Copyright (c) 2007-2018 THE THRASH METAL GUIDE

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


Members of the thrashcorers Spewgore, who are also assistants to Gord "Piledriver" Kirchin in his new project The Exalted Piledriver, gather forces for the release of this simplistic, but enjoyable, tribute to the good old thrash crossover having also invited the former Eidolon singer Criss Bailey who would be ultimately hard to recognize here singing in an attached semi-shouty manner. The music is jolly sharing the seat between mid-period D.R.I. and Suicidal Tendencies's "How will I Laugh Tomorrow,..." emitting loads of catchy hooks, occasionally lashing with force ("Driven Insane"). This is decent stuff showing loyalty to the old school without any unnecessary claims at originality.

Koalition Of The Willing EP, 2011

Official Site


Quite good retro thrash of the more melodic variety in mid to up-tempo picking up more intensity and speed (the instrumental "Represalia") here and there. "Bajo El Amparo De La Cruz" is a cool speed/thrash headbanger recalling the works of their compatriots Lethal.

Bajo El Amparo De La Cruz Demo, 2007

My Space


Very good speed/thrash well conformed with the German trends; the music bears resemblances to Warrant, Iron Angel, early Helloween, Angel Dust. "Little Breaker" is a pure speed metal delight with great leads in the Kai Hansen vein, followed by the slower pounding power/thrasher "Nuclear War". "Bastards Never Die" is brisk headbanging speed/thrash, vintage early Angel Dust with excellent leads again. "The Land" is the soft power/heavy metal filler, and "Ride" is a speed/thrash explosion. The last "Fed by Your Blood" calms things down, thrashing in a moderate mid-pace. Unfortunately this talented outfit never recorded anything else, but some of the members later took part in the modern power/thrash metal act What's Up?, with which they released a cool full-length in 1993.

Bastards Never Die! EP, 1987


Based on the "Demonic" demo, this is really brutal stuff for the time of release: violent thrash/proto-death metal with short 1.5-2min tracks. This is very fast and aggressive music, not bad if you're a fan of bands like Napalm Death, Repulsion and the likes, because you will definitely feel the grindcore atmosphere here, although on a musical level this one is way higher.

Demonic Demo, 1986
F.C.D.N. EP, 1991


Very badly produced rough thrash/proto-death following the early massacra models; in other words, expect fast intense bash the whole time with scary guttural death metal vocals, the melee having a few redeeming qualities ("Medical Error") where the music acquires more comprehensive tendencies with curious melodic undercurrents.

Death, Terror and Extermination Demo, 1989


Along with Cranium, this band incorporate the classic, 80's speed/thrash period better than most of their contemporary colleagues. The debut features shorter, more aggressive, but very effective tracks, whereas the second album shows a slightly more technical approach. Both efforts are highly recommended: classic speed/thrash metal can not simply get any better than this.

Expect the same roller-coaster atmosphere on "Where Moshers Dwell"; the guys thrash with power the whole time, slowing down, but just to produce the desirable change ("The Pit And The Poser", which will remind you of the Metal Church period with Mike Howe; the singer is actually quite close to the greatness of the latter, and right now he is one of the more impressive voices in thrash metal equally as convincing both in the rougher and more melodic department.). The moshers, wherever they "dwell", will do no wrong tracking this monster down which will entertain both those who like their speed/thrash more controlled in up-tempo, and the ones who prefer short proto-blasting furious killers.

"4:Rise of the Mosh Mongers": our favourite moshers are here again, and with whole 19 brand new cuts. Despite the impressive number of tracks hardly would anyone be disappointed the band speed/thrashing their way forward on full-throttle finding the perfect balance between the melody and the more aggressive approach. Heads will bang till they drop on inspired headbangers like "Cannibal Detox:, the 2-min explosion "Esox Lucius", and the speed/thrashin' roller-coaster "112 Ocean Avenue". All things old school have been paid a fair tribute including in the vocal department where Larry Lethal does a great job emitting passionate detached clean semi-shouts in the best tradition of Katon W. de Pena (Hirax) and David R. White (Heathen).
"1981" follows the well trodden path of the good old thrash the band having no intentions of changing their winning formula, the crossover vibe more strongly tangible this time due to the songs' short duration some of which ("Hell Night") are sincere hardcore. The headbanging fiesta never stops save for a couple of intense stompers ("The Funhouse") the latter totally "buried" by explosive bombs like "Burial Ground" and the maddening cover of Death's "Evil Dead" served at the end.

Metal Moshing Mad Full-length, 1999
Sometimes They Come Back... To Mosh Full-length, 2005
Where Moshers Dwell Full-length, 2009
4:Rise of the Mosh Mongers Full-Length, 2013
1981 Full-Length, 2017

Official Site


Based on "Default", this band plays heavy crushing thrash/death metal of the old school with very brutal low-tuned vocals. This is an interesting approach to the hybrid which also gets occasionally fast (the technical blaster "Imagination On The Sea", "Just Another Day"), carrying a weird sense of melody, reflected both in the lead and riff department. The guys never bash with passion, but prefer to deliver gradually with atmospheric insertions, too, and a touch of doom/death ("Land Of Markets"). Thrash takes over on the nice technical "God Is Technology", but the diversity hits the top on the merry stoner closer "Restore Default", an all- instrumental oddity with jolly, quasi-folky rhythms. Still, this remains an entertaining listen all the way, avoiding the mish-mashy pitfalls where so many contemporary ambitious attempts have fallen.
"The Dice" flows in a similar vein, maybe adhering to melody more often (the playful groover "Spam Exported"). Hard and grindcore have been introduced to make the picture more appealing (well, that's relative), but the catchy melodic hooks are literally everywhere making this effort the more impressive one compared to its predecessor.

The debut full-length is strictly in the modern thrash camp and could pass for the band's most melodic achievement. Still, the guys thrash with passion the more brutal deathy breaks already here although their presence isn't that big and is definitely on the desirable side. Technical moments appear in the middle: the stomping instrumental "In Progress", the short melodic puzzler "Time Runs So Slowly"; and later on even retro thrash can be heard on the 3-min basher "The Judge". Death metal occupies another more technical exercise in bashing music ("The Horse Blow Job") near the end before the band wrap it up with the atmospheric psychedelic instrumental "Indian Fall" and the merry crossover bonus track at the end which, with a bigger stretch of the imagination, can be viewed as a jokey rendition of Kreator's "People of the Lie". The singer is an authoritative death metal grunter, but his shouts can be deciphered and are kind of suitable.

"Reap What You Sow" is another modern thrash affair the band thrashing confidently, albeit too one-dimensionally and derivatively. Fast and slow compositions alternate both having a somewhat groovy vibe which permeates the album even on the mechanized robotic tracks (the instrumental futuristic saga "The Roots of Discoveries"). Near the end the band abandon the faster parametres for the sake of arguably less exciting jumpy passages with darker tones the gruff death metal vocals receiving support from better emotional clean ones on those moments.

Blame? EP, 2000
Follow the Instructions Full-length, 2003
Default Full-length, 2005
The Dice Full-length, 2008
Tomorrow's Fires Full-length, 2011
Reap What You Sow Full-Length, 2013

Official Site


Based on "Tentang Dunia", this is melodic playful speed/thrash/crossover which suffers a bit from the production side, but the guys know their craft although music of the kind has never required any big musical skills. The main targets for worship seem to be Exciter and Tank with interesting melodic licks gracing almost every song. When it loses the speed the album decreases its appeal (the mellow heavy rocker "Killing The Soul") and the 2nd half is less attractive, less dynamic and much more mainstream-sounding. The vocals are of the dual type: clean attached versus brutal screamy black metal ones, neither very appropriate, but both singers make themselves heard especially the hysterical blacken raven.

F.O.D Full-length, 1999
Asa Full-length, 2000
Tentang Dunia Full-length, 2012

Official Site


"After The Promise" is dark, brooding thrash bordering on death metal, not too far from Protector; quite well done with long, thought-out tracks. The debut EP is supported by a very heavy bass-bottom which takes the upper hand and makes the guitar sound thin; the pace is faster and more intense and the nods to death metal are fewer ("Fight for Freedom" is the only more brutal, death metal-laced track). The songs are also long and the music is dark and brooding, but the worse sound quality makes it a less satisfying listen. A stylish touch is the Oriental guitars on "Kill the Evil". "Behind This Wall" is a heavy semi-ballad with a Metallica-flair (think "One", "Sanitarium") where even the singer makes an attempt to sing clearly as opposed to his gruff, death-metal-ish main tone.

"Aku Tak Peduli" is more modern and more melodic, still holding a few more aggressive "surprises": "Askar (Biar Putih Tulang)", "Aku Tak Peduli", but the majority of the songs are proto-modern "sleepers" with repetitive riffs and mellow hooks.

"Spirit to Rebel" keeps raising the flag of classic thrash high, and the band sound quite inspired with vigorous thrashers like "Farewell To Goodness" and "Lies" carrying a lot of aggression which comes served with a dry clinical guitar sound and a few weird technical moments (check out "Display Of Hate"). Despite the muddy sound quality and the low-tuned, not very comprehensive, death metal vocalist (who shows his more capable side on the closing semi-balladic progressiver "Dream") this album is a worthy entry into the genre's catalogue from the Far East also suggesting at eventual future metamorphoses.

Freedom That's Gone EP, 1991
After The Promise Full-length, 1992
Spirit to Rebel Full-length, 1994
To the Front Full-length, 1996
Aku Tak Peduli Full-length, 1998
Made in Malaysia Full-length, 1998
F.T.G. Full-length, 2000
Made in Malaysia Vol.2 Full-length, 2001
Reborn Full-length, 2002
Stop this Madness Full-length, 2003
Kuasa Full-length, 2006


This band was put together by the drum authority Todd Hansen (The Berzerker, King Parrot, Man Must Die, etc.). In this endeavour he is assisted by one more musician. The acronym stands for "Forests Under Construction". Based on the full-length, this duo pulls out pirmal bashing old school thrash with a covert crossover flavour ("Double Dolphin Dazzler", "Voulnteer") on the shorter material. The overall delivery is reminiscent of Toxic Holocaust with a more serious attitude on the several longer songs ("Dolphin Trolley", the cool semi-technical shredder "Choke On It"). At the end there's an extended version of the opener "The Elephant Song" contaiining over 20-min of pure unadulterated headbanging thrash.

K Off EP, 2010
Humans Being Full-length, 2016

Official Site

F.U.C.T. (USA)

Heavy thrash/crossover with death metal vocals which becomes faster at times accompanied by some very cool solos. The music isn't too far from D.R.I.'s later efforts, but there are a few longer songs which excel in heaviness recalling even the Exhorder debut.

Dimensional Depth Perception Full-Length, 1990


This album is a one-time collaboration between Gary Meskil, the Pro-Pain singer, and three guys from Overkill, who at that time were taking part in half of the bands around, including their main one. The music is decidedly modern, but not as good as it could be expected having in mind the musicians involved; this is typical modern thrash coming as a cross between Overkill's lesser period (1995-1999), and Machine Head's more laid-back style (after "The More Things Change..."). The music lacks an edge, and sometimes goes straight into crossover territory ("Skankly"), or straight into cliched, blatant hard rock ("Are You Satisfied?" (if you are, we're not at all!), "Hey You"). It was good that the guys laid this formation to rest after this only effort.

Each Hit Full-length, 1996


Based on the full-length, these folks deliver classic Bay-Areasque thrash expectedly modelled after their "godfathers" Exodus. The band play with a lot of energy thrashing far'n wide with the more carefree speed metal flair ("Faster Than Light") also added to increase the entertainment factor. The listener will have a lot of good time with merry speed/thrashers like "Thrash Bang Wallop" and "Midnight Fistfight" amply provided with more intricate shredders like "Thrash Metal Symphony" standing on the side to ensure the semi-technical "decorations". The vocalist is a decent mean, semi-clean semi-shouter quite close to Steve Souza (Exodus again).

When the Silence's So Loud EP, 2010
Hang 'Em High Full-length 2016

Official Site


Based on "The Will To Power", this band is a typical representative of the Swedish wave; modern thrash/death metal ala The Haunted, Construcdead (members of both bands take part in this band), Corporation 187, etc.

Mindfield Full-length, 1995
The Twisted Rule The Wicked Full-length, 1998
The Will To Power Full-length, 2005

Official Site


This is a side project of two members of the technical thrash metal act Mind-Ashes. The style here is different, being modern groovy thrash with just passing technical tendencies, calling to mind Nevermore or Scariot on the best moments; not bad, but too far from the high standards set by the father band.
"Where All This Anger Grows" is a worthy follow-up, sounding better than the debut; it thrashes more aggressively (the smashing opener "Bursting Evolution"), but the more derivative, groovy elements are still here, and the rest of the material seldom reaches the intensity of the impressive opener: the up-tempo thrasher "The Pharao" is the exception, and the pounding closer "Three Bullets Ballad", or at least the beginning, since later the song is too busy to justify its title so it turns into a tender ballad for a big part, before going up to thrash again near the end. This is not a bad album, but compared to the Mind-Ashes output (their first two albums), it is just decent, to put it mildly.

The third consecutive effort finally pays off: "Of Storytellers and Gunfellas" is the band's finest hour. The guys pay tribute to the 80's Bay Area scene quite often, and this innovation, combined with their already established modern approach, sounds quite appealing. The band waste no time starting the attack from the very beginning, with the brisk thrasher "Disposable Significance", which takes more aggressive dimensions on the following madness "Modern Prophets and Saints". "Deceptive Silence" is totally immersed in modern thrash ala Lyzanxia and the likes, but "A Breathing Plaything" will cause you a headache with the pounding heavy rhythm section and the speedy riffs. "Grave of an Unknown Soldier" is a nice quiet lead-driven instrumental which takes away some of the edge, but the thrashing continues afterwards in a milder manner, with "My Fifteen Minutes" and "Benefactors-Disguised Aggressors". The closer "Erased" is a more ambitious take on the modern/classic formula mixing slower and faster passages to a fairly cool effect. The balance between the classic and the modern sound is perfectly found on this album in a way not dissimilar to the last Squealer release ("The Circle Shuts") and Metallica's "Death Magnetic", the resemblances with the Americans further aggravated by the good rough James Hetfield-like vocals.
"Divisions And Hierarchies" shows no signs of slowing down producing another sure-handed slab of modern/classic thrash which starts in a nice energetic manner with "Isolation" promising a lot of headbanging moments not far from recent Paradox at their best. "The Art Of Silence" thrashes even harder adding good sing-along choruses. Sparce blast-beats can even be heard on "Integrity Of The Sun", which continues the speed/thrashing saga on full-throttle. "Executed For A Thought" is a more lyrical moment: a mid-paced crusher with a few beautiful melodies and genuine technical passages; a very cool "interlude", after which another "thrashin' madder" comes: "Reality (Divisions Of Life)", but this pales in comparison to the following "Seventeen Years", which is furious thrash at its best. "Apotheosis" is a 2-min atmospheric keyboard-infused reliever, well needed, but steel gallops will overwhelm you on "False Hierarchies", before "Synthetic Heart" wraps it up in a heavy semi-balladic fashion with plenty of soloing and fine melodic hooks. This is by all means the guys' finest hour, and although the infatuation with Paradox is quite obvious, the high level of professionalism displayed here is without questioning, finally justifying the band's strong pedigree.

"Product of Injustice": the hopes for some exuberant technical thrash ala Mind-Ashes have to be left aside, but the band have done a fairly good job here despite their continuous fascination with their peers Paradox which is obvious from the very first number "Opportunism Breed". There's plenty of speed/thrashing here including several heavy semi-progressive build-ups ("The Reckoning With Myself") the latter surrounded by spitting firers like "The Weakest Link" and the longer, but equally as intense, title-track. "Scraping the Sky" could pass for a ballad and is a really nice song with great melodic leads which also stay around for the closing shredder "Walls of Condemnation", vintage Paradox with the razor-sharp riffs, speedy crescendos, and the dramatic sing-along choruses. The singer now sounds even closer to Charlie Steinhauer (..., well), and does a very good job controlling the proceedings with his assured clean mid-ranged tember.
"False Evidence Appearing Real": fans of the last couple of albums will be happy all over as this opus as the approach is very similar, lengthy progressive-tinged compositions covering quite a few time and tempo changes throughout "The Newborn Me" a really nice melodic hymn of a more orthodox character. "Goodbye To All Heroes" is another more epic-inclined anthem with a nice female vocal inclusion, but "Peddlars Of Fear" is dynamic speed/thrash with ripping guitars and excellent melodic leads. "Legion" is a heavy mid-paced shredder with a fast-paced exit, and "Wolfchild" is a very similar piece with an even more aggressive epitaph in the vein of Paradox agan who the band follow very faithfully. "Echoes Of The Sun" is a ballad, before the final "When A Promise Becomes A Lie" pours the final portion of technical/progressive thrash in a really delectable manner, the highlight on this fairly entertaining roller-coaster which doesn't bring anything new to the fore, but is definitely not a pullback.

Opinion Converter Full-length, 2007
Where All This Anger Grows Ful-Length, 2008
Of Storytellers and Gunfellas Full-length, 2009
Divisions And Hierarchies Full-length, 2011
Product of Injustice Full-Length, 2014
False Evidence Appearing Real Full-length, 2017

Official Site


Based on the "Behind the War Lines" EP, this act provides very heavy modern thrash which crushes in a constant mid-pace with occasional awkward turns to blasting death metal, plus one stylish exercise in more technical jumpy thrash ("EOFTH"). The vocals are very angry sounding like a more low-tuned version of Robb Flynn (Machine Head).

Face of a Virus EP, 2005
Behind the War Lines EP, 2006

My Space


Based on "Imitations Of Life", this band play cool thrash metal mixing both modern and classic riffs. This is heavy crushing music reminding of the Germans Warpath, maybe with a slightly more modern edge. At times the guys exceed in heaviness bringing their music close to doom metal ("Dreaming", "Story (The Love Song)"); on the opposite side we have "Influence", a nice fast 1.5-min headbanger.
The debut is a cool effort with a more classic sound recalling the Americans Ultimatum and mid-period Exodus, also boasting nice semi-clean vocals ala David Wayne (R.I.P.) and Steve Souza. The tempo is again mid for most of the time, but the riffs bite with power and crush admirably providing one major headbanger at the end: "Attack", which thrashes wild as though to compensate for the previous less energetic material, and to justify its "attacking" title.

"The Die Is Cast" is another heavy steam-roller, but the pace is more energetic this time providing speedy numbers well before the end: "Trashdance", which is intense retro thrash metal (could have been intended as a "thrashdance"?), and the following "The Black Order" which is a tad more melodic with a pinch of Madball-esque hardcore, and before the end another classic headbanging surprise awaits you: "Reborn". This mix is fairly entertaining, actually, and it would be interesting to check whether it was a transition towards a full-blooded attack on the next album...
"Death Blow" is a retro thrashing beast which mixes the brutal histrionics of Slayer and Devastation ("Death is not Pain") with more sophisticated Bay-Area thrash ala Exodus ("Face of Agony"). "Power Slave" near the end is a more modern-sounding mosher, but it also tries something more stylish with more sterile, mechanized riffs.

Welcome To Our Souls Full-length, 1998
Imitations Of Life Full-length, 1999
The Die Is Cast Full-length, 2005
Hunting Season Opened Full-length, 2009
Death Blow Full-Length, 2015

Official Site


A good mix of classic black/thrash is what's on offer here; the music is quite energetic and fast with touches of death metal; there are stylish interesting riffs which create a somewhat sinister atmosphere. These guys will remind you of some more recent bands, like Ravage (Germany), Fastkill (Japan), Sauron (USA), and even Necrodeath.

Face Of Evil Full-length, 2004


This act could be considered the continuation of the thrashers X-Seed who released a solitary album in the mid-90's. The music at play is quite close to the modern post-thrash heard on that album, here slower with a darker guitar sound, but by no means better: this is boring clumsy stuff with repetitive heavy-handed riffs; too slow even for the modern 90's post-thrash metal fans.

Face the Unknown EP, 2009
At Death's Door Full-length, 2010

Official Site


This is a side project of the members of the death metal outfit Konkhra, assisted by the omnipresent Sharlee D'Angelo (Mercyful Fate, IllWill, Dismember, Arch Enemy, Witchery). Here they try their hands on cool energetic modern thrash with heavy, meaty, but also quite dynamic riffs, and an overall approach not miles away from Machine Head's "Burn My Eyes". Ironically, to these ears the best track seems to be "Solitude & Despair" which is very good doom metal ala Solitude Aeturnus and Candlemass where the vocals (which are quite gruff death metal-ish) take a nice melodic turn. "Guilt Be Thy Name" is not much faster, but is much more experimental where the guys get carried away adding abstract spacey leads and even funk-ish moments to the 10-ton hammering riffage.

State Of The Art EP, 1997

Official Site


Based on "A Face Of Gray Pulchritude", this band play typical modern thrash metal trying to find the perfect balance between the energetic blitzkrieg style of Corporation 187 and Hatesphere and the angry approach of Pantera. They find it on most of the tracks, and the preferences go towards the faster and more appealing side of the genre where cool headbangers like "Path Of Anxiety" (this one will surprise you in the beginning with smashing blast-beats) and "Time To Judge" belong. There are occasional touches of gothic ("Deep Silent Water", "Lurch In My Cradle"), and even doom ("Ghosts Gliding", which boasts great technical riffs in the middle). The closing "Full Of Insanity" is a good attempt at progressive metal ala Opeth, which provides quite a lot, including those wailing clean vocals which at some point turn into agonizing sinister snarls, and more.

Melancholeric SchizoPhobia Full-length, 2004
A Face Of Gray Pulchritude Full-length, 2008

Official Site


This obscurity is full of highly energetic thrash/crossover which is more on the classic side, but a few abrasive proto-groovy riffs have also been inserted to probably relate it to the up-and-coming 90's trends. The guys cover a wide area of moods and tempos as their initial intense delivery is sacrificed near the end for slower doomy numbers ("You Suck") all this in the form of short (2-3min) tracks. The sound quality isn't very good with thin guitars with a synthesized edge topped by a semi-shouty/semi-declamatory singer.

Bologna Flavored Donut Full-Length, 1992


A good 4-song demo of intense retro thrash; the guys thrash theirs souls out (check out the opening "Empty Illusions" and "The Evil"!), but some tracks ofer the obligatory slower breaks: "War Between Selfish", and there is one mid-tempo stomper as well: "Despair".

"Hell Is Here" brings "hell here" and there, ably assisted by all the 4 tracks from the EP with the new material doing its best to thrash along, and the opening trio (the title-track, "Source of Madness", "R.I.P (Religions Is a Plague)") will bang a lot of heads, before the "Intro", strangely placed in the middle, only lightly calms things down. Then follow the songs from the EP accompanied by the new piece "Terror" which is another fast ripping thrasher. The band doesn't disappoint, and fans of the good old thrash metal will be pleased all over to hear their favourite music palyed with competence and enthusiasm.

Born in Fear Demo, 2008
Hell Is Here Full-length, 2010

My Space


So what else can you get here, except "thrash, thrash and... thrash"? No complaints if we exclude the fuzzy guitar sound which tries to stand on the way on the vigorous speedy delivery the latter becoming quite aggressive at times (the proto-death ornated "Red Violence"; the short Slayer-esque "Evil Aggression"). The singer is a semi-shouty "drunkard" who at times unleashes effective piercing screams.

Thrash, Thrash And Thrash Demo, 2011


A trio inspired by the Gothenburg school for the creation of some predictable modern thrash/death which meanders bertween fast and slow sections to a not very memorable impression. The album is competently done with a good sense of both melody and aggression, but there's very little which hasn't been heard countless times before.

Of Death and Vengeance Full-Length, 2013

Official Site


The EP: edgy brisk modern all-instrumental thrash metal, both slower and faster with a few more technical breaks, but mostly direct and aboveboard, partially "betrayed" by several metalcore passages. The sound quality is very clear making the guitars sound very sharp and lashing, but at the same time giving a little chance for the bass to be heard.

The full-length is more of the same now dialogue samples inserted into some of the tracks to make them more "vocal" perhaps, but those innovations don't bring anything too impressive on the table. The dynamics has been well preserved (check out the energetic shredder "Besides The Dying Fire") even to the point of blast-beating ("A Devil's Chaplain") at times. Still, metalcore "roams" around here and there, but some nice catchy tunes have sneaked in (the infectious winner "Ours Is The Fury" with some great lead guitar work as well; the engaging drama "Dont Tread On Me") making this effort not such a bad proposition after all.

Contemplating Oblivion EP, 2010
Ours is the Fury Full-Length, 2012


These Greek "thrash bandicoots" let it loose with merry roller-coaster retro speed/thrash mixing the sharp riffage of Anthrax and early Mordred with slacker crossover arrangements. More modern sounds with a Swedish vibe can be caught on "The Rage Of The God", but the rest is the good old thrash, the way it used to be played in the 80's. The singer delivers with his assured clean mid-ranged tember without trying anything adventurous too often.

The full-length is a fact and it comprises 2 tracks from the demo; besides that it thrashes hard on all counts setting the fans on fire with the blitzkrieg opener "Massive Destruction". Things get harder and harder as time goes by, even curiously semi-technical on the title-track. "Thrasholution (Thrash Is Solution)" may cause both a revolution and a "solution" to all your problems which will be largely forgotten with you moshing all around in oblivion. More clever elaborate arrangements arrive in the 2nd half, first with the inspired shredder "Inhuman Annihilation Project", then with the speed metal joy "Heavenfall" and the Bay-Area worship "Another Selfish Apprentice" near the end. The band have excelled in almost every department including in the vocal one where the guy sings in a more attached soulful manner.

Thrash Bandicoot Demo, 2011
Pantophobia Full-Length, 2014

Official Site


Although almost completely unknown, Faff-Bey are one of the better thrash metal bands from Finland, at least based on their first two instalments. "Birthday" offers cool retro thrash in a nice headbanging tempo, but never very fast, with modern insertions thrown in: "The Alligator", "Dead by Dawn". "A Joker" is a more light-hearted crossover number, and the title-track breaks the slight monotony with great intense riffs near the end.
"New Religion" starts quite well with the imposing intro "Man with a Harmonica", taken from the Sergio Leone's monumental western "Once Upon a Time in America", but what follows is a lot inferior being a melodic insipid mix of post-thrash, groove, crossover, funk, grunge and ballads- simply awful; a really degrading way to end a thrash metal-fixated career.
The debut is a raw brutal affair, primal thrash/crossover with a buzzy guitar sound and violent shouty semi-death metal vocals. "The Slaymaker" is a nice switch to full-blooded intense thrash ala Slayer (a nod to the American made with the title as well?), and later on one more exercise in a similar vein follows suit: "I'm the Tormentor". The closing title-track is another "break" from the pattern being a slow moody piece in the spirit of early Celtic Frost.

"Doesn't Feel Like Laughing..." calms down in the music department quite a bit, but the brutal vocals remain; this gem would be a no-brainer to the classic thrash metal fan. Now the delivery is purely thrashy, and the guys start lashing with force from the very beginning with the title-track which begins in a milder mid-paced fashion before it turns into a smashing ball of fury near the end. "Sergeant Peppers Lonely Hearts" is an obvious nod to the Beatles' legendary album title-wise, but in the music department we have an awesome speed/thrasher in the best tradition of early Angel Dust and Toxic Shock. "Six Feet Under Ground" is in the same vein, a short blitzkrieg instrumental, followed by the much calmer "The Eyes of Mephistopheles", a heavy mid-pacer with an obligatory speedy passage in the middle. On the next "I'm So Sue" the assault carries on with full force this one being the ultimate killing speedster- thrash till death here, guys! "Bleed for Me" is another aggressive heads-down thrasher, and later on there's very little mercy shown "I Drink Your Blood" bashing out in a less controlled proto-death fashion, the pressure taken away a bit by the following short crossover joke with the even jokier title "Cunt Wanking Men". The final "The Second Funeral" is again in a more laid-back mid-paced manner with a slight power metal feel, a well deserving break for the guys who up to that point must have sprained quite a few necks along the way, and not only in Finland.

S/M Party EP, 1988
Back From The Grave Full-length, 1988
Doesn't Feel Like Laughing... Full-length, 1990
Birthday Full-length, 1991
New Religion Full-length, 1994

Official Site


Based on the debut, these Germans pull out prototypical playful power/post-thrash metal of the modern 90's variety. The music is mid-paced with slightly one-dimensional tracks within the 3-4min range, but surprisingly towards the middle the compositions become longer, although nothing really interesting happens, especially on the very boring uneventful 9-min ballad "Der Name Der Rose". "Die Hymne Der Zeit" contains a couple of more interesting heavy riffs, but that's all about it; the rest is not even average.

Der Hexer Full-length, 1995
Kreuzzug der Gefnhle Full-length, 1996
Neues vom Hexer Full-length, 2007

Official Site


A nice hesitation between the modern and the old school characterized by heavy sharp riffs and a dominant mid-tempo the exception from that department ("Reluctant Messiah") injecting a vital doze of energy into the somewhat one-dimensional approach. "The Whisper" is a cool reminder of early-90's Testament, resemblances with the bay-Area thrashers in the vocal side as well, thne man sounding quite close to the attached forceful semi-clean tirades of Chuck Billy.

Lost Full-length, 1995

My Space


The debut: cool thrash metal from the heydays of the genre; heavy, crunchy, semi-technical, mostly mid-paced riffs plus some fast headbangers to spice things up. The style is quite close to early Testament ("Practice What You Preach", in particular) with some very tasteful guitar work, which comes a bit complex at times, but quickly alternates with a more direct headbanging moment. In the second half the album partially loses steam, coming up with a few more melodic power/thrashers ("Shadow Knows","Ripoffs"), but the next number "Time Bomb" compensates with great leads and smashing technical riffage, the highlight here.

"Instruments of Death": the band are back after a whole century... oops, sorry, only 20 years of absence. This is actually a compilation of unreleased tracks from their post-"Punishment Area" period. The guys have preserved the Bay-Area spirit to an extent, although again they were not brave enough to come up with a more aggressive material so the music here recalls Testament again, and more particularly "Souls of Black" on the more intense moments, and "The Ritual" for most of the time. Since this is a compilation, it shouldn't be a surprise that the album is whole 14 tracks long. The second half actually shows the band's teeth with the mid-paced crushers "Hidden By Animosity" and "True Life", and later on things get really "scary" with the brutal proto-death sound on "Sacrifice", and the thrashy monster "Straight To Hell". Unfortunately the guys are quick to spoil the impression with some bland 90's groove on "Disintegration" and "Power Lies", and although the last two songs bring back the edgier thrash metal patterns, especially "Planet X" with its interesting semi-technical hooks, this effort can hardly be viewed as one of the better compilation albums of recent years.

"Titanium": three years after the compilation, which introduced every track the band have composed to light, the band are back with their second full-length. However, it will hardly please the old fans of the group revolving around not very exciting proto-groovy patterns with a strict modern flavour which seldom gets dissipated by the casual reference to the classic field, and seldom has a strong thrashy bite. The music is not very eventful, in a constant mid-pace (the short semi-headbanger "Afterglow" is the sole more energetic number) introducing a tender romantic all-instrumental "CJ") as a final touch which is embarrassing, not parring well even with the mellow material heard previously. This effort can barely pass for a decent one, and is really far from any high, past or present, standards.

Punishment Area Full-length, 1989
Instruments of Death Compilation, 2009
Titanium Full-length, 2012

Official Site


Another talented Italian outfit is rising: these lads serve excellent avantgarde, progressive retro thrash which sounds more epic and orthodox on the elegiac opener "Oracle (The Question)". Follows "Fatherland" and officiant doomy sounds take over before "Search My City" thrashes the neighbourhood with more vigorous riffs and several creepy decisions. "The Circle of Silence" is mostly dreamy balladisms, and "Lady's Lake" is a true revelation with its hard-hitting riffage and mazey structure which introduces a few surreal Voivod-ish motifs at some stage before it surrenders to the slower, doomy octaves again. "Humanity" thrashes heavily steam-rolling forward, adding the occasional quirk along the way; and the title-track is a twisted futuristic thrasher with a rapidfire death metal-ish passage splitting it into two. "Being Parsimony" twists and turns in most unpredictable ways resembling Atheist and not without the help of another aggressive deathy passage; expect a few more spacey Voivod-ish elements to spring up in the 2nd half plus another more brutal escapade. The closing "Living in the Past" is a good emotional ballad with nice lead sections and illogical bassisms; a not very expected epitaph to this fairly original take on the old school thrash sound which should please more than just the thrash fanbase.

The Circle Full-Length, 2016


The debut: expect a more melodic, gothic-ornated version of the modern thrash/death metal mixture, originating from the same country. The gruff vocals are fine, but the clean inclusions are simply bad, and this is when the band start sounding like Lacuna Coil, with more balls, of course. It's a pity that brisk thrashers like "Fast I Fall" (can't you fall a bit slower...) and the lively "Alive" (watch out for the nice keyboard decorations here), and especially the explosive death/thrash delight at the end "Fields Of Yesterday", are not that many to oppose to the less impressive, albeit atmospheric, Septic Flesh-like gothic/death/thrash metal blends.

