Copyright (c) 2007-2018 THE THRASH METAL GUIDE

0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


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


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


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


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.

Electro Shock Therapy Full-length, 1989
Feel Of The Feather Full-length, 1991
13 Full-length, 1995
Therapy For The Soul Full-length, 1998
Zloi Rok Full-length, 2003
! Full-length, 2005

Official Site


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 doomy track, but quite 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 straigh classic, tecnical/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.

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

Official Site


The band's debut is an uneven mixture of fast furious thrashers and generic heavy metal; quite a mixed bag, but the energy of outbursts like "Slaughter Disorder" and "Stricken by Might" is hard to be ignored; the guitar work is quite simplistic, reminiscent of Venom and Celtic Frost on the aggressive material. "Seek & Destroy" is not a Metallica cover, but is a very cool energetic power metal hymn.
"Sicker Than I Thought" is a full-out speed/thrash assault topped up by good high-pitched vocals, and is the much better effort of the two; the guitar work is sharper and more polished, and one can find interesting, albeit a bit undeveloped exercises in abstract, Voivod-ish technical thrash ("Sexploitation"). There are really impressive aggressive smashers as well: "Horros of the Mind", "Chamber of Sorrow", etc.
The "Anti-Hero of a Thousand Faces" EP: another forgotten hero is rising, but the opening "Bad Superman" is an awful heavy rocker ala Motley Crue, and the rest is only a tad better. In other words, this is hard'n heavy with a slightly modernized edge, awful stuff as a whole with no shades of thrash whatsoever. The band would surely pull themselves together since at this stage they are plain pathetic when compared with their heritage.

Stricken By Might Full-length, 1987
Sicker Than I Thought Full-length, 1990
Anti-Hero of a Thousand Faces EP, 2015

Vibrations of Doom


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


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


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


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 doomy 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


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


Based on the "A Crucifix" EP, this band play raw, amateurish death/thrash metal, spiced with hardcore which is surprisingly non-aggressive with slower, doomy 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


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


"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 is 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


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


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


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 more thrashy 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


Based on the full-length, 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.

The Sculptor of Negative Emotions EP, 2009
Winding the Optics Full-length, 2011

Official Site


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.

This Suffering Demo, 2006
Manifests Of Human Existence Full-length, 2010

Official Site


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 fashion alternating between fast and slow numbers with the cutting edge of the guitars never lost except on the briliant 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


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 death growler, but suits the aggressive delivery, which becomes quite violent and brutal on the last couple of tracks, which are direct short bombs of fury, "killed" by the cool orchestral outro.

Extreme Feelings Full-length, 1994

Official Site


Based on "Panspermia", this act, which is virtually only one person named Martin Martinez (who also takes art in quite a few brutal underground acts including Yatogeny) 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 frequent keyboard department. Things are not 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


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 is 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


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 2 Sacrilege albums with more concentration on the slower, doomy side of the style.

Ecocide Full-length, 2011

Official Site


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 "Uknown 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.

Eye of Wicked Sight Full-Length, 2013

Official Site


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 thrashy "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


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


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


A 3-track demo of heavy doomy 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 is an annoying inclusion of clean ones as well, which are not 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 thrashy riffs here and there.

Demo 1 Demo, 1988


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 doomy/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\\'a6s Bag Full-Length, 2010


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


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 dramatism 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


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 2nd 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


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


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-deathy 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") smeof 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.

Load Another Bullet Full-length, 2014
Liberate Then Separate Full-length, 2016
Beyond The Pale Carcass Full-Length, 2018

Official Site


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


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-thrashy 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 n\\'dfm Full-length, 2006
Pod Parou Full-length, 2008
Dovidenia v Pekle Full-length, 2011

Official Site


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 enamoration 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


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 of 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


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-deathy 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


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 deathy 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



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


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


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 is not very fast anymore and death metal is almost nowhere to be heard; the technical leanings are not 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 6 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 is 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


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 3 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


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


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


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 servide 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


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 othwerwise not bad clean tirades are soemtimes stifled by the constant hissing background.

The Age of Tyranny Full-Length, 1999


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


"This is not real": based on the "They Are Not Real" demo, these guys offer raw core-ish thrash with a pretty bad sound quality. The music is quite amateurish with distorted guitars, messy rhythms, and very bad shouty death-ish 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


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 deathy aesthetics.

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



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 2nd 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


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 doomy 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 afair 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...

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


Noisy modern thrashcore, industrially-decorated and quite messy with sudden tempo switches and awkward balladic insertions. The 2nd 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


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").

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

Official Site


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 tantalising, direction. To be continued...

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

Official Site


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


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 3 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 labirynthine 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 pullng 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 necksprains 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 prtogressive 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-thrashy 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 hich 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 headbanger 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 that but they have also found time to release another fine album the same year under the name Ensight.

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

Official Site


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 more thrashy 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


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


A first-rate demo of speed/thrash metal which will make you headbang 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 demo 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


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

Electric Chair EP, 2009


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 is not 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


This is heavy post-thrashy 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 laidback 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


Based on "Pressure Spike", this "electric outfit" specialize in edgy power/thrash along th elines 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 tember 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


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 is an unexpected cover of the Dutch technno-dance masters Two Unlimited of their most famous hit "No Limit", here called "Electric Limit", which is not very appropriate, sustained in a merry optimistic crossover manner having not much to do with the much more serious brooding tone of the rest. After it 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


"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 is 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


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 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 cacophonic 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 qualitties. 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

Official Site


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 "Manipulaci=n 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 Traici=n 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 are not that many.

Almas En Pena Full-length, 2008

My Space


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 is 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

Official Site


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 of the fans' face wide including the varied progressive rhythms on the final instrumental saga "The Cries of the Oppressed/Political Anxiety".

Morbidity Full-Length, 2013



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 deservint its title with brisk lashing guitars and a few enchanting melodies. "Despair" is a lead-driven, Orienntal-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


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


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


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


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 includign 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 tember which he doesn't strain too much, but leads the proceedings with panache without taking too much space.

Chaos and Creation Full-Length, 2015

Official Site


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


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 deathy 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


The "Dead" demo: there is one guy responsible for the stuff here, his name is Leo Bj\\'f6rkman, and he acquits himself with 3 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



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 2 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 closer "Claustrophobia".

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

My Space


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


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


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 recire 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 2 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


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 then promises and teh 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 deathy vocals.

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

Official Site


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 preferrable 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 2 tender ballads, the 2nd 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

My Space


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 muusic 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


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 dramatism 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

My Space


This talented French outfit are one of the more prominent parctitioners 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 a 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 explorations on modern thrash await the listener near the end ("Dark Sensual Nymph", with a nice doomy twist as a finishing touch), but the tempo throughout most of the album is slower 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 "Imperial Tzadik" 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 cancelled by the dynamic thrashing rhythms on the next "A Box in Ocean" which get dissipated in the 2nd 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". The thrash metal fans 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 2nd 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-ornated passages supercede 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 tember 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

Official Site


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 2nd 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


5 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'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 thrashy 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


5 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


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 doomy 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 is not very widely covered and generally the dynamics is quite big, albeit of a fairly predictable nature. The singer is an exressive 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


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 wirh 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


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


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, doomy 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.

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

Official Site


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 is not bad at all having a characteristic raw charm further aggravated by the fact that there is 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 3 full-lengths and 2 EP's of meditative ambient black metal.

Raging Death Demo, 2005

Official Site


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


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


An excellent 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


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


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


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


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 tember.
"Karmadoom" is a more dynamic affair like the opning "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'snot enough to give this offering a classic flavour.

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

Official Site


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 obviious 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


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 lancscapes 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 doomy 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


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-thrashy 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 Imorality", "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.

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

Official Site


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


This band play melodic modern choppy thrash with progressive overtones. The guitar work is quite striking and wil 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



A female throat fronts this modern thrash "beast", but her name is Audrey, not Emma, and she mixes cleaner withh 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-doomy 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


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


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


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 2nd 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


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


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 Rituals Of Possession In Blasphemy Split, 2006


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


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 progresiver "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


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


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-doomy riffs to pull it through. The vocals are in the mid-ranged death metal parametres, and are fairly comprehensive.

Created To Destroy Demo, 1997


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 more thrashy 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


3 numbers of playful hardcore-ish thrash, more on 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


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 doomy 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


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


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


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 headbanger "The Lost" which relieves "the pain" with some acoustic adherences. Later on "Ascension" tries to scare away the listener with the sparce 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 deathy grunting outbreaks.
The debut is more on the post-thrashy 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 blacky "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


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 thrashy 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-thrashy 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 aggresive 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


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


Buzzy industrialized post-thrash with faster hardcore overtones; this is bashy, but catchy, stuff with comprehensive 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


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 eathy fashion, and is a good addition to the fairly eventful music.

En Masse Full-Length, 2012

Official Site


Based on the demo, this outfit indulge in dark classic thrash further darkened by gruff low-tuned death metal vocals. The delivery is not 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 2nd half serves both the more technical "Nightmare" and the more stripped, almost hardcore-ish, "The Last Gate" which add up to the diversirty 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.

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

Official Site


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


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).

Perishing Black Light Full-length, 2000

Official Site


Dark gothic-tinged thrash/death/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 doomy heavy riffage with sudden grindy bursts ala "Realm of Chaos", and sparce 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


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


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 dramatism, 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 upteenth time. "Your Last Orison" slows down calming the ball, offering heavy mid-paced rhythms with mot 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


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


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-likke vocals.

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

Official Site


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 5 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 "Power, Corruption and Lies" 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 good 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


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 is only one similar song to offer the same headbanging entertainment ("Faithless").

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

Official Site


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 2nd half first with the dirfy "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 guiarist's selfless exploits.

The Waters Full-length, 2014

Official Site


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


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


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 doomy stompiness with savage blitzkrieg riffs ("Darkness"). "Vivid Imagination" is an imposing epoc doomster with which the civilize dperiod 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



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 4 songs of more energetic music again staying within the modern parametres 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


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") are not 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

Official Site


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 steriler "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

Official Site


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

My Space


One man, the name Joao Roberto Cavanus, is responsible for this modern thrash/death affair. He provides gruff deathy vocals to accompany the musical scenery which is built around melodic, slightly progressive formulas which touch early-Opeth on the more melancholic passages which 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 a professionally done, but not very engaging or exciting music.

The Curse Inside Me Full-Length, 2015

Official Site


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 ecept on the few hardcore-ish sections ("Good Fuckin' Fellas"). Thrash shows its head timidly in the 2nd 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


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 tember 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


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 doomy 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.

Buried and Forgotten Full-Length, 2015

Official Site


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


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


4 "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


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


A harsh death/thrash mixture which is sustained in a dominant mid-paced 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.

Time to Kill Full-length, 2017



Based on the full-length, this is another rendition of the modern thrash sound as inugurated 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 theirhyper-active, but ultimately pedestrian approach including in the overshouty deathy vocal department.

Fireball EP, 2013
Hunter Full-length, 2017

Official Site


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


This is an interesting band: their style could be described as modern technical/progressive thrash, a thrashy Opeth, if you can 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 is 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


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


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 doomy 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 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 reaching the pinnacle of their career led by really good clean high-strung vocals full of emotion and dramatism 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


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 is 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


This is faithful aggressive thrash/proto-death 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 aggresive, 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 which comes in the form of the title-track, an untamed chaotic thrash/deathster, vintage early Merciless.

Exterminio EP, 2012
Cruda Realidad Full-Length, 2013

Official Site


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 doomy 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


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


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


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 tember 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 2nd 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, sparcely, 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


Good Bay Area thrash metal in the Metallica, Testament, Exodus tradition; "Feel The Burn" opens this debut in a nice headbaning fashion, but in the 2nd 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


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


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-esque "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-thrashy 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.

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

Official Site


This is probaly 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


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 more thrashy 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 presenc eof 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


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 riffage. 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".

Campfire Night Full-length, 2000
Message of Death Full-length, 2003


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 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 more thrashy 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

My Space


4 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


Young Italian enthusiasts who provide modern thrash/death with only the casual nod to the Gothenburg sdchool (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, but attack is pretty much the order of the day on this energetic recording which is graced by shouty, vicious Mille-like vocals.

The Dopamine Hypothesis of Schizophrenia Full-Length, 2016

Official Site


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

Infecto Demo, 2007


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".

Rattletrap Full-length, 2005
Helly Gator Full-length, 2009
Back from the Drainpipe Full-length, 2011

Official Site


Stylish modern technical thrash, pretty dynamic 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 sparce 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 aready 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


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 sparcely 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


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 tehir 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 encyclopedia 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



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


These Brits pull out modern minimalstic post-thrash with screechy blacky 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 officiant battle-like colouring recalling mid-period Bathory and Ereb Altor. There is 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


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" whcih 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 up with an eventful minute of melodic virtuoso leads. A good job done here from a band for whom the best if yet to come.

Enigmatic Path Full-Length, 2014

Official Site


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 cancelled 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.

Demon Inside Full-Length, 2016

Official Site


"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 strenghened by the jolly crossover closer "Beer Attesting Day".
"Social Disorder" is pure playful modern post-thrash with stoner/doomy 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


Based on "Red Oak", this band unleash modern groovy post-thrash with harsh deathy 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


This is your average modern post-thrash, heavy mid-paced groovy stuff with sparce 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


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


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


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


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 tember. The compositins 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". "Hybrid" in the middle is a sprawling progressive cut, but it pales in comparison with the closing 13-min ous "As The Word Falls Down" which sums up the music heard before it alos adding more prominent keyboards thne 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



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-doomy stepping aside for the nice meandering technicaller "Mind Experience" which also boasts the finest leads here. The closer "Macabre" is another squirky 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


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


This band was formed by the Skeptic Sense guitarist Michael "Mick" Salomon. Well, the music here is not bombastic technical/progressive thrash metal, but is not so far behind (based on the "Degree Of Punishment" demo) comprising realtively 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. "Jericho Falls" 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.

Degree Of Punishment Demo, 2002
Outlined Demo, 2005

Official Site


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, 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...

Dreams Full-length, 2000


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 isntrument 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


Aggressive classic thrash metal with stifling noisy drums and brutal semi-black/semi-death metal vocals; otherwise this is not 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


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 dramatism (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


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


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 preferrable, side.

Enticed Demo, 1987


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


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


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 tember, and it would be better if they don't show up too much for the future. This is stuff which 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


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 tember.
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 are not 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.

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

Fan Site


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 upteenth 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 ambitious 9-min opener "The Coming Storm Dawn of War", a standout technical shredder with aide 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


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.

Preemptive Strike Full-length, 2011

My Space


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


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 sparce speedy outbursts belonging to power/thrash metal; more engaging thoughtful listens with progressive pretensions. The singer is not bad at all, and his clean attached delivery fits very well the melodic diverse nature of the music.

Mirage Full-length, 2010

Official Site


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 4 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


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.
"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 2nd 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.

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

Official Site


Ripping classic speed/thrash metal in the best tradtiion 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/thrashy 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, tember. 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



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


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 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 doomy 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 2nd 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.

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



4 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 is a better offering thrashing more aggressively the opner "Will of Man" already an impetious 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.

Envenomed EP, 2009
Evil Unseen Full-Length, 2014

My Space


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


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 doomy beginning and great leads.

Futuredoom EP, 1989

Vibrations of Doom


5 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


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


4 "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



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


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 before "Splatterbrain" brings 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 ensuing 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, thsoe two seeing the band relaxing from the intense complex rifforama that should by all means put them in the epicenter of the contemporary metal scene.

Grab the Reins Full-Length, 2014
Subversion Full-length, 2017

Official Site


Based on the self-titled album: nice retro thrash, fast and intense with elements of speed metal ("No Hay Perd=n") and sparce 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


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 tember.

Destruction Machine Demo, 2009


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 2nd 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 is seldom a more dynamic riff to be savoured the singer now quite a disappointment with a lower-pitched indifferent, semi-declamatory tember.

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


Retro thrash of the heavy type with consistent meaty riffs and not very pleasant semi-deathy/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


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 wizardy 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


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

My Space


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 doomy rhythms ala Autopsy, but such moments of serenity are very rare.
"Exit Paradise" moves towards the more modern post-deathy 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


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 2nd 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


This is a blend of classic and modern thrash/death with very deep guttural deathy 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 foks as the next big thing on the scene.

Sublime And Vain Full-Length, 2016


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 1st 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

My Space


This is just 2 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


A thrash/crossover band also providing quiet post-punkish and even country numbers, and having a generally more restrained attitude.

Epileptic Brain Surgeons Full-length, 1990


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


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


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

R.I.P. Single, 1988


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 doomy, 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


This obscure act 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 "Tranquility" 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 else, but "tranquillity".

Tranquillity Full-Length

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


This is the later incarnation of the Polish technical/progressive thrashers Astharoth when the guys moved to The States shortly after the release of this demo; it's a 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 early Coroner at times, but hardly reaching the more complex heights the guys hit with so much panache just a few months earlier. The tempo is dominantly mid-paced with sparse more aggressive outbursts.

I Am Alive Demo, 1990


Based on the "A Portrait of Horror" demo, this 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.

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


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


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 doomy 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


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 rifs 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 Argentinian 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


This is modern thrash which is not 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 is not bad with his emotional clean/semi-clean tember 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


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.

...The Truth Vnravels EP, 2010

Official Site


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


This band was founded by members of Dead Head, including Robbie Woning- the man who hit the drums for the death/doomers 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


This isa 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


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 "ornated" with surreal abstract guitars. This album was the band's crowning achievement, and "Labyrinth" took a logical direction into other sides of metal, still complexand 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


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 sparce 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


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 4 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 is 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


Modern thrash of the calmer proto-doomy 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 doomy/gothic closer "Silence" which is beautiful dark music with echoes of early Paradise Lost and Lake of Tears.

Echoes Of Truth Full-Length, 2011


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


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/thrashy 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 tember 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.

The Atomic Blast Full-length, 2009
Madness Is My Name Full-length, 2012
Slavery Full-Length, 2015

Official Site


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 2nd 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.

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

Official Site


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



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


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.

Wrecking Fire EP, 2012
It Comes to Life Full-Length, 2015

Official Site


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 mith more intense death metal semi-blasts, and later on both sides intertwine as the concentration in the 2nd 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


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


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


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


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


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


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


There is 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


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 2nd half is more moderate with thrash slowly waking up. The vocals are strictly in the black metal camp, tough, raspy witch-like screeches.

Alea Discordia Full-Length, 2016

Official Site


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


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


A perfectly acceptable piece of speed/thrash from the last stage of the classic thrash metal period, energetic and profesionally done; the guys don't spare energy and some of the songs are quite speedy (the last two), but most of the time the sound has this stomping, heavy quality recalling Nasty Savage's "Indulgence", or Wargasm's "Why Play Around".

Virgin Speed Full-length, 1990


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 (\\ldblquote 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


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


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


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 expadning 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 spectaculat 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 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.

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

My Space


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


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

Official Site


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 in 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


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 sparce 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 ("Tide of the Fallen") 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


3 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


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 4 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


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


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 tember.

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

Official Site


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 isa total contrast to its title being a wild death metal/semi-grinder ala the Australians The Berzerker.

Mortified Full-Length, 2007


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 setions, 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 is 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 3 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


Post-thrash is mixed with industrial on this hallucinogenic effort which 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 is 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


Based on the "Vergeltungswaffe" demo, these guys offer 3 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 is 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


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 tember.
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 presnce 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 Argentinian 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 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") wiht a bigger sense of melody. Hyper-blasts are inevitably to appear ("Ideology") at some stage, but their presence is sparce 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 benefitting 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


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


Based on the promo, this act specialize in complex jazzy progressive thrash 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


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


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 2nd 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


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 2nd 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


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 sparce 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


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


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 1st 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 2nd 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


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 3 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


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


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 tember with semi-clean qualitites 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 2nd 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 2nd 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


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


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 2nd 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 scdene 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


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


The full-length debut: good thrash/death metal with a classic late 80's/early 90's sound; ther'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 2nd 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


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 which is 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


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 tember with a hoarser pitch which very well suits the party atmosphere sustained throughout the album.

Stroke Of Fate Full-Length, 2016


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 is not 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


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 is not 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


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


This band indulge in diverse stuff which is based around brisk modern thrash which 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


Modern power/thrash which as usual tries to find the balance between the all-out headbangers and the post-thrashy aesthetics of The Black Album and its numerous clones. It actually manages to find it also thanks to the really hard-hitting rhythm section and the cool James Hetfield-like vocals the latter a bit more expressive and shouty probably. The stomping side of their approach is more accentuated on, and the opener "On Standard's Leash" doesn't get reached in terms of speed later on, but this album remains on the positive side for most of the time showing that the 90's haven't been forgotten and not only that, but they can also produce more meaningful results: check out the excellent closing "Shifting Sands" which is a diverse cut with plenty of nuances bordering on the progressive with really good leads and a few sudden blitzkrieg passages.

Volition Full-Length, 2012

Official Site


Ordinary modern thrash/death metal which crosses melodic with brutal fast sections on a slightly fuzzy guitar base. The shorter more death metal-based numbers ("Eterna Oscuridad", the proto-black deathster "Levantense en Armas") seem to deliver better being compulsive outbreaks with shreddy aggressive riffage.

Ba\\'b1ado Con la Sangre del Cordero EP, 2009

My Space


This new band, coming from a not very likely for metal place, offer retro thrash metal with long songs which are not technical per se, but the tempos within them change frequently, the dominant one being up-tempo. The guitar work is quite good straight-forward with occasionally more stylish decisions, mostly in the lead department, where often do the guys hit the top: they have to somehow compensate for the awful raspy undeveloped vocals which would sound harsh even on a Mayhem (Norway) album.

"Seeds of Evolution" contains three of the four songs from the EP and the rest is up to par being aggressive classic thrash metal with more frequent technical decisions. After the interesting lead-driven instrumental intro "Deconstruction", the guys hit mercilessly with "Cults to Eternal Hatred" which is an intense technical proto-death piece ala Pestilence's "Testimony of the Ancients". Then comes "Revolt" from the EP which is more ordinary speedy thrash establishing a pattern closely followed by a couple of tracks before "Thunderbolt" impresses with great, both melodic and technical, leads. Then things return to the more common formula hitting the top on the smashing closer "Seed of Evolution", another fine blitzkrieg thrasher with proto-death tendencies boasting fine bass support which is pretty high on the whole album, by the way. The singer again doesn't impress much with his gruff deathy tember although it's obvious that the guy has rehearsed more this time coming with a more polished comprehensive delivery.

Eternal EP, 2007
Seeds of Evolution Full-length, 2009

Official Site


A 3-track demo of good American speed/thrash metal akin to Anvil Bitch and Destructor; these guys are a tad more aggressive, and the singer tries some high-pitched wails ala John Cyriis (Agent Steel) at times which work quite well ("Mayhem" actually speeds up admirably again recalling Agent Steel).

Beyond the Crypt Demo, 1988


Based on "From The Eastern Forest": this band offer a mix of atmospheric Gothenburg-influenced death metal and a little bit of straight-forward classic thrash. "The Ashes of the Witch" is, on the other hand, typical pagan black metal. The rest is more energetic mixing the aforementioned styles in a not very convincing way, and the band's desire to court other genres along the way (black metal, gothic, etc.) makes things only more confusing reaching its culmination on the 16-min "Eternity in Vengeance" which is a mish-mash of too many styles; you'll get lost there. On the folllowing "Statues" the guitar sound gets so melodic that you may want to hear Ratt, or Motley Crue for a change, to liven up. "7,2" is a nice little thrasher which comes at the end, but too late to save the day.

The Storm Full-length, 1998
From The Eastern Forest Full-length, 2000

Official Site


Crisp modern thrash which crushes forward with fast lashing guitars and good clean, mid-ranged vocals. The guys balance between aggression and melody quite well the cool leads being the stars of the show alongside blistering thrashers like "First Step" and "Mass Domination". At some stage the melody takes the upper hand and the sound acquires more heroic 90's speed metal aesthetics ("Rich & Poor"), but this tendency isn't exactly a pullback as the hard-hitting nature of the music isn't lost: just check out the closing rager "Time".

The Joker Full-Length, 2016

Official Site


This band plays a more aggressive, blacky brand of melo-thrash/death with the staple Gothenburg leanings. Dissection are an obvious influence, but the sound quality here isn't as polished, from which suffer the raw death metal vocals above all, and the hollow drums. Otherwise the guitar players know their craft alternating between fast and slow sections the whole time, seldom blasting out uncontrollably, also coming with something technical ("Valley of Oblivion") from time to time.

Covered By Darkness Full-Length, 2011


The band's debut has a decidedly Metallica-influenced sound (resemblances in the vocal style, too), mixed with modern groove, bringing it closer to the Black Album, rather than the Metallica works of the 80's, and the overall impression is not bad with heavy riffs and tracks which do not stick to one another, but have their own "face". On the follow-up they recruited another singer to probably leave the Metallica-tag behind and by adding some more modern elements (think Pantera, Machine Head), the final result is not as satisfying.

Eternal Decision Full-length, 1996
Ghost in the Machine Full-length, 1999
E.D. III Full-length, 2002

Official Site


Excellent fast-paced death/thrash metal with a classic flavour; although having taken their name from a Destruction album, their sound is more along the lines of bands like Defleshed and Ravage. The guys thrash with gusto and conviction, producing a very fast and sharp sound, which at times threatens to fall apart, but doesn't: "Into Christian\\'c6s Mind". Every song is a gem of aggressive speedy thrash as the death metal elements play a secondary role here. Even the longer tracks, like "Sober\\'c6s Sacrifice" and "Hunting Priest", which closes on 6-min, are fast and relentless (this is actually the most brutal piece, with shades of death metal and a short Slayer-esque slower mid-section). This is explosive uncompromising classic thrash at its best, and although the Brazilian metal scene has been producing similarly styled acts in heaps for the past few years, these guys have no reasons to worry that they will be soon forgotten, even if they don't release anything else for a long time after this one.

Slaughterhouse Full-length, 2006

Official Site


Based on "Morbus Ascendit", this band come up with cool technical thrash/death metal reminiscent of Pestilence's "Testimony of the Ancients" and Death's "Human". The music is closer to thrash metal than those two albums, but the approach is virtually the same: nice technical guitars, not very brutal sound except on a few occasions ("The Decadence Within"); the guys nicely change tempos all the time and the music twists and turns making this album a really enjoyable experience. There's a sparse, but very effective use of keyboards ala Nocturnus creating a great haunting atmosphere.

"Khaos Magick" increases the presence of keyboards which stifles the guitars a bit, and the technical riffs have been reduced for the sake of a somewhat epic sound not miles away from Bal-Sagoth. The music has shifted more towards death metal, and although this album is also long on atmosphere and interesting moments, it might not appeal as much to the thrash metal fan as the better debut.
The demo is rough, unpolished thrash/proto-death owing a lot to Possessed's "Seven Churces", wrapped in the same dark oppressing atmosphere, the guys not having become the proficient musicians yet. "Beyond the Worlds" is a violent basher also recalling Sacrifice's "Torment in Fire", and "Morbus Ascendit" is another attempt at purer death metal ways of execution, brutal uncompromising bash also giving the title to the band's debut.
The 1989/1990 demos are good stylish slabs of metal, the progressive tendencies almost fully developed on them alongside the speedy infatuations which acquire nearly operatic proportions on "Arachnophobia", an intense melo-proto-death/thrasher that would make even Nocturnus proud. "Paralyzed" is a short melodic speedster ala Rigor Mortis, and "Contaminated Void" is another lashing proto-deathster leaving the more melodic embellishments for "The Conclusion Of Iniquity". "Morbus Ascendit" (no such song on the debut) is a fully accomplished deathster ala early Pestilence, but more laid-back moments keep being served to keep the balance like the gothic stomper "Why Have All The Children Died" and the imposing orchestral interlude on "Ad Nauseum".

Anthem of Anxiety Demo, 1988
Right to the Core Demo, 1989
Pressurize Dehumanize Demo, 1990
Morbus Ascendit Full-length, 1992
Khaos Magick Full-length, 1996
My Sweet Satan EP, 1996


One person (Gerson "Demonslaught" Toro) is behind this short atmospheric black/thrash/gothic metal opera which sits somewhere between early Emperor and The Irish Cruachan, but never as fast as the former sticking to moody mid-paced patterns with both lyrical and wild hyper-blasting deviations served in equal dozes. The vocalist is the prototypical black metal "raven" who croaks incessantly playing a leading role in the proceedings in a way not too different from Dany Filth.

La Resureccion de la Orden Guerrera EP 2002

Official Site


This is modern thrash with rough angry death metal vocals. The guys have a good sense of dynamics which seldom gets lost the long sprawling opus "Doctrine Is Dead" being the exception with its more pensive doomy rhythms; and the steam-rolling proto-groover "Summoning Ages". "Through Eternity" jumps the death metal wagon with less controlled semi-blasting riffs, but the closing "Inflammable Ice" pacifies the situation with quiet balladic motifs. Some of the band members are also active with the progressive metallers Dreamspell.

From Hallowed Land Full-Length, 2017

Official Site


The band's debut is cool progressive power metal with elements of speed offering stuff not too far from early Symphony X, maybe a bit more melodramatic. "Lifeless Alive" is a more aggressive affair with overt thrashy overtones starting with the fine heavy semi-technical brooder "Lifeless Alive" which ends in a brutal speedy manner. "Souls Of Prey" is a prototypical galloping power metal number, f ollowed by the edgier and slightly faster "Abadon", which boasts a nice balladic mid-break. "Visionary Sin" remains more in the power metal field again, but "Misery's End" hardens the course adding great lead guitar work to the proceedings. "Lost But Not Alone" is a hectic semi-technical take on speed metal, followed by the vigorous epic power/thrasher "Fight The Heavens". "Wicked Glory" crosses American power metal with the 90's power/speed metal scene to a good effect, before the coming of "Braindead" which is a cool mid-paced instrumental, and the actual closer, with one bonus track added after it: the creepy doomy "The Dead Matter". Although the band is often placed in the symphonic/neoclassical department, there is not much to relate it to the flashy show-offy flamboyance of the practitioners from this sub-genre, the guys opting for a more stripped-down approach similar to Mystic Prophecy and early Eidolon. The singer gives a subdued, but powerful, performance suiting well the music with his mid-ranged emotional delivery which goes one note up on the slower balladic sections. Two members of the power/thrashers Wretch also perform here: the guitarist Shaun Vanek, and the bass player Tim Frederick.

I EP, 2004
The Coming of the Tempest Full-length, 2007
Lifeless Alive Full-length, 2009

Official Site


Wild, chaotic thrash/death which is one wall of messy sounds with hardcore and grind also thrown in. A brutal affair with bad hysterical rending vocals which are barely audible at times. "Sexual Execution" admirably breaks through the wall and is a more intelligible thrash/deathster with echoes of early Messiah and Protector. This is a violent listening experience which will shatter you with both its listenable and unlistenable qualities.

Sex, Brew, And Chaos Demo, 2010


The sound quality of the "Total Tear Up" demo is bad, but the music isn't: cool speed/thrash crossing Whiplash's debut with early Destruction; the singer has an interesting deep semi-clean voice (interrupted by occasional high-pitched screams ala early Warrel Dane) which, combined with the fast simplistic guitar work, work quite well.
The debut demo is pretty much in the same vein, maybe a tad more brutal (the raging "Blindness") and more bass-prone (check out the beautiful bassisms on "Realm of the Unknown"). The vocals are more brutal and lower-pitched the infamous shrieks very seldom unleashed.

Mouth to Hell Demo, 1989
Total Tear Up Demo, 1990


Based on the full-length, this act, who consists of just one man (Armon Nicholson), provides blacky thrash of the energetic type which crosses the early German movement with Sacrifice and Exorcist. The fans will have their fun here the guy playing with vigour and a unique old school feel both in the production and the execution department keeping the proceedings in the up-tempo the deviations being served mostly from the lead side where some cool melodic tunes ("Tyrant") can be heard at times. "Cannibal" is a heavy stomper splitting the album into two, but expect a rain of fiery riffs on the following "Morals" as well as a nice balladic exit on the mid-paced cutter "Problems". The final "Crusade" is a sure-handed headbanger with a great lead section, finishing this cool album with aplomb making one more fine addition to the retro thrash legions of presEnt times.

