copyright (c) 2007-2024 the thrash metal guide

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

ETECC (GERMANY)

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

ETERNA OSCURIDAD (ARGENTINA)

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.

babado con la sangre del cordero ep, 2009

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ETERNAL (COSTA RICA)

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 deathly timbre 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

ETERNAL (USA)

This is the product of just one musician, the name Ben Garcia, who moshes with near-reckless abandon with these old school thrasherisms, his moshing proclivities mixed with both heavy pounders ("Prey To Grief") and melodic power/thrash hybrids ("From This Day Forward"), Garcia providing fitting if not spectacular but passionate semi-clean vocals. "Alarm Bells" is an admirable rushing headbanger, and "Failure Is Not An Option" features a nice atmospheric balladic etude.

Administer the Pain Full-length, 2022

Official Site

ETERNAL AGGRESSION (USA)

"Beyond the Crypt": 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).
"Ritual Insanity" contains the same music style-wise, the guys bashing with enthusiasm, moving up the aggression scale (track 2) on occasion, with more brutal bashing, but overall this is moderate stuff that even exudes some progressive seriousness (track 4), the closing "Storm of Death" a really cool galloping speed/thrasher recalling Attacker's "Second Coming".

Ritual Insanity Demo, 1987
Beyond the Crypt Demo, 1988

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ETERNAL ARMAGEDDON (BANGLADESH)

Based on the full-length, these folks serve bashing old school thrash/black not far from mid-period Impaled Nazarene, which possesses energy to spare also expressed through jumpy neurotic cuts like "Hazam the Black Reaper" and more officiant epic energizers like "In Light in Dark in Hate". The vocals are hissy and semi-hysterical, a typical delivery for a more orthodox black metal outfit.

Her Forlorn Monsoon EP, 2011
In Light in Dark in Hate Full-length, 2020

Official Site

ETERNAL AUTUMN (SWEDEN)

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 following "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.
“Below the Lightless Heavens”: the saga continues on full-throttle here, the guys having been missing from the scene for a prolonged period of time, but the band acquit themselves with both romantic forlorn tunes (“Autumn Gale”) and epic doom hymns (“Empty Pages on a Dusty Shelf”), thrash materializing on the short crusty roller-coaster “Lived Once, Buried Twice”, death metal claiming the bombastic brutalizer “Month of the Crow”. The rest is more on the laid-back atmospheric side with not too many fast-paced stretches.

the storm full-length, 1998
from the eastern forest full-length, 2000
Below The Lightless Heavens Full-Length, 2024

official site

ETERNAL BREATH (BELGIUM)

The debut: 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".
"World of Chaos" comes as a classic power, speed and thrash mixture and is consequently a better offering than the first instalment, with a wider array of nuances embedded. Instant headbangers' hits ("My Redemption") cross swords with epic hymns ("Never Surrender") and more radio-friendly cuts ("Fire") the entire time, the concentration clearly on the faster-paced side of the spectre with rousing shredders like "Need for Speed" co-existing restlessly next to the poignant semi-ballad "Follow Your Dream" and the quasi- groovy crowd-pleaser "Hard Life" and the more progressively-executed "Revenge".

The Joker full-length, 2016
World of Chaos Full-length, 2019

official site

ETERNAL DECEPTION (RUSSIA)

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

ETERNAL DECISION (USA)

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

ETERNAL DEVASTATION (BRAZIL)

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's 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's 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

ETERNAL DIRGE (GERMANY)

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 churches", 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

ETERNAL DRAK (COLOMBIA)

one person (gerson "demonslaught" toro) is behind this short atmospheric black/thrash/gothic metal opera which sits somewhere (the ep) 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.
the full-length embraces the thrash metal idea a bit more fully with rigorous moshers like "fuego y destruccion" and the near proto- death experience "guerra bestial (holocausto)", but elaborately-woven pieces like the 8.5-min saga "jinetes de la umbra" suggest at more complex things to come which comprise the diverse thrash/death roller-coaster "reficul sturm", and the doom-laden atmospherics on "Eterna Oscuridad" the latter officiousness cancelled by the string of short bursting headbangers at the end.
"Dark Metal" delivers exactly what the title says; this isn't thrash by any means, save for a few rowdier occasions (the brutal ripping "Your Debt", the stomping confrontational "Parasite"); the rest is more along the lines of mid-period Samael and Alastis, the short crossover joy "Siervo del Bien y del Mal" the other deviation from the dark atmospheric patterns.
"Shadow Storm" is a more dynamic proposition, the operatic dynamics of the opener "Oblivion Is Dishonor" a nice inauguration, before the galloping urgency of "Hide Your Madness" brings back the thrash in all its raging glory. Later on there's deep atmospherics ("La Nueva Orden") served, alongside dark doom trots ("Maldita Oscuridad") and playful power/thrash hybriders ("La Vierge De Fer"). The diversity offered is admirable, the thrash/crossover jump-arounder "The Eyeless Gleeth" another pleasant occurrence, the epic folk-ish title-track stifling a bit the hard riffing utilized elsewhere.

La Resureccion de la Orden Guerrera ep, 2002
Eternal Drak full-length, 2018
Dark Metal Full-Length, 2021
Shadow Storm Full-Length, 2022

official site

ETERNAL EVIL (SWEDEN)

Intense bashing retro speed/thrash with overt vitriolic qualities; the guys mosh with gusto and verve the entire time, spitting furious cuts like "Bestial Fornication" and "The Captor's Command", The more serious, also more melodic layout of "Terror Of The Sphinx" hinting at bigger musical proficiency, the latter playing second fiddle here, the vehemence ensued easily reaching proto-death dimensions ("Rise of Death"), including in the husky semi-declamatory vocal department.
“The Gates beyond Mortality” is another notable hyper-active fare, the band moshing with little abandon, peppered with both short explosions (“Guerilla Warfare”) and lengthy thought-out exercises (the title-track) in progressive sprawls, the devious technical delight “Signs of Ancient Sin” making claims at bigger musical dexterity, this last ambitious strife also very nicely captured by the spacey masterpiece “The Astral Below” and the multifarious epic speed/thrasher “The Cursed Trilogy”, the guys really pulling it off on these more serious far-reaching compositions.

The Warriors Awakening Brings the Unholy Slaughter Full-length, 2021
The Gates Beyond Mortality Full-length, 2023

Official Site

ETERNAL HATE (RUSSIA)

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 doom 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

ETERNAL JUDGEMENT (CANADA)

Based on the full-length, this act serve pretty decent old school power/thrash that is rich on nice melodic tricks (the title-track) from all departments, the dramatic shreds on “Sadistic Vengeance” recalling gifted axemen like Jim Dofka and Chris Impellitteri. The lively speedster “S.A.S.” is a welcome boost, as is the atmospheric semi-ballad “The Evidence (Losing You)”. The rowdier thrashy “Left for Dead” could pass for the highlight here, the closing sinister march “After…” a close second, boosted by the very good clean emotional high-strung vocalist. Some of the band members are also occupied with the heavy metal cohort Urubu.

Fatal Virus EP, 2012
Judgment Day Full-length, 2020

Official Site

ETERNAL LEGACY (USA)

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, followed 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 doom "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

ETERNAL MISERY (USA)

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

ETERNAL NIGHTMARE (HOLLAND)

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

ETERNAL OBLIVION (USA)

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

ETERNAL PAIN (GERMANY)

Old school thrash has been provided by this team who also boast the presence of a versatile throat behind the mike, the guy alternating between guttural throaty deathly tirades and piercing screechy blacky ones. "Blood & Fire" is an intense cut with echoes of death at times, and "Hail That Day" is a rousing galloper with sharp lashing guitars. Still, one of the highlights here remains the short lyrical lead-driven instrumental "Forward to Obliveon", with the playful epicness of "Mankind's Worth" and the death/thrash exigency of "Breeze of Death" qualifying for second best thing on this diverse fluctuating release.

In Pain We Trust-Relicts for Revenge Full-length, 2003

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ETERNAL PURGATORY (CANADA)

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

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ETERNAL REST (FRANCE)

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

ETERNAL SEDATION (USA)

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

ETERNAL TEARS OF SORROW (FINLAND)

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

ETERNAL TORMENT (USA)

Based on "Sins of the Damned", this one-man show (the name Harley Hill) indulges in corrosive old school thrash which can also be poignantly melodic (the opening title-track), before the moshing rifforama starts with the proto-death "A Darkened Form" and seldom lets off, Hill going over the hill with an array of speedy aggressive tunes, the ripping "Animalistic Strength" making waves next to the more subdued anti-climactic "Bound by Ritual". Hill also serves as the singer here with his not excessively evocative throaty death metal timbre.

Sacrificial EP, 2021
Nuclear Biohazard Full-length, 2021
Sins of the Damned Full-length, 2023

official site

ETERNAL VOID (USA)

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

ETERNAL WAR (MEXICO)

This is modern power/thrash which avoids the groovy traps with wisdom, largely emitting decent mid-tempo developments, with "1%" speeding up the proceedings by also adding tasty lead sections, the thick grooves on "The New Slaves" the main flaw here, if we also exclude the shouty angry hardcore vocals. "War" is a wild dynamic piece, and ""Loss of Attitude" is a nice more intricate roller-coaster with delightful melodic licks, some of those also transferred on the diverse progressive thrasher "Let the World Burn" at the end, an eventful 8.5-min opus of headbanging skirmishes and complex configurations.

Let The World Burn Full-Length, 2021

Official Site

ETERNAL WINTER (UK)

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

ETERNITY (CZECH)

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

ETERNITY BLACK (USA)

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

ETHEL HUNTER (BRAZIL)

Based on the full-length, this act provide old school thrash/death the intense music accompanied by gruff guttural death metal vocals. Heavy squashing steam-rollers ("Ignoble Redemption") take turns with raging shredders ("Deep Down Inside"), the two sides entangled in an effective bond, with occasional more technical excursions ("Ceaseless Pain") spicing the setting which largely clings towards the Floridian scene. The band members are involved with numerous other projects: the brutal death metallers Anmod, Imperious Malevolence, and Fornication, etc.

No Man Is Truly Free EP, 2014
Consciousness Awakening Full-length, 2020

Official Site

ETHEREAL ARCHITECT (USA)

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

ETHEREAL COLLAPSE (USA)

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

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ETHEREAL SCOURGE (AUSTRALIA)

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

ETHNIX MX (USA)

This is the brainchild of just one artist, the name Armando Martinez, who exercises old school thrash/death, adding a boosted belligerent, shouty death metal timbre behind the mike. Expect fast-paced corroders ("Crooked") residing comfortably next to mid-paced stompers ("False Science"), the choppy semi-technical rhythms of "The Black Bible" passing for the highlight.

Amor de Brujas Full-length, 2022

Official Site

ETHORIAH (USA)

This band specialize in heavy groovy post-thrash which is a bit more dramatic and diverse, but those sleepy semi-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 preferable than the short hardcore-ish cuts ("trash") witnessed here and there. the singer has a rough drunken timbre, but his antics aren't bad at all being versatile and attached, and he's 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

ETHOS (RUSSIA)

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 mid-paced doom 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

ETICA ETILICA (VENEZUELA)

three 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

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ETILICA (URUGUAY)

The 6-song demo 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.
"Lo Que Mas Odias" doesn't lose the inertia accumulated by the preceding efforts, the band moshing with gusto on "Solo en el Infierno" and atad of technicality, the headbanging immediacy of "Depresion" swept by the speed/thrashing crescendos of "Santos Muertos" and the intricate walkabouts of "Ideas de Muerte", the mid-tempo layout of the closing "Urnas Vacias" still holding a few less ordinary surprises.

Volvimos Demo, 2009
Vienen por tu alma EP 2013
Thrasherización Full-length 2016
Lo Que Mas Odias Full-Length, 2023

official site

ETSICROXE (FRANCE)

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

EU E OS MEUS ONANISMOS (SPAIN)

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

EUCRASIA (ARGENTINA)

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

EUDOXIS (CANADA)

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.
“Evil God’s Fetish”: these Canadian veterans are back after a lifetime of hibernation, but their earlier appetizing conglomerate of progressive, power and thrash is only sparingly in full display here, starting with the slow-burning gallops of the brooding odyssey “Engine of Demise”. The biggest change would be the guttural death metal singer who is by no means a very benevolent ingredient, provided that the music background doesn’t require such brutal exploits behind the mike. “Lies” is an admirable prog-thrasher with a spacey vibe, but the moment the modern groovy “Venomous” hits, the scene spoilers come following, ranging from clumsy blues/doom hybrids (the title-track) to abrasive noisy post-thrashers (“The Drop”) to agro-tributes (“Shallow Grave”) to Pantera and Machine Head. Worth of note is that the vocalist adjusts his delivery to the modern vibes with a more pronounced shouty timbre ala Phil Anselmo, but this can’t even be considered a plus on such a tedious banal recording. Yeah, some old dogs should better be left hibernating…

attack from above single, 1986
open fire full-length, 1991
Evil God’s Fetish Full-Length, 2023

vibrations of doom

EUDOXO (ARGENTINA)

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

EUGENIC DEATH (USA)

The debut: listening to albums like this is definitely 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.
"Under the Knife" sounds a tad more ordinary the band decidedly sounding more convincing when shredding with more verve and passion ("The Citizen Patrol") although more ambitiously executed progresivers like "The Devils Tower" also do the trick with their wider array of nuances. The power/thrash playfulness of cuts like "Witching Ground" slows down the proceedings, not to mention the Oriental ballad "Hara Shiva" which is majorly boosted by an alluring female vocal presence. Still, the guys pull themselves together afterwards the title-track serving another intriguing portion of varied roller-coaster riffage.

crimes against humanity full-length, 2012
Under the Knife Full-Length, 2019

official site

EUPHORIA (USA)

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 the 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.
"Nanotech" is another interesting roller-coaster the guys alternating progressive heavy-weights ("Electro Hypnosis") with more immediate shredders ("Respawn"). The entangled galloper "Labyrinth Online" is clearly the highlight, a consummate display of accomplished musicianship the latter also admirably leading the pack on the varied Vektor-esque "Mechanical Carnivore" before more melodic undercurrents take over on "Neon Dreams", the more brainy, less orthodox technical/progressive thrashing on the final "Brainstorm" a nice wrap-on to this convincing recording.

Operation: Genesis Full-Length, 2016
The Omega Void EP, 2017
Nanotech Full-Length, 2019

official site

EURE ERBEN (GERMANY)

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

EURYNOMOS (GERMANY)

Based on the full-length, these lads specialize in intense abrasive classic black/thrash the rough threatening Cronos-like vocals pouring more fuel in speedy crusty trips like "Bat Flight" and "Into the Lion's Den", the doom-laden gravity of "Pantokrator" diversifying the environment, also helped by the officiant mid-paced dirge on the mid-period Bathory worship "Hypogeums Gate". Serious speed/thrash flows out of "Druid Circle" before "..From the Valleys of Hades..." brings early Celtic Frost at your doorstep for whole 7.5-min with its belligerent rusty riffs. Some of the musicians also play with the black/thrash legends Desaster and another similarly-styled formation, Megatherion.