"Black Mirror's Reflection": there would be no surprises for those who have already heard the debut; this is probably a bit faster and more energetic and consequently more thrashy with "Remember This Fight" quite out of control with its wild chaotic death proto-blasts. "Destroy" is the highlight here: a haunting gothic thrasher with excellent galloping rhythms intercepted by cool atmospheric sections. "A Cursed Redemption" is the other more interesting moment: a fairly diverse composition which switches from enchanting gothic melodies to blitzkrieg crescendos the whole time including a few wild blacky hyper-blasts near the end.
"Archgod" treads a similar path being more laid-back and friendly with a lot of atmosphere flowing out of the compositions which are mostly mid-paced and jumpy. A lot of melody comes from the lead department and the not very frequently applied keyboards. "One and the World" tries to thrash harder near the end, but there's no time for the guys to raise hell which is hardly their most urgent agenda.

In Shadows Lies Utopia Full-length, 2008
Black Mirror's Reflection Full-Length, 2012
The Second Reflection EP, 2013
Archgod Full-length, 2014

Official Site


The debut: thrash/crossover of the old school, but surprisingly meek, with half the tracks being mid-paced at best which is a pity since when the guys come out with speed, they sound almost as convincing as D.R.I. and the more recent representatives of the style Municipal Waste. The problem is that apparently they are willing to give a slower twist to the genre, but from just a twist it turns into the dominating sound making the faster numbers seem like occasional throw-ins. The singer is cool, though, staying close to Kurt Brecht (D.R.I.).

One should try at least once in his/her life to "thrash with the stars", and on the EP the guys apparently rehearse for one eventual showdown with the stars the tracks being isolated cuts lasting for just under a min intercepted by voice samples containing intense thrashy riffs with a hardcore edge ending abruptly. Not to bother; and shouldn't be taken as an addition to the band's discography. Or should it...

Comes the self-titled sophomore album to suggest some new direction, or a time for retrospective, but the truth is that this effort sounds quite close to the debut with a bigger doze of melody probably which isn't bad at all and even makes the guys' delivery more appealing. The more stripped-down crossover moments arrive in the 2nd half and will lift up the adrenaline sky-high, especially ragers like "DespiTrtate".

Back to the pit Full-length, 2009
Thrashing with the Stars EP, 2012
Faithreat Full-Length, 2013

My Space


Based on "Fierce Cries of The Manic", these guys play cool death/thrash of the old school with a nice technical edge. The music switches from more intense to more laid-back passages keeping the technical chaotic play for most of the time. The songs are generally short, and the frantic complex riffage makes them quite an intense and interesting liten. The pace isn't very fast, but there are exceptions like "Cleansing" which is a nice mix between furious blast-beats with a black metal shade, and more intriguing guitars ala Morbid Angel. The music is related to the Americans, actually, but a closer soundalike would be mid-period Carcass, including the vocal duels so typical for the early works of the Brits. "Embodied" is a fine exercise in twisted technicality, hard to swallow, but intriguing all the way, despite the lack of any more up-tempo moments. These up-tempo moments come aplenty on the following "Revenge is a Color" which is much faster and more aggressive, full-fledged death metal. "Recreational Homicide" is a very odd orchestral ambient instrumental composition lasting for nearly 6-min. After that the band turn to pure death metal reducing the technical performance for the sake of a more brutal bashing which doesn't leave a very positive impression compared to the 1st half although the final "Reawakened" tries to make up with a handful of more stylish riffs.

Vigorous Repercussions From The Appalled Full-length, 1996
Fierce Cries of The Manic Full-length, 1998
This Brutal EP EP, 2000
This Brutal Reality Full-length, 2005



Modern thrash/death which becomes metalcore-ish quite soon to completely please the less tolerable thrash metal fanbase. Consequently, the listener may lose his/her concentration since the approach is too trite to make a lot of people pay attention, especially when there are very few attempts at a faster play. The singer semi-shouts in a not very aggressive fashion also trying to sing on a couple of more tender moments.

Behold Full-Length, 2015


Dark, brooding thrash with an almost gothic atmosphere; the songs are longer, but one-dimensional and flow in the same vein with occasional up-tempo moments here and there; still the overall impression is definitely on the positive side. The song "Halloween" is a nice take on the tune from the cult horror film, here turned into a good thrasher. The overall style actually bears resemblance to the Germans Darkness. Too bad these guys were never heard of again.

Martirios EP, 2000

My Space


The "Last Man Standing" demo: 2 songs of merry-go-round black/thrash metal in the spirit of Motorhead and the Swedes Bewitched, the black metal tag mostly based on the evil raspy singer. Fast-paced, slightly abrasive, guitars follow through acquiring a more sinister Celtic Frost-esque tone on the 2nd track "Obsolete".

OSBM Demo, 2005
Last Man Standing Demo, 2010

My Space


Apparently apart from Hexenhaus there were other quality thrash metal bands from Sweden around the same time. Fallen Angel's style is more standard, but it has its hooks and twists. The music has something in common with the Bay Area scene (Metallica, Testament), but it also resembles the Swiss Apocalypse (and especially their sophomore release), and early Megadeth. The singer has a cool semi-clean voice which doesn't change the tone too much, but fits the music very well. The album begins with a couple of heavy intense thrashers with not much speed present, but quite good. It's the 3rd song "Spectacle Of Fear" which starts thrashing fast and hard, but this is apparently not the band's preferred dimension, as "Faith Fails" returns to the slower formula, even introducing baladic passages in the beginning. All of a sudden comes "Injection-Overdose": a ball of fury with steel crushing riffs: a sure-handed thrashterpiece. The following "At Night" is the only failure here, a melodic power/thrash metal piece. Afterwards the band mix faster with slower tracks closing with the excellent Testament-like "Visions Of Terror". If Hexenhaus were the "gods" of Swedish thrash metal back in the 80's, Fallen Angel were not too far behind.

Trapped In Syberia EP, 1990
Faith Fails Full-length, 1992


This is modern power/thrash metal of the calmer type, the only aggressive thing being the brutal death metal vocals, and the short smasher "God is Dead" in the middle. Otherwise the guys acquit themselves with crisp melodic guitar work and a couple of more complex progressive arrangements.

Hell's Top 5 EP, 2007

My Space


The debut: good 80's speed/thrash metal with gruff sinister vocals being just on the edge to tumble into death metal. The music is not straight thrash, though, and has its death metal elements boasting both more Bay-Area-based numbers ("Rise from Ashes") and more intense nods to acts like Demolition Hammer and Massacra ("Cerebral Infection"). "Looking Over The Walls Of Despair" is a stylish and slower attempt at a more technical play with faster "ornaments", a track which strangely reminds of the Dutch Asphyx. "Slaves In Words" follows, abandoning the technicality, remaining in the mid-paced sector for most of the time. The thrash moshing returns with "The Essence Of Violence", and the intensity reaches new heights on the proto-death shredder "Cries Of The Dying". "Silent City" could grace any of the mid-period Death albums, and is a solid speedy smasher providing cool lead guitar performance as well. The closer "Massacred By Madness" thrashes with full force for about 6.5-min exiting quite well with a Death-like technical twist, much slower, but truly satisfying.

"Engines Of Oppression" is a really good slab of thrash once again this time without any takes from death metal whatsoever, and with several modern elements added. The guys start thrashing hard from the get-go with the intense Bay-Areasque title-track, and the next "Forever Burned" is a pure speedster in the best tradition of Paradox's "Heresy": check the brilliant Kai Hansen-like leads on this one, too. "The Veil" slows down adding balladic and epic passages, but all hell breaks loose once again on the excellent speed/thrasher "Minds Of No Emotion". "Rebirth" is a short 1-min acoustic instrumental, but the "carnage" carries on with the more technical approach on "Legacy Of Pain". "The Gates Of Irony" is another headbanging paradise, and "Descension Into Madness" slows things down big time reaching even doom metal proportions in the middle to a very good impression; watch out also for the great folk/acoustic exit. "To Dust" is more modern-sounding, but the riffs lash no worse there taking a nice technical, almost Coroner-esque, shape at some point. Another peaceful instrumental interlude, this time longer (close to 2-min), and called "Remembrance", follows suit, before the closing "Laid To Rest" shoots everyone at close range mixing raging with more technical riffs to a fairly impressive effect again recalling Paradox. The lead guitarist steals the show pulling out amazing performance all over, but the others assist him quite well to produce one of the most impressive entries into the thrash metal catalogue of 2010.

“World in Decay” is another capable mixture of speed and thrash as speed metal takes more space this time, especially at the beginning where the sound is vintage early Helloween, Vectom and Warrant (Germany). “Forsaken Existence” introduces some harder to swallow semi-technicality, and this “leads” to the album’s diversification into several areas including the somewhat plodding mid-pacer “Leading The Blind”. The more dynamic speedy approach eventually returns for the final “Mortis Ex Machina” which is still on the speed metal side, and may leave the thrash metal fans a bit in the cold since the guys have chosen a mellower path to follow strictly concentrating on the melody.

Rise From Ashes Full-length, 2008
Engines Of Oppression Full-length, 2010
World in Decay Full-Length, 2015

Official Site


Modern thrash metal with classic overtones; cool melodic stuff with rougher semi-shouty vocals. The guys' strength lies in the speedy pieces ("Perimetr") whereas the slower side is less original delivering in a more quiet mid-tempo manner ("Then It Dies"). Some of the musicians play similar stuff with Social Disease, maybe a bit more power metal-based.

Under No God Full-length, 2009

My Space


Swedish modern thrash/death made in the USA; energetic brisk stuff with nothing new to offer: just lashing fast-paced guitars carrying a lot of melody as well assisted by the staple hoarse shouty vocals.

Demo Demo, 2007

My Space


Based on the full-length, this band plays decent modern thrash relying on enchanting Oriental melodies (the beautiful "Origin of Sin") to pull it through, but the headbangers won't be disappointed, either, with ripping pieces like "Descendancy", and the more classic-sounding speedster "Asphyxihate". The compositions in the middle grow bigger in length with an increased presence of melody, recalling more recent Trivium ("Shogun", in particular) which are basically the major influence.

Revengance EP, 2008
The Virus Has Spread Full-length, 2011

Offical Site


Light-hearted speed metal with slight touches of thrash similar to 80's Exciter with a certain Motorhead flavour added, too. Although some thrash metal fans might find it too soft fot their taste, this is not bad stuff.

"Italian Restaurant" serves the perfect "companion" to lunch or dinner at the Italian restaurants around the world; buono appetito! The speed/thrash assault now is more aggressive with more thrash added to the fore bringing the overall approach close to early Whiplash and Pile Driver. The stripped-down barrage has been elaborated on with a doze of epic power metal ("Road Pigs Of The Highway"), but these moments are the more musically proficient, and are not a detriment at all. "Veganazism" is another more radio-friendly number with a heavy metal flair, and generally the 2nd half is more laid-back the guys paying their tribute to the flourishing once in Europe heavy/power metal movement. Probably these influences come from the other act with whom the guys are involved: the heavy metal heroes Twilight Zone, but some of them do it the harder way with the retro thrashers Tornado.

"Everything Concernin' Pork" bears no surprises the Italian metal "chefs" traditionally serving their "meals" on a merry-go-round speed/proto-thrashing base now coming with a more or less overt doze of crossover. The good time here is guaranteed only seldom coming with a more aggressive edge ("Raise An Earthquake", the hardcore-laden hymn "Stricken And Sunk"). "March Of Violence Pt.II" is a very cool instrumental lasher, but the end is disappointing the "cooks" offering mellow hard'n heavy with a punky vibe as a "dessert" (3 songs altogether) abandoning the speed/thrash metal idea completely.

"Sign of the Razor" offers "razor"-sharp thrash for a change... ha ha, not exactly, but the delivery this time is way more intense: check out the opening title-track, and especially the proto-death brutalizer "K.K.K. (Kous Kous Klan)". "Horny Housewives" is more on the punky side, but "Interflug" is a cool 3-min all-instrumental piece of optimistic gallopisms. Laid-back crossover arrives with "Change of Address" as well as the Razor cover of "Snake Eyes", before the closing "No So Stupid (To Lose Weight for Love)" adds more friendly power metal rhythms as a finishing touch.

Metal Against MTV EP, 2003
Fat Totalitarian Metal Full-length, 2005
Raise An Earthquake/Bombman EP, 2006
Everything Concernin' Pork Full-Length, 2008
Italian Restaurant Full-Length, 2012
Sign of the Razor Full-Length, 2015

Official Site


Based on the full-length, this trio play epic modern thrash/death which relies on soaring melodies quite a bit those contrasting with the gruff shouty, deathy singer too much at times; the atter is occasionally helped by a soulful clean throat. The problem is that the guys seldom speed up to bang the head although more thought-out tracks like "Dark Harvest" have their amount of energy without offering anything too fast-paced. "Final Solution" "flirts" with something more technical, but attempts of the kind aren't many at all leaving this effort more on the generic side despite the good taste for melody displayed all over.

Screams from the Dungeon, EP 2013
Infinite Archives Full-length, 2016

Official Site


Based on "All Hail", this power trio offer hard-rocking, but also quite dark on occasion, industrial thrash/post-thrash which at times borrows from death metal ("We Fight the Dead"), at times from the bit more relaxed riffy landscapes of Die Krupps ("Runaway"), at times from epic doom ("Satanica"), and seldom from the rocky psychedelics of Killing Joke ("This World"). "A New Day" is vintage doom/gothic with a cool lead motif (the leads are quite good everywhere, by the way), and the 2nd half is more on the mellow side with a more friendly rhythm-section the harsh semi-declamatory vocals providing the requisite aggression. This is a cool encompasing effort which gives a necessary intense boost to the industrial scene which has delineated from thrash quite a bit in recent years (except for Ministry, of course!).
"Voices From the Dark" arrives with a more officiant and a more melodic tone and industrial has kind of stepped down as the leading style in the band's repertoire. No complaints since this effort is fairly intriguing in an elusive Melechesh-like way: check out "Hate Remains" which is imbued with fine Oriental motifs, the latter impressively transferred on the next operatic delight "Keepers of the Flame". The harsher industrial aesthetics are partially recaptured on the short abrasive "Resurrection", but the album quickly returns to the more atmospheric territories with the progressive "Breed", before the last two numbers introduce some dance floor-like electronics as a finishing touch.
"Feed Em a Bullet" is an eclectic post-thrashy "beast" served on a modern, dancey base (check out the metal dance floor sweeper "Bicycle Beatdown"). There's a lot of charm in diverse, encompasssing compositions like " To The Streets", or in moody shredders like "Feed The Flames"; not to mention the galloping delight "Wage War" near the end... Still, this effort is too all over the place to please the hard-boiled thrash metal fans who will by all means lose their patience with the truckload of gimmicks offered most of them having nothing to do with metal even.

Blink Full-length, 2001
Organic Disorder EP, 2003
March of the Sinners EP, 2007
Reborn Full-length, 2007
Mercenary Full-length, 2008
Burn Full-length, 2011
War of the Flea Full-length, 2012
All Hail Full-length, 2013
Voices From the Dark Full-length, 2015
Feed Em a Bullet Full-Length, 2016



Based on the "The Six Roots of True Will" EP, this band offers prototypical derivative modern post-thrash with all the expected gimmicks: a dual vocal attack (gruff-modern), a lot of energy, a couple of metalcore elements, numerous melodic hooks, soft semi-balladic breaks, etc.

The full-length is a much better and way more diverse affair embracing quite a few styles along the way; in other words, this is extreme metal with thrash, speed, black, and death metal shaking hands throughout as well as the various vocal styles included, the clean side of which is quite good with a warm emotional flavour. The guys' penchant for blast-beats is a bit overdone stifling the crisp speed/thrashy riffage being present on every song to a negatively overwhelming effect. There are several nice quiet sections ("Body Of Light") with clear progressive pretensions, and near the end there's at least one composition which comes out with all the more moderate speed/thrashy glory without any other unnecessary additions: "Cognitive Dissonance And The Children Of Hamelin", the best track here also boasting nice melodic leads. The closer "The 8Th Circle" could be skipped, though: a very dreamy meditative number with sparce vocal participation.

Winter EP, 2008
The Six Roots of True Will EP, 2009
Shadows Full-length, 2012

Official Site


This is cool intense hyper-active classic thrash the musical delivery guided by mean semi-clean vocals and a fairly wide array of tempo changes among which the galloping rhythms on "Eternal Darkness" are a real highlight also coming accompanied by very cool melodic leads. "Endure My Anger" is on the opposite pole, brutal Slayer-esque thrash, but the fretwork is quite dazzling on that one the guys proving themselves as fairly capable musicians, not without the help of the more diverse speedster "Not Alone" which is served near the end.

Fallen Nation Demo, 2017

Official Site


This talented act, consisting of two people only, specializes in potent dark power/thrash metal with both progressive and doomy shades springing up, with a general delivery clinging between the classic and the modern sound. "Theories of Ruin" is the heavier achievement with the opening "Takers And Betrayers" setting the tone with its solid mid-paced riffage and the sudden fast breaks. The crunchy guitar approach becomes a bit more dynamic on the following "Whores Of Mammon", a hard thrashing number with a quiet lead-driven balladic interlude. "Prophecy Of The Last Deceiver" is pensive power/doom, but "Machinatus Deitas" is an intense faster offering despite the misleading balladic intro. More "flirtations" with the ballad will be encountered on "Chaos Architect" which is a heavy sleeper, the alternation between the two sides carrying on with "The Hive", another more aggressive thrashy cut. Then come two more thoughtful numbers before the final two, which are more energetic, the closing "Fallen Sanctuary" having the heavy duty to justify its title, and succeeds, pulling out hard-hitting riffs with a clever technical edge ala Unleashed Power. The singer fits the picture with his attached, clean mid-ranged singing which isn't a "stranger" to the odd high-pitched wail. The guys also have another project, the heavy metal outfit Shadows Eve, with whom they're still on a demo stage.

"Malevolent Symmetry" starts with the impressive intro "Dark Defective Synergistic" which introduces heavy doomy riffs amid stylish lead guitars before the actual opener "The Fetid Kingdom" hits with hard, speedy riffs topped by good catchy choruses. The attack continues with the dark steam-roller "Prelude to Supremacy" which unleashes a super-heavy rhythm-section recalling Nevermore and Eidolon, and the heaviness remains for another thundering piece, "The Quaternary Code" which relaxes with a few melodic hooks in the middle. "Blessed Afflicted of Man" brings forward more technical riffage again recalling the aforementioned Danes (Unleashed Power) as well as more intense galloping moments. More darkness and technicality on "By Virtue of Impurity" which is a stomping number with hammering guitars and gruff proto-deathy vocal insertions. "Enemy" is full-on thrash without too many interferences except for the very cool leads which are on a pretty high level the whole time. "Perjury of Thought" is seismic thrash with super-heavy riffage, a dramatic composition worthy of acts like later-period Hexenhaus and Pathos, and the closer "The Thrall Contagion" offers an encompassing complex sound putting together hard thrashing sections, much more peaceful baladic ones and a main mid-tempo motif with a strong dramatic flavour of the doomy type. With two albums of a consistently high quality with top-notch musicianship displayed all over, this band seem well equiped to establish themselves as one of the leaders of the darker, more thoughtful side of the genre.

Theories of Ruin Full-length, 2005
Malevolent Symmetry Full-length, 2010

Offical Site


Aggressive early Kreator-esque retro thrash with a comprehensive sound and slightly hysterical screamy vocals which try to emulate Mille, and actually succeed at times. The guitars are sharp and fast although the slower stomping moments aren't too few, either. Some of the guys are also involved with the death metal outfit Abyss of Darkness.

Never Die Alone EP, 2010

My Space


Typical modern thrash/death metal which apart from the few obligatory groovy sections sets the scene for some intense headbanging as well ("Shades of Grey"), sometimes even going over the top ("Bleeding the Surface") with more aggressive and faster riffage.

The EP to Kill By EP, 2004
Left to Rust Full-length, 2007

My Space


Intense thrashcore with modern undercurrents; the music is very direct, with short 1/1.5-min tracks and shouty semi-death metal vocals.

Spit On The Innocent Full-Length, 1998


A decent album providing retro thrash which doesn't really sound like anyone else; the hypnotic mid-paced riffs from the opener "The Sirens" flow into the faster up-tempo barrage on "Suicidal Thoughts", but speed apparently won't be the order of the day, and the title-track and "Hate" slow down again. Soon, however, things get more dynamic with the nice headbanger "Modern Vampire" which is a pure "classic vampire", if you ask me, sounding quite close to early Metallica. But that's all about it from the faster sector since the remaining tracks aren't very interesting mid-tempo pounders touching the ballad on the soft power/thrasher "Preacher Of Darkness". The last "Addicted" simply had to sound vigorous and intense if the guys wanted to leave rather a positive impression, and it doesn't disappoint again thrashing in a way again akin to Metallica's early efforts. Some of the band members also play more aggressive black metal-tinged music in Infernal Legion.

Bone as Dust Shall Be Full-length, 2009

Offical Site


This is the Chilean answer to Metallica. The style is a direct impersonation of Metallica's more technical heavier period ("Master Of Puppets", "...And Justice For All"). Everything sounds close to the mighty Americans: from the guitar work to the heavy bass section, to the long technical numbers.

Demo 2 Demo, 1989
Factory Tapes Demo, 1989


This is an eclectic affair, avantgarde stuff which on a modern base piles up a few influences (post-thrash, a bit of hardcore, stoner/doom, groove), one of which is stripped-down jazz which intersects with the gruff semi-shouty vocals and the heavy crunchy guitars. The saxophone background is cool, but is repeated on every song, and at some point one may just stop paying attention to it. "The Hounds" is a cool post-gothic ballad ala later-period Sentenced, and generally the peaceful tone of the album is very seldom broken with isolated sections from the songs. This is original and non-conventional, but it would take a bit of refinement before it reaches the higher standards.

Bastard Sons Of A Pure Breed Full-Length, 2011


Thrash/crossover which at times sounds quite thrashy and aggressive ("Not Your Day"), at times heavy and doomy ("Carrions Keep"), and at times more melodic and punk-ish ("Agony or Defeat").

Cease to Exist Demo, 1987
Guilty Of Everything Demo, 1989

Fan Site


Furious thrash/crossover which surprisingly sounds close to S.O.D.'s "Speak English or Die"; this band's sense of humour is perhaps not as clearly expressed, and their infatuation with speed is bigger, but the approach is pretty similar with the tracks seldom exceeding the 2-min range. The difference is in the vocal department mostly; here we have hoarse hardcore-ish vocals which fit the music quite well.

Silence Is Consent Full-Length, 1986


Based on the "If I Shall Die" demo, this is aggressive thrash reminiscent of Devastation's "Signs of Life", or the Sacred Reich debut. Sometimes the music acquires a more brutal proto-death character ("Self-Destructive Humanity"). Some of the songs are long (5-6min), but there's nothing too interesting or technical there except for a few attempts on bass.

If I Shall Die Demo, 1989
Infectious Blood Demo, 1990
Inexplicable Consciousness Demo, 1991


This is unbearably heavy modern post-thrash which is mostly doomy and sludgy to an apocalyptic effect sharing some of the mechanical avantgardism of the guys', or rather guy (the name Kevin Idso) main occupation: the eclectic metal formation Kronk. There are more lively moments ("Revise"), but their sterile guitar sound without a tad of melody will cause you a headache. The singer is a torturous deathy growler who will throw you further down the depression tank although it would hardly make you what the title of one of tracks ("Kill Yourself") suggests. Ultimately this will be fun for the Soulstorm and Puncture lovers with its hypnotic seldom-changing riff-patterns and consistent noisy background.

Suffering for the Living Demo, 1992

My Space


Classic power/speed/thrash along the lines of early Metal Church, Meliah Rage, and Aftermath. "No Prayer for the Dying", which isn't an Iron Maiden cover, is a stomping groover ruining the classic atmosphere settled until that moment. Fortunately, it's one of its kind although the remaining numbers aren't that fast preferring instead to crush in mid-pace with heavy volcanic riffs. "False Prophecy" is a nice dynamic shredder influencing the next "Black Death Pain" which is a prime speedster compensating partially for the lack of such intense moments later which also include the full-fledged ballad "Forever Darkness".

The Awakening Full-length, 2014

Official Site


First demo: good aggressive thrash, badly produced; second demo: great aggressive thrash with a better production preceding Demolition Hammer's similar sound. The second one hits you like a steam-roller rolling down a slope; really brutal. Quite often actually does the sound jump into the death metal camp, drawing comparisons to Obituary's "Slowly We Rot".

Sign of the Cross Demo, 1989
The Second Death Demo, 1991


This obscure act offers 11 songs of high-class progressive/technical power/thrash metal coming as a more aggressive version of early Fates Warning and Lethal's "Programmed". The opening "Laughing To The Skies" is a marvellous twisted technical power/thrasher mixing direct headbanging sections with hectic complex ones. "Confessions" is more conventional dark power metal, but the smashing galloping riffs on "Wall Of Shame" bring both the thrashing and the technicality back in the best tradition of late-80's Helstar. "Crestfallen King" comes close to early Hexenhaus which are another close soundalike, and is a fine blend of atmosphere and hard-hitting technical riffage; and this is the end of the band's 1990 demo. The next "Can't Last Forever" is the beginning of their 1993 demo, and is a clear shift from their potent classic sound: this one is an angry 10-ton steam-roller betraying the speedy technical tone heard up to this point, openly walking in the modern 90's acts' shoes. "Guns, Sex And Pain" is a bit more dynamic preserving the groovy sound which lets loose on the creepy doomy "Don't Push Me". Then "Welcome To My Paradise" brings back the more energetic delivery from the beginning being vintage old school power/thrash metal which shouldn't be a surprise since it's their very first demo never released before. The remaining 3 songs follow a similar pattern being more American power metal-sounding with epic touches. This talented band hadn't been given a chance by the metal gods back in the good old times, but this very recent re-release of their discography should be able to expose them to a wider audience this time.

Crestfallen King Best of Compilation, 2008


This "family of freaks", who were previously known as Side Show Freaks with again one demo released in 1995, comes up with crunchy sludgy death/thrash quite close to the sound encountered on same year's Six Feet Under's 'Haunted", but more varied and more interesting. The riffs crush leaving marks all over your body seldom abandoning the expected mid-pace assisted by brutal low-tuned death metal vocals and a thundering bass bottom. The approach is decidedly more on the thrash side despite the vocal "atrocities", and boasts some effective pieces: the dark shredder "King Of The Pit", the steam-rolling squasher "The Fart Game", the seriously stomping "wink" at the Bay-Area "You'll Get Yours In The End", etc.

...And Freaks Were Their Names Demo, 1995

Official Site


These Hungarians specialize in very abrasive modern thrash with classic overtones. The band bash on with vigour producing some effective headbangers along the way: the raging Sadus-worship "Escape To Madness", etc. The noisy guitar background is really annoying, though, and the singer is a plain deathy semi-shouter who at least doesn't overdo it sounding both restrained and sinister.

Fight For a Lie EP, 2012

My Space


Thrash/crossover of the more melodic type, along the lines of Lawnmower Deth; this is quite enjoyable, actually, with memorable melodies and hooks.

Ecologic Disaster Single, 1989

Fan Site


Based on the debut, this act offer interesting diverse thrash with several nuances coming from the fields of epic, doom, and black metal. The guitar patterns are full of melody which contrast harshly with the varied vocal styles implemented throughout all within the death metal confines, except for the angelic female vocals which are also a very regular presence and give this offering a characteristic ethereal gothic flavour. The tempo is mid with solid riffage which tolerates the casual more technical hook with a lot of dramatism and atmosphere created as a result ("Sorrow is Knowledge"). The dark guitar tone will keep the fan entertained although at some stage he/she may noticed certain repetition of the formula which could have benefitted from a few more dynamic insertions, like the fast-paced break on "PalSstinalied", or the choppy technical passage on "Fangorn". The short inappropriate grinding closer "Der Metalmann", of course, had better be left unmentioned. Otherwise, this is competently done with an individual face although one has to check how efficient this approach would sound if repeated note-by-note on the other two albums.

Non-Rhapsodian Full-length, 1997
Pentatonische Furien Full-length, 1999
Fangorn Full-length, 2001


I am sure quite a few of you would be surprised to find out that this is a side-project of the Morgana Lefay guys, who here play nothing more than the fashionable groovy post-thrash of the time. The high level of musicianship of the other band is nowhere to be heard, and this music is simply boring and unoriginal (except for the excellent melodic leads ("From Dawn 'Til Death", which sound surreal on the remaining unimpressive background), sounding like a washed-down copy of mid-period Machine Head.

Fuck You All Full-length, 1998


Based on the full-length, this act provides interesting modern technical thrash which starts in a jumpy hectic manner with the mechanical shredder "Allocation of the Soul", before things get more dynamic, and equally as interesting later on, first with the intense puzzling speedsters "Aggressor" and "Forced", and then with the more dramatic elaborations of "Duality of Things". "Under the Open Sky" is a ripping shredder with a more aggressive deathy edge, but the remaining material is a mixture of the two sides smelling later-period Death a bit ("Green Tattoo") on the more progressive parts. A nice addition is the 2-min instrumental "Lizard Skeleton" which is a jumpy technical piece with jazzy (and also "lizzy") tendencies and a strong bass support. And certainly, the more relaxed speed metal delivery on the final "Rita from the Hills" is more than welcome to bring a more direct tone with its soaring, carefree rhythms. The vocals are of the gruff, semi-death metal type and kind of don't do justice to the more proficient musical approach. Quality technical metal isn't anything new on the Polish scene, but those "fans of thrash" are well-equipped to become one of its more prominent representatives.

Trauma Despotic EP, 2010
Duality of Things Full-length, 2011

Official Site


Based on the demo, this band could rank right beside Tormentor as one of the first extreme bands from the Hungarian metal scene. Their style is an evil, sinister mix between early Bathory and Hellhammer with more brutal parts also recalling their Brazilian counterparts Sarcofago, Sextrash, Vulcano.

Lucifer jelenj meg ! Demo, 1987
Pr=bafelvTtelek 1987-1988 Best of/Compilation, 2004
Fantomania Split, 2007


Good thrash with intense hard core-ish elements; the majority of the songs are of the fast-paced aggressive variety, but there are a few places where the band slow down which are more melodic, going towards classic heavy metal even.

Fantasy or Reality Full-length, 1987

Vibrations of Doom


Based on "Menongkah Arus", this band indulge in varied thrash/death, both classic and modern, which could be quite brutal at times with uncontrolled blast-beats pouring from all sides ("Tangisan Malam"; although this is the only truly aggressive moment on the album), but expect also enchanting melodic passages ("Patrasari") which can be encountered on almost every song, actually: check out the nice Oriental motifs on "Bisikan Suara Halus" as well as every other composition. This is interesting curious music which only more ordinary ingredient is the rough death metal vocals. The band members keep themselves busy with the brutal death metal formation Destheria, and the more experimental death metal outfit Halun.

A Millenium of Madness EP, 2003
The Blackmoon Eclipse EP, 2006
Menongkah Arus Full-length, 2010

Official Site


This is eventful music built around a modern thrash base with several clever technical decisions. The guys thrash with force here and there "calling" death metal for help ("The Surgeon") and these are the times when they deliver the goods in the best way. There are shades of groove as well, but those are just additions for spicing the situation the dynamic arrangements playing a major role topped by attached shouty semi-death metal vocals.

Slaves of Chaos Full-Length, 2012

Official Site


A retro thrash metal band who, like Bywar, Executer and Violator, look for inspiration at the German thrash heritage. The style isn't too distant from the one of the other three mentioned bands: thrash metal along the lines of Sodom, Kreator and Destruction, done with style. The band members are scattered all over the Brazilian underground: they take part in numerous other thrash metal outfits around their homeland: Atomic Roar, Apokalyptic Raids, Whipstriker (those are more of a speed metal act), Diabolic Force, etc.

"Primitive Blitzkrieg" arrives after a lengthy 7-year hiatus, but there should be no disappointed with this sincere retro barrage which is now a tad closer to Slayer adding the odd more frolic tune in the crossover camp ("Fallen Household", "Behind the Sweet Mask") here and there. The music is executed with a bigger proficiency now also reflected in several semi-technical touches which go missing near the end where the guys well deservedly cut themselves some slack with jolly merry-go-rounders ("Dr. Death", "Night Tripper") in the speed/crossover camp.

Demon's Massacre Full-length, 2003
Killers On The Loose Full-length, 2006
Deliver Us to Hell EP, 2013
Primitive Blitzkrieg Full-length, 2013

Official Site


Laid-back power/thrash with the odd more aggressive reference to thrash, but generally the guys can't be bothered moshing out and the friendliness will consequently come as too much for the hardened thrash metal fans who still should be able to appreciate the cool melodic leads and the curious progressive leanings on the longer material towards the end. The vocalist is a hoarse clean throat and tries to emit more passion from time to time.

Shitsujitsu Gouken Full-Length, 1989


A more aggressive take on the modern 90's sound not miles away from the last 2 Massacra efforts; so expect a heavy wall of sound of the groovy type spiced with a couple of faster sections ("Puercos, Fachos, Antisemitas", the frantic parts from "Muerte al Dictador"); the main difference comes in the form of a few dry mechanical twists ala mid-period Meshuggah which border on modern technical thrash ("No Mas Odio"), and should have been more. "Menen" is highly-charged industrial doom ala Godflesh.