The Realms of Darkness EP, 2013
Human Fields Full-length, 2014

Official Site


A 2-track demo of instrumental classic thrash slightly reminiscent of another Canadian instrumental band- Mastery, but with longer tracks, and a somewhat epic atmosphere. The music of these guys is more technical, and not as fast and aggressive; the intro to "Unleash Roman Steel" will remind you of Metallica's "Sanitarium".

The Outhouse Demo Demo, 2005

My Space


Modern thrash/death with raspy black metal vocals; the music covers all possible tempos, from raging blasting sections to doomy ones with gothic overtones, plus the odd epic-tinged Bathory-like section.

The Four Winds Of Evilness Full-length, 2007

Official Site


Based on the "Atrocities of Man" EP, this band play stomping classic thrash with dark overtones which straddles between fast and slow tracks the closing "Power" being a fine blend of the two approaches thrashing wildly for most of the time. The singer is a horse semi-shouty throat who makes himself heard with ease.

Convulsions of the Mind EP, 2013
Atrocities of Man EP, 2015

Official Site


These melodic death metallers used to "court" thrash in the good old days, still mixed with death metal (based on the "Bards Burial" demo), pretty atmospheric and epic-flavoured, an interesting listen which rather recalls their neighbours Amon Amarth, than their future more dynamic efforts. The riffs are solid without being very varied, and the good taste of melody is already here also expressed by the nice keyboard background and the very good leads.

The Seven Goddesses of Frost Demo, 1994
Bards Burial Demo, 1994

Official Site


This outfit play your average modern melo-death/thrash generating very little excitement along the way due to its repetitive nature and cliched gimmicks. The polished proficient execution can,t hide the lack of inspiration and ideas, and the several more intriguing shreds are soon buried in the sea of predictable rehashed riffs.

Art Of Our Demise Full-Length, 2012


Based on the promo, this is cool power/thrash metal in mid to up-tempo reminiscent of Meliah Rage, mid-period Metal Church, Squealer, etc.; the tracks are longer (5-6min) and don't have a very big hit potential being more complex and winding, mixing melodic with hard-hitting riffs the whole time. Some of them tend to lose steam in the middle exploring balladic and other mellower territories. The vocals are mid-ranged clean, and more passion in them could have been better.

Promo Demo, 2006
Live in rehearsal Demo, 2009

Official Site


Based on the demo, this outfit serve intense crusty death/thrash topped by very brutal death metal vocals. "Frigid Bitch" is a "bitch", indeed, with its aggressive grindy outbreaks, nothing "frigid" here, but "Forever" on the other hand is an imposing doomster. The final string of numbers is more on the bashing side, with death metal more heavily present, creating plenty of headbanging moments for the fans.

The Awakening Demo, 1994
Deadliness Full-length, 2010
Modus Odium Full-length, 2013
Killumination Full-length, 2014

Official Site


With three members of the legendary Helstar present, expectations were raised very high for this band, especially after James Rivera messed it up with "Multiples Of Black". The higher the expectations, the bigger the disappointment. Well, at least mine was big; no shades of Helstar whatsoever: this is groovy power/thrash, strictly from the modern school with the obligatory groovy parts and all esle, and if the bewilderement wasn't so big, I would have probably found something (but not much) to like here. If you approach this band with an open, unprejudiced mind, you might stumble upon a winner to some extent, as the music is not completely without merits.

Eternity Black Demo, 2005
Demo Demo, 2006

Official Site


This new talented outfit pull out edgy progressive power/thrash which begins in a dramatic pensive mood ala mid-period Fates Warning with "Kalinago" with a more intense thrashy ending. "Mercury" adds more dramatism with lashing guitars and unobtrusive keyboards setting the scene for the 9-min progressive thrash saga "Obsidian" which is an eventful piece with fast tempos and a few softer interludes. "Oceans" is a relaxed dreamy cut with very good lead guitar work, but "Final Escape" is on the other extreme: raging speed/thrash without too many complex distractions. "Revolutions" relies on pounding heavy rhythms which disappear for the quiet ballad "Obscura". All returns, though, for the jumpy thrasher "Bardo Becoming" which is pure fury all the way accompanied by a nice catchy chorus. Then comes a time for another larger-than-life cut: "Bardo Becoming" which jumps and turns in many directions ruined a bit by the use of the keyboards which here play a major role. The end is a not very necessary reworking of the previously heard "Oceans" sung in Spanish and called "Oceanos" done without too many innovations. If we exclude this minor flaw the rest is an example of very well executed progressive metal with numerous nuances and a concentration on the harder side of the genre which would inevitably find its fans from all walks of metal.

Monolith Full-Length, 2012


Based on the "Fallen Hope" EP, this band play typical Swedish death metal (think early In Flames, above all) crossed with thrash of the more classic type. The guitar lines are cool and melodic, and there is at least one track which will make the thrash metal fan really happy (the nice speedy "Fallen Hope").
"The Precipice of Failure" is another Swedish roller-coaster crossing fast and slow tracks on a playful melodic base which takes more than half the space here retouching the riffs' sharpness. In the 2nd half the style shifts towards slower gothic-tinged compositions where good clean, both male and female, vocals come to help. The band's bigger ambitions are partly realised with the 12-min closer "Comprehension Bubble" which is a laid-back dark gothic softer the clean male vocals again the highlight.

Fallen Hope EP, 2004
Breaching the Citadel Full-length, 2006
Categories EP, 2008
The Precipice of Failure Full-Length, 2012

My Space


This band are representatives of the Christian metal scene. The style at display here is quite unique: the songs are mixtures of mid-tempo death metal, crunchy semi-technical thrash, and doom/gothic. There are not many headbanging moments, but the quiet melodic breaks on the other hand, are aplenty, including several short acoustic instrumentals. "Estranged from the Womb" might make you move around with more energetic thrashy riffage, but tracks like the doomy slow "Earthshaker" are also present to make sure that you won't die by headbanging. "Giver of Life" is a good gothic thrashy number which would also stand well on Paradise Lost's "Icon". The vocals are gruff semi-death ones reminiscent of Mathias Lodmalm (Cemetary).

Judgement & Restoration Full-length, 1997


This band specialize in heavy groovy post-thrash which is a bit more dramatic and diverse, but those sleepy semqi-balladic tempos will wear thin way before the end. This is the reason why the band have inserted some awkward offbeat funky tracks ("Earned & Never Given") to spice their rigid approach, but it's those spicy moments which are the most laughable, and are much less preferrable than the short hardcore-ish cuts ("Trash") witnessed here and there. The singer has a rough drunken tember, but his antics are not bad at all being versatile and attached, and he is the main reason why one would want to give this otherwise fairly forgettable entry a listen. The band were previously known as Wicked Ways their style being classic thrash metal reflected in one demo released in 1992.

The Loudest Truth Full-Length, 1995


This young act indulges in soft heavy/thrash with plenty of romantic, balladic stretches, but heavy crunchy riffs ("Filcam", the rough shredder "Religion") can also be heard, of the doomy mid-paced type. "Bezlikie" is an energetic piece, speed/thrashing in up-tempo, but such moments are a rarity, the overall mood being peaceful and serene.

Show Planeta Zemlia Full-Length, 2011


3 tracks of moderate power/post-thrash sustained in mid-pace with groovy implements; "Apocalipsis" is a more dynamic number with its sharper riffage, but the rest is mild and pretty derivative. The singer has a warm semi-clean tone with a drunken flavour.

Demo Etilico Demo, 2008

My Space


A 6-song demo which presents decent retro speed/thrash which develops in an intense up-tempo with a few more aggressive moments: the melo-death sections on "Mi Amigo El Alcoholico"; the wild 1.5-min death metal explosion "Obreros". The last two songs are more moderate, in mid-pace, a bit underwhelming, their mellow nature not really suiting the gruff death metal singer.

Volvimos Demo, 2009

Official Site


This obscure demo is one of the most brutal recordings to come out of Europe in the late-80's. This is raw primal thrash/death with numerous blasting moments which comes as a cross between early Massacra (the demos) and Messiah. This is not senseless bash like some of you may think, but comes with well distinguished guitars and a few slower stomping sectons all this assisted by unholy raspy vocals which whisper in a suggestive sinister fashion the whole time. Soon after the demo's release the guys changed their name to Supuration under which moniker they are still active playing doom/death and releasing albums on a very irregular basis. The same musicians are also operating under the abbreviation S.U.P. where they show their more lyrical and experimental side playing an avantgarde, hard-to-swallow, form of metal resembling the early "atrocities" of the legends Misanthrope whose member is the guitar authority playing here, named Ludovic Loez (also Carnival in Coal, Putrid Offal, etc.).

Haunted Demo, 1989


A brutal thrash/death/grindcore mix reflected in short blitzkrieg tracks (1-2min) which make sense, actually, and contain a couple of intriguing riffs as well as, of course, numerous headbanging moments. It's a pity that those numbers are not longer since the guys throw a few more interesting ideas, and the guitar work is not bad albeit constantly fast and ripping. The only real drawback would be the singer whose undeveloped rough declamatory delivery has almost no ties to singing.

O Fim So Full-Length, 2009


Based on the "Engendrado Por El Odio" demo, these guys refuse to lay to rest the 90's trends, and play heads-down 90's thrash ala Pantera, Machine Head, mid-period Sepultura, etc. The exception is the aggressive proto-death number "Traidor" which is a pleasant deviation with its sharp riffs and a headbanging tempo.

Traicionera relidad Full-length, 1998
Campos de Batalla EP, 2005
Engendrado Por El Odio Demo, 2007


The EP is enjoyable speed/thrash similar to Exciter and (but better) early Razor. By the time the full-length saw the light of day, the music has lost its immediate quality, and has taken a turn towards a more ambitious song-writing. The sound is heavy, technical similar to Heathen's "Victim Of Deception". Despite the lengthy songs, the music never drags and remains interesting the whole time. "Reflections Of A Lost Past" is a marvellous instrumental close to Metallica's "The Call Of Chtulu". This is one of the better thrash metal albums before the genre's demise.

Attack From Above Single, 1986
Open Fire Full-length, 1991

Vibrations of Doom


Based on the demo, this band provide crunchy power/thrash of the classic variety with lengthy thought-out songs not far, expectedly, from their peers Hermetica and Horcas. The sound quality is a bit buzzy, but doesn't stand on the way of the guitars too much. The middle is preserved for a good faithful cover of Megadeth's "Sweating Bullets" the mid-ranged clean vocals lacking the mean tone of Dave Mustaine, but the guitarists save the situation with their inspired shredding. The last song "Caos Global" is a huge 10-min saga which, unfortunately, doesn't offer much outside peaceful mid-paced power/thrash the monotony "broken" by the stylish leads which occupy the middle.
"Respirando Mentiras" is a more aggressive effort also coming with a much better sound quality. The guys speed/thrash with gusto and a lot of melody spicing their dynamic approach with the odd slower cut ("Monarquia de Papel"). Surprisingly, the longest compositions are the most brutal "Desnuda Pero Grita" shredding with vigour turning the album into a full-blooded thrash metal opera with nice more elaborate arrangements. "Caos Global" is healthy consistent mid-paced shred, but fully satisfies due to its non-changing volcanic character which influences a couple of songs after it. The end comes in the form of a cool faithful version of Iron Maiden's "Fear Of The Dark" which drags a bit being long and too melodic perhaps for the style displayed earlier.

Combatiendo Hasta Lo Imposible Demo, 2012
Respirando Mentiras Full-Length, 2013

Official Site


Listening to albums like this is defnitely not a "crime against humanity", but is good fun seeing a band specializing in energetic classic thrash topped by expressive, but not very fitting, death metal vocals. The guys know their thrash especially on more vigorous tracks like the semi-technical shredder "Medication Time" and the stomping "monster" "Indicative Deity" which goes up the technical scale. Then comes a time for more direct stripped-down thrash with the shorter "The Devil Waits" before the complex tendencies come up to stay till the rest of the album producing the interesting all-instrumental mix between semi-ballad and fast razor-sharp thrash "Epitaph" which is followed by the closing "The Practice": an engaging 7-min composition containing mostly clever up-tempo thrash with a few cool melodic tunes. This is a fine dedication to the old school sound done with both a pinch of originality and desirable expected riff-patterns.

Crimes Against Humanity Full-length, 2012

Official Site


Based on the full-length, this act specialize in cool retro thrash which is greatly helped by the boosted production and the by the sharp riffs which bite except on the times when more melodic tunes ("Cyberschizophrenia") take over. Pretensions at progressive ("Watchtower") are by all means respected although they come too melody-decorated which leaves then short blitzkriegers like "Aftershock-The Act of War" and "The Divine Embrace" the better option. "Black Dawn" is a really cool attempt at a more technical performance with clever puzzling riffage and numerous twists and turns, not to mention the gorgeous melodies swirling around; the highlight here although the closing "Dimension Zeroth" isn't too far behind being another virtuous saga with more dramatic arrangements those also helped by the vicious spiteful witch-like vocals. The guys have numerous other projects under their belt: the black/thrashers Crumble, the heavy/thrash outfit Axe Ripper, the death metal cohort Centenary, etc.

Operation: Genesis Full-length, 2016
The Omega Void EP, 2017

Official Site


This band are actually the continuation of the thrashers Darkness who split up in the early 90's to reform in the new millennium, apparently encouraged by the revived interest in thrash metal worldwide. The lyrics are entirely in German. The opener is one of Darkness' greatest songs sung in German: "Faded Pictures", and the fourth one is another hit from the past: "Burial at Sea"; they are the most aggressive, and best, tracks on the EP. The others are not too far behind, especially the good headbanger "Staatsfeind", but listening to the old material will probably fill you up with memories of the past which will overshadow the music so you might have to give it another listen to appreciate the newer stuff.

The full-length is finally a fact and this time there are no borrowings from the Darkness catalogue anymore, the guys thrashing hard and fast in a brisk old school manner, at least half the time, strangely recalling more recent Tankard, especially in the catchy chorus department. The "slaughter" begins from the very opener "Terror For Terror" which is a vigorous headbanger with a nice chorus followed by two other splashing "bombs": "Deus Lo Volt" and "Amok". "My Alter Mind" takes more complex tendencies retaining the energy in a sure-handed galloping fashion; this track in particular recalls Headhunter in many ways. No mercy on the following "Adrenalin", a fast lashing piece well deserving its title. "The Ultra-Violence" is not a Death Angel cover, but is a very cool bursting speedster after which comes time for some "romance" with the heavy semi-ballad "Iscariot". "Monoman" is intense headbanging thrash at its best, but alternation between the two sides continues with the more laid-back power/speed metal-based "Reach The Limits" which "reaches the limits" in the lead departent with the finest leads on the album. Although this effort is not sustained in the thrashy spirit till the end, the good musicianship, the crystal clear sound quality, the very good vocal performance, and the ripping sharp guitars will guarantee a sure entertainment to power, thrash and speed metal fans.

Eure Erben EP, 2006
Eure FSuste EP, 2007
Terror 2.0 Full-length, 2010

My Space


Based on "Warheads", this act indulge in aggressive retro thrash/death metal which bashes in a direct simplistic fashion the remorseless musical approach assisted by quite brutal low-tuned death metal vocals. The band try to play fast'n tight, but the slower stomping tracks ("Army Of Shadows") seem to work the better due to the playful riff-patterns involved there recalling early Six Feet Under and mid-period Entombed. The final piece, the instrumental "The Ritual", is a curiosity being a melodic speedy cut, more in the 90's power/speed metal mould than anything thrash/death metal-related. Some of the musicians are also busy with the death/gothic metal formation Tenebrarum.

Subdued (Reissue) Full-length, 2008
We Belong to the Shadows EP, 2010
Warheads Full-length, 2013

Official Site


Based on the "Melodying" demo, this band plays sombre doomy thrash/death metal which could be suddenly fast and brutal ("Crematorture"), but the rest is pretty slow, mid-tempo at best, with references to melody ("melody" is not "dying" here, folks) and doom. The singer is a raw brutal growler, but comprehensive enough, even managing to sound attached to the musical delivery at times.

Songs of Forgotten Souls/Sadistfaction EP, 1992
Melodying Demo, 1993
Sleep Dream Die Fly EP, 1996
Fire Works!!! Demo, 2004


This is the Russian answer to Wehrmacht: vicious brutal music with hardcore overtones and some of the most horrifying hysterical vocals which fortunately are barely audible for most of the time. The delivery makes sense, and if it wasn't for the dirty sound quality, one may have enjoyed this primal aggressive outburst much more. In the middle the guys start grinding with touches of death metal boldly approaching Cryptic Slaughter on the wildest moments ("Satana- Eto Horosho", "Russian Incest"). This is really outrageous stuff, not for the squeamish...

Live In Satanic Bunker Full-Length, 2005


This Chilean formation indulge in incoherent, quite "ambitious" modern/classic thrash which is divided between immediate fast numbers and much longer eventful songs where so many things happen that one would get lost partially saved by the stylish lead guitar work which is truly the highlight on this chaotic at first listen effort. The sound quality is not very good and it mostly hampers the more elaborate material making some interesting passages not very clear. The singer is hardly an asset with his unsure semi-clean delivery sounding dispassionate and flat.

Human Ambitious Full-Length, 2012

Official Site


Intense, energetic retro thrash/crossover well balanced between shorter, more immediate hardcore outbreaks ("Master of Poupi") and more interesting, almost stylish if you like (the curious dissonant "Dizzy", the doomy moroser "Stiffs"), thrashers. The longer, more thought-out numbers are all placed in the 2nd half making this recording a very uneven affair.

Everblast Full-Length, 2015


This is mechanical, robotic modern thrash which tries to disguise the dominant old school sound under a barrage of computerized, industrial guitar patterns, and succeeds for most of the time except on the great ballad "It's All Been a Lie", and partially on the robotic headbanger "Slaves to the Machine". The rest would be too futuristic even for the Strapping Young Lad and fear Factory fans.

Devil In The Details Full-Length, 2015


The debut: power/progressive metal with touches of thrash; the music's quite epic at times coming close to the one of Falconer, but here there's an overuse of keyboards which stifles the sharp guitars. There is not much dynamics present, and although the mid-tempo is sustained throughout, albeit with an obvious effort sometimes; still, it's clear that the guys are fonder of the lyrical romantic side of the genre for which the very good melodic singer is partly responsible for.
"Tears on the Face of God" follows a similar path and the short thrashing opener is a bit misleading since later on there isn't much full-on thrash to be heard. The progressive structures deliver on all counts, though, and their consistent officiant mid-paced nature should please the fans of progressive/power metal, above all. "The Tale of a Dying Soldier" is an imposing galloping dramatizer reminiscent of Candlemass' "A Cry from the Crypt" from "Ancient Dreams". A few more energetic headbanging sections come served on the closing "Under the Ocean", but generally this is a mellow effort with not many thrash pretensions.
"Trinity: The Annihilation" is a more dynamic affair the approach having a dry, mechanical feel for most of the time not far from Darkane and Nevermore only that the delivery here isn't even half as technical, but is more complicated and by all means more thought-provoking. Still, the robotic intensity of "We Will Prevail" and "Beneath an Atomic Sun" should win over the listener who will also be enchanted by the very cool melodic leads. "Litanies of War" dirges forward in an abstract Voivod-ish fashion, and the final "Trinity" thrashes harder with vision even reaching the blast-beating parametres for a brief moment in the middle. This seems like the band's finest hour which suffers a bit from the abrasive guitar edge which to these ears doesn't sounds like a big asset.

Divina Distopia Full-length, 2010
Tears on the Face of God Full-Length, 2012
Trinity: The Annihilation Full-Length, 2015

Official Site


The full-length offers raging death-laced thrash full of energy as evident from the impetuous opener "Core Of Brutality". The assault is full on later the band moshing out like demented. "Sacrament's Deception" is an excellent galloper which calms the ball down a bit; but the closing (the album is just over 2-min long) "Devoured By Terror" is another ultimate "aggressor" finishing this short effort with aplomb.
The "Psychopathic Intentions" EP is another very good effort now thrashing a bit less intensely with both edge and speed without any avantgarde or technical leanings. This is straight headbanging stuff with the vocals this time sounding gruff and semi-hardcore, well conformed with the much more aggressive music.

Condition of Death Demo, 1988
The Cataclysm Full-length, 1989
Live of Brutality Demo, 1990
Psychopathic Intentions EP, 1991
World of Illusions EP, 1995


Based on the "Life & Death" demo, these guys play cool classic power/thrash ala early Iced Earth, Liege Lord and Meliah Rage. Their style in this train of thought is also very close to the Germans Red to Grey. The music varies from prototypical up-tempo thrashers ("Life & Death") to hammering heavy stompers with a nice Oriental decorations ("What it Means"). "Don't Give Up" may also remind you of mid-80's Exciter with its more light-hearted speed metal attitude.

The "Black Dawn" EP hardens the course stepping more bravely on a thrash metal ground. The sound now is a bit more modern, and the guitars' edge is sharper, a situation also improved by the crystal clear sound quality. The music stays in the mid-parameters ("Your Time Will Come" features more dynamic up-tempo riffage) as the guys prefer to crush with heaviness leaving the last "Two-Face" to do some damage in the more intense speed/thrash department. The vocals are harsher, in the semi-death metal field, not far from the ones of Leif Jensen (Dew-Scented).

Safe at Last Demo, 2006
Life & Death Demo, 2008
Black Dawn EP, 2009

Official Site


Pretty ordinary crossover/thrash; kind of reminding of the very early humble beginnings of Suicidal Tendencies with some thrash riffs thrown in to keep it floating. The crossover/thrash scene knows better bands.

The World Is Hours Away Full-length, 1990

My Space


Modern death/thrash with hoarse, slightly irritating, semi-death metal vocals; the music flows in a cool, predominantly thrashy manner, and hardly needs any unnecessary implements, like the rude blast-beating sections on "" and "Exorcism". The cool brisk thrasher "Nemesis" even offers more classically-inclined riffs.

Exorcism EP, 2006

Official Site


This Czech combo delivers fast intense thrashcore with deathy overtones coming both from the aggressive vocals and the few more brutal riffs. The album develops in the same speedy manner from beginning to end without any deviations with short 1.5-2min tracks.

Evidence Smrti Full-length, 2011

Official Site


Based on the debut demo, this band provide brutal black/thrash/death emulating the pristine underground sound quality of the early efforts from the Brazilian scene, but these guys go over the top producing some of the buzziest guitar sounds and the noisiest drumming of recent years. This is messy raw stuff which would be hard to review even by the most steadfast ones out there. Another one for completists only...

Ataque Do Mal Demo, 2004
Eras Tupi Demo, 2006

Official Site


Based on the EP, these guys play old school black-ish thrash similar to modern-day acts like Vexed, Suicidal Winds and Nocturnal; Evil Angel are perhaps a bit more brutal and faster. "Unholy Fight For Metal" introduces a more brutal sound and slightly increases the presence of black metal and blast-beats, but tracks like "Fire in the Pentagram" and "Infernal Hell" are good thrashers, and the album still preserves its appeal to the thrash metal fans.

The demo is an "unholy" slab of black-ish thrash, a pretty primal brutal affair with thrash metal prevalent, despite the frequent insertion of spasmodic blast-beats. "Evil Angel Has No Boundaries" has very little to do with Slayer's song despite the allusions made with the title.

Dark Forces of Hell Demo, 2002
Metal Onslaught EP, 2003
Unholy Fight For Metal Full-length, 2007

Official Site


With its rapid-fire approach and short songs this album reminds me of Hirax and Phantasm; in other words this is the good old school speed/thrash metal. This is fast and intense stuff with jollier crossover songs thrown in ("Wrong Approach", "Watch Me Fall"); some of the tracks are actually longer going over 3-min, but the delivery is the same; the title of one of the songs says it very well: "Relentless Assault". On the EP the assault continues unabated, albeit it is only two tracks, one of which is a cool cover of the Bathory early killer "The Reaper".
The "Armory Demos" contains the two songs from the EP plus three new ones which deliver in the same way as before with fast energetic retro thrash riffs, short comprehensive leads, direct references to the good old speed metal ("I, Commander"), and cool gruff meanish semi-clean vocals ala K. Weber (Toxic Shock).
The "I, Commander" EP: the guys continue to shy away from the full-length format, but that's easy to understand having in mind their total lack of new ideas: the EP here contains the three new (now old) tracks from the previous demo, unchanged. So expect the rest of the demo to arrive in a new shape, most likely as another EP, not far from now...
The "Violence and War" EP: the "evil army" attacks again and the listener should run for cover since this 5-tracker is a sheer downpour of fast lashing riffs quite close to Slayer at their most brutal. The vocals are now gruffer echoing the early Tom Araya antics. "My Rage Unleashed" is a mellower crossover cut, and "Deathbreath" is a cool vigorous speed metal sweeper; all the way to the 2-min closer "Violence And War", another violent piece finishing this short affair with aplomb... until the next raging EP.

Evil Army Full-length, 2006
Under Attack EP, 2008
Armory Demos Demo, 2010
I, Commander EP, 2013
Violence and War EP, 2015

Official Site


Based on the compilation, this band have apparently started with raising the American power metal flag high in a way not too different from early Laaz Rockit, before moving onto speed/thrash reminiscent of early Destruction and Sacrifice. Both styles are handled with style and gusto, and despite the muddy sound quality, the high level of musicianship is undeniable. Later the band moved to London where they changed their name to Lord of Darkness. Either the way of life (or the response to their music) must have disillusioned them and they moved again, this time to Scotland which caused another name change: Djinn.

The "Midnight in Sodom" demo preserves the American power metal influences, but the music is decidedly more thrashy, touching early Metallica with ease, aiming at the same raw primal sound of "Kill'em All". Actually this is the main target for worship, which is very good, since the music has the same vigorous spirit, and seldom loses speed, shooting speed/thrasher after speed/thrasher, to the listener's delight. Things get quite intense and furious near the middle, on "We are the Satan+S.B.M.B.N.M.", which also contains a nice heavy mid-paced bridge ala early Venom. "To Hell And Back In One Day" is a surprising display of romantic feelings, being a cool ballad, followed by two short blistering thrashers, which bring back some of the German thrash spirit of the compilation: check out "The Beast".

The Best of Djinn/Evil Blood 83'-86' Best of/Compilation, 1986
Midnight in Sodom Demo, 1989

Official Site


A crazy blend of hardcore, thrash, death and black metal; catchy stuff with intense brutal moments scattered all over, but with also a few surprising lyrical ones: the melodic hooks on the otherwise remorseless brutalizer "Have You Ever Tasted Brains?". The mixture works for most of the time thanks to the guys' very good taste for melody which shows up on every track and makes the delivery not very predictable, in a good way. "Those Whose Bodies Are Subject to Decay" is a nice deviation into creepy doomy thrash, and "Rotting Fox" is another more relaxed number of the speed/thrash variety. The vocals are shouty and screamy, but their hysterical rendings fit perfectly into the brutal musical landscape.

Dead Dead Bad Full-Length, 2015

Official Site


One guy, the alias Patrik, is behind this evil black/thrashy offering (based on the debut) which channels early Bathory with misanthropic determination spicing the venomous approach with the odd mellower Motorhead-ish flair. The music really packs a punch on more aggressive cuts like "Feast Of The Pestilence" where patrik's mean Quorthon-esque's rasp turns to more guttural death metal growling. "Black Blood Perversety" is a barely controlled basher, but the 2nd half includes a couple of more moderate pieces like the rockish closer "Rotten Roll" which also brings the old Venom spirit.

Nuclear Blasphemy Full-Length, 2014
Carnage Full-Length, 2015



Based on the sophomore album, Evil Divine play atmospheric thrash/death of the modern-type, mid-paced, but with more aggressive faster black-ish moments and a nice short orchestral instrumental ("Polarity"). Most of the songs are 6-8 min long, but the tempo changes quite often and keeps the listener interested.
The debut is less interesting; it sticks more to death metal also increasing the presence of atmospheric gimmicks like keyboards and all the rest. Out of the blue comes "Apocalyptic Prophecy" in the middle to show how the guys can play awesome technical thrash/death ala Atheist and Hellwitch. This feat is never repeated and right after the band return to their morose one-dimensional barrage reaching Bal-Sagothesque pompousness on the operatic "Last Class Soul", also exploring far'n wide the fields of doom on the closing "Crying Cain".

Feathers Have Fallen Full-length, 1998
Dawn Before the Dawn Full-length, 2004

Official Site


This is evil old school black/thrashing madness which also comes fairly melodic with some tasteful keyboard arrangements as well. A few cuts like "Evil Chariot" are pure black metal brutality, and generally thrash isn't given too many chances to stand out except on the closing "Wicked Spells" as a finishing touch which is a diverse operatic listen with a few cool progressive build-ups. The vocalist is a croaky raven who matches the intense musical background.

Evil Earth Full-Length, 2015


Based on the debut demo, this act indulge in rough retro thrash with bashing qualities in the vein of early Razor with shades of American power metal thrown in right after an exhausting headbanging section also adding some catchy choruses along the way. On top of that, the leads are not bad, both screamy and melodic, recalling the early pyrotechnics of Kirk Hammett. The singer quarrels in a forceful semi-death metalish manner also containing the odd melodic blend. This is a varied satisfying listen which also pays its tribute to early Destruction with the furious closing roller-coaster "Command of Pain".
The full-length debut finally arrives and is quite a bombastic listening experience the band speed/thrashing with a lot of inspiration "Speed Metal Evil" leading the "carnage" here which is pure German-worship for most of the time: think Vectom, early Helloween, Iron Angel, the Portuguese Alastor. The guys manage to keep the intense delivery for over 5-min since the compositions are longer for the style "Spitting Rage" also offering a nice portion of more melodic hooks which are also present on the engaging 8.5-min epicer "The Rise onf Enki", the only number which doesn't go out with all the guns blazing except on the final part the latter seamlessly merging into the closing "Headbanger Force" which richly deserves its title ending this fairly energetic release with headbanging aplomb.
"Banging on the Pentagram" carries on with the relentless speed/thrash metal "assault" the band very seldom slowing down consequently creaty a somewhat monotonous feeling, "Devastation Time" partially compensating for it with a portion of heavier, less dynamic riffage. Much bigger ambition is shown with the epic galloping closing, all-instrumental opus "Offering To Horus" which is a fine diverser speed/thrashing with more melordy for nearly 10-min.; an impressive achievement revealing a more serious, and way more attractive side of the band's style.

Total Vio-lence Demo, 2008
Massive Attack Demo, 2009
Army of the Night EP, 2013
Ancient Spores Full-length, 2014
Under Oracle's Design EP, 2015
Banging on the Pentagram Full-length, 2016

My Space


This not very known formation offer heavy diverse speed/power/thrash which even borders on death metal on the wild piece of brutality "The Fallen Centuries A.D.". On the other hand, we have the hypnotic doomster "I Am Anichrist" which is another cool cut. Later on the mixture becomes quite uneven with all the styles coming together as one not very appetizing mish-mash from which the singer seems to be the brightest "star" with his dramatic clean tember his performance particularly impressive on the sinister ballad "Devilblood".

From the Heart of Darkness Full-length, 1995


Based on "The Unbroken Ritual", this act provide dynamic modern thrash which relies on energetic lashing gallopers like "Judge and Hangman" and a couple of more relaxed proto-groovers like "To All My Enemies" to pull it through. The mix works well although the more intense side is kind of better; still, one can't deny the graceful presence of the soulful ballad "Owner of Nothing" where the vocalist abandons his quarrelsome shouty for the sake of a nice clean baritone. Some of the band members used to play in the progressive death/thrashers Kondena.