Unchained from the Crypt EP, 2015
Eye of the Pantheon EP, 2015
Fierce Alliance EP, 2016
From the Valleys of Hades Full-length, 2020

Official Site

EUTANASIA (COLOMBIA)

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

EUTANASIA (PORTUGAL)

This is classic Bay-Areasque thrash that settles for moderate mid-tempo riffage on "Betrayal" before the more intense arrangements of "Submergidos" take over for a bit, supplemented by the more technical niceties on "War Hero", the highlight on this cool obscurity which also features semi-clean, not very emotional, vocals.

Master of Life Demo, 1994

EUTHANASIA (NORWAY)

This is thick tenebrous death/thrash/doom which suffers under the yoke of the very deep guttural death metal vocals. Otherwise, this is cool stuff which stays in mid-pace the whole time, the lyrical sentiments on "Love Song" a strange unorthodox touch, pairing well with the quirky semi-intricate guitarisms unleashed on "Song of AganagiTurana". "Bayer Ol" is just a drunken crossover hook-up, the band relaxing after a few min of intense threatening thrash/death. Some of the musicians later got involved with the gothic/doomsters Sorg.

Demo Demo, 1992

Youtube

EUTHANAUSEA (FINLAND)

Based on the "melodying" demo, this band plays sombre doom/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

EVA BRAUN (RUSSIA)

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

EVALS MESS INSANE (CHILE)

This is an intriguing operatic concept which revolves around a classic thrash/death concoction, a quasi-progressive amalgam that sometimes exudes energy in spades ("Condemned"), at others stomps in a steam-roller seismic manner ("Nest of Snakes"), with even some doom stepping in ("Lamb Stew") to facilitate the process. Epic melodic escapades ("The Scythe of Evil") are also served, with power metal coming to help ("Tumors") as well on occasion. The vocal diversity is, expectedly, big with both semi-shouty death metal and clean attached singers emerge throughout to respond to the interesting stylistic fluctuations. The musicians are also busy with quite a few other projects, like the death/thrash cohort Zenite, the old school thrashers Metalizer, the heavy metal formation Thorgilm, etc.

Mercyless Full-length, 2021

Official Site

EVASOR (CHILE)

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

EVERBLAST (FRANCE)

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 second half making this recording a very uneven affair.

everblast full-length, 2015

EVERLASTING GOD STOPPER (USA)

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

EVERSIN (ITALY)

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.
"armageddon genesi" is the next in line mechanized, robotic "creation" the guys' characteristic dispassionate approach ruling supreme on mechanistic "soulless" concoctions like "jornada del muerto" and "Soulgrinder". "havoc supreme" will remind of more volatile practitioners like altered aeon and darkane with its steel technical riffage, with the mellower progressive psychedelia of "where angels die" providing the necessary contrast to the dystopian setting which becomes strangely dynamic again on the flexible title-track, before things acquire a trudgy doom-laden direction on the final "to the gates of the abyss", a patiently-woven godflesh-esque hymn with nice speedy spacey Voivodian embellishments towards the end.

divina distopia full-length, 2010
tears on the face of god full-length, 2012
trinity: the annihilation full-length, 2015
flagellum dei ep, 2016
armageddon genesi full-length, 2018

official site

EVERSOR (ITALY)

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

EVERWHERE (SWEDEN)

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

EVICTION (USA)

This is intense vehement old school thrash/crossover which moves along familiar lines, the ones carved by acts like mid-period Suicidal Tendencies and Excel. The vocals here are more brutal, with overt shades hardcore viciousness at times, the music side of the show comprising playful frolickers ("Listen"), mid-paced jump-arounds ("Marching off to War"), and dramatic speedy extrapolations ("Struggle with Society"). The closer "American Way" is a rougher hardcore-ish rendition, a bit longer than the rest, and also a tad more elaborate.

the world is hours away full-length, 1990

my space

EVIDENCE OF FEAR (GERMANY)

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 "em.by.da" and "exorcism". the cool brisk thrasher "nemesis" even offers more classically-inclined riffs.

exorcism ep, 2006

official site

EVIDENCE SMRTI (CZECH)

This Czech combo delivers fast intense thrashcore with death metal 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. The wild bash witnessed on "V Propasti Utrpeni" isn't quite matched later on, but brace yourselves for the chaotic proto-death proclivities on "Zapomen", and the playful abrasions of the unpretentious "Kyberbuh", the harsh hardcore vocalist rending this lungs with suppressed moderation.

evidence smrti full-length, 2011

official site

EVIL'S ATTACK (BRAZIL)

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

EVIL (JAPAN)

Based on "Possessed by Evil", this act deliver energetic old school black/thrash which starts quite promisingly with the melodic sweeper "The Cycle of Pain", and later on stays on hyper-active ground including with a couple of tributes to the early German thrash school ("Revenge"). "Raizin" is a dodgy radio-friendly heavy rocker, ruining the impression to an extent from the otherwise cool fast-paced boogie which is sparsely upgraded to blasting Impaled Nazarene-sque extremes on the short maddening "Hell's Evil Bells". The vocalist is a threatening death metal throat, keeping his composure with a steady semi-shouty timbre. Some of the musicians also play with the speed metal cohort Significant Point.

Rites of Evil Full-length, 2017
Possessed by Evil Full-length, 2020

official site

EVIL ANGEL (FINLAND)

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.
"Unholy Evil Metal" is another fairly wild ride the band intercepting the uncompromising approach with stomping intimidating cuts ("Christ Decays") trying to pacify the brutal proceedings on short violent outrages ("Ugh!", "Nuclear Hammer") which go straight into grindcore territory. Thrash doesn't have much of a say save for the pounding diverser "Crawling from the Grave" which still clings more towards the hypnotic doom side at some stage.

dark forces of hell demo, 2002
metal onslaught ep, 2003
unholy fight for metal full-length, 2007
Unholy Evil Metal Full-length, 2019

official site

EVIL ARMY (USA)

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

EVIL ATTACK (CHILE)

based on the full-length, this band play cool retro thrash with stylish semi-technical arrangements which work well with the frequent fast-paced excursions and the high-strung shouty, nearly hysterical at times, vocals. the more immediate material ("ajeno al proceso", "podrido esplendor") is pure headbanging barrage, but it's the more carefully plotted compositions like the closing diverse roller-coaster "without choice" that would attract more attention from the serious metal fan.

ripping your face ep, 2010
demoneyzed full-length, 2017

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EVIL BLOOD (CROATIA)

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 thrashier, 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

EVIL BRAIN TASTE (UK)

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 doom/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.
“Number Two” is another far-reaching conglomerate, the band raging like demented (the grindy atrocity “Life Is Scary”), tasting the fields of hardcore (“Cordell”), getting friendly with the thrash/death crowd (“Arithmophobia”), and even serving something more technically-savvy for the more demanding thrash crowd (“Dead Man's Shoes”).

dead dead bad full-length, 2015
I Am Evil Brain Taste EP, 2019
Number Two Full-length, 2023

official site

EVIL CONQUEROR (HUNGARY)

one guy, the alias patrik, is behind this evil black/thrash 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

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EVIL CORPSE (BRAZIL)

Intense uncompromising old school thrash on the verge of death ("Infectious Disaster"), think mid-Sepultura for a good reference point, with a couple of more technical licks ("Radiation Death") also provided. Run for cover on the explosive instrumental "World Demise", this ripping piece missing the vicious forceful shouty vocals. Some of the musicians were earlier involved with the retro thrashers Slaver, and as of present are shredding with another classic thrash formation, Massacre Bestial, and the death/thrash hybriders Tean Zu.

Apocalyptic Future Full-length, 2020

Official Site

EVIL DEATH (MEXICO)

Evil very amateurish retro thrash/proto-death which is just one barely comprehensible bash from beginning to end, the very muddy production and the awful shouty death metal vocals additionally ruining the impression. The violent melee is only interrupted, but just for a bit, on the stomping "Contra Red by Blood", the most sensible composition here.

Messenger of Death Demo, 1989

EVIL DIVINE (USA)

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

EVIL EARTH (USA)

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

EVIL FORCE (PARAGUAY)

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 create 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 melody 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

EVIL GOD REVIVAL (USA)

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 timbre his performance particularly impressive on the sinister ballad "devilblood".

from the heart of darkness full-length, 1995

EVIL IMPULSE (SPAIN)

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.
The self-titled is sustained in a similar vein, the wall-tumbling veneer of "Four Walls" pairing well with the steady mid-tempo lustre of "Hell's Kitchen" and the headbanging fervour of "The Art of Death". The second half doesn't offer that many highlights, but watch out for "Dissecting the Instinct", a vicious mosher which smoothly flows into the similarly-styled "When the Killers", a re-recorded version of a track from the debut "Flames from the Ground" EP.

flames from the ground ep, 2013
who's gonna kill who? full-length, 2015
the unbroken ritual full-length, 2017
The Brotherhood EP, 2020
Evil Impulse Full-length, 2024

Official Site

EVIL IN (USA)

Based on the full-length, this one-man show, the name Charlie Murphy, serves old school death/thrash which has its more energetic side ("Demon Grave Robbers"), but expect also pounding mid-pacers ("Holy Innocents Cemetery") to confront you alongside elephantine doomsters ("Exo Possession"), Murphy retaining the element of surprise by also throwing in a couple of more epic tunes ("Salvage or Die"), his shouty deathly tirades not always comprehensible.

An Ethereal Force Beyond EP, 2021
Age of Immortal Darkness Full-length, 2022

Official Site

EVIL JOE (CROATIA)

Based on "Endless Fecation", this one-man project (another alias being Vaginator Znjole) delivers expectedly evil old school thrash, Joe merely bashing with passion, with expressive hymns like "Fuck the Law" and "Thrashing with the Devil" leading the semi- amateurish show which comes accompanied by a very hissy guitar sound, Joe semi-reciting behind the mike, trying to match the up- tempo barrage that serves for the music.

Nuclear Vacation Full-length, 2019
Endless Fecation Full-length, 2020

Official Site

EVIL KILLER (SPAIN)

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

EVIL MACHINE (ITALY)

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

EVIL MACHINE (POLAND)

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 offers 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

EVIL MADNESS (CHILE)

the demo sees an act making a lot of noise on the Chilean underground scene with their seismic blitzkrieg classic thrash approach which comes pleasantly 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 relieves: 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 deathly passages, but instead the guys turn to more epic power/thrash with 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 second 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

EVIL MECHANIX

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

EVIL NEVER DIES (ITALY)

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 disheveled industrial non-sense.

today is the day ep, 2008
de maleficiis ep, 2011
sulphur paintings ep, 2014
ekpyrosis full-length, 2017

official site

EVIL OFFERING (CHILE)

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 thrashier, 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 moshers "the rest" and "heretic cult", and especially the more abstract 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 second 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.
“Ofrenda Maligna” is another delectable slab, the band preserving the intricacy to a large extent, the potent meandering opener “La Piramide” leading the highbrow pack, the latter enriched by the excellent fast-paced hecticers “Delirio Narcisista” and “Sendero Perdido”, the more immediate bash on “Hambre de Poder” by all means appositive occurrence. Expect a pleiad of bewitching riffy vortexes on the sizzling complicated masterpiece “En Tinieblas”, the slow-burning layout of “Rebelion Clerical” still replete with puzzling challenging rhythmic configurations. “Caravana de Brujos” is a smattering technical thrash riff-fest that will delight all fans of Coroner and Vektor, a really admirable way to end this first-rate entry.

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
Ofrenda Maligna Full-length, 2024

fan site

EVIL ONE (FRANCE)

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 three 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: two 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 doom 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

EVIL POWER (FRANCE)

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 progressiver "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

EVIL PRIEST (UK)

based on the debut demo, these Irish thrashers play energetic hardcore-ish thrash which doesn't contain many proficient 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

EVIL PROPHECY (UK)

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 three full-lengths and two ep's.

demo 2 "proceeding decay" demo, 1987

EVIL RIOT (GERMANY)

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 timbre reminiscent of jan-chris de koeijer (gorefest).

wasteland full-length, 2016

EVIL RISE (SPAIN)

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 genuine 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" which 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 confines 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 which 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 delineating anyone.

in war and hate full-length, 2011
sentence to the world full-length, 2013

official site

EVIL SCARECROW (UK)

based on "sixty-six minutes past six", this band plays a dark gothic brand of thrash, quite good, mostly of the modern type. the pseudonyms 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 same 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 well with the established officious doom 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 deathly insertions.

crowcifiction full-length, 2004
hell dog ep, 2007
sixty-six minutes past six full-length, 2009
galactic hunt full-length, 2014

official site

EVIL SENSE (BRAZIL)

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

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EVIL SHEPHERD (BELGIUM)

this band rose from the 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

EVIL SINNER (BELGIUM)

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

EVIL SPECTRUM (PERU)

Based on the "Emanation of the Hybris" EP, these lads serve intense brutal dea5th/thrash of the retro type; vicious uncompromising bash accompanied by tense semi-declamatory death metal vocals. Expect maddening speed throughout the three compositions featured, "Occult Sin" touching the early German patterns with a vehement vitriolic rhythm-section.

Evocations upon Ascending Flames EP, 2014
Triumviratus Belli EP, 2016
Emanation of the Hybris EP, 2021

Official Site

EVIL SPELL (ITALY)

Based on "Padre Vostro", this band pull out intense fierce old school black/thrash, the title-track and "Masonic Scum" leading the mosh, the latter introducing a more pronounced death metal-ish flair, the quiet ambient instrumental "Necrology" pacifying the hyper-active proceedings, before "Antisocial Satan" bursts in spasms of blast-beating insanity, the more laid-back speed/thrasher "Pain" working well in team with the more varied, more atmospheric closer "Evil Slaughter", the shouty sinister blacky vocals ably accompanying the frequently brutal fiesta. Some of the band members also play with the black metal cohort End.

Antisocial Satan Full-length, 2010
Necrology Full-length, 2013
Padre Vostro Full-length, 2021

Official Site

EVIL SYNDICATE (BRAZIL)

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") accompanying the very brutal, but comprehensive, death metal vocals.

sindicato da tortura split, 2009

my space

EVIL TORMENTOR (SPAIN)

Old school thrash played with simplicity and attention to death-prone aesthetics ("Bringer of Souls") although the album never tumbles into full-fledged death metal waters. Instead, "Warlock Child's Revenge" attempts something more melodic and blacky to a generally positive effect, opposing to other brutal outrages like the other death metal-ish explosion "Evil Prevails".

Nigromancia y Chabolismo Full-length, 2019

Official Site

EVIL UNITED (USA)

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's 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. Some of the band members are also engaged with the trad-doomsters Thunder Horse.
"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 sparse 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

EVIL WHIPLASH (COLOMBIA)

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.
"Ancient Magical Spells": the guys continue weaving ancient magical spells, and this offering serves those aplenty, sometimes with a more intriguing semi-technical flair ("Descending to Hell"), sometimes with straight-ahead bashing vigour ("Primordial Destroyer"). "Mystery of Fire" rises for a curious progressive melo-thrash journey, the highlight on this diverse saga which receives a more aggressive decoration from the near-death rager "Demonio" and the closing sophisticated violator "Necromancia".