Agiten Full-length, 1998


This is fast aggressive thrash metal at its classic best; imagine Destruction, Necrodeath, and the Swedes Hypnosia, but played faster. This is beautifully crazy, ridiculously fast, but never crossing the border towards death metal. Ritual Carnage have to be cautious with bands like these around, who actually richly deserve theit bombastic name.
"Nuclear Thrashing Attack" is a commendable follow-up to the striking debut; it offers the same frenzied high-speed thrash, but this is exactly what everyone expected. The intro "Nuclear Devastation" is a bit misleading, as it is heavy and mid-tempo, but when the next number ("Bloodbath") starts, you know you haven't been betrayed. Still, there are several up-tempo tracks: "Kill And Possess", where the guys slow down, but only a little. With Ritual Carnage apparently not active anymore, this band seem like one of the main pretenders for the thrash metal throne in Japan.

"Bestial Thrashing Bulldozer": the "fast killers" are here again to shred their souls out in a way quite reminiscent of the first 2 efforts. They by all means "trust in thrash" like the title of one of the songs suggests so well, and the fans won't be disappointed listening to this ultra-fast downpour which only downpoint is the more hysterical direction the vocals have taken now coming with a distinctive barking black metal flavour. "Terminal Disease" is the definitive speed/thrash explosion of recent times and the rest of the material follows suit faithfully with "Toxic Tormentor" jumping the early speed metal wagon (think early Exciter, Savage Grace, Liege Lord) followed by a raging cover of their compatriots Nigarobo's "Endless Game" from the latter's excellent only effort. Fans of the band's previous "exploits" will by all means rejoice as the guys seemingly have no intentions of adding any new ingredients to their intense blitzkrieg "menu".

Infernal Thrashing Holocaust Full-length, 2004
Nuclear Thrashing Attack Full-Length, 2007
Bestial Thrashing Bulldozer Full-Length, 2011

Official Site


Based on the EP, this act pulls out intense proto-death laced retro thrash metal akin to Merciless' debut and Hypnosia. This is fast relentless stuff with not much variety outside the speedy downpours assisted by hoarse, but intelligible, death metal vocals.

"The History of Human Errors" is an intense thrashy affair, not much death metal here except in the vocal department where the man growls in an attached manner accompanied by better clean vocals. The guys lose it at times, though, with a few short blasting moments ("Traitors Faith"), but generally the thrash tone of the album is sustained well, sometimes coming with a more playful, speed metal edge ("No NATO"), or introducing mellower balladic sections ("Na Obochine Snov"). "1995" is a formidable steam-roller with doomy overtones, and the title-track near the end is a brisk speed/thrasher also bringing forward cool screamy leads. The 2nd track "Balkans" is remixed at the end turned into a surprising (or even shocking to some) techno/industrial cut, not having much to do with the original except in the vocal department, but those growls this time sound really surreal and not fitting at all on the dancey musical background.

"Thrash We Trust"; we do, too, guys, and we trust you as well, to deliver some decent retro thrash which actually happens here, albeit with a more abrasive sound which inflates the guitars dissipating their biting edge. "Hell Gate Is Open" is a more assured shredder with more consistent riffage, and "LightHouse" later provides an extra doze of blitzkrieg Slayer-esque thrash. "Thrash Metal Will Never Die" is an entertaining roller-coaster with frolic spinning riffs, with "Cujo Crushes" very close in spirit with the next portion of furious fast-paced rhythms. The title-track is just a mid-paced filler followed by the crossover-laced cover of Motorhead's "I Am The Sword". The 2 bonus tracks at the end aren't bad at all "Time to Die" being a cool energetic technical instrumental with a Jeff Waters-like flair.

The World Is Not Enough Full-length 2005
Stop The Terror Full-length, 2007
Intifada EP, 2010
The History of Human Errors Full-length, 2011
Dr Jekyll and Mr Hyde EP, 2014
Thrash We Trust Full-length, 2014

Official Site


Based on "Want A Flower With That?", this act pulls out laid-back melodic thrash/crossover clinging more towards the hardcore/punk side. There isn't much speed present, unfortunately, and the mid-paced edgeless delivery wears thin before long "helped" by the pedestrian throaty vocals and the repetitive riffage.

Luciferngully (The Softer Side of Satan) Full-length, 2000
Want A Flower With That? Full-length, 2010

My Space

FATAL (USA, Florida)

A 3-song demo of cool brisk retro thrash in up-tempo, staying close to the Bay-Area patterns; the guys do a good job mixing the direct thrashing with nice melodic hooks ("Born 2 Thrash"). "Sacrificed In Vain" is heavier, witht a slight technical edge; "The Call Of War" slows down, but retains the technical guitars, mixing them with heavy stomping riffage and a great melodic lead guitar tune near the end.

The EP adds three more tracks into the band's catalogue which are a tad less intense, except for the speedy opener "Firebeast" which justifies its "fiery" title with ease; and much longer, featuring the calm mid-paced power/thrasher "Self Destroyed", and the 8-min progressive opus "Synthetic Satisfaction" which is a potent mix of fast raging sections and much slower, almost doomy, ones.

The "Cast into Filth" EP features brutal death metal vocals ala Martin Van Drunen (Pestilence, Hail of Bullets, etc.), and the music has consequently gone up the aggression scale now being pure intense thrash with strong presence of death metal which to these ears sounds more appealing coming with a nice technical shade ("Ravenous Descent").

Born 2 Thrash Demo, 2008
The Law EP, 2009
Cast into Filth EP, 2010

My Space

FATAL (USA, Michigan)

Fatal are a thrash/death metal band whose only 3-song EP mixes both styles with shades of early Sadus sneaking through. The music can be quite stylish on occasion where intriguing galloping passages ("Malevolence") meet furious proto-blasting ones. "Anguish" is an atmospheric headbanger reminiscent of early Coroner as well, and "No Dream to Believe" is a fine shredder with a very cool lead-driven balladic break in the middle. The singer is a low-tuned guttural throat whose tirades are often not very comprehensive.

A Somber Evocation of Nihilism EP, 1991

My Space


Based on the "Nation of Chaos" demo, this is glorious speed/thrash which combines the speedy aesthetics of the Angel Dust debut with the Bay Area style (think Exodus, Testament). There are cool technical riffs (those from "The Maze" will definitely remind you of Testament's "Burnt Offerings") present here, too, and the singer is a find with a great voice recalling Dave Mustaine, but meaner and more aggressive.

"Disrespect" shows "disrespect" to the classic school, reducing the speed to a considerable extent (actually there is only one more up-tempo track here: the album opener "Pitch Black"), and concentrates on heavy smashing riffs along the lines of Exhorder's "The Law" and Cyclone Temple's "I Hate Therefore I Am". Modern elements (including even rap-styled vocals on "The World Within") have come to replace the more technical ones which were quite common on the demo, and at times the sound exceeds in heaviness reaching for doom metal ("Careless Existence", "Blown Away", which is a semi-ballad). Although this isn't bad at all, the band's early works were much superior from a classic point of view.
"Organized Confusion" is the band's swansong which is a partial return to form which in this case means that the more retro formulas have been brought back to an extent. The album develops in a pretty decent fashion although there's not much speed to be appreciated; some groove shows its pounding head here and there, but generally this effort is along the lines of Forbidden's "Distortion" and Dearly Beheaded's "Temptation". The leads shine all over, though, as well as the faster passages (the Anthrax-worship "With Arms Akimbo", including in the short rappy section). In the 2nd half the songs become longer and kind of dragging relying on the staple heavy riffs which never change there, turning this album at the end into another standard groovy offering. The expressive semi-declamatory vocals work, by the way, and may be considered by some the highlight.

Justice Is Blind Demo, 1988
Termination of Life Demo, 1990
Nation of Chaos Demo, 1991
Meet the Street Demo, 1992
Disrespect Full-length, 1995
Organized Confusion Full-length, 1998

My Space


One of the better works of the not very densely populated Australian thrash metal scene; a nice job has been done here reminiscent of Deus Vult's "Soul Assault" and Forbidden's "Forbidden Evil" with great both heavy and speedy, semi-technical guitars. This is probably the best thrash metal effort from Australia after Bezerker's "Lost"; there's some similarity between the two albums both music and vocal-wise; Bezerker are the more technical and faster band whereas these guys are "champions" of memorable, melodic guitar hooks.

Fatal Array Full-length, 1993


Based on the "Mindchrist" demo, this outfit indulges in a dark, atmospheric brand of thrash/death with very brutal shouty death metal vocals. The band try to keep things more complex and consequently refrain from using too many fast passages which give way to the steam-roller sections and the dramatic jumpy rhythms which come on top of each other on every song, but seldom leave a very positive impression. At one point the listener may become disinterested in listening to this repetitive heavy stuff which lacks dynamics in heaps and sadly fails to make up with the more technical sections which for most of the time just merge with the monolithic wall of an ultra-heavy sound.

The Death Effect Demo, 1989
Mindchrist Demo, 1993
Lacerated Vein Graffitti Demo, 1994

Official Site


One of the better bands from the German thrash metal wave of the late 90's; old school thrash with nods to both sides of the ocean; the debut is quite fast, with nods to Slayer (both their early and late 80's period), but finished with a cover of Exodus' "Bonded by Blood", although there is hardly any Bay-Area influence on it. "Legions Of Armageddon" retains the Slayer influences, but the sound is more aggressive, bordering on death metal. The vocals are a bit of an acquired taste, having a strong hardcore blend. "Dark Pounding Steel" follows on the steps of its predecessor, being another well executed intense classic thrash, this time with less takes on death metal.

"The Empires of Inhumanity" is a cool varied effort which never strays from the classic thrash metal idea starting with the smashing piece of Slayer-esque brutality "Wake the Dead" before settling down for more moderate speed/thrash on "Nothing to Regret" which still rages on all over. "Haunting Metal" tries to match the opener in terms of aggression, and admirably succeeds, before "Another Rotten Life" calms the ball down with heavy stomping mid-paced riffs the latter staying around for the bit more dynamic "Empires of Inhumanity" and "Into Your Face". Before one starts mourning the loss of inertia comes the ball of fury "Rapture for Disaster" and the merciless speed/thrash metal bomb "The Prophecy". "Way to Immortality" is a lengthy, and not very necessary, deviation into the semi-ballad, but "Ravenous" is already on the opposite pole moshing far and wide, fast and relentless with a tinge of proto-death. The real closer, however, is a nice faithful cover of Iron Maiden's "Killers" which nicely fits into the picture, albeit sounding softer the guys trying to capture the magic of the legendary Maiden guitar "duels".
"Slaughter to Survive" continues the band's career on a relatively high note the guys thrashing in the familiar old school fashion without any particular highlights. The delivery is a bit mellower with shades of power metal ("Enslaved and Fallen") sneaking in, but hold on tight on ragers like "The Order to Kill", the proto-death brutalizer "Captured in Spite", and the excellent rendition of Twisted Sister's "Stay Hungry".

The Ultimate Aggression Full-length, 1999
Legions Of Armageddon Full-length, 2002
Dark Pounding Steel Full-length, 2006
The Empires of Inhumanity Full-length, 2010
Slaughter to Survive Full-Length, 2015

Official Site


Based on "Paradoxes of Times": these guys pull out cool speed/thrash of the old school mixing fast-paced songs with slower, jumpy semi-technical ones. Both work well as a slight preference could be given to the faster material, especially on the intense thrasher "Prorok", or the speed/thrash monster "Gladiator". The singer provides a semi-clean melodic tember, but he isn't very good handling the higher tones and often ends up stifled by the forceful guitars and the pounding bass.

The "Nazad Net Puti" EP is more restrained sticking to the mid-tempo more with a few modern implements also inserted, but their role isn't very well applied since they ruin the better classic passages and make the overall approach sound a bit clumsy.

Mir Straha Full-length, 2002
Paradoxes of Times Full-length, 2003
Mankind Enemy EP, 2006
Nazad Net Puti EP, 2012

Official Site


This demo suffers from an awful sound quality. Otherwise it begins with an excellent doom metal hymn ("Damned Oppressor") in the best tradition of Solitude Aeturnus, and one wouldn't mind if it carried on in the same way. But the guys start speed/thrashing later on with "Dealer Of Death" before epitomizing a more moderate mid-tempo power/thrash on the closing "Hela's Empire". This isn't bad at all including the attached semi-clean mid-ranged singer who's been "robbed" the most from the bad sound since his cool croons can hardly be heard at times.

Demo Demo, 1987


A "fatal fix" of intense retro thrash sustained in short bursting cuts full of catchy melodic hooks and more aggressive hardcore-ish deviations. Pieces like "Black Wolves" and "Stiff In A Box" are pure headbanging delights raising the flag of classic speed/thrash sky high, a tendency which goes a bit towards the proto-death side on the closing "Pledge 2: The Pope" to a pretty positive effect.

Shaking Hands With Death Full-Length, 2015


Based on the "Brains on the Halfshell" demo, this act play intense moshing thrash stripped from anything even distantly recalling elaboration or creativity. The band thrash on with gusto regardless of the fact that behind them is one of the worst sound qualities to ever grace the US underground scene, and if one learns to tolerate the awful hollow drums, he/she should give the guys a half thumb up for the cool more intriguing closer where the guys complicate the landscape with several less ordinary gimmicks including a short semi-technical section. The singer shouts to the point of losing it and he doesn't really sing.

The debut demo is even more sloppily produced with an even worse sound quality and a more aggressive delivery bordering on proto-death for at least half the time. "Running Scared" and "Godzilla" are frolic speedsters, and "Nightmares Die Hard" is the technical, also more brutal, deviation its serious impact completely cancelled by the short grindcorer "I.D.K.A.I.D.G.A.F.".

The Final Blow Demo, 1988
Brains on the Halfshell Demo, 1990


3 tracks of fast aggressive Slayer-esque thrash plus one peaceful balladic instrumental ("From The Ashes").

The Enemy Within Demo, 1988


A nice piece of Bay Area thrash calling to mind Metallica and Testament finished with a nice cover of Megadeth's "Hook In Mouth".

World unbalanced EP, 1998

Official Site


A blend of modern and classic thrash metal with gothic atmosphere which on the slower songs sounds quite close to the Finns Sentenced (think "Amok"), but intense headbangers like "Don't Do Anything For Me" dissipate the slightly monotonous feeling of the album in an impressive manner. "No Stronger Than Reality" goes over the edge, with the introduction of some unnecessary blast-beats, followed in its turn by the very good quiet and peaceful acoustic instrumental "A Piece Of US", graced by magnificent lead guitars. Still, on the next two songs the more aggressive death metal sound remains as well as the impressive leads. This is an uneven effort, but has its moments.

Fatal Injury Full-Length, 2007
The Dictatorship of Blindness Full-Length, 2010

Official Site


The demo: a 3-songer of expected for the time retro thrash which sees the guys changing the pace frequently pullng out some cool screamy leads. "Ligeia" is a more engaging number which lashes moderately intense riffage for nearly 9-min inserting a few interesting bassisms among the less exciting guitar performance. The singer is a gruff semi-cleaner who doesn't spare his voice, but his rendings are not very melodic clinging somewhere between Rick Astley (Xentrix) and early Nick Holmes (Paradise Lost).

The full-length is based on the songs from the demo and also introduces a new throat who resembles more recent Mille quite a bit. The guys begin their journey with the engaging diverse "Bloodlust", but "steel rain" pours from the next exploders "Abandon All Hope" and the title-track. The "carnage" doesn't stop here, but continues with another string of aggressive pieces among which "Lament of the Soul" is a cool semi-technical cut with tasteful lead guitar work. "Closing in...Time Is Gone" is another fast-paced shredder with the leads scoring high once again, before "Ligeia" crushes with more weight during its 8.5-min where meaty heavy guitars interlace with blitzkrieg up-tempo ones. The final "Hostile Vortex" is the last brutalizer which also serves a small portion of vortex-like technical passages. This is a nice addition to the growing legion of thrash practitioners from Greece who should be able to find a wider exposure around the world in the days/months to come.

Insult To Life Demo, 2012
Existence in Extinction Full-Length, 2014



This is a chaotic incoherent mix of thrash and death metal of the modern type with groove and very fast sections not very well blended together. Still, there are more interesting headbanging moments to be enjoyed: "Insuffisiensy Of The Hate", the violent deathster "Decision", but the rest is pretty mish-mashy ruined by the buzzy guitar sound and the raw synthesized quarrelsome vocals.

Suicide is the Easiest Way of Solving Problems But Not the Best Demo, 2006

My Space


This band was formed by Gary Samuelson (R.I.P.) after his departure from Megadeth. The style is complex, but often intriguing progressive power metal with shades of thrash, especially on the good debut; it's those shades actually which produce the finest songs on those two albums: "Dead by 1998", "Devil Monkey's", "Evil Tears", "Kill'Em" (fortunately not "all"). The music is quite quirky with cool leads and frequently changing riffs, and is closer to early Psychotic Waltz, Spastic Ink, and Juggernaut, rather than Megadeth.

The demo is already on a fairly quirky dimension seeing a band not willing to follow well-trodden paths. More intense thrashy moments can be caught ("Evil Tears", the short less ordinary basher "Counter Coincidence") at times, but the offbeat compositions largely exceed the more direct ones. "Day Star" recalls Megadeth to an extent, but the rest has a stricttly individual face with plenty of quirky moments swirling around belonging to a myriad of genres more or less related to metal.

Demo Demo, 1991
Fatal Opera Full-length, 1995
The Eleventh Hour Full-length, 1997

Official Site


The debut demo is just 2 tracks of brutal early Kreator-esque thrash with elements of proto-death. This is speedy merciless stuff with screaming leads and vicious Mille Petrozza-like vocals. "Evil Dies" contains a super-extreme brutal section bordering on grind.

Demo Demo, 1988
Demo Demo, 1990

My Space


A cool 3-song demo which combines aggressive Slayer-esque thrash with more quiet semi-balladic moments. The bonus track "Epitaph" is excellent thrash metal with great twisted riffs ala Target and Realm and more aggressive, close to death metal, vocals. Apparently it was recorded at some later stage of the band's career, a sign for much bigger things in the makings which, unfortunately, never materialised.

Fatal Sin Demo, 1989


A 3-track demo of vicious, aggressive mixture of thrash, speed, proto-death metal, and hardcore which must have been an obvious influence on the more extreme metal genres: death metal, grindcore. Despite the bad sound quality and the not very high level of musicianship, this rare item is worth tracking down, especially by those who want to trace the roots of their favourite extreme music down to the very beginnings.

Demo Demo, 1985


The band's style is quite close to the Savatage debut album. There is, of course, a slight doze of thrash thrown in here, enough to secure this band a place on this site. The final mixture is similar to the style displayed on the first two Exciter albums. The singer resembles John Oliva except in the cases when he goes for the high-pitched screams.

Demo Demo, 1986


The debut: these guys offer cool retro thrash of the more intense faster variety with slight crossover atmosphere. The guys share their interest in drinking and beer with their German colleagues Tankard, and music-wise they aren't too far, either, recalling the Germans' more recent efforts. The closer "Thrashterpiece" should have been more aggressive; the band has used it as a joke, and this purely instrumental track is melodic lead-driven thrash/crossover with good guitar work and memorable melodic riffs.

"Psychonaut" is a curious effort: it contains much longer numbers, but at the same time the approach is strictly carefree and light-hearted with an even more accentuated crossover edge sometimes leaving thrash metal behind for the sake of more experimental Rush-like ideas. One may mourn the wasted playing time where only "Thoughts Collide" tries something more stylish with echoes of mid-period Voivod (so there's a lot which screams, "Canada!" here). "Before The Collapse" is a harder-boiled thrasher again with a more elusive Piggy (R.I.P.).. sorry, proggy shade, and "Psychonaut" tries to justify its title with a portion of dizzy more elaborate riffs. Then comes the dreamy quasi-balladic "Satan's Shepherd" before the closing 7.5-min instrumental "Thrashterpiece II" produces an exiting slab of faster-paced thrash. This interesting album has its moments, but the guys could have tried better by focusing more on the progressive side which here is hinted at here and there, and should be developed more fully in the future.

Beers from the Grave Full-length, 2009
Psychonaut Full-Length, 2013

Official Site


"Isolate the World": good retro thrash with a nice technical edge strongly recalling early Megadeth; "Terminal Aggression" is an awesome opener although there's nothing too aggressive on offer. "Bring Back the Days" is a total nod to Megadeth (think "Peace Sells...", above all) including the vocals. "Almost Broke" speeds up again with very good up-tempo riffs. "Gritface" follows a similar pattern, but the guitar work is more melodic offering nice leads. "Shock Treatment" is an excellent up-tempo technical thrasher with sharp riffs and a playful mid-section. The next two songs are in the same vein, energetic numbers with very good guitar work, but the closer is a pure classic heavy metal hymn: "Are you Ready to Rock" (well, not exactly) which is slightly off-context, but the ending moments from it are sheer speed/thrashing madness compensating for the very soft nature of the 1st part.

Metal As Hell!: Chapter I Full-length, 2008
Isolate the World Full-Length, 2010

My Space


A 4-track demo of cool retro power/thrash, more on the melodic side, mid-paced to up-tempo, featuring more intense riffage (the galloping "Your Worthless Power", and the energetic thrasher "Othello Poem").

Dredge Metal EP, 2007

My Space


This is rough intense thrash in the vein of Rigor Mortis which tries its hands on death metal with "Nostradamus" and generally remains quite aggressive and bashing with not bad screamy leads taking some space here and there. The vocalist is a rending throat who shouts in a tearing deathy fashion not sparing himself too much in the process.

Demo Demo, 1990


Based on "Battery", this act provide melodic modern power/thrash which seldom crosses the mid-paced parametres to offer something more vivid and energetic (the exception the short jumper "Suck Me Dry"). As a result the approach becomes stale way too soon for the listener to be intrigued the listless shouty angry singer not doing much to improve the situation his cleaner inclusions (the closer "Remain In Mind") a bit better.
"Mankind" is a more convincing affair with a more aggressive thrashy approach, the more dynamic delivery now bringing a couple of invigorating pieces like "Blind Eyes" and "Forsaken", and generally the moshers will be way happier here as the string of fast-pacers is admirable, leaving mellower propositions like "Fear of the Unknown" on the wayside regardless of the several delectable melodic tunes encountered on them.

Fateful Finality EP, 2009
King of Torture Full-length, 2011
Battery Full-length, 2015
Mankind Full-Length, 2017

Official Site


Another obscure gem from the 90's German underground; this act specialize in intense dynamic speed/thrash with both the Bay-Area and Paradox obvious influences except on the moments ("Learn") when the guys slow down and start pounding in a slightly less exciting manner. A more technical play sneaks on "Amok" and the short puzzler "Religion Of Sham", the closing "People Cry" wrapping it up with stylish riff-patterns which see this band a fitting addition to the burgeonng at the time progressive/technical thrash metal wave in their homeland. The sound quality is really bad, though, but the singer is cool with his dramatic clean delivery.

Second Reality Demo, 1993


This is 90's post-thrash mixed with more tender balladic moments which show the singer in a very good form to pull out some soulful notes. Otherwise this is mild stuff with bluesy and stoner overtones as well, with one more aggressive shredder ("Father Of Father") tearing the air near the end with a few more impetuous riffs. The lead guitar work is very cool, though, recalling the maestro Joe Satriani having an archaic, old school feel.

Demo Demo, 1992


A melodic mix of power and thrash metal sitting somewhere between the classic and the modern school; the music isn't miles away from the one initiated by the "holy" Argentinian trio (Horcas, Hermetica, Lethal), but here the approach isn't very edgy sticking to mid-paced riffs with more nods towards power metal. There are only 5 tracks related to music the rest being spoken intros lasting for a bit less than a min.

No Mas IMperios Full-Length, 2009


The debut: this act plays decent classic thrash metal mixing fast and slower songs both coming with a slightly annoying fuzzy guitar sound, and brutal death metal vocals. Both sides deliver as preferences could be given to the faster one which recalls their compatriots D.I.V., among other heroes from the past. The end is occupied by two covers: "Messiah" (Hellhammer) and "Hades" (Bathory), both delivered faithfully with the Bathory cover a bit superior nicely capturing the unbridled evil spirit of Quarthon's (R.I.P.) early works.

Skverna Full-length, 2010
Vremia Uhodit v Tmu Full-Length, 2012

Official Site


This is classic power/speed/thrash which comes with a very modernized, synthesized guitar sound which doesn't stand on the way of the instruments a lot, but kind of ruins the established retro feeling. The guys mix the pace relying more on friendly mid-paced riffs which suddenly get intercepted by intense fast ones. "Svetlui Put" is a cool ballad with very good lead guitar work and tender vocals which are nothing like the main rough semi-clean ones. "Vosmoi Krug Ada" is an effective headbanger with an ominous atmosphere which paves the way for 2 exiting cuts which are short effective speedsters. This is a diverse listen which never sounds boring, but could be even better if the computerized echo of the guitars could be reduced in the future.

Neizbejnost Full-Length, 2010

Official Site


Brutal early thrash/death metal quite close to the Sadus debut; so expect fast bashing music with relatively short tracks, simplistic riffs and sparce slow-downs. The vocals are a detraction being very hysterical shouty semi-black ones.

Promo Demo, 2009

My Space


The band's line-up features two former members of David Wayne's (R.I.P.) Reverend. The style here, however, is different being heavy modern, semi-technical/progressive thrash which isn't bad at all, and although you might not be able to headbang a lot to it, if you enjoy stomping crushing riffs with a certain technical edge (check out "Erosion"), you won't be disappointed. "Poisoned Minds" is a very good attempt at progressive thrash metal closing on 8.5-min containing quite a few interesting moments including higher-pitched Rob Halford-like screams near the end (the basic vocals are semi-clean, mid-ranged ones resembling Joe Comeau (Liege Lord, Overkill, Annihilator). The song which follows is truly a revelation: "The Hell We Make", which greatly speeds up, and sounds close to something Nevermore could have written. The next two songs slow down again, but increase the technicality resulting in truly inspired sections where the guitarists fully show what they are capable of. If there had been more time spent on this project, Faustus could have turned into one of the major forces on the contemporary metal scene.

...And Still We Suffer Full-length, 1996

Official Site


A 2-song EP of fast blitzkrieg thrash with shades of crossover with ripping riffage and interesting high-strung clean shouty vocals. The guys play with inspiration seldom letting the speed go down and will indeed "rage you all" big time.

Rage'em All EP, 2012



This is the band from where Jeff Loomis started his career before moving to Sanctuary and respectively Nevermore; he was only 17 years old back at that time. This is probably the reason why he merely assists the other guitarist Gary Sanders who is responsible for some of the finest leads on the 80's US underground metal scene. His guitar work is perhaps too melodic, so the style is power metal for most of the time with timid adherence to thrash reflected in a couple of more aggressive galloping riffs ("Welcome Oblivion", "The Nihilist"). One, however, may miss those moments enchanted by the virtuoso guitar performance which easliy overshadows the majority of the Shrapnel signings at the time producing some of the finest classically-inclined hooks and leads. Despite his sincere efforts, the singer can't possibly be viewed as anything more than just a capable support to the guitar players with his dramatic clean mid-ranged delivery: check out the balladic passage on "The Nihilist".

Demo Demo, 1987


Technical thrash/death metal, produced by just one guy named Dale Lyons, which features quite a few guitar virtuoso parts and could pass for a Shrapnel record, if it wasn't for its aggressive nature. The music reminds of the Belgians Chemical Breath and later period Death, but often moves into a more brutal death metal territory. The blast-beats are quite annoying, because at times they break an otherwise nice technical passage. The vocals are brutal, low-tuned death metal ones. The songs are long, the shortest being 6-min, and are quite complex with many tempo and time changes. The guy messes it up a bit on the very long 13-min "The One You Hate" which is also very mild with more melodic guitars, and could even pass for a ballad on many sections. The band are best mixing nice technical riffs with more atmospheric lighter melodies without any more aggressive brutal passages: "All That I Had", "Forgotten". "Absolution", the other monstrous song (11-min), is a better offering, with more intense riffage, still slow-ish, but genuinely atmospheric and creepy.

Apprehension Full-length, 2003

Official Site


The talented bassist Chay McMullen (Wetwork, Infernal Majesty, etc.) is seriously underplayed here helping his comrades in the creation of this unimaginative boring modern post-thrash which grooves and grooves to no end trying desperately to be recognized as "the Canadian answer to Pantera", but this trite approach had already been completely depleted by that time so no heads had been turned apparently consequently leading to the band's demise.

In a Rage Full-Length, 1997

My Space


This act is the early incarnation of Manticora. This 5-song EP is more direct classic speed/thrash metal without too many progressive leanings despite the relatively long compositions. The songs mix faster with slower passages, but to these ears the doomy monolithic "Fugitives of Paradise" goes away with all the "laurels", a nice heavy semi-balladic composition. The other highlight is the shorter more immediate straight thrasher "Infusionism" although the final "Rage" could qualify for it as well with its cool blend of hard-hitting riffs and scattered balladic moments.

Fugitives of Paradise EP, 1995

Official Site


A heavy, dark blend of thrash and death metal which recalls Nocturnus, and not only due to the unobtrusive keyboard presence, but also thanks to the several more clever arrangements ("Calcination"). Otherwise the approach for most of the time is energetic and aboveboard with several songs being pure aggressive death metal ("Damnation Defined", "Mental Grave") numbers. The leads are quite thin, though, and the singer is a really brutal, guttural growler.

Soundtrack Of The Damned Full-Length, 2011


This is another band where Terence Holler (Eldritch) is in charge of the vocal parts. The style here is progressive heavy/thrash metal recalling Eldritch at times, but missing the straight-out thrashers which used to make that band's works so memorable. The music here is mid-paced with quite a few hard-hitting moments ("Edge of Insanity", "Blind"), although the guitars have this abrasive sound, which might annoy some. There are 3 tender ballads, which are a bit too much for such a work, recalling the Eldritch efforts in the field, and "Carved" and "Of the Things That Have Yet to Come" are ambitious takes on progressive metal, very similar to Opeth. "The Days of Betrayal" is almost as equally as complex as those two, but the riffs hit hard with full force producing the highlight of the album: a nice progressive thrasher, with an overlong quiet interlude. If Eldritch do not rise up soon (their last offering "Blackenday" was not that great), Holler might be better off staying with this act, whose first effort is quite promising.

Never Heaven Full-length, 2007

Official Site


This is the band where Dawn Crosby (R.I.P.) found shelter after her previous band, Detente, split up. "Within The Veil" contains dark hypnotic thrash with a unique sound of its own bordering on doom metal at times; a really original album. You won't hear the infamous Crosby screams from the Detente album: she uses a very declamatory style, not involving too much singing, but helps in creating genuine sinister atmosphere fitting perfectly to the dark brooding musical delivery. "Drift" is a masterpiece of haunting gothic thrash metal mixing the heavy riffs with superb atmospheric passages. Even the shorter more immediate thrashers ("All That Remains") are decorated with those elements. "Betrayed" is a great mixture of doom and thrash. "Red To Grey" isn't too far behind and could be considered the better song by those who like their thrash metal spiced with brilliant balladic sections. "White Door" is the only pure doom metal number here again coming with balladic moments. "Love's Death" also smells doom most of the time, but the riffs there are quite sharp and stomping, and there are no shades of ballad. "Wasted Time" develops like a ballad until suddenly changes into dynamic up-tempo thrash: a great track, despite the slightly underwhelming laid-back ending, and by no means "a waste of time". This is a one-of-a-kind album which has definitely had its influence on many future gothic/doom, industrial and modern thrash metal acts.

Although "Toxic Voodoo" isn't as bad as some reviews on the Net suggest, it's certainly less impressive than the debut featuring a more conventional modern thrash sound with heavy death metal-ish sections. The bass work has been emphasized on, and the bass will literally blow your speakers. The previous album didn't contain a song with the album-title, but here comes "Beyond the Veil" to open this one with smashing heavy riffs, not too far from early Celtic Frost who are an apparent influence on at least half of the album. Crosby brings some of her more intense vocals from the Detente period which work great. "Cloud Chamber" is another very heavy track graced by crushing death metal-like riffs and jumpy semi-technical parts. "Burnt" is an awesome thrasher recalling the debut with a more aggressive death metal approach. "Feed Time" follows in the same vein, but the heavy Celtic Frost riffage sneaks in at some stage. In the second half the songs become longer and the doomy moments, so common for the debut, settle in on some, nicely mixed with the faster sections some of which are true headbangers ("Santismo"), and produce at least one genuine doom metal hymn: "U.V.". The closing "Worms" develops in a playful crossover fashion until the final part which is mighty crushing doom at its most shining best; those heavy guitars might make you want to hear this last part over and over (the doom metal fans I mean, of course).
The "Killing the Pain" EP contains three songs which sound like leftovers from the previous album. These ones sound even better: the hypnotic dark thrasher "Killing the Pain", the energetic up-tempo "Infrablack", and the awesome doom metal number of the more melodic type "Mourning Light". The untimely death of Crosby (reportedly caused by excessive drinking, R.I.P.) put an end to this very good band who could have left a bigger legacy to the metal fans.

Within the Veil Full-length, 1991
Toxic Voodoo Full-length, 1994
Killing the Pain EP, 1995

Official Site


Based on the "I-The Awakening" demo, these guys pull out atmospheric melodic black/thrash metal; good, feelgood, mid-paced stuff with gruff death metal-ish vocals. The music has numerous cool melodic hooks, surrounded by two excellent short orchestral instrumentals, serving as an intro and an outro.

