time" is a nice, more classically-inclined speed/thrasher, but the meaty groovy guitars take over after that, better suiting the angry aggressive vocals. The singer actually hits the top with his standout performance on the semi-ballad "Creation" where he acquits himself with very cool clean vocals; this composition is quite good, by the way, despite its more moderate nature. Make sure not to miss the closing "Rise From Darkness" which is intense classic thrash at its best, successfully fighting with the couple of groovy sections thrown in.

The debut EP is another cool offering comprising the merry speedster "Colours", but don't expect too much speed or thrash metal on the mellow heavy metal anthem "Chase The Wind". The modern side of the genre acquits itself with the pounding proto-groover "Cyber Christ", but "Time", also featured on the full-length, cancels it big time ably helped by the closing optimistic energizer "Virtual Reality", a crossover-styled number with a catchy shouty chorus.

Matter Of Attitude EP, 1993
Rise From Darkness Full-length, 1995

EFFIGY OF MADNESS (AUSTRALIA)

Heavy pounding retro thrash/death which carves its way with either friendlier more relaxed rhythms ("Cold Blood", the balladic atmospheric "Evelyn") or with more aggressive riffage ("Streets Of Violence"), the melodic semi-technicality of "My Name Is Death" the sure highlight, the lead guitarist trying to steal the show on that one, beating the harsh shouty death metal vocalist in terms of proficiency every bit of the way.

As the Pages Burn Full-length, 2021

Official Site

EGGHEAD (HOLLAND)

Three tracks of fairly cool retro progressive thrash of the choppy, jumpy variety with abrupt time and tempo shifts, but generally residing within the mid-tempo confines. The overall delivery comes as a mix of Acid Reign, Blind Illusion, and Midas Touch when the guys speed up. "Juvenile Ditty" is a spastic hectic proto-death technicaller with expressive bass support; and "Sorehead" is a volatile funker ala Mordred' "In This Life" with frequent intense speedy escapades and a couple of truly schizophrenic, surreal riff-layouts taken straight from the Thought Industry textbooks. "Not About Me" thrashes hard again with clever, overlapping rhythms of a less predictable crunchy nature also reminiscent of the obscure progressive thrashers Forced Entry, plus a surreal semi-dissonant passage ala Voivod. This is a nice unusual entry into the classic metal canon at a not very right for the genre times, consequently failing to materialize into anything more substantial.

The Bleeding Obvious EP, 1993

EGO DIVIDED (ITALY)

This formation serve modern thrash that contains numerous harsh sterile riffs, some of those choppy and not very predictable ("Fearless Reason"), others pensive with semi-balladic overtones ("Formula"). "Infinity" is another ten-ton hammer, and "Cry Your Name" is a dynamic shredder with a few intriguing technical decisions, the total contrast to the creepy minimalistic, also fittingly titled, "Worms". The vocals are semi-shouty/semi-clean with a more attached blend when needed.

Ego Divided Full-length, 2024

Official Site

EGODEATH (USA)

This is dynamic classic speed/thrash which is predominantly built around brisk urgent headbangers ("The Abyss", the carefree speed metal-ish "Air Raid") and occasionally more moderate power/speed metal compendiums ("Nailed It"). The semi-shouty death metal vocalist doesn't quite fit the more light-hearted side of the album (the optimistic shorter "Ways Dead"), but his authoritative tirades add further to the intense nature of this offering.

Make Sure It's Dead Full-length, 2023

Youtube

EGOISTIC (POLAND)

Based on "Critical Negative", this act play a hyper-active mixture of power, speed and thrash the latter taking the upper hand on remorseless bullets like "Metallic Taste of Blood" and "Disregarded" while other cuts like "Blackening Matter" are examples of a more flexible, more complex song-writing recalling Nevermore and Eidolon. There are ballads ("The Black Seed", the closing "Silence Follows the Murder") and galloping speedsters ("Implosion") on this diverse roller-coaster which also boasts a versatile performer behind the mike, ranging from passionate clean croons to apocalyptic death metal shouts. Reportedly on the first two efforts the band played a more melodic brand of classic heavy/power metal.

No Sleep Full-length, 2011
Sacramental Devotion Full-length, 2013
SuperEgo EP, 2015
Critical Negative Full-length, 2017

Youtube

EGOKILL (COLOMBIA)

This formation specialize in intense blitzkrieg old school thrash which will "kill" all "egos" around also adhering to the odd spasmodic blast-beat ("Welcome To The Violence") on occasion. The approach becomes more playful here and there ("845!", the optimistic hymn "Withstand Daybreak") with shades of crossover, but comes "Christ Anxiety" which will bring "anxiety" not only to "Christ", but to every other, holy or unholy, listener in the vicinity with its uncompromising fiery riffage. The final "Mortal Enemy" is more moderate, but its choppy delivery isn't bad aptly accompanied by the attached shouty semi-clean vocals which are always able to hold some melody despite their high-strung nature.

Destroying the Vibes Full-Length, 2013

Official Site

EGONTOR (COLOMBIA)

This band play interesting intense thrash which is on a semi-technical base with a good tempo alternation and brutal low-tuned death metal vocals. The guys boldly venture into death metal on the more elaborate "Fuerza Subliminal" which shreds with brains serving quite a few tempos and more intriguing riff-patterns. "Furia" is excellent technical thrash sustained in a fast pace which becomes furious and deathy at some point in a way quite close to Pestilence's "Testimony of the Ancients". This is a really promising start which should make quite a few heads turn if the guys manage to find a wider exposure.

Furia EP, 2009

Official Site

EGZEKUTHOR (POLAND)

Based on the second demo, the band play cool high-speed technical thrash bordering on death metal at times, akin to Infernal Majesty's faster material, or Massacra and Hellwitch. The songs start in a heavier stomping manner (these elements also spring up sometimes in the middle serving as breaks from the intense delivery), but later develop into fast aggressive bombs, at times on the edge of falling apart. "Degenerated Madness" will spare you, slowing down, increasing the technicality including nice melodic touches, but this is the only track where the guys don't come out with all the guns blazing.

The band's full-length debut is finally a fact, and is a very good work on all counts. The music isn't very fast anymore and death metal is almost nowhere to be heard; the technical leanings aren't that stressed on which could be considered a drawback, but could be caught here and there. This is very well executed retro thrash with several mellower moments: the slower power/thrasher "Powroty", the stomping "Wodnik", which boasts the greatest lead guitar work on the album. The rest is up-tempo recalling the more aggressive nature of the band's earlier efforts on the closing "Bo Jak Metal" which also reminds that the guys were quite technically-inclined in the not so distant past.

"Hateful Subconsciousness" includes all the songs from the demo of the same name, the remaining tracks being in pretty much the same vein: very cool thrash/death metal with a clever technical edge. "Immortal Sinner" is a sweeping speedster, pure death metal all the way which sets the tone for what's to come, the remaining material being way more death metal-fixated played at high speed with early Death and Massacra the prime influences.

Czas Sumienia Demo, 1988
Hateful Subconsciousness Demo, 1992
Zuk Demo, 2004
Bo Jak metal Full-length, 2008
Hateful Subconsciousness Full-length, 2009

Official Site

EIBON (GERMANY)

Based on the "I'm the Womb of Rebirth" demo, this formation serve dark pounding thrash/death with potent thick riffage and guttural death metal vocals. The choppy more intricate nature of "Forgotten Soul"" isn't covered as extensively elsewhere, "Hallucination" experimenting with some jazzy tunes, whereas "Separation" is a steady mid-paced trot. Some of the musicians were also engaged with the retro thrashers Trisect, later they founded the gothic metal outfit Into the Void.

I'm the Womb of Rebirth Demo, 1994
Sounds of Depression and Light Demo, 1996

Official Site

EIDOLON (CANADA)

One of the finest Canadian metal acts of the past 15 years, this band based their debut more on power metal, infused with a few progressive passages which is quite surprising since their "Blue Tape" demo from 1994 featured great instrumental speed/thrash, really heavy stuff with a very good production and a standout performance from Glen Drover; that's why "Blood Rain" at the end comes as a complete surprise, thrashing out with an almost death metal-like intensity. "Seven Spirits" was a nice step in the right direction, stepping firmly on a thrash metal ground featuring awesome both technical pieces and heavy crushing ones. The staple razor-sharp guitar work of Glen Drover has been fully implemented here and it remains the main characteristics of the band's style. All-out fast numbers like the aforementioned "Blood Rain" from the debut are nowhere to be found, but your soul will be taken by the brilliant instrumental "Tribal Fury" where the fury is in the form of up-tempo technical guitar work mixed with swirling head-spinning leads, rather than any headbanging parts.
"Nightmare World" contains some of the band's most interesting material, and indeed, the title-track which opens the album, is a really worthy take on dark heavy power/thrash. "Eye of Illusion" beats it in terms of speed, unleashing great aggressive riffs in a way no worse than the often-cited "Blood Rain". No more speedy surprises of the kind as the rest of the songs are in the band's trade mark brooding mid-pace.

"Hallowed Apparition" follows on the path of its predecessor adding fuel to the fire with dynamic speedy thrashers like "De-Evolution". "Coma Nation" one year later thrashes even harder, with the title track being a full-on intense speed/thrash with several subsequent songs almost reaching its intensity. "Apostles Of Defiance" is a step down from the last three efforts seeing the guys obviously tired with their busy schedule, especially Glen Drover whose talents impressed first King Diamond, who recruited him in the late 90's for a couple of albums, and then Dave Mustaine who at the time when this album was released, had already managed to secure his presence for the recording of the new Megadeth album "The System Has Failed" (Mustaine also acquired the services of Glen's brother, Shawn, at the same time who's still a full-time member/drummer of Megadeth; Glen is no longer there). The misleading volcanic "Volcanic Earth" and "Demoralized" thrown in the beginning cheat big time offering full-throttle aggressive thrash, only to be followed by monotonous lacklustre power metal songs based around elaborate progressive structures finished with the colossal, but ultimately flawed, 10.5-min "Apathy for a Dying World". This album was completely overshadowed by the released the same year Best of Compilation "Sacred Shrine" which revealed some of the band's best kept secrets, and some of their best performance: the raging thrasher "Black Rain" which is actually the original version of the aforementioned "Blood Rain", the excellent lead-driven instrumental "Race with Time", the marvellous cover of Fates Warning's "Silent Cries", all these ably assisted by a couple of songs taken from their "Blue Tape" demo included at the end.
Then the Drover brothers had to focus on Megadeth and they helped a lot in that band's restoring its older glories, which resulted in abandoning their work with Eidolon for about three years, when they were back in 2006 with "The Parallel Otherworld". The band' singers through the years have never been anything too special to talk about, neither of them being too bad, but having always been a weak spot. The new release saw them equipped with Nils K. Rue, one of the true greats behind the mike of recent years, who had left the Norwegian progressive metallers Pagan Mind earlier. With this flaw finally corrected, it seemed as though the guys would hit the top. Well, not exactly: the music presented here is a departure from the band's biting razor-sharp delivery replaced by a kind of a continuation of the complex progressive style of the already not really impressive "Apathy for a Dying World" from "Apostles Of Defiance". Consequently most of the compositions are long, easily reaching the 7-min mark; on top of that the guys have chosen to open the album with the longest one, the title-track which lasts for more than 11-min (!) and is hardly the best song the band ever composed staying in mid-pace the whole time, seldom livened up by the occasional more stylish sharper hook. The fast aggressive thrashers which were present on every album from "Seven Spirits" onwards, are gone, and now there is nothing offered to dissipate the monotony which was already too characteristic of the preceding album. The King Diamond/Mercyful Fate fans will be delighted to hear the cover of "The Oath" from "Don't Break the Oath" at the end where the vocal performance is simply outstanding, resembling the King himself quite a bit, with Rue unleashing those unholy very high-pitched shrieks almost identically. Yes, the vocals have finally been brought on level with the music; the problem is that now the music's level has dropped, and we'll see how long it'll take for the Drover Brothers and Co. to go back on track.

Zero Hour Full-Length, 1996
Seven Spirits Full-length, 1997
Nightmare World Full-length, 2000
Hallowed Apparition Full-length, 2001
Coma Nation Full-length, 2002
Sacred Shrine Best of/Compilation, 2003
Apostles Of Defiance Full-length, 2003
The Parallel Otherworld Full-length, 2006

Official Site

EIEN (GREECE)

This is dark modern post-thrash with a strong presence of groove and inevitable shades of doom, the latter sections kind of not suiting the not very emotional clean vocal delivery, which comes with a harsher flavour on the heavier moments. This is moody monotonous stuff which moves forward without many digressions from the established formula livening up on the more intense, jumpy riffage ("Behind Lies") involved at times.

Closure Full-Length, 2010

EIGHT LEGGED HORSE (USA)

This is modern rough thrash with harsh death metal vocals which come both hysterical and shouty. The music goes more towards the slower epic fields, and holds the front there with a few imposing battle hymns (the aptly-titled "March/Ambush at the Temple of Odin"; the slightly faster band name carrier). There is also the requisite amount of melody involved, but this maze of heavy officiant riffs, spiced with the odd spontaneous outburst of aggression, will not hold water for long.

12.12.12 EP, 2012

EIGHTBALL CHOLOS (USA)

Stoner/doomy post-thrash, expectedly slow-ish, but with good melodic guitars which hit the top on the leads; the speedy moments are not many at all, and the doom metal fans will definitely be left happier after this. There are two people involved in this project, one of whom, Tracy "G" Grijalva, has done service with DIO (R.I.P.). The guys played classic thrash under another name, The Warning, during the mid/late-80's.

Satan's Whore Full-length, 1996

EINDHOVEN (RUSSIA)

This unknown Russian entity indulge in complex classic thrash which crosses the classic with the modern school, emitting a lot of energy from ragers like "Eternal Danger", and even from long complex shredders like "Tyranny". The album has its more lyrical side (the tender lead-driven instrumental "Your Hair Flowing Like Rain (Tap 'N' Harms)") the latter making progressive opuses like "The Time" more attractive, but also quite contrasting with aggressive thrashing "monsters" like the closing "Dead Viking". The sound quality isn't great at all the guitar coming with a very thin layer, and the singer is also affected by it since his otherwise not bad clean tirades are sometimes stifled by the constant hissing background.

The Age of Tyranny Full-Length, 1999

EINHER (POLAND)

The EP shows crusty modern post-thrasherism which is heavy and pounding without too many faster surprises, but emits a consistent monolithic sound in a dynamic mid-tempo and catchy sing-along choruses ("Skinheads": the guys are Nazi-oriented). Some fine melodic lines have been thrown in and generally this is mellow stuff with decent melodic clean vocals with a slight more aggressive shade, the recording suffering a bit from the buzzy guitar sound.

Morderczy Amok Full-length, 2002
EP. EP, 2009

My Space

EISENHAUER (GERMANY)

Based on "Blessed Be the Hunter", this act offer merry uplifting heavy/proto-thrash/post-thrash which wins points from the cool soulful vocals; music-wise this is friendly stuff in mid-tempo the guys notching the pace up for the bumpy "Ghost Warrior", but such moments are rare as the band are obviously more interested in slow-motion developments, also touching doom (the closing "Cult") on a few occasions.

Never Surrender Full-length, 2013
Horse of Hell EP, 2015
Blessed Be the Hunter Full-length, 2020

Official Site

EJACULATE (HOLLAND)

"This is not real": based on the "They Are Not Real" demo, these guys offer raw corey thrash with a pretty bad sound quality. The music is quite amateurish with distorted guitars, messy rhythms, and very bad shouty deathly vocals, which are desirably missing on the tender, by the band's standards, instrumental "Let's Calm Down". It's surreal, and quite excruciating, to hear how this ultra-messy approach can be sustained during whole 11-min on the epic basher "Subconscious Attack" which will seriously damage your "subconscious" beyond repair. Later this act mutated into the death metal outfit Abscess with the drummer Richard Willemse later joining Within Temptation (!?).

They Are Not Real Demo, 1990
Germicide Demo, 1991

EJECUTOR (CHILE)

Based on the full-length, this act provide aggressive classic thrash/death which has its calmer moments ("Sabbat") as well as the casual more technical sweep ("Posesion") all this wrapped in a fuzzy dark production which gives the guitars a hissing chainsaw-like flair which is accompanied by dark guttural death metal vocals. Some blast-beats sneak into the album adding more to its intense deathly aesthetics.

Malefico Soldado de Lucifer EP, 2010
Avance LP EP, 2011
Tiempo Profano... Tiempo Divino Full-length, 2013

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EKHYMOSIS (CHILE)

Based on "Nino Gigante", this band plays power/thrash metal with a somewhat pop-ish sound which at times is downright annoying; on their sophomore effort they completely abandoned the thrash metal idea concentrating on the abovementioned pop-ish sound.
"Paz con Cadenas" is a dignified rise from the ashes the band thrashing with passion without following any particular trends on the scene mixing the pace relying more on the heavy mid-paced, pounding rhythm. "Despertar" is a pleasant semi-ballad, but make sure to run for cover on the next rager "Retroceder". Still, the speedy numbers aren't that many, and in the second half they get overtaken by mellow power metal anthems which merits are debatable.

De Rodillas EP, 1991
Nino Gigante Full-length, 1991
Ciudad Pacifico Full-length, 1992
Amor Bilingüe Full-length, 1995
Ekhymosis Full-length, 1997
Paz con Cadenas Full-length, 2016

Official Site

EKTOMORF (HUNGARY)

Based on the EP: this is groovy post-thrash with a more playful jolly attitude and a couple of jumpier sections; the approach for 3 songs works all right, but a whole album of this heavy proto-stoner riffage may be a tiring experience. And indeed, "Redemption" is a kind of that experience blending heavy post-thrash with even heavier doom riffs which now are pure doom on quite a few times. To some this may be the better choice, especially when we have nice semi-balladic doomsters like "Sea Of My Misery" where the vocalist abandons his gruff shouty tone for the sake of a more emotional cleaner delivery. There are several attempts at a faster play ("The One"), but they come with a strong hardcore colouring.
"The Acoustic" features the same post-thrash, this time even softer with an alternative shade, and with an overuse of balladic passages, as though to justify the "acoustic" title. So don't look for a lot of riffs here: this is tender dreamy stuff.
"Black Flag" is a much more aggressive offering without breaking any boundaries beyond the realm of post-thrash although quite a few bolder thrashy breaks ala Machine Head can be heard (the dramatic shredder "Unscarred"). The riff-section is super-heavy the whole time squashing everything in its way ably supported by the shouty angry Phil Anselmo-sque vocals. Fans of the 90's aggro-trends will by all means rejoice listening to this sincere downpour of volcanic guitars and groovy patterns without a tad of sophistication or a hint at melody. A few shorter tracks near the end show the guys' infatuation with the more dynamic hardcore sound ("Fuck Your God"), but those "lyrical" digressions can not possibly detract from the monolithic seismic assets of this effort which shows the band back in shape sounding like a worthy replacement of Pantera in the new millennium.

"Retribution" is a dragging groovy affair which loses the charm the previous album had, and sounds plain boring for most of the time. There's very little sense to be made from this seismic steam-roller stuff which contains very little to be remembered by, if anything at all.

"Aggressor" channels Sepultura's "Roots" and as such is the more intense proposition to its predecessor even notching it up towards death metal heights (the title-track, the aggressive basher "Evil by Nature") here and there, but these angry, aggro-rhythms have said their final word ages ago and it would be really hard for any modern practitioner to really offer anything new in this trend. At least these tireless Hungarians don't give up trying...
"Fury" is an angry furious slab of modern thrashcore which boasts admirable headbangers like "The Prophet of Doom" and "Infernal Warfare". "Tears of Christ" is a ten-ton heavy groover, but watch out for the brutal death metal outrage "Blood for Blood", and especially the remorseless ripping closer "Skin Them Alive" which is very close to capturing the visceral power of Sepultura's "Beneath the Remains".
"Reborn" isn't radically different from the preceding offerings, the band moshing with gusto all around, relying on both restless headbangers ("Ebullition") and surprisingly lyrical escapades (the semi-balladic title-track) to pull it through, the heavy squashing rhythms on "And the Dead Will Walk" frankly bordering on doom. "Forsaken" is an intriguing, again semi-balladic, doom-laden proposition which shows bigger musicianship on display, an all-instrumental tractate that shows a not previously revealed side form the band's repertoire.
“Vivid Black” doesn’t break any new ground, the band blending more atmospheric dirgers (“I'm Your Last Hope”) with energetic jump-arounders (”Die”), the groove taking over (“I Don't Belong to You”, “Fade Away”) slowly but surely, the lyrical semi-balladic title-track displaying more post-thrash drama, before "You Belong There” moshes with bigger verve and rowdy thrash-fixated propensity.

The Gipsy Way EP, 2010
Redemption Full-Length, 2010
The Acoustic Full-Length, 2012
Black Flag Full-Length, 2012
Retribution Full-Length, 2014
Aggressor Full-Length, 2015
Fury Full-Length, 2018
Reborn Full-Length, 2021
Vivid Black Full-Length, 2023

Youtube

EL CARO (USA)

Noisy modern thrashcore, industrially-decorated and quite messy with sudden tempo switches and awkward balladic insertions. The second half is plain dull the band abandoning the fast pace settling for ridiculous grungy, groovy tracks which only saving grace is the thundering bass which this bad release just doesn't deserve. The vocals are just awful shouting in a terrible syhthesized way adding additional noise to the already intolerable picture.

Lifestyles Of The Damned Full-Length, 2013

ELBERETH (SPAIN)

Based on "Arimak Pizturik Dirau", these Spaniards play melodic modern thrash with edgy riffs, sweeping melodies, and gruff semi-clean vocals. Elements of the 90's power/speed metal scene can be felt on the faster sections (the soaring galloper "Bakardadearen Senide"). The guys shred with competence, although the dominant mid-pace may wear out at some point, despite the undeniable charm of the ballad "Iraganaren Doinua" which is nicely boosted by appropriate violin tunes. The closer "Sinismen Galdua" is at least a more energetic thrasher featuring a nice catchy chorus, the latter pretty characteristic for the band.

"Itzalitako Izarren Lurraldea" follows the same path, mild pleasant power/speed/thrash with a concentration on melody with speed and power metal taking over this time still keeping the dynamics high albeit taking away from the sharpness of the guitars. The dominant pace is mid with several more speedy surprises (the furious crescendo on "Itzalitako Izarren Lurraldea"; the optimistic fast riffage on "Egin Bedi Nire Nahia"; the dramatic tempo switches on the closing anthem "Garai llunak"), and the feelgood atmosphere never gets broken although this pretty decent, albeit safe and pedestrian, approach to song-writing would hardly elevate the band to the upper echelons of the genre worldwide, and even in their homeland.
"Karma" is strictly for the modern thrash lovers with its digitalized guitars and the groovy implements. The sense of melody hasn't disappeared completely ("Patu Beltza", the closing atmospheric balladic instrumental "Will Remain"), and graces at least half of the tracks, opposing to the more hard-hitting nature of some of the material ("Usainik Ez Inguruan").
"Omen" is a decidedly more aggressive entry into the band's discography, the moshing qualities of "Gau Ilun Batean" hard to disguise, the dramatic swagger of "Sorginak" another bouncy addition. The diverse contrasting saga "Apostasia" is severely juxtaposed against the less pretentious groovy jolts of "Jarraitzaile Bila", and by all means against the officious semi-balladic lustre of "Izarrak".

Gaueko Ilargia Full-length, 2007
Arimak Pizturik Dirau Full-length, 2009
Itzalitako Izarren Lurraldea Full-Length, 2012
Karma Full-Length, 2017
Omen Full-Length, 2024

Official Site

ELDERGAAD (USA)

The full-length: these newcomers offer off-standard, minimalistic technical power/thrash executed in a hectic mid-pace with creepy, intelligent riffs and good mid-ranged clean vocals. The opener "Cult of the Void" would be a misleading piece, developing in a pensive doomy fashion, until the faster thrashy second part hits. "Ruination" is a serpentine technicaller in the best tradition of later-period Coroner and Unleashed Power. "Malevolent Imprint" is a more intense, stomping number which sets the tone for a couple of songs before "Aristocracy of Lies" loosens things up with more dynamic riffage. "Nocturnity" is a more ambitious progressive composition recalling Hexenhaus quite a bit, both the Swedes' early and later period. The remaining two tracks stay on a more complex ground as well although their consistent mid-tempo character may wear out by the end; still, the dramatic, steam-roller guitars on the closing "Wormtongue" may be considered a pleasant closing touch. This is a really cool effort which could have shown more persistence in the technical department, but for the moment it could be viewed as a promising beginning with a pinch of originality.
The EP elaborates things quite a bit with long compositions the opening "Solvent/Your Undoing" alone being 8.5-min and will spin your head more than once with its spital-like structure and puzzling rhythms and time-signatures. In other words, the complexity is by all means preserved and the overall picture even sounds way more complicated now "Godeaters" being an eclectic minimalistic jumper with quirky decisions ala Coroner's "Grin" and Aftermath (USA, Chicago). "End The Same" is a twisted semi-headbanger which crosses the last two Coroner albums in a mind-scratching, vortex-like way the final damage done by the closing "The Radiant Abyss" (which is two parts, the first one being just a dialogue sample): a labyrinthine hallucinogenic progressive thrash opera with echoes of Mekong Delta and Psycho Symphony, an offbeat achievement seeing the band going into a more abstract, but no less tantalizing, direction. To be continued...

Children of Gaad Full-length, 2011
Day Zero EP, 2012

Official Site

ELDERS OF THE APOCALYPSE (USA)

This is ultimately raw, pristine black/death/thrash which comes as one big, rarely penetrable, wall of chainsaw-like noise, from which the leads will pierce your brain big time. The guys play with the utmost intensity with grindcore present more than what the good taste would allow, consequently sounding quite close to the Australians The Berserker on the more brutal, shorter, material. The singer merges with the rest although on the higher tones one could distinguish utterly agonizing, evil guttural shouts coming straight from "the very bowels of Hell" (hello, John Milton! (or was it William Blake?). At present the guys are busier with their other project: the death/grinders Your Kid's On Fire with whom they have two full-lengths released so far.

The Law of Iron Full-length, 2011

My Space

ELDRITCH (ITALY)

These guys have taken their name from the Watchtower song "The Eldritch" from "Control and Resistance", and indeed, some of the Americans' complexity can clearly be felt on the band's debut, although to talk about thrash metal on this one would a bit stretching since its base is the 80's American power metal sound infused with nice complex progressive arrangements and very heavy crushing guitars. "Headquake" harden the course quite a bit lashing steel sharp riffs in an admirable progressive power/thrash metal fashion, although the fast direct explosive thrashers so typical for the band's later works, are only slightly hinted at ("Erase" is a nice up-tempo headbanger). The really heavy guitar work remains, recalling both Eidolon and Nevermore, but the riffs here weigh more. "El Nino" spreads its wings wider, and apart from the established classic power/thrash metal base we also have modern elements with a "sniff" of groove, as well as keyboard-infused sections directly taken from the 90's power/speed metal scene. Still, this effort thrashes quite hard on a few times, although in a not as fast, mostly mid-paced, manner.

Then the band took a well deserved lengthy 3-year break, for better or worse, which saw them coming up with "Reverse". The modern thrash hints made earlier have now taken a full hold on the sound, and this effort is a crushing heavy riff-fest, again not far from Nevermore, the difference coming mostly from the presence of the keyboards: the only reminder of the past which the band have decided to preserve, and, of course, the excellent clean emotional vocals of Terence Holler. The complexity has been decreased considerably, and for most of the time the album develops in a less elaborate, but quite a satisfying, modern technical thrash fashion. The only downpoint is the cover version of the horrible The Knacks' "My Sharona" which for some idiotic reason has enchanted quite a few metal acts through the years (including Destruction). This shift in focus, however, left quite a few of the band's old fans cold who were not happy with this modern and less progressive transition.

It took the guys another three years to produce a follow-up to "Reverse", but it was really worth the wait. "Portrait of the Abyss Within" is a great blend of the more modern sound, introduced on the predecessor, and the old more progressive-inclined one. As a result there is something for everyone here: from all-out direct bombastic retro thrashers to complex labyrinthine sections, to pounding heavy modern groovy passages, to really nice melodic ballads (which are actually a trade mark of the band, being present on each of their efforts, sometimes even more than one). "Neighbourhell" is not a radical departure from the previous album, but the guys have gone over the top a bit on the shorter material, which is really fast aggressive thrash, touching proto-death with ease on the most intense moments. Those numbers would definitely be a delight to the headbangers, but combined with the mellower more elaborate compositions (both styles alternate throughout the album almost track-by-track) create a starking contrast to the point that one may get the impression that the two sides have been composed during different periods of the band's career.
"Blackenday" is the band's most straight and least complex achievement. From a thrashy point of view it holds quite a few surprises, by the way, with a very hard-hitting modern guitar sound which brings this album very close to "Reverse". "Silent Flame" is the prototypical Eldritch power/thrash opener, in a good mid-tempo, nice chorus, and fine more aggressive breaks. As expected, the next one "The Deep Sleep" speeds up, and is another traditional for the band faster thrasher, again graced by a cool catchy chorus. "The Blackend Day" is a nice heavy semi-ballad, followed by the steam-rolling modern power/thrash number "Why" in a pounding mid-pace; no more mentioning of the good choruses. "Black Rain" is again for the headbangers, thrashing more intensely, after which comes another semi-ballad: "Broken Road", but this one is edgier than the first, and better. "Rumours" is a laid-back track, with a shade of gothic ala mid-90's Paradise Lost, and is the most progressively-sounding one of the lot. However, the guys never let this album lose steam, and we have "Frozen": a great speed/thrasher with mighty sharp guitars, and more classic-sounding. "The Child That Never Smiles" jumps on the groove wagon, and is a bit clumsy and slow, saved by the great chorus. Time for more moshing around with the dark faster paced "The Fire", and the other progressively-charged number "Shallow Water Flood" which is a nice mix of hard riffage and softer parts which again recall Paradise Lost in a very good way. "Never Dawn" is a not very impressive ordinary modern power metal closer which again doesn't forget about the gothic theme: will this trend be later developed by the band, only time will tell...
A big 4-year gap is finally put an end to with "Gaia's Legacy". The gothic leanings are, fortunately, nowhere to be found, but the synthesized, boosted edge of the guitars remains. Still, this is not a big detriment the guys pulling out another good performance for the creation of a new opus which lyrics are this time centered around the global warming phenomenon, and the measures taken against it to save the Earth from extinction. The dark, sharp riffs of the opening "Deviation" already promise a lot of thrashing with again the expressive dramatic vocals of Terence Holler providing the more melodic relief. "Our Land" is another crushing, dynamic composition, but the overuse of the keyboards (which are a constant presence here) kind of stifles the guitars' edge. "Vortex Of Disasters" is a steam-rolling number with heavy riffage and a few technical sections followed by the staple ballad, appropriately named "Mother Earth". "Everything's Burning" is exemplary hectic, technical thrash, pretty fast as well, with a great melodic chorus. "Thinning Out" is a more relaxed power/thrasher with another memorable chorus, but "Like A Child" admirably speeds up again, also boasting a few heavy, smashing sections. "Signs" is the traditional for the band's early days progressive metal cut with a more relaxed, semi-balladic approach, before "Thoughts of Grey" switches on complex thrash once again, this time not as fast, with a slight adherence towards the ballad which gets a full grip on the following "Thirst In Our Hands (Dry Tears)", this cool effort finished with a good cover version of Fates Warning's "Through Different Eyes". The band have done well again, staying true to their roots by sounding fresh and inspired, although some may mourn the relative lack of those short, aggressive thrash metal pieces which offered such a good break from the band's more complex style not too far from now.
"Tasting the Tears": the band are not expected to leave their comfort zone which they established about 10 years ago, and their experimental ventures are not given a big chance here. Still, this new vehicle is not bad at all and almost beats everything between now and "Portrait Of The Abyss Within". A dynamic power/thrasher ("Inside You") opens the proceedings offering both aggression and melody in almost equal dozes. The title-track carries on with more speed and thrash still preserving the progressive tones not without the help of a few interesting keyboard implements. Ballads ("Alone", "Iris") are inevitable, but exposures to stomping speedsters like "Waiting For Something", or brutal headbangers like "Something Strong", may cause major neck-sprains to the less prepared. Still, the middle is occupied by shredding mid-pacers with Nevermore-sque overtones which should please the fans despite their more laid-back character. The guys have provided an expected "cocktail", but in this case its predictable nature is more on the positive side.
The 1991 demo is already a really promising beginning for the band although at this stage the music is more in the power/speed metal mould ala Attacker and Liege Lord with occasional more stylish progressive flourishes. Still, there's plenty of dexterity to be savoured, the virtuous picks on "Dark Cage Of Sin" which can even qualify for Helstar's "Nosferatu" with its stop-and-go rhythms. Gallops and the semi-ballad shake hands in an admirable way on the atmospheric "On A Thin Wire", before the title-track shoots a portion of sharper proto-thrash riffs into the aether from where they're picked by the cool speedster "Mad Destiny" which shows the musicians at their impetuous best. For the first couple of official releases the band retouched the speed and brought forward their more elaborate spirit which here shows its head above ground not daring to break the steady flow of hard fast-paced riffs. Terence Holler is still on a semi-rehearsed level, but his high-strung antics are not bad a companion to the music, and his emotional string is already in the air hindered by the muddy sound quality which seems to disfavour him the most.
The 1998 demo is the band's best hidden secret supposedly containing leftovers from the "El Nino" recording sessions. It's a small gem of intense technical power/speed/thrash which starts with the sweeping speedster "Sparkling Vision" which soaring nature proves infectious for the following "In My Will", a short mosher with a nice memorable chorus. "Unfairy Tale" is a heavy mid-paced shredder its brutal chugga-chugga riffs a precursor to the approach later epitomized on "Reverse". "(Dead)icated" slackens a bit with its more romantic semi-balladic rhythms giving a chance to the lead guitarist to show his abilities more fully.
"Underlying Issues": there are quite a few "underlying issues" to be discussed here, but I suggest we concentrate on the overlying ones; and they tell us that the Italian progressive powerhouse have done a very good job once again. The opener starts it all with energetic, moderately complex passages, but "Hate Sex" hardens the course with a memorable main motif on top of some impetuous mechanical thrashing. "Don't Try" is the typical for the band more laid-back semi-ballad, and the following "Never Coming Home" is a close companion to it. "Resistance" is a serious mid-paced "razor" recalling "Reverse" except in the melodic lead guitar department. "We Crawl" is an overlong ballad, the only more seeming filler here; but "Hey Girl" raises the dynamics lathe higher the latter brought to the top by the edgy power/thrasher "Once Is Enough". "Don't Look Down" is a jumpy Nevermore-sque shredder with a nice memorable chorus, and "Fight Back" is a calmer closer with lean progressive elements. The nice surprise would be the bonus track "We All Bleed Red" which is a furious speed/thrashing melee, the most aggressive composition unleashed by the band. Without offering anything radically new, the guys keep the high quality of their output, and not only but they have also found time to release another fine album the same year under the name Ensight.

"Cracksleep" is another sure-handed entry into the band's already voluminous discography, and although it bears no surprises for the guys' diehard fans, it delivers the goods in leaps and bounds, starting with the edgy thrasher "Reset" with Holler's traditionally excellent emotional vocals providing the melodic respite. The staple mid-paced stompers ("Deep Frost", "Night Feelings") are also around, but the listener may be captured more profoundly by the razor-sharp thrash-fixated progressivers like "Aberration of Nature", and not so much by peaceful balladic walkabouts like "My Breath" and the keyboards-infused "As the Night Crawls in". Still, there's seeping aggression everywhere to be savoured here the band beating even "Reverse" in this term, thrashing with a more pronounced gusto also thanks to varied shredders like "Voices Calling", and the prevalent cutting edge of the guitars which only gets lost on the mentioned mellower pieces, and the closing melancholic elegy "Hidden Friend".
"Eos" is a more complex, more progressive achievement compared to its more simplistic predecessor, the band reminiscing over their early/mid-00's period, combining the more sterile delivery from "Reverse" with the more expanding entanglements from "Portrait...". The only minus on this very well-executed opus is the absence of the staple brisk fast-paced thrashers. Expect longer compositions with numerous motifs embedded, the dramatic power/thrashers "Failure of Faith" leading the pack, the composed mid-paced stride of "The Cry of a Nation" pacifying the spirits despite the very surprising presence of a deathly throat (could have been pulled off by Holler?). The shadow of the extinct legends Nevermore rises on the formidable shredder "Circles", preparing the listener for the arrival of the gigantic 11.5-min odyssey "Sunken Dreams", the guys' longest achievement, a multi-layered saga based on bouncy hectic rhythms and a few semi-balladic stopovers. There are also two ballads (the nice atmospheric "No Obscurity", the moody lethargic "I Can't Believe It") as well as two rowdier thrash-prone excursions ("Fear Me", "The Awful Closure"), the title-track relying in heavy doom configurations to warm up the audience for the closer, a nice dynamic version of Bon Jovi's "Runaway".
“Innervoid” is a true masterpiece of complex though-out progressive power/thrash, and for some this might as well be the band’s finest hour. Its admirable musical gravity shines bright from the get-go with the formidable steam-rolling “Handful of Sand”, a belligerent yet poignant roller-coaster which thrashes with subdued moderation, the resultant seeping drama finely sustained by “Born on Cold Ash”, a pounding piece with a great chorus provided by the ever-reliant Holler who pulls out standout performance all around, needless to add. “Elegy of Lust” is a friendlier shredder, later mirrored by the more soulful balladic “Wings of Emptiness”, its more streamlined lustre proving contagious for the elevating keyboard-infused saga “To the End”. The optimism roams free once more, on the catchy infectious hymn “From the Scars”, but comes “Lost Days of Winter” and the thrashing urgency returns with full force, but this is a more pensive progressive journey with brilliant pounding digressions, the final result one of the band’s greatest achievements, not to mention the supreme melodic lead sections. “Black Bedlam” boldly borders on morose ship-sinking doom, the instilled blackness dissipated by the roaring thrasher “Forgotten Disciple”, a most glorified way to end this first-class entry, which might annoy the purists due to the excessive at times use of the keyboards.