Flames from the Ground EP, 2013
Who's Gonna Kill Who? Full-length, 2015
The Unbroken Ritual Full-length, 2017

Official Site


The debut: four youngsters from Spain unleash sweeping old school speed/thrash which is more on the speed metal side recalling both the 90's power/speed metal scene and the early exploits of Helloween and Iron Angel. "Eagle fly free" hymns aplenty will one encounter here the very fast-paced delivery spiced with the odd mid-tempo hook ("High Speed", ironically). "1512" is a nice galloping instrumental, and "Escape of His Shade" is an ambitious, albeit monotonous, attempt at progressive power metal which doesn't work consistently. No complaints since the remaining material more than makes up for those less dynamic moments with the fast ripping guitars and the soaring melodies.
"Witchcraft" is the next in line speed/thrash metal killer the band unleashing all their passion on the opening title-track which lashes with reckless abandon adding a few more stylish licks as well. The steely downpour never ends here with "When the Cross is Burning" and "Gold Rush" carrying on on full-throttle the latter recalling the exploits of US heroes like Attacker and Savage Grace. "Death Whistle" combines gallops with raging rifforamas with the "eagle fly free" approach applied fully in the best manner of early helloween; check out the virtuoso leads on this one, too. "Revenge" is a more rigorous speed/thrasher the dual guitar attack adding a nearly Shrapnel-like flavour to the proceedings. The final "Lurra Eta Askatasuna" is short and to-the-point the guys producing one more speedy "bullet" to wrap it on in a very well deserved high note.

Lethal Assault Full-Length, 2015
Witchcraft Full-Length, 2016

Official Site


A good modern thrash/death metal mix, with more technical guitar work reminding of Darkane and Non-Human Level; the songs are long, the shortest being 6.5-min, and the tempo is energetic without speeding too much. "The Eye Inside" shifts from this description being a slower atmospheric number accompanied by gothic-styled guitars and clean vocals (the main ones are low-tuned brutal death metal ones).

Visions Demo, 2004

Official Site


Heroes from the Polish metal underground, mostly operating within the death and black metal circuits, have decided to play some thrash for a change, and have cooked this dark morose effort which smells doom as well in an atmospheric dirgy way reminiscent of Tristitia and early Anathema. The lack of speed may get on the listener's nerves at some stage, but comes the cover of Onslaught's "Power from Hell", and the situation livens up although later on the guys return to their gloomy delivery. More covering surprises later, Venom's "Die Hard" is served near the end played in a strange uplifting heavy/power metal mode, a nice touch which remains the highlight on this bleak pessimistic release which ofers another portion of more dynamic rosk-ish rhythms on the final "Jerusodoma". The singer, needless to add, is a deep death metal growler of the more comprehensive variety: think the early Anathema vocalist Darren J. White.

War in Heaven Full-Length, 2013

Official Site


The demo sees an act making a lot of noise on the Chilean underground scene with their seismic blitzkrieg classic thrash approach which comes pelasantly decorated with the more aggressive death metal hook. The music comes close to early Death and Devastation, assisted by a couple of more laid-back reliefs: the merry crossover speedster "Mad Attack".

The full-length debut comes with all the guns blazing to shake your head and rock your world with the good old thrash which this time sounds a tad less intense with speedy decorations "roaming" around giving the music a tinge close to more modern acts like Alastor (Portugal), Nocturn, and Solitaire. "Maze of Souls" from the demo is included, but it stands awkwardly with its brutal, proto-blasting delivery which has no match anywhere else on the album. "Scars" tries to give a more brutal edge to this recording, too, by inserting a few more aggressive deathy passages, but instead the guys turn to more epic power/thrash wtih the longer "Final Death" later on, eventually surrendering to the pure speed metal sound of old on the closing sweeper "Poison". The singer is a typical blacky rasper again quite reminiscent of the Portuguese Alastor.
"Bastards Get Rotten": this effort would be an unpleasant surprise for the band fans since the guys have unleashed their aggressive spirit crossing death and thrash in a fairly brutal fashion. Things get a bit under control on "Servers Of Satan" which is a raging thrash/speedster and in the 2nd half thrash is the ruling hand, albeit supported by a healthy doze of death metal (check out the short violator "Fueled For Hatred").

Scars of Blasphemy Demo, 2008
Maze of Souls Full-length, 2010
Bastards Get Rotten Full-Length, 2015

Official Site


Ordinary modern post-thrash with a few jumpy moments, but nothing terribly memorable; boring stuff with alternative passages and noisy leads which "quarrel" with the rhythm guitar for domination the whole time.

First Mechanix Demo, 2010


Based on the full-length, this band play bashing retro thrash with gruff semi-shouty/semi-death metal vocals. The delivery is more complex than the staple one for this kind of music the band weaving more elaborate rhythm-sections recalling the Canadians Dissection, and Rigor Mortis on the excellent progressive thrasher "Epitaphs". The more immediate side also brings good results, like the perennial moshers "It's Alive" and "(This Is) Country for Old Men". The closing title-track may be a pullback, though, being a dishevelled industrial non-sense.

Today Is the Day EP, 2008
De Maleficiis EP, 2011
Sulphur Paintings EP, 2014
Ekpyrosis Full-length, 2017

Official Site


Powerful classic thrash metal reminiscent of Nuclear Assault both in the vocal department and in the hardcore-tinged riffs, so expect mostly fast music with straight-forward riffs. The Chileans are more thrashy, and their songs are longer, although there is no much variety in the approach. The "We Bring Your Death" EP is a big improvement over the demos, with even longer, thought-out songs, and more interesting technical riffs.

The guys are finally ready with their full-length debut, and those who liked the more elaborate approach taken on the EP, will be very happy with this great slab of classic technically-minded Bay-Areasque thrash. "Enemy" is a cool technical mid to up-tempo stomper with hard riffs, great bass bottom, and excellent leads. The singer is on par with the very good music singing in a high-pitched attached manner ala Sean Killian (Vio-Lence), only gruffer and a tad less melodic. The guys slightly increase the tempo later coming with the technical headbangers "The Rest" and "Heretic Cult", and especially the more absract Voivod-ish "Burn WIth Me", a masterpiece of complex, but at the same time very dynamic, thrash. "Thrashing Madness" doesn't quite serve what the title suggests being the slowest song on the album also containing playful rock-ish tunes in the 2nd half (!?), but before that the technicality is top-notch producing vortex riffs and interesting tempo changes. "Third World Mediocrity" is a great energetic head-spinner hitting the top technicality-wise leaving the more immediate delivery to the last two songs which concentrate more on direct headbanging riffage without too many complications. A rather unexpected, but utterly convincing, entry from South America which will give hard time to the Brazilian practitioners to match it in the days to come in both the more direct and technical department.

Evil Offering Demo, 2000
Massacre En Antofagasta Demo, 2002
United by Thrash and Beer Split, 2004
We Bring Your Death EP, 2004
Wake up for Another Nightmare Full-length, 2010

Fan Site


Reportedly during their early days the band have played melodic gothic metal, but what we have on "Evil Never Dies" is well-constructed classic speed/thrash with cool melodic clean vocals. The opener "Evil Never Dies" is more in the 80's American power/speed/thrash metal mode, but "Thrashback" is a nice up-tempo thrasher with a bit overlong balladic stretch in the middle. "Feel The Pain" is an encompassing power/speed/thrashing opus constantly alternating speedy and heavier riffs. "Instant Annihilation" is 2.5-min of lead guitar shred, kind of reminding of the "Violence & Force" intro, but the following "Wounds Of War" is not as uncompromising being a more moderate power/thrasher. "Perverse Morality" comes after that to crush your skull with loads of sharp aggressive riffs, before another opus-like number reach you: "Contract In Blood", again mixing the 3 genres, adding also a couple of doomy guitars in the beginning and the end. Then the attack carries on with the speed/thrash delight "Suprematie", which the fans will immediately recognize, being a nice cover of the early ADX hit: 2 members of ADX actually guest on this one: the singer Phil Grelaud, and the guitarist Pascal Betov. "The Conqueror" is the odd track: epic power metal with a brutal speedy ending. This song, along with the closing tender ballad "Mr Bassman", kind of spoil the impression a bit at the end, but the previous material is by all means one of the more interesting moments from the French metal scene of recent years. The "laurels" for the crisp biting production go to our friend Jeff Waters, who also guests here.

"Militia of Death" sees the presence of numerous guest musicians: Pascal Betov (ADX) is here again, accompanied by Jeff Waters again, Gerre (Tankard), and Herman Frank (Accept). And this supergroup doesn't disappoint producing arguably the band's finest hour: the starter "Militia of Death" is top-notch headbanging thrash with a super-heavy doomy ending. "Evil Invasion" is jollier staying closer to speed metal followed by two heavier slower numbers, before "Baptized by Fire" speeds up nicely with great melodic leads and hooks: this is vintage early Helloween, folks. "Memories" is a cool, albeit overlong, ballad of the heavy dramatic type, and "Fast as a Shark" is, of course, an Accept cover, done faithfully, but with heavier rhythms; Frank doesn't play here, as expected, though. He adds his leads on the next "Suicide Fanatics" which is a heavy stomper, cancelled by the following "Instrumetal", another more moderate speedster with fine lead guitars again. The closing "Militia of Beer" starts in the same way as the opener, but later turns into a joke track with laid-back crossover rhythms. The guys don't betray their staple approach, and as such will hardly betray their loyal fans soon.

Shades of Life Full-length, 2006
Evil Never Dies Full-length, 2009
Militia of Death Full-length, 2010

Official Site


This is the early incarnation of the thrash/death metal legends No Return. The music is pretty acceptable epic power/speed/thrash with clear concentration on melody. "The Last Solution" is a pure speed metal delight, and the other cuts obediently follow that direction the exception being the more engaging semi-balladic porgressiver "Night of the Witch" and the friendlier power metal stomper "The Prophet". The singer is quite good with an emotional, attached timbre hampered to an extent by the sloppy sound.

First Invasion Demo, 1987


Based on the debut demo, these Irish thrashers play energetic hardcore-ish thrash which doesn't contain many proficiant moments, neither music not vocal-wise. This is very simplistic, stripped-down stuff with very fuzzy guitars and bad semi-declamatory vocals. Only for completists...

Pretention Is Not Excuse Demo, 1988
Hear No Evil Demo, 1989
Hate Net Demo, 1990


Pretty fast and aggressive thrash/crossover which on the faster shorter moments easily catches up with Wehrmacht, and even Cryptic Slaughter: check out the grindy piece at the end "The Right To Booze" and the opening 50-sec outrage "This Is Bochum Not L.A.". Later the band changed their name to Inhuman Conditions, and toned down the delivery quite a bit coming up with more moderate thrashy crossover, and a more lasting presence on the scene with 3 full-lengths and 2 EP's.

Demo 2 "Proceeding Decay" Demo, 1987


Playful melodic post-thrash which becomes harsher and doomy ("Screener") on occasion and pleasantly dynamic ("For Your Own Way", "Where I Belong") on a couple of more energetic pieces. The vocalist has a gruff semi-shouty/semi-death metal tember reminiscent of Jan-Chris de Koeijer (Gorefest).

Wasteland Full-Length, 2016


The debut: early power/thrash with the legend Debbie Gunn (Znowhite) the main influence on the good emotional singer. The music is quite heavy with frequent nods to doom ("Red Sun", "Metal Seeds", but watch out for the fast-paced exit on this one: a genune neck-sprainer which comes reworked in the end, turned into a fabulous symphonic speed/thrasher with more extreme death metal leanings), not too fast, with meaty hard-hitting riffs and cool melodic leads. The last track is a good cover of Megadeth's "She-Wolf", done a bit individualistically, in a heavier mode to suit the darker tone of the other material.
"Sentence to the World" is a major beast the hypnotic opener greatly recalling Fear of God's legendary "Within the Veil" except for the energetic ending. Things become rougher later, though, with the raging "Nuclear Swarm" and the hyper-speedy bombarder "Intensity" whcih can't be possibly named in any other way. Time for rest with another nostalgic proto-doomster, "Blood Without Tears", but one would hardly complain since this is the time when this album really stands out in a commanding way. "First the Fist" is another steam-roller, and "My Dark Soul" is a fine short ballad with Candlemass overtones. The mention of the Swedish doom metal masters may scare away the thrash fans, but here comes the short exploder "Sentence to the World", and the situation goes back to the faster parametres where the following "Divided" also belongs. "Screaming" is wild brutal thrash/death, and "Thrashed" does its best to justify its title with another portion of aggressive speedy guitars whcih are stylishly interspersed by slower meditative passages accompanied by a narrative. "The Lonely Path" is a funeral doom/thrasher influencing the remaining cuts the closing instrumental dirge very appropriately titled "Funeral to the World". This is a contrasting effort, but will have a wide appeal embracing a big part of the metal fanbase without delienating anyone.

In War And Hate Full-Length, 2011
Sentence to the World Full-Length, 2013

Official Site


Based on "Sixty-Six Minutes Past Six", this band plays a dark gothic brand of thrash, quite good, mostly of the modern type. The pseudonims the guys (and presumably a girl) use and the masks they wear may easily put them in the shock rock/metal trend, but their music packs a punch although not a number matches the intensity and compulsion of the opening "Choose Metal" which is pure headbanging thrash. Later on the delivery loses the speed and becomes more complex with longer songs and nods to gothic, doom and epic, but retains the sharp riffage on steam-rollers like "Sixty-Six Minutes Past Six" and "War and Seek".
"Galactic Hunt" follows the samme dark path now also adding shades of the cosmic dark metal aura courtesy of acts like Samael and Alastis (check out "Space Dementia"). Consequently the delivery seldom falls into any speedy "traps" replacing them with frequent orchestral arrangements which go wel with the established officiant doomy atmosphere. "End Level Boss" is a cool galloping reminder of the 90's power/speed metal scene, and the final "Enter the Knightmare" is the other deviation in the form of more dramatic deathy insertions.

Crowcifiction Full-length, 2004
Hell Dog EP, 2007
Sixty-Six Minutes Past Six Full-length, 2009
Galactic Hunt Full-Length, 2014

Official Site


Fast blitzkrieg retro speed/thrash which the guys spicing the relentless no-bars-held approach with more laid-back gallops ("Embrace of Death") or with sweeping thrash/crossover delights ("Imperio Headbanger", the American power metal scene reminder "Traveling by Warriors Land"). The party element is quite big here including in the vocal department where the guy just shouts drunkenly without pretending to actually sing. Mentioning gallops, one has to hear "Force and Honor" in order to experience this particular gimmick kept afloat for whole 8.5-min; an admirable feat which only makes this entertaining roller-coaster more attractive, walking hand in hand with excellent melo-speedsters like the title-track and another lengthy exercise in relentless speed, the closing "Evil Sense", a masterpiece of complex shredding which even reaches progressive dimensions.

Fight for Freedom Full-length, 2017



This band rose from ther ashes of Hyena who released one excellent demo of fast energetic Germanic speed/thrash metal in 2007. Expect the same merciless assault here from beginning to end, with direct references to the guys' German peers ("Nailed to the Cross"; remember Destruction's "The Antichrist"). The music is fast and relentless sounding like more proficient and polished "Pleasure to Kill" intercepted with "Infernal Overkill". The guys threaten to break the speed of light at times: the ultra-speedster "Acid Rain Of Death" and one will have difficulties finding any really slow sections on all the 13 songs; and there's really not much room for them the tracks closing on 3-min max. There are quite a few reminders of the glorious German sound of old nowadays, but these guys are doing too good a job to remain buried in the pack.

Sowing Death Full-length, 2010

My Space


A competent, but not really impressive entry into the thrash metal genre from Belgium of the more aggressive type, similar to their compatriots Cyclone's debut and the Germans Assassin. It's not all-out speed all the time, by the way, and their better side is the heavier, slower one ("Death to You") where the band sound more stylish. The problem is that tracks of this kind are only the already mentioned one; the rest is brutal thrashing bordering on proto-death quite a bit.

Evil Sinner Full-length, 1989

Vibrations of Doom


This is retro thrash/death metal ala Deceased and Desaster sounding both fast and stomping at various songs throughout where intriguing Oriental motifs can catch the ear ("Black Orient") accompanyimg the very brutal, but comprehensive, death metal vocals.

Sindicato da Tortura Split, 2009

My Space


Veterans from the 80's American scene (former members of Riot, Watchtower, S.A. Slayer) have gotten together to produce this cool tribute to all songs old school concentrating mostly on power and thrash metal. The boosted modern production gives the guitars a modern edge, and this leads to inevitable more modern-sounding pieces: the proto-groover "Speak". Still what matters here are the unbridled speedsters, like "Rise And Fall Of Earth And Man" & "Taking Over the Grandmaster", and the more controlled "Wargod". The energy is sustained throughout, though, even on longer, progressively-tinged compositions ("Walking To Sodom"), and there is an inclusion of short, balladic interludes. The singer is a holy shouter/screamer rending the air with his attached antics, but one shouldn't be surprised having in mind that this is none other than Jason McMaster: the man who pulled out such a performance on the Watchtower debut some 25 years ago.
"Honored by Fire": "evil" "unites" again following the same path as heard the first time around, and fans of old school metal will be satisfied again, even more so here with some cuts really thrashing hard: "Caesar", the "ripping" "Ripping Flesh", "Mind over Pain", etc. Their intensity is well balanced by the presence of the obligatory more moderate mid-pacers and sparce modern groovy spoilers ("Ghost Crushed"). This time the guys have opted to insert short instrumentals in-between the songs, some lead-driven, some acoustic. The impressions would be a bit mixed along the way until the arrival of the closing "Bloody Water" which is a brutal thrash/deathster with some blistering lead sections, the guys' most aggressive achievement at this stage, which puts the album on a slightly higher pedestal.

Evil United Full-length, 2011
Honored by Fire Full-Length, 2014

Official Site


The full-length debut: these newcomers (whip)lash out energetic retro thrash metal showing an obvious fascination with the German school (think Necronomicon, early Deathrow, Toxic Shock). The band comes up with good vigorous speedsters ("Dawn of the Dead", "Satan's Arise"), and manage to keep the tempo up the whole time pouring "toxic thrash" all over you, especially on the closing "Toxic Thrash". The singer is a slightly more hysterical mix between Schmier and Mille, but his rending antics are well conformed with the music.
The EP: another "evil whiplash" comes this way from Colombia which after the peaceful balladic intro starts spitting fire and dust over the fan again in the vein of the German school more, but the approach has gotten a bit more complex and tracks like "Reincarnation" show the band's more musically proficient side where there's no much room for bashing. The final "I Still Remember" goes over the top a bit with its more than 8-min of laid-back instrumentalism which doesn't benefit the recording in any way, and could have been way more fitting on a full-length. The guys start taking themselves more seriously here, but hopefully this won't bring too many future losses from their initial approach which was kind of more appealing with its stripped-down sincere aesthetics.
"Beyond Dimensions" doesn't quite go beyond any more special "dimensions", but the band thrash on unperturbed "shooting" a bullet after bullet "Moon Shadows" coming slightly black metal-decorated, but the real over-the-top performance comes with the 9-min instrumental which is a melodic extravaganza with nice bass support. "Possessed" is a really impressive speed/thrashing saga recalling early Sacrifice with the stylish melodic ornamentations the latter gracefully continued on "In the Name of the Ancient Empire". "Blood Rivers" is a more mid-paced deviation, but "Reincarnation" moshes with all the melodic passion it can summon backing up the rigorous closer "Ultimate Void of Chaos" which closes this fairly entertaining effort with style.

Rituals Of Punishment Full-length, 2010
Evil Reincarnation EP, 2012
Beyond Dimnesions Full-Length, 2015

Official Site


A cool demo offering intense classic thrash/death metal with a peculiar dark sound reminiscent of Pestilence and Cadaver. The guys prefer to lash out in a fast uncompromising manner, the delivery being closer to thrash, unleashing good forceful pieces: "Spit The Cross", "Katalepsy" which could have been highlights even on Kreator's "Extreme Aggression".

Demo Demo, 2011


This could be a one-man band who creates a bit more than plain noise combining old school speed/thrash with some black metal and a couple of more intriguing melodies. It's just that it's plain obvious that the guy uses a computer to produce his musical endeavours, and although tracks like the morose "Metal Tyrant" and the cool speed/thrashing headbanger "Atomic Genocide" are catchy enough to stir some interest, the musical abilities of the musician(s) involved need a lot more time to grow before they reach the meraly decent standards on the scene.

Worship Evil Gods Full-Length, 2016

Official Site


Evildead rose from the ashes of Agent Steel when two members of that band (Juan Garcia and Karlos Medina) decided to continue their career, but in a different mode. Their first offering is aggressive thrash bordering on hardcore, a primal brutal slab of metal. There's no speed to spare here; this work is a nice companion piece to the released 3 years earlier "Reign in Blood" and "Darkness Descends", although some songs, like "Annihilation of Civilization" and "Future Shock" offer a nice deviation into a heavier, more restrained territory.
"The Underworld" tones down the aggression, showing the other, more technical and serious side of the band, and is almost equally as strong. "The Hood" thrashes in a way similar to the debut, but the title-track is a display of a more controlled and technical example of the same. "Process Elimination" comes with a lighter, crossover-vibe, and "Welcome to Kuwait" is a nice attempt at more technical thrash with really cool Coroner-like riffs. The last song is a good cover of the first real speed/thrash metal cut in music history: Scorpions' "He's a Woman, She's a Man" (in this case, the guys preferred to slow down instead of making it at lightning speed, like Helstar). Like the guys' previous formation, this band didn't last long.

The "Rise Above" EP is named after a Black Flag song which cover is the opener done in a nice jolly energetic manner, pretty faithfully, a bit faster maybe. Then comes the brutal proto-death ripper "Sloe-Death" which will spill you all over the floor. "Run Again" starts in a more peaceful mid-tempo manner, but just two min away is the maddening grindy hardcore outbreak ala Cryptic Slaughter to throw you into consternation once again. This cool little job paved the way for the arrival of the full-length debut by nicely hinting at what the fans should be expecting...

Rise Above EP, 1988
Annihilation of Civilization Full-length, 1989
The Underworld Full-length, 1991

My Space


These guys are typical representatives of the modern thrash/death metal hybrid founded by The Haunted. Evildoer are perhaps heavier and faster with a more aggressive, bordering more frequently on death metal, attitude.

Terror Audio Full-length, 2005

Official Site


This is your average 90's post-thrash served wit a more aggressive edge of the guitars and intense intelligible vocals which strangely sit between James Hetfield and early Chris Holmes (Paradise Lost; remember "Shades of God"). The music is not as generic as one may think, though, and here comes "Freedom Generation" to provide edgy galloping riffs with a classic flavour, albeit cancelled by the 10-ton doomster "Terrorizer" following suit.

Evile EP, 2004


A promising young band who offer to the hungry thrash metal fans really good Bay Area thrash metal: think Testament, Exodus, etc. The demo has a very high sound quality and "Russian Roulette" is not an Accept cover, but is another headbanging thrasher with tasteful Alex Skolnick-like guitar work.
Finally the band's long-awaited full-length debut is out now, and it fulfills all the promises given with their previous efforts. The Bay Area influences (early Testament above all) are still there, but this time the band add a Slayer-like aggression ("Thrasher", "Schizophrenia") to produce a powerful and potent sound.
"Infected Nations" wastes no time thrashing hard form the opening title track which is explosive speedy Bay-Area thrash touching also Sepultura's "Beneath The Remains" on the more intense moments. All the aggression, however, is gone on the next "Now Demolition" which is a mid-paced number with a somewhat dry proto-modern riffage. "Nosophoros" bursts out after it, really fast intense stuff, with a more laid-back mid-section. "Genocide" shows the guys' intention to alternate things this time being a slightly overlong tedious mid-tempo thrasher. Both the mid-pace and the tediousness continue on "Plague To End All Plagues" making the album lose the inertia quite a bit before "Devoid Of Thought" and "Time No More" restore some faith with brisk energetic riffs. "Metamorphosis" is another longer and a less speedy song, but the interesting clever guitar work makes it a much better listen than the previous similarly-structured tracks; this composition comes close to being the highlight also scoring high in the lead department. But this isn't all: the closer "Hundred Wrathful Deities" is a sprawling progressive number, lasting for nearly 12-min, mixing heavy stomping moments with quiet balladic ones; the effect is not that striking, though, with the exception of a couple of intriguing technical riffs in the middle; the quiet moments are too long, mostly a vehicle for the good lead guitarist to show his talents. The band have changed their approach compared to the less compromising, more hard-hitting one on their earlier efforts, and eventually they would be able to handle those longer compositions in a better way on future releases; now the considerable loss of speed on at least half of the material offered here may come as a not very pleasant surprise to their fans, at least on a first listen.
One of the contemporary stars of the new/classic thrash metal show, Evile have no choice but to be a regular presence on the scene, and here comes "Five Serpent's Teeth" two years after their sophomore effort, to pour more fuel into the thrash fire. The 2nd album left somethiing to be desired, seeing the guys stretching into more ambitious directions, so one would be curious to see if the band have continued in the new vein, or have opted for the good old school thrash without too many gimmicks. A more coherent combination of the two approaches would have been great, and this is exactly what the gyus have served, in this case for the better: "Five Serpent's Teeth" opens the album in a brisk headbanging fashion with ripping Bay-Areasque riffs and virtuous leads. "In Dreams Of Terror" is more moderate with heavy, crunchy riffage which translates well on the following "Cult" which is an intense mid-pacer recalling Metallica's "Leper Messhiah" (the renowned Americans being the main influence on the album: their late-80's period) with a more melodic colouring. "Eternal Empire" is already nerve-stretching, being another mid-pacer of the sleepy type, if we exclude the maddening speedy exit. More speedy exits on calmer mid-paced numbers will one encounter later ("Xaraya"), but fillings will fall on the raging "Origin Of Oblivion" which is superceded by the heavy pounder "Centurion". "In Memoriam" is a full-blooded ballad of the tender, acoustic type, but "Descent Into Madness" is a "descent" into the deepest bowels of classic thrash, an invigorating piece with ripping riffs and piercing leads. The energetic thrashing remains for the final "Long Live New Flesh" which is a graceful epitaph to this good opus which again doesn't rely on too much speed, but at least finds a good balance between the two sides also giving the musicians an opportunity to show their skills more fully (the lead guitarist, in particular).
"Skull" is a "skullbreaker" for sure the band sounding "evile" and angry on the opening shredder "Underworld" which transforms into the more complex title-track the guys thrashing there wildly as well. The attack goes on with the sweeping speedster "The Naked Sun" which boasts fine lead guitar work and a nice enchanting doomy/balladic outro. Time for heavy brooding stompiness with "Head of the Demon" and elaborate semi-balladisms with "Tomb" before "Words of the Dead" starts thrashing more vigorously again with mechanical proto-modern riffs. "Outsider" is a short fillings-dropper alleviated by the slower pounding rhythms on "What You Become". "New Truths, Old Lies" closes the album with more technical riffage in a dominant up-tempo, a fitting epitaph to this engaging diverse offering. Oh, and there is a bonus track: "A Sinister Call" which is a sterile headbanger with direct ripping guitars. This album is not a distant departure from the band's last two full-lengths seeing them possessing a broad canvas on which to weave their not easily predictable, varied approach to the genre.

All Hallows Eve EP, 2004
Hell Demo Demo, 2006
Enter the Grave Full-length, 2007
Infected Nations Full-Length, 2009
Five Serpent's Teeth Full-length, 2011
Skull Full-Length, 2013

Official Site


The debut EP: 4 songs of modern thrash/death metal of the more peaceful laid-back variety (think mid-period In Flames) introducing heavy, but also melodic, jumpy riffs and the odd clean alternative vocals which mix with the typical main high-strung deathy shouts. Some of the band members also play in the groovy post-thrashers Enemy Division.
The full-length is a varied affair with thrash, death, post-thrash and even metalcore meeting for a decent rifforama which lacks in the fast-paced department, but makes up with cool melodic tunes which are all over the album, and kind of stifle the more hard-hitting moments. This is peaceful laid-back music with some progressive pretensions (the semi-balladic closer "New World Order").

Today Is the Day EP, 2010
The New World Order EP, 2010
Essence Of Life Full-length, 2014

Official Site


Based on "Perception of Reality", this act provide modern melodic thrash the fine guitars contrasting with the harsh death metal growls. Otherwise the guys thrash with passion touching death metal ("Man on the Loose") here and there. "Human Disgrace" goes a bit towards the Swedish canons, but the 2nd half loses the intensity and settles for heavy pounding riffs with a strong aggro-flair consequently smelling post-thrash by the end.

Human (disg)Race Full-length, 2012
Perception of Reality Full-length, 2015

Official Site


A surprising unexpected entry from Brunei containing 3 songs of energetic modern thrash metal with melodic leanings and gruff low-tuned death metal vocals. The guitar work is very simplistic with a thin sound which doesn't do the cool leads justice.

Under A Bleeding Sky Demo, 1999


3 songs of melodic modern/classic thrash which develops in a semi-balladic manner with very good leads and sudden switches into full-on retro thrash ("Desert Evil") which should be more focused on for the future since they have both a nice sharp and mellower, more melodic side. The singer is a semi-clean hoarse throat who comes as a more aggressive, lower-tuned James Hetfield.

Demo4 Demo, 2004


Based on the "Louco Massacre" demo, this act indulge in "evil" bashing retro thrash with hardcore a close call. The guys march on with passion knowing no mercy relying on direct simple riffage which is often on par with the speed of light ("Sangue e Honra") where death metal sneaks in for good measure. The style is quite close to the one of their compatriots Blasthrash, and the singer is a high-strung shouter who tries to sound clean to varied success, but delivers with his machine gun-like antics.

A Caminho Do Mal Demo, 2007
Louco Massacre Demo, 2011

My Space


This young formation indulge in melodic shreddy thrash with a few death metal ornaments including the macabre subdued growls serving as the vocals. The approach is more on the modern side the band alternating the pace being fonder of the slower mid-paced aspect, and shatterers like the technical feast "Burn" should have been more. The album is full of catchy melodies which give the songs a characteristic aura as a major boost is given to the album by the 3 bonus tracks where the cutting riffs and the soaring melodies reach a fine symbyosis.

Unreachable Clarity Full-Length, 2013

Official Site


Retro thrash metal with vicious raspy black metal vocals; fast and slower epic-tinged tracks alternate throughout the latter being the more proficient side both in the riff and lead department. All the band members were also involved in Lust Funeral (one demo released in 2006) where they concentrated on more intense stuff, still on the classic black/thrash metal side.

Into the Chaos Demo, 2010

My Space


The "Eviscerate" demo shows a band sticking to the Swedish melodic thrash/death metal models to produce decent stuff of the mid to up-tempo variety sounding diverse and occasionally interesting even adhering to epic ("The Chaos Engine") at times. The lead guitar is really good, mostly melodic, compensating for a few flaws encountered in the vocal department. Some of the musicians also take part in the death metal outfit Profondo Rosso, and the death/grind "outbreakers" Putredine.
The "Shadows Out Of Time" EP shows the guys having grown considerably as musicians pulling out convincing semi-technical/progressive thrash/death with the opening "Stolen Heartbeats" a most stylish headbanger sounding like like the more technical version of early In Flames. "Existence" is more atmospheric and gothic-tinged, and consequently not as fast; and "What was Nevermore" is a tasteful more dynamic melodic shredder. "Invasion" "invades" your privacy with fast-paced guitars in an officiant Dark Tranquillity fashion, making this short effort arguably the band's finest hour.

Demo Demo, 1998
Eviscerate Demo, 2001
Stolen Heartbeats Single, 2003
Shadows Out Of Time EP, 2004


A good thrash metal demo, not too far from Devastation's "Signs of Life", maybe not as fast with heavy slower atmospheric passages and cool attempts at a more technical play ("Psychotic Overdose", "17 Minutes of Anarchy").