I-The Awakening Demo, 2002
Isolation (promo) Demo, 2005
Riding the Chariots of War Demo, 2005

Official Site


This is a promising debut for these Italians who mix power, thrash and doom (the hidden track) metal. The first half is a mixture of power and thrash metal recalling Morgana Lefay at times, but in the 2nd half the band switch to excellent semi-technical thrash ala Megadeth where even the vocals change into a Dave Mustaine-mode to better suit the music. Apparently these guys are still looking for their own identity and with more focus on their technical side next time things would be really good.

Obsession Full-length, 2005

Official Site


These Swedes have managed to sneak under the radar somehow with four full-lengths released in rapid succession; which is strange provided that there are musicians involved here who have done service in some big names on the metal circuit: the guitarsit Ola Englund is a current member of Chris Barnes' Six Feet Under, and some of the other guys play with the retro thrashers Chainsaw, among other formations. The style presented on "Furor Incarnatus" is a mix of thrash and death metal, strictly modern with relevant nods towards the Gothenburg legacy which come accompanied by more atmospheric Gojira-sque landscapes ("Breathing Failure"). There are moments when groove will "entertain" you ("Vintersol") to a not very impresive effect, but the album's immersion into more atmosphere and melody with each passing song will be to anyone's delight since the guys are way more convincing when they don't have to play too fast. Some may complain that the album loses its initial intense nature completely by the time the last two tracks hit which are edgy progressive semi-balladisms with doomy overtones; but this is more serious music which may require a few listens in order to be fully grasped.

The guys know no rest and here comes another full-length in 2013, "Vinter". Unsurprisingly, the style is quite close to the one displayed on the preceding effort, maybe a tad more relaxed and immediate, featuring notable jumpy thrashers like "Mass Destruction". The rest is more officiant with the progressive leanings saying their word more frequently in the 2nd half the short dynamic shredder "Mylingen" another "dessert" for the headbangers. Near the end the cuts become drowsy with a big sleeping potential acquiring dreamy balladic tendencies the closing title-track being an oblivious quiet instrumental.
"Synder" raises the energy quite high from the very beginning, and few would be those to remain indifferent on the jumpy semi-technicaller "Of Iron And Ashes" or the surrealistic shredder "Wolf At The End Of The World". "My Own Redemption" is an operatic quasi-doomster recalling their more lyrical progressive exploits from previous albums; but comes "The Narcissist" and things get back on track both speed and technicality-wise, not to mention the beautiful balladic section in the middle which finds an apt follow-up on the closer "Godless Devotion", another imposing doomy opus.
"Reborn" shreds in a more linear modern thrashy fashion, and as such isn't as interesting as its predecessor. "Our Dying World" is an imposing headbanger, and "The Morgue" is your definitive doom metal hymn, pretty much the highlight on this fairly pedestrian effort which sees the guys epitomizing a more conventional, less adventurous style.
"Svart" is another decent modern thrash/post-thrash affair the guys thrashing with passion ("Hate Mantra") only sparingly, with many more lyrical strokes (the balladic elegy "My Next") amply provided alongside doom-laden atmospherics ("Your Black Is My White") and more interesting quasi-progressive ("The Mare") attempts.

Feared Full-length, 2010
Rejects Full-length, 2011
Refeared Full-length, 2012
Furor Incarnatus Full-length, 2013
Vinter Full-Length, 2013
Synder Full-Length, 2015
Reborn Full-Length, 2016
Svart Full-length, 2017

Official Site


Pedro Gouveia, a renowned vocalist who has sung in quite a few Portuguese metal acts like Pitch Black, Dove, Headstone, Final Mercy, among others, had started his career with this 4-song demo which offers dynamic classic thrash ala Xentrix and late-80's Metallica. His gruff semi-clean tember is already here and it suits well the heavy semi-technical music which only flaw is that it never develops beyond the stomping mid-pace consequently sounding the closest to Xentrix's "Kim", but without the balladic infatuations of the latter. Some of the band members later formed the doom/thrash metal act Cycles.

Fears Tomb Demo, 1995

Fan Site


Melodic modern thrash metal with moments of Pro-Pain-like hardcore; the music is quite intense and energetic with up-tempos aplenty and a couple of metalcore breaks. The guitars are sharp, and the singer is very angry unleashing a brutal low-tuned semi-shout.

La Fin D'une +re EP, 2008

My Space


Modern thrash with death metal moments which make it quite dynamic and interesting at times; still, the groove is too much for this to be a striking effort despite the dynamics and the heavy riffage. Industrial overtones (in the form of short musicless noisy instrumentals) and a couple of more technical decisions can also be caught from time to time, and surprisingly the harsh semi-black metal vocals don't sound awkward giving this work a cool meaner tone.

Life Is Pain And Pain Is Our Life Full-length, 2009

My Space


Based on the debut, this band's sound is not too far from the one of other Hungarian bands- Moby Dick and Akela. In other words, this is heavy power/thrash metal, slow to mid-paced with a balanced mixture between sharp and melodic hooks. The problem is that once the guys settle for a particular approach, it very seldom changes throughout the album, and all tracks tend to sound samey with heavy pounding riffs in mid-pace the deviation coming in the form of a slower doomy passage or a semi-balladic melodic moment.
"Hollok Foldjen" is a soft affair straddling the path between post-thrash and more friendly power/speed metal being too melodic to really impress the hardened thrash metal fanbase who won't have too many chances to jump around here.

Els) Hadjodfrat Full-length, 1999
Halott VidTk, Mit J'dfrtam Full-length, 2001
VTrtnzek Full-length, 2003
Gyget Full-length, 2006
Hollok Foldjen Full-Length, 2016

Official Site


Based on the debut: this Italian trio pulls out melodic power/speed/thrash recalling their American counterparts from around the same time. The guys really deliver when they switch onto full speed ahead ("Easy Blood", "Feline Melinda", the intense Angel Dust-esque speed/thrasher "Metal Ladies", the explosive short killer "You'c6re A Witch"). Their more tender side is sincerely heavy metal-ish ("If You Need Me"), but watch out for the closing 1-min instrumental, which is a very cool accordion tune taken from the Russian foklore heritage.
The band's next two full-lengths have nothing to do with thrash being classic heavy/power metal of the feelgood, radio-friendly type.

The Felines Await You Full-length, 1988
Living In Europe EP, 1995
Feline Melinda Full-length, 2004
Morning Dew Full-length, 2008

Official Site


Based on the self-titled album, this act plays pretty conventional old school thrash with a hardcore "sting" the latter resulting in a few more offbeat sounds, belonging to the funk and doom metal movement, among other influences. The vocal performance is quite diverse trying to keep with the numerous musical nuances, and the drunken semi-clean blend acquired by the singer at the end suits well the closing mournful doomster "Corazon De Melon".

Thrashin' Maniac Full-Length, 2010
Femur Full-Length, 2011


Based on the full-length, these Aussies specialize in intense classic speed/thrash which come sornated by both an epic and progressive shade the latter bringing it close to acts like Manticora and Hellfire (Poland). On then other hand, the apt use of folk tunes would invariably remind of the British masters Skyclad ("Onwards to Jotunheim"). "Berserker" is a pure speed metal hymn ala cage, and "Ragnarok" is progressive speed/thrash at its most operatic and dramatic. Mentioning the dramatism, one can't bypass the excellent high-strung soaring vocals which give this recording a more bombastic colouring the man covering several pitches without straining his vocal chords.

Fenrir EP, 2013
Loki's Slaughter Full-length, 2016

Official Site


The "Znamenf Svetel" demo: this effort starts quite promisingly with the title-track which is a speed/thrashy instrumental with a few clever technical touches. Later the approach gets a bit heavier with mid-paced power/proto-thrashy rhythms involved for most of the time and loses its spontaneous character settling for repetitive riffs of the not very exciting semi-balladic variety. The vocals are of the expressive mid-ranged clean type and could pass for the main asset on this average recording.

Opus Dei Demo, 2007
Znamenf Svetel Demo, 2008

Official Site


For some reason this band remind of Voodoocult mainly because of the declamatory vocals, something which is hard to be called singing. The music isn't bad with a slight industrial touch, not too far from Skrew or Malhavoc (but less industrial-tinged), or the second Voodoocult album.

Feeble Existence Full-length, 2006

Official Site


This is old school power/speed/thrash which sufers quite a bit from the muddy production and the unpleasant, noisy semi-clean/semi-shouty vocals. The approach is more deeply rooted in speed/power metal the title-track being the most aggressive cut, a nice atmospheric speed/thrasher with progressive overtones.

Necropo.Lys Full-Length, 2015



The debut is a fine slab of classic thrash similar to their compatriots Kryptor or late 80's Kreator: great aggressive music with frequent technical hooks spiced with jollier speed/power metal tracks ("Rainhold"). Five years later on the self-titled sophomore effort the order of the day is just average modern thrash metal.

Rainhold Full-length, 1993
Ferat Full-length, 1998


This act specialize in crisp modern/classic thrash/death which rips through the speakers assisted by shouty, angry death metal vocals. The leads are clearly the highlight being both screamy and melodic. Pieces like "Shadows of My Life" and "Don't Close Your Eyes" try to reach the speed of light, but also tread more deeply into well trodden Gothenburg waters. The dedication to speed is admirable all over, it's just that it all begins to sound too familiar at some point regardless of the neat, professional execution.

Lost Faith Full-Length, 2015


Based on the full-length, this band provide mish-mashy modern thrash/post-thrash which begins with the long engaging "Falling Down a Long Flight of Stairs". Later on the approach gets distracted throwing itself into too many directions among which the faster escapades ("Ghost Mind", "Chained Gates") by all means deliver the better. On the rest one can hear grunge, alternative, groove, and melodic hard'n heavy ("Hot Line").

Devil's Plaything Full-Length, 2012
Eyes In The Shadows EP, 2013


Based on the debut demo, this band play speed/thrash with brutal guttural death metal vocals. Every song is a combination of fast aggressive and slower atmospheric passages reminiscent of both Infernal Majesty and the Germans Assorted Heap; except on the shortest material ("Peaceful War") where the approach is just intense bash without much sense, with cleaner vocals: could have been recorded at a different stage...

Environmental Glutton Demo, 1991
Human Sickliness? Demo, 1993
A Painting of Annoyance Full-length, 1994


This band is a side project for the members of Nasty Savage, minus Nasty Ronnie. Based on the demo, the guys have done a fairly good job here, as it takes the place between "Indulgence" and "Penetration Point": it's more complex than the first, but is still too far from the technical brilliance of the 2nd one. There are enough sharp headbanging riffs to enjoy as well as several which would require a more careful listen. "Slay Ride/Binge and Purge" is an ambitious 10-min track, quite heavy and interesting without being too technical or twisted.

The Other Side of the Ice Demo, 1988
The Plot Sickens EP, 1990

My Space


Well-constructed classic thrash with angry deathy vocals; good stuff with the requisite amount of hard-hitting riffs also pulling out a few surprises in the technical department ("When Silence Rules") on the longer compositions. The shorter tracks ("Nuclear Wardance") are raging "bullets" with a shade of death metal ala Protector and they nicely alternate with the more elaborate material which also comprises the excellent diverse "Beyond Insanity". Back in those times the guys were also busy with the death/thrash outfit Mental Crypt, and some of them are still around playing more aggressive death metal with Loss.

Demo Demo, 1991


Laid-back punky thrash/crossover which is enjoyable and all, only that it lacks the edge of similar acts like Madball or Attitude Adjustment, and even sneaks in a couple of cool melodic tunes ("Sitcom Laugh Track In B Major"). The singer can be both friendly and punkish, and gruff and angry on demand.

Punish The Dwarf Full-Length, 2015


Easily one of the better thrash metal albums of recent years, this album would be pure delight for 80's thrash metal fans. It has everything which made the 80's scene so unforgettable: black-tinged guitars ala early Bathory and Venom, Bay Area riff-fest in the tradition of Violence and Exodus, vicious speedy guitars in the Destruction and Exumer vein, even more technical attempts bringing to mind Kreator's "Coma of Souls". A mandatory release which hopefully won't be left without a follow-up.

Chlorine for the Gene Pool Full-length, 2000

Official Site


Based on "FD2", this guy whose name is Oliver Stephan, provides very good stylish modern technical thrash/post-thrash which meanders with vortex-like arrangements aplenty, but the more intense sections ("Ather") will delight any diehard thrash metal fan. Most of the time the delivery is on the mid-tempo side, but there's so much style incorporated here that the listener will be quite busy to care a lot about the less elaborate moments: check out the mazey creeper "Endlager" which dark puzzling execution pretty much sums up what happens here for most of the time. After an exhausting shredding performance the guy relaxes with a nice balladic outro called "Formalin", another excellent touch.

The debut is a more experimental affair the guy concentrating on evoking mood more rather than provide any actual musical landscapes, and although some tracks ("Pestessen") shred with the best out there, there's a hefty portion of electronics applied to an overwhelming industrial effect ("Kante") at times. The guitars have a dissonant noisy character ("Tiefenrausch") and have the tendency to become wonderfully cacophonic ("Korperaufenthalt"; the creepy closer "Betonsarg") on occasion recalling early Treponem Pal and Front Line Assembly.

Fetterdoppelmord Full-length, 2010
FD2 Full-length, 2014

Official Site


Based on the 1st demo, this act, who sing in German exclusively despite being from Chile (could be German immigrants?), specialize in sharp jumpy modern thrash which is mostly mid-paced and comes ornated with casual more aggressive death metal passages. The bass plays a major role to the point that the guitars come secondary on quite a few times. "In deinem Kopf" is a merry crossover piece, but the joy isn't as big on the rest which is seriously heavy and crushing assisted by expressive shouty death metal vocals.

Dein Reich Nicht Kam Demo, 2012
2012 Demo, 2012

Official Site


Mechanized, industrial thrashcore with a big dance potential, but also pretty intense at times; this isn't as bad as it may seem, even managing to come up with a few stylish melodic leads crossing the electro-metallic boogie of KMFDM with the more aggressive core-isms of Swamp Terrorists. The expectedly synthesized vocalist doesn't interfere much leaving the organized electronic noise to overwhelm the listener, and fans of pogo-prone tunes will find their new favourite in tracks like "Dr. Red" and "Ziad", while others will listen with more care on the longer, slower, but more thrashy shredder "Vadim".

Trash-Test Full-length, 2011


Based on the full-length, this act provide lashing classic thrash with more overt German influences mid-period Kreator being an obvious influence. Some speed metal aesthetics sneak in as well and generally the guys seldom know mercy thrashing their souls out, like on the uncompromising opener "Masked by Evil". The speed/thrashy melee comes with a pinch of progressive ("Inhumane") on the longer compositions where the approach comes close to Paradox. Later on the no-bars-held attitude comes back and the guys seldom abandon the fast downpour unleashing the odd galloping delight ("No Man's Land") along the way. The closer "Illusion of Reality" is another more complex cut with numerous tempo changes still keeping the thrash assault going for most of the time. The singer is a fitting addition with his attached high-strung semi-clean tone resembling Darren Travis (Sadus).

Illusion of Reality Full-length, 2012
The 10/2012 EP, 2012

Official Site


Standout classic power/thrash metal with technical tendencies not too far from Helstar's "Nosferatu" and the one-album-wonder Bezerker (Austrlia); this band's music is more edgy and aggressive, and at times it will also remind you of Sanctuary and Nevermore on the dark heavier parts, also because of the excellent Warrel Dane-like vocals which are mixed with a more throaty James Rivera-like performance. "Dreamkiller" opens the album in the best possible way with heavy pounding rhythms and sharp lashing riffs, a crushing dark composition. "Nitefall" speeds up and is more ordinary, but also more optimistically-sounding, but all speed is gone on the 10-ton hammering epic doomster "Evermore". The doom and gloom carries on to even bigger proportions on "Fallen from Grace", but fortunately the aptly-titled "Saviour" comes to save the day with great galloping guitars and ultra-smashing rhythms. "Burn in Hell" is a nice complex technical number in mid-pace, and "Nothing" offers literally "nothing" being a very tender piano-driven ballad ala Depeche Mode's "To Have and to Hold"; not bad, but kind of off-context. A great compensation is offered on the majestic Oriental "Egypt in Decay", a first-rate galloping riff-fest. "Spider's Realm" is a short technical thrasher with cool lead guitar work and a memorable main riff recalling King Diamond's "Halloween", but the closer "Wasteland" goes away with all the "laurels": a great progressive composition containing a lot of headbanging thrash as well among the more complex decisions which nicely alternate sharp technical riffs with more melodic parts which transcend into the peaceful acoustic outro "Dreams Reborn". Albums of the kind were quite a rarity in the 90's, and even a decade ago this effort could have been the highlight of any year. Sadly very little information can be found about this very obscure formation who sank without a trace after that.

Dreamkiller Full-length, 1997


Based on the "Back For More" EP, this band play good Germanic speed/thrash in the best tradition of early Angel Dust with the only complaint coming from the average angry vocals. There are stomping moments with a modern taste thrown in, but they are hardly a distraction, and serve well to bring some variation. The guys unleash furious thrash bombs in the face of "Lawmaker" and "Defy The Divine", and slow down, but just a bit for "Rotten Domain", which also shows their melodic side. Two more fast-paced speed/thrashers follow suit warming up the scene quite well for the eventual full-length.

Where The Flames Prey EP, 2007
Back For More EP, 2008

Official Site


Based on the debut, the band's style is mostly power metal with elements of thrash. Good stuff, but there are cheesy moments ("Tell Me Who Do You Think You Are"), ballads ("The Ballad Of Tinuviel") and the last song is a direct take on the Candlemass epic doom sound ("Visions From An Ancient Time").

The Requiem Of A Mourner Full-length, 1998
Decline/Rebirth Full-length, 1999


These Brazilians play a mild, kind of monotonous brand of modern power/thrash which evolves around mildly heavy riffs and lengthy structures, which could have benefitted from a more dynamic performance. The singer is a gruff semi-shouter, who kind of fits the tedious musical delivery, which at its best touches The Black Album.

Abandoned At Fierce Fire EP, 2011


This band rose from the ashes of two very talented acts, Speedica and Form. The technical thrash of the Form debut has been brought here, but with a hefty doze of groove also bringing it closer to the same band's sophomore effort. As a result the music is stylish and heavy, strictly for the modern metal fans, with meaty mid-paced guitars and suitably angry semi-shouty vocals. Later some of the band members formed Engine of Pain and carved themselves a more lasting, and still going, career.

Fifth Demo, 2002

Official Site


Bulgarian thrash metal bands are a rarity, but it's worth looking deeper there especially after the music is as good as in this case: a nice slab of 80's energetic (but not very aggressive) thrash metal with bass-dominated sound and gruff death-ish vocals. The overall sound isn't too far from Sepultura's "Arise" with touches of Slayer and Evildead on the more intense sections ("Swarm in Heaven", "Tired of Life"). The music is fast-paced with a strong bass-bottom and a slightly thin guitar sound. The guys are not strangers to a more interesting technical play: the excellent instrumental "Executor", although this one is a solitary experiment. "Mortal Life" is misplaced being much slower with plodding repetitive riffs. The vocals are a mix of more death metal-styled ones and Max Cavalera.

When if not now? Who if not me? Full-length, 1992


Based on the first demo, this is melodic thrash/crossover with a slight traditional metal shade ("Final Darkness"). The music is not very thrashy, and "Thrashophobia" doesn't deserve its title being the softest song here. Reportedly on later works the guys have "hardened" the course.

"Harder" is by all means "harder" than the preceding efforts, but it has sadly acquired numerous groovy touches, and consequently this mish-mash of straight crossover riffs and much less dynamic stomps doesn't deliver as well despite the merry mood ala early-Suicidal Tendencies ensured by the former side.

Demo Demo, 1988
Pain Demo, 1990
Harder Full-length, 1994
Power Hitter Full-length, 1996


Rob Halford exited Judas Priest after the climactic "Painkiller" apparently not willing to mess this masterpiece up with anything else, to explore new metal territories, and Fight is the product of that decision. He is assisted by the "drum machine" Scott Travis, who took part in "Painkiller", and had earlier been a full-time member of the Shrapnel heroes Racer X. If those who expected that Halford would bring back the vintage Judas sound from the early/mid 80's, would be in for a shock, after hearing the opening riffs of "Into The Pit", which scream modern angry thrash even louder than Pantera and Exhorder. Halford delivers his hellish high vocals, not too far from the ones he unleashed on "Painkiller". The explosive opener doesn't really set the tone for the whole album, though, and later on we have the mid-paced thrashing "Nailed To The Gun", the melodic heavy power/thrash piece "Life In Black", the stomping "Immortal Sin", after which the listener, already warmed up for cool headbanging modern thrash with the first track, might start showing signs of nervousness. "War Of Words" may stir his mood a bit being a more aggressive number, but not fast and aggressive enough to make him jump around. If "Laid To Rest" doesn't make him turn the player off with its slow hypnotic doomy guitars, the next "For All Eternity" definitely will: a tender, albeit very good ballad, which Judas are yet to produce. "Little Crazy" is heavy/power metal, no ties to thrash here, and right after it the real attack begins (too late, some may say) with the mid-paced crushing "Contortion", the openly brutal "Kill It" and the less intense, but equally as "vicious" "Vicious". "Reality, A New Beginning" is a great closer: slow enchanting power/semi-thrash metal with superb vocals, the best ones on the album (well, the ones on the ballad are not too far behind, to be honest).

Halford mixed most of the songs from the debut on "Mutations", producing a worthy, but not really great, industrialized work, before coming up with a new full-length, hopefully developing this undustrial direction. But no: "A Small Deadly Space" preserves the heaviness, but the music has lost speed considerably, going deeper into modern metal, acquiring a somewhat alternative sound. Thrash is almost nowhere to be found, except on isolated sections from separate songs, and even shades of grunge (hello, Nirvana!) can be clearly heard. Halford sounds very restrained, sticking to cool, albeit not exceptional, mid-ranged vocals, with very few deviations, if any. Having seen that he was going nowhere with this band, Halford gave up "fighting", and put an end to Fight.

War Of Words Full-length, 1993
Mutations EP, 1994
A Small Deadly Space Full-length, 1995

Official Site


This band play laid-back power/post-thrash with epic/progressive shades. The delivery loses its unpredictable appeal little by little the guys settling for not very eventful proto-groovy patterns in the 2nd half the "idyll" broken by the surprising melodic speedster "Raptor" before the album gets drowned in a pool of balladic/semi-balladic "atrocities" near the end the very bottom reached with the awful pop rocker "Rock Star". Well, this sounds neither as a "fight" nor as a "delight"...

Just Read the Contract. Full-Length, 2011

Official Site


Three Latvians are responsible for this energetic classic/proto-modern thrashfest which starts in a sweeping fashion with the crushing instrumental "The Fundamentally Lost World". Later on the album never loses steam although a couple of more moderate proto-modern breaks ala Annihilator can be caught here and there ("Speeding Slut"). "K-1" is a very cool turn to more technical Bay-Area-sque thrash with great swirling leads followed by another show for the lead guitarist: the fine semi-balladic instrumental where the leads are intercepted by even better acoustic passages. "Your Shameful Heaven" tries to follow those balladic patterns in the beginning, but at some point starts thrashing in a more laid-back mid-tempo manner. The 2nd half is actually the inferior one with a more accentuated modern sound and slower songs which better suit the angry semi-shouty singer.

The Fundamentally Lost World Full-length, 2010

Official Site


Based on "Brand New Life", these guys offer melodic modern thrash/death metal, carefree and predictable, moving from fast-paced to slow-moving sections the whole time in an expected metalcore fashion.

Step One Full-length, 2005
Aion Full-length, 2008
Brand New Life Full-length, 2011

My Space


An avantgarde form of the 90's post-thrash, with quite a few non-standard decisions (choppy rhythms, heavy guitars, etc.), but the music very seldom speeds up except on the cool progressive track "Turn The Tide". There's certain intriguing guitar work at play ("Exposed"), but it soon gets lost in the majority of more ordinary groovy riffs.

Long Shadows on a Long Day EP, 2005


Based on "The Rise Of Lepers", this act offers dynamic modern post-thrash with both groove and fast hooks mixed on an alternative base. This is a jumpy melodic affair not far from early Helmet, also mixing it up in the vocal department with angry semi-hardcore and melodic vocals. There are no surprises except for the aggressive thrashers "Undesired" and "The Wise One" thrown in the middle, the latter also reminding of the aggro-thrash of early Pantera. Depending on the taste, some may find the cool acoustic ballad "Silent Echoes Of Death" near the end another highlight.

Filacteria EP, 2004
Paz Interior Full-length, 2005
The Rise Of Lepers Full-length, 2010

Official Site


Cool black/thrash metal with a playful classic heavy metal attitude and slow doomy songs; reminds of the Swedish Bewitched in the more up-tempo sections. The "Rdtrofornicator" EP is 3 songs of a varied nature: "Merge To Abscond" is a diverse affair with black and thrash metal crossed in a fast manner interlaced with slow epic moments; "Necropachacha" is a brutal 2-min "outbreak of evil"; and "Ecumenica Matanca" is classic speed/thrash metal at its best where the unpolished black metal rasps are replaced at times by much better clean vocals. Still, the guys do a better job in Ironsword where some of them are also involved, and in Moonspell with whom this band has quite a few ties member-wise.

"Pornokrates: Deo Gratias" is a more aggressive offering the guys increasing the black metal presence, but the speed/thrash crescendos are still all over (check out "Cadafalso" and the frolic speedster "Metastase") with the nice addition of more serious thought-out numbers ("Seita"). "Rebanho De Lobos" is a total early Whiplash worship, and "Voivodina" serves more technical rhythms for a change near the end which remain a bit for the epic melodic closer "Pornokrates". The cleaner vocals are here again and play a more prominent role, in this case still for the better.

A Era Do Abutre EP, 1995
A Queda...Sodoma Em Ascentpo EP, 2002
Fellatrix Discordia Pantokrator Full-length, 2005
Rdtrofornicator EP, 2010
Pornokrates: Deo Gratias Full-Lerngth, 2013

Official Site


This young Chinese act offers plain 90's power/post-thrash with strong 90's Metallica influences clinging somewhere between the Black Album and "Load". The harder moments pack a punch boasting heavy pounding riffs, but the more melodic ones aren't quite appealing also coming with a slight alternative flavour. The music never speeds up beyond the mid-pace, and the singer is hardly an asset with his unemotional semi-clean delivery.

Tomb's Wolf Full-length, 2005

My Space


Classic thrash/crossover ala early D.R.I. and Attitude Adjustment; the delivery is pretty hardcore-ish on the shorter material, but the music delivers with its constant intensity which doesn't go down even on the heavier, more mid-paced moments (the steam-roller "Something Outside").

Dead By Dawn Full-Length, 2011


Based on the "First Warning" demo, this band play fairly decent speed/thrash metal along the lines of the Blessed Death debut and Destructor.

The "The Second Coming" demo is a better effort now the band providing imposing speed/thrash not far from Agent Steel with very good emotional high-strung vocals reaching the dramatic heights of John Cyriis himself at times. "Chemical Sin" is an excellent progressive jumper with not very predictable twists and turns with echoes of Toxik, but such complexity isn't encountered later on "Wasteland" galloping intensely, and "Catastrophic Horrors" acquiring darker "colours" reminiscent of Sanctuary. "Terrorist" is a short direct speedster, and the final "MG III" is another more elaborate composition with heavy seismic riffs mixed with calm balladic passages.

First Warning Demo, 1985
Final Assault/Messenger of God Single, 1987
The Second Coming Demo, 1988

Fan Site


Classic thrash metal with a modern production and nods to death metal; the band's debut sticks more faithfully to the 80's scene than the other albums, and is an all-out thrashing assault, quite close to their contemporaries Hypnosia from Sweden. "Rat Race" brings forward melodic death metal of the Swedish school, but the classic thrash riffs take the upper hand later on, and stay firm till the very end. "Killing Machines" comes again with more death metal thrown in, and is a great death/thrasher with an At The Gates-shade.

"Mind Explosion" is where actually the band really shine: it starts in an uncompromising fashion with the explosive thrashing madness "Under Pressure", but it's with the following "Mind Explosion" that the real tour de force begins. There follows a string of longer complex technical thrashers where speed is not the order of the day anymore, and every track is a great combination of smashing technical riffage and up-tempo, more straight sections: check out every song, but the best example of the description above would be the superb "Break Down" which provides genuine headbanging moments among the heavy complex delivery. "Nondescript" comes forward with another slab of an At the Gates-like riffage, a tendency later also heard on the shorter "To Live and to Die", and partially on the "careless" closer "Careless".
"Let Me Be Your Tank" safely returns to the more immediate straight formula from the debut; apparently one album of such a calibre was enough for the guys for the time being. This offering is by no means bad; it's a non-stop headbanging riff-fest, this time featuring not only all-out speedy songs, but also mid-paced numbers ("Coma Divine") which are graced by quite stylish semi-technical guitar work. "Empty Eyes" reminds of the previous work with genuine technical moments which also stay around for "Eyes of Horror" (which is not a Possessed cover), partially. "Let Me Be Your Tank" deserves its title providing a mid-paced heavy tank-like approach which would stand proud even on an Amon Amarth, or a Bolt Thrower album.
The debut EP shows the band sticking more to the death metal formula coming with a sound quite close to the Swedish school, but more interesting with nice melodic guitars and occasional technical licks. The music is surprisingly restrained with no fast sections, just a few up-tempo ones; the rhythm guitar is all over the place again in a Bolt Thrower--like manner leaving not much room for the leads, but it does a fine job giving the music a genuine atmospheric colouring.

End Of It All EP, 1997
Flash Burnt Crucifixes Full-length, 2000
Mind Explosion Full-length, 2002
Let Me Be Your Tank Full-length, 2004

Official Site


Based on the full-length, this Swedish trio provides a wild amalgam of thrash, hardcore, and even grind which ranges from merry crossovers ("Medic is a Spy") to outrageous "bullets" (the Cryptic Slaughter-esque "Power To Kill"), all tracks no longer than 2/2.5-min. The singer semi-recites in a clear forceful manner, and his attached antics get the message through.

The First Command EP, 2010
Greetings From Reality Full-length, 2011

Official Site


Based on "Neptune's Relief", this formation pulls out pretty capable classic speed/power/thrash metal crossing early Iced Earth with the more elaborate arrangements of Blind Guardian and Manticora. The more serious tone of the first 2 songs is replaced by heads-down thrash on "Riddle of the Sands", which comes mixed with soaring epic melodies on the following "A Faerie Forlorn", which is vintage early Falconer with a thrashy twist. The flag of thrash is raised high till the end, with the Hallows Eve cover of "Plunging to Medadeath" near the end making things even more aggressive, stifling the softer epic tunes springing up here and there. The singer delivers with his comprehensive gruff semi-death metal tember, which still leaves something to be desired in the melodic department.

The debut starts with the intense speedster "The Adder At Your Chest", but later on the acceleration gets decreased, still remaining hard-hitting, although the overall approach stays closer to power metal, with one good , albeit a bit overlong, ballad ("Stormclouds") included. "Wavecrest" is a cool epic power/thrasher, and the final "Ember" is a furious thrashing piece with super-heavy riffage which will crush you with its almost 7-min of constant mosh.

"Spellcast" is in a similar to the debut vein beginning with the carefree galloper "Mallow Weed", but the following "Ebony Embrace" is already more hard-hitting thrash, a glorious speedster with nice epic overtones in the best tradition of Manticora and early Blind Guardian. "When The Stars Fall" is a beautifully melodic speed metal cut, before "Beloved" nails you down with hammering 10-ton riffs. Time for some epic cheesiness with the 7-min opus "The Healing" which still holds several speedy surprises in the middle. "Dreams" contradicts its title with some of the most aggressive guitars on the album, a forceful pounding piece with a few faster rhythms as well. Two more heavy pounders follow suit, before the bombastic cover of Death's "Evil Dead" shatters your reality to pieces, preceding the actual closer, "Iemer Mere Owe", a 4-min tender ballad sung in German.

"Wolves Among Sheep" traditionally begins with a more aggressive cut, the awesome dramatic speed/thrasher "Bluebeard's Chamber", which also sees the singer acquiring a more brutal deathy tember. When the following title-track continues in the same smashing spirit, one may finally hear the guys serving full-throttle thrash all the way, and indeed, even though "Breathe My Sorrow" slows down, is a sure-handed stomping thrashterpiece. "From Frozen Skies" contains gorgeous melodies and is more power metal-based, but "Raven Rosary" is classic speed/thrash at its absolute best. "The Tempest" doesn't betray the thrashy spirit, neither does "Raise of Cain", leaving the more moderate delivery for the excellent nostalgic power metal hymn "Moonfleet"; again beautiful melodies here, both in the riff and the lead department. The real closer, however, is a great cover of Whiplash's "The Burning of Atlanta" from "Ticket to Mayhem", a furious speed/thrashing number which closes the band's most thrash-fixated release with flying colours.

Wavecrest Full-length 1997
Spellcast Full-length 2000
Wolves Among Sheep Full-length 2002
Neptune's Relief Full-length 2006

Official Site


A fairly cool effort (the debut) of heavy steam-roller old school thrash which inevitably reaches seismic doomy proportions ("The Inferno") at some stage, translating those in a clever technical way as well, ("Unveil The Eyes") on a couple of longer, more thoughtout compositions. The 10-ton riffs remain throughout, and although the speed has been sacrificed quite a bit, this is hardly a complaint the solid, occasionally hectic, mid-paced guitars delivering on all counts. The most pleasant surprises, however, have been preserved for the end: "Who Am I?" is a very cool progressive thrasher with enchanting balladic moments supported by fine leads and stylish arrangements; and the final "Alone In Death", which is crushing dramatic thrash in the best tradition of Sacred Reich's "The American Way". The singer is a forceful semi-declamator who pulls out a comprehensive gruff tember capably assisting the very good music without actually singing too much.