Rituals Of Punishment Full-Length, 2010
Evil Reincarnation EP, 2012
Beyond Dimensions Full-length, 2015
Ancient Magical Spells Full-length, 2020

official site

EVILBASHER (MEXICO)

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

EVILBRINGER (BRAZIL)

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

EVILCULT (BRAZIL)

Based on the full-length debut, this Brazilian duo pull out a very old school speed/thrash/black amalgam which will remind of early Iron Angel and the Portuguese Alastor, above all, the guys retaining the speed for a large portion of the time, shooting a bullet after bullet ("Nocturnal Attack", "Burning Leather") with the abrasive production and the not very articulate shouty death metal vocals ruining the party a bit the latter receiving a nice melodic boost on the closing "Necro Magic".
"The Devil Is Always Looking for Souls" focuses in the speed/thrash side of the guys' arsenal, and as such can pass for the band's better achievement. Expect speedy downpours from all sides for most of the time, with hyper-active cuts like the title-track and "Call of Evil" perturbing the listener, "Die in Hell" a needed slowmotion respite canceled outright by the very fittingly-titled "Speed Metal Fire".

Evil Forces Command EP, 2018
At the Darkest Night Full-length, 2020
The Devil Is Always Looking for Souls Full-length, 2023

Official Site

EVILDAYS (THAILAND)

Based on "The End", this one-man stint, the name Bundit Ruckveratham, indulges in a retro thrash/death concoction which can be both intense and speedy ("Repay) and slower and more atmospheric ("Mail of Death"), the resultant combination producing no surprises if we exclude the complex multi-layered closer "Evil of Nature", an eventful amalgam of contrasting nuances which lasts for over 9-min. Bundit provides a throaty guttural, semi-shouty deathly timbre, a fitting accompaniment to this decent old school parade.

Life Pain Death Full-length, 2008
The End 2021 Full-length, 2021

Official Site

EVILDEAD (USA)

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 three years earlier "reign in blood" and "Darkness Descends" although some songs like the title-track 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...
"United $tate$ of Anarchy": another veteran is rising above, the entire line-up from the past mind you, and we're certainly interested in finding out what they have to say, especially having in mind that they are very politically-inclined, too. We'll leave the lyrics aside, though, as the music captures the attention immediately with the opening retro mosher "The Descending", the remainder following suit obediently, with a couple of more technical quirks ("Word of God") adding more to the pleasant atmosphere the latter receiving a few heavy pounds from "Napoleon Complex", the mid-paced stride continued by "Without a Cause" and the dramatic quasi-progressive "No Difference". Run for cover on the maddening headbanger "Blasphemy Divine", but more serious, also more melodic, music starts flowing out of "A.O.P._War Dance" and the excellent diverse roller-coaster "Seed of Doubt", the band dexterously combining the currents from their full-lengths, with everyone in a really good shape, including Flores whose spiteful confrontational vocals are the perfect accompaniment to this very cool reunion stint which is finished with the merry rocky cover of The B-52's "Planet Claire" (also covered by the Canadians Obliveon).

Rise Above EP, 1988
Annihilation Of Civilization full-length, 1989
The Underworld full-length, 1991
United $tate$ of Anarchy Full-length, 2020

my space

EVILDOER (SWEDEN)

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 as evident from all-out rippers like "By the Flag" and "Fear Dot Gov", exhausting headbangers which recieve full support from the remaining material, the mid-tempo dramatism of "Gunshell Revenge" not requiring any fast-paced expletives. But that's pretty much the only place where the guys don't go with all the guns blazing, the more contrived layout of "The Deviant" justifying its title, with "Die Now" cancelling outright all such strives at a devious more laid-back play.

terror audio full-length, 2005

official site

EVILE (SPAIN)

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

EVILE (UK)

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 guys 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 messiah" (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 superseded 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 doom/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.
"Hell Unleashed" is a heads-down bashing affair, the vigorous nature of the ultimate moshers "Paralysed" and "Fore" strongly reminding of Sepultura's "Arise", the progressive leanings on "Incarcerated" stifled in bouts of polished aggression, the band eager to mosh with force, the modern quasi-grooves on "War of Attrition" standing no chance against the vitriolic rhythms on the horror film tribute "The Thing (1982)", the brief proto-death explosion "Zombie Apocalypse" another display of measured brutality, the band ravaging the neighbourhood in a way not attempted in the same no-bars-held manner before.
"The Unknown" is an entirely different fare from its predecessor, the band experimenting with much more tamed sounds this time, the approach now frankly bordering on Black Album-esque post-thrash, the heavy squashing rhythms of cuts like the fittingly-titled "Monolith" and "Out of Sight" prevailing against soulful ballads ("When Mortal Coils Shed") and attempts at honest raging thrash ("Sleepless Eyes"), the choppy abrasiveness of "At Mirror's Speech" bringing the delivery back to times of post-thrash splendour, the closer "Balance of Time" trying to restore some balance with speedy moshing riffs, a gust of aggression thrown on an otherwise dark pensive canvas.

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
Hell Unleashed Full-Length, 2021
The Unknown Full-length, 2023

official site

EVILENCE (POLAND)

the debut ep: four 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

EVILENKO (BELGIUM)

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 second 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

EVILIVE (BRUNEI)

a surprising unexpected entry from brunei containing three 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

EVILLIVE (DENMARK)

three 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

EVILLUTION (PORTUGALOS)

Based on the full-length, this act indulge in fast dynamic classic thrash which comes decorated with a more crusty vibe at times, the corrosive headbanger "State of Decay' leading the pack assuredly, aptly supported by the ripping delight "Pain Division" and the pulverizing thrash/crossover anthem "Hells Reach". The shouty deathly vocalist follows the generally frenetic pace, the latter losing some inertia on the steady steam-roller "The Curse of Machines".

Attack to Kill EP, 2015
Elements of Genocide Full-length, 2022

Official Site

EVILNESS (BRAZIL)

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

EVILNESS (FRANCE)

based on "unreachable clarity", this young formation indulge in modern 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 three bonus tracks where the cutting riffs and the soaring melodies reach a fine symbiosis.
"new perspectives, no evolution" is not as exuberant although the headbanging aspect has been more focused on as evident from not very restrained moshers like "ginx" and the death-laced "amok". the more melodic configurations inevitably start leaking out ("21 reasons to bleed") as well a sa few modern groovers ("new perspectives") the latter not making a very positive impression among the more dynamic cuts and the several more serious, nearly progressive ("lies, cries, died") escapades.

unreachable clarity full-length, 2013
new perspectives, no evolution full-length, 2018

official site

EVILUST (BRAZIL)

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

EVISARIZE (UK)

A bombastic hybrid of black, thrash and death metal which knows no mercy, with over-the-top aggression ("Born in Blood") taking turns with fuller-fledged thrashing exercises ("Parasites", "Mindslave") the latter the better option due to their less convoluted nature. Fortunately, they occupy half of the playing time here, especially towards the end where a trio of fast uncompromising srhedders nearly shoot the album into the stratosphere. The singer is a forceful deathly shouter who gets the job done to retain the pressure all over.

Evisarize Full-length, 2019

Official Site

EVISCERATE (ITALY)

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 once...is 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

EVOCATOR (USA)

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

EVOCATUS (AUSTRALIA)

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.
"Path to Tartarus" takes a more progressive direction with longer more elaborate compositions which still have their energetic side ("Centurion"), but it's steady mid-tempo excursions that dominate the scenery although the 9.5-min opus "Walls of Troy" offers plenty of speedy crescendos, the overall approach not far from mid-period Dark Tranquillity, the epic pompous "Banished" exuding confidence and badly disguised melodic vigour.

evocatus ep, 2014
mortem in deos full-length, 2017
Path to Tartarus Full-length, 2020

official site

EVOGATH (VENEZUELA)

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

EVOKE (NORWAY)

Fast-paced old school speed/thrash which breezes by at the speed of light (the title-track, the short explosive "Souls of the Night") at times, with patches of more serious song-writing ("Wrathcurse", the eventful roller-coaster "Satanic Rebirth") popping up as well. The singer is a shouty semi-deathster who manages to sound passionate without shining too bright. Some of the band members were active with the old school thrashers Nuclear Genocide.

Seeds of Death Full-length, 2020

Official Site

EVOKED CURSE (FINLAND)

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

EVOKED DOOM (GERMANY)

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 vinyl 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

EVOL (USA)

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 time when everyone else was looking to soften down.

demo demo, 1989
experiment in fear full-length, 1992

EVOLUTION (USA)

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 drama 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

EVOLUTION ZERO (FRANCE)

Based on "Origin of a Deviant World", these folks indulge in modern quasi-groovy thrash/proto-death which can be fairly ripping ("Endure My Life", the unrelenting basher "Citizen of Down") at times, the semi-technical histrionics on "My Banker My Brother" the clear highlight, the shouty death metal vocals assisting the pretty decent parade with quarrelsome insistence, the brutal deathly "Ignorance Is a Bliss" breaking the established congenial thrashy rules, the very clear sound quality a definite plus.

Evolution Zero Full-length, 2016
Origin of a Deviant World Full-length, 2020

Official Site

EVOLUTIONS END (IRELAND)

This is classic thrash that refuses to bash out with the utmost aggression, but concentrates more on slower mid-paced rhythms and more melodic embellishments. "Pure" is a decent attempt at a more complex play, but the bad drunken semi-shouty vocals and the very muddy production seriously hamper the proceedings. The guys continued their career under the Primal Dawn moniker later in the new millennium by also adding black and death metal to their retro thrash arsenal.

The World You See Demo, 1998

EVTHANASIA (USA)

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 three remaining songs resulting in a more compelling Bal-Sagothesque 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

EVULSION (USA)

Modern post-thrash that reads like a mixture between Sacred Reich’s “The American Way” (“Sudden Death”) and Sepultura’s “Chaos AD” (“Forbidden Secret”), the confrontational hardcore singer another belligerent presence, toning it down a bit on the pretty cool semi-balladic “Happy World” and the intriguing jumpy groover “Unknown”.

Evulsion Demo, 1994

EWARE (COLOMBIA)

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 drama 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. fusion 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 second 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 creacion full-length, 2012

youtube

EX-INFERIIS (MEXICO)

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

EX-ORTATION (SWITZERLAND)

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

EX ARCHA (CZECH)

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

posledned nadeje demo, 2008

official site

EX KATHEDRA (CANADA)

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 second half the songs becomes longer and more complex hitting the top on the diverse closer "reborn". the main vocals are harsh deathly and semi-shouty, but their reign is often interrupted by much better clean insertions.

this is where full-length, 2007

official site

EX MACHINA (UK)

this young outfit specialize in hard-hitting sterile, mechanical modern, quasi-industrial, thrash which is rich in wound-infusing riffs the latter never delving into the speedy confines 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

EXA (GERMANY)

Based on the full-length debut, this act serve traditional retro thrash which clings more on the melodic side with friendly mid-pacers like "Loss of Humanity" and "Unbroken" although its rowdier side isn't very hard to notice: "Welcome to the Pit", "The Summoner"... the two sides jump each other respectfully, combined for a thrilling ride at the end on the diverse roller-coaster "When Flesh Tears Up", the not very expressive semi-clean/semi-declamatory vocals doing their thing on the side without ever taking the upper hand anywhere.
"Left in Shards" will leave everyone in shards, the guys moshing with bigger verve here, the presence of the mellower oblivious "Under his Eye" not exactly a miscalculation, the frolic speedster "Mind Free" another bright spot on the horizon, the remainder covering crunchy semi-technicallers ("Left in Shards") and heavy near-epic strolls ("King Terror") along the way.

Ignite EP, 2019
Cut the Past Full-length, 2020
Left in Shards Full-length, 2024

Official Site

EXACT DIVISION (UKRAINE)

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 also play in the melodic death metal formation inner maze.

dirt jumper ep, 2013
be fair if you can full-length, 2017

official site

EXALOUD (RUSSIA)

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

EXALTER (BANGLADESH)

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

EXARION (GERMANY)

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") scattered around which don't contribute 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

EXARSIS (GREECE)

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 slaughter-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...).
"Sentenced to Life" is a faithful sequel to the preceding saga, soaring retro speed/thrash to the bone, the guys winning everyone for their hyper-active cause with flying speedsters like "Another Betrayal" and "The Truth Is No Defense", the more diverse histrionics on "Mouthtied" pairing well with the hard'n heavy aesthetics of the calmer "Against My Fears". With "Interplanetary Extermination" the band try to race with the speed of light, and nearly succeed in overtaking it with fiery blitzkrieg rhythms.

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
Sentenced to Life Full-Length, 2020

Official Site

EXCALIBUR (CZECH)

based on "auri sacra fames", this band plays a mix of modern and classic thrash with crossover tendencies. The approach isn't very aggressive often staying in mid-tempo where the finest moments 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

EXCAVATOR (MEXICO)

Based on the full-length, this band pull out classic thrash/death, the thunderous rhythms of "Mirror of Fate" pairing well with the melo-death volatility of "Who We Are". More hard-hitting thrash served on "Dying to Survive" and "Roots of Democracy", before "Through the Eyes of Death" exhibits some catchy sentimentality ala mid-period In Flames, the latter also prominently featured on the cheesy melody-soaked closer "The Opponent".

Roots of Democracy EP, 2020
Eternal Fire Full-Length, 2023

Official Site

EXCEED (AUSTRALIA)

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

EXCEED (USA)

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

EXCEED FORCE (UKRAINE)

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 achievements 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

EXCEL (USA)

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 speed/thrashcore 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.
"Seeking Refuge" is solely a reflection of the band's desire to become a part of the ruling at the time numetal vogues, a decision which leads to fairly messy results, to put it mildly. Lengthy alternative rockers like "Unenslaved" literally go nowhere expect in the grungy quagmire, and abrasive groovy charades like "Hair Like Christ" and "Plastic Cracks" are only marginally more convincing. The thing is that impossibly sleazy charades like "Take Your Part Gotta Encourage" would be really hard to sit through, but the real pain starts when said approach gets elongated into quasi-progressive drawn-out alternative non-senses ("Drowned Out"), not to mentioned sweet poppy sing-alongers like "United Naturally In True Youth" that even the Poison and White Lion fans would frown upon. "Riptide" is at least semi-decent due to its slightly rowdier character, but wait till you hear the awful rappy attempts made later... the bottom hit with the dragging bluesy "Overtime" and the jumpy tribute to the Seattle brotherhood (Alice in Chains, Soundgarden, etc.) that is "Downpressor". Not even for completists...