Hold the Hands of Time Demo, 1990


The EP: this act pull out semi-technical modern thrash which boasts a boosted, also a bit abrasive at times, guitar sound and semi-shouty expressive death metal vocals. The songs twist and turn into several tempo-changes, but never speed up beyond undesirable parametres. The potential displayed here (check out the eventful progressiver "Into the Inferno") is clearly to be given another chance later if the guys would be willing to carry on...
The full-length acquires a more moderate direction the band not pulling out all the stops speed-wise although "Mortem in Deos" is a pretty energetic number, with the semi-technical shredder "Tour of Duty" a very close second despite the overlong balladic inauguration. The second half picks up with "The Fall of Odin", an energetic headbanger, with "Blood of the Nile" being the culmination there, an engaging progressiver with atmospheric melodic passages.

Evocatus EP, 2014
Mortem in Deos Full-length, 2017

Official Site


This is vicious intense thrash/death metal of the old school with speedy lashing guitars sounding like Rigor Mortis on steroids. The sound is really fast on some tracks, almost to the point of apocalyptic, The Berserker-esque, grindiness, but the guitars deliver, albeit at times coming with a clinical mechanical shade. The singer is a pretty brutal death metal growler taking too much space with his forceful authoritative antics.

Coding Death MMX EP, 2010


Based on the "Fantomania" Split, this band come up with catchy black-ish thrash metal in the vein of their neighbours Bewitched and the Portuguese Alastor. This is energetic fast-paced music, occasionally more brutal sounding ("Necrotrooper", which also features a slower stomping passage ala Celtic Frost). "LidTrces Alom" is a cool cover of the Hungarian black metal legends Fantom, to whom the whole split is dedicated (there are two more bands featured inside).

Outburst Of Hell Demo, 1999
Altar Of Sodomy Demo, 2000
Cursed Unholy Mausoleum Demo, 2002
Merciless Revenge Demo, 2004
Fantomania Split, 2007

Fan Site


It's amazing how much brutal metal has been buried unheard, and forgotten. Based on the second demo, this band come up with some of the most vicious and aggressive sounds put on vynil in the 80's. This is very fast and brutal music with a certain proto-death taste, but the musicianship is surprisingly good for such an obscure release, featuring a very nice atmospheric intro with a cool guitar melody, recalling the Ennio Moricone scores for the Sergio Leone spaghetti westerns with a nice twist at the end.

Dead Rehearsal Tape Demo, 1985
Demo Demo, 1986


Based on the demo, this band plays speedy thrash metal with shades of hardcore here and there. At times the sound picks up a lot of aggression coming close to Evildead's debut.
The full-length offers intense varied thrashcore, firmly on the classic side with tasteful lead guitar work, and some notable ventures into purer thrash ("Crimes of Violence") which will sprain your necks in no time. The closing "Cyco-Self" is a great nod ot the Suicidals with its vigorous crossover feel, and the very good Mike Muir-like vocals. The dedication to aggression is respectable, and one may feel pity that this act never got the recognition they probably deserved with their no-bars-held approach at a tiem when everyone else was looking to soften down.

Demo Demo, 1989
Experiment In Fear Full-length, 1992


Cool retro thrash in the vein of the Bay-Area practitioners, particularly recalling the Brits Xentrix quite a bit also in the vocal department. The guys thrash with gusto as evident from the raging piece "Unanticipated Abortion", but most of the material is more thought-out with progressive overtones and some formidable, foreboding riffage can be heard on "October". "Aestheticism" is an awesome engaging technicaller after which follows a string of more immediate shorter tracks among which "Emotional Castration" is a very cool technical twisting piece. The last two cuts are again more on the elaborate side although there's plenty of wild thrashing, especially on the closing "Punctuated Equilibrium" which even involves some more aggressive death metal-ish dramatism as a finishing touch. The singer also shines with his horse semi-clean/semi-shouty delivery possessing both emotion and anger.

Evolution Full-Length, 1997


A weird mix of thrash and gothic metal blending hard lashing riffs with orchestral keyboard melodies topped by ultra-brutal death metal vocals sounding like the most apocalyptic version of Martin Van Drunen. The approach is mid to up-tempo changing the whole time, but the fuzzy guitar sound obstructs the proceedings a bit. A very cool touch is the 2-min atmospheric orchestral instrumental "Dominion Of Dolls" in the middle. After that the music takes a more ambitious, almost progressive, turn on the 3 remaining songs resulting in a more compelling Bal-Sagoth-esque style which loses the edge of the guitars, but compensates with a lush keyboard environment and more proficient leads.

No Longer Forces Full-Length, 1997


Two musicians perform here for the creation of intelligent, dark progressive thrash with throaty semi-shouty death metal vocals. The guys stomp through the motions creating a lot of dramatism in the process the main setback being the lack of any fast-paced passages excluding the wild bash on "Capitulo IV. La Llegada Del Hombre Blanco". "Capitulo V. Fusión de la Carne" is a sudden turn to highly stylized technical thrash/death in the vein of Death and Unreal Overflows, and remains the highlight. The 2nd half is very experimental the band inserting a lot of influences like balladic moments, jazz, acoustics, and the lot until they come to their senses near the end on "Capitulo VIII. Amazonas", another impressive heavy technicaller. This effort definitely has its moments, but most of the time it sounds as a rehearsal ground for the guys' future exploits.

Mitos de Creación Full-Length, 2012



Based on the demo, this band is obviously fascinated with the Finns Impaled Nazarene, and what we have here is relentless super-fast black/thrash, which stays much closer to black metal for most of the time.

The EP shares the same vicious ultra-fast approach offering very little outside a mere Impaled Nazarene worship.

Ngul A Crist Demo, 2007
Bitches From Hell EP, 2008


Based on "C.O.N.T.A.C.T.", this band plays unimaginative modern aggro-thrash which is heavy and at times energetic, also spiced with a couple of cool short ambient electronic instrumentals, but this has been heard so many times before and after including the angry shouty vocals which are not far from Phil Anselmo.

C.O.N.T.A.C.T. Full-length, 2000
Bulletproof Full-length, 2005

Official Site


3 songs of heavy steam-roller modern thrash accompanied by deep brutal death metal vocals. The guitars come with a noisy, buzzy edge making the riifage a bit dull which is sad because some of the hooks are not bad at all even adding a more classic flavour here and there.

Posledn\\'ed Nadeje Demo, 2008

Official Site


This band play modern thrash with both melodic and progressive tendencies. The music meanders on the longer tracks, but the band play on in a more linear manner the most interesting part being the memorable, sing-along choruses. Some groove ("Wasteland") arrives in the middle and in the 2nd nhalf the songs becomes longer and more complex hitting the top on the diverse closer "Reborn". The main vocals are harsh deathy and semi-shouty, but their "reign" is often interrupted by much better clean insertions.

This Is Where Full-Length, 2007

Official Site


This young outfit specialize in hard-hitting sterile, mechanical modern, quasi-industrial, thrash which is rich in wound-infusing riffs the latter never ddelving into the speedy parametres, but move around in a crushing mid-pace the whole time (the exception being "Gears of Apartheid" which shreds more aggressively). This is all-instrumental stuff rarely accompanied by an unobtrusive female semi-whispered voice. The leads are here replaced by not very clearly audible keyboard inclusions and their symbiosis with the seismic guitars is quite interesting, especially on the more laid-back moments (the creepy slower "Xenogenous Strain"). "Cryo-sedation" is a pure industrial cut with the techno samples taking over for a bit, the latter also staying around for the closing title-track which is more on the dancey side towards the end. Still, this remains a fairly cool listen with a lot of dynamics present and plenty of moments for the thrashers to mosh around, recalling veterans from the industrial scene like Skrew, Swamp Terrorists, and early Misery Loves Co.

Recreancy Full-Length, 2014


Based on the full-length, this act offer a modern/classic power/thrash hybrid which develops in an unobtrusive mid-tempo manner with cool, moderately sharp riffs which move up the aggression scale, but just a bit, on a few numbers ("War", "On Last Night") whereas elsewhere the sound may wear out to some extent, especially on the longer, supposedly more carefully plotted ("The Erlking") material. The vocalist is a subdued semi-deathster who receives a nice assistance by an expressive clean throat on the final "Crusade". Some of the band members alsoplay in the melodic death metal formation Inner Maze.

Dirt Jumper EP, 2013
Be Fair If You Can Full-length, 2017

Official Site


This outfit pull out laid-back classic power/thrash quire reminiscent of mid/late-90's Megadeth in the beginning including the Americans' last work "Thirteen". Things get rough on the speed metal monster "On This Scene" which is vintage early Metallica with ripping riffs and forceful high semi-clean vocals. The radio-friendly tone, however, is restored quickly after with "Evil's Joke" which strangely recalls the covers Metallica made on the "Garage Days Revisited" in 1987. "Freedom Is Near" is another fierce speedster and from this moment onward the band alternate the two sides till the end finishing with the intense thrasher "Breaking Around". The guys have done a good job keeping a wider fanbase happy here with a definite appeal to the thrash metal audience who may shed a tear or two thinking, and recalling, of the past which here is given a crisp modern production boost.

Time to Live Full-Length, 2013


Based on the full-length, this band pull out intense retro thrash which is modelled after veterans like Exodus and Vio-Lence, among other US heroes. In other words, the mosh is prevalent with sharp "bullets" like "Slaughter Cleanse Repeat" flying around, this one receiving a great galloping ornament; and the short Slayer-esque rager "Incarceration". The more serious song-writing is left for the end where the closing "Clandestine Drone Warfare" will impress with the fine melodic hooks and the bigger tempo variation, the intense shouty hardcore-ish vocals playing second fiddle on it.

Democrasodomy EP, 2015
Obituary for the Living EP, 2016
Persecution Automated Full-length, 2017

Official Site


This is energetic old school speed/thrash following the canons from the early movement from their homeland. The album is split between carefree speed metal hymns ("For the Crown", "What Is Religion") and more rigorous thrash-fixated ragers (the title-track) as there's also a couple of mild rockers ("Lost in Time") scattred around which don't conribute much to the dynamic nature of this recording, and starkly contrast with the harsh death metal vocals.

Nuke'em Down Full-length, 2017

Official Site


Three tracks of energetic classic thrash metal with unpleasant rough shouty vocals; the music makes sense, though, being speedy with touches of crossover: check out the ultra-speedster "Killing Command", and, of course, the cool cover version of Whiplash's "Power Thrashing Death".
The full-length carries on with two of the tracks from the demo (without the cover) included as well. The music develops in the expected energetic retro fashion "courting" the German scene, above all. The guitar tone is kind of fuzzy the bass playing a major role pounding with passion onwards the vocalist doing a further damage spitting spiteful, semi-declamatory antics with an open punky shade. "R.I.P. [Resurrection in Progress]" is a nice peaceful, lead-driven interlude near the end which brings the desired calm before the last string of headbangers wraps it up.
"The Brutal State" shows the guys in a fairly "brutal state" thrashing like demented in a sure-handed classic manner producing numerous headbangers along the way: "Addicting Life Waste", "Vote For Crisis", "Surveillance Society", as well as almost every other track. Some of the numbers are delivered with a certain hardcore intensity ("Suicide Disorder" is close to dissolving into a Cryptic Slaugher-like chaos on the more aggressive parts) the latter feeling aggravated by the attached shouty vocals which come with a very thin blend almost to the point of hysteria at times, but are strangely attractive. Anyway, this is a fairly dedicated tribute to the old school done the right way.
"The Human Project" is the next in line "brutal project" the band pleasing the audience with their no-bars-held blitzkrieg approach which is overfull of crisp cutting riffs and very fitting screamy and shouty vocals which tear the ether with their high-pitched histrionics. "Abnormal Generation" is a major headbanger aptly supported by shorter, but equally as enchanting, pieces: "Police Brutality", "R.F.I.D.", etc. There's nowhere slowing down the band serving this effort as one big, compact fist in the face the closer "The Brutal State" reminding of the previous album title-wise (there's no song on it of that title).
"New War Order" tones down the intensity to an extent, and the delivery now clings towards the speed/thrash canons with more melodic developments. The high-speed histrionics are still there, mind you, and there's no letting up except on isolated sections ("General Guidance") from separate tracks. The vocalist continues with his high-strung feats which perfectly fit the very active approach which breaks the boundaries of good behaviour with a few less controlled blast-beats on "Haarp Weapon", but the guys are quick to compensate with more serious performance on the final progressiver "Human Project" (again, no song of that title on the previous instalment; I guess that's an intentional peculiarity...).

Demo Demo, 2010
Under Destruction Full-length, 2011
The Brutal State Full-Length, 2013
The Human Project Full-Length, 2015
New War Order Full-length, 2017

Official Site


Based on "Auri Sacra Fames", this band plays a mix of modern and classic thrash with crossover tendencies. The approach is not very aggressive often staying in mid-tempo where the finest monents from the album belong: the pleasant gothic-tinged "Pro Tebe"; the melodic power/thrasher "Sons Of Loki"; the semi-balladic closer "Night Trains". The singer is the most aggressive asset being a low-tuned death metal growler who at least on the aforementioned closer tries something cleaner even managing to sound close to Nick Holmes (Paradise Lost).

1994-96 Nenf Cesty Zp8t Full-length, 1996
Apokalypsa Full-length, 1996
Auri Sacra Fames Full-length, 1998
Thurisaz Full-length, 2001
Water, Soil & Sand Full-length, 2002


Based on the "Deranged Hallucination" demo, this band plays heavy semi-technical thrash similar to early Acid Reign with pounding riffs and very strong bass support. "Decrepit Life" is a very good more dynamic number recalling Celtic Frost with a nice atmospheric slower twist in the middle, and a great uplifting speedy exit. "Corruption Of Conformity" is presumably the joke song being fast optimistic crossover moshing out with jolly merry-go-round riffs for close to 6-min.

Deranged Hallucination Demo, 1990
Tomorrows Past Demo, 1991


Based on the "Visions of Malice" demo, this outfit indulge in dark atmospheric thrash/death which balances between the modern and the old school trying to keep it up-tempo for most of the time, albeit creating a bit of mess in the process (the bashing mish-mash "Systematic Elimination"). The vocals are shouty death metal ones and don't contribute much to the proceedings. Some of the musicians also had another short-lived project running at the same time: Dspayre, also thrash-fixated and more classic-sounding.

The Blood Is on Your Hands Demo, 1997
Visions of Malice Demo, 1998

My Space


Based on the "In Chasm" demo, this is sloppy amateurish thrash/death sustained in a fast relentless pace with displays of bad taste like the ridiculous pop metal-ish "Factory Of Death"; and some surprising achevements like the title-track which comprises some well constructed progressive thrash/death. However, the awful buzzy sound quality and the unrehearsed mean semi-declamatory vocals ruin the impression almost beyond repair.

In Chasm Demo, 1994
In Abyss Demo, 1996


A thrash/crossover band with a style reminiscent of Suicidal Tendencies (members of Excel later joined Cyco Myko, Mike Muir's new band); Excel's sound also shares some of the angry D.R.I. attitude and is a bit more on the hardcore side. The debut is an enjoyable slab of energetic fast-paced thrash/crossover lashing out quite intense pieces: "Insecurity", the almost pure thrash shredders "Never Look Away" and "Looking For You", the speedthrashcore killer "Social Security".
"The Joke's On You" is more melodic although in terms of speed it's not too far behind the debut, but the riffs are less edgy, and the more direct thrashing outbursts are not many at all: "Fired (You're)" comes to mind, but... Quite a few slower softer numbers have been introduced, occupying the middle, a situation livened up by the brisk "I Never Denied". "Message In A Bottle" is a cool cover of The Police hit after which the band wakes up for only one more aggressive song: "Given Question". As a whole this release concentrates more on the crossover side sounding quite close to the Suicidals' "Join the Army", maybe a tad less memorable.

Split Image Full-length, 1987
The Joke's On You Full-length, 1989
Seeking Refuge Full-length, 1995

Official Site


"The battle has begun" for these guys who waste no time thrashing wildly with the opening "God Forbid", but this number is quite misleading since straight after it start the groovy patterns which seldom change till the end despite the several more interesting deviations mostly of the melodic lead-driven type. "War" comes splashing in the end to provide more headbanging rhythms, but generally the friendly post-thrashy tone of this recording is not broken on very regular terms; neither are the semi-shouty death metal vocals which are quite expressive.
"To Hell We Fall" once again begins with a misleading opener ("Beast") which death/thrashes quite hard before the groove settles down bit by bit "disturbed" at times by the odd more dynamic throw-in (the title-track, the cool galloper "The Valley of Dementia"). "The Anthem of Death" is a capable attempt at doom, and the closing "Pleasure Through Pain" completely steals the show with its elaborate diverse character providing impetuous death/thrash among more intriguing decisions; a path the band should try to follow more often.

The Battle Has Begun... Full-Length, 2012
To Hell We Fall Full-Length, 2014

Official Site


The sound quality is pretty bad, but one can distinguish simplistic old school thrash with doomy overtones ("Chamico") and a generally sleepy mid-tempo. "En Esta Putta Tierra" tries to speed up a bit, but is soon drowned in heavy crushing riffage; the approach is actually not very far from the one witnessed on Carnivore's sophomore release ("Retaliation"), but the musicianship of the Argentinians is not on par with Pete Steele's (R.I.P.) group. The singer is a brutal low-tuned death metal growler, but his rendings kind of fit the heavy gloomy atmosphere.
The "Es Lo Que Hay" demo drags for whole 14 (!) tracks, but one would hardly spend more than 10/15-min with this awful take on the modern post-thrash idea which for at least half the time is pure doom/stoner which only saving grace is the very good sound quality and the several attempts at a more stylish play the latter ultimately marred by the very bad low-tuned death metal vocals.

Straccion Repulsiva Demo, 2007
Es Lo Que Hay Demo, 2009

My Space


The self-titled compilation is built around fast, hard-hitting old school thrash which unfortunately comes with a pretty muffled sound quality. Regardless of this obstacle, the guys deliver with sharp riffs and dynamic song-structures, topping up the notch in the 2nd half with a more intense, death metal-oriented approach ("Infernal Oath"), although this shift may not be caught by many, since the delivery is pretty speedy'n furious the whole time in the vein of Seputura and Devastation, supported by good forceful semi-declamatory vocals.
The "Decimation" demo boasts a very good sound quality, and besides that ripping hard-hitting thrash reflected in short bursting numbers with references to Slayer and Devastation again with a less frequent death metal flavour. "LSD" is a sweeping speedster, and "Vatican Semtex Destruction" is a more optimistic number taking the pressure off the final cut "Through Rage and Agony" which comes forward with brutal blasting sections to a head-spinning effect.

Infernal Oath Demo, 2007
Collector Split, 2008
Infernal Thrashing Kommandments Split, 2009
Excidium Compilation, 2010
Decimation Demo, 2010

Official Site


Excidium offer on their only album intriguing dark modern semi-technical thrash spiced with strange chants and death-ish vocals. The sound is modern, but there are many interesting moments and tempo changes to keep the listener concentrated. There are the odd death blast-beats and the sprawling doom melodies, too.

Innocent River Full-length, 1995


Based on the full-length, this is classic thrash "born of fire" putting the Egyptian metal scene on the map showing a capable unit ready to conquer the North African thrash circuit. The approach is right as rain and there's seldom an application of the characteristic for the region Oriental motifs ("The Curse of Seth" is one such exception). The guys start with fast blitzkrieg songs, but later on there are quite a few slower ones which leave room at the end for the cover of Kreator's "Cry War" from "Endless Pain" which lifts the mood up with its raging riffs. There are no traces of either Exumer or Exciter here: the band name is totally misleading.

Serial Killer EP, 2013
Thrash from Fire Full-length, 2014

Official Site


This legendary Canadian act were the first ones there (along with Anvil, of course) who tried their hands on more extreme music in the early-80's. Their debut was a cool energetic speed metal effort, sounding like a more aggressive version of the rock'n roll boogie of Motorhead. It wasn't as impressive as the superior debuts of their US counterparts Slayer, Metallica, Hawaii and Anthrax, but the guys very soon came very close to those high standards with the fabulous "Violence and Force": one of the best achievements of the whole Canadian metal scene, an unforgettable combination of furious speed/thrashers and smashing heavy riff-monsters. It was hard to believe that the band would be able to top this work up and they didn't bother with that, but acquired a more melodic approach on "Long Live the Loud" which still retained the speedy sound and was a fairly decent follow-up.
"Unveiling the Wicked" took a more radio-friendly turn, increasing the number of slower, more melodic tunes, and sounded too mainstream for the hard-core fans. Seemingly falling behind the top speed/thrash metal acts at the time, the band decided to relieve Dan Beehler, both the vocalist and the drummer until that point, from his vocal duties, and added a new member (Rob Malnati: the singer of the obscure power metal act Crypt), leaving Beehler to concentrate more on his drumming. Carrying the band name, "Exciter (O.T.T.)" indeed sounded like a new beginning: it had not much to do with the band's older works; it was a combination of power metal and a bit of speed and thrash sacrificing the energy of the past for a more serious thought-out song-writing. This was by no means a bad album, but at the same time it was hardly what the audience expected, and was met with a wall of indifference.
This logically led to the band's demise, but four years later they apparently felt compelled to give themselves another chance with "Kill after Kill" which saw Beehler taking over the mike again and the guys bringing back the blistering style from their early days; this effort even came close to the visceral power of "Violence and Force" on its best moments and was a big slap in the face to those of their colleagues who had, at that point, given up the classic speed/thrash metal idea. Unfortunately this was not a very well chosen time, as the tastes were changing fast then, and the interest in the 80's speed/thrash metal movement was fading quickly. The guys parted again, only to return in 1997, this time without Beehler; "The Dark Command", similar to the 1988 one, tried to bring something new and admirably succeeded to elevate the band's music to a higher level relying not only on direct speed metal anthems, but adding more complex arrangements and more varied guitar work. This album restored the faith in the band who looked well-equipped to lead the speed/thrash metal resurrection of the late 90's. But they lost inertia once again, and when the next release was out it offered a simple, direct, and less impressive power/speed metal approach which owed more to Judas Priest's "Painkiller", than to the dark, potent sound of "The Dark Command". It was by no means a failure, but was left without a follow-up with the guys separating for the upteenth time.
"Thrash, Speed, Burn", despite its pompous and promising title, is hardly the band's best achievement. It has the necessary energy and speed/thrashy riffs to keep the fan entertained, but the approach is a bit samey, not miles away from "Blood of Tyrants". "Crucifixion" and "Evil Omen" try to break the one-dimensional delivery, but are not as convincing as the heavy pounding tracks from the past (remember "Pounding Metal" and "Delivering To The Master" from "Violence and Force"). When speed/thrash metal lives through its second golden period, Exciter need to do more to find a place on the front row if they don't want to be overtaken by both their old colleagues and the ones who grew up listening to (and learning from) their old works.

Another worklmanlike release from the Canadians, "Death Machine" is an exact copy of the last two albums, one-dimensional speed metal with the deviations being the superior material: the excellent doomster "Power and Domination", the galloping "Demented Prisoner" with a strong 80's American flavour. There is nothing wrong with playing unpretentious old school stuff, but when it's done with a little imagination exercising the same formula for a third consecutive album, some may just get nostalgic in a bad way, and revert back to the band's older material where the better examples of the style belong.

Heavy Metal Maniac Full-length, 1983
Violence & Force Full-length, 1984
Feel the Knife EP, 1985
Long Live the Loud Full-length, 1985
Unveiling the Wicked Full-length, 1986
Exciter (O.T.T.) Full-length, 1988
Kill After Kill Full-length, 1992
The Dark Command Full-length, 1997
Blood of Tyrants Full-length, 2000
Thrash, Speed, Burn Full-length, 2008
Death Machine Full-length, 2010

Official Site


The debut: fast, lashing classic speed/thrash which blends the impetuous approach of early Angel Dust with a more technical/progressive "sting" ala Paradox, and the resultant "cocktail" is irresisbile at times: check out the perennial stylish headbanger "Excoriator", or the more melodic uplifting speedster "Disembodied (The Brood of Charisma)". "Bitten By a Bug", on the other hand, is over a minute of prime aggressive bash before the last two cuts sweep the floor with their uncompromising speed metal aesthetics. The only unmitigated failure on this very assuring roller-coaster would be the harsh deathy vocals which are simply not a match to the much better music; and perhaps the abrasive guitar sound which mostly hampers the lead guitarist's efforts the latter hitting the top on the closing "Werewolves On the Hunt".
"The Moaning of Life" comes with a more pristine, abrasive guitar sound which, fortunately, doesn't come for the sake of the aggression. Speedy fiery riffs fly from all sides, most of them quite simplistic becoming more frolic with a merry-go-round speed metal flavour ("Former Years") which at times gets simplified to almost Motorhead-ish proportions ("Sacred Vice"). A fair compensation comes at the end with the more ambitious progressive title-track which serves a cool atmospheric balladic interlude among tasteful melodic lead sections. The guys don't take themselves very seriously this time, and the resultant melee is perhaps more on the less impressive side.
"Horned Is The Hunger" acquires a more serious stance, and the delivery is more intense with ripping riffs falling from all sides, the mosh literally endless with ripping headbangers like "Inner Demons" and "A Rough & Rugged Road". "Melting Pot Stokers" shows the more laid-back side of the show with the title-track fllowing suit as the only other friendlier offering on this highly energetic roller-coaster.

Faster Harder Louder Full-Length, 2015
The Moaning of Life Full-Length, 2016
Horned Is The Hunger Full-Length, 2017

Official Site


Based on the "Last Judgement" EP, the band mix raw thrash ala early Sodom and Kreator with heavy, crushing riffs in the Celtic Frost-vein. "Angels To Some, Demons To Others" comes after a very long break and it shows a completely different band: the guys have apparently lost interest in thrash metal, and traces of the genre are nowhere to be found. This is pure doom/gothic, quite well done, along the lines of Paradise Lost ("Shades of God", "Icon") and Cemetary ("Black Vanity", "Sundown") without any ties to thrash metal whatsoever.
"[t]horns" is pure doom metal all the way again "courting" the 2 aforementioned acts adding a more brutal death metal edge here and there in a way also quite reminiscent of the Dutch Beyond Belief. Needless to say, there are no any leftovers whatsoever from the guys' thrashy past...
"[G]host" would be another delight for the doom metal lovers who would bury themselves under this seismic portion of ultra-heavy, ship-sinking riffs crossing mid-period Cemetary with early Cathedral on every track the sole speedy sections provided by the dramatic pounder "Crawl" in the middle. There's not much death metal to be heard, but alas, there's no trace of thrash either.
"[c]rust" elaborates further on the band's fascination with doom metal so again don't expect any thrash here as the delivery this time is modelled after mid-period Paradise Lost the main difference coming from the deep deathy semi-shouty vocals.

Last Judgement EP, 1986
Arise EP, 2005
Angels To Some, Demons To Others Full-length, 2007
[t]horns Full-Length, 2009
Worship EP, 2013
[G]host Full-Length, 2014
[c]rust Full-Length, 2016

Official Site


The full-length debut: a blend of classic and modern thrash metal relying more on heavy mid-paced riffage of the more dynamic variety, but to these ears the full-on speedsters ("Malevolence Impure") graced with a pinch of death metal, kind of deliver better. The guitar sound is sharp and crisp, and the mean death-ish tone of the singer suits well the energetic music. The band members are busy with many other projects: the death metal warriots Mangled Corpse, the heavy metal defenders Alpha Viper, the black thrashers Raptor, etc.
"Fighting for Evil" clings mooe towards the classic side, and as such delivers in a slightly better way also thanks to its bigger diversity. The band mix fast and slow tracks as the former are at times on the edge of falling a part: the proto-deathy "Altar Of Lust", as opposed to the pleasant heavy metal radiohit "The Bitterstee". The heavy metal spirit is on full swing in the 2nd half the cheesy string interrupted by the classic speed metal hymn "Champion Eternal" which is vintage early Whiplash; and the closing title-track which is a tad more dynamic power metal rouser.

By the Gates of Flesh EP, 2010
Devouring Full-length, 2011
Fighting for Evil Full-Length, 2016

Official Site


A 3-song demo which provides intense old school thrash supported by a very good sound quality and vigorous sharp riffs which vary from very fast to slower, pounding in a way quite close to Toxic Shock (Germany). Although the songs are lengthy ("Balance of Terror" alone is 8.5-min) the guys don't try anything technical bashing with passion stumbling a bit in the vocal department where the man sings in a flat unemotional, semi-declamatory manner distantly recalling Arnd (Darkness).

Demo Demo, 2011


Excellent thrash/death metal with a slight technical edge bringing to mind Necrodeath and the French act Witches; the music is energetic and fast for most of the time, and the guitar work is just great. The sound is closer to thrash (only "Enslaved By The Deranged" is the song where death metal dominates), but the vocals are strictly in the death metal field, and of the dual type: the main ones are low growls (very comprehensive, by the way), and the others are higher-pitched rasps. The songs are short (2.5-3min), but the catchy and memorable riffs make them really compelling musical experiences. There is not much known about this band, but the high quality of the material makes them really worth tracking down.

Thou Shall Repulse Full-Length, 2007


Based on the 2010 3-song demo, this act indulges in aggressive classic thrash with Devastation and Morbid Saint very close soundalikes. Those tracks will "crush your face", like the title of one of the numbers suggests comprising furious fast riffage and high-strung acrimonious vocals of the shouty, semi-hysterical, variety.

Mass Of Slaves TAPE Demo, 2009
Exdeth Demo, 2010

Official Site


Based on "The Collective Disease of Humanity", these folks serve old school black/thrash which isn't too far from the more recent works of Necrodeath, for example, and one can't help but have a good time jumping around on the highly energetic opener "Disinformer". Later things only get better with the infectious melodic cruster "Malicious Compliance", and the semi-technical roller-coaster "Women And Alcohol". "Un-Natural Disaster" is another entertaning shredder before "Scrapmetal Invasion" notches it up in the aggression department with a portion of more vicious deathy rhythms. "Critical Mass" is a hectic semi-technical speed/thrasher, and "Last Of The True" combines the more simplistic and the more elaborate approach in one whole again "flirting" with death metal at some point. The closing title-track is high on melody among the fast-paced riffage which exits this fairly entertaining effort with aplomb making it one of the most promising young hopefuls from Kiwi land. The guys also take part in the black metal outfit Pervertor, and the melodic death/black metal formation Christian Combustion.

All of One Full-length, 2008
The Collective Disease of Humanity Full-Length, 2016

Official Site


This is quite fast and aggressive thrash in the tradition of Kreator's "Pleasure to Kill" and the Swedes Merciless' debut. This is pure speed (with some parts from "Nuclear Death" being the exception), with no variety, but energetic and done with gusto.

Terminate in Violence Demo, 1986


Based on "The Rage From Within": excellent progressive power/thrash metal with a dark unique sound, not fast, even doomy at times with great haunting, predominantly semi-clean mid-ranged, vocals nicely recalling Ozzy Osbourne ("Ministry Of Pain") with a genuine wailing tone, but they vary quite a bit becoming much more aggressive and sinister on demand as well as very surprisingly high-pitched falcettos owing much to King Diamond (check "Chaos (look into my world") and are surprisingly always on track with the music. The songs are complex featuring some fast moments soon interrupted by groovy ones which in their turn come replaced by more technical ones, and all of a sudden start the leads which are short, of the less melodic variety. The aggression sometimes goes beyond the one which comes along with such style ("Darkest Hour"), but the headbangers will be delighted. The guitar sound is dark, brooding creating a really eerie doomy atmosphere; quite a unique one, maybe recalling the Swedes Pathos' works, but this one is heavier. The guys are experts at ballads, too: a great short piece is included: "Rage From Within" (not much "rage" to be encountered here).