Reflection of Sadness Demo, 1991
Seeds Of Rage Full-length, 1995
Headquake Full-length, 1997
El Nino Full-length, 1998
Demo Demo, 1998
Reverse Full-length, 2001
Portrait Of The Abyss Within Full-length, 2004
Neighbourhell Full-length, 2006
Blackenday Full-length, 2007
Gaia's Legacy Full-length, 2011
Tasting the Tears Full-Length, 2014
Underlying Issues Full-Length, 2015
Cracksleep Full-Length, 2018
Eos Full-Length, 2021
Innervoid Full-Length, 2023

Official Site

ELDRITCH (JAPAN)

The strong 80's Japanese thrash metal scene experienced a strong recession in the next decade with many of its representatives' music having mutated into various modern styles with just occasional hints at thrash. This album is a cool mix of thrash, speed, power and heavy metal, with a nod to the Bay Area heroes in the thrashier sections. The problem is that, like it happens with many other Japanese bands, the music ventures into more melodic territories quite often ("Pig Blood Blues", "Lifemaker", to name a few), losing considerably its edge. However, the presence of good headbangers like "Moon Hawk Project" reminds of the former glories of Japanese thrash.

Blood Breed Calls My Name Full-length, 1993

Official Site

ELDRITCH FLAMETHROWER (USA)

This is just one song (guess the title) of crisp classic thrash with speed metal tendencies, plus a not very controlled blasting death metal ending break. Good edgy music supported by weaker semi-death metal vocals.

Human Barbeque Demo, 2011

ELDRITCH RITE (USA)

A first-rate demo of speed/thrash metal which will make you mosh more intensely than some full-lengths released around the same time (Blessed Death's debut, Destructor, Anvil Bitch, etc.). The overall style resembles Helstar's "Remnants of War" and Sentinel Beast's "Depths of Death", but this effort is more energetic than both. You can hear great melodic guitar lines supported by stylish intricate riffs and cool mid-ranged vocals which nicely follow the guitar melody at times.

Demo Demo, 1986

Official Site

ELECTRIC ASSAULT (USA)

This is old school power/speed/thrash which is one the optimistic side with covert crossover nuances, the high speed epitomized for a large portion of the time resembling Whiplash's seismic debut, "Total Maniac" and "Sweet Rocking Angel" disturbing the peace with their wild rhythms, the hysterical vocals ala Tony Portaro (Whiplash again) probably not very suitable for the meeker power/thrash presentation "Necromancer" and the heavy officious quasi-epicer "Witches Dance", the man finally finding the right pitch for those mellow moments on the rock-ish filler "Sold Souls", before "Secular Grave Beneath the Hills" restores some headbanging normalcy with brutal death metal riffs, the vocal accompaniment again changing according to the music swings to a convincing guttural deathly baritone. Some of the musicians are also involved with the power/thrashers Dark Mirror.

Shocked into Coherence Full-length, 2024

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ELECTRIC CHAIR (CROATIA)

Classic power/thrash metal of the less intense variety with progressive overtones; "The Sultan of Evil" is a nice Oriental doom/power/thrasher, but the rest isn't as striking if we also exclude the energetic speedy opener "Brainwashed".

Electric Chair EP, 2009

ELECTRIC HATE MACHINE (POLAND)

A pretty uneven mix of thrash and death metal with a noisy fuzzy sound quality with elements of hardcore/crossover thrown in as well; the music isn't constantly fast and there are times when the guys just plainly entertain themselves, pulling out jolly merry crossover to which the aggressive low-tuned death metal growls don't suit quite well.

Souls to Steal Demo, 1997

My Space

ELECTRIC HELLRIDE (DENMARK)

This is heavy post-thrash stoner/doom which is dynamic and catchy with playful qualities and jumpy frolic rhythms. The guys know hot to rip you apart with seismic volcanic riffage ("Fighting Alone"), but the laid-back roller-coaster approach seldom gets lost; neither do the rough semi-shouty vocals which possess both passion and authority. Some of the musicians are also involved in another formation, NAFT, where the style is pretty much the same.

"Hate.Control.Manipulate" is less dynamic with a bigger concentration on the stoner/doomy side the heavy steam-rolling riffs flowing from all sides to drown the listener in a pool of sludgy heaviness which still possesses the optimistic spirit reflected in the merry leads and the uplifting vocal delivery which is shouty and hoarse, but without the detrimental quarrelsome character dominating this type of music.
"Praedam" is more seriously constructed with more dynamic configurations as well, with elaborate heavy weights like "Access Manifesto" and the excellent death/thrashing complexer "The Ghost Army" those nicely contrasting with the more immediate blitzkrieg material like "Death Zone". "King of Suffering" is another engaging, this time closing behemoth which covers a fairly wide ground during its 8.5-min including a brilliant balladic epitaph amongst several raging death metal atrocities.

Charged EP, 2010
Hate.Control.Manipulate Full-Length, 2012
Come Darkness, Come Light EP, 2014
Praedam Full-length, 2017

Official Site

ELECTRIC PUNISHMENT (USA)

Based on "Pressure Spike", this "electric outfit" specialize in edgy power/thrash along the lines of Heretic and early Metal Church. The material develops in a sharp mid-pace the good singer leading the show with his high-strung clean-ish timbre reminiscent of Bobby "Blitz" Ellsworth (Overkill) and David Wayne (R.I.P.; Metal Church, Reverend). "Blastrophysics" starts thrashing with might, but such moments are really a rarity the guys seldom "ruining" the established pattern with any noisy deviations.

Inverted Messages Full-length, 2005
Pressure Spike Full-length, 2013

Official Site

ELECTRIC SHOCK (BULGARIA)

This obscure Bulgarian outfit pulls out classic thrash metal trying to follow mid-period Sepultura for most of the time playing tight and fast, but the very buzzy noise created by the guitars would be a pretty big obstacle for the listener to fully enjoy this album; which is a pity since the leads are quite good, both melodic and technical, and the riff-work is not far behind being fast and intense. The songs are varied, some being speedy exercises in retro thrash, others serving heavy pounding rhythms. There's an unexpected cover of the Dutch techno-dance masters Two Unlimited of their most famous hit "No Limit", here called "Electric Limit", which isn't very appropriate, sustained in a merry optimistic crossover manner having not much to do with the much more serious brooding tone of the rest. Afterwards the thrashing carries on with the nice diverse instrumental "Clap-Trap" (what's that?!) and a couple of other vigorous pieces until another instrumental "Scotch", this time short and semi-acoustic, closing this cool effort with style. The singer is gruff in a way similar to Max Cavalera, and the leads are a delight to listen to all over providing the finest moments played effortlessly making one want to hear this guy perform with a better sound and with better side-support.

Die with Emotion Full-Length, 1993

ELECTRIC VENGEANCE (USA)

A hyper-active thrash/crossover amalgam that refuses to lay passive and dormant; "Vengeance" is served with a healthy amount of electricity here which will "electrify" you also with a portion of nice semi-technical riffs and quite a few infectious melodies (check out "Electric Harry"). The diversity's quite big also offering speed metal, crossover, squashing meat grinders ("Meat Grinder") the gorgeous melodies always leading the show making this album a cool refreshing, unpretentious merry-go-round.

Manic Possession Full-Length, 2015

ELECTRIKEEL (SPAIN)

Based on the full-length, this act serve right as rain retro thrash which with covert echoes of hardcore ("Beer Fueled Machine"), the Motorhead-ish frolicer "Cold Fire, Dark Light" another outburst of energy, the vehement speed/thrasher "Kingslayers" another gust of less bridled energy, the shouty death metal vocals toning it down for the epic heroic battle anthem "Hate Eternal".

To Protect and Sever EP, 2019
Straight Outta Depths Full-length, 2023

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ELECTRO CHARGED (GREECE)

Crunchy old school power/thrash which instills certain pogo-like atmosphere with the rowdy opener "Servants & Kings", but it's the slow-building patiently-woven layout of "Release the Hounds" that provides the leitmotif, "Circle of Life" being a really effective heavy ballad. The vocalist is a steady but not very emotional semi-clean throat, trying something more belligerent on the fierce speed/thrasher "Into the Pits of Hell", but is missing from the closing semi-balladic atmospheric saga "Lethe & Mnemosyne".

Reign of Deception Full-length, 2024

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ELECTRO QUARTERSTAFF (CANADA)

A talented act from the land of technical metal, not betraying the reputation of their motherland, indulging in fairly complex music, comprising progressive, modern thrash and a tad of death metal; at times a pretty wide amalgam coming close to the controlled chaos of Toby Knapp's "Guitar Distortion". This is purely all-instrumental stuff the guys shredding quite wildly making some passages not a very easy-to-swallow experience due to the overabundance of time and tempo-changes. There are certainly intense headbanging moments, but they generally last for a short time, since the band are eager to carry on with the constant change of rhythm every odd second. Still, this complicated orchestration doesn't fall apart, and fans of the technical side of the genre will by all means be delighted.

"Aykroyd" is a more laid-back affair and could be considered the band's "Traced in Air" (hello, Cynic!) in this sense, the guys toning down their brutal busy musical approach which on "McNutty" develops in a rather peaceful, still quite head-scratching, pace. "Waltz of the Swedish Meatballs" is already a wilder affair shredding with a nice shade of melody and the odd more brutal stretch towards death metal. "Unholy Gravy" is a very elaborate shred with cacophonous dissonances galore; strangely compelling stuff. "Descent By Annihilation Operation" is wild aggression with a few more melodic stretches influencing "The Blacksmith", and reaching the culmination on the short explosive technicaller "Stroganoff". The final "Japanese Upside Down Cake" is a multi-layered progressive extravaganza, containing a lot of complex music on a more moderate, melodic base which gets pretty addictive near the end despite its vortex-like qualities. Generally this effort is more restrained than the unbridled shred heard on the band's older works (for better or worse, depending on the taste), but as a work of though-out progressive music, it delivers on all counts.

Live EP, 2002
Swayze EP, 2004
Gretzky Full-length, 2006
Aykroyd Full-length, 2011

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ELECTROCUTIONER (USA)

Based on the full-length, this US trio deliver speedy dynamic retro thrash which comes with a more abrasive sound quality, with both the title-track and “Collector's Debt” moshing with overt glee and little restraint, the more melodic embellishments of “Throne Possessor” with the mellower power/thrash heroics of “Seven Lamps of Fire”. The more technical closure “Asleep at the Wheel” is another positive occurrence, as are the hoarse subdued but effective death metal vocals.

48 Hours 'Til Termination EP, 2021
Escape from the Catacombs EP, 2022
False Idols Full-length, 2023

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ELEGIA (MEXICO)

Retro speed/thrash exercised here for most of the time, the galloping courtesy of the title-track finely merging with the pleasant mid-tempo layout of "Suicidio", the main peace disturber here being the growling death metal vocalist. Rowdier more bellicose gallops ("Dulce Agonia") served later, the epic officiousness of "Defiendete o Muere" bordering on power metal, "Avaricia" putting an end of the softening process in the band's repertoire with wilder less tamed configurations.

Tiempos de Caos Full-length, 2022

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ELEGIA (USA)

A decent entry into the speed/power/thrash metal hybrid which starts in a not very convincing way with the prototypical cheesy 90's speed metal anthems "Ellos Son" and "La Llorona". Things don't get much better after the sleepy balladic "Pobre Humanidad" and the ordinary mid-tempo power metal hymn "Manipulacion Mental", and to some of you the patience may run out here. The more patient ones will be delighted to hear the furious speedster "Fin del Pacto" and the edgy constantly galloping progressive number "La Traicion de Luzbel", but the thrash metal fan should spare his/her energy for the end which is in the form of the brutal shredder "Temor Asesino". Sadly, surprises of the kind aren't that many.

Almas En Pena Full-length, 2008

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ELEKTRASH (PERU)

Based on "Recycled Noise": these guys score high in the modern progressive post-thrash department, mixing direct headbanging riffs with numerous atmospheric/gothic/industrial elements resulting in a fairly intriguing, albeit frequently uneven, listen. Surely electronic variations could have been left out ("System"), as well as pointless balladic outros ("Celula Madre"), but the band is determined to add more and more originality to the proceedings, and here comes the brutal industrial death/thrasher "Morphine", and the tender, but quite good ballad "In Every Dark Place". This is far from an easy listen, and sounds kind of unfinished, like a draft for something "better" to come. It would do no harm to try and track down this "Anemone"... The band richly deserve their name, by the way with the constant electronic/industrial element present in their music which one should either learn to love, or hate with passion.

"Filosoffa del Caos" is more aggressive although the electronic/industrial implements are present on almost every track, and the variety is not that big. Every song develops in the same way: very fast passages take turns with electronic atmospheric breaks, and out-of-nowhere comes a groovy break to make the listener even more confused. There's a Deep Purple cover towards the end of "Bloodsucker" which is the best song; one thumb up as well for the intense industrial thrasher "Nuestra Existencia" at the end; but that's about all.

Excusa para Morir Full-length, 1998
Filosoffa del Caos Full-length, 1999
Recycled Noise Full-length, 2000
Anemone Full-length, 2001

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ELEKTRIX (USA)

Based on the full-length debut, this is "elektrix" modern thrash which is admirably fast for most of the time where shades of the old school can be felt. The thrashiness comes with an overt flair of hardcore ("We'll See You In the Pit!") here and there, but the loss of intensity is minimal, and moshers like "Aura of Fallen Dreams" will keep the smile on the fans' face wide including the varied progressive rhythms on the final instrumental saga "The Cries of the Oppressed/Political Anxiety".
"To the Other Side" offers a very similar fare the band moshing in a sterile, abrasive fashion still managing to present themselves as capable headbangers with energetic cuts like "Refuse Revolt Revenge" and "By the Thousands" amply provided. The middle is occupied by a string of calmer, progressive layouts, their oblivious veneer carved by the spasmodic skirmishes on "Purify" and the unadulterated classic thrash vigour of "Tied to the Kill".

Morbidity Full-Length, 2013
Obliteration Blvd. EP, 2014
To the Other Side Full-length, 2018

Official Site

ELEMENT (BELARUS)

Quite stylish all-instrumental thrash which rips through the speakers with the opening virtuoso shredder "Riot Energies" which indeed carries a lot of unbridled "rebellious" energy excluding the balladic interlude. "Attack" is another cut deserving its title with brisk lashing guitars and a few enchanting melodies. "Despair" is a lead-driven, Oriental-infused number of the semi-balladic variety, and the final "Meteor Rain" is another headbanger with melo-death overtones and several technical decisions bordering on the Canadians Quo Vadis.

Meteor Rain EP, 2016

ELEMENT (ITALY)

Modern groovy post-thrash which jumps up and down the whole time, the guys creating some dynamics although it's the serious doom-laden cuts ("N.O.N.R.") which attract the attention more with their dark hypnotic vibe. The hysterical overshouty vocals are quite a detriment, though, and the cleaner, more attached opposite are clearly the better option, both sides alternating irregularly, creating a lot of necessary drama on the encompassing diverse progressive opus "Obsession".

We Are What We Are Full-Length, 2018

Official Site

ELEMENT (UK)

Based on "Corrupt Desires", this formation offer modern mid-paced thrash which goes on on long, a bit monotonous tracks where nothing too interesting happens to hold the listener's attention except on the faster-paced "Dissipate" near the end, and on the more dynamic shredder "Contemporary Insanity". The vocalist is an appropriate mid-ranged semi-cleaner recalling James Hetfield at times.

Under the Influence Full-length, 2008
Corrupt Desires Full-length, 2011

Official Site

ELEMENTAL SICKNESS (BOLIVIA)

Based on the full-length, this act specialize in heavy retro thrash with brutal death metal vocals. The volcanic steam-rolling riffage goes on unabated the guys not speeding up too much "Sangre y Fe" being one of the exceptions, a nice energetic shredder. "Condena" displays some vigour as well, and with its more sophisticated fretwork passes for the highlight with the closing "Siempre Fuertes" a close second being another less ordinary more technical piece with varied rhythms and more frequent time and tempo changes.

Elemental Sickness EP, 2006
Cuanto Dolor Puedes Soportar Full-Length, 2017

ELEMENTO.6 (SPAIN)

Based on "My Watery Grave", this band provide wild industrial death/thrash which has energy aplenty including several less controlled blast-beating passages. The singer is a scary shouter who has range expressed in several brutal grunts, among some more intelligible cleaner attempts at singing. The songs are all short "bullets" shot with the maximum intensity coming as blends between early Fear Factory and the Brazilians Chakal's "Demon King".

Sinfonias de Muerte Full-length, 2008
My Watery Grave Full-length, 2009

Official Site

ELETTRIC (ITALY)

This is mild laid-back power/proto-thrash which knows its welcoming mid-paced tactics inside/out, often trying something more elegiac and balladic ("Hidden Inside"), "Paths of Hate" the most intimidating pounder here, the closing "Watch Me Become" another relatively vivid occurrence with a thin speed metal layer. The singer is a not very impressive clean mid-ranger, trudging behind without registering too many emotions.

Into the Brain Full-length, 2022

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ELEVEN STRINGS (BRAZIL)

Modern progressive power/thrash which suffers a bit from the abrasive buzzy guitar sound and the kind of monotonous mid-tempo approach. When the guys speed up ("The Maestro Of Chaos"), however, they pretty much hit the top including on the nice operatic shredder "The Last March", a stomping aggressor with a nice memorable chorus as well. The singer has a cool clean dark, emotional timbre which he doesn't strain too much, but leads the proceedings with panache without taking too much space.

Chaos and Creation Full-Length, 2015

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ELEVENTH HOUR (PAKISTAN)

Based on the "Lunging Snakes" demo, this act offer melodic modern/classic thrash which comes a bit unpolished the compositions being a bit overlong for what they offer, stretching the melodic deviations too much, and the cuts where the latter are missing seem to deliver in a better way: the lashing dramatizer "Lunging Snakes" which is vintage 80's American power/thrash with engaging Oriental motifs and some cool virtuoso leads. The singer has a deep semi-clean voice, but it often comes buried under the noisy instrumental part, and some refinement in the production sector is needed for the future to make this otherwise talented act shine brighter. Some of the musicians play more brutal stuff with the death/thrash metal formation Depletion.

Lunging Snakes Demo, 2007
Time For Murder Demo, 2008

Official Site

ELIGORIUM (RUSSIA)

Based on "The Newest Testament": the introductory piece "Vixilla Regis Prodeunt Inferni" is a scary weird track consisting of noises on a surreal organ background, and albeit quite a stylish touch, it has nothing to do with the rest which is covers-only of old heroes from the past: Venom ("Witching Hour"); Sodom ("Sodomy and Lust"); Celtic Frost ("Jewel Throne"); Destruction ("Invincible Force"); and Possessed ("Evil Warriors"); all of them relatively easy to recognize. The songs are competently done, but the guitar sound is really awful being very buzzy, chainsaw-like, and the singer semi-growls in a not very intelligible deathly manner, distantly recalling the early singing efforts of Tom Angelripper. The outro "Elements Of Immortality" is another oddity of the funeral doomy variety ending this short effort in the same bizarre manner.

My Hate... Full-length 2008
The Newest Testament Full-Length, 2011

ELIMINATION (SWEDEN)

The "Dead" demo: there's one guy responsible for the stuff here, his name is Leo Bjorkman, and he acquits himself with three tracks of serious ripping retro thrash ala early Deathrow and Necronomicon; in other words we have another German school worship done competently assisted by a very good sound quality and wild shreds interrupted at times by much more quiet, but stylish and appropriate, balladic interludes ("Attention"). "March of the Marching" indulges in a more moderate mid-paced delivery, but is another satisfying piece concentrating on music more the mean semi-high rasping vocals ala Mille not playing a very important role. The man looks well equipped to enter the thrash metal field as a full-lengther, and shouldn't waste his time releasing demos incessantly...

Elimination Demo, 2009
The Dead Demo, 2010

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ELIMINATION (UK)

A 6-song live demo of quite decent Bay Area-influenced thrash akin to Metallica (both their early and late-80's period) and their compatriots Xentrix; there are both heavy, semi-technical, and faster tracks here; the sound quality is a bit muddy, though.
"Destroyed By Creation" is a decent effort although the aggression of the earlier output has been diminished and the riffs are more modern-sounding sticking to the mid-pace with galloping outbursts, infectious melodic tunes, and generally it is seldom pure thrash, but comes as a mix of power, speed and thrash metal. The Bay-Area influence is only slightly hinted at on the more vigorous "Rising From The Grave", and on the technical headbanging smasher near the end "Hell's Battlefield". The rest is of a less striking nature creating a friendly relaxing atmosphere without too many intense moments.
"Through the Eyes of Madness" comprises of three tracks which continue the growing modern trends from the last effort consequently reducing the speed even further which again relies more on galloping riffs ("Prisoner of Tomorrow"). The songs' length has moved up a bit as well, and inevitably more interesting arrangements can be felt (the diverse pounder "Destroyed By Creation"); still, it takes more to win the thrash metal fans' heart who may feel a bit betrayed again.
"The Blood of Titans" is a similar effort with two of the tracks from the preceding EP present, for the production of another slab of modern thrash which this time is more intense, also introducing the odd more classic tune (the semi-galloping power/thrasher "Eyes of Madness"). "Prisoner of Tomorrow" is a cool more melodic composition with progressive shades and a very good sense of melody, mostly in the lead department. Generally the songs develop in a heavy mid-paced manner which may wear thin before the end, the situation partly improved by the more energetic, also fairly claustrophobic, closer "Claustrophobia".
"Echoes of the Abyss" is a varied but intriguing offering which mixes worthy dark progressivers ("Black Wings") with steady mid-paced power/thrash blends, the heroic epicness of "Price of Insanity" decorated by alluring melodic tunes. More pleasantries for the moshers in the form of the short raging "Victims By Design", the larger-than-life 10.5-min closer "Infernal" some kind of a spoiler, spending too much time in tepid semi-balladic waters and stomping battle-like histrionics.

Raw,Live And Still Evil! Demo, 2007
Welcome To Death Row EP, 2008
Destroyed By Creation Full-length, 2010
Through the Eyes of Madness EP, 2011
The Blood of Titans Full-length, 2011
Echoes of the Abyss Full-length 2021

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ELIMINATION (USA)

Thrash/crossover of the more aggressive type, reminiscent of Cryptic Slaughter, but certainly not as fast as the latter's early material; the guitar work here is maybe a bit better and more melodic (the leads).

Process Of Elimination Demo, 1989

ELIMINATOR (CROATIA)

A 4-song EP of retro speed/thrash metal in the spirit of Whiplash's "Power and Pain"; fast energetic music with harsh, not very pleasant semi-death metal vocals.

Front is Coming EP, 2007

ELIMINATOR (GERMANY)

A true dedication to their native land's old sound, passion also reflected in the guys' artistic pseudonyms: Atomic Fog, Venomancer, etc.): the opening instrumental "Raging Shrapnel Hail" will shatter your senses with its blitz"krieg" approach seeing the guys thrashing like demented the delivery carrying on on full-throttle on the following numbers. A bullet after bullet flies fast'n hard topped by the forceful semi-hardcore vocals which recite authoritatively for most of the time, but perfectly fit this raging downpour which matches every bit of the Deathrow debut showing its more lyrical face on the speed metal winner "Of Sheep, Shephards & Filthy Sermons" which is vintage early Angel Dust, an influence also evident on the next rager "Satana". "Tunes of Might" near the end slows down for the odd more epic rhythm. "Kill with Speed" after it will indeed try to "kill" you "with speed" being a smashing ultra-speedster, an approach which remains for the last two tracks. This is speed/thrash at its classic best, and as such the band could be viewed as one of the better purveyors of the thrash metal idea to come out of Germany in recent years.

Krieg Thrash Full-Length, 2012

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ELIMINATOR (LITHUANIA)

Based on the "Bombraid Over Vatican" demo, this act offers intense retro speed/thrash with early Destruction the main influence music-wise; in the vocal department the guy tries to sing, but fails most of the time producing unrehearsed semi-growls with a strong death metal reverberation. The title-track is a sudden aggressive Slayer-esque headbanger, and is a valuable addition to the speedy lashing material which is at times spiced by more stylish leads, but the very fuzzy guitar sound is a major detriment for any more ambitious musical attempts.
The full-length fulfils all the promises and the band leave no stone unturned with their blitzkrieg delivery which will squash you with the downpour of short raging cuts among which the opening "Vodka In The Morning" seems like a progressive ultra-opus with its 3-min length. Slayer (hear "Satan's Pact" for allusions to their hit "Black Magic") is a very close call as well as Evildead's debut and Viking's "Kill or Die" although this is more evil and venomous topped by the spitting semi-shouty death metal vocals.

Garage Demo Demo, 2007
Front is Coming Demo, 2007
Bombraid Over Vatican Demo, 2008
Out of the Vault Full-Length, 2015

Official Site

ELIMINATOR (USA)

This is a one-man project, going under the pseudonym Warchild, who uses a drummer to help him with recordings. On both demos the guy does a fairly good job, offering classic thrash, quite speedy, mixed with slower epic/war tunes; the style comes as a blend of the Brits Sabbat (there are some Slayer-esque riffs present as well) and Destroyer 666, both their early and later period.
The full-length debut is an elaboration on the material already heard on the demos: standout fast-paced thrash with vicious black metal rasps topping the speedy sharp guitars. The songs move in almost lightning speed, but never jump to other genres. The leads this time are quite good, albeit sharp, and the guitar work is generally quite proficient. Tracks like "Holocaust War Metal" and "The Punisher" are instant speed/thrash classics, mixing the best from the German and American scenes, the latter even scoring in the more technical department as well as the technical blitzkrieg speed killer "Service Your Leader"- a masterpiece of classic speed/thrash. The closing "Prescription for Extinction... Time Enough at Last" begins like a faster interpretation of Slayer's "Reign in Blood", but don't expect this to last through the whole 9-min, and the middle is graced by a slower, doomy section which is soon interrupted by the next assault that stops for a while again at the end, for a very good peaceful balladic outro. This album is a really pleasant surprise, coming out from an obscure, but deserving to join the upper echelons of metal, act.
"And the Brokenhearted Balladeers" would be quite a shock to the fans of the debut being a very eclectic affair concentrating on rock, blues, country and the ballad (well, the album-title is already a hint although ultimately hard to believe; but a fact), with only one track belonging to the metal genre: "No Answers" which starts as a wild thrashy shredder before degenerating into melancholic post-doom ala more recent Anathema, which is still way more preferable than the senseless romantic mish-mash heard for most of the time. The listener can not help, but feel betrayed here big time, and may lose his interest in tracking this mysterious sophomore effort, which sprang up suddenly into the band's discography out of nowhere.
"The One They Were Waiting For" is another mish-mashy extravaganza starting with the 18-min progressive death/thrash metal opus "Atish" which is quite an achievement in itself being an engaging, pretty aggressive at times as well, listen. The guys' melancholic side, however, jumps up right after with two tender ballads, the second one ("The Man in the Picture... To Become What One Is") brutally broken at the end with an ultimately blasting exit. Then comes "Honey Sacrifice" which is close to 20-min of diverse stuff ranging from merry crossover to traditional doom without reaching any heights music-wise. "Goodness is Dead... Enter the Black Hole, Fucker!" is an intense death/thrasher without any merits, all this brought with several sample dialogues thrown in-between the songs to no purpose, among a few more stylish quiet, dreamy interludes.
"No Friends No Trends" is a mix of old and new tracks the old ones prevalent to serve another familiar portion of old school thrash, but next time it should be based on a new material; now it seems as though the band are nostalgic about their aggressive past, but don't have enough new ideas to produce another invigorating headbanging feast.

...Will Kill You Demo, 2007
Eliminator Demo, 2007
Breaking The Wheel Full-length, 2008
The One They Were Waiting For Full-length, 2010
And the Brokenhearted Balladeers Full-length, 2011
No Friends No Trends Full-Length, 2012

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ELIPTIC (USA)

This is an interesting band in the way that it reminds of Fear Of God, the formation which "sheltered" Dawnn Crosby (R.I.P.) after her exit from Detente. Behind the mike we have a woman as well, and her semi-clean croons are very close to the ones of Crosby. The music is a similar mixture of thrash and doom metal clinging probably more towards the latter, but this isn't a complaint at all since the constantly squashing character of the music should keep the listener hooked, and also hammered. In this train of thought fast-paced passages aren't provided amply the band exploring the doomy side of their repertoire more extensively also doing a good job on the more balladic moments ("Cynical", "Stuck"). "Chariots Of Fire" speeds up a bit near the end to move the fans around who should be completely nailed by then, after which the band relax with a couple of slower, soulful pieces "courting" the blues as well.

Evolve Or Die Full-Length, 2016

ELKS BLOOD (USA)

These Americans pull out energetic modern thrash/death which is sustained in a dynamic fashion not relying on speed too much with cool melodic implements and the obligatory slower tracks ("Blades of Osiris") which carry a lot of drama without falling into the epic Amon Amarth-esque "traps". The singer has a forceful death metal throat who is always intelligible distantly recalling Johan Hegg (Amon Amarth again).

Demo Demo, 2010

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ELLIPSIS (FRANCE)

This talented French outfit are one of the more prominent practitioners of complex progressive metal on the contemporary scene their music being a diverse amalgam of styles thrash metal playing a fairly important role, mostly during their mid-period. "From Beyond Thematics" is a nice fusion of heavy crushing guitars and keyboard tunes creating dramatic atmosphere recalling the Swedish scene of the late-90's: the last Hexenhaus album, Memento Mori, Pathos, Fifth Reason, but the French are more complex and ambitious. There are frequent adherences to the ballad in the middle resulting in a couple of sprawling mild compositions. Harsh more aggressive modern exercises in modern thrash await the listener near the end ("Dark Sensual Nymph", with a nice doom twist as a finishing touch), but the tempo throughout most of the album is slower, and rich on mood with a gothic flavour.

"Imperial Tzadik" is a good slab of multi-layered progressive thrash which starts crushingly with the heavy stomper "Perfect Rage" which doesn't promise much progressive, but the title-track springs up, an ambitious composition immersed in a dark semi-doomy environment ala mid-period Moonspell. "The Witness Tree" is an atmospheric groovy post-thrasher completely canceled by the dynamic thrashing rhythms on the next "A Box in Ocean" which get dissipated in the second half due to surreal quiet lead-driven passages which last for too long to be a very nice touch. More stomping groovy post-thrash on "Tribal Misericordia" before the gothic-tinged semi-ballad "Possessed by Dilemna" that may stretch the nerves of the more thrash-prone section of the metal fanbase who will have another go on the dark Nevermore-influenced "Temple of Anarchist Empire", and on the heavy pounding "Green Kommando" which turns to doom metal near the end. But "Liquid Machine X" does a further damage with sharp intense riffs also falling under the detrimental tendency of the band to diminish the aggressive guitars in the second half. The closing instrumental "Kingdom of Hate and Green" is an interesting, albeit flawed, progressive number which tries to sum up all that's been heard so far, and succeeds to an extent using mid-paced thrash as a base on which more melodic keyboard-flavoured passages supersede the overlong balladic intro; good, maybe a bit monotonous, stuff. The singer hesitates between a more emotional and a gruffer, more authoritative, style, but he should have hit the higher registers more often to better suit the varied nature of the music; his constant mid-ranged timbre lacks the emotion and melody carried by the guitars and the keyboards.
"The Grace Decapitated" keeps the progressive saga going in a minimal creepy manner which may take some time to adjust to since the delivery in the beginning is dark modern post-thrash which marches forward in a not very exciting, monotonous pace. Although things start moving around in the middle and beyond this album remains a not very impressive affair due to the band's determination to retain the sleepy edge of the guitars which near the end slow down to balladic dimensions pulling the album beyond the chances for redemption. As a whole this is a serious step back and not a very worthy epitaph for a once promising act.

Build The Nation EP, 1999
Comastory Full-length, 2003
From Beyond Thematics Full-length, 2004
Imperial Tzadik Full-length, 2006
The Grace Decapitated Full-length, 2009

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ELM STREET (ITALY)

This is raw semi-amateurish old school thrash which comes served with a not very pronounced crossover sting, the galloping urgency of "The Mortal Present" the obvious highlight, if we can ignore the really bad unrehearsed gruff vocals which ruin an otherwise not bad lyrical ballad ("Only Women Dead""). The title-track possesses some unpolished speed metal-ish charm, but the rest is below par, not to mention the very murky sound quality.

Under the Crucifix Demo, 1989

ELOI (USA)

Based on the debut, these lads serve laid-back pedestrian post-thrash with an alternative flair which goes well on the hard riffy background. The sleepy moments, which are prevalent, are at times interrupted by more vivid insertions which make this album not such a total waste of time, and may even try to entertain the stoner/doom metal lovers in the second half where there are a few references to this scene including a cool soulful ballad ("I Know You're the Way") as a finishing touch.

Degrees of Freedom Full-length, 1997
Mold Full-length, 1999

Official Site

ELSE (GUATEMALA)

Five songs of all-instrumental symphonic speed/power/thrash metal mixing fast furious sections with calmer semi-balladic ones; the music has an edge, and comes close to the Polish Hellfire on the more extreme moments ("Until My Last Breath", the crushing monster "The Wolf's Lair"). The guitar sound is a little thin, and the concentration is more on riffs and hooks, with not a very wide coverage of the lead performance, like it used to happen a lot on the all-instrumental works.

Deus Ex Machina EP, 2009

Official Site

ELVARON (FRANCE)

Elvaron's style is mostly progressive/epic power metal with a slight presence of thrash, of the classic and not very fast type, on the first two albums. Both albums are cool affairs, "Mages Battle" being the more immediate and thrashier with shorter songs and edgier riffs. "The Five Shires" shows the band taking themselves quite seriously elaborating their approach a lot the culmination being the 30-min opener "The Five Shires" which is clearly the longest opener in metal history and is a small album in itself, although the level of musicianship is not that big and the riffs and patterns keep getting repeated over and over. The other songs on that same album are like hard/grindcore outbursts compared to this one although the shortest one is just over 5-min. The last two efforts show the band having found the way to play quality complex music although thrash is almost completely gone. Still, they should be given a listen by all fans of well-executed metal although for the longer compositions one still needs to have more patience some of them going over the 10-min limit with ease.

Mages Battle Full-length, 1997
The Five Shires Full-length, 2001
The Buried Crown Full-length, 2005
Gravitation Control System Full-length, 2007

Official Site

ELWOOD BLATCH (CANADA)

Five songs of typical modern thrash/death metal "courting" the Gothenburg school spicing the typicality with the odd more technical hook. The approach is melodic with mid-period In Flames an obvious influence so don't expect too many speedy surprises. The guitarists do a pretty decent job, though, and it may be good to focus later on the more clever arrangements.

Set vs Horus EP, 2009

Official Site

ELYREAN (UK)

This is cool progressive retro thrash which has a fair amount of energy as well, the band lashing with passion on sophisticated shredders like "Unhallowed" and "Distorted Reality", and generally there's no intensity lost the shorter material ("Blacken the Sun") qualifying for a couple of death/proto-death tussles, those more brutal ambitions also spearheaded by the shouty death metal vocals. Some of the musicians also play with the black metallers Saarkoth.

Blacken The Sun Full-Length, 2019

Official Site

ELYSIUM (CZECH)

Based on "Nine Ways to Leave", this band plays modern thrash which mixes stylish semi-technical decisions with heavy groovy passages without forgetting about the Swedish thrash/death metal heritage. The album has both its fast headbanging and slower atmospheric side the latter nicely boosted by the short, but great, acoustic instrumental "The Last Sunrise" near the end. On the last two songs, however, the guys let the moody doom riffs take over losing the speed completely.
The debut is a more straight-forward affair sounding quite close to the Gothenburg patterns, consequently seldom offering anything more inventive. The groovy spectre isn't very widely covered and generally the dynamics is quite big albeit of a fairly predictable nature. The singer is an expressive death metal shouter, and he overdoes it a bit on the higher tones in a way not too different from early Anders Friden (In Flames).

Private Hell Full-length, 2007
Nine Ways to Leave Full-length, 2009

Official Site

ELYSIUM (GERMANY)

This is modern power/thrash with an abrasive guitar sound recalling other German acts like Face Down Hero and Perzonal War. Expect a generally friendly approach with the obligatory adherence to groove ("The Arctic Pull") as well as a couple of more aggressive, also more classic-oriented, outbursts ("The Anatomy of Pain") which also come with angrier, more brutal death metal-ish vocals as opposed to the prevalent melodic clean ones.

The Measurement of Life Full-length, 2017

Official Site

ELYSIUM (USA, Florida)

An impressive demo coming from this very little known band from the heydays of the genre; both fast and slower tracks could be found here. The sound pays tribute to the Bay-Area Scene: Metallica, Testament, Vio-lence, as well as Kreator's more technical period ("Coma Of Souls").

Inspired Hatred Demo, 1989

ELYSIUM (USA, New Jersey)

Based on "Coal Black", these guys offer state-of-the-art progressive power/thrash with echoes of Toxik's "Think This" and Watchtower's "Control and Resistance". The guitar work is both melodic and sharp, but the pace is mostly mid, and heavy pounding riffs ala Sanctuary, and respectively Nevermore, can also be caught ("Minion Of Fate"). "Pyrrhic Victory" is a nice turn to technical thrash with "Ninth Hour" a close companion to the latter also offering something in the headbanging department near the end. Still, this little gem remains a pretty complex affair with the puzzling riffs and the meandering arrangements also boasting a very good sound quality. The singer is really a "sunshine" (this is his artistic pseudonym) with his very cool melodic clean delivery reminiscent of later-period Eric AK (Flotsam & Jetsam), never high-pitching, never attempting anything gruffer either, but managing to sound emotional and attached the whole time.
The debut demo is a much more immediate affair, but it thoroughly satisfies again due to the the rigorous speed/thrashing rhythms which branch out into less speed-prone histrionics ("Scrambling Possession", but watch out for the smattering galloping mid-section) which also include the cool semi-ballad "Self Indulgence". "Specimen" is a full-on speed/thrasher with tasteful melodic embellishments, and the closing title-track is the first sign that something more ambitious and more compelling would appear on the horizon with its more intricate configurations and more meandering rifforamas.
The "Smoke & Mirrors" demo would be quite a disappointment for the band fans presenting them in a fairly light form with thrash completely removed from the equation. The sound now is mild progressive metal with a few interesting quirks ("Siren") teasing the listener who will still find something to like on this not entirely convincing career epitaph.

Tortura Demo, 1989
Coal Black Demo, 1990
Smoke & Mirrors Demo, 1991

ELYSIUM SHIFT (UK)

Based on the “Above Us All” EP, this is modern 90’s post-thrash which marches along in a fairly familiar fashion, with playful grooves (the title-track) mixing with more relaxed punk/crossover rhythms (“The Passing”), the friendly playful layout epitomized for “Nothing Left but Emptiness” aptly supported by decent semi-passionate clean vocals.