Split Image full-length, 1987
The Joke's on You full-length, 1989
Seeking Refuge full-length, 1995

official site

EXCESSUM (USA)

"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 isn't 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.
"horrible acts against innocent people" at least doesn't mislead like the previous two instalments as the opening "religious wasteland" is a heavy stomping groover with a few speedier escapades. the delivery this time is more ambitious with longer compositions the 4-act "horrible" providing a wider array of moods and tempos, even finding the time to thrash with passion on occasion. as a whole this is a more interesting recording, especially with strangely death metal-laced cuts ("wyrmtongue") also roaming around, giving this album the requisite boost which develops into something effectively progressive on the final "necrophagic eucharist".

the battle has begun... full-length, 2012
to hell we fall full-length, 2014
horrible acts against innocent people full-length, 2018

official site

EXCIDIO (ARGENTINA)

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 Argentines isn't 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

EXCIDIUM (POLAND)

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 second 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 (SWITZERLAND)

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. the title-track rages on for a start with abrupt jazzy breaks interfering to make this great cut a mix of cynic's "focus" and atheist's "Elements" with slower atmospheric stopovers along the way. "should is a choppy shredder breathing modern metallisms into the delivery with echoes of their compatriots coroner. "Choice of failure" has no choice but to follow the same path and adds more to the diverse nature of the album with another portion of atmospheric build-ups which give the song a macabre doom colouring. "whisper inside" begins in a sinister balladic fashion which stays around carved by more dynamic sharper riffs that still stand no chance against the uncanny breath-taking serenity which permeates the second half. "among the same" introduces plenty of atmosphere and soulful clean vocals in the beginning, but soon does the landscape change with gruffer shouty vocals breaking in accompanying a crunchy technical rhythm-section which grows into a formidable galloping stroke recalling death and the dutch decision d; the atmospheric progressions still roam around later interlacing with the more aggressive guitars. broods forward in a pessimistic doom fashion, and change the pattern being a full- fledged ballad. things become way more interesting with to leave behind which unleashed brutal deathly blasts for a change, but the dominant morose delivery is brought back leading to varied progressive musings including several labyrinthine technical skirmishes mid-way. "frigidity" commences with a portion of jumpy intricate riffs which creep onward recalling Aftermath's "eyes of tomorrow" release a year earlier, another forgotten gem from the same time; more intense passages follow suit dueling with the jarring technicality before the staple slower, atmospheric drama gets instilled later remaining in circulation for the final hands which is a less predictable shredder, the band drawing more sterile sceneries, still finding time for some introspective tranquillity and a short lead section the latter not provided amply on this album.

innocent river full-length, 1995

EXCIMER (EGYPT)

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

EXCITER (CANADA)

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 umpteenth 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

EXCORIATED (SWITZERLAND)

Modern thrashcore assisted by overshouty death/hardcore vocals; brutal death metal digressions ("Authority Denied") are a rarity but they serve their purpose, to intensify the approach towards less trodden realms. The title-track is another less restrained death-laced brutalizer, and "Backstaber" is a solid mid-paced thrash Orientalism with alluring melodic tunes.

Violent Reality Full-Length, 2021

Youtube

EXCORIATOR (SWEDEN)

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 pricking hard the listener's psyche, 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

EXCRETE! (GERMANY)

An appetizing, original death/thrash mixture another asset also being the contrasting vocal duel: a guttural deathster versus a shouty punker, both sides alternating throughout without any seeming logic, the musical background also built on thrash and death metal jumpig each other quite randomly at times, but largely to a positive impression. Expect a lot of dynamcs from such an approach including frequent short blast-beating episodes, the quirky unpredictable lustre of the frantic "Collector of Souls" one of the many highlights. The doomy atmospheric aura of "Mantis Religiosa" is another interesting, less ordinary addition, but watch out for the short technical shredder "Eyes Full of Hate" and the frenetic progressive deathster "Crucified Child", the culmination in this trend reached on the 10-min long saga "Das Wasser der Verr³cktheit", a very eventful amalgam of moods and tempos, sudden interludes, and some really untamed death/thrashing, the latter turning into pure tech-death metal madness on the closing Hellwitch-esque delight "Fakal Fakal".

Vulva Infernale Full-length, 2005

EXCRETORY (BOSNIA AND HERZEGOVINA)

Based on the "Last Command Is Here" demo, this band play retro thrash/death which is both semi-technical and heavy, the volcanic gravity of "Black Wisdom" not perturbing the fever-ish speedy crescendos on the short ripping "In Massacre" too much, the epic deathly veneer of "This World Harmony" suiting best the growling shouty death metal vocalist. Some of the musicians also play with the death metal formation Necrophilisma.

Last Command Is Here Demo, 1996
In Massacre EP, 2008
Excreting Victory in Blood EP, 2012

Official Site

EXCROW (JAPAN)

This Japanese trio pull out abrasive classic thrash supported by deel guttural death metal vocals. The approach is fairly dynamic with frenetic pieces ("Disrupted Civilization") and drum-dominated bashers ("An Innocent Sin") occupying the lion's share here, "Disrupted Civilization" courting the Bay-Area with a marginally more stylish layout, the stylish but short lead sections then main claim at some musical proficiency.

Rush of Power Demo, 1990

EXCRUCIATION (SWITZERLAND)

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 two 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 aren't 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

EXCRUCIATION BY SILENCE (RUSSIA)

The compilation contains all the works of the band who specialize in cool quasi-progressive retro thrash the proceedings slightly hampered by the thin production and the not veyr suitable subdued gruff death metal vocals. ironically, it's the tracks with the goofier titles like "thrash 'till death" that carry a stronger technical charge, not to mention the covers featured, vektor's "tetrastructural minds" from "outer isolation", performed quite well with a marginally more melodic vibe; and the russian legends aspid's "comatose state", again quite aptly reproduced, preserving the shape-shifting character of this masterpiece. elsewhere "ka mate" nearly matches those two in terms of exuberant intricacy while the other material is more on the ordinary, less impressive side.
"Metal Madness" is a brisk energetic affair with sprightly riffs, built around soaring optimistic speedsters like "Death to False Metal" and "Heavy Metal Army", the delivery on those closer to the speed metal parametres. Truth be told, not much full-blooded thrash can be come across, the more technical quirks on "Metal Sect" spicing the jocund environment, the latter surrendering to the frivolous gallops on the The Regime cover of "Stand&Die" at the end.

accession ep, 2016
endless twist ep, 2017
2016-2017 compilation, 2018
Metal Madness Full-length, 2021

official site

EXCRUCIATOR (USA)

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 second 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

EXCUSE (FINLAND)

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

EXCX (SPAIN)

enjoyable vigorous speed/thrash/crossover which will bring sweet memories of 80's heroes like leeway, nuclear assault, and c.i.a. more intense thrashing delights ("staphiloshit") are also scattered around as well as short bursting grinding outrages ("e.t. lsd") the good semi-clean/semi-shouty vocals handling all music nuances with panache including carefree early helloween-esque speed metal hymns like "ofayaya". watch out for the stylish bass-dominated take on the "godfather" soundtrack on "the chosen one". some of the band members also play in the brutal death metal outfit lapidated.

world domination full-length, 2018

official site

EXDEMENTIA

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 isn't much known about this band, but the high quality of the material makes them really worth tracking down.

thou shall repulse full-length, 2007

EXDETH (JAPAN)

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

E-X-E (USA)

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 the title-track is hard to be ignored; the guitar work is quite simplistic, reminiscent of Venom and Celtic Frost on the more aggressive, also less speed-prone 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 very good clean high-pitched vocals in the manner of Russ Anderson (Forbidden) and Joey Belladonna (Anthrax), 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 tech-thrash ("Sexploitation"). There are really impressive aggressive smashers as well: "Horrors of the Mind", "Chamber of Sorrow", etc. "Second Coming" is a short lively power/thrasher, and "No One to Pray To" is a cool nod at the Bay-Area, recalling Testament's "Disciples of the Watch" from "The New Order". "I'm Sanctified" is a heavy mid-pacer, the only cut which doesn't contain any speedy hooks, and "Infected" is a moshing not very compromising closer, finishing this effort with well-deserved panache.
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 to their much loftier heritage.

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

Official Site

EXECRACAO (BRAZIL)

There’s only one musician, the name Gabriel M. P., who ravages the wasteland with brutal not very bridled black/death/thrash sounds of the old school, the aggressive title-track boldly bordering on grindcore, the more polished melodious “Berco Amaldicoado” boding winds of proficiency, the latter also applying for the operatic black-clad “Abismo do Vazio” and the excellent atmospheric doom sprawl “Consequencia Daquilo Que Vivemos”.

Rebanho Full-length, 2023

Official Site

EXECRATE (NEW ZEALAND)

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 entertaining shredder before "scrapmetal invasion" notches it up in the aggression department with a portion of more vicious deathly 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 perversor, 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

EXECRATE (USA)

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

EXECRATOR (USA)

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 doom 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 doom 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 sparse 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 doom 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 timbre 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

EXECUTE (GREECE)

straight-ahead germanic thrash with sparse 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

EXECUTED (MEXICO, TAMAULIPAS)

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 possession", then on the two covers at the end: Grave's "Eroded" and Darkthrone's "Cromlech" the latter a cool reminder of the norwegians' glorious deathly 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

EXECUTED (MEXICO, NAYARIT)

Intense vicious retro thrash/death with later-period Protector and early Sepultura obvious reference points; the gruff throaty death metal vocals lead the intimidating proceedings which are performed in the very speedy parametres for most of the time with unrelenting bullets like "We Want You" and "Overrated Life", with the mid-tempo atmospherics of "Trip to Hell" serving as the obligatory dissipator, with the more cleverly-executed title-track bringing a more serious, more intricate flavour to the exhausting fiesta.

My Journey Has Begun Full-length, 2018

Official Site

EXECUTER (BRAZIL)

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

EXECUTION (FRANCE)

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

EXECUTION (GERMANY)

Based on the "The Final Prayer" demo, these lads offer excellent retro thrash which is largely modeled after the Bay-Area models, with a crisp sharp sound on the dynamic mid-pacer "State of Confusion", and more melodic and complex on the all-instrumental delight "In Memory...", this one also featuring a stupendous lead section. "Suffering from the Effects" thrashes with bigger vehemence, the gruff but intelligible singer hesitating between a more brutal deathly timbre and later-period James Hetfield, "Circle of Imagination" notching up the speed for a thrilling roller-coaster ride, a short but fairly technical proposition. Some of the band members are currently busy with the retro thrashers De/Test.

Diabolic Retrace Demo, 1989
The Final Prayer Demo, 1993

EXECUTION (NORWAY)

Based on the "Sacrifice" demo, this act serve retro speed/thrash which can be quite wild at times (the title-track), and generally there's no speed lost here, the band overcoming the really muddy production with more inspired musicianship. "Kiss of Death" is a more uplifting speedster, and "Welcome to Hell" is an atmospheric power metal anthem, the vocals acquiring a cleaner timbre on it, to oppose to their dominant semi-shouty/semi-clean antics. The guys later changed their name several times (Theatre of Pain, Eternal Flame, Gaia Epicus), epitomizing a more laid-back power metal sound.

Frekke faen Demo, 1993
Sacrifice Demo, 1994
The Bullet for Me? Demo, 1995

Youtube

EXECUTION (USA)

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 fuzzy, 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

EXECUTIONER (BRAZIL)

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

EXECUTIONER (GREECE)

Based on "Kingdom of Nocturnal Offerings", this one-man project, the alias Executioner naturally, plays a classic speed/thrash hybrid that starts very ambitiously with the near-10-min title-track, an encompassing listening experience which is followed by a string of shorter melodic speedsters, the shouty deathly vocalist disturbing the silence with his quarrelsome croaks. "Endless Torture" is a nice short fast-pacer, and "Altar Of Lascivious Sacrifice" brings the winds of back metal for a bit, the latter backed-up lyrics-wise by the decent cover of Slayer's "The Antichrist" at the end.

Nightmare Possession EP, 2021
Daemonium Ignis Full-length, 2022
Kingdom of Nocturnal Offerings Full-length, 2023

Official Site

EXECUTIONER (ITALY)

fans of sodom's "persecution mania" and possessed will be quite happy with this: roughly, 80's produced stuff, fast and intense, with sparse 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 isn't 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

EXECUTIONER (USA, KENTUCKY)

Vintage old school thrash which is largely built on bursting moshers ("Black Crown", "Forever 666") and a few more stylish psychedelic crossover-ish throw-ins like the intriguing "Oxycodone Blues" and the rousing optimistic roller-coaster "Wish You Were Here", the shouty, but warm and welcoming vocals accommodating all not very contrasting stylistic switches.

Bone Collector Full-length, 2018

Official Site

EXECUTIONER (USA, MASSACHUSETTS)

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. There's still some charm left in raw brutal outtakes from Sarcofago's "I.N.R.I." like "Eye of the Needle" and "Death March" although the presence of clumsy doom exercises like "Terminally Ill" are close to ruining everything with their boring, ultimately monotonous take on the early Celtic Frost idea.
The debut is a wilder, less restrained affair with clear pretensions at hardcore and crossover. The unbridled nature of frolickers like "Hell And Back" and "Victims Of Evil" is somewhat awkwardly juxtaposed to plain radio-friendly goofers like "Your Life Is Over" and "Death By The Blade", the semi-shouty clean punky vocals contributing to the very unpretentious party atmosphere, the major exception from this approach being the closing "Going Blind", a very unexpected lead-driven, all-instrumental virtuoso piece.

In The Name Of Metal Full-Length, 1986
Break The Silence Full-Length, 1987

official site

EXECUTIVE DISORDER (USA)

Based on "Forever War", this band play hardcore-ish thrash which is strangely more on the classic side recalling both Hellbastard's "Natural Order" and early Sacrilege. "Whiskey Rebellion" is a more intricately conceived number, a nearly full-blooded thrash experience, but the goofy punky "Redneckistan" and the brief hardcore outburst "Elephant in the Room" keep the delivery on the less serious side, regardless of the presence of the doom-laden "Lockdown" and the fairly decent steady semi-declamatory/semi-clean vocals.
"Antichrist Agenda" is sustained in a very similar vein, the band shooting a few fairly energetic pieces ("God Machine", "Zombie Corps"), also making sure there are a couple of more laid-back stompers ("A.S.S. Drill"), including the merry elevating anthem "Three Fifths", the rushing epitaph "Beyond Binary" thrashing with might and verve.

Hail to the Chief EP, 2016
The New Colossus Full-length, 2017
Forever War Full-Length, 2019
Social Insecurity Full-length, 2020
E Pluribus Sabbath EP, 2020
Antichrist Agenda Full-length 2022
p> official site

EXECUTUS (AUSTRALIA)

The EP: 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 confines also inserting several intense headbanging dashes.
The full-length is another example of modern thrash/death that this time enjoys two vocal approaches: one shrieky blacky, the other guttural deathly. The impetuous urgency exuded from “The Lurker at the Threshold” is the leitmotif, this sizzling ingredient later picked by the epic fist-pumper “Executus Rising” and the hyper-active galloper “The Black Throne of Chaos Abandoned”. The shadow of Death rises mightily on the exuberant progressiver ”The Haunter of the Dark”, the deathly touch remaining for the dramatic saga “Invocation of the Abyss” and the more peaceful mid-tempo stomper “The World's Grave”.