On "Way of the Accursed" the band continue marching on with their staple seismic steam-rolling riffs suddenly branching out into dynamic headbanging, also quite technical, thrash on "Replace God (Conceal The Beast)". "Biltmore" shows some progressive sparkles which tone down the heaviness replacing it with more retouched power metal-styled tunes. After that the mid-tempo thundering "carnage" settles in and stays till the end not offering much variety. If this approach was effective on the debut, now another work of exactly the same style just doesn't do the trick anymore. The band are more than equipped to carve a niche for themselves, but there wouldn't be much excitement for the fans to look there too often.

Constructing the Destructive Full-length, 2008
Way of the Accursed Full-length, 2012

Official Site


A young formation who pull out retro thrash which ranges from maddening ragers ("Struggle for Fire", "Black") to stylish jumpy attempts at technicality ("Utopia"). The former side clearly leads the show also reflected in a couple of short bursting numbers those coming with a pinch of hardcore ("Short Life Song"; yes, this one is indeed "short": just above 1-min). This is a cool effort with strong headbanging qualitites which will keep the fans happy all over also due to the very clear sound quality.

Massive Resurrection Full-Length, 2014

Official Site


This band is the "brainchild" of just one man, the ex-Into Eternity guitarist Rob Doherty, who pulls out decent speed/thrash with both classic and a modern edge, recalling the Paradox albums of the new millennium. The main vocalist has a clean, alternative tember, but his indifferent antics are "rudely" broken by very brutal low-tuned deathy insertions. The guys thrash with conviction, also adding the necessary doze of atmosphere on the more laid-back material, like on the excellent dreamy gothic-like "Memories". After the speedy crescendos in the beginning, the band gradually abandons the more aggressive delivery, settling in the 2nd half for softer mid-paced patterns with power and post-thrashy tendencies. "Two Of You" is the "rude awakening" here, an awesome speed/thrasher with fiery riffs, and of course the almost death metal-esque closer "Darkness Falls". This is slightly uneven, but still delivering the goods, effort which shows Doherty still walking in the shadow of his former act, in this case for the better.

Final Darkness Full-length, 2011

Official Site


Modern laid-back power/thrash metal in a predictable mid-tempo without any more interesting decisions, with flat unemotional clean vocals, and repetitive monotonous guitars. A few classic leanings can be heard, and the guys try to timidly speed up here and there, but those attempts remain unfinished (due to a lack of space, or a lack of talent?)...

Root Of Anger EP, 2010



The debut: modern thrash meets groove: not bad, actually, with plenty of melodic tunes "roaming" around without standing on the way of the quite a few fast moments which don't hide their bond with the Swedish school too well. Still, the headbanging potential of all-out speedsters like "Vortex", or the ripping headache-causer "Relief of Beliefs" can't be denied; neither can the more serious progressive leanings on the still quite intense "The Larcenist". Regardless, there's a lot of clumsy grooving to be encountered, more or less aprropriate, especially on several overlong (7-8min) tracks which may pull back some of the more intolerant fans.
"Thrash Is Just the Beginning"; yes indeed, as is evident from this modern thrash roller-coaster which leaves the groovy formulas far behind for most of the time and thrashes with confidence and passion all the way through "creating havoc" near the end, first with "Create Havoc" which is a major ripper, and later with the excellent cover of Kreator's "Pleasure to Kill" which finishes this album in a commanfing headbanging manner. Before that one will encounter several mellower moments the latter mostly reflected on the interesting 8-min progressive opus "Vengeance" which is vintage surreal spacey Mastodon at some point.

Nightmare 13 Full-length, 2010
Thrash Is Just the Beginning Full-Length, 2013

Official Site


Based on "Iron Tides", this band play squashing volcanic post-thrash which has the necessary riffy charge, but this kind of music has been chewed and spat out so many times for the past 10 years that the guys here have very little to add to the already overdone scene. The ZZ Top cover at the end of "Just Got Paid" is a nice addition with its more vivid merry rhythms seeing the guys dissipating the boredom for a bit.

"Lifeswork" is a more aggressive affair even serving several headbanging moments at the beginning before the groovy formulas take over once again still remaining on the more entertaining side (check out the heavy roller-coaster "Through You"). Near the end the sound acquires doomy/stoner tendencies ("Exit Underground"), but this is to be expected having in mind the steam-rolling nature of the music on offer. Please, note the nice melodic deviations on "No Stop Now" which cling towards the ballad, again in tone with what's happening around.
"Dig Deeper" is a cool aggressive affair the band thrashing with all the guns blazing at the beginning before traditionally they turn to the thick grooves to enter a more familiar territory. The dynamics remains, though, as there's hardly a really dragging moment here "Beneath Us" showing how a mid-paced can sound energetic and intense the whole time, with the closer "Black Out" notching it up again towards Headbangersland wrapping on the album with panache.

Good Things Come to Those Who Refuse to Wait Full-length, 2004
The Firebrand Sessions Full-length, 2008
Under the Overpass of America Full-length, 2009
Iron Tides Full-Length, 2011
Lifeswork Full-Length, 2014
Dig Deeper Full-Length, 2017

Official Site


Based on the full-length, this young formation provide modern thrash/death which is modelled after the Gothenburg canons the main difference coming from a couple of longer, more progressive-sounding compositions which still come with a strong Dark Tranquillity flavour, especially the final track "The Nihilist" which is a really captivating piece with enchanting melodies and clever technical arrangements. The vocals are typical shouty death metal ones with a sparce participation of a cool clean dark baritone akin to Fernando Ribeiro (Moonspell).

Buried in Oblivion EP, 2011
Chaos Injected Full-length, 2014

Official Site


The EP: this is a talented young outfit who specialize in intense violent retro thrash which resembles the Brazilians Violator with its urgent speedy delivery and the swirling virtuous solos. The vocals aren't bad at all with an assured gruff tone supporting the main semi-clean mid-levelled blend which gets broken at times with the occasional high-pitched scream. "Dragged By Fate" is a glorious speed/thrash hymn with echoes of the Angel Dust debut providing awesome raging guitars along with a cool sing-along chorus. This is a really promising beginning which should catapult the band into the upper front of the rising thrash stars from Italy. The musicians also have other projects: the classic thrash formation Violence Spread, and the death metal cohort Nimroth.

The full-length is another fairly cool effort now serving a thin semi-technical edge (the opening "Gane Arrabbiato (Rabid Dog)", "Human). "The Springwood Slasher" is a more elaborate semi-progressiver with some nice inventive guitar work which translates well on the remaining shorter numbers among which one can distinguish the more technical shredders "My Day" and "Serial Victim". "Parasite" is a speed/thrashing roller-coaster of the highest order, and the closing "La Polizia Non Può Sparare" is a lightning speed rager closing this entertaining album in the most energetic manner possible.

Wrapped in Chains EP, 2014
Artificial Perfection Full-Length, 2015

Official Site


This Brazilian trio play vivid thrash with crossover overtones. Fast-paced compositions alternate with more moderate ones with a touch of power metal the aggressive shouty death metal vocals never changing. The style clings between Overdose and early Holocausto the crossover shades also reminding of Ratos de Porao. The sound quality isn't good at all and the messy wall of guitars is at times not easy to decipher.

Ultimate Powers Rising Demo, 2006

Official Site


An uneven mix of modern and classic thrash metal with very gruff death metal vocals which are put too much up front in the mix that at times completely deafen the instruments. The music is quite dynamic, though, with a regular alternation between faster and slower passages the former working much better coming with an appropriate death metal shade boldly going over the edge with the ultra-brutal grinding closer "Unworthy", which isn't exactly "unworthy", but still...

Desolating Sacrilege Full-length, 1994


Based on "Revival", this act offer modern abrasive thrash/post-thrash with a few interesting galloping moments ("Hunger Your Fail") which still play second fiddle to the heavy volcanic groovy riffs which occupy quite a bit of space that leave the drama for the squashing "The 7th Crow". The singer is a rending shouter who would easily suit any death metal or hardcore outfit.

Insane Behavior EP, 2009
Hometown Full-length, 2013
Revival Full-length, 2017

Official Site


An obscure thrash metal piece comes your way provided by these guys who specialize in intense heavy, but also quite energetic, thrash with a couple of death metal leanings, mostly in the blast-beat section. The music takes a slower, almost doomy edge sometimes, but there's no speed lost, especially on death-laced numbers like "Pandemic" and "2Faced".

Human Atrocity Full-length, 1996


Based on the demo, this band come up with cool heavy, somewhat technical, bass-driven thrash reminiscent of the Brits Acid Reign's early period. To keep their music from sounding monotonous, the guys speed up at times, or slow down to doom-metal dimensions (both deviations can be heard on "He Set His Captives Free"). "Where Pain Never Dwells" starts as a ballad, but develops into a powerful thrasher later.

He Set the Captives Free Demo, 1990
Rude Awakening Full-length, 1991


Uplifting, optimistic power/thrash with echoes of the 80's American scene. Things get rough on more intense pieces: the full-on thrasher "Warhammer", but most of the time the music is along the lines of early Helstar, Liege Lord, and Exciter. The singer provides the desirable emotional overtones with his forceful clean tember which nicely occupies the "nomansland" between the high and the mid-registers.

Road Warrior EP, 2011

Official Site


In spite of the name, the band are not pure thrash, let alone a "final" one: they're a mix of black and thrash metal with a dual vocal attack, one in the death, the other in the black metal camp. The music is cool staying mostly in the mid-paced range. The guys like covering different veterans from all walks of the metal scene: Burzum, Judas Priest, Thin Lizzy, etc.

Time to die Full-length, 2003
No Way Out Full-length, 2006

My Space


These obscures pleasantly surprise with their brand of dark semi-technical power/thrash metal recalling Sanctuary ("Into the Mirror Black"), respectively Nevermore, and another not very known act from the 90's: Sardonyx. This isn't fun of the headbanging type, but is for the lovers of more thoughtout progressive music. "Mask of Mine" is a nice mix of heavy crunchy guitars and deep meditative balladic passages, with a great thundering bass bottom and excellent emotional clean vocals, close to the ones of Jeoff Tate. "Sooner or Later" begins in an awesome dark thrashy Sanctuary manner, but during its 7-min expect balladic episodes, doom-laden moments, and more. "Rude Awakening" is in the same vein mixing intense riff-driven sections and calmer balladic ones, but is more satisfying, shortening the latter, concentrating on the dark sharp riffage. When exactly the same pattern is repeated on "In Vain", one may start losing interest, although "In the End" (yes, right, that's the closer) will try to win him "in the end", abandoning the initial sleepy balladic intro for the sake of more energetic, still dark and gloomy, power/thrash metal later on.

True Nature EP, 1999


Based on the full-length, this young German trio specializes in aggressive old school mix of thrash and doom/death metal which begins in a brutal uncompromising way with two in-your-face speedsters, before taking an unexpected, but quite compelling, turn to a more pensive doomy sound on "Reverie", and on the melancholic doom/thrasher "Decisive Fault". The more dynamic death/thrash metal-inclined approach returns for "Darkened Soul", but not for long since "Day By Day" is another portion of atmospheric gothic guitars which produce some of the best melodic tunes on the album. Both sides alternate till the end which comes with the nice dark galloping piece "Path Of Hope" which nicely captures both the energy and the darkness from which this effort has aplenty.

Blessed by Demons EP, 1995
Escape Demo, 1996
Finally Deceased Full-length, 2011

Official Site


The debut: melodic speed/thrash metal influenced by Motorhead and Exciter. "Rotten Souls": nothing has channged for the Italian veterans who continue in the same carefree vein playing their optimistic brand of speed/proto-thrash branching out into more stripped-down hardcore at times to harden the course, but just for a bit.

Fingernails Full-length, 1988
Destroy Western World Full-Length, 2007
Alles Verboten Full-Length, 2012
Fingernails Full-Length, 2013
Rotten Souls Full-Length, 2015

My Space


The good old Germanic speed/thrash metal is brought to us for the 100th-and-beyond time this millennium by these young Colombians who deliver the goods from the get-go with the energetic opening instrumental "Annihilations". The songs which follow are much longer, though, and will remind you of Necronomicon's "Apocalyptic Nightmare", and, respectively, Destruction's "Infernal Overkill". The generally fast tempo is often intercepted by more clever stomping passages both sides executed very well topped by mean Schmier-like vocals. The sound quality is very clear making the guitars cut pretty sharply, mostly in a direct stripped-down manner which never sound annoying despite the relatively lengthy (6-7min) compositions.

Thrash Of Fire EP, 2011

My Space


Based on "Inner Dimensional Chaos", these guys come up with an interesting style: the dominating sound is crushingly heavy, a mixture between Slayer's late-80's period in the best moments, and the groovy heritage of Pantera and Machine Head from the 90's, spiced with slight hardcore aesthetics ala early Pro-Pain, an impression which is further aggravated by the similarity in the vocal styles. With 15 tracks included in this album, one could easily find some waste, like the nu metal-ish "Fatal Hesitation", for example, or the semi-acoustic "Burial to Shroud".

Fire for Effect Full-length, 2005
Inner Dimensional Chaos Full-length, 2007

My Space


Modern gothic-tinged thrash sounding quite close to Sentenced's "Amok"; this is peaceful mid-tempo stuff with gruff death metal vocals with casual faster "outbursts" (the brutal grinding passages on "Rapture"), and better doomy Cemetary-sque ("Safety Lines") "calmers".

Fire in the Skies EP, 2009


This Cuban outfit indulge in fast furious thrash of the modern school which shifts from the Swedish patterns due to the strong bass presence and the more direct thrashy attitude: check out tireless headbangers like "Our Path" (which includes great keyboard implements), and the rough pounder "Ember". Actually, the keyboards play a major role here decorating at least half of the songs creating a nice "duel" with the stylish melodic leads. The singer has a not very convincing gruff low-tuned death metal tember, and it's good that he's missing from the cool haunting intro and outro.

Illuminated by the Fire Full-length, 2011

Official Site


Modern speed/power/thrash metal with a black-ish singer; not too far from Children Of Bodom and the likes, but with a more thrashy edge. The guitar work is melodic, without too much sharpness, and often does the sound move close to the modern speed/power metal trends ("The Legend of Crusher", "Death From the Forest"), but this makes intense thrashing pieces like "Deadtime" and "Iron Stake" more than welcome, when they come. "What Lies Within Us" is a peaceful acoustic instrumental closing this album which could have been more closely involved with thrash.

Valley of Unrest Full-length, 2002

Official Site


This is dark/gothic power/thrash metal long on both atmosphere and execution. The band crush with seismic riffs and more elaborate progressive structures the overall approach recalling Sanctuary's "Into the Mirror Black", early Nevermore, and the Swedes Pathos. There aren't any temptations at a more speedy performance: this is pensive mid-paced to doomy music (there's one ballad as well: "Passengers Theme") with fairly intense shreds: check out the dramatic crescendos on "In Response To Light", the sinister galloping riffage on "Astonishing Synopsis", or the wild proto-grooves on the bonus track at the end "Transmission Lane". The singer is an able assistance with his deep passionate clean delivery. Some of the guys were previously members of the death metallers Bloodsky and the classic heavy metal formation Mindcrime.

Suicidewalk EP, 2009
Passengers Full-length, 2012

Official Site


Dark gothic, slightly depressing, thrash metal in a gloomy mid-tempo with gruff semi-death metal vocals; the guys try to speed things up here and there, but their power lies in the atmospheric doomy numbers among which the 10-min opus with the even longer title "Beyond The Endless Dream - Capture Of Solitude (No Way Out)" is particularly impressive mixing sprawling, but listenable, slow passages with more energetic thrashy guitars. The other track which will strike a cord is the fine progressive thrasher "The Great Stillness (Silence)" which offers quite a few twists during its nearly 8-min remaining heavy and intense with sharp, but also melodic, guitars.

Near Death Experience Demo, 1993


Based on "Infection", these guys pull out enjoyable light-hearted speed/thrash metal not too far from the Heathen debut with cool melodic, albeit slightly undeveloped, vocals. "Haunting Solution" is a sure-handed fast-paced opener whereas "Quite Alone" adds slower touches along with another portion of speedy guitars and a melodic middle section. "Witchery Of Fire" is an excellent varied track, clinging towards mid-paced power/thrash more, still thrashing intensely wherever needed. "Hospital Brutality" accelerates again, but "Raped" kills the inertia sticking to a softer more power metal-oriented approach. "Face To The Wall" thrashes with conviction influencing "Poser Hunt" which, despite the melodic, even balladic parts present, is another sure pick for the headbangers. "Mask Of Metal" is enjoyable more laid-back speed/thrash metal, but more aggression comes with "The World's New Chapter" which is the final outburst before the coming of the closing instrumental "Fire Power" which focuses on melodic lead guitar work. Nevertheless, this album leaves quite a positive impression considering the fact that it comes from a very obscure band and will satisfy both the more hard-boiled thrash metal fans and the less radical lovers of the power/thrash metal hybrids.

"Nursed" is another retro speed/thrashing roller-coaster alternating between fast merry-go-rounders ("Fill the Void", "Hit By Shit") and more moderate mid-pacers (the uplifting closer "Rise of the Dead") the former by all means being more accentuated on. The guys obviously have fun pulling out those cool optimistic rhythms which this time offer nothing new, but will remind of many old time practitioners, like Exciter, early Metallica, Vectom, Warrant (Germany), etc. the singer assuredly leading the show with his rousing high-strung clean tember.
The debut is the band’s least worthy effort the music being uninspired, trite classic power/thrash with blunt mid-tempo guitars and very bad unrehearsed dispassionate vocals. It can hardly pass for full-fledged thrash for most of the time, and it’s good that the band found the right way some 4 years later on the sophomore release... second “aid” delivered better than the “first” one in their case.

Prisoner of Hell Full-length, 2003
Infection Full-length, 2007
Nursed Full-length, 2014

Official Site


Based on the "Nameless Fear" demo: the music is good, early Destruction-influenced thrash (think "Sentence of Death"), straight-forward and enjoyable, but there are two things which ruin the impression: the bad hardcore-ish vocals sounding like Simon Cobb from their compatriots Anihilated, and the bad joke song at the end "Toilet Song" (what can you expect from such a title?).

The "Silent Summoner" demo is really good stuff since the band have changed the approach for the better by epitomizing a more complex sound with richer more technical arrangements and a bigger diversity. The beginning is more in the power/thrash metal mode with heavy hypnotic riffage on the first 2 numbers before "The Circle" hits: smashing direct speed/thrash at its best. Then comes a little joke with a nod to Manowar with "Gloves of Metal" delivered in just over a minute. The singer has acquired a lower-tuned tone and has become a tad more melodic which again is another improvement.

Nameless Fear Demo, 1988
Silent Summoner Demo, 1989


Based on the 1989 demo, this band offer choppy crunchy thrash with echoes of Xentrix so expect competent Bay-Area influenced stuff with both semi-technical and faster implements which work particularly well on the ambitious shredder "Apparatus Link". The sound quality is quite good and the singer has a cool high-strung clean tember reminiscent of David Wayne (R.I.P.).

First Four Demo, 1986
First Order Demo, 1989


Modern thrash metal of the faster variety, but pretty unimpressive as well; angry semi-death metal vocals top up dynamic up-tempo riffs "broken" by the odd metalcore element.

Never Give Up EP, 2009

My Space


The debut demo: good power/thrash which will bring you back to the glorious 80's, and more particularly the American scene: think early Helstar, Aftermath, Meliah Rage, Savage Grace, etc. The music is mid-tempo with memorable choruses, good clean semi-high vocals, cool solos, and more. Some tracks carry the playful rock-ish attitude: "The Agony", but rest assured that this is nothing like Guns'n Roses or Ratt.

The "Deadly Voltage" demo is another confident slab of the good old power/thrash metal this time recalling early Iced Earth quite a bit. The pace is again mid for most of the time, but the hard lashing riffs will guarantee good time to both power and thrash metal fans. "Simply Psychotic" is a particularly impressive semi-technical instrumental with excellent lead guitar work, and "Terminal Injustice" after it elaborates on the technical side to produce another less ordinary, hammering power/thrasher. The guys were sure-handedly moving towards the full-length sector, but with the swiftly-changing musical tastes at the time their style became obsolete before they managed to reach this stage.

Agony Pit Demo, 1990
Deadly Voltage Demo, 1992


Barry Fischel from the 80's speed/thrashers Sentinel Beast has decided to form another "beast", but under his own name this time. The music here is quite similar to the one displayed on the only Sentinel Beast album, but while Debbie Gunn was a great addition to the energetic music on the latter, here the singer isn't that impressive singing in a clean unemotional tember without changing the pitch a lot. The tracks are long, and some of them are moderately complex and intriguing. The change from speedy to slower, almost doomy at times parts, is done proficiently with more concentration on speed. Mentioning speed, it is speed metal which takes the upper hand most of the time, and as such this short effort is really engaging, coming quite close music-wise to the last couple of Exciter albums. "The Phoenix" is worth mentioning with its interesting Oriental lead guitar variations, as well as the excellent speed/thrasher "One Man's Cry", which after the clumsy shaky start gains inertia, and contains a virtuoso guitar passage in the second half, where the music could easily pass for quite progressive stuff and isn't bad although the intensity drops there considerably. "Fate Of Kings" is the definitive speed metal masterpiece, again with technical pretensions, substituting for the stormy riffs in the middle. "Where Am I" is doom/power metal for the bigger part, but more aggressive speedy riffage can be heard as well. This is so expertly done that the only logical next step would be a very good full-length with those five songs here serving as a strong base.

Commencement EP, 2009

My Space


Vintersorg (Vintersorg, Borknagar) has apparently gotten tired with the black metal circle, and this is his attempt to make a name for himself as a thrash metal performer. Well, he does a pretty decent job mixing the thrash metal base with complex arrangements which remind of his own band, plus atmospheric folk/pagan passages which, combined with the sharp thrashy riffs, make up for an engaging listen. His modern death metal vocals are mixed with the clean ones which he had already mastered so well. There is a room for improvement, like, for example, the black metal sections which could be left out for the future, in case of Vintersorg gathers enough courage to venture into thrash metal territory again.
"Pain Parade": Vintersorg finds some more time to record under this name, and we have an adequate continuation of the same sound heard on the debut, but this time the emphasis is more on thrash rather than black, and the black metal passages are replaced by post-black ones not miles away from Borknagar: another act with which Vintersorg is involved. The pagan/folk moments have been increased quite a bit, at times stifling the more aggressive thrashy riffage, although on the title-track this mixture produces quite listenable results. "Collision And Collapse" is another number which combines raging fast thrash with beautiful pagan melodies, but this is too modern-sounding to be placed in the same league with Sabbat and Bifrost. Vintersorg provides a wide gamut of singing styles, but to these ears his black metal grunts aren't very pleasant on the milder music background.

Actually this band is a one-man project, whose name is Benny HSgglund, and Vintersorg has been invited to provide the vocals on both albums, so this isn't Vintersorg's own act. HSgglund also takes part in the death/thrash metal band TME.

Crater Full-length, 2004
Pain Parade Full-length, 2008

Official Site


Based on the self-titled EP, this act pulls out thrash/crossover mixing heavy groovy sections with vigorous fast ones the latter clearly dominating creating a cool headbanging atmosphere although at times the music is stripped-down hardcore.

"No Questions Answered": the full-length finally arrives and fulfills the promises for hardcore-tinged thrash metal which this time sounds more thrash-fixated in a way not too far from Hellbastard's "Natural Order". Watch out for short outrageous grinding deviations ("The Man Upstairs", the brutal blitzkrieg closer "Artificial Peace") and for heavy stomping thrashers ("Sandcastles And Tsunamis", "One Last Bullet For The Bedside Manner") of the imposing doomy variety.

"Anthems of an Angry Planet" is another intense piece of hardcore-flavoured thrash providing good headbanging fun all the way, sometimes death metal-decorated ("A Cure For What Ails You"), sometimes brutally grindy ("One Man's Trash Is Another Man"), sometimes even curiously technical ("The Name Escapes Me", the short twisted speedster "When You're There, You're Here"). Whatever the shade added, the band never lose their vision from sight thrashing with passion the vigorous music ably assisted by expressive angry hardcore vocals.

The "Six Songs with Gene Singing" EP doesn't betray the band's staple sound pouring intense thrash/corey riffs to no end over the prepared listener who couldn't possibly expect anything else from this dedicated outfit. The songs are all short "bullets" seldom flashing something less conventional (the semi-technical hooks on "Blow Out") boldly blasting out ("Fake") whenever possible.

The "Self Help Manual" EP is a solid slice of the good old thrash/crossover served in a slightly more relaxed mood with a wider variety of paces the guys not thrashing their souls out the whole time, but serving a few mellower moments (the heavy metal hit "Double Vision"), but the aggressive hardcore-ish outbursts (the short "bomb" "Take Two", "As American As Apple Pie") are lying in wait not far from there to make you burst at the seams.

Dead Hearts'e0Dying Minds'e0Buried Souls EP, 2009
Fit of Frustration EP, 2009
No Questions Answered Full-Length, 2010
Six Songs with Gene Singing EP, 2011
Anthems of an Angry Planet Full-Length, 2012
Self Help Manual EP, 2013


The Italian answer to Bal-Sagoth, only more thrash-sounding; in other words we have operatic black/thrash metal, quite dynamic and melodic at times, long on atmosphere created by the participation of keyboards and dramatic vocal "duels" (clean and very gruff black/death metal ones, plus sparce low-pitched declamatory ones). Another soundalike would be the Dutch Bifrost since epic/black/thrash metal blends can be heard here more than now and then ("Enter The Triangle"). The brutal very fast moments are very few, but the music jumps from slow to faster sections the whole time, the most shining "diamond" being the closing "Chaospawner - Part I (One Thousand Years After)" which is stand-out speedy intense thrash with fine melodic keyboard "decorations".

Chaospawner Full-length, 1999


Based on "War Is The Answer", this band offers groovy alternative post-thrash of the playful more memorable variety, with a nice pinch of gothic (check out the excellent "Crossing Over" and the ballad "Far From Home"). The music is dynamic, featuring both melody and heaviness, both capably mixed on almost every song. The other mix, between the very angry hardcore shouts and the clean alternative vocals, doesn't work all the time, the latter being the much better side, a potent reminder of Burton Bell (Fear Factory), Dax Riggs (Acid Bath), and Nick Holmes (Paradise Lost). "Canto 34" is a nice instrumental piece mixing very good leads, beautiful Oriental tunes, a heavy riff bottom, and a couple of softer balladic implements.

Pre-Emptive Strike EP, 2007
The Way of the Fist Full-length, 2007
War Is The Answer Full-length, 2009

Official Site


Based on "Blood Puddle", this act offers your average 90's post-thrash which comes spiced with rappings, pure hardcore outbursts, alternative moments ala Tool, industrial elements, and what not.

Circles Full-length, 2000
Blood Puddle Full-length, 2003
This Cold Life... Full-length, 2005

Official Site


This is three songs of brooding modern thrash with touches of Swedish melo-death ("Gentil Token") elaborating things on the closer with nice baladic insertions and more complex patterns. The singer is the prototypical semi-shouter whose rendings are sometimes difficult to decipher.

Uroboros EP, 2008

Official Site


A promising speed/thrash metal band with good fast riffs, nice solo work, and rough death/black metal-ish vocals which at times scream sky-high. There are moments when the style slightly reminds of early Helloween, mixed with the early efforts of Destruction. Near the middle the album loses steam, featuring slower and slightly unfocused tracks, and only partially captures the high-speed aesthetics of the first half later on, maybe because of the inclusion of another more melodic number: the Motorhead-influenced "A Noite do Seifador". The sound is a bit hollow, though, especially the one of the drums. The guys do a cover version of Slayer's "Evil Has No Boundaries", although their style has little to do with this band.
"Obcecado Por Sangue" sounds very close to the debut as though both efforts were made at the same time. The only complaint comes from the very buzzy guitar sound which considerably takes away from the sharpness, and the vocals which this time have tried to add an "improvement" in the form of a high hysterical shout which makes them sound even worse. If one manages to go over the constant buzz of the guitars, he should be able to enjoy this decent take on the good old speed metal with hints at thrash "courting" the German school, above all. The guys are also occupied with the black metallers Kabarah, and the classic heavy metal formation Raw Raze.

A Noite Do Ceifador Full-length, 2006
Obcecado Por Sangue Full-length, 2009

Official Site


If you manage to ignore the hysterical black metal screeches, you'll come up with cool old school thrash metal which will remind you of old heroes Celtic Frost, Bathory, Destruction, etc. The compositions are lengthy (5-7min) although nothing too technical takes place, "Nightmare Apocalypse" abandoning the initial speedy approach for the sake of stomping doom-laden arrangements, but there's no speed lost later with vigorous moshers like "Souls of Unclean" flying from all sides. The closing "Nightstalker" is an underwhelming heavy metal frolicer misusing the screechy rending vocals which simply don't belong on a soft hymn like this.

Channeling the Acheron Full-length, 2003


These South American purveyors specialize in semi-intricate old school thrash which is accompanied by more brutal death metal vocals. The guitar sound is boosted and quite abrasive, but this is right as rain retro music which offers both uncompromising headbangers ("Guerra por Territorio") and volcanic pounders ("Agonia de las Almas" which main motif will remind you of "Seek & Destroy").

Agonía de las Almas Full-length, 2017



This band was founded by Blackspirit666 and Infernus: one of the most hard-working representatives on the Finnish underground, also members of the black metallers Barathrum and another similarly styled act: Urn. What we have here is very well executed old school thrash metal along the lines of early Destruction and Exumer's "Possessed by Fire". The music is faster, and will also remind you of the Japanese Fastkill. This is great thrashing riffest with touches of the Scandinavian black metal scene still present, but not to an annoying extent. The production is raw recalling the good old days.

"March Into Firelands" is a much wilder affair now incorporating death metal to the blend with black metal stepping in more, too, resulting in more aggressive and faster music. "Fireland" is a fine epic thrasher of the doomy variety, but rest assured that full compensation is offered on at least half of the other material: the furious piece of black metal madness "Rites Of Endless Hatred", etc. Thrash metal plays a second fiddle here and major thrashterpieces like the closing "Gateway To The Birth Of Lunacy" are not a very frequent occurrence this time.

Into The Age Of Fire Full-length, 2005
March Into Firelands Full-length, 2011

Official Site


Based on the full-length, this band pull out typical, predictable modern thrash/death with all the more or less casual references to the Swedish school. Fast and slow numbers alternate throughout the melodic hooks not bad, but hardly very memorable excluding the inspired lead section on "Cruel Intentions", and the more engaging progressive thrashing on "Rain-a Single Drop Can Flood the Ocean". The singer is a shouty deathy throat, but his rendings are intelligible.

Whispering EP, 2010
Thoughts on Fire Full-Length, 2015

Official Site


A modern thrash affair which balances between melody and aggression, the two sides presented on nearly every track save for the heavy stomper "Fire Away" and the more playful proto-groover "Avro Lancaster". "Blitzkrieg" richly deserves its title being a raging jumpy rager before "March of the Fallen Snakes" pleasantly surprises with more twisted, more technical decisions. The dual vocal attack consisting of raw guttural and hysterical screechy histrionics is nothing special, but suits the relatively pedestrian nature of this recording. Some of the musicians also play with the doom/death metallers Aporya.

Fire Away Full-length, 2017

Official Site


The most celebrated Greek metal band; the first two albums are possibly the band's finest hour with a style which is not too far from Venom and the Germans Backwater. On later works the music becomes much more aggressive and heavier moving towards the German scene, and more particularly Kreator, with touches of death metal on their 90's releases ("In Agony Rise", in particular). "Nommen Illi Mors" is worth mentioning from their later efforts with its hard-hitting sound and excellent, fast-paced songs, sounding like a capable continuation of Kreator's "Extreme Aggression".

Made In Hell Full-length, 1985
Merciless Slaughter Full-length, 1986
Summon the Dead Full-length, 1988
Last Prophecy Full-length, 1989
Nommen Illi Mors Full-length, 1992
In Agony Rise Full-length, 1996

Official Site


Iceland has also given its share of thrash metal to the music scene in the form of this band who play cool minimalistic thrash along the lines of Venom with slow doomy riffs ala Celtic Frost added for good measure topped up by really weird semi-clean vocals; pretty basic, but interesting.

Fire and Steel Full-length, 1987

Vibrations of Doom


Based on "The Keeper Of Remembrance", this young Croatian formation play classic power/thrash metal which bears more than a passing resemblance to the extinct 90's power/speed metal movement. The guys thrash with passion at times, mostly on the slower cuts ("Liquid Illusions") which weigh quite a bit with steam-roller riffs and dramatic arrangements. "My Friend, My Brother, My Enemy" is a more intense galloping shredder, and "Beyond Insanity" is another delight with its razor-sharp guitars and sudden melodic hooks. Near the end the guys abandon the faster parametres and the music takes off towards nicer proto-doomy waters with ultra-heavy riffage the "darkness" dissipated by the more energetic closer "Car Mrazomor" which provides the more vivid galloping moment from time to time. The singer is a suitable clean mid-ranger who tries something scary and deathy on the final track. This is a cool effort which shows that thrash doesn't have to be constantly fast in order to be fully satisfying.