Above Us All EP, 1998
Demo 2004 Demo, 2004
Buttons EP, 2004
Inhuman Nature Full-length, 2006
Ceaseless EP, 2018

Official Site

EM RUINAS (BRAZIL)

A cool 4-track demo of energetic speed/thrash metal in the vein of Warrant (Germany) and Helloween (the first two songs); "Morbid Pits" is a very cool aggressive track with a touch of hardcore ala Nuclear Assault partially ruined by the bad live sound quality. The other live recording: "Destructed Life/Dead City", is a cool speed/thrasher in the vein of early Whiplash.
The full-length expectedly contains all the songs from the demo (compare the titles) surrounding them with another four (there are two short intros/interludes as well) numbers which are in the same vein: retro speed/thrash metal with the Whiplash debut and early Razor the main influences, apart from the more stylish Germanic shades. The vocals are in the drunken hardcore-ish manner, half-Lemmy/half-Tommy Victor, mostly mid-ranged without any unpleasant shouty surprises.

From The Speed Metal Graves Demo, 2007
From the Speed Metal Graves Full-Length, 2011

EMACIATION (USA)

Based on "Earth Odyssey" 2016, which is an entirely new recording with no songs overlapping with the 2007 effort; these guys serve epic black/doom with frequent shades of power/thrash (the semi-galloping "Warrior"). "Bathe Her and Bring Her to Me" is an imposing mid-tempo shredder but the instilled officiant, doom-laden atmosphere doesn't get interrupted too often, the band clearly relying on melody which is just overwhelming (the operatic saga "Ancient Fortress"), contrasting with the raven-like black metal vocals.
"Scorched Earth" is an epic quasi-doom saga with female vocals now coming to the fore for this mid-period Bathory-worship which has nothing to do with thrash. An atmospheric officiant opus with some 70's psychedelic elements embedded as well.

Planet in Bliss Full-length, 2004
Earth Odyssey Full-length, 2007
Earth Odyssey Full-length, 2016
Scorched Earth Full-length, 2020

Official Site

EMANON (USA)

Uneven albeit decent quasi-progressive power/thrash of the old school which relies on pounding mid-tempo riffs on the steady unperturbed "Full Metal Jacket", the semi-balladic heaviness of "Back to the Past" translated to an extent on the more dynamic stomper "Who's to Blame", the not very emotional but tolerable clean vocals leading the not very eventful show with subdued elegance.

State of Mind Demo, 1990

EMBER (AUSTRALIA)

This is evil misanthropic black/thrash/death sustained in a fairly fast tempo reflected in short bursting tracks topped by some of the most unholy raspy vocals encountered on the scene. This isn't bad at all having a characteristic raw charm further aggravated by the fact that there's only one person behind it, the name, or alias, Sado Obscurem who is also involved in other projects from the Australian underground, mostly of a black and death metal nature. Near the end the guy shows his fascination with black metal for a while with a string of furious hyper-blasting sections which again sound appropriate and attractive. The man took a lengthy 6-year break before re-emerging for the release of three full-lengths and two EP's of meditative ambient black metal.

Raging Death Demo, 2005

Official Site

EMBER (USA)

Raw, but appealing, old school black/thrash metal sitting somewhere between early Bathory and Burzum with more concentration on the brutal faster side. "...into Death..." is on the other opposite offering a powerful epic sound, and "... Divinity" is an excellent bursting number with melodic death metal "decorations". "Earth A.D." in the middle is a primal energetic cover of Misfits the main difference coming from the vocal department where the guy doesn't change his gruff vicious raven-like tone. "Dance Of The Ancients" later on is a cool laid-back doomster recalling Impaled Nazarene's "Blood is Thicker than Water" if we exclude the exiting hyper-blasting sections. As a whole we have a pretty competent walk over the black metal spectre with thrash being just a humble assistant, but the sincere classic delivery and the versatile musicianship ensure an interesting engaging listen for all metal fans. Some of the band members also take part in the death/black metal formation Pazuzu.

Chapter III + Concession & Anthology Full-length, 1998

Official Site

EMBERS FROM CREMATION (USA)

The compilation serves pretty raw amateurish thrash/death in the beginning before the sound suddenly becomes more proficient both production and music-wise with hectic technical decisions. Then it switches back to the primal unpolished sound from the beginning for a couple of tracks, before the music again goes towards more interesting fields for the final string of cuts which again flirt with the technical thrash/death idea for a bit. The vocals are gruff low-tuned death metal ones all over and are surely the main downside.

Eroding in the Fortress of Time EP, 2009
Eroding in Abred Compilation, 2014

Official Site

EMBERS OF EUPHORIA (USA)

A cool new progressive power/thrash metal band; the style is a fine cross between Vicious Rumours' best period (1990-1994) and Agent Steel (their new sound, after the reformation). The only downpoint is that for seven songs only featured on their debut, the inclusion of one ballad and a short semi-balladic instrumental kind of lessen the impact of the more aggressive material. Surely these guys' finest hour is yet to be witnessed.

Embers of Euphoria Full-length, 2007

Official Site

EMBERSTAR (ITALY)

This band play raucous energetic old school speed/thrash that has its more melodic tricks firmly embedded, like on the opening “Hexarch”, the ripping pulverizer “There Is More Than One of Everything” leading the show assuredly, with both “Queen Anne's Revenge” and “In Plain Hostility” helping with the fervent hyper-active cause. “The R-Ex Experiment” calms the ball down with a more composed calmer veneer, but there’s little mercy shown on complex shredders like “Coincidence of the Opposites” and “Drugs Give, Drugs Take It Away”, the approach on those numbers bordering on the great in way similar to Manticora, Hellfire, and Paradox. The vocalist is a decent if not overtly amazing presence with his attached screamy timbre, quite often trying to stay within the not comfortable high registers.

Dialogue with the Outside Full-length, 2023

Official Site

EMBITTERED (DENMARK)

Modern thrash its sophisticated, melodic guitars topped by shouty death metal vocals; "Degenerator" is a rousing speedster, and "The Stand" is a more death metal-ish cut which leads the proceedings into the fields of Gothenburg where at least half of this demo belongs.

Degenerator Demo, 1999

EMBLOODYMENT (SPAIN)

Reportedly, on the earlier albums the band have played death metal, but on the one reviewed here ("Circus Horribilus") the style is strictly within the retro thrash confines only enriched with a brutal death metal throat. This is choppy crunchy stuff built around heavy volcanic riffs and sudden fast-paced outbreaks. There's some elusive modernism roaming about, and "Gutted Alive" is a nice reminder of the modern hectic style on the French Aleister's "Tribal Tech", for instance. "Circus Horribilus" is an intriguing more technical proposition with a wider gamut of twists and turns, stylish melodic leads and a few quirky embellishments. "Blood" is a short non-fussy franticer, and "Diogenes" is a more serious 9-min opus where death metal comes to play for a bit on the steady mid-tempo background. "Fall of the King" is a consistent stomping semi-technicaller, and "The Hacksaw Affair" complicates the proceedings once again as a finishing touch, also utilizing more fully the other side of the vocal show, the screechy hysterical black metal rasps.
"The One Before the Last" is also on the thrashy side of the spectre music-wise, the heavy volcanic rhythm-section marching obtrusively, with the short stylish leads carving the requisite burrows and the occasional fast-paced distractions ("Human Scrapyard") disturbing the seismic peace alongside a couple of more contrived propositions ("Psychotropic Slaughter") the latter also carrying a hefty headbanging charge. Death metal sneaks in on "Infernal Rash", but overall this isn't a very brutal recording.

Full-length, 2013
The One Before the Last Full-length, 2016
Circus Horribilus Full-length, 2020

Official Site

EMBODIMENT (UK)

This is retro thrash/proto-death with clear Slayer-esque overtones and shouty semi-death vocals; the delivery is relentless and fast the mid-paced flair of "Alive and Screaming" a solitary but desirable occurrence, "Porphyriac" the ultimate "Reign in Blood" worship, "Dagons Water" being on the opposite side of the spectre, a brooding dark cut with echoes of "South of Heaven". Some of the band members later moved on with the death/grindcore outfit Gorerotted.

Alive And Screaming Demo, 1996

Youtube

EMBODYING THE END (USA)

Modern thrash/death of the most generic expected type; the Swedish school is written all over it with all the staple "tools of the trade" present. The execution is by all means proficient, but the interesting moments are too few with the exception of the more engaging closer "This is Killing You" which is a more complex progressive number with very good leads and several quiet acoustic sections. The band was previously known as Livin' Sin under which moniker they released one demo in 2006 of similar music.

Embodying the End Demo, 2009

My Space

EMBRACING DARKNESS (PORTUGAL)

This is pleasant gothic thrash obviously influenced by Moonspell (but who isn't, of the contemporary Portuguese acts?) with mid-tempo riffs and really stylish melodic hooks. "Whispers" is a nice dark thrasher which will also remind you of the Finns Sentenced ("Amok", in particular). The thing which might annoy here is the melodic alternative vocals opposing to the gruff death-ish main ones.

Gloomy Storms Demo, 2006

Official Site

EMBRACING EXTINCTION (AUSTRALIA)

Old school thrash which is reflected in relatively lengthy compositions some of which are strictly on the dynamic side ("Children of Witches"), whereas others ("Delusions of Grandeur") are pensive moody pieces with a sniff of doom. "Maze of Mirrors" justifies its over-8-min duration with more entangled arrangements, an all-instrumental odyssey with quite a few twists, mostly of the heavy stomping variety. "Nightmare" brings death metal to the fore, a furious piece of bile which also exonerates the shouty deathly vocalist. The band members can also be seen in the death metallers Human Forgery and the classic thrash cohort MurderWorld.

The Seventh Sin Full-length, 2022

Official Site

EMBRIO (BRAZIL)

Based on "Revolt Against the System", these guys offer abrasive noisy modern thrash/post-thrash which is jumpy and all, but lacks the depth other similar efforts do, sinking in repetitive groovy formulas which expectedly fail to produce a lot of excitement which mostly comes from the vocal department where the guy provides an attached forceful semi-clean timbre.
"Karmadoom" is a more dynamic affair like the opening "Out for Blood" shows so well although later on the guys settle for their staple repertoire of noisy abrasive grooves which unleash more speed on the hardcore-ish headbanger "The Lie We Live". "Hammerdown" is another lashing mosher, even going for "Reign in Blood"-like aggression, but it's not enough to give this offering a genuine classic flavour.
"Stillborn IV" retains the sterile mechanical production, "Aftermath" creating a cool atmospheric vacuum, the groovy drama avoided for most of the time thanks to cool pieces like the patiently-woven "Regeneration VI" and the imposing doom pageant "By Our Sins". The mosh returns with "I Am the War", but similar energetic bolts aren't very common in the second half, if we exclude the short hardcore tractate "Born Strong".

Prophets of Doom Full-length, 2008
Corporation Is a Cancer Full-length, 2010
Testify Full-length, 2012
Revolt Against the System Full-length, 2013
Karmadoom Full-Length, 2017
Stillborn IV Full-Length, 2024

Official Site

EMBRYO CHRYSALIS (USA)

Based on the 1991 demo, this band play dark epic power/thrash with doom interfering boldly on the imposing hymn "Dragon Slayer" which later turns into an effective semi-technical crescendo with infectious melodic lead sections also added to the highbrow barrage. "End of Innocence" is largely a semi-balladic soother with again addictive leads and heavy gallops; and "Vengeance Is Mine" is a glorious reminder of Candlemass' thrashing delight "A Cry from the Crypt" from "Ancient Dreams", a threatening galloper with brooding sinister overtones, those exacerbated by the deep throaty semi-clean vocalist whose bellicose baroque presence surely helps the musical proceedings. Some of the musicians also took part in the modern post-thrashers Arise.v

Conception of Light Demo, 1990
Demo Demo, 1991

Youtube

EMBRYOCTOMY (ESTONIA)

These Estonians raise the flag of the Baltic metal movement high with this obscure slab of dark hypnotic thrash/death which is supported by a slightly strained shouty black metal vocal participation. The guys spice their dominant mid-paced approach with sudden bursts of energy ("Disordered Architectonics") the latter also obvious on the closing opus "Expansion" which is cleverly-constructed progressive thrash with edgy guitars and very good bass implements.

Grasping the Meaning of Void Demo, 1994

EMBRYONIC CELLS (FRANCE)

Based on "The Dread Sentence": this is not classic Sepultura of the new millennium like some of you may have hoped reading the band name. This is vicious wicked black/thrash which stretches from evil cold landscapes ala Khold and early Bathory ("By Fire") to furious blasting outbreaks ("I Don't Want to Save This World") the latter accompanied by haunting keyboards at times which give the album an enchanting orchestral atmosphere. "Wheel of Pain" is a grand doom composition with hypnotic riffs and epic operatic arrangements which precedes the 5-min of peaceful acoustic instrumentality "Order of the Crown". From this moment on until the end the band forget about the speedy side of their repertoire and adhere to slower more atmospheric rhythms gracefully finished with the sinister "ambient vs. acoustic" piece "Ruins".

Before the Storm Full-length, 2007
Black Seas Full-length, 2008
The Dread Sentence Full-length, 2012

Official Site

EMERGING CHAOS (PORTUGAL)

Based on the full-length, this act serve ripping modern thrash assisted by hellish death metal vocals. The musical approach is varied ranging from heavy squashing stompers ("In This Room") to more energetic shredders ("Captain of Lunacy") the former side more dominant sometimes coming with a more technical flair ("Sickth Sense"), sometimes bringing dark solemn atmosphere ("The Remains") with it.

The Decay of Mankind EP, 2015
The Roots of Lunacy Full-length, 2018

Official Site

EMINENCE (BRAZIL)

This band was formed by former members of one of the most famous (and oldest) Brazilian metal bands Sepultura and Overdose. Of course, such a line-up would raise the expectations high, but unfortunately this turns out to be unimpressive industrialized modern post-thrash reminiscent of Sepultura's mid-90's period ("Chaos AD", "Roots") plus a few more intense death metal passages and noisy hardcore-ish vocals.

"The Stalker" is a groovy post-thrash affair with all the modern ingredients required for a contemporary entertainment. The approach isn't that predictable the guys speeding up on occasion where the sound becomes frankly hardcore-ish ("3 times 6"). Dragging groovy passages are inevitable, but digressions like the fast-paced jumper "Eyetricity" are also provided, albeit not that amply. The production is too artificial giving a very abrasive sterile edge to the guitars. Some of the band members can also be seen in another groove/post-thrash outfit: The Unabomber Files.
"Chaotic System" isn't really "chaotic", and is nothing more than the good old industrialized groovy post-thrash full of sterile robotic shreds which touch Meshuggah ("Codes of Immorality", "New") on the more intriguing moments. The rhythm-section becomes more vivid ("Psycho Panic") at times, but the monotony is seldom interrupted elsewhere with the shadow of Godflesh also looming heavily over at least half of the material.
"Dark Echoes" is a decidedly more dynamic affair, "Burn It Again" thrashing wildly, creating nervy sizzling atmosphere, the latter not exactly preserved by the remainder which returns to the familiar groovy post-thrash patterns from earlier recordings, "Wake up the Blind" being a curious atmospheric proto-doomster, and "The Vanishing" threatening the audience with super-seismic death metal-ish rhythms.

Faces EP, 1996
Eminence EP, 1998
Chaotic System Full-length, 1999
Humanology Full-length, 2003
The God of All Mistakes Full-length, 2007
The Stalker Full-Length, 2013
Dark Echoes Full-Length, 2021

Official Site

EMINENCE (USA)

Even the bad sound quality of the debut demo which gives the guitars a slightly fuzzy sound can't hide the sheer talent displayed here: this is standout speed/thrash metal which has a surprisingly German flavour: think Angel Dust's debut and Iron Angel. This is great, mostly fast, music with nice lead guitar and heavy sharp riffs. The only pullback would possibly be the vocals which sound a bit strained somewhat like an unrehearsed James Rivera.

"Staring at My Face" takes a heavier turn towards the Bay Area and reduces the speed a bit concentrating on pounding riffs; the sound quality remains bad, even worse, and the songs this time are unnecessarily long, plodding and quite boring, simply because the same riffs have been repeated over and over. The vocals are also worse taking a slight hardcore-ish shade.

Demo Demo, 1986
Staring at My Face Demo, 1987

EMINENT (USA)

This band play melodic modern choppy thrash with progressive overtones. The guitar work is quite striking and will keep the listener occupied trying to decipher the virtuosity at play for at least half the time the latter left quite a space including several short instrumentals. At some point the repetitive mid-paced character of the songs may wear out since the guys steadily refuse to speed up also inserting not very impressive groovy sections ("Hanging On"). The singer is the star of the show with his warm clean voice which he doesn't strain a lot, but uses it appropriately to make up for the not very eventful nature of the music. The band were previously known as Dark Reign where the style was more aggressive, still modern, thrash reflected in one demo recorded in 2005.

Death of the Pilgrim Full-Length, 2010

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EMISSARY OF SUFFERING (INTERNATIONAL)

This international collaboration specialize in intense retro thrash/death which flies near the speed of light ("Rope", "Samaritan") at times; at others it comes with a thick atmospheric clout ("Mournful Sights"), but there's no rest for the headbangers here, with more raging bullets ("Privilege") coming in quick succession, their shower mortified by the seriously modernized, industrialized epitaph "Cura Animarum Suprema Lex".

Mournful Sights Full-length, 2021

Official Site

EMMA-O (SWITZERLAND)

A female throat fronts this modern thrash "beast", but her name is Audrey, not Emma, and she mixes cleaner with aggressive semi-shouty death metal antics to a generally positive effect. The delivery is heavy and stomping recalling another female-fronted act from the past, Fear of God and Dawn Crosby (R.I.P.). The band steam-roll without much ado, but without much speed, either, and at some stage this dark quasi-doom saga may wear thin for the diehard fanbase. "Secteur 13" arrives with more vivid rhythms, but it can hardly dissipate the oppressing atmosphere. Audrey, along with the bass player, is also active with the groovy post-thrashers Fake Messiah.

Mechanical Full-Length, 2014

Official Site

EMMOS (FRANCE)

The band mainman and the only known member JeFF takes part in numerous other French underground acts, but listening to the first demo one may not be very curious to check out the other efforts: this is minimalistic amateurish black/thrash metal of the old school spiced with softer punk-ish overtones. The music crosses early Venom with early Bathory with the casual slower doom metal section thrown in. JeFF should improve something in the vocal department, though: these awful drunken shouts could barely pass for singing.

Tyrant After Tyrant Demo, 2005
Guided by the Devil Demo, 2006
Last Breath Demo, 2006
DIY #2 Split album, 2006
Your World Is A Warfield Full-length, 2007
Vol.1: Emmos Kratos Demo, 2009
Vol.2: The Meaning of Death Demo, 2009

Official Site

EMOTION OF FEAR (UK)

Choppy doomy thrash suffering from a very bad sound quality; the guys try to balance between the classic sound and the ruling modern trends, and manage to come up with a style of their own which often clings towards the Paradise Lost releases at around the same time, losing the thrash idea completely towards the end which comes in the form of the good ballad "Empty Love". The singer tries to emulate the passionate semi-shouts of Chris Holmes (Paradise Lost again), but fails miserably due to his hoarse unrehearsed, totally devoid of melody, tone which he refuses to compromise even for the ballad.

Blessed Are the Dead Demo, 1995

EMPATHY (USA)

This is quite cool retro progressive thrash which recalls Paradox's "Heresy" with its lengthy elaborate compositions, save for the short idyllic instrumental "While the Gods Sleep". "These Eyes Are Blind" will also remind of Metallica's "Blackened" with its drier complicated arrangements, the singer sitting between Charlie Steinhauer (Paradox) and James Hetfield with its levelled semi-declamatory timbre, sounding gruffer and more quarrelsome than both. "As the Seasons Change" is a more melodic and faster-paced proposition, the band shredding with precision and agility, going through a myriad of time and tempo changes, those also handsomely pulled on "Veritatem", a consummate prog-thrasher with ripping rhythms and entangled riff-mosaics, the guys nailing in every department including with a portion of heavy seismic and blazing lead sections. Some of the band members also played in the the speed/thrashers Mortal Terror at around the same time.

Find Yourself EP, 1994

Official Site

EMPATIC (POLAND)

Modern thrash/death metal which mixes slow and fast songs with some gothic aesthetics ("Tomorrowland") ala Crematory and later-period Sentenced springing up on occasion. The slower material takes over in the second half leaving death metal aside, but the riffage becomes too samey and will remind you of the Finns Gandalf except for the rough low-tuned vocals.

Gods of Thousand Souls Full-length, 2010

Official Site

EMPERDIA (GERMANY)

This is a curious mix of power, thrash and doom, the band combining all the various influences into one composition quite often, the resultant concoction by all means listenable albeit a tad cumbersome as the compositional layout isn't overtly dynamic, save for the shorter more compact shredder "Perdition's Waltz". "What Lies Beyond" is another faster-paced piece with a more ambitious clout, the epitomized death metal vocals interlacing somewhat awkwardly with the main clean ones. The highlight seems to be "Just Another Journey", a diverse prog-thrash propeller covering a wider gamut of rhythms and riffs, with a good sense of variegated dynamics. The guys were earlier known as Travesty when the style was pretty much the same.

Vicious Cycle Full-Length, 2022

Official Site

EMPERY (SOUTH AFRICA)

A 2-song demo of good technically-minded thrash clinging towards the Bay-Area when it's more classic-sounding with a heavy pounding rhythm section, not far removed from late 80's Metallica also recalling Dew-Scented and Corporation 187 when it speeds up which is when it acquires more modern tendencies. Both influences are well mixed on "Beyond Human" whereas "Ascending" is less dynamic, but more technical and complex mixing more intense parts with heavy punishing ones plus a very cool balladic section near the end. The singer is on par with the music with his aggressive low tuned semi-death metal tone.

Beyond Human Demo, 2009

Official Site

EMPHERIS (POLAND)

The split: these Poles pull out classic black-ish thrash with quite good clean pagan vocals (as opposed to the vicious black metal rasps), predominantly fast tempos, one cool cover of Venom's "Lady Lust", one raging black metal bomb ("Necropulsar"), and two very badly-sounding live and rehearsal songs at the end.
"The Return of Derelict Gods" is an aptly-stitched black/thrash opus with both genres interlacing in an acceptable, amicable manner without too many overtly brutal outbursts, the abrasive mid-paced veneer of cuts like "Testimony of Frozen Soul" and "Black Mirror" working their magic in a more patient, hypnotic way. The headbanging fiesta is in full swing on "Torn by Aeons" and "In the Name of the Unholy Spirit", with more aggressive black-isms showing up on "Palladium in Fire" for a brief hyper-blasting effect.

The Rituals Of Possession In Blasphemy Split, 2006
Ancient Necrostorms Full-length, 2007
Regain Heaven Full-length 2008
The Return of Derelict Gods Full-Length, 2019

Official Site

EMPHIRIUS (POLAND)

Based on the full-length, this Polish trio play pretty cool retro thrash which combines the impetuous nature of the German school ("44") with the more calculated assault of the Bay-Area ("Schizofrenia"). There will be very little that the fan hasn't heard before, but the assured execution, the very clear sound quality, and the slightly more diverse, epic character of some of the material ("Insanity") should satisfy the less pretentious side of the fanbase.

Demonstration EP, 2015
Bloody Response Full-length, 2016

Official Site

EMPHYSEMA (UKRAINE)

Cool bashing retro thrash/proto-death which can pass for a lost mid-period Sepultura recording; fast lashing guitars, shouty spatout death metal vocals, a few more entangled vortexes... there's quite a bit to be savoured by the regular thrash metal fan, the choppy staccato rhythms on "II" a nice reminder of the more complex layouts from Messiah's "Rotten Perish". "III" flirts even more seriously with the progressive realms, offering a more brutal death metal-ish veneer as well, with "IV" boldly jumping the tech-thrash territory for an immaculately executed shredfest. The second half consists of short biting, less eventful cuts, but this recording is definitely worth tracking down for seekers of the last vestiges of the good old thrash at the dawn of the 90's.

Trashido Demo, 1991

EMPIRE (ITALY)

A cool, interesting entry from the Italian underground; the band play energetic progressive-tinged speed/power/thrash the overall approach reminiscent of their compatriots Creepin' Death, but the riff-patterns here are more elaborate also siding with Liege Lord and even early Fates Warning. Some pieces are pure unadulterated speed metal ("Death Or Glory") which may have inspired Running Wild for the creation of one of their better albums of the same title. Other songs ("Me, The Last Hero") are softer epic power metal, both sides fading before the consummate progressiver "Dominance & Submission" which also thrashes wildly at times its frenetic delivery throwing a shadow over the closing "Empire", a short speedster where the very good emotional singer tries some really high-pitched screams to a fairly positive impression.

Dominance and Submission Demo, 1988

EMPIRE'S DARKNESS (MEXICO)

These Mexicans play retro power/speed/thrash which, if it wasn't for the very bad sound quality, could have struck a deeper cord with fans of Savage Grace, Exciter, and occasionally, Whiplash and Hallows Eve (the intense thrashing madder "Perfect World"; the furious shredder "Terrormaniac"). A few epic heavy/power metal hymns also "roam" around ("Strongest Steel") to which the rough death-ish vocals need to be adjusted better.

Posers Annihilator Full-length, 2011

My Space

EMPIRE OF EVIL (RUSSIA)

Intense semi-technical retro thrash supported by guttural semi-shouty death metal vocals; the mosh is well accentuated although several more entangled moments can easily be detected like the choppy segments on "Don't Fuck My Brains", or the virtuous bass pirouettes on "Welcome To Hell" the latter a brutal exercise on full-fledged death metal. The production is muddy but doesn't leave much to the listener's imagination, "Anarchy" being a noteworthy attempt at multi-layered progressive thrash.

Demo Demo, 1993

EMPIRE RISING (RUSSIA)

This is heavy modern thrash with some technical pretensions which never become fully realised partly due to the muddy guitar sound. There are a few more aggressive death metal sections ("Run To Rot"; the speedy shredfest "Waiting For The Moon") scattered around, and generally the band don't shy away from speed (the closing "Hack As Pigs" is a nice Slayer-esque headbanger). The longer compositions ("My Fate") are more proficiently executed, but lose the fast rhythms relying on heavy, proto-doom riffs to pull it through. The vocals are in the mid-ranged death metal parametres, and are fairly comprehensive.

Created To Destroy Demo, 1997

EMPIRES LAID WASTE (AUSTRALIA)

Based on the EP, these Aussies indulge in varied modern thrash which is both slow and fast on different occasions creating a dynamic, but not really very complex picture. The overall delivery is right as rain the riffs trying to avoid the Gothenburg "traps" and succeeding for most of the time except on the epic closer "Quaken the Earth" which doesn't hide its fascination with Amon Amarth, only on a thrashier base and with lower-tuned growling vocals, and more sweeping melodies especially in the lead department.

The Age of Decay Full-length, 2011
With the Tide Comes Destruction EP, 2012

Official Site

EMPIRESFALL (GERMANY)

Based on "A Piece to the Blind", this band play brisk classic thrash built around fast lashing headbangers like "Betrayers" and "In Decay" the guys seldom showing any remorse, the assault pretty much uninterrupted throughout save for the friendlier power/thrasher "Wasteland" and the more ambitious, more varied closing title-track which features some surprisingly catchy melodic hooks. The singer has a gruff semi-clean timbre which he doesn't strain beyond the requisite mid-ranged parametres.
"Riot" is a tad less energetic relying more on monolithic mid-tempo layouts, the hissing guitar sound some kind of a detriment largely on the more energetic ("Demon Eye") escapades. The second half is the better one as it consists of more ambitiously performed compositions among which "Bloodrain" is a diverse melodic roller-coaster, and "Psycho-Path" is a cool atmospheric semi-balladic elegy.

Place of Pain EP, 2009
Riot Full-length, 2014
A Piece to the Blind Full-length, 2018

Youtube

EMPIRIUM (HUNGARY)

This Hungarian trio indulge in a melodic retro power/speed/thrash amalgam which moshes with more verve (“Fobun”) on occasion, but it’s the catchy gallopers (“Csordalelek”) and the dramatic more contrived shredders (“A Szorny Benned”) that deliver the good in a better way, the cool clean mid-ranged vocalist standing his ground with dignity and authority. Pay attention to the uplifting speed metal winner “El a Kep” and the diverse elevating closer “Haborues Beke”.

Az Elet Nyoman Full-length, 2023

Official Site

EMPOWER (AUSTRIA)

Three numbers of playful hardcore-ish thrash, more on the modern side; abrasive choppy riffs aplenty and a fine semi-ballad with both industrial and doom overtones as a finishing touch: "Illusions", ruined by the subdued death metal vocals.

Promo Promo, 1999

EMPTOR (NORWAY)

This band's members later took part in the formation of some important Scandinavian black metal acts among whom was the notorious Erik Brodreskift, the man who committed suicide in 1999, but before that "graced" with his presence bands like Immortal, Gorgoroth and Borknagar. The style here is pure thrash, dark and brooding, but quite speedy, too, along the lines of Rigor Mortis and the Canadians Dissection. Some tracks ("Child Miolester", for example) feature atmospheric doom parts, decorated by stylish lead guitars which are actually the highlight of the demo and are a nice contrast to the otherwise gloomy atmosphere. A very surprising, and a totally unexpected choice for a cover version awaits you at the end: Samantha Fox's "Touch Me"; the guys must have liked this song a lot (or rather they had liked Samantha, and especially her... enough said here) since it was released just less than a year earlier; of course it would be difficult to recognize it as the tempo is fast and intense, adjusted to the predominant style of the demo.

Demo Demo, 1988

EMPTY (USA)

This 3-song EP is full (definitely not "empty"!) of choppy modern riffs which try to give mid-period In Flames a more technical twist, and succeed at times although the band's influences are more than obvious despite the proficient musicianship and the several atmospheric quiet sections ala Opeth. The singer is a typical death metal shouter, and some of the melodic hooks are really noteworthy (check out "Of Malice and Men").

3 Song E.P. EP, 2012

Official Site

EMPTY GRAVE (USA)

Based on the demo, this act provide bashing semi-amateurish thrash/crossover which classic merits are disputable as this is very messy stuff, easily bordering on both hard and grindcore, with half-cooked attempts at death metal ("Go to Hell") also dispersed to an even messier effect, the unrehearsed semi-shouty/semi-death vocals quite often deafened by the musical noise generated by the others. This is violent stuff, not for the squeamish, but the purists will find quite a few flaws, including in the production department, here.

Funeral Rates (Are Cheaper by the Dozen...) Demo, 1990
Slaughter You to Sleep EP, 1991

Youtube

EMPTY SHELL (RUSSIA)

Quite intense retro thrash/death metal which doesn't rely on speed all the time, but nicely slows down for the odd mid-tempo smasher ("Slave Of The Grave", "Humanoid"). There's nothing new or groundbreaking here, but music made with such enthusiasm and energy can't possibly be bad.

Soul Surgery Full-Length, 2008

EMPYREAN SKY (USA)

Based on "Extending the Tangent", this band pull out dramatic emotional modern power/thrash with loads of infectious melodies which give the album a characteristic "aura". They're certainly not strangers to more aggressive moments: check out the intense mosher "The Lost" which relieves "the pain" with some acoustic adherences. Later on "Ascension" tries to scare away the listener with the sparse blast-beat, but the unbearably melodic hooks would cloud those attempts big time. This is pretty much an ode to melody in thrash metal expressed in long complex compositions where quite a few things happen including headbanging cuts among the prevalent officiant atmosphere which is partly abandoned on the energetic closer "The Law of Tangents": this number shreds with passion producing more brutal death metal-laced passages finishing the album with aplomb, kind of unexpectedly, but well deservedly, and this tendency should be given more room on future releases. The singer is an asset with his versatile performance ranging from warm clean tirades to brutal short deathly grunting outbreaks.
The debut is more on the post-thrash side still preserving the more elaborate progressive elements, and some heavy riffage inevitably sneaks in: the dramatic shredder "Reality Principle", the more intense passages on the larger-than-life closing opus "Empyrean Sky". The vocal delivery is also quite varied as particularly intense are the dramatic death metal shouts and the screechy black metal croaks. The musicianship is by all means on a high level, but this album doesn't have too many merits from a thrash metal point of view, and one has to take his/her time with it to fully grasp it.

The Snow White Rose of Paradise Full-length, 2004
Extending the Tangent Full-length, 2012

Official Site

EMPYRIOS (ITALY)

Based on "And The Rest Is Silence": a talented young outfit from Italy, who are in the same league as their compatriots Chaoswave, but the music here is more atmospheric and complex and not as intense. So we have progressive power/thrash of the modern type with very cool clean emotional vocals. The music ranges from more laid-back progressive ala Symphony X and Evergrey ("Tort", "Unbalanced Equilibrium"), to all-out modern thrashers ("Insomnia", "Perseverance") in the spirit of Nevermore and Eldritch ("Reverse"). Combinations of the two work very well, too: the technical riff-fest "Failure Of Eye".

"The Glorious Sickness" is a better effort stepping on the pedal more aggressively lashing out more intense riffage, which nicely contrasts to the very good clean vocals. The riff-fest is top-notch on heavy numbers like "Decadence Parade", which also boasts great lead guitar work. "Empire" is a bigger "monster" with smashing ultra heavy guitars recalling early Meshuggah and Nevermore, as well as their compatriots Eldrith's album "Reverse"; another hit in the more brutal riff department is "The Eve Arose" which also serves really vicious death metal vocals that can also be heard on the more laid-back, but faster "PSG". The openly modern approach may irritate you to an extent, on the less intense, more conventional "The Glorious Sickness" and, partially, on "The Chaosbreeder", which constantly hesitates between more dynamic thrashier sections and plain boring groovy ones. "Destination: Null" thrashes quite intensely, being the most brutal composition here with added deep death metal growls. "A New Dawn" is the obligatory more balladic number, quite well done. Like with the previous album, there are times when one could praise these guys sky-high, but one can't close his eyes for the several not very convincing moments where the music loses both its aggressive and progressive edge for the sake of ordinary pointless groove which doesn't work out even if intended as a break.

"Zion" is the band's most melodic work to date. Thrash is almost completely gone and now the music is pensive groovy/post-thrash progressive metal with pounding riffs, good melodic leads, mid to slower tempos, and the staple nice deep emotional clean vocals. There are a couple of less merciful shreds to be encountered ("Reverie", "Wormhole", etc.), but the approach has shifted towards the more tender spectre which was to be expected with consideration of the reduction of the more aggressive side with each subsequent release.

And The Rest Is Silence Full-length, 2007
The Glorious Sickness Full-length, 2008
Zion Full-Length, 2013

Official Site

EMULIVED (JAPAN)

There's just one musician behind the music here, the name Naoya Umeda, who specializes in decent retro power/speed/thrash along the lines of the guy's compatriots Aion, which has its both dynamic ("Danger Warning") and more complex ("Punishment the Sin") side Umeda providing a slightly noisy, abrasive edge to the guitars. "Retribution" clings towards the doom metal side, but there's no speed lost on biting roller-coasters like "Obey BigBrother", and especially the short bursting "Thee, Mastermind" and "To Live with Pride". "Exterminate" increases the complexity with a wider array of moods and tempo shifts, and the final "Muddy Floor" provides a surprisingly uplifting, punk-ish/crossover epitaph to this otherwise serious affair which is ably supported by Umeda's raucous semi-clean baritone.

Causual Response Full-length, 2018

Official Site

EMURSION OF THE ISLANDS (UK)

Quite decent classic thrash/death metal mixing straight-forward sections with more intriguing technical ones the overall approach recalling Morbid Angel and other heroes from the early Floridian scene. The lead guitar work is outstanding (check out "Ascension"), some of the best to grace such an album, but the riffs are not too far behind being of the stomping mid-paced type for most of the time. The end is left for a slightly underwhelming cover version of Metallica's "Ride The Lightning", done in a direct manner abandoning the clever guitar play for the sake of pounding, abrasive hooks, with the shouty semi-death metal vocals another mismatch.

Emursion Of The Islands EP, 2011

EN-COMA (CHILE)

Buzzy industrialized post-thrash with faster hardcore overtones; this is bashing but catchy stuff with comprehensible shouty vocals pulling one fine speed/thrashy roller-coaster ("Sobredosis!") as a finishing touch which may drill your brain with its very screamy leads.

Sobredosis Demo, 2007

EN MASSE (USA)

These folks offer crushing seismic modern thrash/death which straddles between heavy grooves and intense brutal passages the latter coming with a cool technical edge ("Dying Place", the hectic chopper "Damaged Goods"). The delivery is very dynamic with a constant alternation between the two sides. Excellent galloping thrash/death takes over on "101 (Death From Above)", and the approach till the end remains quite energetic dramatic accumulation present on each song the closing "Blood" the sole reliever with its more carefree crossover sound. The singer shouts in an attached death metal fashion, and is a good addition to the fairly eventful music.

En Masse Full-Length, 2012

Official Site

ENCEFALO (BRAZIL)

Based on the demo, this outfit indulge in dark classic thrash further darkened by gruff low-tuned death metal vocals. The delivery isn't very dynamic sticking to familiar mid-paced formulas which are fortunately abandoned for the short death metal-laced "Nightmare" and the closing bonus track which is violent bashing thrash with a hardcore "sting".

The full-length is a logical elaboration on the style from the demo with only one song ("Destruction") present from it. The band thrash on resembling early Sepultura (check the album-title) both in the music and vocal department (the singer is a bit deeper and more brutal perhaps) as in the former some death metal elements inevitably sneak in (check out the excellent "Reactions", or the little rager "Despair"). The second half serves both the more technical "Nightmare" and the more stripped, almost hardcore-ish, "The Last Gate" which add up to the diversity of this cool effort finishing with the title-track the latter hardly copying their peers, as expected, but rather branching into less explored melodic epic death/thrash metal territories again to a pretty positive effect.
"Die to Kill" starts in an openly aggressive fashion with "Age of The Darkness" and death metal reigns supreme on a couple of tracks at the beginning, but comes "Psywar" and the more officiant epic tone returns with style also helped by a couple of more technical inclusions ("Battle of Blood"). Another return marked by thrash this time graces the last cuts the final "Night of The Dead" being a nice epic semi-technicaller.
"DeaThrone" is the next in line fairly intense affair the band moshing with the utmost aggression, barely holding onto the margins of the thrash/death metal border ("Visceral Sadism"), boldly crossing over into death metal with the maddening "Annihilation, Contempt to the Majesty". Thrash doesn't have a say in the second half, but the delivery becomes nicely technical on the short exploder "Retaliation" and on the closing dazzling brutalizer "A Hollow Body".