Escape Reality EP, 2017
The Black Throne of Chaos Abandoned Full-length, 2023

official site

EXEGESIS (COLOMBIA)

Based on "Insurrection", this act indulge in atmospheric power/thrash which is more on the classic side, also attempting a few admirable melodic configurations ("Fuerte") which are quite a contrast to the harsh semi-deathy/semi-shouty vocals. The delivery ("Eli Eli") at times clings towards the symphonic proclivities of the Greek movement (Septicflesh, Nightfall) but rest assured that there's no thrash lost on short sharp shredders like "Grito Mas Duro" and "Marranos" which spearhead the parade the latter also receiving its portion of dazzling Shrapnel-like lead pirouettes on "Enfrentare".

Human Obsolescence EP, 2015
Insurrection Full-length, 2016
Amen Full-length, 2018

Official Site

EXEKUTER (GREECE)

two songs of fuzzy 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

EXEKUTION (SPAIN)

vigorous classic bay-area thrash made in spain; the sound gets 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

EXEKUTOR (CZECH)

based on the "time of shadows" demo, which is whole eight 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

EXELERATE (DENMARK)

Based on the full-length, this band play classic power/speed/thrash that sometimes rushes with wild impetuous riffs (“No escape”), at others (“Spawn of Satan”) moshes more venomously, the more melodious power/thrasher “Release” shifting gears towards less extreme realms, but just for a bit as “Children of the Sun” crushes with might, an also more complex occurrence which steps aside for the epic semi-balladic opus “God of Man”, the aural assault continued right after with the rushing “Lethal Assault”, the very good high-strung clean vocals a highlight all over.

E0 EP, 2014
Exelerate Full-length, 2023

Official Site

EXELOUME (NORWAY)

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

EXEMPTUS (ITALY)

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

EXENCE (ITALY)

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 can'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 labyrinthine 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

EXENFERIS (MEXICO)

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 officious doom 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

EXEQUIA (COLOMBIA)

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.
"Human Control" is another relatively inspired more intricate shredfest the band alternating chapters from the Gothenburg melo-death movement ("Agente QuÝmico") with more dazzling stylish guitar work (the title-track) and a couple of more refined melodic speed/thrash cuts ("Proyecto Lucid", the heavy semi-balladic "Dogma"). The lead guitarist is the star of the show firing spectacular pyrotechnics at will, elevating this effort above the average with his stellar contribution.

Beggars of Souls full-length, 2000
Earth of Agony full-length, 2008
Human Control Full-length, 2019

my space

EXERCIUM (PORTUGAL)

Three 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

EXERSIUM (COLOMBIA)

This Colombian trio specialize in speedy blitzkrieg classic thrash which obviously mirrors the German models (Kreator, Necronomicon, early Deathrow, etc.), but unrelenting fast-paced roller-coasters like "1941" and "Skulls (From the Damn Invasion)" are hard to ignore, the band lashing with the utmost intensity, playing with more melodic possibilities on "Exersium", the more flexible layout of the final shredder "Crushing Brains" letting in both more brutal and more intricate elements into its volatile structure. The singer is a semi-clean semi-reciter, a spiteful intimidating presence despite his very rare adherence to actual singing. Some of the musicians are also involved with the thrash/crossover formation Sorath.

Irrational Extermination Full-length, 2020

Official Site

EXERGY (USA)

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

EXES FOR EYES (CANADA)

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 surprisingly deliver with the guitars partially losing the noise for the sake of a weird spacey vibe.

the amsler grid full-length, 2011

EXESSUS (SPAIN)

The debut: 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.
"Asynapse" is a more tamed and consequently lesser offering, the band also modernizing their sound, including in the production department, the guitars now coming with a buzzy abrasive vibe, with power metal ("Oblivion") coming to the fore more than just now and then, with little openly thrashy vigour displayed anywhere, the calm lead-driven vistas on "Paths" bordering on the dreamy, the corrosive grooves on "Srtength" another waste of talent. It's only on moments from "Inner Parasite" do the guys remind of their much more convincing exploits from the preceding opus, the rest clinging more towards the power metal quasi-progressive realms.

time in coma full-length, 2017
Asynapse Full-length, 2022

official site

EXHAUSTER (FRANCE)

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

EXHAUSTION (ITALY)

This is raucous Motorhead-ish speed/proto-thrash which also acquires bolder crossover strokes ("The Pale Horse Named Death") at times, the wilder bash on "Midnight Sasquatch" bordering on sizzling hardcore. The singer is a shouty semi-deathster, rending his lungs at will. Some of the musicians are also active with the black/doom hybriders Nero or the Fall of Rome, and the symphonic black formation Riul Doamnei.

Cold Death Embrace EP, 2022

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EXHAUSTOR (CZECH)

based on the "nekrofilie" demo, these Czechs deliver brutal, fairly unpolished thrash/death which from the filthy raw opening title-track later grows into something 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

EXHOPE (FRANCE)

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 acquires 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 (USA)

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 nightmare": 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 immediately 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.
"Mourn the Southern Skies": a very unheralded comeback from these lords of the aggro and the belligerence with Mr. Kyle Thomas, the ultimate vociferous throat, back in action alongside an entirely new team, taking a break from his more peaceful exhords.. sorry, exploits with Trouble. "My Time" opens the fiesta with fiery blitzkrieg rhythms, vintage retro headbanging thrash which leaves room for the still energetic 90's groovy reminder "Asunder" and the more frolic mid-pacer "Hallowed Sound". "Beware The Wolf" brings back the classic mosh on full-throttle before the album surrenders to the sea of groovy post-thrashisms on the overlong "Yesterday's Bones". Do not ever expect two in a row of this kind on an Exhorder effort, though, as "All She Wrote" is the next in line brisk shredder again replaced by unmitigated groovy shenanigans on "Rumination" and the stoner-induced "The Arms Of Man". No such films later, mind you, as the very appropriately-titled "Ripping Flesh" thrashes like there's no tomorrow before the closing title-track provides an entirely new soundscape with its meditative, composed balladic/doom vistas stretching for over 9.5-min; a not very heralded but strangely fitting anti-climactic finale to this otherwise quarrelsome recording. A cool opus this one, seeing the band revitalized and fully-equipped, ready to supply the contemporary scene with more angry classic/modern thrash hybridizations in the future.
"Defectum Omnium" is another acceptable entry into the band's still not very voluminous discography, the traditionally explosive headbangers ("Wrath of Prophecies", the scarily deathly "Forever and Beyond Despair") alternating with heavy doom-laden tunes ("The Tale of Unsound Minds") and carefully measured mid-tempo thrashers ("Divide and Conquer"). Please, accept also the ripping headacher "Taken by Flames" and the lengthy opus to all things doom "Defectum Omnium/Stolen Hope", the band also courting the crossover realm with the short frivolous "Sedition". There isn't much here to bind this offering to the guys' first two, but at this stage this blend of fast-paced violators and doom-fixated therapies can still be tolerated without too many frowns in the audience.

Slaughter in the Vatican full-length, 1990
The Law full-length, 1992
Mourn the Southern Skies Full-length, 2019
Defectum Omnium Full-length, 2024

official site

EXHORT (BRAZIL)

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

EXHORTATION (BRAZIL)

The demo: two 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 technicality 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

EXHORTATION (USA)

based on the full-length, these folks provide brisk modern thrash led by vicious high-pitched thrashy vocals. The dominant fast- paced delivery knows 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

EXHUMATOR (BULGARIA)

based on the debut demo, this one-man act pulls out raw simplistic black-ish thrash which ranges from up-tempo tracks ("metalna artileria") to slow doom 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 doom 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 second 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 doom 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 isn't 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's 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

EXHUMATOR (GERMANY)

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 doom 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

EXILE (CHILE)

classic, more complex for the genre thrash which loses a lot of points from the very muddy sound quality and the screechy blacky vocals. The material 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

EXILE (JORDAN)

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, and turn into one of the leading acts in the middle east.
the "absolute evil" single provides two 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 deathly 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 doom 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.
"Unveiling Insanity" is another stylish roller-coaster which sees the band in a fairly good shape once again, shredding like demented all the way with intricate mazes like "City Upon A Hell" and "Earthly Cloak" where the shadows of Death, Coroner and Deathrow can easily be felt, with melodic pirouettes dancing from all sides, especially on more moderately executed numbers like the title-track. "Into the Uncertainty" grabs later-period Death for the throat including in the vocal department, but expect spiral- like twists and turns and brief balladic respites, the short length of "House of Fear" very misleading as there are more sudden shifts of pace and mood than on an entire album, not to mention the insane 1.5-min "Instru-Mental", a total display of musical genius aptly supported by the serpentine, unpredictable structure of "Twisted (Being)" and the fervent immediacy of "Indulgence In Depravity". A sheer highlight of the year 2018, this opus has to be heard to be fully savoured.

Dead Thrashers Rising Demo, 2010
Absolute Evil Single, 2010
Suspended Society Full-Length, 2012
Unveiling Insanity Full-length, 2018

official site

EXILE'S MELODY (USA)

Two musicians are behind this project which is a cross between power and thrash, with the old school the main guiding light, with both doom ("Broken Day") and the ballad ("The Siege") showing their heads from time to time, preventing the album from accumulating a lot of speed thanks to wayward shredders like "Edge of a Knife" and especially the excellent technical closer "Design the Architect", the singer trying to keep up with the music swings with his steady mid-ranged clean baritone which he tries to twist through a more dramatic, higher-pitched perspective.

Exile's Melody Full-length, 2019

Official Site

EXILED (COLOMBIA)

Based on the full-length, this act indulge in competently-executed retro thrash with sharp cutting riffs, fast intense music with echoes of death metal, especially on the raging violators "Altars to Hypocrisy" and "Abyss of Fear". The more intricate veneer flowing out of "Spiral of Pain" is also welcome, aptly supported by the meandering rhythmic configurations of "Revelations of Morbid Pleasure". Expect pounding drama on the slow-burning "Bloodstained Arrogance", and more complex developments on the final "Imminent Extinction", the singer supporting the melee with raspy witch-like blacky vocals.

Reasons of Self-Destruction EP, 2018
Inside the Disrupted Minds Full-length, 2022

Official Site

EXILED (USA)

Based on "ghost in the winter", this act deliver vintage old school speed metal with bold shades of thrash. the overall approach recalls early exciter and savage grace, with the same penchant to mix speedy roller-coasters with heavy pounders as the mentioned canadians. things acquire a more ambitious shape ("illusion of light", the academic doom closer "the secret gathering"), but the album is ultimately carried by impetuous roller-coasters like the title-track and epic diverse speed/thrashers like "the u.s. intelligence report". The vocalist is a nice addition with his emotional clean croons ala bruce dickinson, maybe a tad lower- pitched.

exiled full-length, 2002
fortune teller full-length, 2003
blood sea full-length, 2007
ghost in the winter full-length, 2018

official site

EXILED ON EARTH (ITALY)

This formation were earlier known as Maelstrom when the style was a more brutal black/death metal hybrid (one demo, "Tales of Innocence", released in 1997). 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 piece 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 second 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.
"Non Euclidean" would be a sure no-brainer for the band fans as their idols have introduced a sinister minimalistic current which is fairly effective on the dramatic stomper "Vault of the Decimator" which is that close to tumbling down into Coroner-esque realms, but before you get fully immersed in these seductive dark waters comes "Mythoscondria" to shatter your senses with a portion of fast blitzkrieg riffs. The speedy fiesta is sustained for the entangled wonder "The Cult of the Ivory Grace", but it's all macabre stompiness on "Vordeghast Wood (Mater Eternitas)" with sudden more dynamic surges preserving the intrigue the latter acquiring more fulsome speed/thrashing tendencies on "Vordeghast Wood (Mater Eternitas)", the closing "Forager of Sanity" trying to sum up the entire delivery within -min; a nice varied epitaph to this very cool opus.
The "The Onyx Path" EP is another noteworthy entry into the band's catalogue, "Psychic Retaliator" combining speed and thrash in an alluring intricate manner, "Shores of Emptiness" simplifying the setting a bit with more orthodox pounding rhythms. "A Gathering of Jackals" introduces an epic power metal flair to the proceedings, and the title-track is a tight technical shredder with virtuoso guitar expletives. Expect a cover of Death at the end, "Zombie Ritual", performed in a faithful compact manner.
"Vertenbra" is a more aggressive entry into the band's now voluminous catalogue, the pulverizing technicaller "Revived Entity" inaugurating the show with the expected elaborate panache, also exuding quite a bit of energy, the latter also preserved for the spinning "Constellations Collapse", the dramatic stomps of "The Messenger from the Red Aeon" steam-rolling towards the more sentimental mid-tempo trot "The Dying Sun of Sarnath" and the measured melodicisms of "The Dying Sun of Sarnath". The riffs on "Where Trees Have Mouths" start twisting and turning in less expected directions, but "Eye of Sothoth" puts an end to those entanglements with a portion of fierce deathly arrangements, "Harvest Centuries" carrying on with the weaving of more complex mosaics on top of several attractive melodic lead sections, "Through the Gates of the Silver Key MMXXIII" bringing the winds of death metal once again for a thrilling multifarious ride with not very subversive power metal undercurrents.

The Orwell Legacy full-length, 2009
Forces of Denial full-length, 2016
Non Euclidean Full-Length, 2020
The Onyx Path EP, 2022
Vertenbra Full-length, 2024

official site

EXILER (SPAIN)

modern power/post-thrash with dark overtones; the delivery is mid-paced the friendly guitar tone accompanied at times by melodic keyboards, topped by gruff semi-clean vocals which mostly semi-recite without much passion. there's a certain gothic flavour permeating the tracks assisted by slower doom 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

EXILIO (ARGENTINA)

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 second 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

EXILIUM (ITALY)

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

EXIST (FINLAND)

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

EXIST (POLAND)

Based on the full-length, this band play very cool classic melo-thrash with progressive tendencies, the brisk entangled configurations on "Far Beyond the Light" and "Chained" even evoking images of their compatriots Hellfire. The attached passionate semi-clean vocals are another asset, but it's the virtuoso classical guitar work that wins the most points, the brisk ripping riffs of "High As Fuck" keeping the mosh going, including the speed metal-based roller-coaster "Our Seduction", the latter hymn even adhering to sparse blast-beating passages. "In the Void We Last" is another multifarious progressiver, the guys unleashing their creativity to the max, with blazing leads and sharp riffage, the sweeping immediacy of the closing "Excluded From Society" a welcome hyper-active finale to a highly entertaining offering. Some of the musicians are also busy with another retro thrash metal act, Savior.