A Treason or the Truth Full-length, 2010
The Keeper Of Remembrance Full-Length, 2012

Official Site


The band's two demos are excellent technical thrash (in 1988 even Coroner were sounding more conventional), and the fact that they remained unsigned, is one of the biggest mysteries of the German metal undeground. The first demo contains the more aggressive and faster material, and will stun you with its steel technical riffage and the very high level of musicianship. The singer has a cool mid-paced melodic tember, if we exclude his attempts to scream like a banshee. The demo would probably leave you asking for more, since it's only 4 songs (the first one doesn't count, being a very short intro).

If you want to satisfy your hunger for more of the same, "Humaniced" might surprise you; here the intensity is more controlled, and the speed has been reduced, replaced by stronger bass work and more complex song-structures. The guitar sound is heavier, pounding, and despite some up-tempo sections thrown in, the final result is almost as good. The singer has a more trained voice this time, but lacks emotion and variety. "Interior" is a marvellous technical instrumental showing a nice interplay between the roaring bass and the sharp energetic riffs, and is the finest track here.

"Biosphere II" (where is "Biosphere I"?!) arrives too late to take part in the German progressive/thrash metal movement which at that point had completely gone into retirement to a degree that even the "fathers" of the whole genre Mekong Delta had gotten tired of it (check out their album released the same year ("Pictures at an Exhibition"). Still, it delivers on all counts producing a sound not too far from the one of Lost Century & Depressive Age. The music has become even more melodic now being a mix of thrash, speed and power metal. The album starts ambitiously with the progressive complexity of "Gods, Priests, Charlatans", which quite well blends fast thrashy passages, vortex-like twists and balladic breaks. "Nightfall's Before" is a more aggressive speed/thrasher sounding like a leftover from Helstar's "Nosferatu", with another very cool balladic moment. "Duck and Cover" is excellent progressive speed/power/thrash, a seamless blend of hard-hitting thrash, bombastic speed metal and a fair amount of complexity, an approach later imitated by numerous acts (Manticora, Hellfire, Eldritch, etc.). "Biosphere II" is brooding technical power/thrash at its best, never speeding up, providing consistent heavy riffage and a great bass-driven Oriental twist. "Wonder Pill" is the filler here: a heavier brand of Queensryche-influenced progressive metal, but what follows is probably the highlight of progressive thrash of the mid/late-90's: "Union Carbide" is the composition Mekong Delta never made: a one-of-a-kind combination of hallucinogenic elaborate riffs, more direct speed metal parts, a stomping heavy mid-section, followed by an abstract Voivod-like passage, all this finished by a haunting lead-driven outro. This great opus inevitably overshadows the following material although "Lost in a Secret" does a good job, a more immediate progressive speed/thrasher along the lines of Depressive Age. "My Suicide" starts in a curious heavy mid-paced fashion, but later speeds up admirably bringing even Blind Guardian and early Helloween to mind; the technicality has been left behind setting the tone for the light-hearted closer "Accidents Never Happen", a jolly crossover number, not the most perfect ending to this strong album, but a cool touch nonetheless. 12 years gone, and still waiting for "Biosphere III", hoping at the same time for "Biosphere I" to jump out of somewhere...

Fall of Pnom Penh Demo, 1988
Humaniced Demo, 1991
Biosphere II Full-length, 1997


Based on "From Flesh to Dust", these Aussies play ripping modern thrash blending melody and aggression in almost equal dozes the former side not quite matched by the quarrelsome shouty death metal vocals. "Cataclysm" exhibits the headbanging potential of the album, also coming with a death metal-ish flair; whereas "Desperation Bleeds" concentrates more on atmosphere and lyrical digressions the latter additive reaching its culmination on the epic closer "From Flesh to Dust".

Disaster Zone EP, 2010
Catharsis Full-length, 2013
From Flesh to Dust Full-length, 2017

Official Site


This is modern thrash, mid-paced and generally not very hard-hitting, ornated by progressive deviations. The music too often strays into balladic waters which is compensated by the odd heavy doomy section ("Armagedon") which in its turn comes accompanied by the casual brutal death metal growl. The compositions are quite long, the closer alone lasting for more than 15-min, but there's not much happening, just intense edgy riffs taking turns with sprawling one-dimensional balladic passages.

La Muerte ha Salido de Cacerfa Full-length, 2007

Official Site


Based on the "First Scream" demo, this obscure all-female act pulls out cool classic speed/thrash metal which is faster and edgier than the one offered by their more famous colleagues Volkana who are another girls-only band from Brazil. There are certainly leanings towards the power/heavy metal side ("Heartbreaker"; the heavy semi-ballad "Scream Of Sadness"), but most of the tracks are raw headbangers with direct simplistic riffs without annoying buzzying echoes. The girl behind the mike does a good job unleashing a melodic attached mid-ranged tone.
The debut demo is a much more amateurish affair the girls not having honed their "weapons" so well yet. Still, the inspiration is there and the title-track is a rousing headbanger wiht an evil Venom-esue flavour. "Out Of Sight" is a more peaceful power metal anthem, and the final "In Front Of The Mirror" is a brooding semi-galloper in the vein of the 80's American school with a catchy shouty chorus.

Hell is Here Demo, 1989
Dark Brain Demo, 1990
First Scream Demo, 1993

Official Site


This band play decent semi-technical modern thrash/death which isn't a very far cry from the Gothenburg school trying to keep a respectable pace throughout without overdoing it. The leads are quite cool, melodic and soaring, and are possibly the highlight. "Disaster" is an excellent short ripper, and "INsane" isn't far behind with its more sophisticated speedy approach, but the rest is found in the dark ages in terms of energy seeing a band who also try to give a more atmospheric "colouring" to their style. Most of the guys are also involved in the melodic death metal formation Everlost the style presented here not far from the one of the other band whose line-up also includes the guitar maestro Andrey Smirnov (also UDO, Blaze Bayley, Master, Shadow Host, etc.).

Seed of Hate Full-Length, 2013

Official Site


There has been a flood of thrash metal bands from Brazil in the past few years. Flashover are one of the better ones with their aggressive old school sound reminding of No Return's "Contamination Rises". The Brazilians' style is a tad less aggressive featuring playful, semi-joke songs ("Die Die"), but when they thrash, they take no prisoners: the smashing opener "Land of Cannibals", the aggressive Slayer-esque "Dogs Of War", the speed killer "Wrong Place...Wrong Time" (all songs from "Land of Cannibals").

"Superior" is not exactly "superior" to many of the more recent thrash metal releases, but is a worthy slab of aggressive energetic thrash with occasional death metal leanings. The end is preserved for the heavy/power metal hymn "Underground" and the Accept cover of "Balls to the Wall".

Infamous Country Full-length, 2001
Land of Cannibals Full-length, 2003
Superior Ful-Length, 2008

Official Site


Based on "Massive Aggressive", this band pulls out a diverse (but not that "massive") mix of retro thrash, crossover, groove and a bit of death metal. The blend is nothing really striking, with the heavy groove ala Pantera and Machine Head leading the pack, leaving little room for the sharp classic thrash riffs to develop. The Pantera influence is made even more obvious with the cover of "Rise" at the end, and the forceful Phil Anselmo-like vocals.
"Pave The Way" is a more dynamic, and generally more enjoyable, affair. It thrashes hard with a nice deathy edge leaving the groove behind, settling for mid to up-tempo stuff with sharp, hard-hitting riffs topped by throaty death metal vocals which here don't resemble Phil Anselmo that much. The album is filled with crisp little thrash/deathsters (the technical speedster "Nefarious", the massive pounder "The Passing"), the guys not ignoring the melody department (check the leads on "God As My Witness") completely, those reliefs offered mostly in the lead guitar section.

Redefining The End Full-length, 2003
Massive Aggressive Full-length, 2005
Bred On Deception EP, 2006
Pave The Way Full-length, 2008

Official Site


This formation acquit themselves with prototypical classic thrash/death with brutal low-tuned death metal vocals. The music is right as rain the band playing fast'n tight seldom adding a more aggressive blasting passage as well as the more stylish technical hook ("Exodus"). The guys know their craft and there are hardly dull moments on this energetic affair which seldom loses the speed the exception being the stomping proto-doomster "Bleaching In The Sun". Worth mentioning is the final "Pig" which, despite its not very promising title, is exemplary varied thrash which lashes fiery riffs for just over 8-min to a pretty overwhelming effect.

Drawn Viscera EP, 2009
Death Hammer Full-length, 2012

Official Site


A thrash/crossover act from Sweden similar to their American counterparts, but with a more aggressive, sometimes bordering on death metal riffing, plus the typical for the time dragging, groovy moments, and passing more melodic nods to Motorhead ("Skullfuck").

Eine Kleine Schlachtmusik EP, 1990
Blind Acceptance Full-length, 1992
Flesh To Dust Full-length, 1994

Official Site


This young Swedish outfit pull out a blend of thrash and death metal which isn't too far from the Gothenburg school, but often adheres to borrowings from the classic period. As a result this album is satisfying providing fast-paced (predominantly), at times quite technical, stuff. The guys mix furious blasting pieces ("Feast On The Soul") with genuinely atmospheric, slower ones ("Fuck The Romantic,...") which are served with cool technical guitars and are arguably the better side of the band. "Sadistic Penetration" is a nice mid-paced number with a very cool galloping speed/thrashy break in the middle. The last song "Worship The Soul of Disgust" is again of the slower atmospheric type finished with an excerpt from a popular Russian song. The band founder Pete Flesh (aka Peter Karlsson) is also a member of Maze of Torment, the heavy metal/proto-thrashers Deceiver (his colleagues from there also help him here), and the dark black/doomsters Thrown.

Worship The Soul of Disgust Full-Length, 2008


This is acceptable classic/modern thrash with gruff death metal vocals. The delivery is fairly ortohodox with casual adherence to death metal blast-beats, and the slower, more atmospheric side of the guys' repertoire (the morose doomy "The Bludgeoning") is also worth mentioning. The closing "Face the Destroyer" is clearly the highlight, a handsome progressive epicer with nice melodic hooks ruined by the listless, unsuitable vocal performance.

Lightning Leather Full-Length, 2016

Official Site


Death/thrash (more on the death metal side) metal with nods to both the modern and the classic school.

Necropolis Full-length, 2003


Based on "Purging Existence", this act serve interesting, engaging modern heavy thrash/post-thrash which tries to bring the more complex progressive landscapes of the last few Machine Head albums ("Plagued Winds") and succeeds, as a matter of fact, to intrigue the listener with its more elaborate pounding. "Force of Will" is an excellent cut with a few more aggressive shreds bordering on proto-death, and the following "Playing on the Fear of Gods", which starts with a hypnotic doomy riff strongly recalling Slayer's 'South of Heaven", also moves around with more vivid riffage and several catchy melodic hooks. The closer "Reduce to Nothing" is another winner with cool semi-technical guitars and a gripping melodic, virtuoso lead section. The vocals are on the angry shouty side, but music of this seismic kind hardly needs a more sophisticated throat. Some of the musicians are also active with the doom/thrash metal formation Sludge!.

Essence of Hell EP, 2008
Walking the Aether Full-length, 2011
Purging Existence Full-length, 2014

Official Site


This is some very uneven, but openly progressive modern post-thrash which stretches into some badly sewn very long compositions ("Hydrophobia") the rest being short tender ballads and alternative grungy numbers graced by both male and female vocals thrown in carelessly all over the place. It definitely sounds like a rehearsal despite the very good sound quality which betrays the guys' (and girls) bigger musical professionalism which by all means has to find a more meaningful shape in the future.

Breaking The Skylines Full-Length, 2013


First-rate classic aggressive thrash metal which recalls some of the biggest names from the 80's scene: Slayer, Devastation, Destruction, Kreator, to name a few. The music is fast-paced most of the time, with nice semi-technical touches which brings to mind another great band of recent times (not active anymore): Hypnosia. This band is a fine addition to the thrash metal renaissance of recent years.

"The Aftermath Of Amen" is a more ambitious undertaking which starts in a surprisingly restrained manner with the proto-modern "Total Slave". Then things take a nicer shape with the retro headbanger "Zarathustra", but the guys are set on not offering everything at high-speed, and "The Cold Steel Redemption" mixes slower and faster rhythms. A string of not very impressive mostly mid-tempo modern thrashers follow before "The Dirge You Dread" brings more life with more dynamic riffs. "Feed Your Demons" carries on more aggressively adding up death metal "fuel" to the fire recalling the guys' other band: the more death metal-based Antropomorphia. Then the sound returns to the safer thrashy patterns producing two cool headbangers the preferences going towards the second one "The Reaping" which is also the closer, and lashes fast steel riffs again with a slight death metal edge. This effort shows the band in a more diverse, but less enthusiastic, light trying to broaden their vision losing from the spontaneous stripped-down attitude of the debut quite a bit in the process, also failing to bring the best from the modern elements which only occasionally give out sparkles of technicality.

Masterwork In Blood EP, 2002
Dawn of the Stillborn Full-length, 2004
The Aftermath Of Amen Full-length, 2008

Official Site


This is a heavy industrial post-thrash affair sitting somewhere between Puncture and Grope, with a pinch of mid-period Meshuggah on the more technical moments. The guys shred with a lot of buzz, even creating catchy headbanging moments ("Beggar Art"), and generally the delivery is pretty dynamic with plenty of tempo changes within relatively short time-limits (3-4min). This is "busy" stuff although this 10-ton hammering downpour may tire the listener along with the unpleasant, synthesized shouty singer.

Picture This Full-length, 2003

Official Site


This outfit provide brisk intense melodic speed/thrash of the old school fronted by good, albeit a bit thin, female vocals. The "assault" starts from the beginning with a trio of headbangers before the title-track introduces a short acoustic/operatic break. Nothing is lost after that "Sad Evil Descent" thrashing hard with heavy seismic guitars, and "Say Farewell" speeds up nicely recalling Hellfire and early Angel Dust the main difference remaining the magnanimous operatic insertions which are more accentuated on the epic "Vicious Eyes". "Night Bleeding" is a blistering rager with great screamy leads, and the closing "Dagoth" is another short operatic instrumental which ends this effort with aplomb. The band leave a very positive impression and it remains to be seen whether they would continue to pleasantly surprise the audience in the same way in the future.

Visions From Darkness Full-Length, 2014

FLESHGORE (UKRAINE) Reportedly on their full-lengths and EP's the band used to play brutal death/grind with some deathcore leanings on more recent efforts; but the "Defiance To Evil" demo is pure aggro-thrash in the best tradition of Pantera and Machine Head. The guys are more dynamic and diverse than those acts having in mind their deathy background, but the approach is pretty angry and proto-groovy the bigger intensity mostly reflected in jumpy, hectic core-ish breaks. The vocals are also more subdued now, of the semi-death metal, shouty type well suiting the cool cover of Pantera's "New Level" at the end.

Interuterine Dilemms EP, 2002
Killing Absorption Full-length, 2003
May God Strike Me Dead Full-length, 2006
Wake Up For Freedom EP, 2007
Wake Up for Freedom Full-length, 2008
Defiance To Evil Demo, 2011
Domain of Death EP, 2014

Official Site


Intense, ripping thrash/death accompanied by lower-pitched death metal vocals; the delivery also borders on hardcore on the shorter material ("Trust No One"), but expect more stylish, semi-technical moments ("Hourglass Has No Soul"), too, all played at the speed of light except on the doomy closer "All the Dead Things". Some of the band members are also active with the death/thrashers Generichrist.

Casketastrophe Full-Length, 2016

Official Site


A Canadian trio pulling out quite cool dramatic progressive power/thrash of the old school which goes towards early Fates Warning (the hectic "Headrush"). "Warmonger I" is a hard-hitting mid-pacer, and its continuation "Warmonger II" is an epic semi-galloper. There are only six compositions here, and the impression is that the guys prefer to entertain the progressive metal crowd more for which a great help would be the very cool emotional high-strung clean vocals.

Flidais Full-Length, 2015

Official Site


A seminal speed/power/thrash metal band who came out of the underground after their bassist Jason Newsted joined Metallica. Their debut was an instant speed/thrash metal classic despite the not very good sound quality. This raw spontaneous effort was a truly compelling listen with the seamless blend of some of the most cutting chainsaw-like riffs around and the beautiful soaring lead-driven melodies, the thundering bass bottom provided by Newsted, and above all the great characteristic very melodic high-pitched vocals of Eric "A.K." Knutson: one of the greatest voices in metal, who to the more hard-core fans may have come as too melodic back in those days, when his tone was more on the thinner screamy side, unlike the deeper lower one he acquired later in the 90's.

If the debut was more speed metal-based, in a way not too dissimilar to Agent Steel's "Sceptic's Apocalypse", "No Place for Disgrace" saw the band move onto full-throttle thrash, and remains their finest hour after all these years, despite the loss the guys suffered when Newsted left just before the recordings for the album began, to join Metallica, although his replacement was quite an able one, in the face of Troy Gregory (Prong). Once the title-track starts sawing and cutting with those unbearably sharp riffs, one has no choice but to prepare for the ensuing massacre. The thrashing madness encounters some stops on the way; the more appropriate one: the excellent semi-ballad "Escape From Within" with Knutson giving arguably the finest performance of his career, closely followed by one of the best mixtures of peaceful balladic parts and raging blitzkrieg thrash ones in metal history; and the less appropriate one: the Elton John cover of "Saturday Night's Alright for Fighting", turned into a jolly thrash'n roll roller-coaster.

The late 80's were a time for re-adjustments and "updates", a tendency especially characteristic of the North American acts, and "When The Storm Comes Down" saw the guys adopting a much more melodic, proto-modern and a slightly more technical sound. The problem is that, unlike Forbidden, Megadeth and Anthrax that same year, among others, the band failed to bring the best of those new "implements". The sound quality, which so greatly boosted up the guitars on the previous album, was gone almost sliding down to the very basic one heard on the debut, bringing a dry dispassionate feeling with it. On top of that the drums were some of the most hollow-sounding one can hear in the late 80's/early 90's, completely stifling the other instruments more than now and then, even threatening to take the Knutson vocals down at times. Mentioning the vocals, they fall flat, too, often overtaking the whole space, especially on the higher notes where Knutson sounded simply laughable as though he was the only one in the studio with no other musicians involved in the recording. Still, one can't deny the visceral power of the crushing "Suffer the Masses", one of the best songs the band ever produced although Knutson could have avoided this very screamy hysterical "Suffering!" in the 2nd half.

The guys have apparently learnt their lesson and "Cuatro" was a much better offering, and along with Metallica's Black Album was the major influence on the less angry, as opposed to the one initiated by Exhorder, Pantera, Machine Head and the likes, post-thrash metal sound which flourished later in the 90's and is still going strong. The album is a fairly good, seldom matched, mixture of classic and modern thrash, with power and doom metal added at the most appropriate times. Needless to say, the music has very few ties to the band's 80's catalogue, not without the help of Knutson who here sounds a lot more restrained, but his newly acquired deeper lower-pitched delivery was just the perfect one for the less thrash-based music.
"Drift" "drifted" further away into non-thrash metal waters, but was far from a disappointment (compared to the similar step taken by Metallica on "Load" a year later), featuring interesting technical/progressive arrangements beside the increased presence of groove. It was too early, though, to cross the guys off the thrash metal list who on "High" brought back some of the good old retro fast-paced riffs, which combined with the less intense approach epitomized on "Drift", sounded a bit awkward at times; and no complaints for the merry thrash/crossover delight at the end "Fork Boy". Still, this album may have played its role in waking up the "sleeping" old school thrash metal "giant" which started showing signs of recovery from its heavy "slumber" soon after.

"Unnatural Selection" reduced the speed once again, and with the experimentalism of "Drift" left behind as well, concentrating on a heavy modern heavy/semi-thrash delivery, it simply had nothing to hold onto, and finally saw the Flotsams sounding close to their compatriots Metallica from the same time. The expectations for "My God" were not very high after this disappointing release, but the guys had pulled themselves together again, and this effort was the nicest companion piece to "Cuatro" from all their works of the 90's. The opening "Dig Me Up to Bury Me" promises a lot of headbanging retro thrash in a way close to even "No Place for Disgrace", but the guys had no intentions to bid farewell to their 90's sound, and later on the compositions were solid heavy slabs of forceful more modern power/thrash with the casual speedy "ornamentations", making this effort one of the better "bridges" between the 90's trends and the classic thrash metal "resurrection" movement which had already started a little earlier.
Contrary to the flood of 80's retro thrash metal veterans "rising from the ashes" during the 1st half of the decade, Flotsam surprisingly took a low profile which was actually not completely deprived of logic having in mind that, unlike most of the old bands, they never split-up, releasing albums on a regular basis throughout the 90's. 4 years later their response to the retro thrash metal wave, which was in full swing at the time, was "Dreams of Death": a great slab of dark sinister old school thrash metal with several modern "remnants" still "roaming" around. Being the guys' most classically-sounding album since "No Place for Disgrace", it pulls no punches thrashing hard with speed and sharpness, adding a couple of intriguing technical/progressive sections along the way without, of course, forgetting about their staple heavy pounding power/proto-thrash sound of more recent times. Well conformed with the fashion of the day and way better than the quite a few disappointing comeback albums released that same year (remember Cancer's "Spirit in Flames", Assassin's The Club", Nuclear Assault's "Third Wolrd Genocide", etc.), this effort sadly remained their last offering, the band announcing their split soon after.

Reportedly they are back together, and had a Live DVD, titled "Once In A Deathtime", released in 2008 with rumours circling around of a new material to come out soon.

"Dreams of Death" looked like the very right approach in consideration with the growing competition, but "The Cold" will leave quite a few of the band's fans "out in the cold" again, I'm afraid, or at least those who left their hearts in the 80's/early-90's. Classic thrash metal is again a distant memory replaced by the dreamy semi-progressive "landscapes" of "Drift" and "Unnatural Selection" spiced with surprising more aggressive outbursts ala "High" ("Black Cloud", "K.Y.A.": this one is a brutal piece with classic leanings). "Blackened Eyes Staring" is another song worth mentioning being a cool technical take on the modern post-thrash, but the rest will hardly catch the ear a lot except probably for the nice emotional ballad "Better Off Dead" in the middle. In terms of mucisianship this effort beats the aforementioned ones, and it's by no means bad, but coming after a superior offering and after a lengthy 5-year hiatus it simply can't hold water against the truer to the classic thrash metal idea albums which have been coming in draws in more recent times hitting the top both in terms of quantity and quality.

"Ugly Noise": this is not exactly "ugly noise", but is another staple for the band modern post-thrash which at this stage is neither interesting nor original anymore. It's amazing that this band, of all other old-timers, resist to the resurrection movement provided that they were one of the very few acts who stayed around the whole time fighting the genre's crisis more or less successfully. So the fans have to bury their hopes for "No Place for Disgrace" 2 for good: even a semi-retard should know by now that this is just a chimera. The album tries to fight some ground with the first 2 songs which are a direct read on their first attempts to adapt to the new wave on "Cuatro", but later on it all is another messy blend of all the band's 90's catalogue without any saving grace; it hardly sounds thrashy for most of the time and if it's not for the still good vocals of Eric A.K., this effort should better be left alone. In other words, another entry into the band's catalogue which leaves us "in the cold"...
"Flotsam and Jetsam": a self-titled album after re-releasing their magnum opus... Not a very promising continuation for sure, especially coming after two very mediocre efforts, to put it mildly. Well, the band have nailed it this time, and hats should be taken down to them for that. Starts "Seventh Seal" and one can easily see the classic roots of the band's finest hours this one being a major retro speed/thrasher. And this is only the beginning since right after comes the roller-coaster "Life Is a Mess" followed by the even more intense rager "Taser". "Iron Maiden" is not an Iron Maiden cover, but is a sheer tribute to the Brits with the galloping riffs recalling "The Trooper" all over, another mighty speedster. "Verge of Tragedy" is a formidable galloper with steel riffage and dramatic build-ups. "Creeper" is a jumpy mid-pacer, and "L.O.T.D." is a nice melodic semi-technicaller, something which the Flotsams should release on a more regular basis. The gallops return with "Monkey Wrench" before "Time to Go" starts thrashing with more passion aptly supported by the bass-dominated jumper "Smoking Gun". The closing "Forbidden Territories" is a masterpiece of complex fast-paced thrash, arguably the band's finest achievement all these years. Well, the Flotsams are finally back with quite some style, and one shouldn't wonder if they grab all the music awards for 2016; it'll be richly deserved.

Doomsday for the Deceiver Full-length, 1986
No Place for Disgrace Full-length, 1988
When The Storm Comes Down Full-length, 1990
Never To Reveal EP, 1992
Cuatro Full-length, 1992
Drift Full-length, 1995
High Full-length, 1997
Unnatural Selection Full-length, 1999
My God Full-length, 2001
Dreams of Death Full-length, 2005
The Cold Full-length, 2010
Ugly Noise Full-Length, 2012
Flotsam and Jetsam Full-Length, 2016

Official Site


Based on the debut demo (which is number II, for some reason), this act plays weird twisted technical thrash which if it wasn't for the awful sound quality, could have been a delight to the ears. The band mixes puzzling riff patterns with sudden speedy ourbursts, topped by gruff semi-death metal vocals. Out of nowhere come stylish bassisms, and even more out of nowhere come the proto-blasting deathy sections. The final result may be classified as a wilder version of Terrahsphere and early Atheist (the excellent short technical piece "Ulterior Ramification"). There's some dissonant riffage involved, too ("Paunch of Pauper" which also includes a very cool funky passage) which reaches its culmination on the surreal composition "Inorganic Crystallization", an eclectic concoction of riffs and outstanding funky bass performance, plus the obligatory wild speedy shreds evolving on a discordant guitar background. This is a really unusual, highly original take on the genre and as such deserves more attention regardless of its obscure, underground status.
The 2nd (which it titled number 3?!) demo brings the avantgardism to an even higher level starting with the funk oddity "Dada (Parole in Liberta)/Maybe...". which can be viewed as Primus with a slight thrashy engine. Then comes the 9-min surreality "Frustrated" which bizarre arrangements and weird melodies that predate the Italian surrealists Garden Wall with quite a few years. Flamenco meets thrash/proto-death on the strange piece "Imperishable Invisibility" which is "the cream of the cake", that same "cake" being a really off-the-path release which would still enchant despite its decisive turn from thrash. Later in the 90's some of the band members moved on with the death metal outfit Convulse.

The "Dr. Andule (Tableau Vivanti)" demo: the Finnish avantgardists are in full swing here again producing another slab of eclectic music again not necessarily related to thrash, but engaging and pretty mind-scratching. Twisted slow-ish riffs come out of nowhere accompanied by some of the noisiest drums at the time the latter creating the impression that the band are just jamming stoned or drunk. This opinion begs to be changed after the chaotic post-thrasher "Changing Waters" enters the scene with fine puzzling guitars which continue the stylish carnage on the closing "Tok" with a more aggressive proto-deathy edge also matched by the vocals which acquire a more brutal tember as opposed to their main slouchy punky tone. It's a pity that these hallucinogenic visions never reached the official release stage: those schizophrenic sounds could have thrown into delirium most of the more linear fanbase.

Demo II Demo, 1989
Demo III Demo, 1989
Dr. Andule (Tableau Vivanti) Demo, 1990
Manifesto EP, 1992


A decent mixture of the classic and modern sound which tries to convince us that "thrash is all around", like the song of the same title, the latter being a crunchy mid-pacer with heavy riffage, cancelled by the more dynamic "Air Force", and especially by the ripping galloper "Warhead" which thrashes hard for more than 6-min also featuring a pretty cool peaceful interlude with very good leads. Still, the dominant pace is mid with touches of The Black Album, and Metallica is "courted" by the singer whose powerful steady delivery isn't too far from the one of James Hetfield.

Piece of Hell Full-length, 2006


This cool band are the contination of the progressive doomsters Confessor. Here the music has fewer shades of doom, and is more dynamic and thrashy, although in terms of complexity it is by no means easier to swallow, and at least to these ears recalls mid-period Prong ("Beg to Differ", "Prove You Wrong") quite a bit in the 1st half, rather than Confessor. The sound is decidely modern, and the guitars twist and turn the whole time, which make the songs not very easy to follow, but their length seldom exceeds 5-min, so by the time you lose the plot of what you're listening, the next song will come to save you. Some tracks are "excursions" outside the progressive thrash spectre: the slower, doomy, and more conventional "Take You On", others are cool crushing doomy technical thrashers: "Mover", "Victimize"- fairly unique numbers, since the slow-ish tempo is created by heavy guitars, which suddenly come up with a more dynamic section with the drums staying in the slow field as though begging the guitars to return to the slower pattern, which happens a few seconds later, of course. Alas, the guys were just entertaining themselves while waiting for the right time for a new Confessor album (which came 8 long years later) with no intentions to give this band more life.

Fly Machine Full-Length, 1997


This outfit provide decent progressive-tinged power/thrash which becomes more aggressive on "War's Victims Never Fight" which is still a more elaborate composition. "Wasted Youth" at the end is a furious ripping cut, a very different "animal" from the material heard previously. The singer sings in a slightly unrehearsed, strained fashion still possessing the melodic pitch requisite for this kind of music.

The End Kill the Means Demo, 1990


Funky playful post-thrash with crossover overtones and more intense heavier passages; there's quite a bit of experimentation with the guys stretching their sound into alternative, epic metal, both furious and more controlled (read epic-tinged) death metal, and more; so one can easily draw similarities with their compatriots Waltari based on the larger-than-life, kind of scattered, approach.

Opium Grilli Full-Length, 2010


Decent modern thrash/death metal offering a capable blend of hard-hitting and melodic parts; the guys keep a respectable speed throughout adding the odd more technical implement recalling both Arch Enemy and Dark Tranquillity. The singer is a brutal growler, low-tuned, but intelligible seldom interrupted by a much higher-pitched shrieker.

Madness Full-length, 2010

My Space


A cool thrash/death metal hybrid typical for the French metal scene during the late-80's/early 90's; the style is more technical at times recalling Massacra with atmospheric passages ala Misanthrope thrown in as well at times. There are also nice female vocals involved as well as gothic elements.

Disfigured Inhuman Barbak Full-length, 1999

Official Site


Based on the EP, this band offers good energetic thrash along the lines of Tankard, early Whiplash and Hellbastard's "Natural Order". The vocals are in the hardcore camp, and will remind you of Tommy Victor from Prong.
The self-titled debut continues the line from the EP, also helped by all 4 tracks from there, the rest being highly energetic speed/thrash with great melodic leads. The approach on the unheard material is varied ranging from the more laid-back speed metal on "Enforcer" and the mid-paced proto-hardcore on "Kills on Contact", to the more intense thrash-laced assault on "Fog of War" and the closing "D.O.A.". The vocals remain in the hardcore camp this time also recalling M.S. "Scruff" Lewty (Hellbastard).

The "Confessions of a Thrashoholic" EP doesn't betray the jolly free approach of the preceding releases offering unpretentious speed/thrash metal now coming with a less serious crossover touch ("Nuclear Nightmare") and a thinner guitar sound. ZZ Top's biggest hit "Sharp Dressed Man" is "raped" big time turned into a humorous thrash/crossover piece, still pretty recognizable (if you follow the lyrics mostly), followed by the more likely cover of Zombie Holocaust's "Boba Fett". As a whole the style here is even more stripped-down reminiscent of Lawnmower Death and Ludichrist.

"Here Lies Humanity": the brilliant lead-driven balladic intro "Subject Mk1325" raises the hopes high, and the guys don't disappoint later, first with another intro, this time faster-paced also lead-driven, "Abiogenesis", and then with the intense ripper "No Evacuation" before "The Glow" gives a more progressive/technical flair to the proceedings. It's melody which rules here and the guys don't spare hooks and tunes throughout also keeping the energy quite high with cuts like "Here Lies Humanity" and "They Live, We Sleep" keeping the thrash metal idea alive and well. "Nuclear Nightmare" is a relentless roller-coaster, and the closer "Mkultra" is an energizing thrash/crossover delight with a nice technical twist and great rousing lead sections. This is a cool addition to the band's catalogue who should by all means find a wider exposure with their encompassing, entertaining style.

Metal Will Fuck You In Hell Demo, 2005
M.C.T. E.P. EP, 2006
Fog Of War Full-length, 2009
Confessions of a Thrashoholic EP, 2010
Here Lies Humanity Full-Length, 2015

My Space


The line-up includes Fabrizio Damiani: the guitar player of the technical thrashers Rainspawn, but the music here is strictly for the modern 90's thrash lovers. It has dynamics, and the riffs crush with force most of the time; it's just that there's little which hasn't already been offered by Pantera and their numerous clones. Things start moving around a bit in the middle with "Kill FashionCore" which is a cool speed/thrasher, and "Welcome to the Brotherhood", which is a heavy 10-ton hammer, but later on the sound safely wraps around the aggro-trends again.

"To Persevere Is Diabolical" is a much more energetic affair the guys thrashing more wildly, still with a big amount of groove, but also boasting some cool energizers ("Predominance", "The Skeleton Coast") which will create the desirable moshing atmosphere anywhere. The guitars cut like a knife boosted by the very good sound quality. There's quite a lot of intense thrash to be heard, including more brutal deathy sections ("Blood Pact"; the short blasting madness "Necropotency") to which the throaty forceful death metal shouter fits better.