Destruction Demo, 2008
Slave of Pain Full-Length, 2012
Die to Kill Full-Length, 2015
DeaThrone Full-length, 2018

Official Site

ENCHANTER (USA)

Cool power/speed/thrash metal reminiscent of Deadly Blessing, Liege Lord, and Agent Steel; the tempo is energetic with sharp riffs and very good leads. The guys like to mix it up with heavy breaks and acoustic or lead-driven passages (check out "DOL") which is not bad, but their real power lies in the speedy galloping tracks: the excellent "Progressive Entrapment".

The Gates of Insanity Demo, 1989

ENCRYPTION (GERMANY)

The debut: an interesting band playing progressive power/thrash metal mixed with Gothenburg-styled melodies; the style clings more towards the classic school, and there are blast-beats inserted here and there, but it might pull back some thrash metal fans a bit because of the presence of cheesy moments from the 90's power/speed metal scene (mostly in the choruses and the leads). Earlier the band were known as Cryptic, the style more aggressive retro thrash, and had one album ("Shrouded in Mystery", 1997) released.
"A Demon Decayed" arrives after a gigantic 20-year hiatus, but the band haven't forgotten how to weave intriguing elaborate soundscapes as evident from the huge 11-min opener "Winter Wake", a surprisingly sprightly speed/thrasher with the compulsory for such sagas quiet interludes. "Retrospection in Rapture" is a stylish wink at the Danes Manticora, a melo prog-speedster which leaves room for smattering gallops on the more aggressive "Of Bliss and Serenity", a multi-layered speed/thrashterpiece ala Paradox with a wide gamut of motifs covered, a highly thrilling ride with a couple of respiteful balladic developments. "Scapegod" is built on the same base with touches of Blind Guardian and Persuader due to the marginally mellowed layout, and "Soundtrack of My Life" is full on progressive thrash/speed, the shadow of the guys' compatriots Paradox tangible once again, "The Great Deception" deceiving no one at the end being a complex melo-thrasher with numerous intricate motifs on top of some less compromising hard-hitting shredding. The singer is surely an asset with his steady clean mid-ranged timbre, not trying anything too pathos-like, but holding his own without any over-the-top exploits. This is a really great comeback from one of the once-hopefuls of the German scene at the start of the millennium.

Perishing Black Light Full-length, 2000
A Demon Decayed Full-length, 2020

Official Site

ENCUMBER (RUSSIA)

Dark gothic-tinged thrash/death/doom metal sounding like a mix between the Austrian one-album-wonder Visceral Evisceration and Bolt Thrower; so don't expect too much speed and aggression, but heavy doom riffage with sudden grinding bursts ala "Realm of Chaos", and sparse shifts into Swedish death/thrash metal ("The Fairyrod"). The songs are long, and dragging slow sections may stretch your nerves a bit although you never know when the guys will start thrashing, or grinding with passion: these switches are very sudden and come not quite heralded. The singer is predictably a very low-tuned grunter, at times assisted by an angelic female choir ("Go Far Away... Eternally"). Not bad, but the thrash metal fan may find himself losing focus more than just occasionally. The guys are currently involved in the brutal death/grind project Antesser.

Silent Witness Of Past Full-length, 1998

END-TIME ILLUSION (USA)

Based on "Eminent Profane", this act pulls out workmanlike modern thrash/death metal with a certain technical edge. The tempo varies the whole time moving from fast to slower in no time, and the sudden technical decisions make the sound interesting, albeit a bit incoherent here and there since those moments are never developed beyond the compulsive-casual-break stage. The leads are very good being stylish and proficient on every track except on the clumsy 10-min closer "Surrounded By Deception" which doesn't quite live up to its technical/progressive pretensions moshing in mid-tempo with hectic more technical insertions; it will inevitably stretch your nerves a bit with the overlong quiet break in the middle (this is relative) and the loss of speed which was an essential ingredient on the other songs.

So Below Full-length, 2005
Eminent Profane Full-length, 2008

Official Site

END ALL (JAPAN)

Based on "The Be All, End All", this act offer playful roller-coaster retro speed/thrash that is quite comparable to the guys' compatriots Cocobat and Barabatos; in fact, the bass/vocalist has had a short live stint with Barbatos. This is uplifting unpretentious music which doesn't shy away from hardcore ("Here’s To The One (Who Loves Rock N’ Roll)"), the hoarse semi-clean vocals also leaning towards this department.
The “Get into Our Rage” EP is more expertly performed, the guys moshing with bigger verve as well, the title-track a major headbanger with overt ripping qualities and ethereal melodic decisions, the frivolous thrash/crossover tractate “Empty Mind” also flirting with a couple of modern groovy additives. “Go Against the Grain” is a merry unpretentious rocker, and “Shake You Awake” is an uplifting power/speed metal cut.

Hop Thrash Jump EP, 2013
Signs of Life Full-length, 2017
The Be All, End All Full-length, 2020
Get into Our Rage EP, 2024

Official Site

END AMEN (GERMANY)

This is a joint effort of the Deathrow mainman Uwe Osterlehner and two members of Psychotic Waltz (Dan Rock and Norman Leggio), featuring also the eclectic rock legend Frank Zappa's Son Dweezil as a guest musician during a tour together that same year. The style is a direct take on Deathrow's more technical period sounding like a mixture of the band's last two efforts (not as solid and consistent as "Deception Ignored", but decidedly better than "Life Beyond"). The album starts in a magnificent way with the imposing grandiose orchestral intro, which will hypnotize you with its escalating drama, seamlessly flowing into the opening "World In Decay" which promises an entertainment quite close to the brilliance of "Deception Ignored", although here the headbanging thrash is more widely covered. "Prisons Of Posterity" starts without a pause between the two songs, thrashing intensely, adding swirling virtuoso lead guitar work. "End Amen" is a heavy mid-tempo track with a nice balladic intro which grows into a formidable wall of technical razor-sharp riffage accompanied by sinister whispers, synthesized drum beats, and one of the finest lead sections in metal history which will leave you with your mouth gaping wide. "Rebirth" is a great progressive opus with the keyboards playing a major role in creating an ominous atmosphere, ably supported by the leads again which on the whole album are on a level seldom surpassed before and after; aggressive thrashing takes hold near the end. Progressive thrash at its uncompromising best comes served on "A New Day's Absurdity" which also boasts a catchy chorus along with the dramatic keyboard background; not much room for direct thrashy moments on this one. "Nocturnal March" compensates with its more conventional straight approach thrashing with full force until the very complex mid-passage throws the listener in bewilderment for the umpteenth time. "Your Last Orison" slows down calming the ball, offering heavy mid-paced rhythms with not much complexity involved. Watch out for the mesmerizing overwhelming closing instrumental "Silence" which is noises mixed with a slightly distorted guitar providing the perfect soundtrack to any film about the Apocalypse. This very strong album is almost as convincing as "Deception Ignored" on the best moments, and is a sheer testimony that the real genius can rise above any ongoing trends effortlessly making fun of both big and not so big names on the music scene.

Your Last Orison Full-Length, 1992

END IT (USA)

Groovy post-thrash with death-ish vocals; the music recalls mid and late-90's Entombed, and the last two Massacra albums. There are attempts at more up-tempo thrashing ("Better Than God", which goes even beyond the boundaries of thrash), but they are not that many. Near the end comes the Testament cover of "Nightmare" from the "Practice What You Preach" album.

Meet Your Maker Full-length, 2001

Official Site

END OF ANARCHY (USA)

Based on the full-length, this act provide classic power/thrash which sticks to a solid mid-pace for most of the time, boldly bordering on doom ("Him Is Me", "Stolen Souls") at times although the galloping delight "Break These Chains" will leave no one indifferent with the frolic Exciter-esque speedster "Onslaught" another doze of vigour into this mildly entertaining recording which also wins some points from the assuring hoarse Cronos-like vocals.

The Enemy EP, 2016
Bachelor's Grove Full-length, 2017

Official Site

END OF MAN (PHILLIPINES)

The EP: quite well done classic thrash, following the high standards of Vio-Lence's "Eternal Nightmare" pretty closely; this is aggressive fast-paced stuff providing five pieces of non-stop headbanging thrash with mighty sharp riffs. Along explosive balls of fury like "The Scourge" and "Servitude" stand calmer semi-balladic delights: "Devoted Mistake" (this is the only one of its kind here, don't worry).

It took the guys five years to finally materialize their full-length debut, but "Power, Corruption and Lies" is worth every bit of the wait; it takes the sound offered on the demo and develops it further by not straying too far from the already successful formula. So this is a fairly satisfying slab of Bay-Area thrash, again "courting" Vio-Lence, among other representatives of the genre. The music is more diverse this time coming with more frequent moshing mid-tempo sections although the all-out speed/thrashers are clearly the highlight: the more melodic speed metal-based title-track and "Hate Attrition". "Invocation of the Flesh" is a slower stomping number coming in the middle, kind of influencing the subsequent two tracks, but before the thrash metal fan starts changing his initially positive opinion about the music, comes the intense thrashing closer "Pagkagat ng Dilim" which is a cover version of a song of the guys' previous band Mass Carnage and is very close to being the highlight of the album with its razor-sharp riffs and dark slower late-80's Slayer-esque parts.

End of Man EP, 2003
Power, Corruption and Lies Full-length, 2008

Official Site

END OF REIGN (GERMANY)

This is dark gothic-tinged modern power/thrash which relies more on creating atmosphere than shredding with passion. The not very rehearsed clean/growling deathly baritone doesn't alternate the two sides very appropriately although he by all means uses his more brutal delivery on the more aggressive ("Forsaken", the furious Slayer-esque piece "Thrown for Deliverance") material. However, for most of the time the approach is on the heavy mid-tempo side reflected in brooding solemn cuts like "Escape the Strife" and "Blinded".

Into The Ocean Full-Length, 2018

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END OF THE ROPE (USA)

Based on "Til' It Bleeds", these guys play groovy thrash/death which has its intense headbanging moments: the ball of aggression "From Vanity To Dregs" which largely compensates for the couple of blatant tedious tracks. The problem is that later on there's only one similar song to offer the same moshing entertainment ("Faithless").

Shades of Loss EP, 2002
Through Callow Eyes Full-length, 2004
Til' It Bleeds Full-length, 2009

Official Site

END REIGN (USA)

These lads indulge in modern thrashcore that combines heavy stompers ("The Hunger") with more dynamic extrapolations ("Divine Abysmal End"), the very shouty rending vocals creating additional drama behind the mike. The playful catchy nature of "Serpent Messiah" is well noted, but watch out for the Pro-Painesque violator "House of Thieves" and the bashing vehemence of the closing "When Death Comes Crawling".

The Way of All Flesh Is Decay Full-length, 2023

Official Site

END SILENCE (CANADA)

This formation offer diverse modern thrash which is jumpy and speedy throughout also graced by infectious tunes (check out the gorgeous leads on "Triforce"). The guitars cut quite deep even on semi-balladic pieces like "Soul Charger" where the leads again steal the show and are clearly the highlight all over: this guy should get a medal for his performance. The album starts dragging, though, in the second half first with the dirgy "The Sea Monster", then with the seriously underwhelming 11-min opus "The Enigma" which is just quiet meditative acoustics, a total waste of time for the thrash metal fan. Fortunately, the closing "Visions" thrashes with passion for a bit thus lifting the mood up although the aftertaste would still be solid regardless of the lead guitarist's selfless exploits.

The Waters Full-length, 2014

Official Site

END ZONE (RUSSIA)

This band had a short, but very impressive career. Their debut is a striking first effort with brilliant very technical guitar work, not too far from later period Death although here the death metal elements aren't too many; this is mostly power/thrash with a strong technical edge and gruff death metal vocals which aren't very pleasant and don't serve the great music right. That same music is mostly mid-paced with a couple of effective speedy outbursts: "S.O.D.", "Ulterior Solitude". All this is overshadowed by the exquisite instrumental "The Edge of String", a whirlwind of amazing guitar pyrotechnics. Later you will hear a nice, more technical and atmospheric cover version of Sodom's "Remember the Fallen". Another super technical instrumental follows suit: "Candlestick of Parcass", and then another which is quiet, semi-acoustic: "The Castle of The Woman of Mine", all this finished with a very original joke song called "Rock'n Roll" which mixes a jolly rock-ish melody with vicious brutal riffs.
"Thalatta et Thanatos" is an all-instrumental album, a fabulous mix of speedy numbers and slower, classically-influenced ones; relieved from the not very capable singer, the guys unleash a storm of mind-blowing guitar pyrotechnics; two of the instrumentals from the debut are also included, but there are no any changes in them (and there shouldn't be).

To the utter shock of the fans, their swansong is a very ordinary, progressive metal offering; no speed involved, much of the technical flamboyance has been gone, and the new vocals are even worse with their emotionless, alternative blend. It has definitely found its audience, but for thrash metal fans it would have a very little appeal.

First Bequest Full-length, 1995
Thalatta et Thanatos Full-length, 1996
Eclectica Full-length, 1998

ENDANGEREDFECES (USA)

Thrash/crossover with a modern heavy groovy doze, but also quite dynamic and energetic without jumping on too aggressive wagons. The songs are longer for the style, 3-4min, and some are full-blooded thrashing pieces (the pounding "Cadaver Breath", the nice speedy instrumental "Impale The Wicked", or the smashing Destruction-like "Screaming Mantis") with really sharp riffs.

Plethora of Waste Full-Length, 2008

ENDARKEN (DENMARK)

This is modern thrash/post-thrash which mixes friendly grooves ("Insomnia") with more melodic epic layouts ("Reawake the Wolves") and fervent headbanging delights ("Reign of Disgrace"), the overshouty noisy vocals by all means the downside, regardless of the several cleaner attempts made. "Seraphim" is a cool confrontational rager, "Velvet Redemption" trying to match it with a hefty doze of fast ripping rhythms.

The Plague of Truth Full-length, 2021

Official Site

ENDARKER (SWEDEN)

A very unknown act comes up with a compilation album: a curiosity by all means, led by the omnipresent guru of the Swedish metal underground Magnus Devo Andersson (Marduk, Cardinal Sin, Pain, etc.). The music is a convincing retro blend of thrash and black metal mixing ponderous doom stompiness with savage blitzkrieg riffs ("Darkness"). "Vivid Imagination" is an imposing epic doomster with which the civilized period from the band's career is over seemingly since after it begin very rough, not very rehearsed numbers which are a bit more than wild unrestrained bash additionally ruined by the very bad sound quality.

Among the Shadows Compilation, 2016

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ENDBROKEN (FRANCE)

Based on the full-length, this act pull out modern thrash/core that can also be poignantly melodic ("Axes of Evil") on occasion, the aptly-titled "Straight Ahead" marching onward with bigger verve. The semi-shouty death metal vocals do their duty on the side, not interfering on the pretty cool progressive instrumental saga "Defeat of Common Sense", the moshing urgency of "Shadows of Death" pairing well with the less restrained barrage of "The Opponent".

Endbroken EP, 2018
Defeat of Common Sense Full-length, 2023

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ENDERS GAME (USA)

Based on the full-length: modern thrash with catchy melodic hooks aplenty, scarce outbreaks of speed ("The Silent Man", the intense short speedster "Desensitized"), and flashes of the good old heavy metal ("Return To Dust"). Feelgood stuff with cool diverse vocals which main blend is mid-ranged semi-clean, but they easily get harsh and more brutal in no time.

The debut EP contains four songs of more energetic music again staying within the modern perimetres speeding up on occasion to almost headbanging proportions with infectious melodic hooks ("Life In Oblivion") which touch more recent Annihilator with ease without sounding derivative.

Game Over EP, 2003
Breathe New Live EP, 2006
What We've Lost Full-length, 2010

Official Site

ENDITOL (CANADA)

Two musicians are involved in this project which sees them playing competent modern progressive thrash metal with other influences springing up from time to time (alternative, industrial, death metal, pure progressive ala Spastik Inc and Sieges Even, ballads, etc.). The guitar work is sharp and technical with casual keyboard implements here and there; sprawling, but good, leads; and cool clean vocals in mid-range recalling Warrel Dane when getting more emotional. The more intense Nevermore-sque parts ("Ayin") seem to work better where really aggressive riffage comes forward although drier more mechanical exercises in modern thrash ("Exerminans") aren't bad, either, also thrashing pretty hard on occasion. "Heavenvein" is a potent mixture of dreamy balladic and heavy brutal sections with standout guitar performance. Piano can be heard on a couple of moments as well as short atmospheric semi-acoustic instrumentals serving as interludes. This is interesting larger-than-life stuff which will also remind you of Gojira, Altered Aeon, Zero Hour, among others.

ENDITOL Full-length, 2010

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ENDLAGER (SWITZERLAND)

This is strange atmospheric, industrial metal with shades of thrash, among other more or less tangible influences. The overall style recalls The Nefilim's "Zoon", but this is more complexly woven stuff also with echoes of Front Line Assembly's magnificent "Hard Wired"; at times pensively doomy and even dark wave-ish ("4 Sisters for Hundreds of Years"), at others strangely proficient with an abundance of brilliant virtuoso leads ("Nebis Inri-Demon Stratae"). The singer also resembles Carl McCoy (also Fields of the Nephilim) with his leveled, very subdued semi-declamatory baritone. "Planned Defeat" speeds up unexpectedly creating merry uplifting atmosphere which this otherwise brooding, introspective recording by all means needs the second half also comprising the dynamic roller-coaster "White Gold".

From The West Came As From The East Full-Length, 2018

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ENDLESS (FRANCE)

Based on the full-length, this French duo play are obviously influenced by Megadeth, both music and vocal-wise, the approach quite dynamic on the sprightly “Follow the Lightning” and the excellent diverse complexer “The Downfall of Fallujah”, the brooding minimalistic “Cherry Blossom” accentuated by spasms of vociferous bassisms. More lyricisms later with the balladic extract “Hell-o”, but make sure you don’t miss out on the entangled thrash tornado stirred on the sprawling 10.5-min title-track, a summation of all things good in metal, this unmatched riff-fest superseded by the levelled riff-fest “12 O'clock at Rotenburg” and the nice tech-thrasher “God's Tired Seeing Bullshit of his Sons”, a memorable showdown which compensates for the somewhat underwhelming tender ballad “Golden Rules”, the Dave Mustaine-sque vocalist producing a truly spellbinding performance on that one, sacrificing his mean croons for a full-on singing showdown. Further compensation is offered by the memorable streamlined Megadeth-worship “From the Shadow to the Light”, with thrash demoted to second fiddle on the closing heavy/power metal hymn “Stupid French Men”.

All Good Things Have an E.N.D EP, 2020
Sabaudia's Witches EP, 2021
Hand of God Full-length, 2024

Official Site

ENDLESS (NORWAY)

The beginnings of several luminaries from the expansive Norwegian black metal circle (Tulus, Sarke, Khold, etc.), here pure old school thrash with a hefty Bay-Area sting, the heavy seismic behemoth “Appealing Places” dictating the plot all over, the more intricate developments of “Greed” mirrored to an extent on the somewhat cumbersome march “From a Darker Black”, “Technological Victim” another more interesting occurrence with more twisting meandering riffs. The singer is a rough semi-clean reciter who does make attempts at actually singing at times.

Silence Demo, 1993

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ENDLESS CYCLE (HOLLAND)

This Dutch formation blends the mechanical shreds of Gojira and Meshuggah with more soulful emanations not far from Opeth the mixture working better when there is more intensity involved (check out the headbanging steril oddity "Release"). "Blueprint (Aquaphobia)" is a progressive extravaganza which manages to reach the abstract heights of earlier Voivod the musical delivery marred by the brutal death metal vocals inserted. Officiant quasi-industrial doominess takes over on another gargantuan composition: "Opaque Portrait", which is sinister and atmospheric without changing the tempos a lot. "Controlled by Them" is an excellent creepy technicaller in the best tradition of later-period Coroner followed by the more diverse, but equally as effective "Driven by Greed". So far so good, but comes the closing "Pride" which is 10.5-min of calm sprawling balladic Opeth-isms and ruins the album almost beyond repair. If it wasn't for this off-context number at the end this effort could have been a major attraction for fans of modern technical/progressive thrash; now it's kind of left in the nomansland between the good and the incoherent.

Into the Opaque... Full-Length, 2011

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ENDLESS DISTRUST (GERMANY)

Based on "Collateral Damage", this band plays diverse thrash/death which is closer to death metal with quirky technical elements which are not very fully developed since the guys try to blast out with passion as well recalling Morbid Angel at times. When thrash takes over, the results are very close to Coroner at their best: the excellent technical piece "Children" which is a twisted puzzling cut slightly ruined by the super-fast closing sections. The problem is that elsewhere the guys fail to acquit themselves as well with probably "Wrong Solution" producing something more stylish with echoes of Obscura and Suffocation. The vocals are scary low-tuned growls.

Conscience EP, 1996
Colours Of Death Full-length, 2003
Collateral Damage Full-length, 2011

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ENDLESS DRAIN (CZECH)

Modern thrash/metalcore carnival which either indulges in heavy pounding rhythms ("Desire") or moshes with reckless abandon (L.O.T.D."), or attempts something graver and doomy ("Hunted"). The vocals are of the very shouty belligerent type and create quite a bit of noise here and there.

War Of My Hate Full-Length, 2019

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ENDLESS FEAR (BRAZIL)

One man, the name Joao Roberto Cavanus, is responsible for this modern thrash/death affair (the debut). He provides gruff deathly vocals to accompany the musical scenery which is built around melodic, slightly progressive formulas which touch early-Opeth on the more melancholic passages that occupy quite a bit of space and somewhat stifle the more hard-hitting guitars, the latter seldom leaving the stomping mid-paced ground for the casual blast-beating temptation. This is professionally done, but not very engaging or exciting music.
"The Witch": Cavanus carries on with his endeavours which this time are more contrasting ranging from overlong atmospheric balladic/semi-balladic sagas ("Eternal Grey Day", "Another Lost") to much livelier semi-gallopers ("Beyond Hopelessness"). When both sides come mixed, like on the diverse "Witchie's Aurora" for instance, things get more attractive, but generally the focus is more on melody and poignant atmospherics.

The Curse Inside Me Full-Length, 2015
The Witch Full-length, 2018

Official Site

ENDLESS PAIN (ITALY)

A wild mixture of thrash, black metal and hardcore, quite fast and brutal, bordering on grindcore at times reminiscent of another Italian band of recent years, Vexed, but these guys are more vicious and noisier. No trace of Kreator here (allusions made by the band name).
"De-Generation War" offers the same wild frenetic, frequently out of control, blend this time adding death metal even: "Sindon". The speed is too high most of the time, and this could be a major obstacle for some to appreciate this stuff. "Silent Sickness" is logically the best track, slowing down, providing a good thrashy relief from the very big intensity. "Cold Like Death" is the other big surprise: high-octane gothic/doom with heavy meaty riffs and haunting balladic sections; done with style. The immediate follower "Lost Of Control" sticks to the thrash metal idea leaving room for two more hardcore-based, but intense and enjoyable, closers.
"Chronicles of Death" shows a surprising reduction of the brutality encountered on previous recordings the approach now being on the peaceful mid-paced side with numerous epic/pagan touches (check out the sing-along hit "Trespassing The Shores Of Evil"). "The Prophet" is more than welcome with its more intense semi-technical riffs, but the epic rhythms arrive soon after to take over again their officiant tone dissipated by the faster hardcore-ish breaks on "Slaughter For The Legacy". "Death Comes Ripping" "comes" near the death... sorry, the end this anthem being a Misfits cover delivered faithfully in a fast-paced dynamic fashion. This is quite a transition, rather for the better than for the worse, and shows that the "pain" isn't really "endless", after all...
"Cosa Nostra" is a fairly more brutal offering embracing the death metal idea firmly from the get-go and seldom letting it go except on the few hardcore-ish sections ("Good Fuckin' Fellas"). Thrash shows its head timidly in the second half for the production of several moshers like "Omerta", and the explosive "The Left Hand" which again comes death-decorated. The outro "Donna Rosaria", though, is a 5-min idyll of operatic piano-driven melodies, a stark contrast to the previously heard "massacre".

Born in Violence Full-length, 2005
De-Generation War Full-length, 2008
Course of Hate EP, 2009
Chronicles of Death Full-length, 2011
Cosa Nostra Full-Length, 2015

Official Site

ENDLESS RECOVERY (GREECE)

The demo: these Greeks specialize in retro thrash which is pretty wild and stylish ("Handicapped Corpse") at times, but at others the guys just bash in a less inspired early Razor-like manner ("Liar Priest"). This uneven concoction is finished with a cool faithful cover of Slayer's "Black Magic" the singer ruining the situation a bit with his unrehearsed hardcore-ish timbre totally lacking in Tom Araya's infamous scream ("crying in luuuuust") department.
The full-length debut doesn't change the course, but lashes in an expected old school fashion all the way the major stylistic shift being in the vocal department where a shouty death metaller has settled in doing a much better job than the previous throat. The thrash attack never stops reflected in a "rain" of rapidfire riffs which offer a few short breaks in mid-pace, but the exhaustion for the headbangers is guaranteed, and the slightly one-dimensional bash is nicely shifted into more stylish shred ala early Destruction on "Habits' Mutation" where the singer tries a few admirable screams ala Schmier. The closing title-track deserves its title being a vigorous piece with a pinch of crossover.
"Revel in Demise" shows no remorse the band thrashing with power from the very beginning the fiery riffs falling from all sides the guys very seldom slowing down recalling the celebrated German heroes (Destruction again comes to mind quite often) to the point that there's very little room for originality left the speed/thrashing "carnage" taking victims left and right all the way to the closing epitaph "Lurking Evil" which is a nice attempt at a more stylish play closing this album with aplomb which it actually deserves on all counts.

Liar Priest Demo, 2012
Thrash Rider Full-Length, 2013
Resistant Bangers EP, 2014
Revel in Demise Full-length, 2015

Official Site

ENDLESS REIGN (USA)

The debut: modern thrash with shades of metalcore; an energetic offering as a whole which shows some retro flavour ("Sheep To The False Prophet") including less ordinary digressions (the elegiac doom instrumental "Unmarked Tomb"). "Snoopy's Inferno" is a nice more quiet ballad to which the gruff semi-death metal vocals don't suit that well.
"Time of Tyrants" is a more dynamic recording the thrashing intensity of the opening "No More Hope" establishing some verve initially, with "South of the River" switching the delivery towards the heavy stomping perimetres. The latter's example is followed more stringently later, leading to a string of samey mid-paced pieces among which "We Will Not Be Forgotten" sticks out a bit with its less capably disguised proto-death metal intensity.

Buried and Forgotten Full-Length, 2015
Perished Memories Full-length, 2017
Time of Tyrants Full-length, 2020

Official Site

ENDLESS TEARS (FRANCE)

This is strange music: there are solid thrashy riffs included, but the concentration is on moody balladic pieces bordering on dark/gothic wave; only for the romantically-inclined thrashers.

Emotion Full-length, 1994

ENDLESS TORMENT (UK)

Based on the "Endless" EP, this is very good technical thrash/death metal, on the heavy side without brutal ultra-fast sections sounding like a more technical Bolt Thrower mixed with thrash. In the guitar department some moments remind of the great Chuck Schuldiner (R.I.P.), that's why it doesn't come as a complete surprise the cover version of Death's "Symbolic" at the end.

Endless EP, 2003
Of Mankinds Fall EP, 2007

Official Site

ENDLESS TORTURE (SWEDEN)

Four "killing carols" of first-rate retro thrash is what we have here. "I Am Your Friend" (yes, guys, you are, indeed!) is an intense opener with great speedy guitars. "The Reapers Ripping Rest-In-Peace Service" offers entertainment of the slower mid-paced type, but the guitar work remains classy. "Killing Carol" thrashes in the same way as the opener: fast and uncompromising, and the last "carol" "Drawn To A Spotless Mind" is a stomping, again not as fast-paced, track with a nice technical edge.

Killing Carols EP, 2007

Official Site

ENDLESSIGHT (CANADA)

Power/thrash metal with blues-ish and doomy parts similar to Agony Column and Violent Playground; shades of old Black Sabbath can also be heard. This is not hard-hitting stuff, but some mid-paced more intense numbers will make your head bang a bit: the very good instrumental "Unusual Dream".

Shadow Of The Highseas Full-length, 1990

ENDLEVEL (GERMANY)

The debut: a harsh death/thrash mixture which is sustained in a dominant mid-pace with dark haunting overtones those enhanced by the deep semi-shouty death metal vocals. The tempo moves around on the shorter material ("Violent Moshpit"), but there's nothing wrong with the solid mid-pacers occupying the middle among which is the epic title-track, the more aggressive delivery left for "Mighty Hunter", a raging shredder with great melodic tunes served as well.
"Weekend War" is a wilder more energetic affair but not by a big margin, the staple frolic stomps on "Drink Beer" still pretty legitimate, the setting aggravated by "Hangover from Hell" and "Possessed by Trinity", moshing fun at its less bridled, the crunchy drama unleashed on the closing "Panzerheer 666" another bellicose occurrence.

Time to Kill Full-length, 2017
Weekend War Full-length, 2023

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ENDOGENIC (NORWAY)

Based on the full-length, this is another rendition of the modern thrash sound as inaugurated by acts like early The Haunted and Dew-Scented. "Breathing but Bleeding" begs to differ with its rigorous headbanging old school delivery, but for most of the time the style is strictly modern with "bullets" like "Room 101" and "Unhallowed Grounds" shot with the utmost intensity. The title-track is a smashing technical shredder, but highlights of the kind aren't many at all the band content enough with their hyper-active, but ultimately pedestrian approach including in the overshouty deathly vocal department.

Fireball EP, 2013
Hunter Full-length, 2017

Official Site

ENDOR (COLOMBIA)

This outfit specialize in friendly soaring power/speed/thrash which expresses itself with fast melodic pieces some of which are more on the thrash side ("Al Pie Del Calon"), but the majority are in the happy power/speed metal field topped by vocals which are not far from the attached semi-shouts of Hansi Kursch (Blind Guardian), maybe a tad less rehearsed and not as expressive.

Grabado En La Piel Full-Length, 2013

ENDORPHIN (JAPAN)

Interesting quasi-progressive thrash which stays firmly on classic ground for most of the time, the guys exhibiting some Bay-Area passion with the energetic title-track at the beginning, and although later heavy ship-sinking exercises like "Doppelganger" slow the freighter down, one could hardly complain with masterful twisted, technical shredders like "Mad Pierot" also provided alongside moshing roller-coasters like "Mosh Or Die", and the choppy not very predictable headbanger "The Cursed Gun". "Cold Blow" may be considered a relative filler being a heavy not very eventful ballad, but brace yourselves for some intense speed/thrashing on the closing "Borderline of Life".

Human Jack Full-length, 1996

ENDORPHINE (ITALY)

This is an interesting band: their style could be described as modern technical/progressive thrash, a thrashy Opeth, if you imagine the picture. The songs are complex, sprawling sometimes, recalling the Swedes in many ways; here is also the typical alternation between the death-ish vocals and the cleaner ones. There's a melancholic atmosphere reminding of Katatonia ("My Breath Away"), but the music is hard-hitting most of the time, with nice technical guitars and twists, not very fast, mostly mid to up-tempo.

The Future Seed Full-length, 2004

Official Site

ENDORPHINS (CANADA)

This band does not belong to the technical field like the majority of the Canadian metal bands; typical representatives of the Swedish modern school- think The Haunted, Carnal Forge, etc.

Volume One EP, 2002
Where Evil Lies Full-length, 2006

Official Site

ENDOVEIN (ITALY)

Based on the first demo, which offers a very bad fuzzy sound, these guys offer ok retro thrash which can be quite speedy at times ("Savage Heart"), but the predominant tempo is mid, with clear doom overtones on the slower moments ("Kickinthebutt"). "Goodbye... but Where I'm Going?" totally ruins everything being a bland bluesy piece lasting for more than 7-min.
"Waiting for Disaster" is an obvious improvement over the demos offering energetic classic thrash spiced with the odd slower proto-modern break ("Lynched by Fate"), and the more stylish technical insertions ("Problem of Humanity"). "Kick in Your Ass" is a jolly crossover-laced track preceding the concluding group of heavier more complex numbers which still leave room for joy (check the merry melodic rhythms on the closing "Endovein Are Adrenaline... for Your Fuckin' Summer!!!") ably assisted by the optimistic carefree clean vocals.

"Lynched By Fate" is a ripping offering with a crisp guitar sound and cool clean expressive vocals. The guys try to keep things energetic, and succeed, even on the 8-min shredder "Endovein Are Adrenaline... for Your Fuckin' Summer!!!" where the fierce speedy riffage blends with a voluminous balladic section, but to a positive effect.

"S.I.N. (Supreme Insatiable Need)" is another fairly cool effort the band unleashing energetic old school thrash which shows a lot of promise with the furious title-track. The promise is later fulfilled the subsequent numbers even revealing a nice technical edge (the excellent "Becoming Lucifer") without compromising the high speed antics. From this moment on things only escalate: "Daily Show" is a glorious speed/thrasher with a nice subversive melodic edge the latter growing into the finest leads on the album on the following "Path of No Return". Then we have the pounding technicaller "Psychosis" which is only a tad less intense, but "No Walls, No Doors" rages on right after that. "Restless Grudge" hesitates between stomping technical sections and more direct fast ones, a tendency also nicely reflected on the next "Consumed". The closer "Ignorance Grows Strong" is explosive speed/thrash wrapping things up on a really high note seeing an act nearly reaching the pinnacle of their career led by really good clean high-strung vocals full of emotion and drama in a way quite close to Mike Sanders (Toxik) and Mark Antoni (Realm).

How to put Jack in the amp Demo, 2005
Problem of Humanity Demo, 2007
Lynched By Fate EP, 2009
Waiting for Disaster Full-length, 2010
S.I.N. (Supreme Insatiable Need) Full-Length, 2013

Official Site

ENDSIGHT (GREECE)

Based on "To a Falling Word", these Greeks play predictable modern thrash/death metal of the Gothenburg variety with melodic guitars, fast tempos, and gruff shouty vocals. The music is energetic and vivid, but there's nothing that hasn't been done thousands of times before by the hordes of Dark Tranquillity and The Haunted clones.

Evil Will Grow Full-Length, 2003
Endsight Demo, 2011
To a Falling World Full-Length, 2011

ENDUST (BRAZIL)

This act play modern progressive Nevermore-sque thrash which also boasts very good clean emotional vocals. The Brazilians go more often for the speedy excursions ("All Ends in Dust") than their US counterparts, but there are certainly more moderate exhibitions ("Lost Without a Way") of musical dexterity where power metal also comes to play including a couple of groovier, less original pieces ("Prisoner"). A very good ballad ("Beyond the Memories") appears at some stage alongside a riveting headbanger ("Only One Will Stand") the band changing the pace the whole time, combining both sides on the excellent "Flood" at the end to a heightened dramatic effect.

All Ends In Dust Full-Length, 2019

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ENEMY (COLOMBIA, MANIZALES)

Brisk dynamic old school thrash modeled after the lofty examples from the Bay-Area (think Forbidden, Heathen); fast ripping guitars, cool clean high-strung vocals, a few more intricate moments here and there... there's a lot that the fan would savour especially the short explosive headbangers like "The Steel Beast" and "E.N.E.M.Y." which soar above a couple of meeker spread-outs like the epic power metal anthem "What Is Your Last Wish" and the more controlled mid-paced power/thrasher "Sangre, Drogas, Corrupcion".

Fariseo Full-Length, 2017

Official Site

ENEMY (COLOMBIA, MEDELLIN)

This is faithful aggressive thrash/proto-death (based on the EP) taken straight from the early-90's when acts like Merciless, Flames and Messiah were delivering the goods with dexterity. The Colombians move more towards death metal at times (the ball of fury "Exterminio") and generally the tempo is super-fast almost on the edge of falling apart which never happens, but these guys can easily pass for one of the fastest players out there at the moment with their incessant, but comprehensive and even compelling, barrage assisted by subdued semi-declamatory death metal vocals ala Killjoy.
The full-length fulfills all the promises with its aggressive, more death metal-inclined, approach which spits venom and ashes all over the fan, the band playing ultra-fast and relentlessly crossing the border of good behaviour with a few less bridled moments (the wild blasts on "Barbarie"). "Sadismo" is a tamer number, but the guys are quick to catch up with a portion of vitriolic speedy ragers which extend all the way till the "gory" end that comes in the form of the title-track, an untamed chaotic thrash/deathster, vintage early Merciless.

Exterminio EP, 2012
Cruda Realidad Full-Length, 2013
Pulsion de Muerte Full-length, 2018

Official Site

ENEMY DIVISION (POLAND)

Modern groovy post-thrash which sounds energetic on quite a few moments, but not enough to make it stand out of the pack even nowadays. Those more energetic moments are crossover-tinged ("The Curse Of Mill Island Part 1") and jolly and light-hearted contrasting with the couple of heavier doom compositions ("Darkside Of The Sun", "How Dare You") occupying the end. The closer is a nice acoustic ballad with the horrifying title "Abuse Your Infernal Madness", with a nostalgic Nick Cave-like tone, also strengthened by the very cool clean vocals in the best tradition of the aforementioned singer.

Sentenced To Lie Full-length, 2008

Official Site

ENEMY INSIDE (AUSTRIA)

There are not too many attempts from the thrash metal field coming from Austria these days. This is a fusion of contrasting styles: the dominating one is mid-paced 80's thrash, but there are death and classic heavy metal moments. It works well most of the time with quite a few nice headbanging riffs present.

Explicit Treatment Full-length, 2006

Official Site

ENEMY IS US (SWEDEN)

This is one of the bands where one of the most hard-working musicians from the Swedish metal scene Lawrence Mackrory (Darkane, F.K.U., Andromeda, etc.) also takes part. From the aforementioned bands the sound of this one is closest to Darkane, but is more direct and straight-forward. In other words, we have another Swedish thrash/death metal act who are a bit more classic-inclined than the rest, adhering to old school riffs from time to time.