Get Your Own EP, 2017
In the Void We Last Full-length, 2021

Youtube

EXISTENCE (POLAND)

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 "Cemetery", 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

EXISTENCE (UNKNOWN)

not much is known about this act, but the music on display is decently executed modern thrash with a dark rich tone and covert progressive shades. The rough death metal 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 Tomorrow Comes". the closing ballad We'll Come for you" is another tasteful touch, an epic doomster with cool operatic support.

when tomorrow comes full-length, 2016

EXISTENCH (CANADA)

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 unbridled 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

EXISTHOR (CANADA)

classic thrash/death metal of the bashing, one-dimensional type; there's not much variety on offer between separate songs if we exclude the pounding, battle-prone stopovers on "rivers of cancer", and the steady mid-paced stride ala amon amarth on "embrion". the vocalist is a brutal guttural semi-shouter who assuredly leads the show, sounding fairly comprehensive as well.

slain full-length, 2018

official site

EXIT (HUNGARY)

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-thrash 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

EXIT (SWITZERLAND)

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 unrestrained 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.
"Traces of Human Existence" is a slower affair the guys having decided to stomp with power in the first half, with a few exceptions (the raging "The Final Youth"), the heavy epic aura of "Only Pain Is Real" very nicely drawing the initial template which falls apart in the second half with sharp speedy cuts like "Born to Burn" and "Empire" tearing it to shreds, bringing the delivery in the vicinity of the Gothenburg wave, including with a few cool clean vocal insertions.

Her dark passion full-length, 2006
iii full-length, 2009
Face the enemy full-length, 2014
Into darkness full-length, 2016
Traces of Human Existence Full-length, 2020

official site

EXIT FOR FREEDOM (AUSTRALIA)

Five senors (these are apparently pseudonyms) are in charge of this modern thrashism which is quite diverse: check out the opening "burn", a modern thrash encyclopaedia lasting for more than 11-min. the other three 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 timbre quite reminiscent of rick astley.

exit for freedom ep, 2012

official site

EXIT SMASHED (GERMANY)

the debut: 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 himself, nearly tearing his vocal chords at times. some of the musicians are also active with the melodic death metallers only death decides.
"between death and death": the roller-coaster continues on full-throttle here the band moshing with passion the overall approach now coming closer to destruction after the reformation in the late-90's (remember "the antichrist") with ripping headbangers like "scum" and "adjusted 4 justice" assuredly leading the show, with "old spice scented epoxy" attempting something more complex and more entangled towards the end.

the total extent of pure excess full-length, 2015
between death and death full-length, 2018

official site

EXIT TO ETERNITY (USA)

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 doom/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 entertaining listen, showing the band willing to embrace more influences although to these ears their more immediate aggressive side is the more preferable one.

demo demo, 2002
coming down full-length, 2007

Official Site

EXIT WOUND (CANADA)

Energetic retro thrash which largely keeps to the up-tempo parametres, the guys also incorporating the odd hardcore tinge ("Rising Terror") to facilitate their hyper-active agenda which falters a bit on the stomping semi-technical "Solar Mortality", but nicely picks speed on the ripping melo-thrasher "The Nurse of Torment", and the aggressive death-laced "Save Yourself from Extinction". Clean vocals help on the subdued atmospheric "Shadows Obscured", opposing the dominant overshouty black/death tirades.

Rising Terror Full-length, 2022

Official Site

EXITUS (CZECHIA)

Based on the full-length, this act serve decent classic thrash which generates quite a bit of energy with the potent brisk opener "Repressive Tolerance", the proficient flashy lead sections the seeming highlight all over. Later on there's alternation between slower stomping cuts ("Final Solution (...of Existence)") and dynamic spasms of rowdiness ("Destroy This World"), the overall delivery clinging towards the Bay-Area, the intimidating shouty vocals sitting comfortably in the hardcore realm. The guys released three full-lengths a few years earlier under the name Eternity, the style being more aggressive death-peppered thrash, also immersed in the old school.

Undead EP, 2019
Liebyrinth Full-length, 2023

EXITUS (FINLAND)

this obscure finnish formation play antediluvian 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 timbre sometimes remaining buried under the inspired musical barrage.

statutum est hominibus mori demo, 1990

EXM93 (ITALY)

Based on "Urban Far West", these lads indulge in a classic thrash/black metal hybrid (more black than thrash) which is clearly on the more melodic side with cuts like "Blood Calls Blood" and the lush symphonic marvel "Princeps Militiae Coelestis" melting the hearts of the hard-boiled metalheads with their lyrical escapades. Brace yourselves, however, for a rowdier ride with "Exm93 Regime" and "Wolves Warchant" which lash fast-paced rhythms like crazy, all restless spirits pacified on the last two cuts ("Dead in Cross (The Forgotten King), "At the Hell's Door") where the more officiant epic aura of mid-period Bathory leads the show with unflinching battle-like determination.

Mortualia Nocturnum Full-length, 2009
Spirito guerriero Full-length, 2013
Urban Far West Full-Length, 2019

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EXMORTIS (USA)

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

EXMORTUS (USA)

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 virtuosity 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 six, 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 metal, 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.
"the sound of steel" doesn't bring anything new to the table the guys shredding with the utmost precision again, and although these guitar fireworks sound even more familiar this time around, one can't help but acknowledge the masterful execution of cuts like the hyper-active gothenburg school tribute "to the ends of the earth" and the major nod to yngwie malmsteen and all shrapnel heroes "a minor instrumental". "strength and honor" is a satisfying ripping thrasher, but the rest is simply too virtuoso-prone to be a sure pick for the regular thrash metal lover.
“Necrophony” changes the formula from earlier instalments into more light-hearted power metal-prone one, but the galloping vigour of “Mask of Red Death” is infectious enough to propel the album forward, the thrashing urgency of “Oathbreaker” disturbing the peace with the help of the power/speed metal winner “Mind of Metal”. In the second half thrash steps aside almost completely to make way for the guys’ newly-found passion for all things epic, this new streak best reflected in the catchy melodic histrionics of “Test of Time” and the streamlined composure of the slightly one-dimensional “Prophecy”.

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
the sound of steel full-length, 2018
Necrophony Full-length, 2023

official site

EXOCET (GERMANY)

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

EXOCOSM (FINLAND)

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 drama from which this otherwise fairly strong album could have benefited.

spiral of decay full-length, 2012

EXODIA (SPAIN)

these spaniards provide quite cool, crisp retro thrash which is sustained in a cool up-tempo with sparse death metal 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-bomb "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 timbre which isn't very high, and may remind you of both schmier and freddy (necronomicon), only more throaty and spiced with the casual more brutal deathly growl.
"hellbringer" can literally "bring hell" to you with its sharp biting riffs and the perennial fast pace. the crisp production greatly favours the guys' exuberant style giving the guitars a nice expressive edge. the speed reaches extreme dimensions ("150% attitude") at times, but melodic relieves 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 relax 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

EXODIUM (SPAIN)

The EP: 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".
The full-length is a prime slab of old school power/speed/thrash kickassery, the band aptly mixing melody and aggression on nearly every composition, starting with the rousing semi-technical hymn "Fear of the Unknown". The stomping urgency of "The Nameless Place" can't possibly remain by-passed, the guys too good at their craft to leave the listener uninvolved, espcially on the hectic pounding drama that is the excellent "Trust the Liar". The speed/thrashing acquires more epic tendencies on "Your Way", but dynamic mid-tempo is what the band are ultimately expert at, and a string of cuts in the second half nicely testify for that, the semi- balladic respite "Terra Nova" providing the requisite break from the freighter, the very cool clean emotional vocals supporting all the stylistic tendencies with gusto and panache.

Exodium EP, 2015
Anima Full-length, 2019

Official Site

EXODUS (USA)

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 three 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 mike 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.
"Persona Non Grata": the veterans are moshing with vigour again, and this slab is decidedly a superior achievement to its predecessor. The opening title-track is served first, a lengthy varied roller-coaster with frequent twists and turns, the more immediate headbanger "R.E.M.F." turning the setting into a moshpit. Later on the staple for the band restless mid-pacers ("Slipping Into Madness", "Elitist") show up, the doom/balladic segment "Prescribing Horror" a relative novelty in the repertoire, the guys wrapping it on with another more ambitious composition, "Lunatic-Liar-Lord", a near-tech-thrasher with steel sharp riffs and a couple of imposing slower developments.

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
Persona Non Grata Full-length, 2021

official site

EXONIS (POLAND)

three tracks of atmospheric battle-like thrash/death, strictly modern, mixing fast (not many) and slow tempos on a cool melodic base. there's 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

EXORBITANCE (USA)

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

EXORCISM WOUNDS (USA)

Based on the "Lunar Atrocities" compilation: another one-man stint, the name Ian Thomas, who specializes in a classic thrash/black/death amalgam, the man emphasizing on the aggression more, producing unrestrained violent ("Mocking the Purity") headbangers, the speed/thrashing homogeneity of "Tales of the Perverse" a sure highlight, the tech-death exuberance of "Ascension of Dagon" another noteworthy moment. The second half is almost exclusively dedicated to the death metal movement, Thomas exercising his shouty intimidating deathly growls more prominently there.
"Rites of the Tormentor" bears no surprises, Thomas sticking to the same stylistic combination, moshing with a lot of virulence ("Made of Death", "Live Cremation") the whole time, with thrash standing proud ("Under the Catacombs") for most of the time amidst the prevalent no-bars-held black/death metal show.
"Sacrificial Necromancy" brings back the mellower speed/thrash expletives, and a such is a more enjoyable fate although the blasting blacky additives are still pretty legitimate, the short brutal jolts "Evil Always Wins" and "Mocking the Purity" raw bashing outtakes that will easily scare away the unprepared. "Tales of the Perverse" tells an abrasive speed/thrashing tale, its most logical sequel seemingly being "Graves of the Seraphim" minus the few more aggressive deathly accumulations.

Lunar Atrocities Compilation, 2022
Rites of the Tormentor Full-length, 2022
Sacrificial Necromancy Full-Length, 2022

Official Site

EXORCISMO (BRAZIL)

this act, who were earlier known as morgue, provide quite cool retro sepultura-sque thrash the blitzkrieg delivery established with the opening rager "masters of reason" seldom broken later, the band shredding with the utmost intensity also recalling another gem from the distant past from their homeland, attomica's "disturbing the noise", as well as mx's "mental slavery" on the more stylish, semi-technical ("exorcise and steal") escapades. the intense semi-shouty vocals are quite reminiscent of the ones of max cavalera assisting this admirable violent barrage which is finished with a cover of attomica's "deathraiser" from the mentioned album.

exorcise and steal full-length, 2018

Official Site

EXORCIST (POLAND)

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

EXORCIST (SLOVAKIA)

This act specialize in brisk retro thrash that epitomizes a steady mid-tempo trot from the get-go, save for the short explosive "I Am Murder",the rough death metal singer trying to fit into the not very aggressive environment, the latter receiving a boost from the varied but intense shredder "F.O.L.". Expect captivating semi-technical riffs to befall you on "Useless Pain", and bouncy intricate riff-knots on the stylish all-instrumental piece "Cape Fear".

Captive Demo, 1997

Official Site

EXORCIST (USA)

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

EXORCIZER (FRANCE)

Based on "Post-Humanism", this outfit specialize in quite cool dark menacing old school thrash that often sides with the polished brutality of early Rigor Mortis, the band trying something evil and darker ala late-80's Slayer on "Red Eyes Glowing" as well, this cut influencing a string of numbers where speed doesn't play a very big role, with "Nameless Life of None Existence" intensifying the setting but again a more steam-rolling manner. The other genuine headbanger here is called "Psychotic Torment", with "Conqueror of the Netherworld" helping on the side with crusty cavernous vibes, and "Urban Chaos" exacerbating the environment to brutal death dimensions by also adding a couple of delightful technical developments, a really stylish cut which closes this admirable recording with well-deserved aplomb. The singer is also an asset with his spiteful Tom Araya-sque baritone.
"Mechanism of Decay" is another excellent recording the band sounding more complex but also slower. Still, no complaints on eventful near-progressive experiences like "Blood Curse" and "The Living Dead" where a lot of things occur within a not very long span of time, from dark doom motifs to speedy technical excursions. "Unleash The Fucking Death" focuses on the speed almost entirely, a dynamic roller-coaster that leaves all the stomping gimmicks for the macabre "Abyss Of The Lost Time". "Psychiatrist" is a crafty prog-thrasher with echoes of Coroner, a masterpiece of a serious entangled song-writing, the highlight here. "Artificial Life" brings the winds of death for a bit, a really fine technical death/thrasher with dramatic accumulations, "On the Styx River" picking on this subversive aggression for a more orthodox, more brutal ride.

Bedouin at North Pole EP, 2008
Mechanism of Decay Full-length, 2014
Post-Humanism Full-length, 2020

Official Site

EXORCIZPHOBIA (CZECH)

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 attitude 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 balladic 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...
"about us without us" is more along the lines of mid-period anthrax than anything thrash/crossover related; the band mosh with passion, taking no prisoners on semi-technical roller-coasters like "just one shot" although the other contrast is also handsomely provided in the form of the cool soothing ballad "time does not heal". short immediate thrashers like "beggars of today" and "relationshit" will also recall early metallica while not very meaningful laid-back relaxers like "gypsy rock'n'roller" don't do the guys' repertoire any justice provided that the other material is way more seriously woven and much less goofy.
"Digitotality" is another decent recording which comes alive on the lively Bay-Area worshipper "Corporate Dance", and the title-track is a frolic speed metal hymn, before the heavy clout of "Correct Opinions" darkens the proceedings a bit, with "Ancient Deception" attempting something psychedelic and Voivod-ish on the more complexly-stitched "Ancient Deception". The sprawling doom 9.5-min all-instrumental saga "Oumuamua" is something very surprising and unheralded, but comes "Perception Is the Key" right after, and thrash comes back with full force for an exciting semi-progressive ride.
"Spiritual Exodus" is the next-in-line decent affair from this powerhouse, the not very compromising hard thrashing stance of pieces like “Violence and War” and “Down the Rabbit Hole” spearheading the riff-fest, the latter tasting the speed metal realms with the impetuous heroic “Reflections”, before the steam-roller stomper “Those Who Oppose” unleashes some teutonic seismicity. Back into the moshpit with the sizzling “Ring-Pass-Not” and the interesting varied “Through a Glass Darkly”, the closing “Tiwanaku” a not very convincing spacey prog-metal cavalcade served without vocals.

disease inside ep, 2009
something is wrong full-length, 2012
about us without us full-length, 2018
Digitotality Full-Length, 2020
Friend of Lunacy EP, 2021
Spiritual Exodus Full-length, 2023

Official Site

EXORD (BOLIVIA)

This is crusty modern power/thrash which rigid skeleton is frequently carved by nice melodic lead sections, the sing-along choruses of "Esclavos" backing up the vivid speed metal heroics of "Despierta". Such latter expletives aren't then order of the day, the levelled attached semi-clean singer aggravating the lively speed/thrashing spree unleashed on "Dualidad".