Either Caesar or Nothing Full-length, 2008
To Persevere Is Diabolical Full-length, 2012

Official Site


Based on "The Descent Of Decency", these folks produce decent uplifting power/thrash which straddles the fine line between the modern and the classic school. Tasteful melodoc leads ornate every cut the approach frolic and optimistic bordering on crossover quite a bit, especially on the faster material. "Sympathy Lick" is a cool nod at the heavy metal school, and "Making the Eight" is a nice speed/thrasher still palying a second fiddle to the short bursting rager "Waltz of the Bear". The vocalist is a hoarse semi-cleaner who still tries to sing despite his limited abilities.

Oh God, It's Warm Full-length, 2007
Every Hole Is a Goal Full-length, 2011
The Descent Of Decency Full-Length, 2016

Official Site


The Greek scene starts waking up from its post-crisis slumber, and here come another act to provide the next chapter from the modern thrash/death metal roller-coaster. For novelty this effort won't get too many points, but the band know their craft and althoguh they don't shred with too much force, their playful approach to the genre, with clear death'n roll nods to mid-period Sentenced and Entombed, should make the fan happy and mildly entertained despite the relative lack of many fast-paced riffs. The singer is a throaty semi-death metaller who resembles the Entombed vocalist Lars G. Petrov except on the times when he shouts, or rather screams, in an unholy Chris Branes-esque manner. Make sure not to miss the explosive brutal ending of the closing "... And Hell Followed" which will remind of many pleasant moments from the distant past.

The Hell That Follows Full-Length, 2013

Official Site


Prototypical modern thrash with hysterical hardcore vocals and very good melodic female chords which this below average music simply doesn't deserve; it doesn't even have an edge or speed to keep you entertained. The other clean vocals, the male ones, are nothing special.

The Life Once Lost Demo, 2007

My Space


Based on the EP, this is heavy shattering modern post-thrash with noisy guitars and several more melodic distractions (the cool leads on "SUK2BU"). The singer shouts to the point of losing it, but the seismic riffage requires exactly this kind of vocal delivery. The band members can also be seen in the power/thrashers Coven 6669, the thrash metal outfit Aggression Core, and the sludge/doom "monsters" Undone.

Not Affected by Pain Full-length, 1997
Sinus EP, 1999

Official Site


Modern groovy post-thrash which surprisingly livens up with stylish guitar decisions ("Buried"), but the dominant sound is mid-paced with slightly monotonous, not very hard riffage which remains edgeless even for the more up-tempo material ("Armed Aggression").

The Aftermath of the Massacre EP, 2007

My Space


This is modern thrash which covers a wide ground ranging from all-out bursters ("Among Thieves") to more engaging, technical exercises ("Black The Day"), to less exciting melodic mid-pacers ("I Am Done"). The lead guitar work isn't bad at all (check out "Code Of Silence"), but the singer overdoes it a bit with his strained very guttural death metal baritone.

Perfidy Full-Length, 2015

Official Site


One of the finest representatives of the Bay Area fraternity; "Forbidden Evil" is a phenomenal debut, one of the highest achievements from the Bay-Area, full of compulsive speed/thrash metal classics. The band could have pulled out one more piece of the same, but new more stylish technical demands have come up on the "horizon", and the band's answer to them was "Twisted Into Form": a standout technical thrash effort standing proud beside similar US offerings from the same year, like Megadeth's "Rust in Piece" and Anthrax's "Persistence of Time". Whether this was the peak of the band's creative powers is debatable, but they have voted to join the growing modern thrash metal movement 4 years later, and "Distortion" can be considered one of the better achievements of the genre from the 90's, albeit having little to do with the band's past. "Green" moved further into modern post-thrash metal mixing the angry heaviness of Pantera and Machine Head with the brutal apocalyptic experimentalism of 90's Testament (think "Low" and "Demonic") losing whatever remnants were left there from their 80's period including the characteristic wailing vocals of Russ Anderson, here replaced by semi-shouty angry ones not miles away from Phil Anselmo, and could be viewed as the band's sole actual failure from the classic thrash metal fans.

It seems as though the Bay-Area brotherhood is in full attendance operating in the new millennium on full-throttle (with the sole exception of Vio-Lence perhaps, but one never knows when the latter would jump up "ready for battle"). Forbidden were missing up to this point, but here they are, and one must admit that the joy of this reunion is inevitably mixed with the fears of an eventual "Green" clone. The intro "Alpha Century" is already captivating enough, to these ears somewhat reminding of Judas Priest's "The Hellion" from "Screaming for Vengeance", its exiting cords transferred into "Forsaken at The Gates": a sure-handed dynamic Bay-Area thrasher in the best tradition of the band debut, with a slightly drier guitar sound. Russ Anderson has preserved his gruffer tember from the 90's, decorating it from time to time with his cleaner delivery from the more distant past. The proto-modern shred in the beginning of the next "Overthrow" may throw some into consternation, and although this composition remains well inferior to the smashing opener, it delivers in a more quiet pounding fashion. After it one has to either "adapt or die" having in mind the obvious modern/classic mixture, but "Adapt Or Die" will help him adapt to it, rather than the other way around; it offers vigorous retro speed/thrash with Anderson relying on his cleaner tone to give very good performance. The band's infatuation with the more progressive sound comes up on the diverse "Swine" which is a capable mix of slow, almost doomy, and fast headbanging passages topped by great leads. "Chatter" is indeed a "chatter" providing multiple voices on top of each other on an unobtrusive guitar background for about 2-min. "Dragging My Casket" is another progressive track which kind of misleads with its intense beginning, but later on the approach is milder semi-balladic. Up to this point one has probably noticed the similarity between this effort and last year's Heathen's "The Evolution of Chaos" with the very similar alternation of styles, but the reason why the album here will leave the lesser impression is that from this moment on the guys stick to repetitive patterns of mid-paced semi-progressive sections for a lengthy string of songs, clinging towards the ballad on quite a few times, almost completely forgetting about their early side. It eventually comes back for the brisk closer "Omega Wave", which is almost as compelling as the opener, lashing steel riffs from beginning to end, but the created contrast between its energy and the preceding less vigorous material is hardly to the band's advantage. Still, this album works well as a bridge between the band's early late-80's and mid-90's output, sounding like the missing link between "Twisted into Form" and "Distortion", but still serves its purpose despite having been released some 15-17 years later.
Russ Anderson is helped here by the guitar wizard Steve Smyth who has graced with his presence another Bay-Area "hero(es)": Testament, as well as their side-project Dragonlord; and has also taken part in Nevermore, Vicious Rumours, and the promising Italian act Chaoswave. The Bay-Area drum legend Mark Hernandez is also here; the same one who has hit the drums in Vio-Lence and its two "branches" Torque and Technocracy; also Heathen, Defiance, etc.

Forbidden Evil Full-length, 1988
Twisted Into Form Full-length, 1990
Distortion Full-length, 1994
Green Full-length, 1997
Omega Wave Full-length, 2010

Official Site


Quite eventful, and also quite complex, progressive modern thrash/death which will "disturb" you big time with the opening "The Disturbing Frustration", a unique puzzling blend of abstract sections and some really hard ripping riffs. The madness comes under control on the more restrained "The Fool Of Barbed Wire And Thorns". Prepare for "walking on the dark side" with the song of the same title which will pull you into a labyrinth of sudden time-changes and sweeping keyboard landscapes to a scarily atmospheric effect. Then comes the title-track which is a jumpy proto-groover leaving all the musical wonders for the following "The Hating Mirror" which is a speedy shredder with interesting decisions. The album takes more ambitious epic proportions towards the end with the last duo of pieces which mix quite a few influences to create hallucinogenic, hard to grasp, pictures which will require a few listens before one learns to appreciate them. The singer doesn't really sing, but recites in a deep deathy baritone sometimes not very clearly heard.

The Sleepwalking Psychopath Full-Length, 2013

Official Site


Melodic modern power/thrash metal with a dark, gothic atmosphere, sparce use of female vocals (the main ones are death metal-ish), mid-paced and slightly monotonous.

Demo Demo, 2004

Official Site


Don't get misled by the band name and the album title: these guys are from Finland, and have nothing to do with Spain or South America. This project involves several members of the retro thrashers Jumalation (also from Finland), who here enjoy themselves playing less serious, and not as good, thrashy crossover, not too far from the early works of the Brazilians Ratos de Porao; these guys vary things more, adding short, punk-ish, but also brutal grinding pieces, plus the odd heavy, slower, steam-rolling crusher ("Bitchfucker"). Still, this is not bad, and the sheer speed and energy behind the music will keep you headbanging the whole time.

Caveira Da Forca Full-Length, 2002


Thrash/crossover of the jolly melodic variety; at times the music is pure hardcore, and the tempo isn't very fast, quite clumsy and boring, as a matter of fact; on the other hand, on some songs the lead guitarist tries to shine producing a couple of cool solos. Both albums offfer the same stuff, with the 2nd one speeding up a bit, coming close to the early works of Suicidal Tendencies.

Claustrophobia Full-Length, 1989
Elounda Sleep Full-Length, 1991


Thrashy hardcore, heavy and mid-tempo, but not stale with more playful moments added, as well as more aggressive thrashy ones. The complaint comes from the clumsy groovy sections which can be heard on a couple of songs.

Send Them Back Full-Length, 2009


A 4-song demo of good mid-tempo modern/classic thrash metal reminiscent of 90's Megadeth and more recent Annihilator; the guitar work is melodic, but is quite interesting, finding the perfect balance between melodic and more aggressive riffage. The guys nicely mix slower heavy sections with more energetic ones making all the tracks sound quite similar to each other, but this is hardly a complaint as the music is really good.

Wonderful World Demo, 2004

Official Site


The full-length debut: retro thrash in the vein of Sodom, Kreator, Destruction, touches of Slayer as well, with black metal thrown in for good measure. This is a live recording so don't expect a very high sound quality. The problem is that often do the guys adhere to pure brutal bashing which isn't a very nice contrast to the more stylish moments, and is particularly striking on the longer compositions where more complex sections are suddenly "broken" by a "flood" of aggressive discordant riffs. The last track is a cover of the Running Wild early hit "Soldiers of Hell" from their debut.
"Darkness Revelation" is a total black/thrash metal fury with frequent apocalyptic blasting passages which will make you break everything around. This goes well beyond the manic shred of early Impaled Nazarene, remaining surprisingly listenable for most of the time with intelligible guitars which even carry a slight technical edge here and there. The maddening speed may cause you a headache at some point, though, and it's mostly the black metal maniacs who will have a great time here although the more faint-hearted will definitely find it hard to tolerate this constant ultra-extreme downpour till the end.

Force Of Darkness Full-length, 2006
Darkness Revelation Full-length, 2010


A little known, but a worthy addition to the thrash metal genre trio; their debut is unpolished, but inspired technical thrash metal with very good bass work, jumpy hectic guitars, and quite a few straight headbanging moments. The overall approach may remind you of early Megadeth on the more dynamic moments although the music here is way better than the one on "Killing is My Business, ...", but needs more to reach the brilliance of "Peace Sells, But...". The tempo is mid most of the time and the riffs swirl often, being quite pounding at the same time. The technicality at times gets too complex, maybe to the point of showing-off ("Foreign Policy"), but the sharp riffage and the cool short technical leads are capable complements. Near the end the style wears off a bit since the approach to the song-writing is samey: heavy punishing rhythms, technical swirling riffs, and the obligatory one or two direct thrashy passages. Finally on the last track "Unrest They Find" the guys speed up nicely producing intense headbanging moments.

"As Above, So Below" isn'ot radically different from its predecessor although the fast sections are more, but there's a lot of chugga-chugga riffage which takes away from the melody considerably (not that there has been a lot of it on the band's works, but still...). Some really complex thrash can be heard on "Macrocosm Microcosm" and "The Unextinguishable", again of the very heavy pounding type. There's space for sentimentality left, though, with the cool heavy ballad "Never A Know But The No" which is a really fine combination of melodic leads and crushing guitars. Again the headbanging is left for the end in the form of the short explosive "We're Dicks" and the softer, but quite energetic "Thunderhead" which precede the almost progressive thrash closer "When One Becomes Two" which crosses the staple heavy technicality with really nice quiet interludes accompanied by a more melodic vocal delivery. Although to some ears this might sound too one-dimensional and not really striking, not many were the acts in those times, and even nowadays, who could produce such a seismic heavy, and at the same time technical, sound.

Uncertain Future Full-length, 1989
As Above, So Below Full-length, 1991
The Shore EP, 1995



This act shares musicians with other thrash metal bands: Pyrotoxic, Armageddal Age, Ravenous, etc. This one is perhaps the best of the lot pulling out really good classic speed/thrash metal mixing the German school with less controlled Slayer-esque aggression. The speed is really big here (check out the short explosion "Spectral Aggressor", as well as every other song), and the riffage is sharp and hard-hitting introducing a few heavier stomping breaks along the way ("Renegade (To The Death)"). The singer delivers with his comprehensive semi-declamatory voice seldom acquiring angrier quarrelsome qualities.

"Invasion of Steel" is four tracks of fast, uncompromising old school speed/thrash; "Armed For Attack" is a "fast as a shark" piece with "Burning Mania" a very close second both racing as to which one will break the speed of light first. "Towers Of Nothingless" introduces heavy crunchy riffs which last for 6-min, before the lightning fast "Divine Wind" sweeps you down with the last portion of no-bars-held blitzkrieg speed/thrash. The time looks right for the guys to spend more time in the studio and hit us with a full-length "hurricane"...

Speeding Death Velocity Demo, 2009
Invasion of Steel Demo, 2011

Official Site


This is wild aggressive thrash/proto-death with chaotic arrangements which border on the technical, but are served with a messy musicianship and some awkward slower moments which are strangely dramatic and listenable ("Humanicide"). On top of that we have very screamy, but quite proficient, leads which are a short (not the shortest) straw of being called virtuous. "From The Grave" is brutal bash which goes over the primal "Reign in Blood"-like aggression into less trodden at the time death metal waters. The band were earlier known as Lethal Creed where the style was a tad friendlier.

The Time of the End Demo, 1989


Based on the full-length debut, these folks provide decent retro power/speed/thrash which sides with similar acts like Cage, Attacker, and early Iced Earth. The guys here are perhaps more varied and aren’t shy of inserting the odd more brutal deathy element (“Unyielding Terror”) including in the vocal department where the main clean dramatic throat is at times interrupted by deep guttural chords. The delivery is pretty dynamic, but it has its epic moments (“The Genetic Crucible”; the long semi-balladic “Homunculus”) which start to dominate the scenery in the 2nd half to mixed impressions. The closing “Retrogenesis” jumps around in a hectic semi-technical fashion, but its busy rhythm-section seldom leaves the mid-paced parametres consequently failing to use the best from the more clever riff-patterns applied.
"Emissaries of Light" is more epic and more power metal-based although formidable gallopers like "Wild Pegasus" will stir the blood. Speed isn't the order of the day despite the presence of several friendly fast-pacers like "In The Spirit Of Burning" (this one even blast-beats at some stage). "Dark Matters" is a rousing speedster in the 2nd half, and "Psycho Plague" is another ripper with lashing riffs making the ending more attractive than the timid beginning also with the help of the little speed metal anthem "Set Phasers To Kill".

Cosmic Integration EP, 2013
Saga of the Taming Full-length, 2015
Emissaries of Light Full-Length, 2016

Official Site


A 4-tracker which provides decent dark atmospheric, semi-technical retro thrash with growling deathy vocals. The guys are adept at switching from one tempo to another on a nearly rhythm-by-rhythm basis as the "champion" in this sense is "Prokletstvo", a noteworthy roller-coaster which translates some of its brooding vitaity on the more melodic, more speed metal-prone closer "Crna Kisa".

Kill the God Demo, 1993


This is the new band of Andreas Lohse, the singer of the progressive thrash metal masters Lost Century. Based on the "Reverse Feng-Shui Audio Guide" demo, the name of the game is also progressive thrash, and also of a fairly high quality. The music is less aggressive, but the guitars are very technical, labyrinthine and choppy, and the song-structures are way more complex, vortex-like where one might get lost, especially on the longer sections although one would hardly be bothered about that as the great technical riffs will keep him/her entertained the whole time. This isn't very abstract stuff, you'll hear moments from early Psychotic Waltz, Mekong Delta, Spiral Architect as well as a couple of riffs ala early Jeff Waters. Near the end the guys abandon the more thrash-fixated delivery with the marginally less eventful groovy/chuggy shredder "Thrown Free on Impact" which doesn't have much to do with the more flamboyant technical style of the rest; and the jumpy/funky progressive metal number "Code of Secrets" which lacks too many hard-hitting riffs, but delivers with its not predictable nature "courting" acts like late-period Sieges Even and Porcupine Tree, among others.
"Coldheart Canyon" is more power metal-based, still with a strong technical/progressive edge in the vein of mid-period Fates Warning and Slauter Xstroyes, serious multi-layered music with few ties to thrash. "Forcilized" is an equally as complex and varied affair with a more pronounced modern flair and more labyrinthine compositions, not much actual thrash again save for the intense modern Darkane-sque shredder "Husk of the Withered Moth" served at the end.

"Straight": the band took a low profile after the string of demos and here they are striking with their full-length debut. The music retains the technicality displayed earlier, but is strictly in the groovy post-thrash camp so it may be an acquired taste for most of the fans because of its openly modern character and the not very coherent "gruff-clean" vocal duel the former side really aggressive with a clear death metal shade. Some hard-hitting numbers will stir the blood ("Virtual Fuhrer"; the cool progressive shredder "Colours"; the sudden blast-beats on the opener "Mind Slavery" which also "flirts" for a bit with Michael Jackson's (R.I.P.) "Billie Jean" in an ephemeral covert way), but they would be rather annoying for not being more widely covered the guys spending most of the time just grooving in a more attached semi-technical fashion. This effort could be considered a disappointment compared to the much better music heard on the demos.

Coldheart Canyon Demo, 2003
Forcilized Demo, 2004
Reverse Feng-Shui Audio Guide Demo, 2006
Straight Full-Length, 2012

Official Site


The demo: this act pull out old school thrash/crossover which alternates between fast and slower passages recalling Leeway and Rumble Militia except in the rough hardcore vocal department where the guy really quarrels for most of the time in an intense comprehensive manner. The sound quality is quite good boosting the cutting guitars and kudos should be paid to the energetic drummer as well who is by all means one of the best performers in the band covering, and frequently changing, a wide range of tempos.

"Helsinki Savagery" is a sheer "savage" "monster" which is now full-blooded thrash the less serious crossover trends left somewhat behind. Slayer is a more obvious influence now (check out "Market Target"), and the nod to Exodus done with "Bonded By United Blood" is well justified the sound moving towards the Bay-Area for a bit. More impetuous thrash later with "Delusion Of No Consequence" and the speed metal winner "Both Sides Lose" which will form spontaneous violent moshpits, and not only in Helsinki.
"Grave Danger" is a violent chaotic affair the guys just bashing without any order or discipline for at least half the time. They don't shy away from grind even (the outrageous "Fearmonger", the insane 1.5-min closer "Downward Spiral") the only more tamed cut being the surprisingly power metal-fixated "Bloodline", and partially the thrash/crossover hymn "Downward Spiral". The band have decided to scare away the not trve fandom, and have succeeded admirably. Not for the faint of heart...

Foreseen Demo, 2010
Helsinki Savagery Full-Length, 2014
Grave Danger Full-length, 2017

Official Site


A less ordinary, original, semi-technical version of the 90's thrash metal idea spiced with a bit of funk, hardcore, progressive, and playful rockish tunes, including the interesting vivid cover of the famous "Hocus Pocus" theme of the Dutch band Focus, even beating the Helloween version in terms of experimentation and originality. The thrash metal fan will be by all means entertained on the more intense thrashy opener "Lie", and on the jumpy lively technicaller "Come Alive". "Do We Disturb?" may surprise pleasantly as well with the fine melodic Oriental hooks which go through the whole song creating dramatic escalating atmosphere rudely "broken" by the aggressive riffage at the end. "Mediocracy" is a cool hectic lasher recalling both Anthrax and the Mordred debut, and "One Flat Tire" is a light-hearted crossover joke. Then comes a string of unimpressive groovy fillers, a situation saved by the aforementioned "Hocus Pocus" and the wild speedy shredder "One Voice", a brutal piece of music bordering on proto-death. It should have been the closer, though, rather than the bad "electronic meets hardcore" joke "Joke Smoke I Love Rave" which ruins the final impression quite a bit from this otherwise mildly satisfying diverse effort.

Do We Disturb? Full-length, 1996

Fan Site


These guys pull out cool energetic (don't read very fast) old school thrash/crossover with a few deviations: the depressive black-ish "Kill The Principal", and the short 40-sec bursting "excursion" into hardcore/punk "Raid The Stage". The riffs are simplsitic and to-the-point, and the singer is a suitable gruffer who becomes scarier on demand acquiring darker deathy/blacky overtones here and there. The guys also have another project: the much more aggressive death metal formation Multinational Corporations.

The "Anger Management" demo is just 2 songs which shows the guys moving towards the darker side of the genre, thrash/black metal that is, "Hack N' Slash... The Dungeon" being dark and moody with atmosphere and doom settling in comfortably; the title-track being an intense shredder with faster moments and a suggestive doomy outro. The singer now sounds even more sinister, but less comprehensive his rendings further hampered by the noisy sound quality.

Just a Fucking Preview! Demo, 2010
Bombs Away! Demo, 2010
B.I.T.P. Demo, 2011
Anger Management Demo, 2012

My Space


Minimalistic post-thrash with a cool vocal "duel" between a scary death growler and less extreme, albeit still quite forceful, female one which develops on a dark stomping musical background characterized by heavy, abrasive guitars and hammering doomy tempos. Not bad, maybe a bit one-dimensional with sparce sleepy tendencies if it wasn't for the sudden vocal switches, and with a bit more refinement it may reach the heights of Fear of God's "Toxic Voodoo" some time in the future.

Zeitgeist EP, 2011


Old school speed/thrash mixing the German trends ("Hellbringer", the speed monster "The Rapture") with a more intense Slayer-esque approach ("The Banished" which exits the scene with slower Celtic Frost-like riffs). "The Hammer" at the end is the slower mid-paced deviation (it's a "hammer", after all...). The singer has a gruff dark tember similar to Tom G. Warrior with a pinch of the other Tom: Angelripper.

Hellbringer EP, 2009

My Space


The debut: modern thrash with occasional stretches towards the classic scene; the guitars are dry and cold, but the tempos vary moving from heavy angry Pantera-sque sections to faster-paced ones in the vein of Dew-Scented and Terror 2000. The mixture works also strengthened by the inclusion of a few slow doomy moments, and the forceful Phil Anselmo-sque vocals which at times come more brutal with a pinch of death.

"With These Fists" is a groovy modern affair the guys reducing the energy from the debut also elongating the compositions a tad. The heavy steam-rolling riffs simply squash and mid-period Pantera may come to mind often when you listen to this frankly angry effort. Mild surreal quasi-progressive moments ("Mind of Rage") add more spice to the proceedings as well as the short headbanger "Shadows of Fear" which lightly smells the classic school. In the end one will learn to tolerate the seismic rhythm section which accumulates more inertia and reaches the top on the last 3 cuts which will also recall Puncture and early Machine Head, the closer "Anatomy of Pain" a prime shredder with a few admirable fast-paced sections.

Harbouring Hate Full-length, 2009
With These Fists Full-Length, 2014

Official Site


This is mostly modern black metal in the Darkthrone-vein spiced up with some thrash metal riffing and more quiet moments reminding of the viking/black metal style of Enslaved.

Victorious Among The Damned Full-length, 2006

Official Site


The demo: cool speed/thrash metal with a black-ish edge reminiscent of Alastor from Portugal; the Finns' music is more aggressive with occasional blast-beats thrown in and more vicious harsher vocals.
"The Serpent Creation" is a furious offering, not having much to do with the more classic-sounding demo. This is more modern black/thrash with casual technical death metal elements, quite fast and energetic, with frequent brutal blast-beats scattered all over, but at the same time incorporating haunting, beautiful melodies in the spirit of later-period Emperor and Dimmu Borgir. Now the band sound like the "father" one: Deathchain, where all of the musicians involved here also take part, only not as technical, and with more brutal insertions.

“Aeon of the Shadow Goddess” is another fairly aggressive affair the guys alternating their furious deathy escapades with ethereal atmospherics the symbiosis working for most of the time maybe going a bit over the top on the hyper-blasting “In Ravenous Darkness”. As a whole this offering can pass for the band’s most brutal recording and as such may not be the thrash metal fan’s first choice.

Demo Demo, 2007
The Serpent Creation Full-length, 2011
Aeon of the Shadow Goddess Full-Length, 2015

Official Site


The debut: modern 90's thrash walking in Machine Head's shoes for most of the time managing to emit a forceful sound not too distant from "Burn My Eyes" which is the main target for worship. Sparce speedy passages ala Corporation 187 or Maze of Torment can be heard which give a nice boost to the predominating groove-laden aggro-approach.

"Enough" says "enough!" to the modern trends and most of the time the music is quite good classic thrash/proto-death metal, pretty brutal and vicious at times with the 90's leanings not completely abandoned mostly reflected in the slightly sterile mechanized sound of the guitars which brings allusions to Fear Factory ("The Human Race Is Dead"). The album overflows with energy not without the help of the short brutal, but frequent, death metal moments. "What Will Be?" is a nice attempt at a more technical play, and is a cool deviation from the hard-hitting model.
"Black Ocean" returns to the more modern sounding patterns and the result is a noisy groovy affair which isn't completely without any speedy merits, but those are drowned in too many rehashed groovy sections that it would be too hard for one to sit through the whole album waiting in vain to hear something more intense and dynamic. There's one such moment, though: the closing "Empire Surrender" is a dramatic death/thrasher which will move the head a bit, at least to those who will have stayed till the end.

Feel Your Suicide Full-length, 2005
Enough Full-length, 2010
Black Ocean Full-Length, 2013

Official Site


The debut is fabulous power/speed/thrash metal similar to 80's Flotsam & Jetsam (think "No Place For Disgrace") with a more technical edge. Some tracks will simply sweep you away with their furious riffs: "Example", "In Honour Of...". Some are slower, but very interesting pieces, with good tempo changes and technical guitars: "Several Ways". The sound is firmly classic with rare modern "updates": the heavy doomy "Beg". "Unwillingly" is a masterpiece of technical thrash metal also featuring great leads and a magnificent atmospheric acoustic break near the end (the acoustic guitar performance there is simply breathtaking). The bass work is really impressive, not of the Jason Newsted-like omnipresent variety, but more along the lines of the "not very regular, but highly effective decorations" ala Steve DiGiorgio. The singer is clearly a find with his very powerful clean voice not too far from Eric AK (Flotsam & Jetsam again).
The band have decided to turn to modern post-thrash with their sophomore effort at the time when classic thrash metal was coming back with full force; a strange decision and... the wrong one.

I Choose My Own Full-length, 1995
Shock Corridor Full-length, 2000


A fine thrash metal band from the heydays of the genre who never managed it outside the underground circle which is a shame because their music was very competent, with great energetic riffs, calling to mind early Megadeth and Exodus. The Best of compilation largely comprises energetic Bay-Area thrashers some of which ("The Omen", "The Spell") are more on the bashing, headbanging side while others ("Perfect Race", "Await the Awakening") are a nice stylish nod to the more sophisticated thrashisms of Megadeth again. The vocalist is a cool semi-declamatory semi-cleaner who starts shouting with more passion on the more aggressive material which also includes the razor-sharp shredder "Dead Man".

Demo I Demo, 1987
Demo II Demo, 1988
Demo III Demo, 1989
Formicide Best of/Compilation, 2006


This young Polish act offers technical thrash/death metal which walks the path of Pestilence's "Testimony of the Ancients" and later-period Death, with a forceful vocal participation, not far from Martin Van Drunen (Pestilence, Asphyx, Bolt Thrower, etc.). The music is both melodic and technical balancing between the two tendencies. The opening "Social Status" is a lyrical headbanger with atmospheric progressive breaks, and "The Priest Of Fake" follows the same speedy path thrashing hard with great leads and complex virtuoso sections. "By Accident" is another vigorous piece with steel riffs galore and a beautiful balladic break, also graced by nice female vocals. "R.I.P." is a "r.i.p."ping thrashterpiece, a fast no-compromiser, again honoured with a nice mid-passage and the great lead guitar work. It's only the final "Leaders Of Flesh" which betrays the intense pattern, but just a bit, coming with heavy pounding rhythms which seamlessly flow into the enchanting balladic outro "Sapphire". This is a good release which gives a nice, characteristic twist to the numerous Death-worshipping albums by making an optimal use of both the melody and technicality without overdoing it in either department. Some of the band members are also occupied with the melodic death metallers Iscariota.
"Mental Survival" is a very cool follow-up to the very strong debut the band carrying on with their intelligent cleverly-executed brand of thrash/death. The guys vary the pace as more attention is paid to the atmospheric sections now, an approach recalling Alarum and Extol ("Horizontal Hourglass"). Still, the headbanging side of the genre hasn't been forgotten and here come shorter ragers like "Sculpture" and "Skeleton Key" to make your day. Not for long, though, since the end is preserved for two atmospheric ambient pieces, including the title-track, which are somewhat weird and leave things unfinished with just half a dozen songs to please the fans. The guys don't like straining themselves too much, but more music served in the future would be more beneficial to the audience's "mental survival"...

Perfect Excuse Full-length, 2010
Mental Survival Full-Length, 2014

Official Site


These guys' music is close to the one of their compatriots Megiddo, in other words we have old school black/thrash metal. This act also shares some of the dramatism of early Burzum and mix in a similar way speedy and slower passages, the former being more frequent to which the raspy raven-like vocals suit better. The sound quality is really bad giving an unnecessary boost to the hollow drums which stifle the guitars quite a bit.

The Compilation comprises brutal black metal in the beginning ("Sewer Dwellers"), later replaced by a more-laid back thrash/black mixture ("L.S.Demons"), before things become evil and misanthropic at the end with a cold Khold vibe ("Grave Shaking Hell Metal"). Some of the band members are also active with the death/thrash metal formation Savage Streets.

Hell Metal Demo, 2009
Sewer Dwellers Compilation, 2010

Official Site


Based on the full-length, these Peruvians indulge in very good classic melodic speed/thrash which is abundant in blistering catchy leads the main annoyance coming from the harsh very shouty, deathy vocals. The music cooks, though, and "La Enfermedad" is a nice progressive composition proudly followed by the perennial speed metal hymn "Hasta El Final" and the excellent invigorating instrumental "El Juego De La Traición". "El Hombre Que Quería Volar" attempts something more brutal and deathy, but the guitar work on this one is simply exquisite providing some of the most memorable hooks to ever descend from Machu Pichu. More glorious speed/thrash later to wrap it on boosted by an imposing oprchestral nuance on "Guerra En La Parada", and stripped of any gimmicks on the aggressive deathy closer "El Ataque Del Zorrón", a no-brainer with heavy dramatic guitars and an exiting fast-paced passage.

Mind Dissolution EP, 2013
Sintomas de Autodestrucción Full-length, 2016

Official Site


These Indians play dreamy, atmospheric post-thrash which seldom avoids the groovy "traps", and inevitably wears thin way before the end with its repetitive, unimaginative mid-tempo patterns. The quiet inclusions, some of which come with pretty good keyboards, are a desirable deviation from the trite formula and should have been more frequent. On top of that we have very brutal death metal vocals which bring nothing to the much milder musical landscapes except annoyance.

Hemispheres Full-Length, 2011


These folks provide classic power/thrash with very versatile vocals which range from emotional melodic croons to vicious brutal deathy rendings. Needless to say, the latter exploits are hardly necessary since the musical delivery is strictly for the 80's American metal lovers with epic galloping rhythms aplenty along with several ambitious progressive cuts ("Legend of the Overfiend") with a touch of Manilla Road and Griffin. There aren't too many attempts at speed and to listen to twelve songs of heavy, seismic mid-paced riffs may be a tiring experience to some.
"Descending Souls" isn't far from the heavy epic delivery on the debut, and the opening "The Conqueror" delivers just that the only novelty being the gruff "deathy vs. clean" emotional vocal "duel". There's nothing aggressive on "Aggressive by Nature" which is another soaring power metal hymn, but "Fists of the Dissenter" rages harder without leaving the established mid-paced confines. The speedy delight here is called "Damnation", but it's more serious, progressive delights like "Lord of Oblivion" and "Wrath of the Pawn" which capture the attention more the latter also providing several more dynamic moments.

Warn All Ye Sinners Full-Length, 2015
Descending Souls Full-Length, 2017

Official Site


One of the true greats of thrash metal of the 90's; the debut is a fine piece of classic Bay Area-sque speed/thrash metal with moments from the American power metal scene: a summary of what has been going on in the American metal world during the 80's. "Coming of the Storm" is a nice speed/thrasher reminding of the Metallica cover of Diamond Head's "The Prince" with its light-hearted, but pretty fast, riffs. Later the course hardens with aggressive thrashers like "Mein Madness" and "The Inner Circle". The leads remain of the more melodic type suiting the constantly fast-paced music quite well which only slows down on the closer "The Promise": a very cool heavy ballad. The vocals are good, high for most of the time, but never reach the intolerable glass-breaking notes.

"Division" comes with a more modern and aggressive sound. The guitars thrash really aggressively, no traces of speed or power metal here, and the pace is slower, which could be considered a stepdown from the debut; it's not until the 6th song when the first really faster riffs could be heard. The second half is the more varied, and the better one. There is a very cool bass instrumental, an excellent acoustic ballad, and a good cover version of one of the first speed/thrashers in music history: Accept's "Fast As A Shark". The new singer is much less impressive with an angrier more aggressive style not too far from Phil Anselmo.