We Have Seen The Enemy... And The Enemy Is Us Full-length, 2004
Venomized Full-length, 2008

Official Site

ENEMY OF THE SUN (GERMANY)

This is the new band of the ubiquitous Waldemar Sorychta (Despair, Grip Inc, Voodoocult), and the hopes immediately are for a return to the sound of the great Despair. Well, this is not exactly the case: this act pulls out firmly modern-sounding thrash with a somewhat progressive edge. The closest soundalike from the Sorychta bands is Grip Inc, and most of the songs could fit very well on "Nemesis" or "Incorporated": "Lives Based On Conflicts", "Clearly Surreal", etc. Other songs are quite hectic and jumpy ("Carousel"), recalling Fear Factory. The singer also sounds not too far from the clean timbre of Burton Bell (remember GZR). There are interesting touches, like the inclusion of flamenco guitars on "Feel The Beating". The problem is that there is not enough energy involved, and it's in the second half when the first fast-paced number comes up ("Satisfied by Ego Purposes"). But there are also tracks, which are nothing more than blatant groovy fillers ("Brain Sucking Machine", "Liar"). If this will be Sorychta's full-time occupation for the future, he will definitely have to put more effort to make the music more appealing; now this Grip Inc. rip-off with a slight twist would not hold water for long.
"Caedium" is hardly an improvement over the shaky debut being a bit more aggressive riff-wise with awkward shades of death metal, both in the guitar and, sparsely, vocal department. The songs are scattered collections of influences among which modern thrash is the dominating one, again Grip Inc. coming to mind most of the time, with jumpy riffs, a lot of groove, several more dynamic moments (the intense thrasher "Stolen Sky", etc.), and stretches into other sub-genres, more or less appropriate. The variety is by all means big, but all the flaws encountered on the debut are here, even more accentuated on. The wait for a more capable effort is still on...

Shadows Full-length, 2007
Caedium Full-length, 2010

Official Site

ENEMY UNKNOWN (UK)

Good Bay Area thrash metal in the Metallica, Testament, Exodus tradition; "Feel The Burn" opens this debut in a nice headbanging fashion, but in the second half the material is mostly mid-paced with heavy smashing riffs clinging towards Metalica's late 80's period and early Xentrix.

Alert Status: RED Full-length, 2005

Official Site

ENEMY WITHIN (GERMANY)

Based on "The Final Suffering", this band play old school thrash/death that races with the speed of light on "No Vital Signs" and "Never Again", the laid-back mid-tempo trot of "The Beating Heart of War" definitely a welcome respite. Later on it's more or less incessant mosh that is witnessed, the shouty death metal vocalist confronted at times by curt spiteful shouts, "Acrotic" serving a portion of more intelligent intricate riffs, "Faithless Creation" adding a bout of delectable melodic leads.

Just Another Scar Full-length, 2008
The Final Suffering Full-Length, 2024

Official Site

ENEMY WITHIN (SWEDEN)

Based on the full-length debut, this act specialize in progressive power/death/thrash concoction with which the field has started filling up with recently. This one is nothing special, a convoluted representation that is sometimes Dragonforce (the hyper-active "Behind Curtains of Rust"), sometimes a nauseatingly soporific (the balladic "Mirror of Illusions"), sometimes heroically epic ("The Storm of Ares"). The vocal variety (clean, deathly, shouty, etc.) is huge but neither shines too much except perhaps the sporadic but effective female inclusions. "Fire" is a cool assured thrasher and can pass for the highlight if we don't count a few more energetic moments from the gigantic 10.5-min closer "The Last Enigma".

Our Dark History EP, 2011
Angel of Fear EP, 2012
Fallen Full-length, 2020

My Space

ENEMY WITHIN (UK)

Heavy mid-paced power/thrash metal kind of reminding of the Venom period after the Cronos departure ("Prime Evil", "The Waste Lands"). There are crossover elements ("Potential Threat") to be heard, but deviations like that are not too many.

Potential Threat Demo, 1991

ENEMYNSIDE (ITALY)

This is another band for the talents of Francesco Grieco and Davide Scala from the technical thrashers Rainspawn. The style here is less adventurous, but no less impressive being classic retro thrash with nice guitar work. The tempo is quite energetic throughout, and modern elements could be heard, including shades of groove ("Your Enemy Inside"). The overall sound is quite close to Paradox's "Product of Imagination" and "Heresy", with similar dual vocal-choruses and hard-hitting riffage. "Peace of Mind" is the only track where the guys slow down (it still contains a fast-paced section), but this is a very pleasant deviation from the pattern being a cool blend of thrash and a gothic-laden atmosphere ala 90's Paradise Lost (think "Icon" and "Draconian Times") with vocals strongly recalling Nick Holmes (there is no change of vocal styles just for the sake of one song here, it's just that it's hard to compare the vocals to Holmes on the faster material). Hopefully this won't remain just a solitary effort...
"In The Middle Of Nowhere" arrives after a lengthy 5-year hiatus (from the "middle of nowhere", I guess), and the beginning may not impress fans of the debut since the opener "Harmonic View" is a crunchy mid-paced modern thrasher. Well, not for long: "Lesson Learnt" nicely speeds up, and brings back the 80's sound, but only for a while as the next "Unfold" is a mild semi-ballad, again with a more modern sound (later on there is one full-blooded ballad: "Get Lost"). That same sound settles down on the rest of the tracks, with a couple of more vigorous moments present: the up-tempo "N.B.T.(No Blank Theory)", the late 80's Metallica-sque "Freak Show", the brisk speed/thrashing "Solstice". Overall this effort may be considered a disappointment, hesitating between the modern and the classic sound the whole time failing to find the perfect balance between the two, losing in the process a lot of the speed and the edge which made the debut so entertaining.
Will the band fans take "whatever comes?" One can never know that, but "Whatever Comes" delves even deeper into the modern thrash pond leaving the guys' classic thrash roots far behind. The groove has come to stay and it plays quite an important role on at least half of the tracks. To talk about any headbanging sections would be a stretch since the band don't bother to please the diehard thrash metal fanbase but go through the motions in a careless, well-trodden by others before them, post-thrash fashion. Actually, to call this full-fledged thrash would be an insult to the music we all love; this is further disappointment from once a promising act who are on the way to lose themselves completely into the surrounding mediocrity.
The EP is a welcome return to form for the guys who have found the way to thrash more convincingly once again although this is at times on the unmitigated modern side "For All the Jerks" "flirting" with more classic histrionics, influencing the following "Devil in Disguise" which is a really cool melodic roller-coaster. "Buried Past" slows down, but is an enjoyable diverse power/thrasher with a couple of speedier escapades. "Involution" is another enjoyable speedster, an invigorating slab of old school goodness that should make all band fans happy, their heroes well equipped to do a bigger damage in the days to come.
"Chaos Machine" does what it's expected to do, thrashing with reckless abandon that is, and vigorous pieces like "Faceless" and "Black Mud" provide exactly that, hyper-active retro mosh with a few modern gimmicks sneaking in here and here, the Annihilator-esque mid-pacer "System Failure" leading those but doing little to stop the impetuousness of moshers like "No God in Kolyma" and "Shitstorm".

Let the Madness Begin... Full-length, 2003
In The Middle Of Nowhere Full-length, 2008
Whatever Comes Full-length, 2012
Dead Nation Army EP, 2018
Chaos Machine Full-length, 2019

Official Site

ENERGETIC KRUSHER (UK)

This is probably the most brutal slab of thrash metal to come out of the UK from the heydays of the genre: fast, short, aggressive thrashers bordering on death metal is what these guys offer; an obscure, but commendable release.

Path To Oblivion Full-length, 1989

Vibrations of Doom

ENERTIA (USA)

90's Flotsam & Jetsam worship all over; at times you may even want to check whether you haven't made a mistake, and have put some of the Flots' CD's in the player. Enertia are perhaps thrashier than the 90's Flotsam but the song structures and the overall approach are pretty much the same.
"Piece of the Factory" is a lazy piece of work trying to follow the Flotsam's last few bland efforts, but this is even worse. In other words, we have modern post-thrash with a playful rockish edge which borders on the ballad quite a bit despite the presence of the interesting quasi-progressive title-track which brings some "fuel into the furnace" with its more aggressive guitars. The singer is not bad at all, though, with his emotional ruling voice with an attached higher pitch.

Law Of Three EP, 1996
Momentum Full-length, 1997
Flashpoint Full-length, 1999
Force Full-length, 2004
Piece of the Factory Full-Length, 2015

Official Site

ENFORCE (AUSTRALIA)

Based on "Campfire Night": technical thrash/death metal sounding like a mix between Kreator's more technical ("Coma of Souls", "Renewal") and Slayer's heavier late-80's period, with gruff death metal vocals. This is not bad, but the guys have the tendency to complicate their music quite a bit, resulting in some harder-to-swallow moments. "Nuclear War" is a good example of the latter, being a compilation of various tempos and moods, managing to sound both technical and brutal. "As Death Sets In" and "Brutal" are typical aggressive death metal and are the downside of the album. "Slayer", which music-wise is not really a tribute to the Americans, is a good moderate technical number, and there are times when the music loses the speed and the technicality, settling for mid-paced riffage ala Amon Amarth ("Campfire Night", "N.D.E.F.D.").

"Message of Death" is more direct and more aggressive sounding closer to death metal with the fast blasting sections now more frequent. The purer takes on thrash are the better side ("Sick, Sick, Sick", "The Few, The Many & The Far Inbetween") despite the loss of speed which is compensated by cool mid-paced epic riffs. It's a pity that the guys have decided to abandon the technical play which only springs on the excellent epic death/thrasher "Constellation of Planets", and partly on the more dynamic "Born of Two Worlds".
"Deep Blue" is a dark heavy proposition which isn't drastically different from the preceding album, the band going for the fast-paced passages ("Dark Cloud") initially, but definitely not on "Thrash Attack", a stomping plodding mid-pacer which on top of that influences a string of number after it. "Without Us" raises the tension at some stage with another portion of speedy riffs, but this is a cumbersome, not very eventful recording which can easily pass for the band's weakest effort.

Campfire Night Full-length, 2000
Message of Death Full-length, 2003
Deep Blue Full-length, 2021

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ENFORCED (USA)

The debut: the good old thrash/crossover as known from the works of D.R.I. and C.I.A. has been resurrected quite faithfully on this recording which sees its creators staying closer to thrash, unleashing razor-sharp cuts like "Skinned Alive" and "Born Lost" at will, throwing the fans into bouts of spontaneous headbanging which won't stop till the end. The murky doominess of Slayer's "South of Heaven" is very nicely captured with the gloomy delight "Retaliation", but expect perennial mosh on short exploders like "Brahman" and "At the Walls of Antioch", the guys relaxing towards the end with a couple of more restrained crossover takes, the intense shouty vocals ala Kurt Brecht (D.R.I.) adding to the attractive old school melee.
"Kill Grid" is a faithful sequel to the debut, so expect the same energetic thrash/crossover rhythms, sometimes fast and uncompromising ("Beneath Me"), sometimes leaning towards the more aggressive thrash/proto-death realms ("Malignance"). The title-track is a squashing steam-roller tank, and "Curtain Fire" is a moderate mid-paced crusher before "Blood Ribbon" devastates the neighbourhood with wild Slayer-esque pyrotechnics.
"War Remains" is the-next-in-line highly energetic slab, the guys moshing on full-throttle from the get-go with spiteful bullets like the very appropriately-titled "Aggressive Menace" and "Avarice", the more tamed rhythms on "Hanged by My Hand" later finding a match in the militant mid-pacer "Nation of Fear". The rest is uncompromising vicious barrage frequently bordering on proto-death.

At the Walls Full-length, 2019
Kill Grid Full-length, 2021
War Remains Full-length, 2023

Official Site

ENFORCER (CHILE)

Based on the "Violent Speed" demo, these guys play furious speed/thrash metal not too far from the Finns Solitaire. This is very fast uncompromising music which would also appeal to fans on Necrodeath, early Kreator, and even Impaled Nazarene. This is a demo which richly deserves its title.

Violent Speed Demo, 2003
A Violent Night Demo, 2006

ENFORCER (SWEDEN)

Enforcer is also the pseudonym of the person who founded this band, real name Olof Wikstrand, and this same person is pretty much the new thrash metal guru in Sweden who's also responsible for other underground gems like Oppression, Caustic Strike, Corrupted, etc. The music presented here is not too far from what we've heard on the works of the other bands; here the style is also classic speed/thrash metal, but this time it has a more melodic touch reminiscent of Exciter, or a thrashier Savage Grace. This man has so much talent when it comes to thrash that for me it's a sheer mystery how he has been just an underground phenomenon all this time...

Wikstrand concentrated on this band mostly, but the continuation is strictly in the power/speed metal mode with two full-lengths released so far which catapulted them straight to the top of the metal scene of recent years, and made them one of the major stars of the show at present (you've seen the guys on covers of various metal magazines, including Terrorizer).

Evil Attacker Demo, 2005

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ENFORCES (CHILE)

Four songs of tight blitzkrieg retro thrash metal topped by brutal death metal vocals; crystal clear production which boosts the guitars quite a bit, in this case for the better, and fast lashing riffs all the way will keep you headbanging for about 15-min with slight semi-technical leanings ala the Dutch Expulsion sharpening the ear on occasion.

The Executioner EP, 2011

ENFORCES (ITALY)

The debut: young Italian enthusiasts who provide modern thrash/death with only the casual nod to the Gothenburg school (the opening "War Shock"). Thrash dominates the proceedings and the fans will enjoy the semi-technical leanings on "Thrash Against The Cross", or the straight-ahead rage of "Poison In My Glass" and "Infernal Machine". "Of Leeches, Rats And Men" is a creepy mid-paced sleeper, but attack is pretty much the order of the day on this energetic recording which is graced by shouty, vicious Mille-like vocals.
"Metempsychosis" is a more stylish entry, with more technical guitar work, "Extinction" grabbing death metal straight for the throat with wild semi-blasting rhythms, the atmospheric staggerings on "Disaster is Certain" more than welcome to disrupt the prevalent fast-paced downpour. "Leap in the Dark" and "Global Insecticides" should be in very self-respected headbanger's list, "New World" showing bigger ambition with slower heavier rhythms.

The Dopamine Hypothesis of Schizophrenia Full-Length, 2016
Metempsychosis Full-length, 2022

Official Site

ENGENDRO (ARGENTINA)

Based on "Nueva Anormalidad", this two-man band play intense modern thrash which can be both technical and outlandish ("No Somos un Numero", the stylish weird "Sumision") and cumbersome and groovy ("MuestraTu Libertad", the doomy sleeper "Control de Plaga, Pt. 2"). The second half is a contrasting assembly, ranging from the spastic thrashcore bubblegum "Te Consumen" to the ponderous pounding oddity "Peste Negra", the gruff death metal vocals trying to accommodate all the mood swings with submissive guttural swagger.
"Metal Deforme" is a dirgy crusty affair, the band still moshing with verve ("La Fuerza", the death-laced "Tu Abismo") here and there, but there's also quite a bit of morose doom karma to clean on ponderous strolls like "Inmensa Minoria" and "Sentenciados", the raging "Uno Menos" partially helping with the mortification of those introspective motifs.

La Actitud te Hace Diferente Full-length, 2013
La Marcha de los Sometidos Full-length, 2019
Nueva Anormalidad Full-length, 2021
Metal Deforme Full-Length, 2024

Official Site

ENGENDRO (BRAZIL)

A 4-song demo of modern groovy post-thrash; nothing really special with repetitive heavy riffs and angry semi-shouty vocals.

Infecto Demo, 2007

ENGENDRO (CHILE)

Based on the demo, this act specialize in heavy dark old school power/thrash which gains a few points from the presence of the mean spiteful semi-clean singer. On the music front we have not very eventful mid-tempo stuff that is best exemplified by the corrosive epicer "Brainwashing", the semi-galloping valour of the final "The Last Day" by all means a pleasant surprise, enlivening an otherwise not very exciting, one-dimensional setting.

Holocaust Demo, 1996
Children of the Wind Full-length, 2000

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ENGINE DRIVEN CULTIVATORS (ITALY)

Based on the debut, these guys indulge in rough classic thrash/crossover which is on the mellow side with faster and slower numbers mixed together the leads being particularly stylish, screamy and technical at the same time compensating for the not very convincing quarrelsome shouts of the vocalist who rends his throat dangerously sometimes helped by the others on the choruses. More serious engaging thrash comes with "Extermination Units" which is a pensive progressive offering contrasting with the 2-min Slayer-esque outrage "Vomit Blood". After this moment of aggression the album moves in a more dynamic direction with the speedy "Crypteia" and the catchy Suicidal Tendencies worship at the end "Bazooka".
"Back from the Drainpipe" is another brisk blitzkrieg affair the guys moshing on full-throttle, unleashing ripping headachers like "Into the Cyclone" and "Apology of the Forgotten" in quick succession, relieving the situation with a couple of prolonged, more seriously-woven pieces ("Beach Parade"). The more intricate shreds on "The Claim of Mary Read" suggest at bigger musical prowess, but the frolic crossover rhythms of the closing "Cheese Rolling" safely bring things back to nonchalantness.
"Insert Coin" is a wild beast all along, the guys moshing with obvious vigour and gusto after a prolonged absence, leaving in the dust a lot of contemporary thrashers with violent pieces like "B.O.P.E." and "Red Striped Police" those still leaving room for the slower stomping side of the album ("Purge the Greed of Fear", "Dual Strike") to shine, the highlight on this exhausting ride being "Toxic Protocol", a nice varied spin-arounder which exudes more style than the rest by still retaining the aggression.

Rattletrap Full-length, 2005
Helly Gator Full-length, 2009
Back from the Drainpipe Full-length, 2011
Insert Coin Full-Length, 2019

Official Site

ENGINE OF ARIES (USA)

Stylish modern technical thrash, pretty dynamic all-instrumental stuff with plenty of tempo and time changes helped by a slight unobtrusive keyboard background. "That Look" is a hard-hitting piece with a heavy rhythm-section, a lot of dynamics, and loads of intriguing technical hooks. "Breeze" increases the presence of the keyboards, and the guitars are a tad more melodic, but also fuzzier. The fuzz remains for the more atmospheric/progressive piece "The Party Bomb" which is a labyrinth of moods and time-changes. "Exploded So" is an aggressive technical shred with cool stylish leads which are a relatively sparse presence on the EP. "Get Inverted" is a more laid-back composition with the leads hitting high again to produce a satisfying jazzy amalgam with more intense riffs added this time only as an assistance. The ideas thrown in are good, albeit already heard on the works of bands like Electro Quarterstaff and Achokarlos, and despite the several flaws encountered, this engaging all-instrumental picture can deliver the goods even better with a little refinement.

Deny the Odds EP, 2011

ENGINE OF PAIN (HOLLAND)

Not original, but well done mix of classic and modern thrash; there are the obligatory influences from The Haunted and the likes, but these guys are more technical and an overall better listen. "Fuel the Engine" introduces the mixture in an awesome way, staying closer to the old school followed by the thrashing madness "Cycle to Cycle". Later on modern elements come up bringing with them nice melodic leads which are a delight to listen to, albeit very short, but the sound remains crushing and heavy. The shouty but not annoying hardcore vocals are sparsely interrupted by attempts at a cleaner singing. Retro thrash returns with the aggressive, Slayer-esque "Man of the Year" and stays until the excellent closing intense, but also technical thrasher "Extreme Fakeover", graced by, again, good leads and impressive bass work. This is a promising beginning for one of the bigger recent hopes of Dutch thrash.

Here is the Pain! EP, 2004
I Am Your Enemy Full-length, 2007

Official Site

ENGLISH DOGS (UK)

These are the same guys who operated under the same name in the 80's producing a string of mild crossover-laced efforts. The band rock harder now and their new style is firmly in the thrash camp with some notable guitar work and quite good dramatic semi-clean vocals. The crossover vibes are still around, but their "english dog" bite is much more painful this time recalling Nuclear Assault at their best. "Hate Song" is a cool more melodic cut which would hardly make you "hate" anyone, but "The Thing Will Arise" is a ripping speed/thrasher faithfully followed by the sing-along hymn "Planet of the Living Dead". The final cords are more relaxed the closing "Down With the Underdogs" a wholesome encyclopaedia of riffs and energetic crescendos lasting for whole 10-min, being an album in itself. This is a good new beginning for the english dogs who have woken for the thrash metal resurgence replacing their laid-back bulldog-like stance with a more aggressive pitbull-esque one, arriving with "two heads" this time.

The Thing with Two Heads Full-length, 2014

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ENGORGED (USA)

Although Engorged started their career as a pure death/grindcore act, their self-titled follow-up introduced a considerable amount of thrash riffage which, along with the more aggressive blast-beats and the snarly Jeff Walker-like vocals, made up for a potent, frequently interesting, mix. With death metal being just a memory on their last offering, the band messed it up with uninspired cliched thrash which hopefully would remain just a solitary experiment, and the guys would return to the thrash/death metal hybrid where they have already proven their worth.

Death Metal Attack 2 Full-length, 1999
Engorged Full-length, 2002
Where Monsters Dwell Full-length, 2004

My Space

ENGRAVE (UK)

Based on the “The Infernal Bleeding” 3-track demo, these folks indulge in vicious pummeling retro thrash/death, the title-track levelling the field with sharp lashing riffs, “Liar, Deceiver” calming down with slightly more tamed rhythms, before the cover of Sepultura’s “Beneath the Remains” wraps it on with bile to spare, the vicious death metal vocals a total match to the hyper-active no-bars-held music. Some of the band members also participated in the death/thrash hybriders Brainstorm, and are currently engaged with the death metal cohort Coffin Texts and the thrash/death veterans Possessed.

The Rebirth Demo, 1997
The Rebirth Full-length, 1998

ENGRAVED IN BLOOD (UK)

These Brits pull out modern minimalistic post-thrash with screechy black metal vocals which dominate a pretty boring musical landscape marked by an uneven mixture of short and long numbers, both not very dynamic, the latter having a somewhat officious battle-like colouring recalling mid-period Bathory and Ereb Altor. There's some potential lurking here, but the delivery has to become more intense and vivid; now these sleep-inducing pieces would by no means generate any lasting interest.

Buried In A Forest Of Bodies Full-Length, 2013

ENIGMATIC PATH (USA)

The self-titled: a new trio who produce some progressively crafted compositions. The mind-scratching shreds of the opening "My Eternal" which is a fast headbanger with super-twisting riff-patterns, will mislead the listener since later on the style clings more towards the progressive side. Then comes "Destroy This Sacred Place" which is an Oriental progressive thrashterpiece with an epic flair, and the title-track provides clever gallops ala Helstar's Nosferatu". "Rebirth" is the "rebirth"... sorry, the "relief", a less complicated track with semi-balladic tendencies. "Between You and My Heart" starts jumping with intelligence once again, and "Venomous Creation" brings back the gallops with a pinch of scary death metal shouts as opposed to the good main clean mid-ranged vocals which more or less openly emulate Mr. James Rivera. "Awaiting the Feast" closes the cycle with an exiting portion of up-tempo sweeping spiral-like riffs, before the actual closer "Beyond the Sun" wraps it on with an eventful minute of melodic virtuoso leads. A good job done here from a band for whom the best if yet to come.
"Evolve" is another eyebrow-raiser, all-instrumental though, the surreal guitar urgency of "Diabolic Sphere" preparing the moshers for a more dynamic follow-up, but "Exorcistic Extraction" is a more meandering, more atmospheric proposition which stomps its way in a clever, sophisticated fashion. "Contemplation" is a balladic/doom shorter, and "Vast Quasar" is a steam-rolling pounder with a vitriolic hyper-thrash interception, a varied not very predictable shredder which leaves the vehemence for the closing "Mind Bending Contortions in the Echo Chamber", a cool amalgam of raging thrashing rhythms and more laid-back entangled rifforamas.

Enigmatic Path Full-Length, 2014
Evolve EP, 2020

Official Site

ENIME (CANADA)

The debut: this is first-rate retro power/thrash which begins in a dark brooding manner with the creepy title-track. "Break The World" speeds up admirably and will make the headbangers happy all over with its lashing riffs. The guys diversify the environment with the friendlier power/thrasher "Pretty Place", before "Selling Fear" reminds in a great way of Megadeth's mid-period, another impressive piece of dark semi-technical thrash. Then comes "Lies" to sprain the maximum number of necks being a prime short speedster. "The Darker Side Of Me" is a doomy thrasher with pessimistic overtones, and "Choose A God" is a short variation on the softer power metal chords exercised by later-period Megadeth again. "Dead Ended" is a choppy mid-pacer canceled by the faster-paced technicaller "Claiming Justice". "Can't Rewind" is another all-out speedster influencing the next "You Won't Drag Me Down", a short blitzkrieger with a crossover flavour. All the way to the closing "Become One" which is a more temperate shredder with relaxed mid-tempo rhythms. The vocalist is a mean-ish semi-cleaner recalling Dave Mustaine, but relying less on melodic histrionics.
"Bleeding Out" is a less impressive affair with the shadow of 90's Megadeth now epitomized, with relatively peaceful power/thrashers like the title-track and "Wake & Dream" amply provided. "Stay Away" is a more than welcome speedy semi-technicaller, but sparkles of the kind aren't so easily detected here if we exclude the more bouncy "Lies and Deceit" and the stylish opener "Watch It Burn" which will qualify for "Endgame" with ease.

Demon Inside Full-Length, 2016
Bleeding Out Full-Length, 2019

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ENJOY SARMA (SERBIA)

"No Fake Smiles" provides a heavy modern approach to power/thrash, not too far removed from 90's Flotsam & Jetsam and Dearly Beheaded. The music here is more melodic on a few times, as well as faster, and this is where the band starts to sound more convincing, albeit straying from thrash ("Empty Shells"). On the other hand, some songs are handled with a very heavy intensity sounding like pure doom ("Chained Soul"). Yes, the diversity here is big, also strengthened by the jolly crossover closer "Beer Attesting Day".
"Social Disorder" is pure playful modern post-thrash with stoner/doom vibes. This is very melodic catchy stuff with very few ties to thrash, memorable mild music which should appeal to a large audience a slight pullback being the very shouty aggro-vocals.

Reborn Power Full-length, 2000
No Fake Smiles Full-length, 2002
Social Disorder Full-Length, 2014

Official Site

ENKI (SPAIN)

Based on "Red Oak", this band unleash modern groovy post-thrash with harsh death metal vocals. The music comes with hardcore and metalcore elements so the classic thrash lovers will abandon this effort after the second song, especially when they find out that there's barely a more energetic rhythm above the mid-pace played.

The Gardens of Babylon Full-length, 2014
Red Oak Full-length, 2016

Official Site

ENOLA GREY (USA)

This is your average modern post-thrash, heavy mid-paced groovy stuff with sparse faster outbursts; the band members can be seen in several other projects: the metalcore formation Martyr AD; the death metal acts Mortifest and Crylyte.

Cabal EP, 2005

Official Site

ENOR (FRANCE)

A decent mix of classic and modern death/thrash metal which is both dark and moody ("L'impasse") and fast and furious ("Obrerour Ar Maro"), all coming with a nice sense of melody, but with not very pleasant gruff rending vocals with a black metal shade.

Ifern Ien Demo, 2007

My Space

ENQUIRE WITHIN (UK)

Modern power/thrash which abrasive vibe comes heavily industrialized at times; speed ("Battle Torn", the galloping battle-rouser "Wasteland") isn't completely lacking, but it's on the friendlier, more memorable material ("Warmonger") where the guys shine more, brushing aside the several ill-advised tributes the 90's groovy trends ("Watch It Burn") the latter accommodated by the angry semi-shouty/semi-clean vocals.

Bloodlines Full-Length, 2019

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ENRAGE (USA)

Dynamic brisk retro thrash which comes as a cross between Viking's "Do or Die" and Torture's "Storm Alert". "Bash You" displays a more intricate, anti-bashing veneer, and "Smell of Death" reveals a slower, more atmospheric side of the band's repertoire alongside the staple fast-paced excursions which permeate the short bursting "Injected Infection" entirely, and partially "Self Induced" which shreds with more constraint the guys only hinting at a bigger, more complex potential ala Intruder and Heathen, the semi-clean semi-shouty vocals providing the needed attached companion to the less ordinary musical approach.

Enrage Demo, 1992

ENRAGED (USA)

The debut: the "Power Of Thrash" immediately becomes evident from the opener of the same title here although it's served with a very dubious sound quality and not very synchronized instruments, and one may have strong doubts that this album has been recorded nowadays. This is a quite raw amateurish attempt at early speed/thrash metal akin to the Metallica debut and the early efforts of the Belgians Acid, but one will come across some pure heavy metal tunes among other melodic dissipations. Further negative features include a boring acoustic instrumental at the end ("Meaning Of Life") lasting for whole 9-min (!) and awful unrehearsed semi-clean vocals. "Welcome to the nightmare", indeed...
"A New Direction": the guys are hardly searching for "a new direction" here playing the same awful amateurish stuff with distorted abrasive guitars. This could have been an early rehearsal made before the debut since this is so deliciously, hilariously bad that one may have problems taking this act seriously even after a subsequent release of two stylish "Master of Puppets"-like efforts. Most of the time this is actually plain noise done to just piss people off, and its raw aesthetics are at least a good reminder of the good old garage days from the very early-80's and late-70's.

Welcome To The Nightmare Full-Length, 2013
A New Direction Full-Length, 2013

ENRAGED (USA, CA)

Based on "Presence Of Fear", this is a very good old school mixture of Bay Area thrash, Slayer and Sepultura with Phil Anselmo-like vocals. The music is quite fast and intense for most of the time, but there are no shades of death metal or any modern gimmicks; this is a pure old school thrash attack. Only seldom does the music lose its edge and slides down to thrash/crossover: "Funny Farm".

Enraged Full-length, 2000
Presence Of Fear Full-length, 2003

ENRAGED MONKEYS (GERMANY)

Retro thrash/crossover with gruff guttural death metal vocals; lashing short pieces ("The Sky Is Down") keep rushing at the listener who can't help but acknowledge the hardcore sting carried by some of them ("No Compromise"), the dark slower "You Break First" clinging towards the doomy/balladic confines. "Alive but Dead" comes crushing with a more brutal deathly veneer, but expect also jocund mellow rockers like "Wake UP" to disperse the tenebrous clout.

No Compromise Full-length, 2021

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ENS COGITANS (RUSSIA)

Based on the "The Sketch on the Forest Theme" demo, this act provide dark gothic/progressive thrash which rushes at the listener with loads of atmosphere and a wide riff-variety which is equal parts Opeth and Depressive Age, with quite a bit of energy emitted, the not very rehearsed gruff semi-clean vocalist not leaving as positive impression. "Unconsciousness/Praemorbus Thend" is a captivating twisting miasma with cool bassy implements, sudden galloping decisions, and creepy sinister motifs. Later the band moved towards the prog-gothic territory with a string of albums lasting all the way to the mid-00's.

The Sketch on the Forest Theme Demo, 1993
She, the Oldest One... Demo, 1994
Maxims of the Oldest One Demo, 1995
Heart of the Way Full-length, 1996

Official Site

ENSHRINED (SWEDEN)

This choppy modern thrash/death exacerbated by confrontational quarrelsome deathly vocals. The music isn't quite a Gothenburg school emulator but opts for for a more rugged abrasive approach, the more technical expletives on "Transcend the Higher" recalling another Swedish outfit, Altered Aeon; whereas "Outcast" is a crunchy proto-groovy deviation. "Ignite" ignites the setting for a more energetic jump-around, and "Pillar"tries to assist the melee with effervescent rhythm-sections and several more entangled riff-knots.

The Grand Failure Full-length, 2023

Official Site

ENSIGHT (ITALY)

Based on the full-length: this band is a side-project for the Eldritch guys who have recruited the The Fallen Angel singer Antonio Cannoletta who does an admirable job to assist this pretty entertaining progressive power/thrash release with his warm emotional, clean timbre. The compositions are longer and more elaborate, but the rhythm-section resembles the one on the Eldritch output quite a bit: check out the galloping rouser "The Pain Society", or the crunchy riffage on "Falling From Above". The title-track in the middle is a sprawling progressive cut but it pales in comparison with the closing 13-min opus "As The Word Falls Down" which sums up the music heard before it also adding more prominent keyboards the latter only hinted at on most of the previous material. Whether this act will become a regular presence on the scene is not known, but it feels like the world will stick to the Eldritch repertoire for now...

Hybrid EP, 2011
Hybrid Full-length, 2015

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ENSLAVED (GERMANY)

Based on "Where Is The Meaning?", this band play very well executed technical thrash/death metal which combines the best from early Massacra, Pestilence's "Testimony of the Ancients", Loudblast's "Sublime Dementia", Agretator's "Delusions", among others. The album will offer you plenty of stylish technical riffs as well as songs in different tempos: brutal pieces: "Your Way", mid-paced moody ones: "Death on Wounded Knee", great exercises in a technical play: the instrumental "For a Friend".
The debut EP is another decent affair beginning with the creepy mechanizer "Politicians". The creepiness continues on all the other compositions at times interrupted by spasmodic blasts, at others by quiet doomy sections. As a whole the musicianship is probably on a lower level the guys at this stage not having honed their weapons as fine yet sticking to death metal more to which the brutal guttural vocalist is way more fitting.
"Kleine Seele" tries to side with the more modern tendencies, but this is done without sacrificing too many of the band's staple gimmicks, and this album is almost as compelling as the debut. "Schizophren" is an excellent atmospheric shredder, and "No Will to Live" is a brilliant, short technical twister which overshadows half of the material from the debut. "Gnadenlos" is elegiac and proto-doom stepping aside for the nice meandering technicaller "Mind Experience" which also boasts the finest leads here. The closer "Macabre" is another quirky thrash/deathster shredding with style to spare the only pullback on this very strong effort being the overshouty death metal vocals which simply have no place alongside such outstanding music.

Twisted Nature EP, 1993
Where Is The Meaning? Full-length, 1994
Kleine Seele Full-length, 1997

ENSLAVEMENT (CHILE)

Retro thrash with sparse more brutal proto-death metal-ish additions; fast intense stuff quite reminiscent of mid-period Sepultura, the vocal delivery closer to the guttural death metal camp. The lead guitarist shows his skills on more regular bases ("Odio y Venganza"), his inspired pyrotechnics soaring above the not very impressive background which on "Putrefaccion" is pure death metal. Elsewhere it's thrash that rules the proceedings the genuine malice and violence exuded from "Prisionero Atormentado" and "Locura Destructiva" contrasting with the more complicated veneer of the final "Esclavitud", an over 9-min saga with quite a few twists and turns throughout including several less controlled bashing sections.

Enslavement Full-length, 2018

Official Site

ENSLAVER (CHILE)

Apart from one of the worst sound qualities that ever graced these ears, what else do we have: very brutal death metal vocals topping up better music in the spirit of the late 80's/early 90's French wave; in other words this is a thrash/death metal concoction, with Agressor's "Neverending Destiny" being the closest soundalike although the musicianship here is on a lower level, and the guys have the tendency to slow down to doomy Celtic Frost-like dimensions, but in an awkward clumsy way interrupting an intense headbanging passage which never manages to recapture the speed later on.

Degradation Demo, 1991
A Place of Terror Inside Demo, 1993

ENTELECH (USA)

This is old school thrash which is rich in both sweeping melodies ("Buried in Tophet") and seeping Oriental atmosphere ("Unholy Infiltration"), the guttural death metal vocals unleashing a few subdued recitals on the jumpy semi-technical "Apologeticus". The only genuinely brisk headbanging moment here is "The Perpetual Impasse", a bouncy moderately intriguing shredfest with not very pertinent keyboard background provided.

The Perpetual Impasse EP, 2021

Official Site

ENTENTE (GERMANY)

This band was formed by the Skeptic Sense guitarist Michael "Mick" Salomon. Well, the music here is not bombastic technical/progressive thrash metal, but isn't so far behind (based on the "Degree Of Punishment" demo) comprising relatively lengthy (5-7min) thought-out numbers with numerous more or less expected twists although the "backbone" is clearly more straight-forward speed/thrash with echoes of Paradox's "Heresy", Artillery's "By Inheritance", and Anthrax's "Persistence of Time" on the heavier moments. "Jekyll & Hyde"" is a not very often heard nowadays speed/thrash metal symphony sustained in a constant speedy pace where more complex rhythms overlap each other to a slightly dizzying effect. The title-track is a more immediate headbanger with meandering screamy solos and a few vortex-like passages which actually recall the Skeptic Sense masterpiece, and may have been elaborated on the following demo which is a very highly sought out item. The singer is a passable clean mid-ranger who plainly semi-recites at times, but keeps pace with the unpredictable stylized musical delivery.
The "Outlined" demo is a more varied proposition with more relaxed thrash/crossover hymns ("The Phantom") roaming around on top of serious engaging progressivers ("Innovation") where a lot of things occur, with shades of power/speed metal ("It's My God") also popping up here and there. The headbanging immediacy of "The Picture Of Dorian Gray" isn't that widely spread here, but with nice technical shredders like "Jericho Falls" and "Eradication" amply provided the listener will hardly feel nostalgic for the good old stripped-down fun so much. The vocals are more attached and more interesting this time with a higher timbre epitomized on the more dramatic moments.

Degree Of Punishment Demo, 2002
Outlined Demo, 2005

Official Site

ENTER VI (AUSTRALIA)

Based on "Dreams": good "updated" classic thrash metal which predates the similarly-styled efforts of much more renowned bands like Exodus, Kreator and Onslaught. The music has a somewhat clinical dry shade which will remind you of late 80's Voivod as well, but more aggressive and less technical. There are moments where the band sound quite modern ("Passed Realized") and moments where classic thrash takes over ("Rejuvenation"). The modern production, however, brings the overall sound towards the modern tendencies, but the sharp guitars and the intense riffage (the concentration is clearly on riffs, not on melody) will surely please the listener. Having shown the way it has to be done, this band have gone silent...
"Black Dolphin" doesn't skip a beat from the preceding effort despite the huge 19-year gap, the band still moshing hard with short concrete numbers, the slightly drier guitar sound giving the proceedings a more sterile modern-ish aura. The music delivers with its ripping character with intense pieces like "My Withered Hands" and "Precious" following in quick succession, with "Those Like Me" attempting a couple of more officiant gallops on top of some more brutal deathy additives. "Lost" "loses" the classic approach somewhere for a bit for the sake of meeker post-thrashy motifs, but generally there are few pitfalls to be come across on this decent hyper-active effort.