"Hideous The Mind" is another commendable achievement starting in the best possible way with the dark aggressive thrasher "When The Pain Comes" which seamlessly mixes fast intense sections with morose technical ones topped by fine versatile vocal performance the latter creating a lot of dramatism along the way. "The Blue Man" is a short crusher with 10-ton hammering riffs, but comes "Book Of Dreams", and things become serious once again with the next portion of foreboding, sinister guitars and galloping tempos entwined in a hectic dramatic landscape. "Inside Room 531" is a very good semi-balladic composition with smashing doomy guitars and a very cool chorus; plus a few surprising fast arrangements. "I'm Your God Now" is more dynamic speeding here and there among the macabre gloomy riffage, the darkness here dissipated by a sparce keyboard assistance and very good melodic leads. "Army of the Wicked" is hammering steam-roller riffs all over the relief offered in the form of a really nice short acoustic ballad ("Valley of Woe") not far from the one ("Rage From Within") already heard on the debut. "Abomination" is hectic technical thrash on a dark doomy base once again, the complexity increasing for the progressive "Schizofuckingphrenic" sustained in the best tradition of later-period Hexenhaus and another Swedish act: the already mentioned Pathos. "Lies" achieves similar elaborate heights only being faster and more energetic with the guitars constantly switching between doom-laden and raging sections to an overwhelming effect. That effect is also greatly helped by the standout vocal participation which covers all possible ranges: from very low death metal growls (very occasional, but highly effective) to high-pitched semi-screams ala King Diamond again; the singer's main tember is a very convincing, deep clean mid-ranged one not far from Matt Barlow (Iced Earth). This is pretty original music with the two aforementioned Swedish bands close soundalikes as well as the Americans Carbide, and the Germans Psychotron on occasion, but the heavy dark sound achieved here is really one-of-a-kind, and should be more widely exposed to the metal fanbase.

The Rage From Within Full-length, 2000
Hideous The Mind Full-length, 2001

Fan Site


Straight-ahead Germanic thrash with sparce more aggressive death metal overtones in the spirit of early Death ("Soul Deep"); the guys lash with force sticking to direct speedy formulas accompanied by hoarse death metal vocals, and the odd stomping passage.

Demo Demo, 2010

My Space


This is rough, badly concocted thrash/death of the old school which is mostly abrasive noisy bash topped by ultimately brutal death metal vocals. The music starts making sense towards the end, first on the capable thrash/deathster "Infernal Posession", then on the two covers at the end: Grave's "Eroded" and Darkthrone's "Cromlech" the latter a cool reminder of the Norwegians' glorious deathy past. Still, the awful sound quality (could have been done intentionally) leaves a lot to the listener's imagination, at least in the beginning, and more effort should have been put into the production provided that this is not a demo, but an official release.

Sorrow and Death Full-Length, 2008

My Space


Executer came late on the scene, but their debut is a worthy slab of classic speed/thrash metal with cool nods towards Kreator's more technical period (1989-1990). "You'll Come Back Before Dying" wastes no time thrashing fast and forcefully, accompanied by vicious snarly vocals, coming as a more brutal version of Schmier. "No Destiny" continues the assault, but the title-track softens a bit with stomping heavier riffs influencing the following "Flight To The Other Side". Rest assured that this is just a deviation, and "Money" is another more intense thrasher, and from then until the end there are no pauses anymore: just fast heads-down thrashing. Failing to make many heads turn, especially when the tastes were changing fast at those times, the band split up.
The thrash metal revival of recent years brought the band back with "Psychotic Mind". This album shows the guys ready to do some major damage once again; the guitars are more technical now, with a tighter and a more compact sound. The delivery is more aggressive with a touch of death metal even: the great smashing opener "Lost Angels" which could fit well into Death's "Spiritual Healing". "Suffering And Pain" is a more temperate thrashing piece with a Bay-Area flavour which pretty much sets the tone of the remaining songs some of which are graced by more interesting technical moments: "Message To The Weak Ones", "Chaos Memories".
"Welcome To Your Hell" could be considered the band's finest hour; the guitar work is great with meaty sharp riffs; the vocals return to the mean snarls from the debut (on the previous one they have acquired a more standard death metal shape). The music is again closer to the German school: the explosive opener "And The Rottenness Goes On..." and most of the songs. There are the obligatory calmer numbers ("13", "Lead Years", both of which are ended in a faster, intense fashion) as well longer more complex ones ("The Big Black Abyss", which slows down and is heavy and mid-paced; "Cause And Effect", which is fast-paced with smashing semi-technical riffs). The bonus track "Power, Thrashing, Death" is a cool cover of the Whiplash early hit from "Power & Pain".
"Helliday" is a brutal fist in your face the assault starting immediately with the raging title-track, but this is just the beginning since later on there's more aggressive stuff to be heard. The delivery at times recalls Destruction ("Insomnia"), or Sacrifice ("Damn Speech"), and although there's nothing technical to catch the ear this time, this album is by all means a valuable addition to the band catalogue, a prime old school slasher which sole purpose is to nail the listener down and never let him up all the way to the "gory" closer "The Big Pocket Of The Shark". One may mourn the lack of the clever technical riffs from the previous effort, but there's plenty of mosh to be savoured here for one to truly care about those...

Rotten Authorities Full-length, 1991
Psychotic Mind Full-length, 2003
Welcome To Your Hell Full-length, 2006
Helliday Full-Length, 2014

Official Site


One of the French death/thrash metal bands who sprang up in the early 90's; the music is more thrash metal-based than the rest of the pack, but less aggressive and not as good with not very successful attempts at a more complex, almost progressive song-writing which is quite a waste except for a few really stylish leads thrown in. "Eternal Dreams" shifts from the formula into atmospheric thrash/death metal with numerous keyboard implements in the spirit of Nocturnus, angelic female vocals, gothic/doom aesthetics, short ambient instrumentals, and heavy pounding riffs which pay their "debt" to thrash metal here and there ("Sadness" and parts of other songs), but the concentration here is clearly on atmosphere and mood.

Execution Full-length, 1992
Eternal Dreams Full-length, 1999
Victim Of My Thoughts EP, 2001


Based on the "Dismantle the Cross" demo, this band pulls out fairly cool speedy thrash in the spirit of the 80's German scene. The sound quality is not great, and the guitars are a bit buzzy, but the enthusiasm of the guys is hard to disguise, and the fast energetic riffs deliver the goods. Some elements from the power/speed metal scene could be felt: "Call of the Warrior", with the galloping rhythm and the catchy chorus; the Iron Angel-esque "Dismantle the Cross". "Speed of Death" is awesome speed (or death)/thrash metal also reminiscent of the Angel Dust debut, and is the best song here.

"Sworn to the Evil" is in the same vein, nice speed/thrash of the Germanic type quite close to "Persecution Mania" with a shade of the more speedy approach of Angel Dust ("Midnight Ritual") the main difference coming from the gruff echoing vocals with an occasional semi-clean blend akin to the ones of Jon Van Doorn (Deathwish).
The full-length is out seeing the band growing musically also notching up the aggression a bit towards the proto-death metal scale in the beginning ("From the Grave"). The songs fly like bullets seldom staggering towards the mid-tempo, faithful tributes to the German speed/thrash metal school. "Execution" is glorious classic speed metal and later on more technical implements come up on the excellent shredder "Burning the Earth" which leaves a certain trace on the remaining two cuts. The leads never overshadow the inspired riff-patterns although their both melodic and screamy aesthetics are quite attractive. This is a really cool dedication to the old ideas which should poison more souls with its "pervert and blasphemous" messages.

Dismantle the Cross Demo, 2006
Sworn to the Evil Demo, 2007
Perversions and Blasphemy Full-Length, 2013

My Space


A 4-song demo of decent retro thrash with hoarse semi-death metal vocals; the guy actually hardly sings, but rather quarrels in a surprisingly intelligible manner. The music is close to the Bay Area sound, if we exclude the melodic leads which stifle completely the other instruments when at play. The tempo is up partially lost on the heavy semi-epic "Savage Sword".

Demo Demo, 2008


Fans of Sodom's "Persecution Mania" and Possessed will be quite happy with this: roughly, 80's produced stuff, fast and intense, with sparce heavy pounding sections ala Celtic Frost arriving to interrupt the speedy, but raw and slightly one-dimensional, delivery. On the more inspired moments the guys really touch "Persecution Mania": "Bestial Desaster", "Violent Mosh" (which is not a Violator cover), the explosion "Drink For Satan", and the music seldom loses the dynamics and the fast pace; it's just that in the sea of modern acts reviving the classic 80's thrash metal sound nowadays, this band would hardly cause a big wave.

Arrival Of The Executioner Full-length, 2008

Official Site


Based on "Break The Silence", this is very chaotic, messy thrash with flat vocal performance and boring riffs spiced up with even worse blast-beats and misplaced solos; only for completists.

In the Name of Metal Full-length, 1986
Break the Silence Full-length, 1987

Official Site


This is a classic/modern thrash hybrid with very hissing witch-like vocals; the guys shred with competence producing a few progressive, more intricate moments ("Yogg Soggoth") which remind of the German obscures Criminal Justice due to its not very eventful, but effective nature. The title-track is another intriguing number the band thrashing with gusto and conviction, circling around the more technical parametres also inserting several intense headbanging dashes.

Escape Reality EP, 2017

Official Site


Two songs of buzzy retro thrash/death metal blending fast (the dominant ones) with slow passages recalling both the Floridian school and the French trends. The music doesn't lack dynamics the guys lashing with no remorse assisted by comprehensive, but brutal, death metal vocals ala Marc Grewe (Morgoth).
The full-length picks up more intensity also adding more aggressive rhythms. The music remains within the thrashy confines with death metal following suit closely especially on the parts when the guys start blasting unexpectedly: check out "Echoes of Silence". The band are not completely strangers to more sophisticated moments: the catchy melodies on the speedy delight "Given to the Altar" which also comes with a more epic slower mid-section. As a whole the guys have done a good job relying on speed more the vocals now more on the semi-shouty hardcore side slightly recalling a less melodic Kurt Brecht (D.R.I.) when the latter has a really sore throat.
"The Obscene Ones" sees the band alive and well sounding as angry and pissed as usual the thrash/proto-death machine rolling forward helped by both aggressive thrash/deathsters ("Demonic Lust") and more complex headbangers ("Purified By Fire"). "Obsessed" reaches a blasting intensity closely followed by the 1.5-min ball of fury "Pandemic". The final "Sacrificial Death" is a nice epitaph introducing semi-technical death metal, a path by all means worth pursuing in the future.

Mind Exekution Demo, 2009
Given To The Altar Full-Length, 2011
The Obscene Ones Full-Length, 2016

My Space


Vigorous classic Bay-Area thrash made in Spain; the sound gest mixed with less orthodox semi-technical decisions and a few adherences to more brutal proto-death, but it all makes sense in the end the expert short leads being another asset which can't be said about the vocals, though: they are more on the overshouty hardcore side, and may be annoying at times. "Black Death" will thrash you all around with its ripping riffs, and the following tracks will add to that, especially the perennial speed/thrash anthem "Tales of Blood" and the short brutalizer "Kill the Pigs". There's seldom speed lost here, and in the long run the moshers should have a lot of fun with this pleasant old school roller-coaster. Some of the band members are also active with the thrash/death formation Anal Thrust, and the metalcore purveyors Circle of Death.

Depravity Full-Length, 2014

Official Site


Based on the "Time of Shadows" demo, which is whole 8 tracks long, this band comes up with first-rate speed/thrash ala early Angel Dust. The musicianship is tight, the riffs are sharp and intense topped up by vicious, slightly death metal-tinged vocals. The finest moments, though, are the leads, which are simply stunning, albeit not very long, and might remind you of Kai Hansen in the most swirling sections. A fabulous start for a band who never managed to leave the underground.
The "Sympatie ke Zlu" demo is another impressive slab of retro speed/thrash this time sounding curiously technical ("Svati Vilka", "Piter Thomas") on occasion. The guys lash with passion hampered by the not very clear sound quality and the gruff, not very rehearsed singer who just recites at times totally mismatching the much better musical delivery.

Time Of Shadows Demo, 1989
Symphony Of Death Demo, 1990
Sympatie ke Zlu Demo, 1991


The flag of modern thrash/death metal is raised high here this young Norwegian outfit pulling out excellent dynamic music which starts in the ultimate headbanging way with the early The Haunted worship "Blind Billions". "Ignorance is Bliss" is more temperate introducing mid-tempo and technical riffage both served with a good sense of melody which increases for the following "Fairytale of Perversion". Speedy technical thrash takes over on "Locus Ceruleus", a first-rate shredder ala No Return's self-titled album and later-period Death; a tendency nicely translated on the next "Share my Pain (Stalingrad)". "Hellhole" is dramatic abstract technical thrash with echoes of both Coroner and Mekong Delta, before "Psychopath" brings back the hectic speedy patterns without losing the technical performance. "Tool of God" is the lyrical deviation with balladic and doomy overtones mixing with the staple fast technical approach. "Faceless Children" is creepy technical thrash/death with compulsive speedy breaks, a standout composition with impeccable technical shredding all over. "The Bitsa Maniac" is another fine cocktail of technicality, speed and melody influencing the closing "Our Poisonous Creation" which hits the top in all three departments wrapping things up nicely with the odd blasting passage. The singer is a subdued, but expressive and intelligible, higher-pitched death metal growler reminiscent of Andy Kaina (Messiah). Even if you're not a fan of the "fairytales of perversion", you would have no choice but fall in love with this no-brainer of an album which gives a very desirable technical twist to the Norwegian scene, something it has been badly missing since the Extol transformation.
The EP provides four songs of impeccable technical shredding spiced by sudden vigorous gallops ("Carrie"), or filled with more brutal deathy guitars and jumpy structures ("Devoured"), or vibrant with dizzy tremolo picking and impressive balladic insertions ("Son Of Euphrates"), or thrashing in a relatively more direct manner (the title-track) with blistering leads providing the more melodic relief as well as a breath-taking acoustic ending. There's no end to perfection, and one can only feel giddy awaiting these talents' next exploit...

Fairytale of Perversion Full-length, 2011
Return of the Nephilim EP, 2013

Official Site


Heroic epic power/speed/proto-thrash of the old school which keeps all the three styles at bay on nearly every track, especially on lengthy engaging sagas like "Whisper Alley" which are clear nods to the 80's US movement. The shorter material ("Prisoner of the Dead") kind of delivers better, though, with its dynamic, stripped-down layout whereas elsewhere the delivery becomes overbearing at times with the complicated, also too melodic at times, arrangements that at least keep the cool emotional clean singer busy.

Sentenced by Delusion Full-length, 2017

Official Site


The debut: a new rising star in the technical thrash/death metal department, from Italy again, is about to shine. The guys play with tight technical, but also melodic riffs, don't speed too much relying on semi-complex mid-tempo passages, but watch out for the shorter more immediate and more intense thrashers: "When Words Are Loose" where the guitar work comes close to Death's "Symbolic" and "The Sound of Perseverance". "Fix From The Ground" goes over the mere technical thrash patterns and is a very cool elaborate progressive thrash metal composition, quite dynamic as well, followed by the nice, albeit a bit overlong "leads-versus-acoustic" interlude which cann't help, but remind of Death's brilliant "Voice of the Soul" although here the lead guitarist tries to beat Chuck (R.I.P.) unleashing a really outstanding performance. The second half is more melodic and also less technical although it begins quite strongly with the labyrinthnine progressive thrasher "Primal Mystic Substance". "Dream of Wisdom" could be viewed as the tribute to their main influence Death, part of that song directly taken from "Symbolic", which was hardly necessary, since the song was developing in a quite good up-tempo technical death/thrash fashion. "Symbolic Act" (the title an obvious reference to the Death album) is probably the only drawback being more ordinary Gothenburg-like melodic death metal. The closer "Overhate Threshold" is a bit underwhelming, too, starting with a whirlwind of very good melodic leads, but later settles down for a more conventional mid-paced play not too far from Dark Tranquillity's "Damage Done" and "Haven". Still they're way more than just fillers and could be considered the break for the band from the intense technical material on offer earlier on. Although Death has been cited a few times throughout the review, the music is not a direct rip-off of that band, like so many contemporary acts have done: it actually has its individual face accentuated by the proficient leads, the bigger complexity on several compositions, and last but not least, the characteristic high-pitched snarls of the singer bordering on black metal.
"Tabula Rasa" continues the conquest with a more modernized, mechanical sound which leaves behind the Death influences this new approach inevitably leading to some surprises: the brutal technical exuberance on the title-track; the raging short headbanger "Hysterical Raptus"; the semi-balladic instrumental "Heart Infected" which could be viewed as a filler. "Ego of the Beast" is a nice technical progressiver which leads the pack here except for the shorter faster escapades ("The Nuclear Reset") and the peaceful instrumental closer "Dominion of Silence". As a whole this is a good effort, but it may leave the fans cold at first listen due to the different approach which may remind of Pestilence's "Doctrine", for better or worse. The sterile clockwork-like guitar sound leaves not much room for warm melody-driven passages which were abundant on the debut, and this relative lack of musical sophistication may take time to adjust to.

Hystrionic Full-length, 2009
Tabula Rasa Full-Length, 2013

Official Site


Minimalistic mid-paced modern post-thrash; the only deviation from the pattern is the gruffer death metal vocals and the vivid galloping guitars on "Nunca Mas" and the more officiant doomy arrangements on "Profetizando el Apocalipsis". Some of the band members were also involved with the veterans Transmetal and the modern death metallers Yakatarma.

En el Umbral De Mis Dominios Full-length, 1995

My Space


Based on "Beggars of Souls": these guys offer cool thrash/death metal which will take you back to the early 90's when this hybrid was ruling the scene. The band plays with competence and inspiration, sometimes thrashing intensely ("Lost Dreams", "For Your Act") with a strong death metal edge, but most of the time the album develops in the great spirit of the Pestilence debut and early Death, graced by the presence of instant thrash/death classics, like "Palabras De Profeta", "Sobre Mis Ruinas", and "Death Society". "A Espaldas Del Creador" shows the band's more thought-out side: a nice technical death/thrasher, worthy even of "Testimony of the Ancients". The guys concentrate on thrash near the end producing a couple of old school thrash killers, with the closer "Terminal Action" being the culmination of the whole album: first-rate technical thrash/death metal in the best tradition of the French Massacra and again, Pestilence.

Beggars of Souls Full-length, 2000
Earth of Agony Full-length, 2008

My Space


3 songs of friendly, but still intense, speed/thrash of the old school boasting crisp cutting riffs and forceful semi-clean vocals. The ball is slightly dropped on "Act of War" which is a laid-back semi-ballad with modern groovy leanings and ruins the picture a bit at the end.

Destruction Of Society EP, 2012


This is modern power/thrash, all-instrumental, with a spacey progressive vibe (think Spastik Ink) which retouches the riffs' sharpness somewhat. "When Fortune Favors The Weak" is a nice shredding piece almost reaching the headbanging pitch; and the final "Construct" is a complex progressive thrasher which rolls forward with steady hard-hitting riffs resembling mid-period Megadeth.

Amalgam EP, 2015


Another standard addition to the modern post-thrash sub-genre served with an annoying doze of metalcore in this case and a heavily industrialized guitar tone. Expect numerous melodic, balladic deviations along the way which sirprisingly deliver with the guitars partially losing the noise for the sake of a weird spacey vibe.

The Amsler Grid Full-Length, 2011


Remorseless old school thrash the band moshing on the verge of the progressive with curious melodic tunes embedded into the structure of more thought-out compositions like "Rage for Truth" and "Paralysis". Those laid-back tendencies go a bit over the top on the semi-balladic "Eternal Injustice", but comes "Contaminated Mentality" to show how over 7-min of intense thrashing can sound elaborate and technical. Still, this shining example isn't followed as the softer side of the guys' soul is displayed time and again including in the cleaner vocal insertions that "bother" the main shouty semi-death metal antics.

Time in Coma Full-Length, 2017

Official Site


Based on the "No Way Back" demo, this obscure French formation play rough badly produced classic thrash with brutal, barely heard at times, low-tuned death metal vocals. The music varies in pace and is not stale at all lashing fiery riffs with passion which are ultimately hampered by the buzzy background the latter also accentuated by the noisy drumming which at least doesn't imprede the good bass support too much.

Demo Demo, 1991
No Way Back Demo, 1992


Based on the "Nekrofilie" demo, these Czechs deliver brutal, fairly unpolished thrash/death which from the filthy raw opening title-track later grows into soemthig much more substantial on the remaining material which displays dark brooding music with quasi-progressive overtones which tends to tire a bit because of its not very frequently-changing nature. The vocals are agonizing torturous screams/semi-shouts which can be barely heard for most of the time.

Devastation of Sepulture Demo, 1990
Nekrofilie Demo, 1990
Live Demo, 1990

Official Site


Cool progressive power/thrash metal which starts quite well with the aggressive hard-hitting "No Return" which with its galloping rhythms will remind you of Helstar's "Nosferatu", and with its sudden melodic breaks and the alternative, slightly emotionless, vocals will bring Depressive Age to mind. Those melodic quiet moments are too much on that same song which later acqiures a dream-like quality similar to Opeth and Katatonia. The other tracks lack the aggressive riffage of that one except on a few occasions, and concentrate on the progressive side of the music coming as thrashy Katatonia, or slower and softer Depressive Age (actually, the music here isn't miles away from the Germans' third effort "Symbols for the Blue Times"). The compositions aren't very long (the longest barely reaches 6.5 min), but the tempos change following a similar pattern: a hard-hitting riff-section is suddenly replaced by a more peaceful progressive one, and both sides of the music alternate throughout the songs. "Lament" is a good acoustic ballad followed by the very good complex progressive track "Breach of Trust" which lacks any thrashy guitars and is the most melodic song on the album.

Loading EP, 2004
Mad Kind Full-length, 2007

Official Site


Exhorder literally "slaughtered" the metal world with their brutal uncompromising debut which introduced the "angry" side of thrash metal, along with Pantera's "Cowboys From Hell": a style which would later become the dominating one on the whole scene. There is a lot of Bay-Area sound present here as well, going even beyond "Eternal Nighmare": the furious openers "Death In Vain" and "Homicide", before the coming of the 10-ton steam-roller "Desecrator" to suggest at new trends coming soon. "Exhorder" will literally split your head: a merciless piece of aggressive thrash giving way to the longer, but equally as intense "The Tragic Period". "Slaughter in the Vatican" is the definitive angry thrash hymn, crashing for about 7.5-min, paving the way for the transformation of the style. Whether Kyle Thomas influenced Phil Anselmo, or the other way around, or both simultaneously decided to try to sing as angrily as they possibly could, is hard to debate. However, hats down to the guys for attempting something different, although the detractors will imediately step in, saying that this was the album "which killed thrash metal". Well, different people, ...

"The Law" tones down the aggression and is more polished, but is another fine slab of classic/modern thrash. It shows no compromise on the opening "Soul Search Me" and the following "Unforgiven". The modern sound sets in on "I Am the Cross", and never leaves till the end. The middle is occupied by the very good version of Black Sabbath's "Into the Void". "The Truth" tries to return to the "truth" of the 80's with more retro riffs, but it's a bit late for that. No more attempts of the kind, and the rest puts this album right beside same year's "Vulgar Display of Power" as some of the best aggro-thrash albums of the era. The guys could have owned the 90's, if they had lasted longer, but they decided to give a "green light" to Pantera leaving them without any competition for a while.

Slaughter In The Vatican Full-length, 1990
The Law Full-length, 1992

Official Site


Based on "Attitude", these guys come up with an uneven mixture of 80's-inspired power/thrash metal. The opener "Genocide" is a nice up-tempo number in the Sepultura vein with gruff vocals which is totally misleading since the next "Slaves Of The Society" is a mild power metal piece where the vocals take a very thin melodic edge. Unfortunately, the remaining tracks follow this path, and despite the cool leads and energetic tempos (the very good speed/thrasher "Brothers"), the weak vocals, the clinging towards the 90's power/speed metal scene, and the two bland ballads, make this effort sound not very convincing in the middle. It, however, pulls itself together afterwards, for the successful attempt at heavy progressive power/thrash "Spreading A Lie" which offers a couple of interesting riffs, and the stomping mid-paced closer "Last Tears" which comes served with quite good lead guitar work.

Attitude Full-length, 1991
P.R.A.Y. Full-length, 2002

Official Site


The demo: 2 songs of good intense thrash/death of the old school with vicious high black metal vocals; fast lashing riffs spiced with a couple of nice melodic licks and leads close to the Merciless debut.
"The Essence of Apocalypse": the beautiful Aline Lodi leads the pack here, and her mean hellish semi-shouts would make any male vocalist proud. Otherwise the music is right as rain thrash of the old school served in various tempos which take turns throughout the speedy ones left behind at some stage for the sake of some effective stomping rhythms. Near the end the band capture the fast-paced magic from the beginning turning to death metal for a shift in direction which also comes with the sophisticated technicallity on "Infernal Voluptuousness". A good sense of melody permeates the whole album in a way not far removed from later-period Arch Enemy.

Selective Suicide Demo, 2006
The Essence of Apocalypse Full-Length, 2011

My Space


Based on the full-length, these folks provide brisk modern thrash led by vicious high-pitched thrashy vocals. The dominnat fast-paced delivery knwos its calmer moments (the balladic digressions on "Gone Is the Sky"; the cool heavy ballad "Between"), but it's impetuous headbangers like "Seeds of Ruin" which propel this recording forward.

Oracle of Bones EP, 2015
Ashland Messiah Full-length, 2016

Official Site


Bsed on the debut demo, this one-man act pulls out raw simplistic black-ish thrash which ranges from up-tempo tracks ("Metalna Artileria") to doomy slow ones ("Voina I Bolka"). The musicianship is not on a very high level, but having in mind that this is just one person behind all, one should give him kudos for the fact that he managed to produce 4 whole full-lengths where reportedly the music is more aggressive with more overt borrowings from both the black and death metal scene. Here it's mostly speed/thrash with the vocals trying to rasp in a sinister manner, which doesn't fit the melodic speed/power metal number "Izmama", a leftover from an earlier demo.
"Okovite Na Mraka" indeed offers a more brutal sound with death metal being the main influence, and as a matter of fact the guy manages to come up with a pretty decent material consisting of clever semi-technical music, quite similar to the Massacra classic period. Apart from the fast parts heavy doomy riffs can be caught at times mostly coming as breaks between the constant moshing. Hats down to the man who manages to keep a head-spinning speedy tempo for more than 5-min on "Kapanut" without slowing down for a split second, but very soon after he shows that he can also doom with the best on the hammering "Tutankamon". Time for pure thrash in the 2nd half with "Studeno Surce" which is mild mid-paced thrash, and the furious "Licemer", but the 9-min progressive opus "Semeyna Voina" breaks the intensity relying mostly on crushing doomy riffs again; still not bad at all, featuring also a couple of twisted technical decisions. "Misantrop" will kill you with its merciless approach setting the tone for a string of tracks before "Okovite na Mraka" slows down being a softer power/thrasher merging into the closing balladic instrumental "V Pamet na Anton", which is dedicated to a deceased friend of the musician.

"Atrofiq Na Chuvstvata" has a very fuzzy guitar sound which takes away considerably from the sharpness of the riffs. Otherwise this is fast intense thrash/death metal with proficient leads, good arrangements, and vicious brutal vocals. The music at its best comes close to the controlled technical chaos of Morbid Angel, but the Bulgarian is not a stranger to slow, almost doomy, moments ("Urodlivi Pokoleniq", the Celtic Frost-esque "Atrofiq Na Chuvstvata") which are rich in atmosphere, and are a nice deviation from the more aggressive delivery.
"Pristup Na Bezumie", as a first full-length feature, has its flaws, mostly in the production and sound quality department, although the style is not far from the one displayed on the band's later efforts: fast aggressive thrash/death with cool slower atmospheric breaks, which take the upper hand on the colossal 12-min doom opus "Pristup Na Bezumie", vintage early Cathedral with funeral doom overtones. Such extremities are nowhere reached later on, as the music sticks to the fast dynamic patterns producing a couple of pure death metal "bombs" near the end. Interestingly, all songs from the album start with a "P", the lyrics evolving around sad depressing topics (suicide, curse, madness, etc.).
"Simbioza" is the band's most aggressive achievement, fast extreme thrash/death metal ala Merciless' debut and early Massacra. There is seldom a slow moment here except, of course, on "Traur" (aka "Mourning") which is another variation on the doom topic, well done with very cool melodic leads; and partially on "V Koshmara" where separate sections stomp with crushing riffs. Despite the lack of variety this album can pass for the band's best effort thrashing with no mercy in a direct stripped-down manner all the way.

Az Nosia Smurt Demo, 1990
Pristup Na Bezumie Full-length, 1995
Atrofiq Na Chuvstvata Full-length, 1996
Simbioza Full-length, 1997
Okovite Na Mraka Full-length, 1998


Based on the EP, this outfit pull out crunchy mid-paced retro thrash which starts in a more immediate manner before elaborating things on the last two compositions which embrace the semi-balladic idea to a heavy doomy effect the closing "...Die For Allah" speeding up a bit near the end. The vocals are harsh and shouty, but are comprehensive and even a tad dramatic.
The full-length is a more dynamic, more vivid affair although the dark brooding tone from the EP remains. "Heaven Turning Into Hell" is a nice diverse progressiver with a wide array of tempo changes including a cool atmospheric balladic interlude; and "Die For Allah" is an admirable sharp lashing shredder despite the dominant mid-paced approach on it.

Die for Whatever, but... EP, 1994
In Your Face Full-length, 1996


Classic, more complex for the genre thrash which loses a lot of points from the very muddy sound quality and the screechy blacky vocals. Thevmaterial ranges from shorter aggressive tracks (the aptly-titled "Aggressive Factor") to long plodding, mid-paced compositions ("Storm") where cool melodies can be heard, but not much else.

Double Face Demo, 1994


Pretty cool intense raging thrash of the old school will one find here; the guys play fast and tight with casual slower breaks, short screaming leads and harsh semi-death metal vocals. With a full-length in the makings, scheduled for release some time in 2011, the guys look well-equipped to make more waves, anf turn into one of the leading acts in the Middle East.
The "Absolute Evil" single provides 2 songs of similar fast-paced energetic retro thrash with a nice technical fibre akin to Kreator's "Coma of Souls" which comes with lashing riffs and a very good sound quality. The vocals are more clearly heard this time, reducing the deathy tone a bit, and suit the uncompromising musical delivery very well.

The full-length is finally a fact, and "Suspended Society" doesn't disappoint with its lashing qualities well reflected on the short warming-up opener "Forthcoming of Terror" which seamless flows into "Legions of Death": an energetic semi-technical thrasher with ripping guitars and a cool bass bottom. The technicality goes up a notch on the next "World of Guilt" which is a dramatic speedster with a more sophisticated edge in the beginning and a great lead section. "The Damned" continues the speed/thrashing saga, but all take a break for the following "WTF !" except for the bass player who displays his already proven skills for just over a minute. Devastating thrash awaits you after it on "Suspended Society... Mutilated Variety" which also retains the technical edge and the enchanting bass pyrotechnics. "Absolute Evil" is already familiar from the single, here not altered in any audible way, and "Iron Hands" abandons the speedy patterns for the sake of pensive rhythms with a doomy flavour. "A Man With Power" is speed/thrash to the death, no gimmicks here, and the closing "Coronation of Disgrace" is another example of more technically-minded thrash with less concentration on speed with a slight deathy shade and an imposing exiting doomy passage. The singer returns to his gruffer lower-tuned growls, but he is never an annoyance and is always intelligible. This is music made for both connoisseurs and headbangers, and as such should easily find a place on the front shelves of the genre, even on a saturated year like 2012.