Orden de Ejecucion Full-length, 2023

Official Site

EXORDIAL (GREECE)

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 balladic interlude with some virtuoso 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

EXORDIUM MORS (NEW ZEALAND)

the "verus hostis-a hymn to fire" ep is just two 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.
"As Legends Fade and Gods Die" is more oriented towards the thrash idea for a change, but this is still a relentless hyper-active offering which seldom takes prisoners although the opening "I Saw Oblivion" is a rip-roaring melodic adventure, ably backed-up by the excellent hyper-active black/thrasher "A Pyrrhic Sacrament" and the Oriental progressive masterpiece " Flesh of the Heathen", a diverse engaging journey similar to mid-period Melechesh. "Surrounded by Serpents (I Am...)" is a brilliant more compact technical piece, the soaring near-addictive melodies fully occupying the more moderate odyssey "Crown of Dust", "Torn Asunder (Damnatio ad Bestias)" giving black metal a bigger chance to shine, but this is an arresting tractate from the early Dissection exploits, a fascinating virtuoso-prone ride that gets expanded and elongated on the closing "The Triumphator", another entangled composition with a lot of twists and turns and a consistent speedy core.

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
As Legends Fade and Gods Die Full-length, 2022

Official Site

EXOS (GERMANY)

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 please 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

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EXOSKELETT (BELGIUM)

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

EXOTHERMIX (MALAYSIA)

these lads pull out energetic retro thrash which is largely modelled after the german models from the 80's, think the early efforts of Necronomicon, vectom, exumer. the band shoot fast inspired bullets like "exothermix reaction" and "restless unconscious" in quick succession, stirring a lively mosh party the husky semi-declamatory vocals assisting unobtrusively on the side. "infinite brutality" offers something more complex, and "maniac forces" is a pure speed metal joy the thrash mentality of this hyper-active affair sealed with the speed/thrashing pogo on "thrash mentality". some of the band members are also involved with the thrash/death metal formation slaydeath.

reaction full-length, 2018

official site

EXOTO (BELGIUM)

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 title-track, 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 on a couple of times. 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 doom 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 doom 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 didn't quite reach their highest potential with it.
The "Absolution in Death" EP is a surprising return to the field by these Belgian stalwarts who haven't forgotten how to shred with proficiency and gusto as evident from the hyper-active semi-technical "When No Dreams Remain", and the death metal crazer "Consumed by Insanity". In fact, it's death metal that dictates the plot here, with thrash not having much of a say, the title-track recalling the more intricate exploits of old with a portion of more elaborate walkabouts.
“Final Festering” is more strongly oriented towards the realms of death, the furious expletives of “Haunted Head” served with resounding echoes of the Floridian scene, with more unchecked aggression coming from both ‘Intertwined Souls” and “My Frozen Saviour”, the delightful more technical arrangements of “Zombie Zero” pairing well with the equally arresting skirmishes unleashed on “Lit From Within”. Expect a few moderate stomps on “Dripping Blood”, but overall this is an exhausting listening experience with numerous hyper-active moments.

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
Absolution in Death EP, 2019
The Final Festering Full-length 2023

official site

EXOTOXIN (GERMANY)

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

EXPAIN (CANADA)

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

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EXPANDER (USA)

Based on the full-length debut, 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.
"Neuropunk Boostergang" is a quirky industrial extravaganza, a miasmic noisy excursion which that develops in a kind of samey monotonous pace, the more vivid bounces on "Hyper-Flesh Aedificium" and the thrashy urgency of "Waste Ranger" brightening up the landscape, the guys hitting a dry sterile, futuristic high on the 8-min closer "C.O.III_ Quest for a Future2", a surprisingly energetic epitaph with echoes of Treponem Pal and Front Line Assembly.

laws of power ep, 2015
expander ep, 2015
endless computer full-length, 2017
Neuropunk Boostergang Full-length, 2020

official site

EXPANTOR (BRAZIL)

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

EXPATRIATE (USA)

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 sparse 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

EXPENZER (SWITZERLAND)

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 second 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

EXPERIMENTS IN FEAR (USA)

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

EXPERIMENT (USA)

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 doom 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 timbre. 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

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EXPIATORIA (ITALY)

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

EXPIRED (ITALY)

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

EXPIRING (BRAZIL)

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

EXPLICIT DEATH (USA)

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 timbre; and the sound quality is really bad coming with a constant buzz which is all over the instruments.

multiple stab wounds demo, 1989

EXPLICIT FATE (USA)

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

EXPLICIT HATE (BRAZIL)

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's 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 surrounding demos: two 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

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EXPLICIT REPULSION (BRAZIL)

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

EXPLODE (IRAN)

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

EXPLODE (ITALY)

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 doom-ornate 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 doom 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

EXPLOSICUM (CHINA)

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 pretensions, 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

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EXPLOSIVE (ECUADOR)

heavy modern 90's post-thrash which can be quite dynamic ("rage") at times, and even a couple of effective melodic hooks ("no way out") can be detected amongst the bumpy stomping rhythms. "speedblast" by all means deserves its title, a rousing speedster, the only one of its kind here, but a cool deviation boosted by the good forceful shouty vocals.

born to burn full-length, 2018

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EXPOSURE (GERMANY)

This is intense old school thrash assisted by harsh death metal vocals; there's a solid crossover sting added to the brisk proceedings, with short curt tracks, with "Shadow Chamber" clinging more towards the purer hardcore side, and "Lament" trying something heavier and a tad more serious. Watch out for "Charon's Obol" as well, an aggressive proto-death/thrashcore bash. Some of the band members are also active with another similarly-styled outfit, Persecution Mania.

Atonement Full-length, 2020

Official Site

EXPOSURE (CHILE)

Three songs of cool classic speed/thrash metal modeled 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

EXPULSER (BRAZIL)

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.
the debut is a very logical continuation of the sound from the unbridled demo; this is brutal unrelenting death although the good sense of melody exhibited on cuts like "cirrhosis (let's get drunk)" is hard to be ignored. still, nearly grinding outrages like "fornications (at the church)" and "christ's saga" would make the more squeamish cringe easily as the thrash metal fans will have run away long before this effort has finished.
"Haeresis" is a posthumously released recording the band already in a split-up state after the frontman weber dahemon became a devout protestant. music-wise it sticks to the death metal canons more, the band producing an energizing slab of old school thrash/death which sounds quite close to the works of their compatriots torture squad. inspired blasters like "evocate (in revenge)" and "nevermore" assuredly dictate the plot which becomes more contrived on the epic "dismembering god" before thrash shows up on the stylish technical funker "the pages". the cover of black sabbath's "electric funeral" is another highlight, relatively faithfully reproduced excluding the guttural death metal vocals, of course, betraying the hyper-active delivery encountered earlier.

fornications demo, 1989
the unholy one full-length, 1992
haeresis full-length, 2006
fornications ep, 2017

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EXPULSION (HOLLAND)

the ep: three 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 "Necronomicon" which is another insane speed/thrashing piece. heads will roll on "end of days", the next in line very fast-paced 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

EXPULSION (USA)

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 doom 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

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EXQUISITE CORPSE (FRANCE)

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 thrashier 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 thrashing 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

EXSANGUINATION (JAPAN)

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 thrashier 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

EXSCIDIUM (ARGENTINA)

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 Argentine 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

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EXSECUTOR (RUSSIA)

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 "Ferocity 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 timbre.
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

EXSOM (SWITZERLAND)

Based on the full-length, this band play modern melodic power/post-thrash which also comes served with a sizeable synthesized presence, the mechanical industrialized approach creating a very artificial environment before long, the clean expressive vocals the main positive ingredient. "Panopticon" dramatizes a bit more with more insistently-pounding riffs but the rest is too mellow on the ears to generate a lasting impression.

Roundtrip EP, 2017
Red Carpet to Paradise Full-length, 2021

official site

EXTAASI (FINLAND)

These guys 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

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EXTASY CRYPT (RUSSIA)

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

EXTER-MY-NATION (CHILE)

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's 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

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EXTERIOR (GERMANY)

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

EXTERMINATION (USA)

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

EXTERMINATOR (BELGIUM)

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/thrash 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

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EXTERMINATOR (BRAZIL)

The horrible sound leaves little to be heard from this album; that's why to review it's 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 (BRAZIL)

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

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EXTERMINUS (UK)

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 first 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 dueling with the intricate riffs the whole time to progressive proportions, the second 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-death character of the beginning replaced by more controlled, but equally as challenging, technical thrash 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

EXTERNAL (FINLAND)

"Blurry" stuff we have here, one that starts in a fairly melancholic, oblivious fashion with the balladic "the escapist" before the guys embark on a brief more aggressive journey with the thrashing delight "i through eyes can see". the problem is that such intense escapades are nowhere provided later, the album acquiring a very introspective physiognomy, the rough deathly vocals receiving some help from a nice female soprano on the calmer, balladic sections those smelling later-period Sentenced, among other influences.

the blurry horizon full-length, 2018

official site

EXTHREMONY (ARGENTINA)

Three 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

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EXTINCT (GERMANY)

The full-length: 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.
The single is three tracks which reflect the vehement character of the full-length material, with "God Savior" thrashing wildly with bold shades of death, and with the title-track introducing a blitzkrieg speed/thrash veneer. "Spongo" moshes with passion, too, a short explosive shredder that leaves a positive impression like the rest of the material.
“Incitement of Violence” is another not very bridled violator, the band again building their repertoire around hyper-active pieces (“Annihilation by Words”, “Slaughter in the Trenches”), the pounding moderator “Incitement of Violence” supported by the slow-building behemoth “Extinct Squad”, where also the somewhat lethargic anticlimactic closer “Of No Account” belongs.

pain palace full-length, 2014
Downward Spiral Single, 2021
Incitement of Violence Full-length, 2024

official site

EXTINCTCIDE (SPAIN)

Based on the full-length, this act provide energetic hyper-active, but cleverly-concocted progressive classic thrash which is largely built on wild fast-paced marchers ("Woods of Fire", "Prying for Extermination"), the lead guitar work being of a particularly high level, frequently bordering on the virtuoso, the ripping uncompromising aura of the shorter material ("Cruel Endeavour") aptly backed up by the more ambitious material like the diverse near-progressive odyssey "What" and the surreal masterpiece "Moving Forward", an eventful piece with multiple riff and rhythmic twists. "Wretched World" is another less ordinary occurrence, featuring quiet balladic respites among bouts of visionary lead pyrotechnics, the closing "Extinctcide" an intricate atmospheric number steel sharp technical motifs. The vocalist is a death metal shouter who selflessly rends his throat the entire time.

Nothing Will Survive EP, 2015
Woods of Fire Full-length, 2021

official site

EXTINCTION (ITALY)

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 its brisk ripping sound, blending thrash and death the mixture assisted by expressive shouty black/thrash vocals with echoes of early mille, courtesy of the girl alice darkpeace. the guys 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/death riff-patterns those 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".
"The Apocalypse Mark" is almost equally energetic as the previous instalments, the dark oppressive rhythms on "Mad Jack" colliding with the fervent speedy extrapolations of "El Diablo del Norte", the measured mid-tempo trot of "Staged Terror Attacks" straying into less dynamic territories, where also the moody minimalistic march "Hell Behind a Screen" belongs.
"Cryogenesis" is a heavier, more academic fare, the band epitomizing a slow-burning Bolt Thrower-like stance for at least half the time, the more sprightly jolts of "Satanic Ritual Abuse" and the more sophisticated melodic lustre of "Eternal Life" breaking the mould to an extent, the steam-roller insistency of "Obsession" restoring some order towards the end, not without the help of the doom-ornate closer "Empty Words".

progress regress demo, 1996
the monarch slaves full-length, 2017
The Apocalypse Mark Full-length, 2019
Cryogenesis Full-length, 2023

official site

EXTINCTION (USA)

Quite cool Anthrax-influenced, mostly mid-paced, thrash metal with good attached Joe Belladonna-like vocals, maybe a tad higher- pitched. "Transition" is a more dynamic nervy shredder which is just about to grow into something more technical, and "Ain't Love Grand" is a weird doom-flavoured all-instrumental creeper with excellent bass support and sparse virtuoso lead sections. "Smash This Warped Machine" touches the Bay-Area with style and verve, also adding the casual headbanging motif to stir things around, not too mention the alluring balladic interlude which stretches the delivery towards the progressive confines.

Demo Demo, 1989

EXTINCTION A.D.(USA)

Based on the full-length, these folks provide energetic classic thrash/crossover which lashes hard without sticking to the very fast confines. 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 happinesses (the title-track). the vocalist is a shouty semi-cleaner who sounds appropriately angry on the more dramatic moments.
"decimation treaty" notches up the intensity with wild unbridled rippers like "in the wake of uprising" and "pray to die" raising the flag of retro thrash/crossover sky high although there's more serious musicianship at play here like on the more intricate, more diverse roller-coaster "the onslaught", and especially on the engaging multifarious closing instrumental title-track which welcomes the listener with enchanting oriental melodies before the band provide a wide range of moods most of which cling towards the semi- balladic side, but deliver nonetheless.
"Culture of Violence" isn't drastically different from the band's previous feats, the crusty abrasive sound the main alteration. Otherwise, this is bouncy heavy old school thrash, the more frivolous crossover segment phased out even more, save for the wild shorter "1992" and the excellent varied "Star Strangled Banner", the highlight on this cool effort which also boasts the seismic but jumpy and vivacious closer "National Disaster".

plague prophecy ep, 2014
faithkiller full-length, 2015
decimation treaty full-length, 2018
Culture of Violence Full-length, 2022

official site

EXTINCTION AGENDA (USA)

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

EXTINCTION OF MANKIND (UK)

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 thrashier Pro-Pain.

baptized in shit full-length, 1995
the nightmare seconds full-length, 2004
northern scum full-length, 2006

official site

EXTINCTOR (SLOVAKIA)

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 sparse shouty overtones.

killed by yourself demo, 2011

EXTINGER (ECUADOR)

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 timbre which he strains quite a bit at times to nearly shrieky parametres.

mercy killing full-length, 2014

official site

EXTINKT (POLAND)

The debut: 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 title-track is a mellower power/thrasher where the gruff semi-clean vocalist acquires a more acceptable, more melodic timbre.
“Trinity Redux” is another hyper-active exposition, the band moshing with all the reckless abandon they can muster, with short biting bullets (“Chems in My Veins”, “How Have You Fallen”) piling up in quick succession, the playful rock’n roll joy “Battle Song” steam-rolled by untamed outbreaks like “Human No-go Zone” and “redemption Song”, the lengthy serious “Fed with Disease” a sprawling quasi-doom march with hallucinogenic psychedelic motifs.

Postnuclear Trip to Nowhere full-length, 2016
Trinity Redux Full-length, 2023

official site

EXTIRPATION (ITALY)

Based on the full-length debut, 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.
With "A Damnation's Stairway to the Altar of Failure" the band have crossed over black metal territory, to the thrash fans' utter chagrin, and their new exploits would be of little interest to this audience although "(Inevitable) Sufferance" is a cool varied shredder with touches of early Bathory, and the title-track is an effective minimalistic creeper recalling the obscure German formation Criminal Justice, with sudden speedy outbursts.

extirpation ep, 2010
reverse the reality full-length, 2013
Wings of Decadence Full-length, 2015
A Damnation's Stairway to the Altar of Failure Full-length, 2019

official site

EXTOL (NORWAY)

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 thrashier 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 welcomes 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-scratching puzzling riff- patterns those often intercepted by dizzy fusion-like sections the latter accompanied by the only unmitigated flaw here: the tender clean vocals as opposed to the main deathly 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

EXTRACTOR (USA)

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

EXTRACTION POINT (USA)

Brutal retro thrash/death with a covert hardcore shade, the guys taking a break from their exhausting delivery with relevant pitstops (the groovy pounder "Mindsnap"), but such mindsnaps although the lengthy doom "Best Served Cold" can also pass for one, and not only cool cleaner vocals show up to disturb the hegemony of the shouty death metal throat. This is fast not very adventurous stuff, the band not hiding their fascination with the early Swedish school (Unleashed, Entombed, Dismember, etc.). Some of the band members also play with the metalcore outfit Orinoco.