Dreams Full-length, 2000
Black Dolphin Full-length, 2019

Official Site

ENTERA (GERMANY)

Based on "Believe, Fight Or Die", this is modern melodic thrash reminding of the Germans Perzonal War, but less Metallica-influenced. the sound quality is bad although this is the band's third official release. The singer is clearly not an asset with his shouty undeveloped voice. The music is heavy mid-paced to slow-ish often interrupted by quiet balladic moments. The band abandon the thrash metal idea at times "courting" power metal with a gothic twist ("No Winner", "Sanguis Draconis"), and the results ironically are better. "Defluvium" is a cool short track with a semi-technical guitar work and a faster tempo, but the following "Fools Game" is a very insipid pop-ish piece, and when the closing "Like A Dream" follows the same pattern, you know that you would hardly give this album another listen.

"The War Goes On" is a much much better effort, greatly recalling some of the peaks from the technical/progressive thrash metal wave in their homeland from the early/mid-90's (Depressive Age, Lost Century, Entophyte), the band now thrashing with more force as evident from the energetic opener "The Better Past" which rather shows "the better present" which also comes decorated with both technical and melodic guitars. The awesome beginning by all means has its match later: check out the short "dynamite" "Each Day"; such revitalizing cuts one may indeed need on an "each day" basis. The guys shred with no remorse retouching the technical implements a bit later on, but tracks like "Hate Factory" will be a major entertainment with their stylish hectic riff-patterns and addictive melodic tunes. "He Has Not All Pickets in His Fence" is probably the highlight on this perennial roller-coaster combining mellower crossover moments with brutal deathy sections to a highly positive effect. This composition gives a nice playful boost to the rest of the material which reflects the more accessible side of technical/progressive thrash except for the times when the guys just plainly have a crossover fun ("Sanguis Pro Sangue") without any more serious intentions. Expect more aggressive death metal-ish shreds near the end on "Bellum Stativum" as well as more dramatic mid-paced riffage on the closing "Death Will Visit You Too". The singer is now a tad more passionate without adding any higher notes to his levelled voice. The bass work is simply astounding this instrument playing a major part on at least half of the songs. This is a really cool entry into the band's repertoire which will do a lot to erase any negative impressions from their past "exploits".

Crossing EP, 1993
Betrayal Against Time Full-length, 2000
Believe, Fight Or Die Full-length, 2003
Daily Terror EP, 2008
The War Goes On Full-length, 2012

Official Site

ENTERFIRE (UK)

This formation indulge in modern power/thrash which is built around bouncy mid-tempo rhythms, the genuinely headbanging escapades ("Freaking Out") few in-between, the galloping vigour of the epic "Weapon of Broken Dreams" clinging more towards the speed metal parametres. Still, beware of "A Thousand Voices", an immediate vigorous thrasher boosted by the dramatic vocal performance, the man behind the mike consistently good with his clean mid-ranged baritone.

Slave of Time Full-length, 2018

Official Site

ENTHERROR (BRAZIL)

Aggressive classic thrash metal with stifling noisy drums and brutal semi-black/semi-death metal vocals; otherwise this isn't terribly bad the guitars having both heaviness and sharpness producing a few commendable dark headbangers ("Death In Heavens") along the way.

Terror That Never Ends Demo, 2010

ENTICE (USA)

This band mix thrash and power metal in a way not too far from Laaz Rockit's "Know Your Enemy", or early Helstar. These guys are perhaps more power metal-inclined and vary things more with balladic and slower, almost doom-laden passages, but when they feel like thrashing, they really do a very good job (The Church"). Most of the tracks are over the 5-min range and are quite elaborate without sounding too technical; it's just that there are numerous tempo changes (some of them maybe not too necessary). The guys have the tendency to start their tracks in a quiet balladic way creating a kind of drama (which is actually the key-word to describe the band's music) which later develops into a cool power/thrasher of a less ordinary nature. The lead guitar is really striking at times ("Deceiver") and is given quite a space here even to the point of a show-off.

Entice Demo, 1989

ENTICER (AUSTRALIA)

The EP: what comes up when members of two of the best Australian thrash metal bands (in this case Mortal Sin (but of course!) and Addictive) join forces? Enticer: a 2-song demo of first-rate speed/thrash akin to Agent Steel and Deadly Blessing. Busy with their main acts, the guys never found time to make a follow-up to this striking effort.

The demo is another cool affair "Living Fast" galloping far'n wide around the prairies before the title-track enchants the listener with nearly 11-min of clever complex speed/thrashing. "Roll On" is a cool semi-ballad, and "Danger Within" is a nod to the American power metal scene. The final "The Final Act" is another semi-balladic piece with timid galloping tendencies near the end saved by the very good leads which rise above the not very clear sound quality.

Into Reality Demo, 1989
Reaper Of The Earth EP, 1989

Official Site

ENTICER (USA)

Power/thrash metal sounding like a more aggressive version of Griffin and Jag Panzer; "Morta Mode" is a nice instrumental piece which shows the band's more technical, and more preferable, side.

Enticed Demo, 1987

ENTOPHYTE (GERMANY)

Entophyte are one of the progressive/thrash metal bands who graced the German metal scene in the early 90's (Depressive Age, Lost Century, Megace, End Amen, etc.). Expect good technical/progressive speed/thrash with sharp riffs and an overall more aggressive and fast-paced delivery than the ones of the other aforementioned acts. The vocals are a bit weak being very melodic and not powerful enough for the better music; the singer throws some brutal growls from time to time, but this doesn't improve things a lot. The highlight of the album is the place where he takes a little part: the excellent technical speedster "The War of Khyr". The style isn't too far from the one of Depressive Age, but the guys here come up with really good proficient leads, and the music here is more hard-hitting and a tad more straight-forward. Some of the musicians had previously taken part in the short-lived thrash metal act Exurist.

End of Society's Sanity Full-length, 1992

ENTORX (GERMANY)

Based on the full-length debut, this band play retro thrash/death which staggers between frantic technical outbursts (the title-track) and more elaborate progressive exercises ("Last Thought") both sides alternating throughout with "Kill My Brain" combining both approaches into one fascinating parade which also receives handsome support from "Inaction", a nice less ordinary ride with spasmodic jumps and jolts, the contrasting death metal vocals (guttural, screechy) the only more mitigated flaw on this entertaining roller-coaster, their cleaner more emotional side very sparingly covered. Some of the band members were previously involved with another similar thrash/death formation, Tremescum.
"Faceless Insanity" shows bigger ambition with longer, more thought-out compositions where then progressive factor is quite high, especially on the 10.5-min behemoth "Doomed", a creepy atmospheric dirge that contrast with the rest among which one will totally savour the jumpy nervy "Morbid Rage" and the frantic schizoid "Paranoid Conspiracy".

Theta Waves EP, 2011
Broken Ways Full-length, 2013
Faceless Insanity Full-length, 2020

Official Site

ENTOWNIZER (CANADA)

Excellent fast-paced thrash courting bands like Devastation and Sepultura with more intense parts ala early Death; the guitars are sharp semi-technical, the leads are particularly good. The vocals are in the death metal camp reminding of Martin Van Drunen (Pestilence, Asphyx, etc.).

Cycloptical Vision System Demo, 1991

ENTRACURA (HONG KONG)

This is melodic thrash/death metal, mid-paced, with a slight Gothenburg influence in the guitar sound, dark, gothic-tinged, with even epic elements inserted ("Odin Battle"). The main vocals are brutal low death metal ones, but there are semi-clean ones as well, with a somewhat alternative timbre, and it would be better if they don't show up too much for the future. This is stuff that would also appeal to gothic and doom/death metal fans.

In The Face Of Hatred Demo, 2007
Untitled Demo, 2006
Demo 2006 Demo, 2006
Into Oblivion Demo, 2007
Trails of Death Demo, 2008

Official Site

ENTRAFIS (CANADA)

The debut demo displays a band trying to inject a certain doze of technicality into the Floridian death metal sound (think its heavier slower side: Obituary, Autopsy), and as such we have steam-rolling mid-paced to slow music with a couple of more clever technical decisions in the guitar department. This mix is a bit uneven, but is strangely listenable also recalling the similar moments from the Infernal Majesty debut, and some of the more complex passages will make you listen with more care. The singer is not a very valuable addition with his rough death metal timbre.

The "Kerfuffle in the Koop" demo is much more technical and jumpier resulting in a much better listen even touching Coroner on the most inspired sections. Again there aren't many speedy passages to be encountered but still this unusual intriguing amalgam is more on the positive side if we exclude the vocals again and the bad sound quality. "Abolish the Shadows" even creates some fever-ish headbanging drama mid-way, the delivery decidedly on the death metal side more, with twisted schizoid riffs rising out of nowhere, "In Nowhere's Time" epitomizing the stop-and-go technique quite well, a creepy albeit hectic piece with quirky atonal decisions. "Mytho-Moid" tries to be more melodic but the weird musical developments are just a note away, this jumpy nervy cut vintage Atheist (think "Unquestionable Presence"), its inordinate busy-ness matched every bit of the way by "With My Corpse", a jumpy Confessor-esque doomster with some frantic drumming and very vigorous bass.
The "Into Out" demo is an even more entangled achievement than its predecessor, the band crossing Coroner with Atheist on the amorphous anomalous wonder "Unquiet Infinity", a perennial puzzle with perplexing riff-knots, numerous tempo-changes, and abrupt dazzling lead sections. "Forced to Fury" follows a similar path only more brutal, with more frequent fast-paced passages but with also several effective atmospheric stopovers, the ensuing riff-salad only getting more intricate with time, "Electric Saddle Toy" a cavalcade of restless rhythms, those mostly served mid-paced this time, a nice melodic tune splitting this conundrum into two, before the title-track wraps it on with a sizzling array of swiftly-overlapping fast vs. slow riffs, the eccentric archaic leads on this one contrasting with the highly-technical drama surrounding it, but fitting perfectly the eclectic jazzy epitaph.

St. Granville recording Demo, 1991
Kerfuffle In The Koop demo, 1992
Into Out Demo, 1994
Entrafis Demo, 1995

Fan Site

ENTRANCED (USA)

Dense stomping retro thrash in the vein of Infernal Majesty's first instalment, which relies on the macabre semi-technical riffage of "The Aftermath" to pull it through, the intimidating death metal vocals certainly another positive presence. The all-instrumental "War of Seasons" is another interesting shredder with slower and faster rhythms alternating, the headbanging section towards the end transferred onto "Undying Thoughts", a stylish speedster with a couple of intriguing melodic deviations.

Entranced Demo, 1992

Official Site

ENTRENCH (SWEDEN)

This young Swedish outfit pulls out quite good classic speed/thrash following the 80's German patterns closely, the Exumer debut (mostly the songs on the "Into Oblivion" demo), Necronomicon's "Apocalyptic Nightmare" and early Destruction being the prime influences. "Mourn the Living" is blistering speed/thrash, fast and merciless, with more aggressive proto-death moments present. "Harvest Hill" is vintage mid-80's Destruction, with the singer not shying away from the typical Schmier delivery also attempting occasional high-pitched hellish screams in his vein, with a pinch of Mem Von Stein (Exumer) on the higher tones. "As Dawn Breaks" is in the same vein, raging aggressive thrash reminding of "Eternal Ban" from "Eternal Devastation" and early Kreator. The formula is repeated on the other material with "Blind Illusion" slowing down in the middle, but retaining the very crushing cutting riffage. The guys don't bother looking for any technical or melodic deviations, but this shouldn't be considered a downpoint since the sincere, direct and dedicated to the past approach will easily delight any thrash metal fan.
"Inevitable Decay" is built around the songs from the demos so don't expect too many new songs, nor any changes of style: this is the good old Germanic thrash brought to the new millennium for the umpteenth time. Still, those who are fond of everything old school played with passion and dedication should be salivating over this recording which boasts a crystal clear production boosting the sharp guitars quite a bit. "Portrait Of A Phobia", one of the new numbers, is a stylish "journey" into the realms of more technical metal producing 6.5-min of clever riffs and varied paces. Near the end the new material shines again, first with the excellent 2-min instrumental "Crossing The River", and then with the closing "Where Only Ruins Remain" which is another slab of varied technical thrashing lasting for over 7-min. The singer this time is more shouty and quarrelsome moving more towards early Mille rather than Schmier, but his antics are the perfect match to this very well-executed tribute to the genre's glorious past.
"Violent Procreation" is "violent stuff" indeed the band lashing fiery vitriolic riffs to no end in a way no worse than Merciless' debut and Invocator. Some stylish semi-technicality shows up ("Those Who Exceed") the latter notched up a bit on the encompassing 8.5-min shredder "Adjust to Summit". Death metal comes to stay with "Chemical Holocaust-The Mental Wasteland", a furious brutal piece which influences the remaining material among which "Calm the Urge" is a bit more moderately executed, thought-out number compared to the exiting string of fierce ripping cuts. This is classic "carnage" at its most relentless best, another lesson in "violence" by an up-and-coming outfit who are yet to reveal their full potential.
"Through the Walls of Flesh" starts with the ambitious 9-min opener "The Coming Storm Dawn of War", a standout technical shredder with a wide array of intelligent overlapping rhythmic patterns the guys also making sure to keep the fast blitzkrieg riffs flying, the final result a totally mesmerizing affair, a perennial feast for the ears. Elsewhere the musicianship isn't that striking "Enter the Fray" being a short, less restrained rager with death metal showing up more readily with a couple of blasting passages as well, and "Iron Coffin" is another more serious shredfest the delivery recalling early Destruction, including on another short ripper ("Dead End"). The complexity returns for the final "Fragments Shadow of Death", another larger-than-life opus with great melodic hooks and leads, not relying on speed so much this time although the speedier moments are vintage death metal again.

Untitled Demo, 2006
Demo Demo, 2006
Into Oblivion Demo, 2007
Trails of Death Demo, 2008
Inevitable Decay Full-length, 2011
Violent Procreation Full-Length, 2014
Through the Walls of Flesh Full-length, 2017

Official Site

ENTRENCHED (USA)

The debut: a US duo which provides classic-sounding thrash/death in the vein of the early 90's Scandinavian school (Unleashed, Entombed, etc.). This is straight-ahead stuff, pretty fast without any extremities, favouring death metal more to which the brutal death metal growler suits very well.
"Endless Occupation" doesn't stray too far from the chosen path the guys sparing no aggressive tricks like the short brutalizer "Mudpit" and the title-track although "Interrogation Chamber" hits with all the mid-paced Entombed-esque chug that can be summoned within 3.5-min. However, it's the speedy cuts that dominate including a few hardcore-prone loose canons like "Armed Patrol" and the grinding atrocity "Goreamedic" at the end.

Preemptive Strike Full-length, 2011
Endless Occupation Full-length, 2019

Official Site

ENTROPIA (CANADA)

Based on the debut full-length: classic/modern-ish stuff "courting" thrash, speed and power metal in equal dozes with the speedy side being the most attractive one ("Shelshock", "Fatal Dreams"). "Fate Of My Soul" is an excellent heavy ballad in the best tradition of the Metallica exploits in this field which influences the remaining material which takes a turn towards the Black Album culminating on the 10-min opus at the end "Entropia" which apart from the heavy hammering riffage finds time for a cool faster exit.
"Electric Chaos" is more thrash-oriented and as such may be the better listen to some. The guitars have acquired a certain abrasive vibe, but surprisingly stay closer to the classic patterns which were hinted at on the debut. The moshing goes on full-throttle on quite a few times reaching the climax on the furious headbanging instrumental "InstruMETAL". The singer now recalls James Hetfield quite a bit leaving a positive impression all over except on the few moments when he adds gruffer death-ish tones. The end is a bit underwhelming coming in the form of an overlong peaceful balladic instrumental called "Tears of Blood".
"Crimson Empire" would be a pleasant surprise the band moving up the thrash scale producing some exemplary speed/thrash of the old school now coming with a more or less overt technical edge at times (the excellent opening title-track) which isn't so widely covered later on, but the band seldom lose the biting edge and serve more diversity with various tempos alternating always "ruled by thrash" as the song "Rule By Thrash" suggests the latter raging with a death metal intensity at some stage. Everything comes combined, more or less successfully, on the final "Procession of the Equinox" which is a flawed 10.5-min composition which may lose the listener who would stop paying attention due to the numerous nuances hinted inside. Still, the guys have tried to please the thrash metal fanbase and as such have delivered without many pitfalls on the way.

2007 EP, 2007
Lust For Apocalypse Full-length, 2008
Electric Chaos Full-length, 2010
Crimson Empire Full-Length, 2013

Official Site

ENTROPIA (UKRAINE)

A decent entry into the classic speed/power/thrash metal genre which starts in an open headbanging manner with the furious speedster "Mirage Christianstva" akin to their neighbours from Shah and early Master, but later on the tracks become longer and slower with sparse speedy outbursts belonging to power/thrash metal; more engaging thoughtful listens with progressive pretensions. The singer isn't bad at all, and his clean attached delivery fits very well the melodic diverse nature of the music.

Mirage Full-length, 2010

Official Site

ENTROPIC ORDER (UK)

Good classic power/speed/thrash metal with nice solo work spoiled by the indifferent emotionless vocals; the guys play energetically inserting melodic hooks whenever they have the chance and combined with the great leads make each of the four tracks quite interesting. "I'm Watching You" is probably not on par with the others being slower and more melodic, partially saved by the more aggressive ending. "Ragnarok" is a full-blooded thrasher where the singer finally tries something more exciting, in this case a high-pitched shout ala Tom Araya. "Field of Dreams" is mostly power/speed metal, but delivers the goods although the vocalist does his best to ruin it, producing his worst performance.

King of the Damned Demo, 2006

My Space

ENTROPY (AUSTRALIA)

A 3-songer which sticks to a modern/classic thrash/death hybrid, “Brain Cell” relying on heavy but stylish rhythms to pull it through, before “Entropy” provides a nice idyllic break amongst the furious death/thrash skirmishes, those pacifies to an extent on the introspective stomper “Deceiving Demons”, the rough shouty death metal vocals suiting the exacerbated setting which is lightly marred by the muddy sound quality.

Entropy Demo, 1996

Official Site

ENTROPY (CANADA)

Progressive thrash metal band; the debut is quite worthy with long complex songs, beautiful acoustic atmospheric passages, great technical riffs and brutal death metal thrown in ("Psionic Dissection"). The guys are not strangers to some furious playing which suddenly flows into a complex more melodic passage, and vice versa ("Ashen Existence"). Some tracks are more accessible ("Necrothon", the heavy thrashy ballad "Darkness Weaves"), but the band's power is in the more elaborate material: "Machine`s Way", which is slower and pounding with a fast section in the middle and very proficient lead guitar work; "Exalted Sith", which is a nice galloping progressive thrasher, with a beautiful quiet passage; "Traces Of Time", which is a monstrous 10.5-min progressive composition, which shows the singer, who has a nice semi-clean tember, at his best on the mesmerizing balladic beginning; later on the thrashy riffs spring up, but the song never goes for sheer speed, remaining quite heavy and doomy, supported by great leads.
The band's second effort tones down the technical play opting for a more simplistic modern post-thrash sound, and is much less satisfying. This is heavy squashing music which doesn't offer too many pleasant surprises, the noisy hardcore-ish title-track pulling back the audience, the latter surely impressed by the stylish flashy lead section, but expect playful welcoming rhythms on "Underneath", including much better cleaner vocals as opposed to the main shouty ones. "Ritual Tempest" is a most surprising energizer, a near-death experience with raging non-restrained guitars, but that's pretty much it from an aggression point-of-view, the lyrical balladic elegy "Innocence Lost" mortifying all more dynamic attempts, including the doom/sludgy walkabouts on "Return to Blood", before the final "The Breed" provides another portion of soporific tranquil passages.
"E3": another act attempting a return to the scene and without wasting too much time on the album-title the guys start thrashing from the get-go with the vehement old school piece "Means to the End" which recalls the band's debut in every way except for the dry modern production. Despite the inspired shredding throughout the album moments of their groovy years are inevitable, and the shadows of Pantera and Machine Head eventually sneak over some of the material ("Encryption ") with its angry rhythms and not as convincing post-thrashy formulas. The guys try to achieve some balance between their previous works in the second half, and they could have gotten there if it wasn't for the overambitious closer "Darkness Eclipsed" which is almost 11-min of eventful progressiveness which features too much music to be a truly compelling listen; there are so many nuances to be followed here that at some point the listener may just stop caring regardless of the several cool headbanging passages inserted at more or less expected places. The band get the job done without hitting any heights, and in this aspect this new release safely occupies the middle ground between the debut and the sophomore effort.
"Force Convergence" is a much better offering, the guys moshing with passion on the opening ripper "Ripzone", before "Planetary Impact Extinction" mechanizes the setting with thick heavy proto-grooves. Not too many complaints from this heavy behemoth, especially when "Threshold of Decimation" thrashes with no remorse, a vehement headbanger with a few tasty lead licks. "Weaponized Storm System" is even more effective, a pulverizing energizer with a threatening proto-death sting, all demons pacified by the nice quite lead-driven instrumental "Transmigration", the title-track adding another portion of dynamic retro thrash rhythms as a finishing touch.

Ashen Existence Full-length, 1992
Transcendence Full-length, 1995
E3 Full-Length, 2012
Force Convergence Full-length, 2020

Official Site

ENTROPY (UK)

Ripping classic speed/thrash metal in the best tradition of Paradox's "Heresy" which wastes no time with unnecessary gimmicks, but goes straight for the throat with the excellent uncompromising speedster "Gulf Of Misery" which boasts excellent leads. "Weapons For War" is the ambitious track here, a 7.5-min opus with lashing heavy riffs which are mid-paced in the beginning, but later evolve into another virtuous speed/thrashing crescendo. "Reclamation" adds some sophisticated technicality to the proceedings which remain on a pretty intense speed/thrash metal base. "The Eyes Have It" continues the speed/thrash saga with full force ending this very cool short effort with dignity. The singer is a vintage Charly Steinhauer (Paradox), but staying closer to his more recent, gruffer less melodic, timbre. The British scene has grown quite a bit from a thrash-metal-point-of-view in recent years, but this talented act would surely turn into one of its more prominent representatives if willing to continue to the full-length stage.

Reclamation EP, 2011

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EN TU AGONIA

Furious black/thrash metal with a dual vocal attack: one kind is your prototypical raven-like rasp, the other very brutal low-tuned. The music is quite fast, never crossing the borders towards annoying blast-beating and the guitar work is quite proficient. "Tinieblas" is a surprisingly melodic crossover track, but the guitars on it are great, producing addictive tunes. "Lo Que Dicta La Razon" is the other slight deviation, slower, with nice orchestral atmospheric black motifs and a couple of industrial overtones. The closer "Lejos" follows the same path for a while introducing a nice female voice at some point, but the end is strictly for the fierce thrashers: raging thrash guitars close this fairly enjoyable work coming from this very obscure act about which more additional information would be highly appreciated.

Sobreviviendo EP, 2009

ENTWERTER (AUSTRIA)

Based on "IV: Suffer the Shadows", this band play modern post-thrash that alternates heavy groovy pageants ("Killing Precious Time") with livelier shorters ("Elendsheil"), the guttural death metal vocalist spoiling the fun a bit with his threatening antics. "In Search Of Redemption" is an effective hypnotic doomster, and "Geistgefagnis" is a surprising vivid speed/thrashing galloper.

...und das ist erst der Anfang Full-length, 2005
The Mortal Engine Full-length, 2007
Subpsychotic Rage Full-length, 2012
IV: Suffer the Shadows Full-length, 2017

Official Site

ENVENOMED (AUSTRALIA)

Four songs of classic melodic power/thrash ala Iced Earth and Meliah Rage, mostly in mid-tempo, with more speedy moments ("Slave No More") and alternative vocals the latter strangely reminding of the German depressive doomcore stars End of Green. The lead guitar work is quite good and is given quite a space on almost every track.

The full-length debut is a better offering thrashing more aggressively the opener "Will of Man" already an impetuous shredder, the next "Spoils of Victory" a major headbanger with ripping guitars. "Burn the Sun" is another speed metal winner before "Falling" turns the tables towards the heavy semi-ballad. After it the situation remains in mid-paced waters for a while until "The Shadowland" provides an energetic boost in the form of several gallopisms. The instrumental "Spirit Machine" is the more complex deviation, and "Demonocracy" is a dramatic power/thrasher with lashing riffs and a memorable chorus. The closer "Global Deception" is the last portion of fast brisk guitars which will bang the head for about 5-min exiting this effort with the deserved aplomb, showing a capable unit ready to compete with the best out there, and not only in Australia.
"The Walking Shred" doesn't display any waywardness music-wise the band sticking to their guns, attempting some brand of abrasive modern-ish power/thrash hybrid which by all means has its progressive pretensions ("Aware", the balladic sprawler "Fate Closes the Door"), but without too many speedy temptations offered it's difficult to appraise this album sky-high, with only "All That Remains" defying the laws of mid-paced gravity with its sprightly rhythm-section, and partially the closing (walking) shredder "Sacrifice".

Envenomed EP, 2009
Evil Unseen Full-Length, 2014
The Walking Shred Full-length, 2019

My Space

ENVENOMED (MEXICO)

Edson Sanchez from Strikemaster leads the show here, for the production (based on the "Temple Of The Morbid Innards" EP) of a 4-track effort of decent retro thrash with shades of both crossover and speed metal (check the diverse roller-coaster "Crimes Against Humanity" for both). The energetic main tone of the EP is nowhere betrayed the guys thrashing hard with no remorse, adding the odd heavy, late 80's Slayer-esque passage ("Sadistic Lepper") on occasion.
The full-length debut is a true revelation the band showing a surprising maturity in the execution of this fast technical riff-fest which starts immediately with the brisk opener "Pestilent Throne" (watch out for the imposing doom outro on this one). The mosh never stops the band lashing rapidfire riffs complicating the picture on the longer "Oberkommander" in the middle which again crosses "swords" with doom for a while in the second half. Then comes "Grotesque Wisdom" which is a hectic technicaller leaving the more direct approach for the following headbangers "Blessed Ignorance" and especially the ripping "Hammer of Madness". There's no slowing down until the end the band producing an admirable dedication to the more stylish side of the old school making them one of the leaders of the Mexican metal scene at present.
"Enfermedad Imparable" returns to the more stripped-down patterns from the EP's, but the fans should have no problems savouring impetuous speedsters like "Legado Corrosivo" and "Mijangos", or mellower melo-thrashers like "Coma", the short duration of the material offered not giving too many chances to the musicians to embellish the songs with anything too audacious.

Evil Is Back EP, 2009
Temple Of The Morbid Innards EP, 2011
Venomous Decay Full-Length, 2012
Enfermedad Imparable Full-Length, 2018

Official Site

ENVIRONMENTAL HAZZARD (USA)

This band were one of the first to pick the angry thrash tunes of Exhorder and Pantera, and although there are still quite a few classic elements present, the music is pretty much a "product" of the 90's. The sound is less heavy than the one offered by the aforementioned bands, and at times has a jolly crossover feel.

One Stands Alone Full-length, 1992

EPATIKA (ITALY)

Rough abrasive thrash which clings between the old and the 90's school, the noisy guitarisms permeating it clearly favouring the more modern-based material (the vivid Pantera-sque "The Meeting Is Closed"), the latter fading before sincere old school headbangers like "In Your Face" and the short hectic semi-technicaller "Pennywise". The shouty death metal vocals are an additional annoyance, being too loud in the mix, sounding more acceptable with a more guttural lower-pitched timbre.

In Your Face EP, 1995

EPEDEMIC (SWEDEN)

A very cool 4-song EP which crosses the speed/thrash metal heritage of Germany (Angel Dust, Warrant: "Rest in Peace") with the heavier semi-technical music of early Coroner (the first two albums: "Radioactive"). "Futuredoom" is a stylish 8-min opus which combines both sides presented here: a feast of stupendous riffs and tempo changes featuring a stomping doom beginning and great leads.

Futuredoom EP, 1989

Vibrations of Doom

EPHEMERAL GODS

Five songs of melodic modern thrash/death metal, pretty pedestrian although the riffs smash and the energy is pretty big. "Repulsion" is a nice attempt in the progressive genre: an atmospheric diverse semi-ballad.

Rise EP, 2009

EPI-DEMIC (CANADA)

Based on "Malformed Conscience", this act offer decent modern thrash which can be quite brutal ("Rotting in Plain Sight") with overt shades of death metal, but it can also show a more friendly face with more uplifting crossover overtones ("Stewing in Misery"). Some pure thrashing headbangers by all means "roam" around ("Losing Time", "Ruthless Ambition") fitting the intense semi-declamatory antics of the vocalist.

Madness Full-length, 2011
Malformed Conscience Full-length, 2017

Official Site

EPIC (USA)

Four "zombie hunters" are on the way to causing more damage on the retro thrash metal circuit with their heavy mix of thrash/crossover and more aggressive shred (think Evildead's "Annihilation of Civilization" and Slayer), entwined into longer song-structures without many more stylish ornamentations. Clever, longer cuts ("Kiss My Fist"; the cool progressive melo-thrasher "Crosshairs of Suicide", which is the only temptation at a more lyrical song-writing) also "roam" around as well as a few proto-groovy pieces ("Deep"). The singer is a gruff semi-death metal shouter, but his antics are expressive and comprehensive. There isn't much "epic"-ness to be heard here, but the band definitely have the skills to pull something more ambitious in the future if they feel like it.

Zombie Hunters Inc Full-length, 2011

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EPIC DEATH (USA)

This formation notches it up in the orchestral, symphonic department reaching Dimmu Borgir and The Kovenant-esque proportions the main difference being the adherence to mid-paced riff-patterns without blasting the situation to the skies at every opportunity. Thrash isn't the major style here, but when it appears it recalls the more pagan aesthetics of the Dutch Bifrost, and to a lesser extent of Skyclad. Clearly the black metal audience would be happier with this deeply atmospheric effort.

Witchcraft Full-Length, 2015

Official Site

EPICENTER (USA)

The debut: this act specialize in crisp old school thrash which crosses swords with more modern tendencies ("Grab the Reins"), and generally provides feelgood atmosphere with catchy rhythms, melodic leads, and a couple of more aggressive headbanging moments ("Shockwave"). The groovisms on "Imprisoned" spoil the mood a bit, but "See Through" will make you "see through" them with an eye-opening explosive section bordering on proto-death. The final "Until Next Time" is an excellent abstract progressive cut, a stylish touch which should be epitomized more fully "next time".
"Subversion" is a superior achievement the guys shredding with more precision and vision this time, also providing interesting melodic variations on the excellent progressiver "Nightmare Visions". "Firepower" fulfills the expectations for some really cool technical/progressive thrashing as the guys really nail it with the wide array of time and tempo changes before the band move towards more modern ways of expression, "Splatterbrain" bringing things back to normal with energetic headbanging arrangements which also stay around for the excellent more technical roller-coaster "Sheepdog". "The Collector" "collects" smattering technical/progressive thrashisms on full-throttle the riff-fest ensued quite reminiscent of the one from "Rust in Peace". "The Fugitive" is the next in line stupendous exhibition of musical mastery, first-class technical thrash with shades of Extol and Revocation, the rhythm-section never standing still, not for a split second, the guys throwing a couple of more linear speedy passages to alleviate the pressure including a brief balladic respite. "Drones" is a modern groovy dirger, and "Proxy War" is a less than a min thrash/crossover outrage, those two seeing the band relaxing from the intense complex rifforama that should by all means put them in the epicentre of the contemporary metal scene.
The "Flood" EP is a noisier and a tad more conventional fare, the choppy irregular riffs of "Propagate" well complemented by catchy melodic hooks, the melodramatic flamboyance of "The Emperor the Mountain and the Well" easily reaching progressive heights. The more laid-back drama unleashed on the title-track is clearly more on the epic death metal side, whereas the short instrumental "Grow" is just a soothing ambient finale.

Grab the Reins Full-Length, 2014
Subversion Full-length, 2017
Invaders EP, 2020
Flood EP, 2023

Official Site

EPIDEMIA (SPAIN)

Based on the self-titled album: nice retro thrash, fast and intense with elements of speed metal ("No Hay Perd=n") and sparse proto-modern moments ("El Pestoso"); the guys really know what they are doing, blasting out in a mighty fashion: the ultra-speedster "Sabor a Muerte", which boasts great stylish leads ala Kirk Hammett; the short explosion with a death metal-tinge "Virus de la Tierra". "Cadaver Insepulto" is a crushing mid-pacer with swirling guitars and a furious closing section, again coming close to death. "Chema en Palladium" is a 1.5-min crossover joke which is actually an enjoyable take on the techno practitioners Two Unlimited's most famous hit "Twilight Zone". More raging thrash of the semi-technical variety comes after that with "Tu Degeneracion" and the closing "Epidemia", the latter being a non-stop speed attack ala Wehrmacht.
"Propaganda" isn't a total waste although it has acquired the modern tendencies quite a bit, but brisk speedy thrashers of the old kind still "roam" around ("Muneco de Trapo") as well as a few brutal takes on proto-death ("Beverly Gil's"). The energy of the debut has been well translated into a newer more modern "language", and the music as a whole is an interesting vigorous cross of the two trends.

Epidemia Full-length, 1994
Propaganda Full-Length, 1996

Official Site

EPIDEMIC (ARGENTINA)

A 3-songer of cool competent old school thrash which clings towards the more clever side with early Sadus a close reference although there are not many shades of death metal here the tempos changing the whole time. The sound quality is not very clear, but the bass performance is standout (not far from the one of Mr. Steve DiGiorgio) and generally the musicianship is on an admirable level the singer also adding points with his authoritative semi-declamatory timbre.

Destruction Machine Demo, 2009

EPIDEMIC (BRAZIL, CURITIBA)

Based on the debut demo, these folks produce raw primitive thrash with a very thin guitar sound and bashing hardcore tendencies distantly echoing the early Kreator efforts. The garage-like sound quality is a further detriment for one to appreciate this charmingly naive spontaneous barrage which finds a bit of a saving grace in the attached semi-slean shouty vocals.
The second demo shows bigger musical skills, but also a reduction of the previous aggression now the band serving heavy-handed power/thrash which livens up ("Behind the Mists of Mind") at times, but there's seldom a more dynamic riff to be savoured the singer now quite a disappointment with a lower-pitched indifferent, semi-declamatory timbre.

Faces of Death Demo, 1987
Demo Demo, 1988
The Black Mellowed into Grey Demo, 1989

EPIDEMIC (BRAZIL, MANAUS)

Retro thrash of the heavy type with consistent meaty riffs and not very pleasant semi-death/semi-shouty vocals. The initial idyllic atmosphere is rudely broken on the aggressive moshers "Psicodelica Destruicao" and "Animal Hero"; "Barrigada Agressiva" even reaches death metal with ease thrashing out in a fast uncompromising manner.

PsicodTlica Destruitpo Demo, 2008

Official Site

EPIDEMIC (GREECE)

Based on the EP, these guys play forceful intense old school thrash and could have easily become the leaders of the 90's Greek thrash metal scene. After a very stylish lead-driven intro the guys start bashing with might "Addiction" offering a more polished, also more bass-expressive, version of "Pleasure to Kill" (the album) the vocals also recalling Mille, maybe a bit throatier and less shouty. "Waiting the Execution" is a marvellous more melodic proposition with shades of death metal, with echoes of Incubus and Nocturnus, and the title-track gives the theme from the cult horror film "Halloween" a really nice melodic rendition, a standout masterpiece of guitar wizardry with a great atmospheric balladic interlude. "Religious Greed" shows the lead guitarist in a very bright light before a whirlwind of fast technical rhythms gets unleashed the guys changing the pace the whole time, creating a lot of drama in the process, but all for the better as the musicianship is top-notch all over. This is by far one of the finest moments from the whole Greek metal scene.
The full-length is betrayed by its title, but this is far from derivative groovy industrial post-thrash; this is one of the better tributes to the 90's vogues also done with an eye on the old heritage as "Suffer Alone" is an admirable sterile headbanger. Elsewhere we have the diverse "Suicidal Material" which combines both sides into a twisted, shape-shifting tapestry; the creepy mechanizer "Suppressive Carmine", and the downbeat crossover-ish closer "Absolution".
The departure of the vocalist (who later formed the gothic/death masters Nightfall) and some frictions with other members of the scene (Flames, who else?; caused by envy?) forced the band to change their name to Descend and take a more death metal-oriented approach.

Artificial Peace EP, 1991
Industrial Full-length, 1994

EPIDEMIC (UK)

Four songs of decent retro thrash metal mixing both fast and slow moments the latter predominating bringing the sound close to their compatriots Slammer and Xentrix. The riffs are heavy, the leads screamy and the vocals are cool semi-clean with a nice emotional blend. This is not bad, but more dynamics for the future would make those guys more convincing.

Demo Demo, 2008

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EPIDEMIC (USA)

One of the first bands to mix thrash with the more and more fashionable death metal, and this is exactly what the band's debut delivers. This is one of the most brutal recordings from the late-80's, relentless bash for the larger portion of the time with just a few slower stomping moments on the longer material ("In Fear We Kill") whereas the shorter cuts ("Thigh Rubbage") are pure outburst of rage bordering on grindcore aggravated by the intense shouty vocals. Not for the faint of heart...
"Decameron" exercises more control with some of the longer numbers ("Circle Of Fools") showing bigger ambition with more complex arrangements. Still, the more immediate pieces ("Insanity Plea") are violent thrash/death/grind mixtures that would even make Cryptic Slaughter cringe "Vision Divine" is a surprisingly laid-back proposition with dirgy doom rhythms ala Autopsy, but such moments of serenity are very rare.
"Exit Paradise" moves towards the more modern post-death sound of acts like Entombed and Massacra with sudden outbursts ("Deaden", "Lament") of old school violence, the scenery dominated by abrasive industrialized sprawlers like the title-track and the jumpy Pitchshifter-esque "Everlasting Lie".

The Truth of What Will Be Full-length, 1989
Decameron Full-length, 1992
Exit Paradise Full-length, 1994

My Space

EPIDEMIC ZONE (SLOVENIA)

Based on the debut demo, these guys, who were previously operating as just Epidemic, indulge in fast aggressive blitzkrieg thrash ala Slayer and Devastation their efforts hampered by the very bad sound quality and the not very big musical skills of the people involved if we exclude several stylish lead sections. The band stick to the fast parametres reaching death metal extremes on the wilder material ("Euthanasia"), but the excellent melodic leads take away a bit of the pressure which becomes quite big in the second half (the demo is 10 songs). Some of the band members try something much more serious with the progressive metal outfit Non Finire Mai.