Dead Thrashers Rising Demo, 2010
Absolute Evil Single, 2010
Suspended Society Full-length, 2012

Official Site


This formation were earlier known as Maelstrom when they didn't manage to produce anything substantial. Based on "Forces of Denial", the folks play retro power/thrash with progressive overtones. The delivery is comfortably sharp as the band often speed up, but not a lot. On the slower material ("Hypnotic Persecutions") the guys recall Sanctuary and Antithesis, whereas on the more dynamic numbers ("Vortex Of Deception") the guys evoke the spirit of the extinct heroes Have Mercy and even Realm. "Into The Serpent's Nest" is a nice shredding anthem with an urgent technical thrash engine; and "Lifting The Veil" ends this eventful opus with another portion of intense thrashing riffage. The singer is a very cool dramatic cleaner who may try something pitchy from time to time. Some of the musicians also play in the epic metallers Rosae Crucis.
"The Orwell Legacy" is oriented towards the power/speed metal idea more although intense gallopers like "Maelstrom Of Malice" are sure reminders of the greatness of Helstar's "Nosferatu", making this album another must-buy for fans of all walks of metal. "Seizure Of Rationality" hints at the more complex, progressive thrashisms of Paradox and Manticora with its meandering structure; and "Shadowcreed" is another inspired "horse rider" with epic touches. "Who Watches The Watchmen" is a diverse pice of power, speed and thrash crossed handsomely on a more demanding progressive base with choppy riffs which disappear completely for the ensuing direct speed/thrasher "Spiral Damnation". The guys unleash all the technical thrash hell loose on the superb instrumental "Forgotten Lore" which breaks its stride... sorry, gallops, with a nice melodic mid-break later opting for a hard-hitting up-tempo exit. All the way to the closing "Taboo Grinder" which is a progressive semi-ballad with a super-fast 2nd half where the band start thrashing in an intelligent, sophisticated manner again as a finishing touch, this composition also pulling the best from the vocalist who performs in a great emotional manner.

The Orwell Legacy Full-Length, 2009
Forces of Denial Full-Length, 2016

Official Site


Modern power/post-thrash with dark overtones; the delivery is mid-paced the friendy guitar tone accompanied at times by melodic keyboards, topped by gruffsemi-clean vocals which mostly semi-recite without much passion. There's a certain gothic flavour permeating the tracks assisted by slower, doomy passages as well which work well with the excellent melodic leads which are perhaps the highlight on this morose, brooding opus.

The New Order Full-Length, 2016


The EP shows an act indulging in retro thrash sustained in mid-pace with crunchy guitars which becomes quite predictable at some stage due to the guys' reluctance to change the pattern with something faster the shift being the surprising cover version of Halford's "Resurrection" at the end done quite well the gruff hardcore singer (if that's the same one) pulling standout high-strung performance recalling Halford himself quite a bit.
The full-length is a cool effort the singer leading the show with his capable attempts to imitate Halford which work on the fast-paced energetic musical background. As a matter of fact, the approach now resembles the one on "Painkiller" in the beginning, with a similar alternation between hard-hitting speedsters and more dramatic moderators; but in the 2nd half the guys lose it sticking to less impressive mid-tempo epicers, and although the lead guitar work is admirable all over, the impression is more on the mild side not without the help of the very tender acoustic ballad "Sed de Sangre".

Exilio EP, 2011
Imegenes De Un Recuerdo Full-Length, 2014

Official Site


Based on the demo, this band offers fast-paced modern thrash with an abrasive guitar sound. The guys play with energy trying to avoid the Swedish "traps" along the way, and their melodic leanings have a characteristic sound of their own ("Madness Attack"). "Exilium" rages in a less controlled fashion at the end sounding like pure death metal on the exiting cords. The singer has a cool gruff voice akin to Bruce Corbitt (Rigor Mortis).

Headbangers' Island Split, 2008
A Black Vicious Path Demo, 2009

My Space


This is heavy, at times quite fast, classic thrash which shows a hesitation between a more thoughtout song-writing ("Total Cure", "Dread Off Death") and direct simple bash ("Shaman"; "Drop Off", this one is a winner with its creepy technical main riff). The guys are obviously fascinated with the Bay-Area although the longer material has a face of its own and goes beyond their American counterparts' complex decisions. Still, there's something missing in the band's approach to really grab the attention; maybe it's the not very clear sound quality; maybe the rough declamatory vocals...

Total Cure Demo, 1993

Official Site


This unknown act provide raw bashing thrash/death which makes a lot more sense on the lead sections which are melodic and meandering. When the guys slow down they manage to come up with some impressive Celtic Frost-esque riffs ("Damned Butcher") which turn to pure doom later on a couple of tracks: passages from the more engaging, progressive-sounding "I Saw A Life". The guys ignore the more aggressive side of their repertoire which returns with "Cemetary", but they bring back the mood and the darkness with the last portion of brooding sombre thrashers which gain a lot from the inspired bass performance.

... in Pain Demo, 1994


Not much is known about this act, but the msic on display is decently executed modern thrash with a dark rich tone and covert progressive shades. The rough deathy shouter serving as a singer leads the pack, but the music is way better being dominantly mid-paced excluding the cool energizer “Forgotten” and the melo-thrash/deathster “When Tomorow Comes”. The closing ballad “I’ll Come for You” is another tasteful touch, an epic doomster with cool operatic support.

When Tomorrow Comes Full-Length, 2016


A very fast brutal mix of grindcore and thrash, sometimes to the point of becoming unlistenable; still, fans of the more extreme side of the genre will enjoy it. Melodic punk passages relieve part of the tension, but the more romantically-inclined fans can not count on them to be saved: this is pure inbridled brutality, often boldly following on the steps of grind/noise "monsters" like Napalm Death, O.L.D., Electro Hippies, etc.

Blood Money Full-length, 2000

My Space


The debut: this is one of the more pleasant surprises from the Hungarian metal scene, classy technical thrash akin to early Megadeth and the Dutch Mandator; these guys are probably fonder of speed, and tracks like "Sapadt Arcok" will definitely remind you of the 90's speed/power metal wave which swept the scene a few years later. There are great swirling riffs as well as stylish leads aplenty, to enjoy here. The vocals have this characteristic semi-declamatory Dave Mustaine-like echo, but sometimes sound quite hollow, almost completely choked by the guitars.
"A Csalegyene" is a rough post-thrashy affair seeing the band having completely surrendered to the modern vogues. This is clumsy uninspired music with a few jolly heavy metal references ("Nagyon Joeg") which keep the album afloat for a while. It's a real pity, listening to this stuff here, that a talented act like this one have given up the thrash metal idea after just one album.

Egyutt A Szemettel Full-Length, 1991
A Csalegyene Full-length, 1995
YAYOL Full-length, 1997


Based on "Face the Enemy", this act play typical modern thrash/death which mixes the tempos raging here and there with the odd blast-beat ("Fight Them Down", the hyper-ventillator "Life Is Now"). The energy on display is big all over reaching heights on merciless pieces like "For One Short Moment". There are a few mellower numbers towards the end, but this effort should have no problems satisfying the hungry headbanger.
"Into Darkness" is another modern thrash offering which exudes the proper amount of energy ("Before The End", the maddening shorter "I Scream"), but the majority is longer progressive-tinged compositions the wild-blasts on the more immediate material ("It Takes A Spark") tearing the silence the latter also rudely interrupted by the fierce Swedish melo-death/thrasher "You Want To Have It All" at the end.

Her Dark Passion Full-length, 2006
III Full-length, 2009
Face the Enemy Full-length, 2014
Into Darkness Full-Length, 2016

Official Site


5 Senors (these are apparently pseudonyms) are in charge of this modern thrashism which is quite diverse: check out the opening "Burn", a modern thrash encylopaedia lasting for more than 11-min. The other 3 compositions are shorter and more aggressive "flirting" with death metal quite a bit and consequently fitting better the throaty death metal shouter. Otherwise this is standard stuff with frequent nods to the Gothenburg school and a really nice wink at Xentrix on the cool "Not My Fight" (check also the melodic leads on this one) where the singer acquires a warmer cleaner tember quite reminiscent of Rick Astley.

Exit for Freedom EP, 2012

Official Site


Fast uncompromising classic thrash blending Slayer with more clever execution ala Kreator's "Coma of Souls". The riffs follow in quick succession each being sharper and more painful than the preceding one. The middle is occupied by a string of short exploders ("B.F.A.M.", "Stopm", "My Feast") where the maddening bash reaches almost hardcore-like proportions; before the "graceful" "Graceful as Fuck" serves more stylish riffs despite its silly title. "What I've Eaten" provides a portion of cool melodic leads, and the final "Leg Drop Time!" thrashes to the death the flag of Slayer raised high. The singer is a rending shouty throat who doesn't spare himselfnearly tearing his vocal chords at times. Some of the musicians are also active with the melodic death metallers Only Death Decides.

The Total Extent of Pure Excess Full-Length, 2015

Official Site


Based on the demo, this is excellent classic aggressive thrash which will remind you of Evildead's debut, Torture and Vio-lence's "Eternal Nightmare". The four songs offer great headbanging material leaving you begging for more.

The full-length delivers the goods sticking closer to the Bay-Area patterns with a pinch of Anthrax, Slayer, Paradox. The aggression is mixed with slower passages which are given enough space to develop since the tracks are much longer: "Coming Down" is a nice example of the latter: a compelling blend of speedy thrash, stomping heavy moments, and fine balladic lyrical ones. The shorter numbers are as merciless as it gets: "Mindless Pawns", which is even proto-death laced; the brilliant speed/thrasher ala Paradox "Kristallnacht". "Misery" is another sprawling song which loses the inertia with slightly monotonous mid-paced riffs, and a kind of a clumsy doomy/balladic ending. "No More" is a glorious instrumental thrashing intensely for more than 7-min; it doesn't reach the speed of the aforementioned two fast-paced numbers, but the clever riffage and the frequently changing tempos will keep you on the alert. Apparently at the final stage of the album the guys have decided to give the singer a break, and the closer "Justice Under God" is another fine instrumental piece, this time speeding up admirably, with a nice alternation between sharp riffs and melodic hooks. This is a fairly entertainig listen, showing the band willing to embrace more influences although to these ears their more immediate aggressive side is the more preferrable one.

Demo Demo, 2002
Coming Down Full-length, 2007

Official Site


This obscure Finnish formation play antedeluvian thrash/proto-death which is interrupted by seismic doom metal sweeps. The mixture works well the long numbers possessing both atmosphere and aggression in almost equal dozes both sides alternating except on the final morose funeral hymn "Thanatos" which is pure dark doom in the best tradition of Candlemass and early Anathema. The singer is not bad although he mostly semi-recites with a forceful macabre tember sometimes remaining buried under the inspired musical barrage.

Statutum Est Hominibus Mori Demo, 1990


Based on the "Descent into Chaos" demo, these guys could be ranked among one of the first thrash/death metal bands with an aggressive and vicious sound which puts them closer to the French wave which started at around the same time: Massacra, Loudblast, Agressor.

Descent Into Chaos Demo, 1988
Immortality's End EP, 1989
Fade from Reality EP, 1991
Butchers of the Urban Frontier Demo, 1993
Necrotic Visions Demo, 1994

Official Site


Based on the full-length debut: well executed technical death/thrash with excellent guitar work which would make quite a few heads, even from Shrapnel, raise. The style has its shade of Gothenburg death metal, but the lashing guitars and the swirling leads give it a much superior edge, making it sound like more technical At The Gates. The sound gets quite aggressive and fast, and the overall style would probably appeal more to death metal maniacs, but this high level of musicianship deserves to be heard by more metal fans, especially the magnificent shredding instrumental "Axe of War": guitar performance at its most perfect.
The guys haven't lost a notch from their high level musical skills as is evident from their new offering "Beyond the Fall of Time" although the approach is milder and not as inspired this time: the very first notes from the intro "Bane Forthcoming" combining flamenco guitars with virtuous leads, promise a lot, but what follows is not as striking. The band shred like demented on the actual opener "Kneel Before the Steel" before "Black XIII" mixes thrash, death and speed metal to a fairly pompous, even epic, effect. More instrumental vurtuosity on the 2.5-min instrumental "Beyond the Nile...", before "Entombed with the Pharaohs" smashes you in a brutal death metal fashion reaching Nile-esque proportions, an influence early betrayed by the song-title. "Destroy" is a sweeping "destructive" death/thrasher, but "Crawling Chaos" gives the listener a time to relax. "Left to Die in the Paradox of Time" hints at more technicality to be revealed mixing breathtaking acoustic with intense shredding sections, among great virtuoso leads. "Khronos" would be an annoyance, the next in line peaceful instrumental, which reduces the number of the actual songs to just 6, the closing "The Gathering" being an epic power metal proto-speedster with echoes of both Children of Bodom and the 90's speed/power metal scene with an overuse of melodic hooks, a clearly underwhelming finish to this cool, but hardly exceptional follow-up.
"Slave to the Sword" is a bit more aggressive than the previous album, but apart from the excellent lead guitar work the rest doesn't strike a cord too much. This melodic modern speed/thrash saga by all means has its good moments, but the approach is too straight-forward, and in the middle it loses its initial speed-based nature. The "Moonlight Sonata (Act 3)" is done very well with some truly inspired guitar shreds and leads, and "Battle-Born" is a nice short galloper shifting away from the more demanding delivery on the rest of the material. The band have found their own niche and will apparently stick to it; it's a pity, though, that they have left their more technical flair aside...
"Ride Forth" carries on with the epitomized by the band modern speed/thrash/death and fans of the previous two instalments should rejoice. The guitar work is traditionally top-notch, but this is so familiar that the guitar pyrotechnics seem like a waste of talent. The technicality is virtually non-existent here, this is a fairly linear recording with shades of Children of Bodom and the Gothenburg cohorts, pleasant and feelgood, but ultimately unmemorable.

Reign of the War Gods EP, 2006
In Hatred's Flame Full-length, 2007
Beyond the Fall of Time Full-length, 2011
Slave to the Sword Full-Length, 2014
Ride Forth Full-Length, 2016

Official Site


Fairly good thrash metal of the old school reminiscent of late-80's Slayer and Sepultura's "Arise"; the music mixes fast aggressive thrashers: "I Kill Now", "In Hate", with heavy mid-paced ones which come with atmospheric passages and really good melodic guitar work. "Unborn" closes the album in a more lyrical balladic fashion, still stirred with nice heavy, but melodic riffs carrying a shade of gothic. The real closer, however, is the less-than-a-minute grinding explosion "More Bass" (well, where was the bass here!?).

Confusion Full-Length, 1995


This Finnish formation play fairly engaging varied modern thrash which has it all including a very good bass bottom to contrast with the frequent melodic licks both in the riff and lead department. There are a few progressive motifs to be encountered, and this effort as a whole is hard to be pigeonholed. It develops in a clever mid-pace creeping forward quietly in the beginning, unobtrusively until a hard-hitting headbanging section rudely awakes you: "Surreality", which is supreme bashing thrash with a more technical edge. The "carnage" carries on with "Sculpture of Flesh" which is graced by a cool quiet balladic interlude (check out the bass on this one). "Spiritual Killing" is a prime progressive cut sustained in a dramatic escalating manner with several puzzling riff patterns. Progressive tranquillity reigns on the dreamy semi-balladic "Trapped In Infinity", but this piece is another display of musical mastery exited with a sudden fast break. "Cosmic Horizon" is a fast-paced smasher with the obligatory head-scratching digressions and the calmer interlude in the middle. The complexity reaches heights on the last three compositions which are multi-layered combining all the aforementioned elements (open your ears for the Rush references on the instrumental "Sunset Vista" which is generally quiet with pensive rhythms and less adventurous passages) stretching them quite a bit without overdoing it. Those numbers provide close to 25-min of music altogether recalling the best from the later-period Death catalogue. The influence of the Americans is obvious at times, but this outfit has come up with something truly unique here, and one would really have to think hard to cite a better example for such a seamless blend of laid-back and aggressive technical thrash/death of recent years. The singer isn't quite on par with the good music, though, his detached hardcore-ish tirades lacking the depth and dramatism from which this otherwise fairly strong album could have benefitted.

Spiral Of Decay Full-Length, 2012


These Spaniards provide quite cool, crisp retro thrash which is sustained in a cool up-tempo with sparce deathy blasts ("Fight My Cock And Your Palate"). The sound quality is crystal clear and the lead guitarist makes the best use of his time providing some addictive licks (check out the balladic mid-section on "Creating Addicts"). Wild thrashing awaits you on short dynamite cuts like "World's Cancer" and the hyper-bomby "She Begs For Mercy", and more laid-back relief on the merry crossover hymn "Push The Button" and the heavy ballad "The Desire Of Darkness". The singer acquits himself with a mean shouty tember which is not very high, and may remind you of both Schmier and Freddy (Necronomicon), only more throaty and spiced with the casual more brutal deathy growl.
"Hellbringer" can literally "bring hell" to you with its sharp biting riffs and the perennial fast pace. The crisp production greatlly favours the guys' exuberant style giving the guitars a nice expressive edge. The speed reaches extreme dimensions ("150% Attitude") at times, but melodic reliefs are on the way, like the melodic hooks on "Anesthetics", for example. The leads are on a fairly high level the whole time seamlessly co-existing with the entertaining rifforamas which only rellax on the more laid-back speed/crossover closer "The Art of Drinking". The band are going strong at present, and some of their compatriots will have a lot fo catching up to do in order to keep pace with them including the newly reformed veterans Fuck-Off.

Slow Death Full-length, 2012
Hellbringer Full-Length, 2014

Official Site


Two pieces of uplifting modern speed/thrash with a progressive "sting". A crystal clear sound quality helps the gyus in producing catchy dynamic music with echoes of the 90's power/speed metal movement, with cool clean vocals and several memorable melodic passages: the leads and the chorus on "Mud, Rage and Blood".

Exodium EP, 2015


One of the pioneers of thrash metal who were actually the first band where Kirk Hammett played; he was recruited by Metallica at an early stage of Exodus' career, the former looking for an able replacement of the fired Dave Mustaine. Even without him the rest managed fine producing "Bonded By Blood": a landmark album, an example followed by hundreds of bands throughout the years; some of the definitive Bay Area hymns are here sung in a forceful vicious manner by Paul Baloff (R.I.P.). "Pleasures Of The Flesh" saw Baloff replaced by Steve "Zetro" Souza although in terms of music it wasn't far from the debut, albeit missing its visceral spontaneous power. But then came "Fabulous Disaster" two years later featuring excellent fresh-sounding invigorating thrash even foreshadowing the debut at times. "Impact is Imminent" failed to reach those high standards sounding a bit tired and uninspired, despite the presence of a couple of worthy more forceful thrashers. "Force Of Habit" was the band's attempt to adjust to the modern tastes with a more experimental approach sacrificing the speed and the old school sound for the sake of a not very compelling mix of groove and the post-thrash introduced on The Black Album. Consequently it was not received very well, and the guys went their separate ways. Gary Holt, the band founder and the only constant member since the inception, took part in a few other acts in the 90's including Jason Newsted's modern thrash metal project Sexoturica where he worked again with the first Exodus drummer Tom Hunting.
Fresh from their work together in Sexoturica (Hunting was also seen in the other similar style-wise Newsted band IR8) the two teamed up soon after for the recording of the 4-piece EP "War Is My Shepherd" which featured 3 brand new tracks and an AC/DC cover of "Dirty Deeds Done Dirt Cheap", showing the guys hungry for more headbanging retro thrash (the track "Impaler" was written much earlier, even before the recording of "Bonded by Blood", but was excluded from the band's repertoire since it was composed by Kirk Hammett who later based "Trapped Under Ice" on the main riff from it). The time could not have been more appropriately chosen, in the midst of the classic thrash metal fever, and expectedly the new full-length "Tempo of the Damned" was a huge success, with the three songs from the EP serving as a base with seven more blistering classic thrashers added. There were inevitably several nods to the more recent thrash metal metamorphosis to be heard, but embedded into the enjoyable retro picture, they had an even more positive effect.
Not willing to lose the so well accumulated inertia, the band were ready less than a year later with a new material on "Shovel Headed Kill Machine" which saw the guys increasing the songs' length without bringing anything technical to the fore by adding more proto-modern elements for the sake of the speed. Still, this effort was not bad at all showing the band in a less fast, albeit a crushing steam-roller light which also introduced their new singer Rob Dukes who had to step in for the very suddenly departed Souza.
"The Atrocity Exhibition... Exhibit A" carries on in the same vein as the previous two: good classic thrash metal with a modern production. The complaint comes from these long 8-9min and beyond tracks which just do not suit the band's style simply because they start to drag near the end, and create a kind of a monotonous atmosphere, especially when they are not "decorated" by any interesting technical hooks or tempo changes. The band's power has always been in the shorter, hard-hitting, headbanging tracks, something which this album also offers, albeit not in the sufficient amount.
"Let There Be Blood" is a re-recorded version of the band's legendary debut done in memory of Paul Baloff (R.I.P.).

The guys are back in action with the "second exhibit" (B) which shows the band in a very good "human condition", the best one since the reformation. This album is a real keeper coming close to "Fabulous Disaster" on the best moments beating everything released after the latter up to this point. The opener "The Ballad Of Leonard And Charles" indeed begins as a ballad, but throughout its more than 7-min one can hardly come across a mild moment: this is a pure classic headbanging delight, a non-stop mosh to the very end. No mercy shown on "Beyond The Pale" which thrashes with force for nearly 8-min. Paradoxically, here the longer tracks are the fuller more intense thrashers whereas the shorter ones are more laid-back: the following "Hammer And Life" after which another 7-min headbanging opus comes forward ("Class Dismissed (A Hate Primer)") to crush your skull. The demolition carries on without compromise for a couple of tracks until it reaches "Nanking", which is a prototypical for the more recent work of the band heavy stomper, still pretty classic-sounding. "Burn, Hollywood, Burn" is a shorter speedy burst, but "Democide" is another "sleeper" recalling Testament's "Souls of Black", only longer. Prepare to hear whole 10-min of fast intense thrashing on "The Sun Is My Destroyer", a glorious opus which literally sums up the whole genre even adding the odd technical hook here and there. This climactic composition is followed by a short pounding bass-dominated instrumental, but the final "Good Riddance" is another merciless thrasher which will sprain your neck as a finishing touch to this highly satisfying entry into the catalogue of one of the "fathers" of the genre which alone shows that those "fathers" are more than alive and well, and it will take quite an effort from the "sons" to reach them.
"Blood In Blood Out" is by all means "bonded by blood", and not only title-wise, and the opener "Black 13" is already the staple intense thrasher the inertia from it admirably kept by the following title-track. There isn't thrash lost later not without the help of their old comrade Kirk Hammett who helps on "Salt the Wound" with a few flashy leads. More help later from another veteran from the Bay-Area scene, Mr. Chuck Billy on the mid-paced hymn "Btk" which regardless remains the weakest piece on the album with its not very exciting repetitive riff-patterns. A couple of similar not very eventful cuts follow before "Numb" starts thrashing with force again; another melee formed by the next "Honor Killings" and the more technical rager "Food For The Worms". There is a bonus track titled "Angel of Death", but this is not the Slayer exploder, but the immortal hymn of Angel Witch done quite faithfully to the original, Steve "Zetro" Souza replaced behind the vocals by none other than Kevin Heybourne, the Angel Witch singer. Too many guests, some may say, and indeed the band were kind of more convincing when they were operating without any additional support from the metal constellation. Still, this album would be a safe bet since there are no major flops, but overall it sounds too familiar and again, safe, to be a top ten pick for the year.

Bonded by Blood Full-length, 1985
Pleasures Of The Flesh Full-length, 1987
Fabulous Disaster Full-length, 1989
Objection Overruled EP, 1990
Impact Is Imminent Full-length, 1990
Force Of Habit Full-length, 1992
War Is My Shepherd EP, 2003
Tempo of the Damned Full-length, 2004
Shovel Headed Kill Machine Full-length, 2005
The Atrocity Exhibition... Exhibit A Full-Length, 2007
Let There Be Blood Full-length, 2008
Exhibit B: The Human Condition Full-length, 2010
Blood In Blood Out Full-Length, 2014

Official Site


3 tracks of atmospheric battle-like thrash/death, strictly modern, mixing fast (not many) and slow tempos on a cool melodic base. There is an epic undercurrent running through the songs which will remind of both Bifrost and Amon Amarth. The singer is a not very pleasant low-tuned growler whose antics may not be very comprehensive.

Demo Demo, 2011

My Space


This is modern thrash/death metal akin to Dismember and Maze of Torment alternating fast and slow moments in a proficient, but pretty predictable, manner. The musicianship is all right especially the very good leads, but the band prefer to play it less adventurously leaving a lot to the mellower passages which overtake the space near the end giving it an atmospheric, almost doom/gothic, "colouring". The singer is a prototypical mid-ranged growler reminiscent of Johan Hegg (Amon Amarth).

In This Nightmare Full-length, 2011

Official Site


Based on the "Voices From The Graves" demo: this band play cool speedy thrash with occasional proto-death elements ("Siedem Bram Piekiel"). The music is fast-paced and intense with gruff semi-black metal vocals (they are hardly audible so to some they might sound otherwise...).

Rehearsal '86 Demo, 1986
Voices From The Graves Demo, 1987
Live At Thrash Camp Demo, 1988
After The North Winds Demo, 1988
Exorcist-The History 1 Best of/Compilation, 2004
Exorcist-The History 2 Best of/Compilation, 2004

Official Site


There is quite a story behind the band's formation, but I will stick to the music at play: cool power/speed/thrash metal along the lines of Venom and Whiplash, among other bands- not very intense with nice, at times original, melodic guitar work, and a considerable number of outros or intros, which add up to the ominous atmosphere of the album. One can find galloping power/thrashers here ("Black Mass"), fast energetic headbangers ("Burnt Offerings"), which are the predominant ones, even pure speed/power metal delights ala Attacker and early Laaz Rockit ("Call For The Exorcist"). The final result is truly on the positive side, and the diverse nature of this album served the band really well, to find a wider exposure, also outside the thrash metal genre.

Nightmare Theatre Full-length, 1985

My Space


Very good semi-technical Bay-Area influenced thrash also adding a few touches ala Anthrax (the sharp riffage, the shouted male choruses); the sound quality is very clear giving a nice boost to the crisp guitar sound. The songs are energetic affairs mixing fast with slower sections with only "Disease Inside" coming out with all the guns blazing thrashing with full force. Another fine moment is "In Memory" which begins as a ballad before moving onto excellent hard-hitting thrash without vocals which are not bad at all, by the way, sounding like a good cross between the two Anthrax singers Joey Belladonna and John Bush. This nice little EP could serve as a good base for a sure-handed full-length debut; the Czech scene needs fresh new powers like these guys...
The full-length: "nothing is wrong" here... really; the band don't stray from their chosen path lashing clever, semi-technical riffs coming with a less serious crossover flavour on the opening "Let's Skate" which is more than just a passing nod to Suicidal Tendencies' more thrashy days, including in the vocal department where the guy this time resembles Mike Muir quite a bit (could be another singer?). The carefree atotude remains for the rest of the album and the crossover atmosphere can be felt on other places throughout the album despite the sharp guitars and the intensity. The Bay-Area school is certainly paid tribute again ("Disfigured Humanity", "Legalized Slavery"), but there's a much bigger diversity here compared to the debut: the sprawling baladic interludes on the instrumental "The Cave of the Ancients"; a short melodic lead-driven instrumental "Intro to Clarity"; the closing crossover hymn "Beer and Weed". It would be no wonder if the band branch out into more sincere crossover/hardcore in the future...

Disease Inside EP, 2009
Something Is Wrong Full-length, 2012

Official Site


Well-played inspired retro thrash boosted by excellent production with crisp guitars, a few adherences to melo-death, but not annoyingly many, and a very good sense of technicality at this stage reflected in just a couple of numbers: the speedy shredder "The Sceptic", a prime all-instrumental "symphony" of stylish time and tempo-changes. "Fight" will make many stand up and "fight" raising their fists in unison, and "The Secret Book of Conspiracy" is another more technically-charged "skirmish" of lashing rapidfire riffs. "I Will Kill You" is surprisingly lyrical contrary to its brutal title, a nice melodic speedster with sweeping beautiful melodies galore. After it the band show very little mercy thrashing to the death embracing the thrash/death idea of Sceptic merged with a tad of more recent Paradox to a frankly smashing effect; a furious riff after a furious riffs comes overwhelming the listener who will literally get shattered by the uncontrolled hyper-blasts on "Doomsday". The final "World Disaster" is another instrumental "odyssey", shorter than the 1st one, and more "romantic" (understand a fine baladic interlude with some virtuosso leads). This is a truly impressive achievement, a real contender for the best album from Greece of recent years, a statement of intent which should be strengthened later easily.

Holocaust Of Souls Full-Length, 2013


The "Verus Hostis-A Hymn to Fire" EP is just 2 tracks of fast, uncompromising black/thrash/death which is also Oriental melody-decorated in a way not too far from Melechesh which are probably the closest soundalike with Absu a close second. The guys lash with passion and seldom slow down consequently giving a bigger share to black metal with thrash the second more regular presence (the songs are 6-7min long so there's room for all). The singer is a vicious blacky rasper, but suits the music on all counts. This is good memorable stuff which could develop into something more sustainable and longer.
"The Apotheosis of Death" has chosen the black metal idea to pursue, and the guys start bashing with passion from the beginning creating quite a bit of chaos along the way with hyper-blasts tearing the air at will although the calculated complexity of cuts like "Ascension Through Vanquished Flesh" should leave no one disappointed with their diverse execution and progressive build-ups. There's a lot of melody present as well which decorates almost every song: check out the brilliant addictive tunes on "The Purging Storm of Chaos Unfurls..."; or the symphonic sweeps on "...Unto the Lightning Swords Of Conquest (Mars Invictus)". "Fire & Triumph" is the only number reigned by thrash here, with the chaotic rager "Abandon All Hope" a close second. "Blade Of Brutus" is an epic closer which encompasses all the nuances displayed previously turning into an omnipresent symphonic saga along the lines of Dimmu Borgir. This is a fairly cool album which would make much more sense to the black metal audience.

Serva Ad Mors EP, 2007
Verus Hostis-A Hymn to Fire EP, 2010
Sacrifice, Perish and Demise EP, 2012
The Apotheosis of Death Full-length, 2014

Official Site


One person is involved here, the name Jens Faber (also the power metal stalwarts Dawn of Destiny), who blends power, speed and a bit of thrash for the execution of this roller-coaster that will pelase with hyper-active cuts like "Hell Where You Least Expect It" and the invigorating galloping anthem "Fly Away". Deviation from the formula are provided as either doom-laden epicers ("All the Evil Must Die") or as sing-along semi-ballads ("Still Alive"). The vocals are good clean, emotional ones suiting the uplifting tone of the music on all counts.

Time for a Change Full-length, 2017



Based on the full-length, this act serve a mixture of black, thrash and classic heavy metal which is sustained in a brooding, dark manner with isolated outbursts ("Ossuary") of aggression, "Dig Deeper" breaking the borders of the good taste with a slab of uncontrolled hyper-blasts. A contrasting blend as a whole not winning much from the sinister blacky singer who shouts/semi-shouts in a bleak, dispassionate fashion.