Purification Through Hatred Full-length, 2019

official site

EXTRAKT (SWEDEN)

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

EXTREM (AUSTRIA)

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

EXTREMA (ITALY)

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.
"Headbanging Forever": the promising album-title already puts the fans on the tip of their toes, but the guys have outdone themselves here, moshing with gusto, producing a surprising headbanging fest, the musical proficiency on stylish pieces like "Heaven's Blind" and the Megadeth-esque "Pitch Black Eyes" well worth hearing. Elsewhere it's mosh to the death with the title-track and "The Showdown", with "Paralyzed" nodding in the direction of mid-period Annihilator, and "Invisible" providing a portion of more lyrical semi-balladisms.

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
The Old School EP, 2016
Headbanging Forever Full-length, 2019

official site

EXTREMA REALIDAD (VENEZUELA)

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

EXTREME (CZECH)

Based on the "ideal world" demo, 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 "conspiracy of mind".

nenÝ ·niku! demo, 1990
ideal world demo, 1991
slaves of religion demo, 2000

official site

EXTREME ATTACK (ECUADOR)

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

EXTREME FEEDBACK (DENMARK)

Based on the first demo, these lads serve old school thrash/crossover which picks up speed nicely with the varied "12.000.000 Dead", before "Sent off to War" shoots this short effort straight to the very headbanging realms. The heavy creepy "Scary World" tells a different story, also embellished with cool melodic leads, and "Rabalderstraede" is a frivolous goofy cover the Danish punk veterans Gasolin. The vocalist is a deep semi-declamatory/semi-deathly presence, not disrupting the setting much. Later some of the band members went to found the progressive power metal powerhouse Anubis Gate, and also participated in the heavy metallers Graff Spee, the power metal formation Death Axe, and the thrash/crossover heroes Geronimo.

Demo Demo, 1988
The Ultimate Form of Disgrace… Demo, 1989
Autumn Heroes Demo, 1991

Youtube

EXTREME VIOLENCE (ECUADOR)

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 unrehearsed 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

EXTREMIST (USA)

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

EXTREMITY (BELGIUM)

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 being 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

EXTREMITY OBSESSION (GREECE)

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 four 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.
The full-length debut is finally a fact after a lifetime of roaming the underground, and the band make sure it counts by blending thrash and death metal with both melodic stompers ("war say no more") and faster-paced shredders ("mortal gods") amply presented. Both sides come bound on the excellent progressive piece "link", the guys leaving the more brutal death metal leanings for "demons in your soul" and the Gothenburg school-worshipping closer "extremity obsession".
"Segment 8" is a winner, with the excellent melodic technicaller "Black Aura" starting the fiesta, the Swedish school again showing up ("Under Cover Prodigy") for a lofty inauguration, the heavy academic clout of "Defeated" carving burrows into the canvas, the latter later offering the interesting atmospheric progressiver "Under Cover Prodigy" and the melodic jumpy tractate "The Ark of Dreams".
"Adamadas" is more in the death metal camp, with the technical brisk "Dancing Flames" pairing well with the fast-paced lyricisms of "Tales of the Dawn", the doomy procession "Life Unfolds" a truly academic phenomenon, a nice occurrence for sure which is beaten later by the enchanting versatile progressiver "Anechoic Chamber". More technical melo-death histrionics with "Overwritten Memories", before "Breaking Point" closes the proceedings with overt, both dramatic and speedy, panache.

demo-tape demo, 1996
everlasting demo, 1997
Anthropocentric era vol. I Full-Length, 2018
Anthropocentric Era Vol. II Full-Length, 2018
Segment 8 Full-length, 2020
Adamadas Full-length, 2022

official site

EXTRESSIV (GERMANY)

Hardcore-ish thrash similar to bound for glory with which this band also share their open Nazi stand. The music isn't 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 bruder fur europa full-length, 2008

EXUL (POLAND)

Modern thrash which doesn't waste time nailing the listener with heavy pummeling riffs ("Stupidity Regime") from the get-go, the infectious melodic leads on "Rise Again" a sure highlight, the six-stringer a major performer here, elevating the approach to a higher pedestal. "Lose All Control" is a cool energetic shredder, and "Fight for Liberty" is another portion of headbanging joy, and "Path to the Unknown" is a more laid-back proposition, a somewhat progressive occurrence which is lightly marred by the very shouty confrontational vocals.

Path to the Unknown Full-length, 2022

Official Site

EXULT (RUSSIA/UKRAINE)

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 more outlandish 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

EXUMADOS (PORTUGAL)

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 these ears the brooding, creepy approach suits them just fine.

exumados demo, 1998

EXUMER (GERMANY)

The band's debut remains one of the finest speed/thrash metal albums ever; some of the perennial speed/thrash classics are here, folks: the title-track, "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 "ascension 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, and 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 with 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 could have had a worthy contender to Mekong Delta, Deathrow, Sieges Even, etc. with a few more efforts of the kind.
"Hostile Defiance": the Von Stein gang is here again, and the old school thrash lovers should line up immediately as this is another assured slab of assured classic thrash kickassery. The title-track opens Pandora's Box of retro thrashing goodness and things stay on a high pedestal throughout, the headbanging melee intercepted by bouts of mid-paced heaviness ("Dust Eater") and more lyrical, more melodic sentimentality ("Descent"). "Vertical Violence" is both more speed metal and more modern-based cut, but "Splinter" is pure retro thrashing fury, ushering the excellent cover of "Scorpions' "He's a Woman-She's a Man", this early speed/thrasher very appropriately chosen here, the aggression going up a notch on the Entombed cover of "Supposed to Rot", a ripping headacher which stands for the most brutal proposition on this entertaining roller-coaster.

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
Hostile Defiance Full-Length, 2019

official site

EXXOR (SWITZERLAND)

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

EXXPERIOR (GERMANY)

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 five 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 timbre.
"Escalating Conflicts" betrays the vehement tone of the preceding efforts, the man now having a companion, the vocalist Falk, a versatile semi-clean/death performer the music revolving around more complex configurations, with thrash and power metal tussling throughout, with hefty progressive pretensions ("Timeless but Mindless") requiring keyboards and other gimmicks to float around, but watch out for the neck-spraining "A.A.A." and the hyper-active operatic bizarrorama "The Agnostic Jam", a catchy sin-along chorus adding more to the near-spontaneous merriment. Heavier more technical riffs take over on "Multidimensional Mindblow", a nice highbrow shredder which influences the equally as effective prog-thrasher "A Murderer's Excuse", another multi-layered exercise in entangled guitarisms, the latter also featured on the closing "About Peace...The Presence of Justice", a more convoluted, less effective saga with a few inept quiet sections.

call for sanity full-length, 2011
sort of weird demo, 2012
killing entertainment full-length, 2014
Escalating Conflicts Full-length, 2021

official site

EXXXEKUTIONER (GERMANY)

based on the full-length, these folks serve hyper-active classic speed/thrash which isn't far from the proto-death madness of albums like Necrodeath's "fragments of insanity" and Hypnosia's "extreme hatred". the more moderate speed metallisms of "blood vengeance" add some 80's German flavour ala Helloween and early living death into the fray before "necromancy" races with the speed of light recalling the over-the-top exploits of the Dutch Expulsion, with the closing "black witchery" simplifying the environment to nearly early Bathory-sque proportions.

fear the priest ep, 2014
death sentence full-length, 2018

official site

EXYLLE (BRAZIL)

Based on the self-titled, this act pull out energetic old school thrash/proto-death which is more than complete unadulterated bash the guys raging onward with remorseless headbangers like "I Am Neither Innocent" and "God Decreed to Rape", the vicious semi-shouty death metal vocals leading the show which isn't very far from the wild histrionics of Morbid Saint's "Spectrum of Death" and Sadus' "Chemical Exposure". "The Goat" is a surprisingly moody restrained doom-laden piece, but such moments of sanity are a rarity, the guys totally oriented towards the few-bars-held, aggressive side of the spectre.

Dead When Born by the Church EP, 2016
Burn Your Leaders/Dead When Born by the Church Full-length, 2019
Exylle Full-length, 2019

official site

EXZELTIC (IRELAND)

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

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EXZONE (JAPAN)

Three songs of intense classic thrash which leaves the unimpressive death metal 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

EXZOUST (RUSSIA)

Based on "Forevermore", these folks provide modern thrash spiced with more aggressive fuller-fledged thrashisms. "Dead I Am" is a capable progressive thrasher the cool emotional clean vocals contributing to the propitious atmosphere which goes a few notches up the aggression scale on the more boisterous "Back to Back" where some brutal deathly shouts can be heard. "Fearless" is not exactly fearless as it acquires meek semi-balladic parametres, a tendency which mars the material in the second half among which only "Lie... Truth" comes out with more energetic battle-like rhythms.

Obey Your Pharaoh Full-length, 2017
Forevermore Full-length, 2019

Official Site

EYE AND EYE (FRANCE)

A very cool contrasting, modern mixture of power, thrash and a tad of death metal which ranges from dramatic semi-balladic pieces ("Broken Mirror", "Into the Void") to intriguing, more technical exercises (the Darkane-sque "Brothers in Arms"). "The Abomination" is a dark stylish tribute to Nevermore, a really effective brooding stomper; and "Ghosts" is an unadulterated short headbanger opposing to the more serious nature of other similarly-executed energizers like "Serenity" and "The Path of Your Shadow". "The Dance of Death" is a brilliant doom instrumental with fabulous lead guitar work before "Prophet" thrashes the neighbourhod again with vigour to spare, the good mid-ranged semi-clean vocals a perfect accompaniment to the compelling elaborate soundscapes.
The "The Curse of Knowledge" EP doesn't run far from the established delivery but is overall more simplistic and not as striking, with steady thrashy marches ("Deconstruction") taking turns with lyrical semi-balladic outtakes ("Liberation") and dramatic quasi-doomsters ("Higher"), the overall feel one of darkness and sorrow despite the lack of any more tangible signs of the latter if we exclude the bleak semi-shouty deathly vocals.
"The Void" is a more energetic, also all-instrumental, offering, the death/thrashing urgency of "The Threshold" pairing well with the ambient doomy seriousness of "Andromeda", the hectic melo-thrash expletives on "In a World of Wonders" another highlight, the progressive psychedelia on "Lullabies" by all means an intriguing condiment, with more balladic developments ("Inward") later creating bigger diversity which only wins from the presence of brisk speed/thrashing shorters like "Isolate" and the spacey corrosive, semi-industrial aesthetics of the closing title-track.
“Your Only Fear” doesn’t tread too many new paths, the guys inserting some deathly drama with “Are We the Only Ones”, a pulverizing steam-roller which easily overwrites the melancholic quasi-doomisms of “The Rift”, before “System Failure” serves portions of sizzling thrashing rhythms. More death metal cumulatives with the title-track, the second half gravitating towards the latter genre despite the presence of the vivid thrasher “Ever Higher” and the imposing doom metal hymn “Singularity”.

What Is to Come Full-length, 2019
The Curse of Knowledge EP, 2020
The Void Full-Length, 2021
L'air du Temps Full-length, 2021
Your Only Fear Full-length, 2023

official site

EYE BEYOND SIGHT (HUNGARY)

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

EYE OF ANUBIS (USA)

Based on the full-length, these folks pull out fairly predictable modern thrash/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 surprises in the vocal delivery either- the traditional shouty/semi-shouty death metal antics.

the plague ep, 2013
a selfless act for a worthless cause full-length, 2016

official site

EYE OF BALOR (USA)

A thrash/death hybrid which aims at the more complex progressive dimensions, but the Gothenburg melo-death gimmicks are too many for this opus to take off towards the less known. Still, "Oathbreaker" is a less ordinary dramatic stomper, and "Noose of Doubt" is a cool not very predictable shredder with sudden speedy excursions. The vocals are hysterical and shouty, and don't contribute much to the more ambitious musical picture.

Imp Of The Perverse Full-Length, 2019

Official Site

EYE OF DESTRUCTION (MEXICO)

The demo: 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.
The full-length is right as rain retro thrash the band shooting their art with consistent determination, relying on both headbanging occurrences ("Freedom", "Legacy of the Damned") and more complex histrionics ("Power of the People"), the hoarse shouty vocals assisting to the best of their abilities, adding a more guttural baritone on the more tamed varied power/thrasher "Symbol of Violence".

power of the people demo, 2012
Psychopathy EP, 2016
Legacy of the Damned Full-length, 2022

Official Site

EYE OF I (USA)

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

EYE OF THE ENEMY (AUSTRALIA)

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

EYE RAKE (USA)

Based on the full-length, this band play raucous thrash/crossover reflected in generally brief energetic cuts, the headbanging factor quite prominent with numbers like "World War IV", "Satanic Panic" and especially the Slayer-esque madhatter "Booze Your Delusion" circling around with their ripping riffs, the attached semi-declamatory vocalist pouring more quarrelsome pathos into the melee.

Eye Rake EP, 2016
Eye Rake Full-length, 2019

Official Site

EYE SEE BLACK (GERRMANY)

based on "seven", which is exactly seven 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

EYEBITER (USA)

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 could pass for the finest performer from the bunch.

massive warhead strike full-length, 2012

EYECONOCLAST (ITALY)

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, over-excited 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

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EYELESS (FRANCE)

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

EYES OF THE DEAD (USA)

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 second 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

EYES OF THE LIVING (USA)

Based on "Fear Comes Knocking", this band play another slab of heavy modern thrash, the guys either destroying everything with ultra-seismic ten-ton riffs ("Destroy Everything"), or bring in more energetic currents ("Fear Comes Knocking") with an undeniable headbanging potential. "Hell to Pay" crashes with big passion, too, steam-rolling its way fervently, colliding with the agro-champion "Feeding the Wolves" and the wall of groovy bricks that is "Void".

War on Dead Full-length, 2017
War on Dead - More Dead Full-length, 2019
Fear Comes Knocking Full-length, 2022

Official Site

EYESTRAL (FRANCE)

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 canÆt overshadow rippers like "gloom at its finesto", or the excellent cover of Death's "Scavenger of human sorrow" at the end.
"beyond" begins with the very ambitious 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 doom/balladic 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, especially for the classic thrash lovers.

demo demo, 2014
beware the rat king ep, 2016
beyond full-length, 2017

Official Site

EZKATOR (SLOVAKIA)

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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