Escape from Detente Demo, 1989
Touch Against Normality EP, 1990

EPIDEMIK (FRANCE)

Based on the "Why?" demo, this act offer pretty decent old school thrash reflected in lengthy elaborate cuts, the title-track lashing heavy mid-paced riffs on a thick dramatic base, and "Bloody Chapel" trying something more dynamic and more technical without notching up the speed. The established steady mid-tempo march is rudely interrupted by the headbanging winner "Epidemic", but all is back to normal on the seismic doom "Hell on Earth", this pounding behemoth also matching the guttural death metal vocals.

Emissary of Death Demo, 1990
Why? Demo, 1992

EPIDEMIK (COSTA RICA)

Based on the full-length, this band play classic thrash modelled after mid-period Sepultura, above all; so expect fast ripping songs ("Rotten N Dead", "Sleeping with the Enemy") alongside several less expressive mid-tempo sleepers ("The Moral Is Lost", "Blind Society"), the diversity also ensured by a few intriguing melodic tunes, some coming from popular hits. The vocalist is a hoarse throaty death metal semi-reciter, an intimidating presence despite his limited range. Some of the musicians also play with the death/thrashers Pudridero.

Murder by Command EP, 2013
Epidemik Full-length, 2022

Official Site

EPIDEMY (CZECHIA)

Based on “Zrudy v Nas”, this band play decent sprightly retro power/speed/thrash which is built on both short untamed breezers (“Hranice Reality”) and equally headlong speed metal-based numbers (“Bod Zlomu”), “Kat” combining all the mentioned genres into one appetizing whole, “PocitaniMrtvych” adding an unmitigated modern flavor to the proceedings, the latter also prominent on the mid-tempo steam-roller “Zustan se Mnou”. The singer is a passable clean mid-ranger whose antics are occasionally on the more attached side.

Rany Osudu Full-length, 2008
Peklo si te Najde! EP, 2015
Czech Metal Band Epidemy EP, 2022
Zrudy v Nas Full-length, 2023

Official Site

EPIGRAFI (ITALY)

This is a blend of classic and modern thrash/death with very deep guttural death metal vocals. The music shreds, though, and the listener will have a lot of fun savouring the tricky cavernous riffs on the opener "Inner Killer", and the epic progressive arrangements on "Enlightened by the Fire of Agony" where some cool clean vocals can also be encountered. Later on things don't look as exciting the guys spreading their wings too far, first with the maddening blasts on "Eclipse", then with the atmospheric doom/deathiness of "Waiting for Beyond" the latter quite a cool morose composition. "The Fall of Men" "flirts" with some progressive deathisms, but doesn't sustain the style till the end. Still, the closing "Asterion" makes up for the lost technicality with a portion of more stylized riff-formulas, but their application is too sporadic for one to label these folks as the next big thing on the scene.

Sublime And Vain Full-Length, 2016

EPILEPSIA (PERU)

A surprisingly good classic thrash metal debut coming from this not very big on the metal map country; this is music which has its quite a few technical moments nicely intertwining with the generally fast tempo. Kreator's "Extreme Aggression" is an obvious influence, as well as Toxic Shock's "Change From Reality". There's no mercy shown except on the short, 1-min acoustic instrumental "Triste Lugar", which is put in the middle of the album, serving as a kind of an interlude, and is followed for a compensation by the most aggressive number here "El Antichristo" which contains both brutal blast-beats and the most technical guitars. A really impressive debut which brought us some great thrash... again.

"Human Race Extermination" is another commendable achievement with Kreator's later period again paid special attention as well as the Swedes Hypnosia and the Danes Invocator. The album starts in a swirling tempo with the prime headbanger "Muere Mierda", and this track pretty much sets the tone for what follows which also "courts" speed ("The Path") and proto-death metal ("Perverse Lust") along the way, but getting nicely jumpy and technical ("Resistir") at times, too. The listener won't be spared as mid-paced passages are very rare, only present as casual parts from the songs, and he/she may have to get accustomed to the vicious vocals which come semi-whispered with a low-tuned death metal blend reminiscent of Ingo (the first Necrodeath singer).
The "Futuro Siniestro" EP is another edgy offering the band thrashing the old way with passion and proficiency producing seismic music in the best tradition of the aforementioned old timers standing tall and proud beside them, never faltering for a split second from their blitzkrieg delivery playing fast'n tight till the end which comes in the form of the relentless speed/thrash attack "Ataque", a fitting closer to this short bursting tribute to the old school.

Comando de Aniquilamiento EP, 2003
Thrash Again Full-length, 2004
The Exorcist EP, 2009
Human Race Extermination Full-length, 2010
Futuro Siniestro EP, 2012

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EPILEPSY (ROMANIA)

This is just two songs of heavy thrash, still fairly classic-sounding, which doesn't speed up a lot sticking to dark brooding riffage with doom/death qualities which shouldn't be a surprise half of the line-up coming from the doom/death metal formation Disinter. The singer is an agonizer with his tortured death metal rendings echoing Mr. John Tardy (Obituary) at times. The sound quality is pretty bad the guitars sounding quite screamy blending with the other instruments into a wall of messy noise on the less inspired moments.

Behind the Pain Demo, 1992

EPILEPTIC BRAIN SURGEONS (CANADA)

A thrash/crossover band also providing quiet post-punkish and even country numbers, and having a generally more restrained attitude. The tone is very unserious the guys plainly bashing with vigour and little professionalism, the singer assisting the very unpretentious musical background with a carefree clean punky timbre, becoming a tad more aggressive and shouty on the marginally more brutal outtakes (the hardcore cut "Dog Beating Faggot") which will remind of the Suicidal Tendencies debut and the early DRI exploits.

Epileptic Brain Surgeons Full-length, 1990

EPITAFIO (VENEZUELA)

Based on the "Dominion" demo, this band plays very good technical death/thrash metal with heavy sharp riffs, recalling a more thrash-based Suffocation, and, of course, much less brutal. The music is choppy and mid-paced creating an almost funereal, doom-death atmosphere at times. "Ghost of Conscience" is a superb technical number drawing comparisons with Atheist and Cynic.
The full-length arrives after a long hiatus, and the music now is not too close to the one heard on the 90's demos: it is still technical, but the aggression has been reduced quite a bit, and now the music sounds too 90-ish, with groove added, which breaks the technical patterns at times. Suffocation are nowhere near sound-wise, but in the 2nd half the guys wake up for a more intense delivery: there is one song which scores high in the faster department, though: the technical speedster "God" and partially the chaotic frantic "monster" "Control Planning Scheduling"; the closer "World Damnation" lashes directly without too many technical compromises, and is a violent aggressive thrash/deathster.

The debut demo is a well-constructed affair which introduces the more clever arrangements reflected in long serious compositions with plenty of atmosphere present and heavier guitar which shows the guys becoming possessed by high-octane doom/death ("Into The Land of Horror"; the mighty battle-like hymn "Holy Graveyard" in the best tradition of Bolt Thrower; the imposing doom metal masterpiece at the end "Asylum of Disincarnated Souls"). The vocals are ultimately brutal in a way quite close to early Karl Willets (Bolt Thrower again), but they suit the morose gloomy musical approach just fine.

Reflections of Pain Demo, 1993
Dominion Demo, 1994
Dying Out Full-length, 2007
III Operis Tertium Full-length, 2011

My Space

EPITAPH (AUSTRALIA)

Frantic aggressive technical retro thrash/death metal relying on smashing heavy riffs and twisted elaborate sections; "Inevitable Demise" is a cool jumpy technical death/thrasher with a jazzy passage not far from Atheist, and "Desensitized" is more immediate fast-paced thrash. "Persecution" crushes hard in mid-tempo and one may wonder where the technicality from the beginning had gone; no more questions of the kind after "Machine For War" which provides more technical shred and a fine balladic lead-driven part. "Deceived" at the end is the highlight combining the aggression, the heaviness and the technicality.

Mind Control EP, 1994

EPITAPH (FINLAND)

Two songs of of mid-paced thrash metal with dark doom overtones and gruff unrehearsed vocals; comes as an inferior Infernal Majesty with a buzzier guitar sound.

R.I.P. Single, 1988

EPITAPH (NEPAL)

Classic thrash/death metal coming straight from the Himalayas especially for you; the guys know their craft, though, coming with both atmospheric and aggressive music which is only marred by the brutal death metal growls. The lead guitar is particularly strong (check out "Campaign of Terror"), and the doom/battle-like feeling on numbers like "Fire Burning Down" will remind of Bolt Thrower quite a bit. The speedy pieces are not that many, but at least the final touch ("Silhouettes") is a forceful slice of hard-hitting thrash with consistent mid to up-tempo riffs.

Barbaric Regulation Full-length, 2007

EPITAPH (SWEDEN)

This obscure act, who comprises a few dropouts from future members of Hypocrisy, have released the missing link between "Beneath the Remains" and "Arise". This is excellent aggressive thrash in the best tradition of Sepultura which here comes spiced with more frequent slower breaks, more typical for "Arise" rather than the other album, but rest assured that there's no speed lost on this "monster". The sound is almost as vicious as the one on "Beneath...", reaching a death metal-like intensity on the fastest material. The songs lash out with no remorse, all fast and intense, assisted by capable aggressive Max Cavalera-like vocals. On the title-track the guys prefer the up-tempo which also comes served with more melody and "Private Hell" is the odd very heavy mid-paced steam-roller. The leads are short and quite screamy, and this is probably the only shortcoming one can find on this commendable, but very unknown, addition to the thrash metal genre which is anything but "tranquillity".

Tranquillity Full-Length, 1992

EPITAPH (SWEDEN, Sollentuna)

This band have done a good job to join the death metal cohorts in Sweden in the early 90's (Edge of Sanity, Unleashed, Entombed, etc.). Their style is more of a mixture between thrash and death metal, bringing them also closer to the French scene (Massacra, Agressor) as well as their compatriots Merciless. Cool thrashy riffs alternate with fast aggressive blast-beats. With this genre getting more and more popular among the metal fans at those times, it's a pity that these guys never recorded a follow-up.

Seeming Salvation Full-length, 1992

My Space

EPITAPH (USA, CA)

This is the later incarnation of the Polish technical/progressive thrashers Astharoth when the guys moved to the States shortly the release of this demo; it's another admirable display of the band's technical skills although here the music is more conventional and decidedly more aggressive. This is dark heavy thrash with a genuine technical edge recalling Infernal Majesty's "None Shall Defy" and Hexx's "Morbid Reality", and respectively early Coroner at times, but not really striving for the more complex heights the guys hit with so much panache just a few months earlier. The tempo is dominantly mid-paced with more aggressive outbursts like the impetuous gallops on the excellent classical-oriented Coroner-esque "Acid Reign", or the short immediate shredder "Crack". "Endless Dark" is a glorious progressive thrash opus, over 8-min of enchanting complex rifforamas with a wide array of time and tempo shifts, a great multifarious composition of which the mentioned Swiss masters would be very proud of. The curt spat out deathly vocals do their thing on the side, but can hardly match the lofty, perennially-shifting soundscapes.

I Am Alive Demo, 1990

EPITAPH (USA, OH)

Based on the "A Portrait of Horror" demo, this very obscure band comes up with well executed classic thrash which recalls some of the greatest American bands from the 80's: Anthrax, Nuclear Assault (mostly in the vocal department), Forbidden, Metallica, etc. The music is quite heavy with meaty stomping riffs split by faster technical ones which would later serve as a backbone for masterpieces like "...And Justice for All" and "Victims of Deception". The title-track is a magnificent representative of the more technically-inclined side of the band. "Rest in Pieces" is a great thrashy ballad ranking among the best achievements in this field. The impressive musicianship displayed here easily puts to shame many of the more celebrated bands of the time.
The "No Man's Land" demo is a true revelation seeing the band having grown as musicians, the delivery now strictly on the technical/progressive side of the spectre, the title-track establishing a solid cutting mid-tempo stride with hectic staccato riffs springing up on regular intervals to keep the listener on the alert, the attached mid-ranged semi-clean vocalist doing a good job with his authoritative, not overtly emotional performance. Things become more intriguing on the excellent sterile Defiance-sque shredder "The Eldritch Eye", but it's "United I Stand" that shoots this effort into the stratosphere with exquisite puzzling psychotic riffage ala Deathrow and Sieges Even, the bass player busier than usual, supporting the immaculate rifforamas the latter acquiring more linear parametres with brilliant lead sections "besieging" the lofty proceedings which turn to smattering surging waves… sorry, gallops on "Waves of Strife" with timely provided intricate interruptions further complicating the environment, setting the tone for the exquisite instrumental piece "Trephination", 3.5 very eventful minutes of clinical intense speed/thrashing with crunchy slower breaks jumping up and down at every opportunity to a seriously dizzying effect. It's only the drummer Greg Fee that is known from the band's line-up, making the aura around these unsung heroes even more mysterious.

A Portrait of Horror Demo, 1987
No Man's Land Demo, 1989

EPITAPHY (SPAIN)

Based on the "Voces" demo, this is modern, groovy thrash/death metal, a poor version of what the French Massacra did on their later period ("Sick","Humanize Human"), but slower, almost doomy at times.

Fire Demo, 1995
Gabino Single, 1998
Promo '99 Demo, 1999
...Y el silencio borro sus nombres Demo, 2001
Voces Demo, 2002
Ecos Demo, 2006

Official Site

EPOCH (UK)

Based on the debut demo, these Brits have tried to execute some of the most violent sounds to come out of the Isles during the 90's. And they have succeeded producing this rough, seismic tribute to Hellhammer the main difference coming from the raspy, witch-like gritty whispers serving as the vocals. This is brooding doom stuff done with a very muddy sound quality which hampers the guys' efforts quite a bit. There's some more stylish idea lurking underneath this mess, but the only way for one to find out whether it has been converted into something more sensible is to track down the band's later efforts.

Epoch Demo, 1996
Inside an Open Space Demo, 1998
The Great Architect Demo, 2003
The Return of the Black Goat EP, 2005
At the Mountains of Madness Demo, 2006

EPSILON (URUGUAY)

The debut: this outfit provide mid-paced pounding power/thrash which is more on the softer, but also classic, side with melody more accentuated on although the riffs really cut with pain when the tempo gets up (the intense lasher "Con tu Sangre") also boosted by the crystal clear sound quality. Still, the shadow of their more renowned Argentine neighbours Hargos and Hermetica loom heavily over this album its more radio-friendly aesthetics also betrayed by the cover choice near the end: Testament's "Electric Crown" which is from the Americans' most tender effort ("The Ritual") where the singer shines the brightest with his very good impersonation of Chuck Billy, and also the cover done quite well in a faithful, not very adventurous, manner.
"Instinto de Supervivencia" is a more energetic "beast" the guys moshing with more vigour still adhering to the mid-paced parametres ("Buitres") although it's fast-paced headbangers like "Fe Irreal" and "Criminales" that stir the blood in a major way, and these are the ones that make this effort a pleasant roller-coaster without any pretensions.

Poder Full-Length, 2009
EP EP, 2014
Instinto de Supervivencia Full-length, 2017

My Space

EPYON (USA)

This is modern thrash which isn't very intense and fast, but will capture the attention with its consistent mid-tempo character which gets dissipated at times by balladic/semi-balladic insertions ("Big Hairy Elephant", the tender short ballad "The Girl Who Waited", etc.). There are more intriguing moments as though the guys are testing the soil for future, more elaborate, efforts to come, but they are kind of unfinished and lack the depth which should come with similar experiments. The vocalist isn't bad with his emotional clean/semi-clean timbre who leads the show with confidence, trying a few higher-pitched tones to a generally positive impression.

Until The Stars Burn Cold Full-Length, 2013

EQUALEFT (PORTUGAL)

The EP: these Portuguese pull out an interesting mix between groove and more stylish technical licks the resultant concoction sounding intriguing and quite dynamic, albeit strictly modern, only marred by the unsuitable low-tuned semi-shouty death metal vocals. The surreal robotic environment of the mid-90's Voivod efforts (the cold sterile dissonant riffage on "Alone In Emptiness") also comes to mind, but here the leads are simply great with both a melodic and technical edge (check out "Amnesia" as well as every other track). These talented guys give a nice twist to the trite groovy sub-genre, and a further elaboration on their characteristic style is desirable.
"We Defy" is another mechanized sterile offering, but this time the technical gimmicks aren't that many, and this somewhat one-dimensional chug may wear out at some stage although "Mindset" is a fairly interesting varied jumper with echoes of Prong and early Treponem Pal, and "Strive" is a wild death metal proposition which reaches towards Darkane-sque intricacy on the more inspired shreds. The thing is that the album spends too much time in oblivious industrialized landscapes like those on "Re-align" which outstay their welcome at some stage as there aren't too many brisk progressions to dissipate the thickening dispassionate miasma although the latter will by all means find interested audience to sit through it.

...The Truth Vnravels EP, 2010
Adapt & Survive Full-length, 2014
We Defy Full-Length, 2019

Official Site

EQUESTRIAN LORD (CANADA)

A power trio from Canada who pull out classic American power/thrash with meaty riffs and a few soaring speedy moments ("The Academy"). "Magic Duel" is a nice diverse instrumental with several keyboard variations whereas "Discord's Lament" is a sprawling progressive epic which doesn't bring much to the table losing the intensity of the previous material; a situation worsened by the following tender ballad "Everfree". The closer "Canterlot's Fall" is another 10.5-min saga which is larger than life managing to stay hard and sharp for most of the time without speeding too much.

Revenge of the Herd Full-Length, 2014

Official Site

EQUIMANTHORN (HOLLAND)

This band was founded by members of Dead Head, including Robbie Woning, the man who hit the drums for the death/doomsters Beyond Belief later. The music here is cool, mid-paced thrash which recalls Bathory's "Blood, Fire, Death", including in the vocal department where the guy really tries some unholy shouts in the early Quorthon (R.I.P.) vein.

Clouds of Death Demo, 1989

EQUINOX (AUSTRALIA)

This is a 2-songer which shows a not very known act playing rough stomping thrash with Bay-Area overtones. The tempo doesn't develop beyond the mid, and some monotony is inevitable at some stage since the volcanic riffage is seldom interrupted by more lively moments. The singer has a cool mean-ish semi-clean voice which suits the musical delivery, and can also pass for the highlight here.

Ecstacy In Black Demo, 1989

EQUINOX (NORWAY)

The best Norwegian thrash metal band of the old generation (not that there were many of them back then); their debut is a sure-handed entry offering cool energetic thrash which on the more inspired moments reached out towards the dark technical style of Metallica's "...And Justice For All" ("Dead by Dawn"). Otherwise the music is of a more simplistic nature compared to the next releases although the guitar work is not bad at all: check out the great instrumental "Violin" (there are no violin tunes here).
"The Way to Go" enters the technical thrash metal arena, but leaves enough room for straight riffs for the headbangers to enjoy. There's still enough energy involved in the proceedings which works well combined with the more complex song-structures.
"Xerox Success" is a major step forward into a very technical/progressive thrash metal territory, similar to Voivod, and even Mekong Delta. The music still hits hard preserving the more energetic moments from the previous efforts, even on the most technical numbers, like "My Sweet TV" and "Nothing at All". Even playful rock-ish semi-joke tracks like "Now" have a strong technical flair. "Succumb to the Law" is the odd track here, perhaps, being slow and dragging, still decorated with surreal abstract guitars. This album was the band's crowning achievement, and "Labyrinth" took a logical direction into other sides of metal, still complex and marginally thrash-prone, but much more melodic, similar to what Voivod did on "Nothingface".

Auf Wiedersehen Full-length, 1989
Skrell EP, 1990
The Way To Go Full-length, 1990
Xerox Success Full-length, 1991
Nuh! EP, 1992
Labyrinth Full-length, 1994

Vibrations of Doom

EQUINOX (USA)

A 5-song demo of Bay Area-influenced thrash with touches of a more aggressive play ala Slayer; it starts quite promisingly with the good instrumental piece "Waiting for Destruction", which boasts cool leads and even technical guitars, but the rest is much less impressive, generic uninspired thrash with indifferent unsteady vocals and sparse surprising displays of a more stylish play which are hopefully a sign that the guys's skills are yet to find a full realisation some time in the future.

Demo Demo, 2006

EQUITY (USA)

This is modern power/thrash which turns to more bashing wilder thrash on "World War Sea", but for most of the time it's either calmer progressive sprawls ("Blue Chip Liability", "Brexodus") or steady mid-tempo pounders ("The Return of Equity") that dictate the proceedings, the seeming highlights being the sharp nonfussy headbangers like "Disposable Income" and "Panama Papers", the husky deathly vocals providing the requisite singing background.

Financial Metal. Full-length, 2019

ERA (BULGARIA)

Having started as a pure heavy metal outfit, this legendary band, one of the founders of the metal movement in Bulgaria, switched onto retro thrash during the 90's and have done a good job on "Point Of View" paying tribute to the Bay-Area fraternity, as well as Sepultura and Slayer. Some "flirtations" with the groovy sound are inevitable ("Who's Got"), but the rest is heads-down classic stuff, mixing more aggressive ("Preacher") with more laid-back, slower numbers ("Lonesome Loser"). "Sexuality" is a cool attempt at "funk meets thrash", but the guys quickly give up developing it completely, and turn to aggressive thrashing at some point. "Something Wrong" is another attempt, but this time towards a more stylish semi-technical play, and is arguably the best song. "Fuck It" is an energetic punk-ish joke adding up to the diverse nature of this album.
The "Suicide" EP is four tracks of more laid-back power/thrash metal, still pretty classic-sounding, with moderately sharp riffs which are at times nicely supported by an atmospheric keyboard background. There's a hilarious jokey attempt at blues at the end, "Big Shit River Blues" which stretches into whole 6-min and beyond without trying to sound any more thrash-related; but this is an EP, after all...

Studioworks LP EP, 1990
Era Full-length, 1990
Suicide EP, 1992
Point Of View Full-length, 1994

ERA OF HATE (SLOVENIA)

Modern thrash of the calmer proto-doom variety; this is peaceful stuff with cool melodic guitars and appropriate balladic insertions ("Pay Back"). "Hiding Behind a Mask" is an interesting jumpy technicaller, a pretty intense track by the band's standards, but don't expect anything of the kind on the good doom/gothic closer "Silence" which is beautiful dark music with echoes of early Paradise Lost and Lake of Tears.

Echoes Of Truth Full-Length, 2011

ERA VULGARIS (IRELAND)

An interesting debut containing modern progressive metal/thrash which will remind you of some of the old veterans from the scene: Obliveon, Meshuggah, later-period Coroner, etc. The music is a mix of the modern and the classic sound, and is mostly mid-paced, filled with interesting riffs and time changes. It's certainly not an immediate listen, but it works both as a whole and as separate pieces, some of which one may want to listen over and over for their sheer ingenuity. The shorter tracks, which are only two (3-4min long), are for the more conventionally-inclined thrash metal fans although there one could also catch twisted guitar parts. The others are above the 5-min range, and are quite elaborate pieces which sometimes lose coherence, but manage to sound different from each other. The album closer "Irram" is an epic 11-min instrumental, long on both atmosphere and musicianship. The main irritation would be the occasional hardcore-ish shouts which starkly mix with the basic clean mid-ranged vocals.

What Stirs Within Full-length, 2007
From Behind Enemy Lines EP, 2013

Official Site

ERADICATOR (GERMANY)

Good debut of classic thrash having taken something from its compatriots of the 80's, but also adding more modern riffs ala Annihilator and Overkill ("Capital Punishment"); actually on the faster parts the style recalls very strongly Headhunter's debut "Parody of Life": "Possessed by the Devil", "Thrashing Through The Pit", ably supported by the cool Schmier-like vocals. The problem is that for most of the time the tracks are mid-paced with numerous melodic hooks also courting the power/speed metal scene from time to time. The guys have a good sense of melody, but more concentration on the more hard-hitting delivery may be more beneficial, at least for the thrash metal fans.

"Madness Is My Name" is another speed/thrash roller-coaster which carries on with crisp sharp riffs, a good sense of melody, maybe too good at times, and a good alternation between fast and slow moments. All-out thrash is hard to encounter, though, if we exclude the short thrash attack "Parasite" and the opening moments from "Last Days Of Defiance". The overall approach now resembles Paradox's debut especially near the end where sinister gallopers like "Evil Twisted Mind" could be well places even on "Heresy". The singer provides a cleaner timbr this time singing for real for most of the album even offering a couple of higher notes to a positive effect.
"Slavery" is a cool follow-up with nice crispy riffs the band now thrashing more intensely even elaborating things ("Two Thousand Thirteen") here and there. Little by little the album loses its initial aggression and settles back into the happy power/speed metal mode encountered on previous efforts. "Bloodbath" is the very odd short proto-deathster, and "One Man Jury" is the other speed/thrash metal joy both served in the middle, followed by more complex exercises in power/thrash which aren't bad per se, but don't do much to make this album a superior offering.

"Into Oblivion" provides a mixture similar to the one on the previous instalments, blending wayward speedsters ("Moshproofed") with more laid-back, also more complex, power/thrashers ("Overcome The Blackness"). "Read Between The Lies" is the flag carrier here, a rowdy speed/thrasher which influences the proto-galloping "Paint The White Flag Black" and the ripping semi-technical closer "Weaponized".
"Influence Denied" seeps with energy as exemplified by the opening duo ("Driven by Illusion", "Hate Preach"), the melodic heroics of "Echo Chamber" a really pleasant digression, the band retaining the high-speed thrashing all over, with seldom a moment devoid of a hyper-active flair, the dramatic more academic layout of "Descent into Darkness" recalling Headhunter, Schmier's team a close soundalike elsewhere as well.
“The Paradox” retains the characteristics form the preceding slabs, the furious “Drown in Chaos” and “When the Shooting Begins” establishing the no-bars-held hegemony early on, the galloping properties of “Kill Cloud” calming the ball down a bit, but watch out for the title-track, a fierce ball of bile which later is even matched by another impetuous horse-rider (“Fake Dealer”), this one making up for the dragging 7-min of nostalgic semi-balladisms on “The Eleventh Hour (Ramble On)”, and the melodious epic swagger of the closing “Debris of Demise”.

The Atomic Blast Full-length, 2009
Madness Is My Name Full-length, 2012
Slavery Full-Length, 2015
Into Oblivion Full-length, 2018
Influence Denied Full-length, 2021
The Paradox Full-length, 2024

Official Site

ERADIKATED (SWEDEN)

Based on the full-length, this band, earlier known as The Generations Army, play right as rain classic thrash which is represented by short direct rippers ("Flood", "Descendants"), above all, the slow heavy build-ups on "Dead Heaven" a solitary phenomenon if we also exclude the interesting meandering "Reckoning", the forceful shouty vocalist assisting to the best of his abilities with his mean spiteful tirades.

Eradikated EP, 2021
Descendants Full-length, 2023

Official Site

ERADIKATOR (UK)

This outfit try to keep the old school resurrection alive by "pouring more fuel into the fire" with this brisk energetic affair which mixes power, speed and thrash in a way not far from early Overkill and Laaz Rockit. The guys rip with passion and the fast tempos dominate supported by the very cool sharp riffage and the acceptable clean semi-shouty vocals which echo both James Hetfield and Rick Astley (Xentrix). "Overthrow" and "World of Compulsion" are nice tributes to the Bay-Area, vintage early Metallica, while the slower side is more melodic with a slight epic flavour ("The Compound"). "Judgement Before the Throne" is an encyclopaedia of retro thrash containing any kind of riffs, direct or more technical, you can think of during its 8.5-min., kind of overshadowing the closer "Odysseus" which is a peaceful balladic instrumental with good leads, a few infectious hooks, and a general nostalgic mood. This is a capable addition to the growing legion of classic thrash works from the Isles, and one could totally see this act as one of the major rivals of Evile for the thrash metal throne over there.
"Edge of Humanity" is a visible/audible step down from the band's chosen style now the slower numbers having been increased "Astral Body" being a pure heavy rocker. In the second half the songs become a tad longer, but less interesting the bottom hit with the dragging elegiac closer "Kairos Passing" which may be a sign for the guys' complete exit from the thrash metal field the next time around.
"Obscura" is an abrasive power/proto-thrash affair which continues with the exiting-from-thrash tendencies noticed on the preceding opus, the guys treading doomy ("Haunting"), balladic/semi-balladic ("Eyes of Old", "The Siren Song"), and hardcore ("Bound to You") waters along the way which doesn't lead to any lofty dimensions music-wise, unfortunately.

Dystopia Full-length, 2012
Edge of Humanity Full-Length, 2015
Obscura Full-length, 2019

Official Site

ERASE (CANADA)

Choppy modern, groovy post-thrash which alternates the pace also throwing the odd pinch of melody. "Hand over Fist" is a pleasant quasi-industrial headbanger, but the rest drags forward without a lot of imagination except for a couple of stylish leads ("Alone") and the interesting progressive thrash leanings on the closing "Escape Reason". The vocals are shouty and too throaty to please the ears creating the impression that the guy will spit out his larynx at any moment.

Mental Overload Full-Length, 1996

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ERASED MEMORY (FRANCE)

This band pull out atmospheric progressive thrash/death which also comes keyboard-decorated ("Self Denial") the latter additive giving the album a somewhat operatic colouring. No complaints on vigorous moshers like "Altered Cell" and less predictable, more technical shredders like "Something Old", the closing, logically titled "Finally" binding both genres into one compelling atmospheric melee, the shouty death metal vocals the perfect accompaniment to this encompassing "symphony".

Erased Memory Full-Length, 2017

ERASEMENT (GERMANY)

The EP: quite cool intense old school thrash made by a bunch of German teenagers who surprisingly know their craft at this early stage moshing out with the best out there changing the pace at will without messing it up with the odd sparkle of technicality ("Wrecking Fire") flashing here and there. "Confession Of The Sinner" is an instrumental semi-ballad, but the final "Lord Of Storm" pours fiery venomous riffs galore over you the youngsters producing a good testing of the soil with bright promises for the future full-length. The vocals are of the forceful semi-reciting type, but have enough passion and authority coming as a rougher version of Charlie Steinhauer (Paradox).
"It Comes to Life"; yes, indeed, it does, and in the form of cleverly executed classic thrash with a boosted modern edge. The roller-coaster never stops here at times served with a pinch of careless crossover ("This Horror-This Life"), at others with a heavy stomping edge (the title-track), at others with a soaring speed metal flavour ("Soldiers Of Insanity"), or even with a more ambitious progressive flair ("At The Mountains Of Madness"). The vocalist is this time more aggressive with a more expressed deathy tone.
"Beyond Recovery" follows the canons of the guys' native scene, hyper-active speed/thrash which this time sounds surprisingly close to the feats of Necronomicon, to cite a more tangible influence, excluding a few more tamed mid-paced variations ("Presence Of Doom", the abrasive jumper "Extinction") on the power metal idea, no doom here under any form. "The Reapers Realm" serves a more relaxed, speed metal-ish tone, but "Lucille" restores the more aggressive domination with a portion of hard-hitting riffs which can also be heard on two remastered versions of old tracks at the end.

Wrecking Fire EP, 2012
It Comes to Life Full-Length, 2015
Beyond Recovery Full-length, 2018

Official Site

ERAZOR (GERMANY)

The 80's German thrash metal movement has one more supporter in the face of these newcomers who don't spare speed and energy to rock your world although throughout the album one will come across heavy stompers ("Nyctophobia"), but on the other hand death/black/thrashers are on guard to give you a taste of more atmosphere and aggression in the best tradition of early Dissection ("Demise Of The Unhallowed"). "Thrashing Legions" is, of course, your staple old school thrash ala Kreator & Destruction enriched with more intense death metal semi-blasts, and later on both sides intertwine as the concentration in the second half is clearly on melody culminating on the pompous orchestral thrash/death metal saga "Vortex Of Brutality", and on the closing pagan/doomy moments ala mid-period Bathory on the final track "Demonic Slaughter".

Erazor Full-length, 2010

Official Site

ERBEN DES ZORNS (GERMANY)

Furious death/thrash metal with heavy meaty riffs, quite dynamic, in various tempos, with the occasional groovy section ("Tod Im Pit"), and an Amon Amarth-like epic feeling present ("Vers 5"). The album contains enough cool headbangers ("Stur", "Hasswerk I") to pull it through during a thrash test, but the death metal-based pieces ("Sumpf Aus Stahl", especially the fierce "Peiniger") deliver the goods no worse.

Hasswerk I Full-length, 2007

My space

EREBO (MEXICO)

Modern thrash/death metal with hysterical screamy black-ish vocals interrupted by more brutal ones ala Karl Willets (Bolt Thrower); the music delivers the goods jumping from one style to the other not forgetting about their "shabby brother"- black metal, from time to time. The longer compositions ("Leather Fragments", "Final Choice") are complex with a few tempos changed within, and more stylish guitar work. The shorter ones are often aggressve death-laced bashing. "Resurrection" is a cool deviation in the middle being slower atmospheric thrash with a pinch of gothic. At the end you will hear an interesting aggressive thrash/death metal version of the Judas Priest's greatest hit "Breaking the Law" (but, please, ignore the horrible vocals): this is probably how Rob Halford and Co. would sound if they finally decide to play some death metal for a change (it's high time, if you ask me: ha ha!).

Conquered by the Faith Full-length, 2007

My Space

EREBUS (CZECH)

Based on the debut demo, this act offer dynamic speed/thrash with long pieces which contain several intriguing moments as well as a few more aggressive shreds. The approach is proficient, and the guys definitely have the requisite skills to pull it through, the only complaint coming from the muddy sound department which muffles the guitars quite a bit, taking away from the riffs' sharpness.

Praseced Hody Demo, 1991
Mein Fochrer Demo, 1991
Fidel Castrol or Death Demo, 1992

EREBUS (USA)

Very good aggressive Slayer-esque thrash metal which sounds quite brutal, at times reaching an almost death metal intensity ("Crawl to the Altar").

Demo Demo, 1988

My space

EREBUS (USA, WISCONSIN)

Based on "Monuments to Human Enlightenment", this band specializes in modern thrash/death of the more playful, melodic semi-groovy type with elements of stoner/doom embedded well ("Good for Nothing") into the picture. The album develops in a calm mid-tempo fashion, the guys adding the desirable epic shade ("Natural Enemy", the inspiring "When the Battle's Over") here and there. "The Regression of Man" is a surprising aggressive thrash/deathster with interesting technical decisions, but those adventurous moments are not many at all.

Prey for Our Nation Full-length, 2006
Monuments to Human Enlightenment Full-length, 2011

Official Site

ERECTI COCTOPUSS

Heavy modern groovy post-thrash with stylish jumps and tempo changes acquiring funky tendencies as well, but not in an annoying way; a few very fast aggressive hardcore sections may be heard, but most of the time the music is mid-paced to slow.

Bust a Nut Full-Length

ERGUM (SPAIN)

There's only one person behind this project, the name Edward Barragan, and this guy delivers wild aggressive retro thrash/proto-death which seldom inserts more varied black metal ("La Perra") elements. This is generally brutal unbridled stuff Edward providing very shouty hysterical blacky vocals as well as several nice lead sections.

Dokhma Full-length, 2014

Official Site

ERIS (POLAND)

This is mostly blasting black metal with shades of thrash with short explosive tracks of a very simplistic nature and an overal approach quite close to early Impaled Nazarene. "Necrosynthesis" is more along the lines of orthodox thrash, followed by the epic speed/thrasher "More than Meets the Eye"; and generally the delivery in the second half is more moderate with thrash slowly waking up. The vocals are strictly in the black metal camp, though, raspy witch-like screeches.

Alea Discordia Full-Length, 2016

Official Site

ERODE TO GREED (BELGIUM)

Pretty acceptable old school thrash which is some stylized Bay-Areasque bash on the shorter more immediate "State(ment) of Mind", before the delivery switches to more intricate arrangements on the excellent Forbidden-like "Doorways to All Horrors", a sure contender for "Twisted into Form" even. More technical niceties exhibited on "Memory's Orphan", another noteworthy exercise in classy multi-layered thrashing, the cool clean attached vocals a bit harsher than the Russ Anderson (Forbidden again) antics. Please, accept "Deafening Silence" into your bloodstream again, a more engaging progressive journey which alternates straight-ahead thrashing with more devious walkabouts and proficient, both abstract and screamy, lead sections.

Erode to Greed Demo, 1992

EROS (BRAZIL)

Excellent speed/thrash metal in the Germanic tradition; for fans of Angel Dust, Iron Angel and the Exumer debut. This is full-blooded head-banging attack with some "pauses": the semi-balladic composition "Road to Wisdom", and the heavy stomper "Atomic Messengers" which has a nice speedy thrash/crossover ending.

Road to Wisdom Full-length, 1990

EROSION (GERMANY)

Despite the high quality of each of the band's releases, Erosion remained in the shadow of other, more or less deserving, representatives of the German thrash metal movement. "Mortal Agony" is a sure-handed debut with its aggressive approach and nice technical guitar work; fast-paced intense pieces take turns with stylish more technical ones. "Aftermath" is an interesting turn towards a much slower heavy style which nicely contrasts to the blistering technical speedster "False Prophets" which follows it: the highlight of the album. "Into the Void" is more restrained speed-wise, but is a fabulous display of technical skills: the most technical number here.
"Thoughts" is more thoughtful (no pun intended) and more restrained, but still quite impressive and sharp. It begins in the same take-no-prisoners fashion like the debut with the furious, but also quite technical "H", and although the speed is preserved at least for the next track "The Scourge", later on the band delve deeper into technical territories, and the sound gets considerably slower, featuring again one very heavy doomy track: "Nightmare". The guys wake up to nail one more speedy technical instrumental at the end: "Strike", before finishing with the very technical and chaotic "Change".
"III" is not a very radical departure from the band's sound if we exclude a few more direct numbers with a hardcore flavour: "Revenge", "Power Within". The guitars are still technical on the longer and more complex tracks which actually take turns with the hardcore-ish ones in the beginning, but towards the end hardcore takes the upper hand. The last song "Dead Europe" is a monstrous 13-min long doomy opus which could indeed manage to depopulate all of Europe, and would please fans of Saint Vitus, Sleep and the likes, above all.
"Down" comes with a clearly more modern sound and the guitar work is considerably lighter, but the pace remains fast with the hardcore shade stronger this time. The technical riffs are gone completely, and the vocals, which have always been not very pleasant hardcore shouts, this time come with a certain industrial edge making them even more irritating. Of course, some slow, doomy tracks are present, but the inclusion of big dozes of groove makes them sound a lot less impressive than the similar numbers from the past. Having been released in one of the weakest years in metal history, this album is not a total disaster, like quite a few other efforts (Invocator, No Return, Mercyless, etc.) the same year, but is far from a worthy exit for the band from the music scene.