Buried Upside Down EP, 2016
Collected Bones Full-length, 2017

Official Site


Based on the "The Fifth Season" demo, this band play very good aggressive fast-paced thrash/death metal with several genuine technical leanings mixed with great acoustic breaks (the excellent "Necromantic Love-Affair"). "Ashes From The Past" is another great track, but the guys slow down, coming with mighty crushing stylish riffs. "The Fifth Season", however, compensates largely for the lost speed on the preceding one coming with all the guns blazing: an explosive thrash/death piece in the Assorted Heap, Pestilence vein.
"And Then You Die" is another fine slab of intense thrash/death metal with the technical implements all over, maybe not as obvious this time. "Waiting for the Maggots" might remind you of the Germans Darkness' hit "Faded Pictures", with the intense thrashing and the declamatory rough vocals. There's no mercy on this one: smashing thrashing assault until the end; "After Death" might mislead you that this would be a pause for a rest because of its doomy beginning, but very soon the order of the day becomes heads-down fast-paced thrash. "Cannibalistic Killer" is a nice technical death/thrasher which could have been the highlight even on "Testimony of the Ancients". "The Things that Were (And Shall be Again)" isn't too far behind being faster and more aggressive, but the amazing technical licks are present all over. The closer "Chorus of the Doomed" is a brutal attack, pure death metal madness, still finding time for a more stylish technical play.
"Carnival Of Souls" is a logical continuation of the band's evolution now sounding much closer to death metal by retaining the technical approach, even moving up this scale. The guys lash fast and tight with plenty of technicality which reaches the top early on the excellent manic shredder "Escape The Eternal Sleep". The rest of the material follows this high model pretty closely abandoning the intense delivery on the fine atmospheric "Necromantic Love-Affair" which slows down, only to break out in an awesome technical death metal fashion near the end. Inevitable the slower moments arrive on the dark doomy pounder "Ashes From The Past", but rest assured that you won't fall asleep with the brutal blasting "Final Discorporation" following suit right after. Puzzling mid-tempo technicality is served on the creepy "The Visiting Room", but expect another furious exit later on. The final "Art Of Butchery" is all-out speed, a pretty shattering number with swirling guitars and a very cool twisted doomy ending.
"A Thousand Dreams Ago" doesn't quite follow the band's sure-handed style although it starts moshing out on full-throttle on the opening "The World Before You" which offers fast and slow sections suddenly intercepting each other the whole time accompanied by good technical leads. "Behind Your Mind" is a heavy proto-galloper ala "Spiritual Healing", but when a string of songs after it follow exactly the same pattern, one may start mourning the obvious loss of speed which is suddenly brought back on the frantic semi-blaster "Anxious For The Light". The up-tempo is preserved for the next "Deny The Pain", the short headbanging delight "Thoughts", and the re-mastered version of "The Fifth Reason" from their 1992 demo of the same title. More creepy mid-paced technicality comes on "Second Murder" before the closing "No Regret" shoots you at close range with merciless speedy riffs. A fresh breath of air in the midst of the stagnant 90's, this album remained the band's last legacy although it was clear that they did not quite reach their highest potential with it.

Waiting For The Maggots Demo, 1990
And Then You Die Demo, 1991
Ashes... Single, 1992
The Fifth Season Demo, 1992
Carnival Of Souls Full-length, 1994
A Thousand Dreams Ago Full-length, 1995


A one-man band: Reinhold Schmidt in this case, who does a very good job to show us how classic technical thrash should sound. This album will remind you of many great albums of the old days: Heathen's "Victim of Deception", Apocalypse's "Faithless", Kreator's "Coma of Souls", even Nasty Savage's "Penetration Point" in the more complex sections. The vocals are a bit on the dull side having this annoying hardcore-shade mixed with the vicious Mille Petrozza style (think "Terrible Certainty"), but for a riff-fest of such a high calibre this is hardly a complaint. The music picks up a death metal-like intensity not far from mid-period Death, but only occasionally. Every track is a masterpiece of perfectly executed technical thrash; if you've thought that all the great thrash metal had been done in the distant past, after listening to this, you'll definitely give it a second thought.

Dance of the Elements Full-length, 2004

Official Site


The debut: modern progressive thrash which retains all the staple tools of the trade from the Canadian metal scene; the overall approach recalls Quo Vadis, above all other acts, and the Gothenburg melo-death/thrash echoes are at times too strong to make this album a true masterpiece although on quite a few times it comes dangerously close. Still, inspired technical shredders like "Phoenix Writhing" and "The King" are quite impressive and should satisfy thrash metal fans from all walks of the genre due to their very clever, but also not very restrained headbanging nature. There's so much energy at display here that one will have a very good time just jumping around without concentrating on the more intricate nature of the music: check out the perennial mosher "Don't Worry, the Worst is Yet to Come", or the longer, but equally as enchanting "Idol Worship". "Allegiance to Pain" is a bit over 2-min of virtuoso musicianship, a deserved show-off for the guys who later produce another very similar delight, very aptly-titled "Headbang Your Head Off". More melody comes for the exiting duo the closer "Eating a Beating Heart" calming the ball down with a nice balladic passage. The singer is an attached death metal shouter and is the only less striking feature on this very cool album.
"Pinching Nerves" is a much more ordinary affair the delivery now not containing too many surprises, the fast-paced numbers ("Corridors of the Mind") failing to form an appetizing symbiosis with the slower, more atmospheric (the title-track) material which is just too blase to really impress. The whole offering is barely over 20-min long, and to consider it a full-blooded full-length would be too farfetched.

Just the Tip Full-Length, 2014
Pinching Nerves Full-length, 2017



Based on the full-length, this band play quite interesting, albeit abrasive and a bit distorted modern thrash/crossover which has a curious suffocating claustrophobic aura mostly coming form the noisy, hardcore-ish riffage. With the sterile shredder "War Terminal (The True Front Line)" things move towards mid-90's Voivod, this being a most compelling modern masterpiece with enhancing atmospheric additives. Later such musical audacity is nowhere reached, but "Authority Spire" is a cool industrial stomper, and "Opulent Tesseract Ascension" is a nice speedy melee with the quirky atmospherics emerging again, staying around for the cosmic progressiver at the end "Cold Orbit" where the guys beat Strapping Young Lad at their own game with a rising tide of corrosive apocalyptic riff-formulas.

Laws of Power EP, 2015
Expander EP, 2015
Endless Computer Full-length, 2017

Official Site


Heavy thrash, more classically inclined, influenced by late 80's Metallica, but not as technical, mixed with gothic passages ala Paradise Lost. The singer gives his voice a deep tone, partially resembling James Hetfield and Chris Holmes. The longer songs ("Expantor") are kind of underwhelming losing the thrashy edge a bit whereas the shorter ones ("Another Fear", "Betrayal or Reaction") deliver the goods in a better way coming with good tempos and riffs. There isn't much energy and speed involved, and the sound starts to drag gradually, especially on the more modern sounding gothic-tinged "Awakening For...(Be Awake Part ||) which offers anything else but "awakening". "Be Awake"(as you can see, the guys are determined to "wake" you "up" no matter what the cost) is a heavy ballad which could have been a nice touch if it wasn't for the not very fast style of the preceding songs; now it only adds up to the monotonous one-dimensional nature of the other material.

The brood - Screaming High Demo, 2001
Beating On Concrete Demo, 2002


Based on the debut EP, this act provides simplistic thrash/crossover with tongue-in-cheek lyrics ("Megadeth Sells...But Who Cares?", etc.) of the more moderate softer type except for sparce hardcore-ish outbreaks. The guitar sound is very fuzzy to the point of annoyance, and at times what one will hear is just plain noise topped by barely audible shouty vocals.

No Sleep 'Til Chugwater EP, 1987
Expatriate EP, 1990

Fan Site


This formation play stylish semi-technical, modern thrash which starts with the choppy, not very predictable "Bitter End". Later on it branches into more groovy patterns carved by better bursting shorters like "Amorphous Flowing Ice" and the exemplary technical shredder "Pelvic Fin". The 2nd half exudes more style with the energetic "Erase It" and the moshing closer "Light Speed Heart Beat" which isn't exactly "light speed", but is a cool melodic speed/thrasher. The singer shouts forcefully trying to embed some melody into his attached tirades. The musicians take part in several other acts: the death/thrash hybriders Marooned and Arsenic, and were earlier known as Pigskin where the style was modern thrash/metalcore.

Kill the Conductor Full-Length, 2015

Official Site


Based on the self-titled demo, this is speed/thrash metal akin to early Whiplash, maybe with better and heavier guitar work.

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


Associates of Paul Speckman's in Master, Abomination, Funeral Bitch, and his own project under his name, have gotten together here to produce interesting minimalistic thrash metal of the retro type with heavy steam-rolling riffs, very cool stylish leads, and a couple of more thought-out technical moments. "Inferiority Complex" is moody and doomy with a few faster surprises, an intriguing varied number with very sharp riffs. "Nocturnity" begins with an imposing Oriental-decorated doomy intro, but later on the guys thrash in a vigorous up-tempo manner with nice technical hooks without losing the great Oriental motifs. "Nebulon Horror" loses the speed quite a bit, but the intrigue remains being of the heavy stomping kind. "Adrenalin Dream" is not the fastest number in the world, either, but delivers with its slight adherence to the spawning modern scene, and the excellent jumpy technical exit. "Ripping the Earth" is the highlight, a fine progressive composition with cool bass insertions, a jumpy rhythm section, and more intense headbanging moments. The singer stays on par with the music pulling out a rough, but intelligible, death-metal tember. This could have grown into something really good, but the guys later came back safely under the Speckman banner continuing to contribute to the aforementioned acts either on a full-time or a part-time basis.

The Edge of Within Demo, 1991

My Space


The long balladic gothic intro would hardly prepare the fan for something too hard, but at least the guys later manage to pull out more aggressive music, still gothic-tinged, a mixture of heavy, power, and thrash metal on the very melodic side with frequent stretches towards the ballad, with soft mid-paced guitars and unemotional low semi-clean vocals. This band can actually be viewed as the continuation of the underground act Henker who released a solitary demo in the distant 1987.

Return to Golgotha EP, 2010

Official Site


The EP: this is a 4-song EP which shows a band intent on thrashing the neighbourhood in a cataclysmic old school fashion modernizing the situation with the dry dispassionate semi-shouty vocals. The guys thrash with force pausing for a short break on the final longer "Wasure" which is an entertaining mixture of thrash and speed metal with good sharp riffs and a few nice bass implements.
"Haze" is a continuation of the EP the delivery now more modern-sounding, but equally as intense accentuated by short blitzkriegers like "Extension of Warranty" and more engaging, complex cuts like "Mr. Quiet" and "Internal Suffered Pain". The closing "A Vital Quandary" is a shattering Slayer-esque smasher which alone is a testimony for the guys' determination to advocate the classic thrash idea with passion.

Certain Death EP, 2010
Haze Full-Length, 2015

Official Site


Based on the "To Be or Not to Be" demo, this is pretty entertaining speed/thrash along the lines of Darkness and Necronomicon with quite cool high-strung semi-clean vocals ala early Kai Hansen (Helloween, Gamma Ray) and Dirk Schroder (Iron Angel). The guys bash with vigour with an excellent bass bottom, plus a few inspired lead sections. The title-track goes a bit over the top with a portion of maddening proto-death moments, but it only adds up to the intense appeal of this cool recording.

Metamorphosis Demo, 1991
To Be or Not to Be Demo, 1992


This obscure trio acquit themselves with energetic thrash which sounds close to Nasty Savage's "Indulgence" having the same consistent pounding quality and choppy rhythms. The guys here are fonder of speed, but never overdo it and the solid mid-pace guarantees smiles on the fans' faces, except on the stupid funky closer "Chicken" which is total humiliation both musically and vocally. The vocalist isn't an asset, anyway, singing in a muffled hardcore-ish tember; and the sound quality is really bad coming with a constant buzz which is all over the instruments.

Multiple Stab Wounds Demo, 1989


An obscure offering mixing the blitzkrieg, hardcore-ish thrash of Sacred Reich's "Ignorance" with the upcoming modern aggro-trends resulting in an intense diverse mixing both approaches, listen which towards the end abandons the fast play for the sake of hammering, pounding riffs not far from the ones heard on Exhorder's same year's "The Law". The singer had already acquired the angry tones although at this stage his antics still come with a more soulful blend (think Phil Anselmo at his more romantic).

Explicit Fate Full-length, 1992


Very good thrash metal of the German school reminiscent of Kreator and Destruction; intense aggressive music with nice, quite technical at times, guitars, which precedes the style Kreator adopted for their late 80's period. There is some death metal intensity involved, bringing to mind early Death, even their "Spiritual Healing", which was released two years later. The tempo is fast and relentless throughout, with only the album closer, which is a nice instrumental, with a great acoustic intro, called "The Trip", deviating into an atmospheric mid-paced direction.
The compilation includes the whole full-length plus the surroundind demos: 2 from 1987, and two after the album release (1988 & 1990). The 1987 ones are pure rough noise without any musical merits, but the ones after the full-length see an act willing to carry on with the thrash metal legacy through the 90's. The sound quality is excellent and the guys really pull it out with fine intense riffage which kind of precedes the more polished technical style Kreator epitomized on "Coma of Souls". The tempos vary and even a nice lyrical passage can be come across on "From The Jungle". "Scared" is a cool short exploder, and "Population Zero" (from the 1990 demo) is a more technical offering with very good consistent shreds; an approach abandoned for the more straight-forward "Shepple". The band looked well equipped to do more damage later on, but they never reached the official release stage again.

A View of the Other Side Full-length, 1988
A View of Every Side Compilation, 2012

My Space


Based on the debut demo, these guys provide rough amateurish thrash along the lines of early Hellhammer, but this is lame and clumsy with awkward faster outbreaks. The singer is a pure death metal growler, but his comrades are not very skilful at what they do leaving his unrehearsed rendings the highlight here.

Brainwashed Demo, 1989
Demo Demo, 1990


Based on the EP, these guys specialize in heavy abrasive modern proto-thrash which is only sustained in mid-paced without any more dynamic attempts; uneventful stuff as a whole accompanied by predictably hoarse semi-angry vocals.

Temptation EP, 2005
Labyrinth of Solitude Full-length, 2010

Official Site


Complex progressive thrash of the modern school which sounds quite intriguing, and begins in an openly ambitious manner with the monstrous 12-min opus "The Frozen Tree"; this song's beginning will not promise much fun for the thrash metal fan with its overlong balladic stretch ala Opeth, but those who have the patience to stand through it will come across moody choppy mid-paced stuff with clever technical riffs and puzzling meandering song-structures which never lose the plot even managing to pull out a great lead-driven doomy exit. The "monstrosity" carries on with full force on the next, also 12-min long, instrumental "Inner Cell" which is a fine creepy minimalistic progressive masterpiece with nice technical guitars reaching Coroner-heights with ease in the middle, and even a couple of faster passages among which the ones at the end are a wonder to listen to with their twisted, again Coroner-like, take on headbanging thrash. The song-length goes down dramatically on the following "Fallen Angel" which is "only" 8-min thrashing in a heavy doomy pace again providing quite a few technical twists along the way along with the fine melodic leads; the faster exit this time is more ordinary without any elaborate highlights. So far, so great, but "Eternal Dream" will be a major pullback, one of the most "dreamy" compositions out there, a very quiet acoustic ballad lasting for whole 9-min (!?!). The closing instrumental offers 3-min of abstract atmospheric industrialized music with impressive surreal leads, and would have been a good touch if it wasn't for this enormous peaceful interlude before it. The latter is hard to be excused on an EP of just five songs, but this effort is really worth tracking down: it's not very common nowadays to hear modern thrash metal with such a cool technical/progressive twist.

Labyrinth of Solitude 2010, EP


The Chinese metal scene is growing fast these days, mostly with black, death metal and grindcore bands, and few are those who dare venture into thrash metal waters. Explosicum are such a band, and that's why they should be paid special attention especially after their music really hits the mark. This is all-out classic thrash which combines elements from all more celebrated acts from the 80's with a bigger concentration on the Bay Area scene and late 80's Slayer; the music is fast and straight-forward without any technical ptetentions, but the guitar work is really good. The singer has a shouty, but higher-pitched, thin voice, and at times he sounds close to an unrehearsed Torsten Bergmann (Living Death), and it might be hard to define whether he sings in Chinese or English.

"Raging Living" is a real winner showing the Chinese gang growing as both musicians and composers. The opening title-track is a ripper setting the scene for the ensuing "carnage" which at times comes more technical ("Fly in Twins"), at times will make you "thrash your life" ("Thrash Your Life"), at others will make you jump around ("Push into Pit") looking for a "moshpit" to throw yourself into, and "mosh" till you "die" ("Mosh or Die"). It's all ridiculously fast ("Born for Kiiiiiiiiill") here and there, but the guys are simply too good to make the proceedings slip through their fingers, and "Fxxk Hero" is another very cool example of more intelligent, technical fury which is also evident on "Thrash Butcher", a great nod to Destruction both music and title-wise. And it's "game over", like the title of the closer says, a highly entertaining tribute to the old school done by a bunch of Far Easterners who may turn into the new heroes of thrash over there overtaking the Japanese practitioners. "Living" must be pretty "raging" over there to make the guys come up with such intense recording...
"Living's Deal": no complaints here, either, as our Chinese friends have done another very good job thrashing with all the passion they can muster, shooting a bullet after bullet, seldom pausing for a break, their fierce determination also handsomely shown with the song-titles ("Thrash & Claaaaash", "Thrash Out Your Brain": this one's a major ripper). The hyper-active delivery threatens to fall apart at times, reaching the maddening exploits of the Japanese Fastkill. "No Law No Sky" is a relatively more restrained speed metal piece, but the rest is mosh to the death... and beyond.

Conflict Full-length, 2008
Raging Living Full-Length, 2014
Living's Deal Full-length, 2017



3 songs of cool classic speed/thrash metal modelled after the early German patterns: Destruction, Deathrow, etc. ("Alien Autopsy") shifting later from the moulds with stomping slower rhythms ("Atomic War"), but many will grab your seats on the explosive smasher "Corrupted Minds" at the end. The singer is an acceptable semi-clean semi-shouter, and the guitars have a somewhat noisy, abrasive tone which doesn't favour the otherwise good melodic leads.

Demo Demo, 2009

Official Site


Based on the demo, these folks indulge in quite brutal death metal with sparse thrashy implements. The delivery is fairly extreme bordering on their compatriots Sarcofago's notorious debut. The main difference comes from the really muddy sound quality which stays a bit on the way of the execution. Still, this is fairly primitive stuff with agonizing death metal vocals, with a respectable dedication to the most brutal side of the metal scene at the time. The guys managed to bring their aggressive style to the official release stage, with two full-lengths released so far.

Fornications Demo, 1989
The Unholy One Full-length, 1992
Haeresis Full-Length, 2006


The EP: 3 tracks of good intense speed/thrash metal with an early Angel Dust vibe; this is a mighty riff-fest with a genuine technical edge, going over the extremes of speed ("The End Of Days") at times, but this is hardly a complaint. Impeccable musicianship, brutal death growls added to the main more conventional death metal shouts, massive fast guitars aplenty, and a very precise tight delivery are all here to glue the listener to this small masterpiece for days.

"Wasteland" is a blaster: from the get-go it starts thrashing its soul out with "Land of Empty Graves", an ultra-speedster with a great quiet middle. The madness only takes bigger proportions with the following "Neoconomicon" which is another insane speed/thrashing piece. Heads will roll on "End of Days", another very fast slab of thrash, already familiar from the EP. "Martyr" is a brilliant combination of super-fast and technical riffs with a great peaceful ending. The relentless delivery gets under control on the just a bit slower "Messianic Shadows", which gives room for nice technical riffs to come up. "Promise Never Made" is a top-notch technical shredder with a heavy smashing steam-rolling mid-section, a few orchestral implements, and frantic swirling riffs. Then the speed returns for "Police State Tranquillity" which literally reaches the speed of light pouring lightning riffs the whole time. The short 2-min instrumental "Wasteworld" isn't too far with the lead guitarist being the star of the show. "Spirit Emission" is a seamless blend of the staple very fast guitars and great technical hooks with an abstract shade, before the closing "Re-Examination" "re-examines" the listener asking him one vital question at the end: "is there a faster playing act on the planet right now than us?". If the answer is: "No", then you have passed the exam, because in fact these guys are the fastest playing ones on the thrash metal scene right now, but could hardly be beaten in the technical department as well, producing a truly compelling mix of speed and technicality seldom achieved nowadays although they have a strong competition in the face of another newcomer: the Americans Vektor. If you, guys, have already completed your polls for 2009, you may have to reshape them a bit: this album would definitely find a place on quite a few top tens for the year.

The Mass Insanity EP, 2005
Wasteworld Full-length, 2009

Official Site


Based on the self-titled demo, these guys offer fairly good up-tempo thrash recalling the Brits Deathwish, also in the vocal department. The guitar work is melodic, especially the leads, and kind of soften the sharp riffage here and there. Like the Brits, this band "flirt" with slower doomy elements ("Forbidden Past"), but when they get pissed, their anger takes a nice aggressive shape which isn't too far from Slayer even: "Mutinous Revenge".

Expulsion Demo, 1991
Honor Among Thieves Demo, 1992

My Space


Both music and vocal-wise, this band is close to Morgana Lefay, based on "Why Lie?". In other words, we have a mix of power and thrash metal, but the music of the Frenchmen is more thrashy and more diverse. The annoying thing is that there are only four real songs here: one is an intro, which is nothing but barely audible noise, and there's another similar track later on; a total waste of space. On the rest the guys have tried to make up for the shortage of songs, keeping an energetic thrashy tempo on three of the numbers, and have slowed down for the pounding power/thrasher "Parts Wanted". Reportedly their debut is more aggressive and faster, whereas on "Circus" the band have switched onto modern industrial metal, less thrashy, but more complex, bordering on progressive.

Talisman Full-Length, 1992
Why Lie? Full-length, 1993
Circus Full-Length, 1999


A modern blend of thrash (not much) and death metal mixing slower and faster sections, sometimes into one song ("Sea of Greed"), producing a thunderous brutal sound, an effect greatly helped by the very good sound quality. More technical and more thrashy rhythms can be heard on "Demigod" which is a potent mid to up-tempo death/thrasher reminiscent of Carcass' "Heartwork".

Visions of a Dying World Demo, 2009

Official Site


This is a melodic blend of classic and modern power/thrash metal (based on "Fenix") in mid-pace most of the time with very few attempts at changing the tempo. Still, some numbers crush with force ("Despertar", this one also serving a short fast moment; "Hoy"), but as a whole the influence of the old Argentinian metal school (Horcas, Hermetica) is more than obvious.

"Tierra de Demonios" is a more dynamic affair bringing the necessary amount of speed metal to the fore which graces more than half of the compositions although the balladic tendencies are certainly here ("El Ojo de Dios"), by no means able to overshadow merciless speedsters like "Testimonio", or heavy semi-technical thrashers like "Morir en el Paraiso", those same technical tendencies ably translated on the crunchy elaborate closer "Fragmentos de Vida". The singer is a nice addition with his deep emotional clean voice who doesn't change the pitch much recalling Lars F. Larsen (Manticora).

Fenix Full-length, 2008
Tierra de Demonios Full-length, 2010

My Space


The full-length: an obscure trio from Russia come up with this original, progressive thrash recording which marches forward with impetuous, but not very speedy riffs which at times contain the quirky spacey vibe of Voivod's "Killing Technology" not to mention the quiet balladic passages which are also a nice touch (check the ones on the mid-tempo puzzler "Between"). "Muse (Dying) I" is a laid-back instrumental with a dominant bass bottom; and "The Book" is an engaging progressiver with stylish twisted leads. "To Rule of Sabbath" is choppy avantgarde thrashisms before the second "Muse" closes this cool effort with the next portion of moody restrained, bass-dominated exploits. The only complaint seems to be the not very clear sound quality, and the forced noisy, overshouty vocals.
The demo is three songs of first-class old school progressive thrash sounding like a very promising new beginning for the band. “Misfortune” is a ripping insistent pounder leaving the exuberant elaborate performance for “City of the Dead” which is a clever technical shredder with a driving main riff and an unexpected fast-paced ending. “Betrayal” is the rager here, a ripping headbanger leaving the more technical histrionics aside, but still sounding less ordinary and even surreal. The sound quality is quite good and the vocal participation this time is more pronounced with a not very overt semi-death metal-ish tember.
The EP: the band are obviously testing the soil to see whether the time is appropriate to hit with another full-length... Well, I should say it's more than ripe judging by the high quality material on this 4-songer. The title-track is an all-instrumental headbanger followed by the labyrinthine puzzler "Green Snakes", a carefully calculated technicaller. "Only Forward!" is the next fast-paced rager thrashing everything in its way, before the closing "It's Furious" shows some "fury" with stylish disorienting rhythms. This is the next in line no-brainer from this talented outfit who shouldn't hesitate any longer, but grace us with something longer.

Nothing Holy Full-Length, 1996
Tru Demo, 2015
Phantom 96 EP, 2016

Official Site


These guiys started as a pure classic punk act, but gradually moved towards a more metal-based sound, a tendency reflected on the full-length debut. The music presented is slightly clumsy groovy post-thrash with gruff semi-angry vocals, mid-paced without any faster "temptations" although a few "remnants" from their punky past may be considered as such.

Skitsofreniaa EP, 2001
Rujo Full-length, 2006

Official Site


Workmanlike modern thrash with a few more stylish touches reflected in the very cool technical lead guitar work and the dramatic escalating passages ("Virus Mutations"). The riffage is mechanical with a sterile edge which is ably softened by the aforementioned leads. Occasionally does the sound become more brutal (the blast-beats on "Over Remains") fitting better the very low-tuned death metal vocals, but the rest is much mellower served with a cold industrial flavour with the leads again surreally contrasting with it to a pretty positive effect.

Death Tunnel Full-Length, 2012


Based on the long 8-song "Drunk Zombies Eat Worms" EP, these guys play fast-paced thrash of the old school, similar to Rigor Mortis and early Whiplash. There is a certain hardcore attitude reflected in the short song length (barely over 2-min) and the semi-melodic vocals ala Kurt Brecht (D.R.I.).

Rehearsal EP, 2007
Drunk Zombies Eat Worms EP, 2008

My Space


Speed/thrash metal with a cool classic edge, a bit jumpy, carrying a lot of melody as well; the music is energetic mixing early Metallica with heavy slower balladic parts topped by very good melodic high vocals. The songs mix both approaches quite well with only "Fucked UP" coming with all the guns blazing, thrashing hard for about 3-min. "Interior Silence" is a very cool semi-ballad blending sharpness and melody with the vocals hitting the top. This guy can really sing, and it's a pity that he couldn't perform anywhere else later on.

Interior Silence EP, 1992


A capable mixture of power, speed and thrash metal with the outstanding bass performance overshadowing the rest. Otherwise the guys do a cool job mixing the pace the whole time from all-out thrashers ("No 13 Creepy Bog Lane"), to galloping power/thrash metal blends ("Beneath The Blood"), to crossover delights ("Clearing The Cobwebs"). The sound quality is very dirty, though, and the guitars come with an unpleasant fuzzy sound.

The D-Range Demo, 1989

Fan Site


Based on "Slay Your Kind", this is an excellent classic blend of thrash and death metal, both aggressive and technical, recalling Massacra and No Return's "Contamination Rises". There's a lot to enjoy here: cool headbanging sections, technical parts which go even towards Death and Pestilence at their best, and some original touches (the nice Oriental riff in "Inside the Pyramid"), as well as slower stomping moments ("Cannibalistic Parangia") which nicely alternate with the only blast-beats used on the album.
"Mirror Images" is another cool mix of thrash and death metal, at least in the beginning, faster than the follow-up, and a tad less technical. The music favours thrash more, and reminds of some of the more prominent 80's practitioners of the genre: Slayer, Kreator, Necrodeath, Massacra again. "Mirror Images" is a surprise being a very cool up-tempo speed/thrasher, a lot more melodic than the rest, but totally appropriate. "Church of Chaos" is not a surprise anymore, but carries on in the same vein: a great speed/thrasher with an Agent Steel, Toxik-vibe. This isn't the end of the surprises, though, and the following "Bitter End" is a slow doom/gothic piece with very nice female vocals. At this point the listener will start getting confused since the aggressive death/thrashy beginning was apparently just a delusion, especially after "Night Music" offers more gothic-infused music reminiscent of the Germans Crematory, albeit faster, with a cool thrashy edge. The thrashiness returns for the energetic heavy "The Kill" and for the great closer "Tragedy, Rejoice" which is a nice turn towards more technically-inclined death/speed/thrash, maybe a bit overdone (the very brutal grinding mid-section, immediately followed by a very peaceful balladic passage). At this stage the guys were obviously experimenting with a wider range of influences, and fortunately they have concentrated on the more aggressive, and better, side of their style, as evident from the follow-up.

Mirror Images Full-length, 2000
Slay Your Kind Full-length, 2006

My Space


The horrible sound leaves little to be heard from this album; that's why to review it is not a very easy task. The guys definitely have the aggressive, evil attitude, but the vocals are put so much up front that they stifle the instruments almost completely. Overall the music is not impressive at all, and sounds as though every band member was doing his own thing with little regards to the others; team cooperation: a little above zero.

Total Extermination Full-length, 1987

Vibrations of Doom


Exterminio don't stray too much from the typical elements of the Brazilian thrash metal scene at the time: fast energetic thrash reminding of MX or Holocausto. There are three longer tracks here, however, and they show that the guys are not strangers to a more elaborate song-writing; the style on those three tracks some kind of reminds me of early Onslaught with their dark haunting tunes.

Exterminio Full-length, 1988

Fan Site/a>


This talented young British formation deliver excellent stylish technical thrash with not very suitable rending death metal vocals. Nevermind, the music is nothing short of outstanding the pleasant surprises starting from the twisting opener "Perverted Instinct" which hard thrashing nature is often intercepted by great technical licks and blistering screamy leads. "Digital Downfall" is the next in line mind-scratcher with more controlled, still lashing riffs in the 1st half before the guys unleash hell later on with fiery blitzkrieg riffage and another portion of great, this time more melodic, leads. "Digital Downfall" is a fast-paced technicaller with a cool restrained, lead-driven break the leads duelling with the intricate riffage the whole time to progressive proportions, the 2nd half an essential chapter from the progressive thrash metal textbooks with its weird abstract guitarisms. "Unbound" is a virtuoso piece with hectic Atheist-like "whirlwinds" the more brutal proto-deathy character of the beginning replaced by more controlled, but equally as challenging, technical thrashy insertions later. These lads have talent in abundance, and hopefully their skills will find a fuller expression on their future exploits.

Digital Downfall EP, 2016

Official Site


3 songs of "exthreme" retro thrash; fast blitzkrieg stuff with sharp cutting guitars and unpleasant shouty semi-death metal vocals. "Prematura Perversion" suggests at more technical times to come, but that same track has a clumsy shade of groove as well; so which tendency will prevail...

Indicio Suicida Demo, 2005

My Space


This is an intense, occasionally brutal, old school blend of thrash and death metal which crosses Slayer with Devastation by also offering a few jumpier moments ("Killing Fields") with a semi-technical flavour. "Beyond the Face" is another more intelligent shredder, and "Killed in Action" provides a bit more laid-back thrash/crossover rhythms. The culmination is reached on "Deportation", an encompassing number with several influences covered which also thrashes quite hard with a few blast-beats present. The singer semi-recites in a forceful authoritative fashion, and generally leaves a positive impression, too.

Pain Palace Full-Length, 2014

Official Site


The demo: this not very known outfit specialize in heavy semi-technical thrash/death with very brutal guttural death metal vocals. The guys ably mix fast and slow paces also introducing some power/speed metal elements on the title-track which is later overshadowed by the more technical closer "Wrong System", a clever choppy proto-groover, the only reminder of the time of release. Some of the band members later moved to the heavy metal outfit Molek.
"The Monarch Slaves": the guys have found some time to record a new opus after a lengthy break, and the full-length doesn't disappoint with ts brisk, ripping sound blending thrash and death the mixture assisted by expressive shouty black/thrashy vocals with echoes of early Mille, courtesy of the girl Alice Darkpeace. The giys show no mercy on short exploders like "Conspirators" and "False Preachers" which also come with clever technical hooks. "Fight for Yourself" is a complex shredder with virtuous thrash/deathy riff-patterns thhose openly bordering on the progressive and the technical; a nice quiet passage in the second half makes this cut even more irresistible. "Pain of Mind" appears after a short string of less intense numbers, to bang the heads with aggressive spinning riffs in the vein of the French Witches (also a girl behind the mike); a tendency continued on the short technicaller "Latency", leaving the more officiant stomping riff-formulas for the closing "Under Control".

Progress Regress Demo, 1996
The Monarch Slaves Full-length, 2017

Official Site


Anthrax-influenced, mostly mid-paced, thrash metal with good Joe Belladonna like vocals.