Mortal Agony Full-Length, 1988
Thoughts Full-Length, 1990
III Full-length, 1992
Down Full-length, 1995

Official Site

EROTIKILL (USA)

The full-length is a perfectly acceptable piece of speed/thrash from the last stage of the classic metal period, energetic and professionally done; the guys don't spare energy and some of the songs are quite speedy ("P.O.W.", "Enemy in Our Midst"), but most of the time the sound has this stomping, heavy quality recalling heavyweights like Nasty Savage's "Indulgence", or Wargasm's "Why Play Around": check out the steam-roller opener "Maniac", vintage Nasty Savage, the format becoming marginally more dynamic on the equally squashing "2.Slay Ground". "Metal Cry" thrashes harder but the stomping aesthetics are still around, and with an added more technical flavour this cut may even pass for the highlight here. "Patriot" is another energy/heaviness blend, the only piece which smells power metal, but "Betrayer" aggravates the environment with a portion of steel intricate riffs, another noteworthy exercise in pummeling less ordinary old school thrash. The singer isn't very far from the the sinister semi-recitals of Nasty Ronnie (Nasty Savage time and again), adding the odd piercing scream, again in the vein of his TV-breaking peer.

Virgin Speed Full-length, 1990
When You Feel the Need for Speed EP, 1991

Official Site

ERRADICA (CHILE)

This act provide carefree retro thrash/crossover with short blistering tracks and hard-hitting riffs which lash from all sides topped by attached quarrelsome shouty vocals. More serious slower thrash can be expected ("Erradica") at times, but don't bet on that since the band are fonder of speed and as such will not disappoint the fans of the headbanging side of the style who may be surprised to hear the cool unexpected reference to Pantera on the closing "Pantedica" which finishes with the main riff from "Walk".

Simple Sonido Severo Demo, 2006

ERRATUM (SLOVAKIA)

A dark brand of gothic thrash not far from mid-period Cemetary and Sentenced with the odd post-death metal flavour ala Entombed; the guitar work is heavy, albeit a bit repetitive, ably assisted by the vocal duel created by gruff semi-death metal growls and high-strung semi-operatic female vocals. "Living Toy" is a nice surprising touch livening up with brisk fast riffs with a crossover shade, and "Bullet" well deserves its title being a fine short speedster. The rest never leaves the mid-pace the closer "World of Heavenly Lies" being a fine epic orchestral piece.

Tabula Rasa Demo, 2008

My Space

ERROR (BRAZIL)

Based on "Own Hell", this band play modern post-thrash of the volcanic squashing variety. The guys stomp to kill with the ultra-heavy rhythm section which still holds more than a few faster surprises (the fast-paced sections on "Own Hell" and "Treze"; the full-blooded headbangers "Pull the Trigger" and "Back Alive") and is generally quite a dynamic offering with plenty of jumpy moments to enjoy as well as abrasive quasi-industrial cuts (the cyber steam-roller "Against Myself", the diverse unpredictable closer "The Mask Always Fall") where the cold mechanical riffage would make even big names like Fear Factory and Pitch Shifter proud. The singer is a brutal shouty death metaller and his dispassionate sterile tone is the perfect match for this apocalyptic musical modernism.

Stronger Than Hate Full-length, 2008
Own Hell Full-length, 2012

Official Site

ERUPTION (SLOVENIA)

A fairly convincing debut of classic Bay-Area thrash mixing the carefree attitude of the Heathen debut with the more serious tone of late-80's Metallica. It opens with the explosive semi-technical speedster "Prayers, Betrayers" which seamlessly flows into the smashing direct speed/thrash attack "Monumental Mind". More "monumental" things await the listener; first, more headbanging thrash on the vigorous galloping "horse" "The Auditors", then a more technical pounding sound on "Democracy" and "Electrifried" (this one is a fine technical thrasher with a Coroner touch). "Playing With Matches" unleashes more speed metal fury with rolling riffs, but "Twisted Reality" will "twist the reality" being a pure ballad in the beginning, but expect quite a bit of hard-hitting thrashing during its close to 8-min although the pace there remains mid at best. "Inner Wastelands" follows the same pattern at first, but being purely instrumental it manages to provide nice technical twists, again mostly in mid-tempo as well as very good melodic leads. The closing "The Sands Of Time" is bound to capture the speedy spirit of the earlier material, and does it in flying colours thrashing far and wide mixing the fast riffage with great technical hooks near the end recalling Helstar's "Nosferatu" and Coroner again. It would be interesting to see how the guys will manage to continue from here having in mind that the lathe has been placed quite high from the beginning with this strong first effort.

"Tenses Collide" is a commendable chapter from the band's short career now expanding into other fields leaving the Bay-Area influences a bit behind adding dramatic power metal touches ("Enter The Hive") for good measure excelling in the technical department on the longer more complex shredder "Last Transmissions" which influences other compositions after it, like the speedy puzzler "The Forlorn" on which the otherwise composed singer attempts some hellish Halford-esque shrieks to a mixed effect. "Unparticled Matter" spoils the picture near the end being a not very exciting mid-pacer with more ordinary riffs. "Empty Shells" is a sure-handed closer with the last slab of fiery speedy riffs, but this effort kind of doesn't satisfy as fully: more was expected after the spectacular debut; now the approach is kind of settled as though the guys are content enough to proceed in this direction for a couple of albums.

"Cloaks of Oblivion" is an obvious improvement over the somewhat lacklustre predecessor, the band marching onward with energetic speedsters ("Sanity Ascend") taking turns with more elaborate progressive shredders ("Cloaks of Oblivion"). "Drones" places the staple speed/thrashy delivery on a more intelligent, more technical pedestal its bright example later followed by the melodic blitzkrieger "The Yearning", and the explosive headbanger "Seven Archons". The final "The Prophet" combines the two approaches in a clever complex manner with a bigger emphasis on stomping, pounding rhythms.
"Tellurian Rupture" doesn't break any new ground, the old school speed/thrashing fiesta going on relatively unabated, the quiet progressive expletives of the opening "The Awakening" brushed away by the steel gallops on the equally complex "Beyond the Black", the more straight-forward "Coffin-Bred" more of an isolated sweep as the band continue with the elaborate arrangements later, "Praise the Serpent Queen" a serpentine indeed near-8-min saga, "Gone With the Floods" another more immediate number, with more gallops added to the foray by "Aegeon's Wrath", the closing title-track shredding with more intricacy once again, recalling more recent Paradox.

Lifeless Paradise Full-length, 2009
Tenses Collide Full-Length, 2012
Cloaks of Oblivion Full-length, 2017
Tellurian Rupture Full-length, 2022

My Space

ERUPTION OF CORRUPTION (GERMANY)

This is modern power/thrash/post-thrash which traditionally combines all the influences into one composition ("Whistleblower"), the final result definitely worth hearing including on the interesting dramatic mid-pacer "Unchained" and the choppy technicaller "Limbless". "Filler" can indeed pass for one with its groovy exaggerations, and "Right Balance" is a more conventional post-thrashy escapade with cringe-worthy bluesy overtones. The vocalist is a versatile chameleon unleashing both poignant clean and hysterical shrieky antics.

Unchained EP, 2018

Official Site

ERYTHROCYTE (TURKEY)

A good thrash/death metal outfit with a female singer who doesn't try to conceal her influences (Angela Cossow from Arch Enemy, that is), and has a really powerful throat, and may also remind you of another girl from "hell": Rachel Heyzer (Occult, Sinister). The music is more modern-sounding, with nice Oriental elements and the pace is quite dynamic, albeit seldom leaving the up-tempo.

Revival EP, 2009

My Space

ERYX (RUSSIA)

This formation pull out heavy squashing modern death/thrash which has the requisite dynamics and all, including a pretty convincing "gruff/clean" vocal duel. Formidable steam-rollers ("Kings of Nothing Life") take turns with blitzkrieg headbangers ("Blood Runs Slowly") the guys also epitomizing the gallop for the excellent title-track, upgrading their sound to something more stylish ala Darkane on the versatile closer "Over the Horizon".

Killing for Escape Full-length, 2019

Official Site

ERZFEINT (GERMANY)

Based on the Promo, which is only two songs, this band offers cool classic thrash mixing slower and faster tempos on both numbers as the preferences would go for "Path of No Return" which is more intense with a Bay-Area flavour also recalling their compatriots from the not so distant past Pyracanda. The singer has an angry hoarse, but intelligible, voice recalling Mathias Lodmalm (Cemetary). Music-wise the guys have no ties to Sodom, but their full-length debut is in the makings at the Tom Angelripper studio.

Erzfeint 2006 Demo, 2006
Tiefe Sehnsucht Demo, 2007
Promo Demo, 2009

Official Site

ESCABIOS (ARGENTINA)

Based on "Altering The Future" (despite the Death-allusions which this title brings, the music has not much to do with this band), Escabios play thrash/death metal which surprisingly is not influenced by their Brazilian counterparts, but opts for a sound which brings to mind early Pestilence, the Germans Morgoth, maybe Massacra on the better moments with a more thrashy attitude. There are blast-beats scattered throughout, as well as slow, almost doomy sections, and signs that the album was released in the 90's after all, ala Pantera and Exhorder (but not many). The last song is a cool cover of Dead Kennedys' "Holiday In Cambodia".

Necesidad Extrema Full-length, 1992
Altering The Future Full-length, 1994

ESCADRON (HOLLAND)

A very well produced demo featuring cool, slightly technical old school thrash; if we exclude the metalcore vocals, all the rest is done with style and gusto; one of the young talents from the Dutch metal scene. "In Order To Survive" is a great way to start this short demo: an intense technical thrasher with stylish melodic hooks. "You Will Be..." is more ordinary and never speeds up beyond the mid-tempo. "Black Heart Wounds" brings back the technicality and the speed, and is another smashing piece. "Way of Life" carries on in the same vein, introducing a stomping heavy middle section. "Sworn Defeated" is a ball of fury, reaching the top aggression-wise adding sparse blast-beats to the overall appealing picture.

"Tide of the Fallen" fulfills all the promises with its uncompromising speedy sound, again built around the good old thrash which is sustained in vigorous swirling tempos with several melodic "decorations" ("My Demise"). At times certain modern melo-thrash/death elements (the title-track) can be caught, but this is hardly a pullback. What may be a pullback, though, is the lack of any more technical arrangements which were nicely suggested on the demo. Except for a few more clever hooks on "Demonic Wisdom", the material is pretty straight-forward finished again with "Sworn Defeated", the demo closer. The singer is a brutal death metal growler, but is expressive and intelligible.

Demo Demo, 2005
Tide of the Fallen Full-length, 2008

Official Site

ESCALATION (GERMANY)

Three songs of ripping seismic classic thrash which recalls heroes from the old days like Sacrifice, Cerebral Fix on the more stomping moments, etc. The singer is a rending blacker, but his passionate shouts are compellingly attractive. The sound quality is very good giving the guitars a sharp cutting edge. The guys change the tempos the whole time on every track; check out the great bassism on the closing "Lord Zamedi", a really cool surprise later featuring some admirable headbanging riffs also showing a big potential for future exploits.

Skull Fetishist Demo, 2010

My Space

ESCALATION ANGER (USA)

Based on the Split, this band specializes in aggressive classic thrash/proto-death akin to Devastation and Merciless; at times the music is plain bashing death metal ("Pick At The Scab"). This is good intense music with harsh semi-hardcore/semi-death metal vocals with a certain hysterical pitch. "Emperor Of Lies" and "Lunatic Cause" are slow with shades of doom/death and recall Asphyx quite a bit. Near the end comes the cool faithful cover version of Exodus' "Lesson in Violence". The guitarist and founder of the band Aaron Dallison later is more famous as a doom/sludge/stoner practitioner with his more recent formations Keelhaul and Abdullah.
The self-titled demo offers four songs of clever, technically-executed thrash which doesn't aim at pure aggression like it was the case on at least half of the full-length; this is hectic dynamic music with frequently-changing tempos and more serious arrangements the overall officiant mood solely spoilt on the closing half-min hardcore joke "Politically Correct".

Escalation Anger Demo, 1993
Violent Breed Demo, 1994
Escalation Anger/Schnauzer Split, 1996

ESCAPE (UK)

A mixture of the Slayer heavier late 80's period and the groovy 90's thrash of bands like Pantera and Machine Head; this is hard-hitting crushing music aggravated by the strong vocals in the Phil Anselmo-vein.

A Living Faith Full-length, 2003

Official Site

ESCAPED (ITALY)

Modern metalcore-ish thrashism which can even be lyrical and semi-balladic ("Capital Punishment") on occasion, but expect rowdier more belligerent rhythms ("Grave Party") as well, the headbanging atmosphere also sustained on "Earthquake", but watch out for the sleep-inducing excursions on "When the Going Gets Tough the Tough" on which only the quarrelsome shouty deathy vocals exude a bit of vigour.

Social Distortion Full-Length, 2019

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ESCAPETOR (NORWAY)

Based on "Fear", this formation serve classic power/thrash which relies on heavy officiant riffs to pull it through and the headbangers generally won't have their day here (the exception being the few faster-paced passages on the closer "Creatures of the Night"), but the doom metal lovers should be able to find something to hold onto: check out the cool semi-ballad "Time" which shows the vocalist in a very bright light the latter the band's main asset with his emotional clean dramatic timbre.

Moments... Full-length, 2005
Misanthropia EP, 2009
Decennium EP, 2010
Fear Full-length, 2014

Official Site

ESCARNA (BRAZIL)

This is heavy modern cyber-thrash/death metal with a noisy industrialized guitar sound and brutal Chris Barnes-like vocals. The riffs are crushing like a tank forming a consistent whirlpool of mid-paced riffs seldom interrupted by sudden blasts ("Start Over"). Grab your seats, though, for the closing "Whispers" which music-wise is a total contrast to its title being a wild death metal/semi-grinder ala the Australians The Berzerker.

Mortified Full-Length, 2007

ESCHATOS (LATVIA)

This talented act offer cool complex modern thrash which starts in a creepy post-blacky way with the opening "One That Divides The Time" before things get harder with the diverse shredder "Crusaders of Sodom" which is whole 11-min long and would inevitably enchant you, if not with the numerous intense sections, at least with the few quiet meditative passages. "Erset La Tari" is another encompassing composition, a 9-min long opus which thrashes in a sinister mechanized manner imbued with some suggestive melodic undercurrents. There's a lot of atmosphere here as well, and the vocals are provided by a girl named Kristiana who sings in a scary witch-like fashion recalling the Norwegians Ram-Zet who are also a fairly close soundalike for most of the time. Unfortunately, this is only three songs; there are two interludes/intros/breaks which are mostly distorted semi-musical experimentations. So it's strange why it has been listed as a full-length... still, this is very well executed music with a wide lasting appeal. The band members are also involved in the black metal formations Ocularis Infernum and Grondh.

Hierophanies Full-Length, 2013

ESCHER'S KNOT (INDIA)

Post-thrash is mixed with industrial on this hallucinogenic effort that will drill your mind with dry sterile riffs and hysterial screechy black metal vocals which are desirably intercepted by throaty death metal ones. Otherwise, some songs will catch your ear with their more ambitious shred: "Mayan Calendar", others will roll over you like a tank, the hammering "Break the Cypher" which also introduces the odd more technical hook. There's certainly a potential here which may even take Meshuggah-sque proportions in the future, and may eventually turn into a needed antidote to the overpopulated retro thrash metal scene nowadays.

Tessellations EP, 2010

Official Site

ESCOLA ALEM+ (BRAZIL)

Based on the "Vergeltungswaffe" demo, these guys offer three songs of speed/thrash along the lines of Hallows Eve; in other words this is slightly messy rough-around-the-edges stuff. The tracks are long (7-8min), but apart from changing of tempos from fast to mid there's nothing really special going on. The leads are too soft, and the instrumental "Germany School" logically tries to bring more aggressive Germanic thrash to the fore ending up sounding not far from Sodom's early amateurish efforts.

Demo Demo, 1988
Demo 2 Demo, 1988
Vergeltungswaffe Demo, 1989

ESCORIAS (ARGENTINA)

Pounding old school power/thrash with which this country has become quite famous through the years; this act offer a thicker more sinister sound also thanks to the good bass performance, but don't expect anything too aggressive. There will be a few "flirtations" with the semi-technical, but generally the approach is not that striking the singer being below the average with his strained shouty semi-clean timbre.
The full-length acquires a more modern edge, but notches it up in the aggression department as well resulting in cool brisk music which is clearly more on the thrashy side despite the presence of several milder power metal-based compositions in the middle. "7-4" is the definitive South American speedster graced by brilliant lead sections; and the closing "Whisky, Putas, Thrash" is a cool stomper with good biting riffs calming down the situation at the end (the actual closer is a ripping headbanging short instrumental titled "Escorias con P"). This is a good effort which shows a rising start on the Argentine metal horizon, a band who are not willing to tread familiar grounds, but are ready to expand towards more aggressive fields.

Demo Demo, 2012
Mundo Escorias Full-Length, 2014

ESDRELON (BRAZIL)

Esdrelon play classic thrash mixed with more aggressive death metal parts (the vocals also fall in that category) and an epic atmosphere reminding of the power/speed metal scene of the 90's. This is far from a mish-mash: the mix works fine as a whole, and the side elements do not detract from the hard-hitting thrashy nature of the songs. This is an interesting style which needs further development, and hopefully this is what would happen on the band's later works.
The full-length is another diverse "animal" which boasts a crystal clear sound quality, more technical guitar work, and more elaborately-crafted compositions ("Voice of the Exile") with a bigger sense of melody. Hyper-blasts are inevitably to appear ("Ideology") at some stage, but their presence is sparse and is well compensated by epic melodic power/thrashers ("Dust in Our Eyes"). "Intimate Verses" is a nice galloping piece, and the closing "Disturbed" is a great melodic lasher exiting this album with style the latter also benefiting a lot from the capable vocal duel (gruff low-tuned vs. screamy witch-like).

Your Truth EP, 2005
Dust in our Eyes Full-Length, 2012

Official Site

ESH (RUSSIA)

Nothing more than the staple 90's post-thrash will one find here. The deviations come in the form of more laid-back heavy/power metal passages which are of the lyrical, semi-balladic kind. The guitars are soft also "flirting" with groove and grunge on occasion ("V Trance") supported by cool clean vocals.

Golova Full-Length, 1998

ESICASTIC (ITALY)

Based on the promo, this act specialize in complex jazzy progressive thrash/death which is 30% Cynic, 30% Pessimist, and 40% Extol. In other words, this is jumpy out-of-the-box listening experience which never straddles towards the up-pace, but reaches progressive heights on the operatic "Self Omnipotence", and the creepy atmospheric "Sheliphron Destillatorium". To talk about vocals would be a bit farfetched since the guy behind the mike just recites in a calm, meditative, semi-whispered tone creating a soothing setting which goes well with the multi-layered music.

Demo Demo, 1996
Undecember Demo, 1998
Atman Promo, 2001

My Space

ESKIZOLEPSIA

Heavy groovy post-thrash ala Puncture and Grope; the 2nd track speeds up for a while smelling death metal; could be good if the band further develop this tendency...

Demo Demo, 2008

ESLABON (URUGUAY)

The debut: power, speed and thrash metal shake hands here, trying to find the perfect balance between the more cheesy power/speed metal pieces and the more intense thrash-tinged ones. The tempo is constantly fast, so even though from a thrash metal point-of-view this album would be of no big value, the energetic riffage and the cool harsh semi-melodic vocals would at least make you stand through the whole album without being majorly bored.

"Cria Cuervos" would be quite a surprise for the band fans since the transition is more than obvious the guys settling now for a much less eventful 90's groovy post-thrashy delivery which only saving grace are the stylish melodic leads. The rest is just boring and rehashed music although in the second part the band wake up for the production of several more dynamic moments (the merry speedster "Oscura Intencion") which are by no means enough to dissipate the established boredom.

No Hay Piedad Full-length, 2006
Cria Cuervos Full-length, 2012

My Space

ESLAVON (SPAIN)

Modern thrash/death metal of the energetic, intense type; slower digressions are certainly to be found, but they are appropriately used. The lead guitars are a nice addition as well as the fierce deathy sections ("Inconsciente"). "Condenais" is a marvellous atmospheric thrash/deathster with fine surreal motifs which is the end of the more attractive side of the album since the 2nd half is just average mid-tempo stuff with a pinch of groove. The vocalist is a brutal low grunter, but his antics are fairly intelligible.
"Ex Vacuo" is another commendable achievement thrashing with passion from the get-go with the opening blitzkrieger "Antihumanidad". The guys carry on in the same brisk fashion till they reach the short scary blaster "Agorafobia" in the middle. Things don't get much milder after that, though, if we exclude the quiet instrumental title-track, but in the second half the band experiment more with the mechanical dry side of the genre the guitars taking a more robotic edge which culminates on the final headbanger "Cerebro Radical" which is intense modern thrash at its sterile best. The singer sings a bit higher now, but his deathy rendings are still comprehensive.

Estado: Psicotico Full-Length, 2010
Ex Vacuo Full-Length, 2013

Official Site

ESODIC (JORDAN)

Based on the "Jordanian Heart" single, which is only one track (see the single title), these Middle Easterners pull out dark classic thrash of the heavy, mid-paced type. The guitars are a bit abrasive, and there are very sparse vocals to be heard, synthesized roars from time to time mixed with clean deep ones. The leads are also worth mentioning being melodic with an Oriental shade, but again the buzz takes away from the melody.

Coverless Truth Demo, 2003
Jordanian Heart Single, 2006
Generichrist/Esodic Split, 2011

Official Site

ESOTERIA (SWEDEN)

Thrash metal with a gothic atmosphere; there's a mixture of very good clean vocals and deathy semi-whispered ones. A slight keyboard tune could be heard in the background, too. Septic Flesh meets thrash metal: what do you think about that?

Insert reality into drive A: Demo, 2003
Demi/Mond Demo, 2004
Setting sails for the future... Demo, 2004

Official Site

ESPIAS MALIGNOS (COLOMBIA)

This act provide energetic ripping retro thrash which rolls onward with fast riffs, a few more technical tricks ("Traumatica"), and shouty semi-death metal vocals. "Asesinados En Nombre De..." is a raucous mid-paced stroll, and "Nadando En El Cielo De Barro" is a dark atmospheric doomster. Some of the band members also play with the power/thrashers Darkness.

Oscura Full-length, 2021

Official Site

ESPINOZA

Look no further than the good old groovy post-thrash tested so many times before and after; this album here lacks an edge in the first half, and the only time when one may listen with care would be on the energetic speed/thrasher in a more classic vein "Dog Eat Dog". The second half offers more moshing with the edgy faster "Suicidal Dream" and the heavy Pantera-sque "Selfdestructive World". The guys are prone to ballads reflected in one full-fledged ballad, one semi-one, and one nice peaceful instrumental with the appropriate title "Peace of Mind".

Soul Decay Full-Length, 1994

ESQUIZOFRENIA (COLOMBIA)

The full-length debut: an extreme mix of thrash, death metal and occasionally grindcore; not bad with casual technical implements and a couple of vigorous pure thrashers (the more immediate "Tierra Muerta" and "Neurastenia", and the more complex technical "Viviendo Pesadillas"). The tempo is fast, especially on the more death metal-laced compositions ("Erupcion de Maldad"; the turbo rocket "Tormenta Mental", a very cool semi-technical number sustained in the best tradition of mid-period Messiah), and as a whole there's no speed lost here although the music very occasionally reaches unbearable dimensions.

The EP provides three songs of capable sophisticated technical thrash/death all the 3 numbers sustained in a restrained mid-period Death fashion without any blasting extremes evolving in a mid to up-tempo vein with sudden more intense sections jumping out of nowhere to a fairly positive impression. "Inquisicion" is a ripping speedster at the end thrashing more wildly turning into a mandatory "leader" of the eventual sophomore full-length which should be in the makings judging by the professional sound quality of this recording.
"Veneno En Las Venas" is a nice effort which sees the band growing as musicians in every sector serving intense thrash/proto-death ala mid-period Messiah with some virtuoso guitar work involved ("Tumbas De Almas") with more uplifting shorter numbers ("Resistir Hasta Morir") thrown in for good measure. "Absorbidos" is a more ambitious composition with more complex decisions, but in the second half the guys continue with the "carnage" lashing with vigour and the casual more melodic flavour ("Ardiendo").
"Terror Al Miedo" is another proficient opus the band producing some exemplary shredders like the opening Invocator-esque "Percepcion Mortal" and the more technical jumper "Caos Interno". The tone becomes more laid-back later, but the title-track is a cool dramatic stomper, and "Las Cadenas Del Destino" is a consummate headbanger in the best tradition of early Pestilence. "Esclavo Del Tiempo" is an excellent progressiver with a frequent change of tempos, and "La Orden de la Inquisicion" is a logical epitaph to this entertaining roller-coaster closing it in a complex, but also quite intense fashion.

Esquizofrenia Full-length, 2010
La Orden Del Castigo EP, 2012
Veneno En Las Venas Full-Length, 2013
Terror Al Miedo Full-Length, 2017

My Space

ESSENCE (CROATIA)

Based on the "Larva" demo, these Croatians offer a softer alternative version of the modern post-thrash, occasionally interesting, but mostly groovy and repetitive. The vocals are very hysterical semi-black metal rasps, and don't suit the music too well which is nicely melodic at times with melodic hooks gracing almost every song touching Tool on the more inspired moments.

Dirt in frame Demo, 2000
Rea Demo, 2002
Larva Demo, 2004

ESSENCE (DENMARK)

Based on the full-length: the synthesized sound of the guitars slightly ruins this otherwise competent take on the classic thrash metal idea which blends slow numbers with a power metal flavour ("Blood Culture") with all-out speed/thrashers ("Trace of Terror") both sides finding "shelter" on the more serious semi-progressive title-track which, however, suffers from an overlong quiet mid-break. The closer "Aggressive Attack" deserves its title, though, being a full-frontal thrash assault lashing fiery riffs from all sides for a bit over 5-min.
The EP is a sure-handed entry starting with the ambitious progressive opener "Razor Hands" which offers diverse intense thrashing on a complex base for 8.5-min. "Divined Thrash" calms down, but remains an entertaining power/thrasher with frolic rolling riffs. "Living In A Dream" thrashes more wildly with sharp cutting guitars before the coming of another "monster": the over 8-min opus "Blood Of Man" which is a prime thrasher with fast'n furious guitars and merry leads. The vocalist does a decent job with his gruff husky timbre with semi-clean qualities reminiscent of Kermit (Tyrant (Germany)).
"Last Night of Solace" is a somewhat uneven entry the band retaining their more diverse penchant crossing thrash, speed and power metal in a confident entertaining manner even spicing the situation with some stylish technical breaks ("Arachnida") without mentioning the frequent in the second half branching into a less explored death/black metal territory with a few spasmodic blast-beats (please, don't get scared on those moments on "Gemstones" and elsewhere) those coming quite unheralded not contributing in any positive way to the music apart from making the delivery quite disjointed and unfocused. As a result we have a larger-than-life amalgam, mostly in the second half, the guys having fun pulling out as many influences as they can think of, consequently failing to impress the listener in an expected way.
"Prime" is a much more relaxed, for better or worse, affair the band now concentrating on power and thrash almost exclusively, also relying more on the classic vibe consequently producing several admirable headbangers: "No Sleep 'Till Def", the rousing "Modern Heroes", etc. Alas, the more intense material is dissipated by bland heavy rockers which are bad even if intended as a deviation. Less variety unfortunately in this band's case doesn't mean a better achievement.

Art In Imperfection EP, 2007
Lost In Violence Full-length, 2011
Last Night of Solace Full-Length, 2013
Prime Full-Length, 2015

Official Site

ESTAMPIDA (ARGENTINA)

Based on "Brainwashers", this band play stomping retro thrash with gruffer deathy vocals which resemble the more aggressive attempts at singing of Chuck Billy (Testament). The guys relax in the middle with a string of mellower, power metal-based, tracks which hit the roof music-wise with a portion of great melodic leads which steal the show completely dominating over the lacklustre mid-paced riffage the latter moving towards the doom/gothic metal arena near the end recalling the mid-period "exploits" of Cemetary.
"Crowd Control: The Jaws of War" is a better achievement notching it up in the speed scale also adding some very cool melodic leads ("The Business of the Gods") for good measure. It's quite surprising, actually, how energetic this album sounds compared to the not very impressive previous offering, especially with short aggressive cuts like "Just Call Me Death", "Channel 'n' Bullshit" and "We'll Wait Together" "roaming" around. The gothic side of their repertoire has to show up at some stage, and "Ironic" "ironically" provides it near the end, a mild semi-balladic composition with a few atmospheric highlights. The singer sounds worse now with a more hysterical note added to his growling histrionics which makes him more audible, but that's not quite recommended in this particular case.

Sin Rencor Full-length, 2008
Brainwashers Full-length, 2010
Crowd Control: The Jaws of War Full-Length, 2012

Official Site

ESTEIO (BRAZIL)

This band play abrasive modern thrash/post-thrash/core, a diverse amalgam which isn't devoid of energy ("Terminal Suicida", the ripping angry "Hotel Purgatory"), the guys shuffling through pure hardcore outtakes ("Morte e Suicídio") and intense Slayer-esque tornadoes ("Cavalo Celado") with vehement lancahe, the shouty semi-clean vocalist contributing to the cool dynamic atmosphere stirred on the music front.

Peao A Imagem Do Cao Full-Length, 2022

Official Site

ESTERTOR (SPAIN)

Based on "Tales from the Ancient Grave", these lads offer pretty cool retro thrash which rushes onward with overt proto-deathyflavour ("Venereal Horror", "Nocturnal Strigoi"), the pounding officiancy of "The Torch That Corrupted the Earth" contrasting with the frolic crossover rhythms unleashed on "Blood for Sheetar". Expect poignant melodic developments among the restless thrashing on "Repugnant Face of Death", with full-fledged death metal materializing on the final "Keeper of Hell", the subdued brooding semi-declamatory vocals standing their ground without attracting too much attention. Some of the band members are also active with the doom/deathsters Onirophagus.

Buried in Morningside Full-length, 2017
Tales from the Ancient Grave Full-length, 2021

Official Site

ESTIGIA (SPAIN)

One of the better bands from the not very prolific Spanish thrash metal scene; the sound is energetic classic thrash with excellent sharp riffs. "Insubmission" is a good debut featuring up-tempo Bay-Area thrash for most of the time with nice deviations from the more standard approach, in the form of the excellent instrumental "Dissident"; the rest is cool headbanging material, straight and direct. Despite the big, 7-year gap between the two works, "Trip to Nowhere" carries on in exactly the same vein providing another fine portion of headbanging retro thrash.

"Born Guilty": another "mammoth" from the past is rising, and the first sounds from this new offering show a modern production gracing a blend between the old and new school done in a more laid-back friendly manner without too many aggressive outbursts. The second half can be skipped containing mellow rockers with balladic tendencies a big excuse brought at the end in the form of the closer "Way To Purgatory", a prime abrasive headbanger boosted by the cool clean vocal delivery.
"Regression": this short 6-tracker sees the band thrashing with power capturing the spirit of the 80's with leanings towards the Bay-Area above all, and bangers like "Bad Living" and "Insubmission" won't remain unnoticed even on a saturated scene like the one at present. "Fuerzas de Seguridad" is a fine thrasher with cool melodic licks, and "SSP" is the less bridled brutalizer. " Spill the Blood" is, naturally, a cover of Slayer and is delivered with gusto and a slight more melodic twist, a very cool tribute to this great composition.

Insubmission Full-length, 1989
Trip to Nowhere EP, 1996
Born Guilty Full-Length, 2014
Regression EP, 2015

Vibrations of Doom

ESTIGMA (ARGENTINA)

Corrosive, modern thrash which isn't a "stranger" to a few more classic leanings ("Tu Oscuridad"). Some admirable semi-technical thrashing can also be encountered ("Soportando"), but the power/speed metal "traps" ala Hermetica and Horcas ("Seras Su Esclavo") are just around the corner. Still, watch out for the supreme technical shredder "Atrofiado" which is wrapped in less attractive groovy miasmas at times. The more impetuous thrashing returns near the end with the appropriately-titled "Thrash Sureno" leading the pack, overshadowing the final mid-pacer "Miedo En Sus Ojos". The singer is a hoarse semi-shouter whose rough antics are way inferior to the more carefully crafted music.

Entre El Viento Y La Furia Full-Length, 2016

ESTIGMA (PERU)

The full-length debut: good thrash/death metal with a classic late 80's/early 90's sound; there's a lot of variety offered here: fast death-y numbers (the raging opener "Hellgardenx"), up-tempo galloping thrashers (the title-track), slower atmospheric, almost "gothic"-sounding, ones ("Sordid Tale"). The vocals are on the death metal side with a slight hardcore shade.
"Revenge" is an excellent return for the band after a very long hiatus; and they don't disappoint thrashing with a thick proto-deathy edge and interesting semi-technical quirks. The opening duo of primal headbangers is replaced by the more officiant tone of "Sordid Tale" which is a captivating epic cut with great melodic tunes. "Racist Bastard" is a glorious speedster, and "Hell Garden" moves towards more brutal, deathy waters. "With Blood" is another epic opus, but the second half offers no such respite "Vil Ser Humano" death/thrashing with vigour ala early Sadus and Morbid Saint, and "Point Of No Return" reaching technical heights not heard previously during its nearly 6-min. "Playing God" is speed/thrash at its most consummate recalling the early exploits of Attacker, and "Hatred Land" is another more stylish exercise in speed/thrash, the closer "Alone" the last nail in the coffin with its great galloping guitars and melodic lead insertions. This is a really good effort which shows the band ready to do more damage if, of course, they vote to last longer this time.

The Bloodstained God EP, 1997
The Bloodstained God Full-length, 1998
Revenge Full-length, 2016

Official Site

ESTIGMA MMI (MEXICO)

This is modern thrash which aptly mixes the tempos as the guys do make an effort to sound appropriately energetic ("Plegarias Finales") for most of the time. "Material" and "Largate" are fine speed/thrashers partly marred by the rough deathy vocals. The stylish more technical rhythms of "5 Siglos" also work well as well as the more carefree tunes of "Correle Que Te Alcanza" and the closing uplifting speedster "Mitohumania".

Estigmaniaco Full-Length, 2017

ESTOPLYN (GERMANY)

Laid-back folk-tinged thrash which comes as a more edgy version of later-period Skyclad. The hard-boiled thrashers will lose their patience with the numerous folk motifs and the frequent balladic escapades, and may not be able to savour the more hard-hitting numbers in the second half like "Estoplyn" and especially the crushing "Disorder". The vocalist provides a cool clean timbre with a hoarser pitch which very well suits the party atmosphere sustained throughout the album.

Stroke Of Fate Full-Length, 2016

ESTOQUE (BRAZIL)

Thrash/crossover of the jollier type with very cool, almost jazz-like at times, bass work; often does the music jump on the aggressive thrash wagon ("Mudos A Rezar", "Males Sociais"), but the friendly crossover tone isn't very frequently broken on the other compositions. Very interesting technical decisions could be heard at times as well: the jumpy eclectic 3-min wonder "Descendentes", and the longer, almost progressive "Colonizadores", where the guitar work suddenly takes very stylish intriguing directions, again with a fine jazzy shade. This is an interesting combination of contrasting styles which will seldom leave the listener bored.

Thrash Core Anarquista Full-length, 2006

My Space

ESTRIL (NICARAGUA)

This is lashing hyper-active classic thrash/crossover which is accompanied by over-the-top high-pitched shouty vocals; works alright this amalgam, the guys moshing with the requisite passion, "Bosque de Lata" and "Muerte Blanca" stirring the pits in no time, the more technical riffs on "Zombie Thrash" suggesting at a more complicated fiesta, one that also gets stirred for a bit on the stomping anthem "BBCP", the closing "Crisis" also serving a more contrived shredorama in prevalent mid-pace.

Estrilealos A Todos Full-Length, 2021

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ESTROPIA (SWITZERLAND)

Please, brace yourselves for intense blitzkrieg retro thrash with vicious raspy death metal-ish vocals, the guy missing short maddening headbangers ("The Mad Race") with marginally more controlled, more ambitious longers ("The Art of Murdering"). "The Deathship" is a breezy proto-death rager, and "A Mirror" is a levelled steady thrasher with a more stylish Possessed-esque veneer (think "Beyond the Gtes"). Some of the band members also played with the thrash/crossover cohort Impact.

Demo Demo, 1991

ESTRUS (CANADA)

This is heavy power/thrash still retaining some of the classic models mixing them with a couple of more modern hooks. The music is heavy trying to keep up with late-80's Metallica, but the speed isn't enough to live up to those expectations except perhaps on the more dynamic technical stomper "Cast Into". The guitar work's really heavy with a slight abrasive edge ably supported by a thick Cliff Burton-esque (R.I.P.) bass bottom and not bad forceful semi-clean vocals. The "slumber" will be rudely interrupted on the closing title-track which is an intense semi-technical thrasher with solid up-tempo riffs.

Enter The Rage Full-length, 1996

ESTUARY (USA)

Thrash/death metal obviously influenced by the Swedish scene: think Arch Enemy , Dark Tranquillity, etc. with a bit more brutal vocals than what generally comes along with this style also delivered by a girl in the vein of Arch Enemy, but the one here is also more throaty and lower-tuned. This band are far from mere copiers; on the contrary: they manage to come up with nice technical guitar passages and melodic solos which, combined with the faster, more aggressive sections (which sometimes are really fast), make their works a really worthwhile listen.

Riding the Tides of Malice EP, 2002
To Exist And Endure Full-length, 2004
The Craft of Contradiction Full-length, 2007

Official Site

ESVASTHIKA (BOLIVIA)

This band indulge in diverse stuff which is based around brisk modern thrash that can be puzzlingly technical ("Quero La Sangre") all of a sudden, or can start speeding up in the best spirit of the 80's (El Gringo") by adding a more brutal blasting atmosphere ala more recent Satan's Host. There are a few short tracks which cling towards pure death metal, in other words this is a larger-than-life offering which wil keep you on the alert due to its ever-changing nature the music also served with a very good sound quality.

El Kartel Del Diablo Full-Length, 2012


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