Demo Demo, 1989


Based on the full-length, these folks provide energetic classic thrash/crossover which lashes hard without sticking to the very fast parametres. There's some curious semi-technicality present on a few pieces ("Instruments Of Death", "Civil Execution") as well as pure thrashing madnesses ("Echoes Of Life") alongside the staple thrash/crossover happpinesses (the title-track). The vocalist is a shouty semi-cleaner who sounds appropriately angry on the more dramatic moments.

Plague Prophecy EP, 2014
Faithkiller Full-length, 2015

Official Site


It's not very common to hear an American band worshipping the 80's Germanic thrash metal heritage, but this is exactly the case here. If Destruction after the reformation don't sound exactly like the old days, these guys have done it for them; vintage Destruction- this is what you'll get here. Hopefully there'll be a full-length album soon just to confirm that the mighty Germans have another worthy substitute.

The Grace Defile EP, 2006

Official Site


The information here is not complete, but I am working on it. This band mix thrash and hardcore, and the mix works well being quite heavy and mid-paced sounding like a more thrashy Pro-Pain.

Baptized in Shit Full-Length, 1995
The Nightmare Seconds Full-Length, 2004
Northern Scum Full-Length, 2006

Official Site


This act offers a good modern/retro thrash blend of the fast, energetic variety ala Dew-Scented and Reckless Tide. The guitars are very noisy, though, and the lead guitarist has to really put an effort to make himself heard. Still, the guys thrash on unperturbed reaching Angel Dust and Paradox heights on "Thrash till Death", and on the short "The End" at "the end". The singer is an able support singing in a semi-detached declamatory manner with sparce shouty overtones.

Killed By Yourself Demo, 2011


This is vigorous impulsive classic thrash along the lines of more recent Destruction and Necronomicon so expect very modern production to give a strong boost to the razor-sharp riffage. The guys thrash in up-tempo the whole time and there's no variety here the latter solely proposed on the more technical piece "Drag Me to Hell" which shreds with passion and remains the highlight. The vocalist is a capable Schmier impersonation with a higher-pitched tember which he strains quite a bit at times to nearly shrieky parametres.

Mercy Killing Full-Length, 2014

Official Site


Direct, simplistic thrash/crossover the guys having a lot of fun moshing around blasting short cuts left and right, also paying tribute to one of their main inspirations Carnivore with a cool energetic cover of "Sex and Violence". The closing "Postnuclear Trip to Nowhere" is a mellower power/thrasher where the gruff semi-clean vocalist acquires a more acceptable, more melodic tember.

Postnuclear Trip to Nowhere Full-Length, 2016

Official Site


Based on the full-length, these evil Lombardians provide fast intense black/thrash which comes both with melody and a touch of technicality rivalling the last few Necrodeath releases in both sectors. The music is mostly blitzkrieg thrash, excluding the entertaining short symphonic blacker "Shades Of Light", the raspy witch-like vocals providing the appropriate sinister atmosphere. The longer compositions ("Reverse The Reality", "Door Of Madness") are expertly crafted progressive thrash symphonies including the slower creepy "The Memory" which excels in the bass department. The other side are the short immediate rippers which give the desirable push into a more aggressive territory to this pleasing roller-coaster which sees a new force rising fast on the Italian metal horizon.

Extirpation EP, 2010
Reverse the Reality Full-length, 2013

Official Site


Extol have all the rights to be one of the leading extreme metal acts from Norway. Their debut has little to do with thrash being atmospheric black/death metal with progressive and atmospheric tendencies, quite well done. "Mesmerized" came as a very pleasant surprise providing three tracks of first-rate technical death/thrash with almost no traces of black metal, and the technical brilliance of songs like the superb "The Prodigal Son" easily beats more of the songs from the following "Undeceived" which introduced more thrashy riffs, but brought back the black metal "remnants" from the debut as well as a considerable doze of technical death metal; the final result is again on the positive side featuring well executed technical music despite the presence of a few overlong dragging pieces in the second half of the album. "Synergy" is truly a revelation: exquisite technical thrash effort combining the best from masters like Coroner, Mekong Delta, Believer (of whom the guys have been long-time fans), Agretator. The band could have stayed within the confines of the genre for at least one more album, but their will to develop further led them away from the thrash metal field, and "The Blueprint Dives" was a mild progressive rock/metal offering, a big letdown for their diehard fans.
"Extol": it's with the utmost delight that one will welcome one of the most talented acts to ever grace the scene, especially when they venture into metal once more after the not very necessary break which "The Blueprint Dives" was. Whether the band are proclaiming a new chapter in their career with the self-reflective album-title, is yet to become clear, but the truth is that this new work is a supreme product of technical/progressive thrash/death with a few Yes/Rush escapades, mostly in the oblivious spacey lead guitar build-up. The guys shred like in the good old days (think "Synergy", above all) emitting mind-scrathing puzzling riff- patterns those often intercepted by dizzy fusion-like sections the latter accompnied by the only unmitigated flaw here: the tender clean vocals as opposed to the main deathy growls that dominate the landscape and are clearly an acquired taste, and may annoy at times with their very contrasting interference. Still, the listener's concentration will be on the music almost exclusively "Faltering Moves" being the relative calm with its more relaxed, less aggressive delivery, as well as the dreamy romantic instrumental "idyll" "Dawn of Redemption"; on the other material the band shredding till it bleeds although there's never too much speed applied the album unfolding in a jumpy mid-paced fashion "Ministers" breaking the "mould" near the end with its brisker headbanging rhythms, the following title-track startling with its sudden blast-beating mid-passage assisted by the contrasting clean vocals. The closing "Unveiling the Obscure" is an engaging progressive/thrash/death metal opera which sums up the whole album within six eventful minutes, a very fitting epitaph to this sure "top ten" pick for 2013, and a welcome return to form for arguably the finest Norwegian metal act of the past ten years.

Burial Full-length, 1998
Mesmerized EP, 1999
Undeceived Full-length, 2000
Paralysis EP, 2001
Synergy Full-length, 2003
Pearl Single, 2005
The Blueprint Dives Full-length, 2005
Extol Full-Length, 2013

Official Site


This band plays crunchy mid-paced thrash, more in the classic camp, with heavy guitars and harsh vocals. The overall approach may remind you of Sacred Reich's "The American Way" and has the same steam roller-like quality. These guys have the tendency to nicely speed up at times like on the very cool galloping "Warbeast" and the guitar work is probably more proficient than the one of Sacred Reich inserting more stylish technical moments from time to time.

Warplay Full-length, 2008


This Swedish trio play brutal thrash/death ala Dark Angel's "Darkness Descends" and early Sadus. This is aggressive stuff of the fast bashing type boldly venturing into pure death metal on the nice blitzkrieger "Extraktified". The singer has an underground semi-whispered tone which can hardly pass for singing, but is effective and scary.

Stuck In the Trash Demo, 2012

Official Site


This very deeply hidden underground effort shows a band trying to push the boundaries of thrash/crossover in a way not too dissimilar to early Cryptic Slaughter; in other words, expect "extrem"... sorry, extreme aggressive thrash/crossover with frequent blasting passages which are excluded from the longer tracks which in their turn are more thought-out heavier thrashers. Still, the approach is pretty intense reaching for grindcore as well even going beyond the madness of the aforementioned Americans. The closing "Subconscious Condemnation" is a sure feat being 8-min (!) of a violent grind/thrash/crossover brutality; hats down to both the listener and the musicians for surviving this....

Voluntary Enslavement Full-length, 1990


A below average Italian thrash metal band; on the debut the style is a mix of Bay Area thrash and Pantera-like riffs which doesn't work well most of the time. Later things get even worse with a totally nu-metal sound on their subsequent albums.

"Pound For Pound" is a welcome return for the band on thrash metal territory, but the metalcore breaks are still around, and overall this work tries to imitate early Pantera on the more aggressive moments, and succeeds at times: the faster opener "Anymore", the heavy hammer "Selfishness".

The "Proud, Powerful 'n' Alive" EP is a waste, an awful mix of groovy post-thrash, funk, heavy metal with only "Modern Times" raising some eyebrows with its energetic crossover delivery; and possibly the faithful rendition of Dead Kennedys' "Too Drunk To Fuck" at the end.

"The Seed of Foolishness": the moshing opener "Between The Lines" would be a kind of a delusion: the band give a stronger classic edge to the songs in the beginning the core breaks almost completely gone at this early stage. The riffs cut like a knife relaxing a bit on the more crossover-prone moments ("The Distance"). Then comes "Ending Prophecies" which is a bit off-context with its mild balladic approach, but "Deep Infection" is another hard-hitting number before the Pantera influences take over on "Sick And Tired". The closer "A Moment Of Truth" would be quite a disappointment, though, being a tender acoustic ballad.

We Fuckin' Care EP, 1987
Tension At The Seams Full-length, 1993
Proud, Powerful 'n' Alive EP, 1993
The Positive Pressure (Of Injustice) Full-length, 1995
Pound For Pound Full-length, 2009
The Seed of Foolishness Full-Length, 2013

Official Site


Expect intense bashing thrash/crossover with very abrasive guitars and some death metal intensity involved here and there, including in the vocals which are shouty and angry, but delivered in a forceful authoritative way reminding of Joho Gordo (Ratos de Porao). If it wasn't for the buzzy guitars this effort could have struck more cords in the fans' hearts; now this sincere simplistic downpour is hampered by the not very expressive riffage which only wins from the fast grinding inclusions ("Hijos De La Pobreza"; the hardcore explosion "Desastre") and the more carefree punky "outrages" ("Sentir").

Como No Sentir Odio Full-Length, 2006


Based on the "Ideal World" demom this act unleash ripping old school thrash/proto-death very closely resembling the approach of Sepultura on "Arise", at least at the beginning, including in the vocal department. The Czechs bash with less sophistication probably although "Back To Life" is a surprisingly atmospheric composition with nice bass support; and "Time of Hate" is a nice switch towards more a technical sound ala mid-period Death. The guys' efforts are ultimately hampered by the very bad sound quality which still can't do much to obstruct the visceral power of the headbanging closer "Conspirasy of Mind".

Není úniku! Demo, 1990
Ideal World Demo, 1991
Slaves of Religion Demo, 2000

Official Site


The EP: prepare for an "extreme attack" coming from Ecuador, and also served by a girl, the name Renata Pacheco who is in charge of the lead section. This is three songs of tightly executed retro thrash played with crisp sharp riffs, fast tempos, and mean semi-screamy vocals. The overall delivery crosses the German movement with Slayer making this a short dynamic roller-coaster which could serve as the base for a promising full-length in the near future.
The full-length: so many people nowadays do so much stuff "in the name of thrash metal" that for the fan it's quite hard to sort out to what should be given a chance, and to what not. In this case the fan should give an ear to this sincere nod to the old school built around the songs from the EP. The guys (and a girl) thrash with passion as evident form the short explosives "Metal Slave" and "War Never Ends", and from the intriguing semi-technical speedster "Hell Is Your Destiny". The "extreme attack" is pretty much non-stop the band lashing rapidfire riffs all the way to the end which comes in the form of "Thrash Metal", a surprisingly more speed metal-based track with brisk invigorating guitars. Yes, indeed, there's a lot of thrash to be savoured here both in the music and the song/album-titles. In the name of...

Assassin EP, 2011
... In the Name of Thrash Metal Full-Length, 2013

Official Site


Based on the "Endless Psychosis" demo, this is bashing semi-amateurish stuff hesitating between hardcore and thrash. The music doesn't make much sense, a situation worsened by the sloppy sound quality "Marching For War" being the only more coherent number with echoes of Rigor Mortis although the overshouty uunrehearsed singer tries his best to ruin it. The guys later upgraded to full-fledged death metal under the name Skull Fucker.

Endless Psychosis Demo, 1988
Living a Neurotic Life Demo, 1989


Based on "A Voidal Existence", these guys specialize in really extreme super-intense thrash/death the band bashing without sparing themselves, coming up with something much closer to death metal, not to mention the hyper-brutal guttural death metal vocals. The musicianship is on a pretty basic level although the guys try harder on the longer material ("Quantifying Evil") where some sensible leads and more intricate rhythms can be detected.

Unholy Torment Full-length, 2014
The Awakening EP, 2017
A Voidal Existence Full-Length, 2017

Official Site


Rough-around-the-edges thrash/crossover coming as a poor version of D.R.I.; the guys try hard, though, and some cuts are naively charming in their attempt to sound complex ("Living 'Till the End"). "Extremity" goes into the other extreme beign a short grindcore/hardcore exploder. The sound quality is horrible,and the singer adds up to the misery with his mean, semi-clean/semi-declamatory croons.

Blind by... Demo, 1989


This band remind of the death/gothic metallers Nightfall; actually, the band line-up includes the former drummer of that same band. The early, more aggressive Nightfall sound meets thrash: this is probably the best description. The first demo crosses thrash and death metal by giving more preferences to the latter style and is filled with nice melodic hooks which were later turned into a Nightfall staple mark. The typical Nightfall dramatic longer compositions with a progressive edge are already here ("Desert"), but are not as many as the direct death/thrashers ("Receive The Soul Of Mine", "Mud's Dimension") which also contain some intriguing riffs. The sound quality is very bad making the drums sound too noisy.

"Everlasting" offers only 4 tracks, compared to the twice as big number on the debut demo, and boasts better production qualities, but the music is less eventful being mid-paced melodic thrash/death metal with a gothic shade (with only "Relief From Pain" offering a "relief" for the headbangers being a raging amalgam of thrash, death and black metal), obviously "courting" the Swedish movement. The music of Nightfall is more of a continuation of the first demo, rather than this one.

Demo-Tape Demo, 1996
Everlasting Demo, 1997

Official Site


Hardcore-ish thrash similar to Bound for Glory with which this band also share their open nazi stand. The music is not very fast, but is edgy and vigorous, aggravated by the cool sing-along choruses. The guys sing together the whole time so there is no separate singer, but this approach creates a jolly, party atmosphere and fits well the light-hearted tracks.

Weisse Brnder Fnr Europa Full-Length, 2008


This is an utterly pleasant surprise: a Russian/Ukrainian (now if this isn't a very unlikely one considering the political climate at the moment) collaboration brings to life state-of-the-art classic progressive thrash with an accentuated surreal, dissonant edge. This is moreoutlandish than Voivod's 'Killing Technology" even... seriously, and its mazey, twisted melodies will capture the listener from the very first moment on the opening "I Neglect", and will never let him loose. One should by all means mention the presence of two members of the technical death metal wizards Beheaded Zombie who managed to achieve something almost as beautiful and captivating on their last album "Happiness for All". So this is atonal, abstract stuff which becomes suddenly fast and even brutal ("Never Been Foreseen")to an even more imposing effect; and these dissonant chords will own you within minutes including on the several more quiet, oblivious moments ("Trice")... Apart from the aforementioned Canadian outfit the approach here would recall Mekong Delta ("Kaleidoscope", above all)and the Norwegian auteurs Virus on the more illogical sections ("Sixteen Hairless Tails") the latter reaching their culmination on the chaotic headbanger "Because of Things You Say". "For Stance" is another more aggressive psycho-shredder with echoes of the previously mentioned Beheaded Zombie magnum opus, and "Sign for Rejoice" throws in a couple of stylish bassisms into the puzzling picture before the final "Forthright" wraps it up with more laid-back, less abstract riffage focusing on the expressive lead guitar melodies which are another consummate addition. This is exquisitely done, a true masterpiece of original, thought-out musicianship which would be hard to surpass in the near, and even distant future.

Edge Full-Length, 2014

Official Site


This is dark sinister black/thrash/doom which never leaves the funereal, mid-paced parametres topped by guttural death metal vocals which are still audible for most of the time. The band speed up with more dramatic riffage on the closing "Reu Do Eterno Juizo" as though to show that they're not strangers to a more intense play although to tehse ears the brooding, creepy approach suits them just fine.

Exumados Demo, 1998


The band's debut remains one of the finest speed/thrash metal albums ever; some of the perennial speed/thrash classics are here, folks: "Possessed By Fire", "Fallen Saint", "Sorrows Of The Judgement", "Silent Death". Von Stein finally finds his most fitting pitch, after his messy performance on a couple of demos previously (Mayhem, Tartaros, which is actually the early incarnation of Exumer); his hellish high-pitched delivery remains one-of-a-kind all these years. He leaves for the follow-up, which might be a big surprise to some: speed/thrash is no longer available, and what we have here is one of the best "Reign in Blood" imitations ever done with outstanding performance by the guitarist Paul Arakari behind the mike, delivering one of the most brutal merciless vocals at this stage on the scene. Once "Wind of Death" starts, and Arakari unleashes this ungodly piercing shout, in the best tradition of Araya from "Angel of Death", one knows this will be a different animal. The initial surprise will eventually be overcome, and one can not help, but enjoy this compulsive piece of brutality, graced by one of the first extreme super-blasts in music history, on the short explosive "Are You Deaf?" and the closing "Ascention Day". Instead of capitalizing on the release of two strong albums of various styles, the guys went their separate ways, leaving behind one of the definitive speed/thrash metal classics, and probably the finest "Reign in Blood" worship ever.
The band reformed at the beginning of the new millennium, but Von Stein's engagements with numerous other acts were putting the band on hold. Well, "Fire & Damnation" is out to please the fans of old school German thrash once again. So do we have many reasons to be happy? Yes, we do, of course, since the band basically don't betray their venomous approach from days of yore, although from the original line-up apart from Von Stein there is only the guitarist Ray Mensh who has "survived". No worries, since the man has brought the bass player T. Schiavo from Sun Descends, and I believe that may be one of the reasons why this new effort sounds dangerously close at times to the Sun Descends output. Von Stein sings in exactly the same way, in a gruff semi-clean manner with not a single attempt at his infamous shrieks from the past. The slightly mechanical, even proto-modern if you like, sound from the Sun Descends' albums is also here; in other words, don't expect bombastic speed/thrash along the lines of "Possessed by Fire"; neither should you prepare for a brutal Slayer-worship ala "Rising from the Sea".
Still, this new offering is pretty acceptable retro thrash which fits nicely along the more recent works of Kreator and Necronomicon, to name a few. The majority of the songs are energetic headbangers supported by two pieces from their earlier output: the legendary "Fallen Saint" to these ears ultimately ruined by Von Stein's dispassionate, sterile singing; and "I Dare You", the wild brutal proto-death/grind cut from the sophomore album, here turned into a jollier speed/thrasher which is a wise choice giving it a new updated "face" well fitting into the vigorous roller-coaster atmosphere. This release would still be a winner due to its consistent steam-rolling intensity, and would hardly leave the band's diehard fans disappointed although those may take some time to adapt to this suitably adjusted look back at the past.
"The Raging Tides": Mem von Stein remembered again about his main act after a 4-year gap, and here he is again with his compared for the creation of another old school thrashing effort. And what an effort it is: the title-track is a fine rigorous headbanger recalling Sepultura's 'Arise" (the song), and from then on the thrashing never stops at time served with a more moderate proto-modern rhythms ("Catatonic", "Shadow Walker"), at others raging hard with a slight semi-technical edge ("Welcome to Hellfire"). "Sinister Souls" is a glorious speed/thrasher handsomely supported in its cause by other fast-paced delights: "There Will Always Be Blood", the closing "Death Factory" which is followed by two bonus tracks: the semi-balladic relaxer "Forever My Queen", and the prime headbanger with a modern twist "Hostage to Heaven". The band have done a better job here surpassing their histrionics on the preceding effort without relying on remastered versions of old songs.
The "Whips & Chains" demo contains some surprisingly stylish technical/progressive thrash, obviously an attempt from the guys to join the growing at the time technical/progressive thrash wave. The title-track nearly matches the intensity of the debut at the beginning, but later on start the quirky decisions, the funky/jazzy additives, the great melodic leads and the surreal riff-formulas,a nd things go way off the line towards bizarroland. Needless to add, the brutal vocals from "Rising from the Seas" are gone replaced here by much more fitting to the new approach clean emotional mid-ranged ones. "Lil Ol' Me" has a most enchanting balladic inauguration, but the band start thrashing with more passion and with a lot of melody as well as the leads hit the top again among surreal speedy crescendos and weird Voivod-ish twists and turns. "Time Out" is a jumpy technicaller wiith eclectic jarring riff-patterns which merge into a hard-hitting headbanging epitaph. It's a pity that the band never explored this trajectory further; we coud have had a worthy contender to Mekong Delta, Deathrow, Sieges Even, etc. with a few more efforts of the kind.

Possessed by Fire Full-length, 1986
Rising from the Sea Full-length, 1987
Whips & Chains Demo, 1989
Fire & Damnation Full-length, 2012
The Raging Tides Full-Length, 2016

Official Site


This is the band from where Roger "Nasty" Gautschi, the musician who later founded Lunacy, started his career. The style here is a more conventional type of the thrash/crossover of that other band, if we exclude the beginning: the opener "Just a Dream" which starts in a fairly aggressive manner with smashing intense proto-death riffage. Later things get a more peaceful character: energetic thrash/crossover with more melodic punk-ish overtones.

Asphalt Paradise Full-length, 1988


A musician named Tom Liebing is in charge of this project which is sustained (based on the demo) in a faithful to the old canons spirit emitting energetic retro thrash played in various paces with an expressive guitar sound which also holds a few melodic surprises along the way. The tracks are generally short and the crossover character of some of them ("This Is Halloween") is hard to be disguised bringing a lot of jolly holiday-like atmosphere with them. Tom shouts in a comprehensive semi-clean manner and goes well with the merry-go-round character of this short effort.
"Killing Entertainment" is a similar "entertainment", probably more aggressive and compact even having some technical aspirations (the "toxic" "Toxic Avenger"). Elsewhere the album flows in expected waters producing the requisite headbanging fun which becomes more melodic and melancholic for a while on "I Am Your Death". "Thrash Insanity" is not exactly what the title wants it to be, but is a cool shredder with capable Bay-Areasque riffs. "Exx Song" is wild proto-death metal introducing the "Curse of Misery" saga which comprises 5 parts, all assured thrashers in various paces, one of which is more on the balladic side, but shows Tom in a very bright light both music and vocal-wise the latter reflected in a cool clean tember.

Call for Sanity Full-Length, 2011
Sort of Weird Demo, 2012
Killing Entertainment Full-Length, 2014

Official Site


Based on the "Ground Zero" demo, this talented Irish trio offer cool thrash of the old school. "Infinity Crisis" is a nice galloper with heavy meaty riffs, and "Agent of Chaos" is not far behind in terms of execution galloping far'n wide also throwing in those infectious hooks ala Metallica's "Kill'em All". The sound quality is very clear, and the singer contributes to the good mood with his forceful mid-ranged semi-declamatory tone. This is confidently executed music which should serve as a strong backbone for an eventual full-length.

Higher Forces Demo, 2008
Ground Zero Demo, 2011



3 songs of intense classic thrash which leaves the unimpressive deathy vocals behind to concentrate on the music which sits between the Bay-Area and early Destruction. The guys bash a bit one-dimensionally with not much emotion, including the drummer who is the famous Masayuki Higuchi (Narcotic Greed, Raging Fury), but here his performance is hardly exceptional.

For Thrasher Demo, 1988


Core-ish modern thrash, frankly metalcore-oriented, inevitably offering something for the melo-death fans, but generally this is not very aggressive stuff, but is more in mid-pace with adherences to slower sections with jumpy repetitive rhythms and annoying guttural, quarrelsome vocals.

The Sun and the Flood Full-Length, 2011


Based on the full-length, these folks pull out fairly predictable modern thhrash/death which hesitates between the Swedish canons and more stomping groovy formulas. Whichever direction the style swings to, the results are too familiar and unoriginal to really strike a cord. Still, "Mother of Demons" is an imposing dark, quasi-doomster; and "Scratching a Cynic" is a raging deathster which will sprain quite a few necks in the process. No suprises n the vocalld elivery weither: the traditional shouty/semi-shouty death metal antics.

The Plague EP, 2013
A Selfless Act for a Worthless Cause Full-Length, 2016

Official Site


This is another addition to the underground Mexican thrash metal scene which grows quite fast with efforts like this epitomizing the old school sound well without breaking any new grounds. The band bash with force seldom slowing down the sometimes not very pleasantly screaming vocals being a downpoint as opposed to the proficient screamy leads and the simplistic, but consistently forceful riff patterns.

Power Of The People Demo, 2012


One man, the name is Erik Peabody, is responsible for this modern groovy post-thrash which gets more interesting at times ("God Of Despair") acquiring more complex semi-progressive dimensions. On the other hand one will come across brutal death metal bursts ("Cheilorrhaphy") which to these ears serve the guy's purpose better. Later on there is doom (the excellent creepy "Ash To Ash"), semi-ballads, pure industrial, and more. The guy's singing varies quite a bit, the main vocals being gruff death metal-ish, and it's clear that the bass is his main instrument: great bass implements ala Leif Edling all over accompanied by very heavy abrasive riffs.

Marrow Full-length, 2009

Official Site


Based on the full-length, these guys play cool intense modern thrash metal with good guitar work which holds well both in the sharp and the melodic sector. The album loses steam for a bit in the middle with the romantic laid-back gothic-laced "Facade" which comes with good tender clean vocals. Later on the band have no problems capturing the aggression with a string of vigorous energetic headbangers, although another "pause" lies in wait near the middle: the later-period In Flames worship "Burn the World", the latter completely cancelled by the short piece of Slayer-sque aggression "Violent Rapture" right after. The more immediate delivery up to this point is abandoned on the closing "The Paradigm of Penance", which is a great complex progressive composition crushing in a heavy mid-pace with the odd faster passage, spiced all of a sudden with a brilliant twisted technical break in the 2nd half the latter immediately followed by haunting Oriental tunes in a doomy tempo, and for this ending alone this song is a must-listen.

Eye of the Enemy EP, 2008
Weight Of Redemption Full-length, 2010

Official Site


Based on "Seven", which is exactly 7 songs, this act pulls out choppy modern post-thrash with grunge, blues/ballad and proto-hardcore thrown in for not very good measure, and the few headbanging attempts are drown in the sea of rehashed clumsy groovy riffs.
The debut is a more dynamic offering, and is by far the better achievement, the guys even trying to thrash more clearly, as evident from the vivid crossover-tinged "Deathtrip". "Spirits Decay" is a more serious take on the genre with dark heavy guitars ala the Black Album which are well translated on the following "Beckoning Chaos" which also features excellent melodic leads ala Kirk Hammett. "One Man Army" is a cool crunchy thrasher which even goes down to the classic patterns with edgy Bay-Area riffs. "Reincarnation" brings forward 10-ton hammer riffs, and its seismic influence stays around for the remaining tracks, except for the surprising acoustic ballad "Another Day" near the end, although an immediate compensation is offered with the brutal violent 1.5-min closer "Hunting Season".

Beckoning Chaos Full-length, 1997
Seven Full-length, 2003

Official Site


This is noisy thrashcore which calms down with each song passing until it reaches deeper, more serious waters (the cool doomster "Red Giant") and despite the obvious loss of energy the music in the 2nd half is way more appealing, not without the help of the industrialized edgy closer "Hideous Beasts" (check out the surreal whining leads on this one). The singer shouts appropriately even offering more attached clean inclusions and couls pass for the finest performer from the bunch.

Massive Warhead Strike Full-Length, 2012


Based on the full-length: a modern mixture of thrash and death metal quite close to Dark Tranquillity and other similar Swedish bands; these guys play more brutally and faster, but the catchy melodic guitar hooks are all here. The very aggressive low-tuned death metal growls are occasionally intercepted by clean ones. The speed at times, though, comes too much.
The "Sharpening Our Blades on the Mainstream" EP is 3 songs of fairly aggressive thrash/death metal frequently blasting into oblivion, but also full of melodic tricks. In other words, this is pretty faithful to the band's previous catalogue, who also stretch into quite a few other directions: the thrash/death metallers Rust of Reason; the death metal outfit Hideous Divinity; and, above all, the technical death metal wizards Hour of Penance.

"Drones of the Awakening" is a hyper-active, overexcited offering which blasts its way in a clever technical manner death metal siding thrash on almost every track turning this album into a full-fledged death metal affair giving thrash some "air to breathe" on the more restrained material ("Anoxic Waters", "Sharpening Our Blades On The Mainstream") and these are the moments which make more sense the rest being too fast-paced and bombastic to be grasped fully at first listen.

Cursors EP, 2003
Unassigned Death Chapter Full-length, 2008
Sharpening Our Blades on the Mainstream EP, 2011
Drones of the Awakening Full-Length, 2013

My Space


Based on "The Diary": modern thrash mixing the heavy groove with energetic headbanging sections coming up with run-of-the-mill stuff which has energy and all, and at times even tries to reach the mechanical complexity of their compatriots Gojira, but those attempts are left somewhere in the middle with the guys quickly settling for the more ordinary delivery which still produces one blitzkrieg headbanger ("Razor's Edge").

When Shadows Seduce EP, 2002
Path to the Unknown Full-length, 2004
The Game of Fear Full-length, 2007
The Diary Full-length, 2009

Official Site


Based on "The Weak and the Wounded", this band plays cool thrash of the old school with dark gothic elements and vicious death metal vocals. The music, except on those gothic elements, is energetic and up-tempo, and songs like "Brought Back to Hell" and "Exacting My Revenge" are major headbanging thrashers. The rest mixes slower and faster rhythms with the closing "Final Strike" betraying the classic sound with melo-death Swedish-styled riffs. All the band members took part in another act: Aggressia, where the sound clung more towards the modern Gothenburg patterns.

"The Sum of All Your Fears" is another passable modern thrash metal affair which raises hell this time on short rippers like "Dead Is Better" and the blast-beating death metal madness "Gallery of Human Atrocity" which gives an enormous push to the album the latter comprising of mostly fast raging pieces in the 2nd half, some of them hectic and technical, others a tad more melodic with progressive tendencies ("Murders and Executions").

What Nightmares Are Made Of Full-length, 2006
The Weak and the Wounded Full-length, 2009
The Sum of All Your Fears Full-length, 2014

Official Site


The demo: a young outfit who indulge in modern thrash/death with echoes from the Gothenburg scene and some interesting mechanical shreds which may remind of both Meshuggah and Gojira. There's ethereal loose progressiveness to be experienced as well ("Beware The Rat King") alongside atmospheric eclectic touches ("Shifted") bordering on industrial. "Majora Family" is an extravagant gothic thrash opera, another larger-than-life piece which will inevitably attract a larger crowd if one can tolerate the screechy, witch-like vocals which may be a "product" of a female throat.
The EP is more stylish and some progressive touches make it quite captivating at times also thanks to the atmospheric shades. The tempos vary as the fast-paced moments dominate contrasting with the frequent balladic escapades which still can’t overshadow rippers like “Gloom at Its Finest”, or the excellent cover of Death’s “Scavenger of Human Sorrow” at the end.
"Beyond" begins with the very ambitiois opus "Beyond Sight (They Are Here)" which is a nervy hectic thrasher for a larger portion of the time, also offering a couple of nice melodic tunes. The shorter material ("Cryptozoological Quest") has more vibe with a few great dissonant insertions whereas the longer material ("Beyond Comprehension") starts dragging a bit at some point with overlong doomy/baladic arrangements. Nothing of the kind on the excellent "Psychoanalysis", a technical shredfest ala Darkane although the final "Beyond Acceptance" is another conglomerate of serenity and jarring abrupt rifforamas which may be an acquired taste, expecially for the classic thrash lovers.

Demo Demo, 2014
Beware the Rat King EP, 2016
Beyond Full-Length, 2017

Official Site


A newcomer on the scene specializing in intense old school thrash with not very rehearsed shouty death metal vocals who create a lot of noise along the way. The band's approach is direct and simplistic coming with a shade of crossover at times ("Degree of Guilt"), but watch out for "evil" thrashers like "Evil Returns" where some of your fillings may fall out. "Embrace of War" is a messy exercise in more complex thrash which doesn't work simply because the guys don't have the requisite skills to handle more elaborate arrangements although they do a better job on the following "Circle of Madness". No more gimmicks on the closing "Nenavidim ta" which is pure bashing madness with a death metal edge.

Beyond the Horizon Full-Length, 2013

Official Site

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