"Destructive" opens with the awesome aggressive thrasher "Barcode"; later the aggression remains, but modern groovy elements show up ("Deviate", "Destructive"). As a result we have a hesitation between classic and modern thrash, but a considerable part of the speed from the debut has come back ("The Hard way", "Heal Me"), and this album still delivers the goods, despite the presence of two ballads.
"Rise Above" starts in the same way as the previous one, with a great speed/thrasher: "Man Against Machine", followed by another two in the same vein. It looked as though the guys have gotten rid of the groovy elements, but come "Ninety-Nine" and "Burn", which remind of the 90's once again, but only for a while. "Destructor" thrashes with full force, and just when you think that this time the band have forgotten to include the obligatory ballad, comes the last song: "Until The End of Time", a tender piece, another proof that there has hardly been a thrash metal act, before or after, who could come up better ballads than those guys (did someone out there say, "Testament"; or "Metallica"?).

"Unholy War": one of the most notable acts of the 90's is back after a long hiatus. Since Forte were one of the few bands who never messed it up (some may argue that their career was very short for that to happen), one should approach this new release without any worries as evident from the ripping speed/thrashing opener "Unholy War" which sets the tone followed faithfully by the remaining material which shows the guys looking back at their very beginnings, and this album is a very close companion to their debut with the short speedsters and the uplifting tunes making it a no-brainer for the old school fans. Some abrasiveness in the guitar sound from their more recent efforts roams around, but it can't possibly stand on the way of such inspired speed/thrashterpieces like "Absolute Power". The compulsory calmer composition is also here, "Undying" is the title, but here it's not really a ballad, but a more vigorous power metal cut with semi-balladic tendencies. This number is followed by another string of hard-hitting thrashers which go on until the end: the more diverse, but still pretty fast, closer "Light To The Blind" which boasts a great balladic exiting section. There's nothing better than the good old speed/thrash, and Forte have brought it forward in the best possible way. Yes, it seems as though they would never mess it up...

Stranger Than Fiction Full-length, 1992
Division Full-length, 1994
Destructive Full-length, 1997
Rise Above Full-length, 1999
Unholy War Full-Length, 2012



Based on the debut demo, this outfit pull out an atmospheric black/thrash mixture which doesn't have too many thrashy merits except for the progressive saga "Dimension Door of the Sky" and the battle rouser "Frozen Memories" at the end. The sound quality is very pristine, and the vocals are hysterical blacky "ravens".

Fortision Demo, 1998
There's No God Except Me Demo, 2000

Official Site


Modern thrash/crossover with post-thrash elements thrown in; think a more updated Motorhead as well mixed with straight hard'n heavy moments at times supported by cool forceful semi-clean vocals.

Victory Or Valhalla Full-Length, 1994


A nice emotional clean singer welcomes you here from the get-go so don't expect hard-hitting thrash on this very short (2 songs) effort. This is mellow power/thrash, more on the modern side, which has a few more brutal sections on the 2nd track which also introduces sparce death metal grunts among the almost progressive arrangements. The leads are quite effective, both melodic and screamy, and generally the production boosts the guitars giving them a sharp cutting edge.

Shatter This Prison EP, 2011



This Polish trio unleashes intense retro thrash which cleverly blends fast and slow sections to a positive effect topped by comprehensive mid-ranged clean vocals. Things get more elaborate on a couple of songs ("Apocalypse... Now!"), but this is nothing too technical, just more wisely-plotted compositions with dominant fast shredding passages and a few cool melodic licks. The overall approach isn't too far from "Eternal Nightmare" on the shorter, more aggressive moments, but the longer ones give this good album a less derivative, even stylish, outlook. The guys are also busy with the thrash/crossover outfit Terrordome and the modern thrash formation Traktor.

Modern Days Society Full-length, 2011

Official Site


A lengthy, half an hour long EP which shows a band willing to bring back the glorious days of 80's American power/thrash alternating fast blitzkriegers ("Red Death") with much more thought-out compositions ("Fire In The Sky") with an overt progressive flair. The bad news is that thrash plays a second fiddle as the guys surely focus more on their epic, heroic side staying closer to Omen and early Attackerthan to Liege Lord and later-period Helstar. The good dramatic clean vocals are another asset although the not very clear sound quality hampers them at times.

Blood of the Wolf EP, 2015

Official Site


There are different vocal styles presented here; these are probably songs which had been recorded at different stages of the band's short career. The main ones are very close to Steve Souza from Exodus, some are annoying hardcore shouts, which also have the detrimental tendency to high-pitch scream at the most inappropriate time, and rough death-ish ones. The tracks are quite short, no longer than 2.5-min, but the music is solid thrash, with no shades of hardcore whatsoever. I know you think of Hirax almost at once, but the tempo here is slower, heavier, and these guys do a better job in the guitar department, without ignoring the speed completely (check out the smashing number "Reincarnation").

14:56 EP, 1987


Based on the "Chandal Defenders" EP, this act pull out quite intense thrash/death which is at times pure death metal with all the blast-beats and the growling vocals. The sense of humour is reflected in the odd inclusions of hardcore ("Margareth Thrasher"), but also expect more serious excursions into the semi-technical (the title-track).

Fostioner EP, 2013
Chandal Defenders EP, 2016

Official Site


The debut: heavy modern thrash done by three Norwegians who steam-roll forward in a consistent seismic fashion not changing their mid-tempo delivery except for the surprising thrash/deathster in the second half "Private God" which pours more energy into the "furnace" which is also kept "burning" by good forceful shouty, angry semi-clean vocals.
"Lost People" is a similar "beast" the band adding more psychedelia now making cuts like "Rancor 1-Inquiry" a really hallucinogenic listens wth fast deathy riffs taking turns with heavy volcanic, almost stoner-esque, ones. The formula repeats on almost every track with "Possession 777+999+333" epitomizing a more post-thrashy character recalling the more recent Mokoma efforts. The closing "Child 200xs Q7 R530" is a weird twisted death/thrasher the band mixing quiet balladic passages with some serious technical riffage which should be given more room in the future.

Selling Death Full-Length, 2015
Lost People Full-Length, 2017

Official Site


These Chileans offer retro thrash with more intense proto-death metal overtones; this is fast tight music with more intriguing insertions coming as a mix between Rigor Mortis and early Pestilence. The guitar work is very good with short melodic leads which should have been given more room. The singer is a scary forceful growler reminiscent of Francis M. Howard (Incubus, Opprobrium).

Demo Demo, 2009


Power/thrash metal of the less heavy type with playful rock-ish numbers included ("Black as Night") and a ballad (the album closer "Peace and Tranquillity" which very well deserves its title); there's also a semi-ballad a few tracks earlier: "Who's To Blame?". The sound hesitates between the classic and the modern one, but more often does it stay closer to the modern approach often recalling Skid Row's "Slave to the Grind". "Love, Lust, Rape" is almost doom/gothic metal and would even please fans of Type-O-Negative.

Dross Full-length, 2006

Official Site


This formation offer modern melodic thrash which relies on a cool steam-roller engine (the dramatic "John Is Burning"; the crunchy "Broken") to pull it through, but the speedy moments, albeit rare, are not to be ignored: check out the fulfilling diverser "Detect the Saint". "My Last Path" is a nice dark pounder recalling Nevermore and Chaoswave, and "This Is Anger" is the more melodic relief with echoes of the French Lyzanxia which slightly influences the closing energizer "Satisfied", a cool melodic cut with melodic piercing leads. The singer stays mostly within the mid-ranged clean parametres with sparse more aggressive deathy throaty tones added for good measure.

My Last Path Full-length, 2012

Official Site


Based on "Titan": dry mechanical, quite technical, modern thrash which sits somewhere on the road from Meshuggah to Fear Factory. The arrangements are somewhat chaotic, but still deliver the goods here and there: the frantic jumpy "Pain Algebra", the creepy industrial madness "Cyclopean Dementia", but dragging groovy compositions are also around to keep the balance: "Solid", "Tracheotomy".
The debut is a really heavy mechanical affair which is way more pedestrian-sounding than the interesting follow-up, and some fans may not have the nerves to sit through these volcanic, plodding robotic landscapes which very seldom change throughout. A tiresome listening experience as a whole without any audible merits...

Aleph Full-length, 2005
Titan Full-length, 2008

Official Site


Raw primitive black/thrash metal with horrifying vocals which mixes Hellhammer with early Messiah; high level of musicianship is totally out of the question. "Kill" is an early exercise in death metal, and is quite an achievement in itself. This is brutal chaotic music which at times has this genuine dark gothic shade which later found its full transformation on the band's future efforts under the name Alastis.

Fatidical Date Demo, 1989

FR8 (UK)

Modern thrash with all the typical gimmicks for the genre: angry hardcore basic vocals, occasional semi-clean ones, fast tempos and groovy sections. These guys manage to come up with cool headbanging riffs, and on those moments they come sounding quite close to Machine Head's "Burn My Eyes" ("Pill", "Twisted").

In Cold Blood EP, 2005


The EP: technical modern thrash metal with more intense death metal moments added for good measure; the music is competently chaotic and often quite fast recalling Altered Aeon and Biomechanical the main difference coming from the stylish melodic leads which could have been longer, often just slightly hinted at. The guitars have a nice mechanical edge which gets lost on the several groovy sections, but the complex shred clearly dominates reaching the top on the smashing technical riff-fest "Over The Gap", and the frantic Coroner-esque closer "Cloud Of Static". This is a nice little entry into the technical side of the genre, and could very well serve as the foundation for an impressive full-length. Some improvement in the vocal department may be desirable, though: those shouty semi-death metal vocals may be quite a detraction to some.
"Polymath Theory" is an elaboration on the EP the band thrashing modernly and technically the approach now being more on the heavy side without too many fast-paced moments. "Nucleus of Domination" is an exercise in technical virtuosity of the dramatic type the latter also amply evident on shorter cuts like "Flawless Design". "Singularity I-Humanity" is a more abstract piece ala Meshuggah, but later on this delivery is relieved by nice melodic leads applied on other compositions ("Digital Eden" which also features a genuine speedy section). "Symbiotic Prophet" is a more brutal cut with ripping fast guitars, the only one of its kind, followed by another lesson in abstract sterility, "Evolution Absolute", which is a puzzler second to none sounding like the modern updated version of Atheist's "Unquestionable Presence". The closer "DeEvolution" is a more dynamic technicaller with the brutal hyper-blasts at some point scaring away the audience, but bringing a necessary refreshment from the very complex approach applied elsewhere.

Infinite Entropy EP, 2010
Polymath Theory Full-Length, 2014

Official Site


Quite cool dark progressive power/thrash metal with heavy crunchy guitars and very good clean emotional vocals; "Unidentified" is a great opener, both intense and technical with razor-sharp riffage which is well translated on the following "Frame Of Mind" which is slightly milder and dreamy, but delivers all the same with its atmospheric, lightly keyboard-infused, passages. "Rearranged" is a progressive opus worthy of Nevermore and the Germans Psychotron seamlessly blending haunting balladic and brutally heavy sections. "The Grand Illusion" is a more ordinary take on the semi-ballad (a "grand illusion", indeed), but the title-track hardens the course to almost headbanging proportions to a fairly positive effect. "Without End" is a more complex take on the doom metal idea with balladic stretches, and "A Common Thread" doesn't reach much further coming with the most peaceful passages on the album which fade at the end into an ambient/distorted guitar outro. The closer "The Wish" is finally the full-blooded ballad although the listener has secretly hoped that this moment could be avoided provided that the ballad was already more than well covered on previous songs. Still, despite the obvious loss of speed and dynamics in the 2nd half, this effort is a valuable addition to the progressive metal scene also recalling another progressive metal act from Australia on the more quiet moments: Neue Regel, where the singer David Bellion had taken part previously.

Simple Chaos Full-length, 2010

My Space


Your favourite 90's groovy post-thrash is brought again by these New Zealanders who smash their way around with seismic, steam-roller riffs and fairly brutal death metal vocals. Variety is hardly the name of the game here if we exclude the closing energizer "Switch" which lifts the mood up, albeit a bit late.

No Fear Of Consequence Full-Length, 2009


Modern death/thrash of the widely spread Swedish type; brisk, energetic, with some cool riffage, but overall nothing really impressive: for fans of mid-period In Flames, Dark Tranquillity, Corporation 187, and the likes.

One Day Beyond Full-length, 2008

Official Site


Based on "Odimorsus", this act serve jumpy modern post-thrash which emits dry sterile riffs recalling more aggressive and less predictable Helmet. Just when one gets settled for this hectic semi-technical approach, comes "Darkest Storm" to shatter his/her senses with a portion of fast intense speedy guitars. "Seeds" is another winner, a combination of the two sides with a few really cool up-tempo moments. The diversity goes on later, first with the decent ballad "Eternal Flame" which is not a Bangles cover; and the progressive shredding title-track which is aptly accompanied by another more technical composition: "March of the Afflicted" which boasts a fine virtuoso lead passage. The surreality goes up a notch with the hallucinogenic "Hi-Tech, Low Life", which is a stylish nod to the German industrial metal masters Die Krupps, before the 8-min quasi-doomster "Feeder" ruins it all with its dragging monotonous guitars; a situation partly repaired by another fine technical number: the closing all-instrumental "Get to the Frigate" which is a mechanized variation on the James Bond films' main theme.

Sedition Full-length, 2011
Odimorsus Full-length, 2014

Official Site


The debut: boring tedious 90's post-thrash with shades of doom its monotonous nature hard to tolerate for very long although the stylish melodic leads try to save the day despite the efforts of the rest to impede them at all costs including the bad shouty angry vocals which are just too aggressive for this kind of music. "Fire & Snakes" will make you laugh with its sincere blues tenderness having little to do with the surrounding material. This could be considered feelgood stuff if one has a nostalgic inclination towards the past decade with a focus on its less intense, more radio-friendly side.

"The Reckoning" offers better music this time, catchy post-death/post-thrash with echoes of mid-period Sentenced and Cemetary. The riffs now weigh more, and very good clean vocals appear from time to time to oppose to the weaker deathy main ones. There's a certain epic feel on the longer material ("Ak-47"), and even some aggresive thrashisms can be heard ("Abominevole") on occasion. "Sad People" is a "sad" doom metal hymn which impact can be traced on the few tracks after it leaving the end a bit on the duller side. Still, this is way better than the insipid debut, and although it's nothing new, at least shows the band's more proficient side.
"Asylum" is sustained in a very similar vein to its predecessor; in other words, this is a decent post-saga with thrash and death metal trying to take the upper hand with doom metal ("Alone") interfering whenever possible to a generally positive effect. Still, the more dynamic moment remains the up-tempo "Thor" near the end which puts to shame the laid-back nature of the rest among which one would distinguish the closing ballad "Children of the Sky".

The Keeper Full-Length, 2012
The Reckoning Full-Length, 2014
Asylum Full-Length, 2016

Official Site


This is abrasive classic thrash which is divided onto longer slower and shorter faster cuts. The latter ("Make Your Stand") have a harsh hardcore "aura" leaving the former the superior side with some notable more individualistic thrashers ("King Evil") which are marred by the very simplistic musicianship which often sounds like pure bash. The vocalist is a gruff semi-shouty semi-cleaner who tries to command the show, but his limited abilities are more than evident on the higher notes.

Make Your Stand Full-Length, 2014


Modern thrash of the more melodic type ruined by the brutal low-tuned vocals; the music is dynamic with frequent switches from mid-paced to more speedy passages. There's a nice technical undercurrent running throughout reaching its culmination on the excellent late-period Death worship "Stained Territory" at the end.

Blood Hunger Plague Demo, 2011


Based on "Bulloni Granate Bastoni", this band pulls out an abrasive blend of black metal and modern thrash which is both epic and aggressive, both sides not helped much by the muddy sound quality. The vocals are shouty semi-deathy ones, but suit the frenetic musical delivery which calms down at the end, on the closing 13-min epic "Sol Invictvs...", which is mid-paced at best, graced by fine melodies and a beautiful, albeit too long, acoustic passage.

Totalitarian War Full-length, 2007
1915 - Tutto per la patria EP, 2008
Bulloni Granate Bastoni Full-length, 2011

Official Site


One of the legdsn of German thrash returns to the scene with his own project helped by the former Scanner bbas player John A.B.C. Smith and other less known collaborators. After a not very convincing melodic instrumental opener ("Peter Gunn") the man starts thrashing with passion and few would be those standing still on compulsive moshers like "Insane Human Race" and "Sound Thrashing". "Metropolis" is a stylish attempt at a more technical play, and "Valley of Suiciders" is a creepy proto-doomster giving the 2nd half a more experimental character also featuring the episodic appearance of good female vocals, and the more flexible rhythms on "Strange Ways". Blackfire provides good semi-clean vocals recalling more recent Mille, and the shadow of Kreator is also felt in the riff-patterns which alternate melodic with hard-hitting sections to a generally positive effect. it's not clear whether Blackfire with stay on course with this band, but for now this is a capable rendition of the old canons seeped through an acceptable modern perspective.

Back on Fire Full-Length, 2015

Official Site


The number of more aggressive shredders is growing fast these days so it shouldn't be a surprise the appearance of another talent on the multi-instrumentalist scene. The compositions on "Destructor" are vocal, but the guy (who does all the instruments here) sings in a forceful semi-death metal fashion thrashing like demented on the opening "Primal Rage" which is indeed "primal rage" with the blistering pace and the very good both screamy and melodic leads. This impressive beginning has its worthy "followers" in the face of the ultra-heavy proto-groover "Leave Me Alone" and the dynamic progressive number "Judgment Day" which is more than 8-min of hard-hitting thrash in a solid mid-pace. Time for a break with the short orchestral instrumental "Planet Genocide" before the Nevermore worship "Heart Of Darkness" hits you: an earthshaking shredder with a nice melodic lead-driven exit. "Neo Hell" is modern technical thrash at its finest moshing in a dry sterile manner with intriguing hooks aplenty. "The Destructor" is another, maybe not very necessary, "pause": an ambient meditative cut ala Front Line Assembly with recitals and pompous keyboards present. "Damnation Pt.1 Blood" is a cutting piece again in mid-tempo with clean vocals included, awarmer-up for the super-long closer "Damnation Pt.2 End Of Time" which is varied progressive all-instrumental thrash lasting for whole 22-min also comprising several quiet industrialized passages. Despite the pitfalls this offering is a really valuable addition to the 2012 catalogue and one may be quite curious to try and track down the debut.

The debut is a larger-than-life progressive metal opera with numerous influences embedded into one very diverse whole. Thrash metal is, of course, present, but its role is far from the dominant one Johansen concentrating on bombastic operatic arrangements with a lush use of keyboards which "duel" with the guitars the whole time creating a dizzy feeling due to the plenty of melodic happenings within featuring 3 monstrous compositions reaching beyond the 10-min limit. The man sings in a better clean fashion pulling out a really worthy dramatic attached performance. Still, from a thrash metal, and even from an artistic, point-of-view the sophomore album is a more preferrable listen.

A.M.D Dimensional Distortion Full-length, 2010
Destructor Full-length, 2012

Official Site


This act was started by just one man, Julio Rey, after his previous band The Lead split up. Based on the debut, recorded by him alone, this is classic thrash/death crossing the Floridian influences with the French school. The final result is a blend of quite fast brutal music and slower heavy almost doomy tracks which sound a bit modern-ish, and are clearly the downside, being also too long to be considered just breaks from the relentless bashing on the rest ("Reasons to Say No" alone is about 15-min, and is quite a messy composition with jazz, funk and more included). The closing "Coventry Carol" is mere industrial noise, too offbeat to be viewed as a nice final touch.
"Illumination" is another curious hybrid where the brutal death metal delivery has become more technical, but also more brutal, with the long more serious "Friends In The Skies" providing the fun for the thrash metal lovers. The rest is mostly short, often not complete, variations on semi-technical death metal with dubious qualities.

Frank's Enemy Full-length, 1994
Neoblasphemies Full-length, 1996
Illumination Full-length, 1998
Enraged EP, 2002

Official Site


Based on the "The Last Ditch Redemption" EP, this band offers alternative modern post-thrash which boldly ventures into stoner/doom ("The Last Ditch Redemption") to produce soulful pensive music often intercepted by atmospheric balladic interludes.

"The End of All You Know" is a heavier affair also considerably faster in a merrier hardcore-ish way the doomy tendencies well preserved on stomping pieces like "Hypocrisy Democracy" and "The Downfall Of Detroit". "God Complex" is a nice more technical piece, placed in the 2nd half, which is slower and less demanding, the other more energetic moment provided by the crossover closer "Never Say Die" which isn't a Black Sabbath cover.

"Cheers, Beers & Beards!" is another energetic slice of the good old post-thrash with the expected melodic reliefs along the way again in the form of less engaging merrier crossover hooks the guys' more proficient side aptly reflected in the excellent folk instrumental "Black Saturday". "Bottom Feeder" is a surprising speedster even offering brutal blasts for a short while, but the listener will be spared the remaining material being live performances of tracks from the older albums all coming with a fairly good sound quality.

Greetings and Salutations Full-length, 2000
The Loopholes & Great Excuses EP EP, 2001
Blood Oath Full-length, 2003
Murder of Songs Full-length, 2007
The Last Ditch Redemption EP, 2008
The End of All You Know Full-Length, 2011
Cheers, Beers & Beards! Full-Length, 2013

Official Site


Based on "Cauldron Of Evil", this act offers pretty cool classic power/speed/thrash metal which covers the three styles almost equally for which also helps the big number of songs (16) present. The album starts in an energetic speed/thrashy manner with the fast & furious "Dogs Of War" and "Psychosis Of The Mind", before moving onto heavy pounding power/thrash for a couple of tracks later, until it reaches the imposing bass instrumental "W.W.S." and the title track which is a nice quiet ballad. Then things jump on the doom/power metal side with "The Devil's Eye" and "I Feel Your Pain", before the "idyll" gets interrupted with the fast-paced "The Haunting", but the guys' dark doomy side comes up again on "Let The Punishment Fit The Crime" despite the raging proto-death section encountered in the middle. Speed metal is the order of the day on "Pray For Your Sins", and fast and slow melodies take turns till the end which comes in the form of the excellent speedster "Play To Win". This is a varied work with a wide appeal, a lot of energy and cool clean semi-high vocals which cover all ranges with dexterity.
The debut is an all-instrumental affair which is more on the progressive/power metal side the leads taking a considerable space from Dr. Frankenshred, the band leader (who also lends a hand in a couple of other power/thrash metal acts: Commandment, Throne of Serpents, etc.), leading the show with several overlong compositions where one could easily get lost among the wide amalgam of guitar pyrotechnics which continues unabated on the follow-up "Evil Shred" which is again full of "evil shreds" the latter this time containing a bigger number of melodic sections some of them reworked versions of themes from the debut. Judging by the title of the 3rd release, it appears that it's only "Cauldron Of Evil" on which Mr. Frankenshred has decided to include some vocals for a change.

Frankenshred Full-length, 1997
Evil Shred Full-length, 2000
Dr. Frankenshred Full-length, 2001
Cauldron Of Evil Full-length, 2009

Official Site


A cool slab of prime headbanging retro speed/thrash metal in the spirit of Whiplash's "Power & Pain"; fast lashing music with a slightly irritating noisy background, the main annoyance, though, being the gruff semi-shouty death metal vocals. The approach easily borders on death metal (the maddening "Impaler") on the more intense moments the latter aptly relieved by stylish melodic leads (check "Catastrophic"). The other thing which may disturb a bit would be the hollow bashing drums which deafen the guitars at times the latter managing to carry quite a bit of melody again in the spirit of the aforementioned Americans.

Vice 'till Death Full-length 2009

My Space


Based on the debut demo, this band had sneaked under the radar back in those days, and it's a pity since their style is really stylish speed/thrash with echoes of Paradox (the title-track could have fitted into "Heresy" any time), early Angel Dust (check out the ripping galloper "Mr. Tempter") and Scanner. All the four compositions are lengthy with frequent fast-paced excursions which in their turn are intercepted by more clever restrained passages the alternation going on unerringly till the end. The lead guitar work isn't bad, either, but doesn't take too much space leaving plenty of room for the excellent cutting riffs to do the damage. The singer delivers with his mid-ranged clean tone recalling Charlie Steinhauer (Paradox again) without becoming very emotional.

The "As Dawn Came..." demo is a bit calmer in terms of execution as the band have grown as musicians, but in this case this means that their speedy histrionics would be merely implements to a heavy progressive song-writing as evident from the pensive opener "Reign Of Remains". Formidable dramatic build-ups appear on the next "A Deathlike Sleep" which starts thrashing with more power; before "Kirlian Eyes" brings the delivery to intense semi-balladic waters, the more aggressive speed/thrashing left for "Seize The Day" which is a cool reminder of the band's earlier exploits with its lashing, razor-sharp galloping riffage. A short instrumental piece follows suit which is more on the laid-back side with a good bass bottom. The exit is in the form of the Beatles cover of "Day Tripper" which is appropriately adapted with a more vicious speed/thrashy flair. Nothing spoils the mood here, this is a very cool swansong for one of the most talented German bands; it's a sheer loss that they never managed to reach the official release stage...

Welcome to Paradise Demo, 1990
Exile Eden Demo, 1991
As Dawn Came... Demo, 1993


An album which combines the classic sound with a more modern one ala Flotsam & Jetsam's "Quatro"; this is feelgood light-hearted power/thrash on the more melodic side, with very good bass work, mostly mid-paced with numerous balladic passages. "Lockup" is a more intense galloping thrasher, but "Funk#49" is quick to "kill" the mood with awful funky elements added. "Fade Away" is a mix of the last two songs, so expect both good and bad moments. The singer has an emotional clean voice, quite close to Eric AK (Flotsam & Jetsam), and he really shines on the closing ballad.

Perennial Herbs or Shrubs Full-length, 1994


These newcomers prefer to tread the well carved path of modern Swedish thrash/death metal the main difference coming from the fact that they don't bother to speed up too often settling for a melodic mid-paced approach which works all right for a 5-track demo, but more variety would be beneficial on the eventual full-length...

Wrath Of Judgement Demo, 2010

Official Site


This obscure formation specialize in blending Paradise Lost (think "Symbol of Life") with shades of post-thrash, and the blend works all right without crushing too much, and as a whole it's the gothic idea which is better felt throughout despite the presence of a few more aggressive riffs ("My Needs"). The singer models his performance after James Hetfield and Chris Holmes, and succeeds in evoking both at his most inspired delivery.

The Beginning Full-Length, 2007

My Space


Based on the 1986 split, this band offer fast aggressive thrash/crossover along the lines of Cryptic Slaughter and Beyond Possession.

Neuroot/Fratricide Split album, 1986
Fratricide/Mission Of Christ Split album, 1987
Fratricide Single, 1990

Fan Site


A side-project of the Sun Caged guys, this album shares the progressive inclinations of the main act, but its concentration is more on modern post-thrash with a strong avantgarde funky shade. The compositions are jumpy diverse experiences, at least half of them of the dreamy surreal type, the latter superior to the several groovy fillers. This is an engaging listen which will keep you guessing what comes next, especially on the multi-layered closer "Absence" which seldom repeats a theme or a riff during its 14-min. Among the guest musicians one will recognize Steve DiGiorgio and the guitarist Chris Godin (Death, Obituary, Testament, etc.).

Characters Full-length, 2005

Official Site


Based on "Ignition": this act introduces a pretty common for the time modern post-thrash metal reminiscent of Metallica's Black Album, 90's Flotsam & Jetsam and the Overkill works from around the same period. The music lacks a punch most of the time featuring semi-ballads ("Ragtime"), an awful alternative rock-ish piece ("Mummery Vagary"), and a lot of groove.
The full-length debut is a more relaxed affair which is more on the alternative, grunge side sounding close to Skid Row's "Slave to the Grind" and Flotsam & Jetsam's "Quatro" on the heavier moments (the good pounder "Earthworm Fever" where the vocal performance also resembles the one of Eric A.K. on the aforementioned album). One of the tracks ("Reativate") is mixed on a dancey, industrial base at the end.

Grout Demo, 1996
Forward the Foundation Full-Length, 1996
Ignition Full-Length, 1998


Thrash/crossover on the slower, more pounding side; the sound is modern and a bit groovy, but the guys vary things with also a few radio-friendly rockers, as well as the interesting more classic-sounding power/thrasher "I've Had Enough". The singer is a semi-reciting punker who provides appropriate uplifting atmosphere.

Freak Show Demo, 1992


Based on "Gladiator", this band play dynamic retro thrash with some Slayer-esque aggression involved at times. The music lashes left and right, and one may end up deeply "scarred" well before the end the guys seldom pausing for a break from their blitzkrieg approach. "Thrash Metal" is ironically the most melodic number containing a portion of quite cool melodic leads the latter not encountered anywhere else. "Atomic Idiocy" is the staple more technical deviation although it's still pretty aggressive and violent (and also "idiotic"). The singer semi-shouts in an attached unobtrusive manner slightly recalling early Tom Araya on the higher notes.
"Toxic End": a lot of fans may find their "toxic end" listening to this sincere slab of old school aggression which emphasizes on the Slayer blitzkrieg approach even more. The guys lash with power seldom pausing for a break, raging onward with more or less overt shades of hardcore ("Violent Disaster") as well. All the twelve tracks here are prime headbangers that will make you mosh arounnd in oblivion for over half an hour.

No Way Out Full-length, 2011
Gladiator Full-length, 2014
Toxic End Full-Length, 2017

Official Site


As you have already guessed by the band name, this is a side project of the Meshuggah guitar player Fredrik Thordendal, assisted by his colleague Tomas Haake from the same band, as well as by guest musicians who play on a church organ, saxophone, yidaki (what's that!?), etc. This is very off-beat stuff which uses the mid-period Meshuggah (think "Chaosphere") style as a base, but there's so much more to hear, that I'll just stop here with the review to not get confused. This is mostly instrumental music with whispered declamatory voices included, as well as sinister black-ish vicious snarls quite close to O.L.D. There is a strong presence of industrial, too, and Thordendal delivers on all counts with his guitar exploits leading the pack. There is nothing aggressive here, this is mid-tempo stuff with numerous slower surreal sections where various instruments shake hands, and make things really interesting (or irritating for the more straight metal fans). There's a fair bit of thrash to be heard here, but the pure atmospheric or industrial tracks take at least one-third of the whole album. The compositions are quite short, most of them 1.5-2min long, and as separate pieces don't make much sense so the album works as one inseparable whole; an original unusual take on modern industrial thrash.

Sol Niger Within Full-length, 1997

Official Site


The allusions to the Judas Priest's great speed metal hymn made with the album-title, are well-grounded. Freevil were formed after another Swedish band, Denata, split-up. The guys are doing a better job here; they preserve the more straight approach of the previous band, but enrich their music with genuine technical moments and cool lead guitar, and as a result some of the songs are much longer than the 2-3min ones on the Denata albums. The style is still more modern-sounding, and the vocals are more vicious, clinging to the black metal side, but the smart use of keyboards, the variation of the pace, and the excellent guitar work make this album a commendable debut.

Freevil Burning Full-length, 2007

Official Site


This is a curiosity: very eclectic progressive/technical modern thrash with plenty of dissonant rhythms and illogical tempo-changes reaching a Dillinger Escape Plan chaos on the less controlled moments. "Someone Set Your Voicemail" opens the album in a fairly hectic manner with a wild jumpy rhythm section which gets under control, but just a bit, on the mechanical shredder "Forevertron" which turns into a formidable lashing thrasher near the end. "Give Me Back My Peanut Butter Sandwich" is abstract discordant thrash at its best with a pinch of groove, and "Mutant League Football" is a jazzy/funky interpretation of the modern sound with "Blinkytown" following this path very closely inevitably exiting the thrash metal arena, only to re-enter it on the dreamy sleeper "Davey vs. Casey". The last two songs are wild amalgams of moods and influences, a bit underwhelming, switching from one pattern to another to mixed impressions losing the coherence in the process sounding like scattered sketches of a bigger work of art. The cold shouty vocals are hardly a valuable addition, but music of such a varied appeal definitely has its potential although at this stage the guys need to refine their approach a bit on future works.

Freighter Full-length, 2008

Official Site


Based on "Bourbon Triggered Death Machine", this act provide modern melodic thrash/crossover which has a weird aura thanks to an unobtrusive keyboard background which graces every song. The riffs are sharp and to-the-point, albeit not very intense, and the uplifting atmosphere is easily achieved becoming more serious on the longer more thought-out "Werechicken Horror Show", and the more hectic semi-technicallers "Hourglass Disaster" and the closing ripper "Frenzy Inside". The singer is a gruff semi-shouty death metaller who painfully rends his throat at times.

Subversive Revolution EP, 2001
Coincidentia Oppositorum EP, 2002
Chaos Immanent Full-length, 2006
Bourbon Triggered Death Machine Full-length, 2011

Official Site


This outfit offer industrialized modern post-thrash which has its harder moments (the ripping deathy riffs on "Mad as Hell"), but for most of the time this is relatively peaceful stuff with heavy guitars and semi-shouty/semi-clean vocals which sound moderately angry.

Habemus Papam Full-Length, 2014



This is another project of Maniac Neil: a famous figure in the death/grind circles who is responsible for some of the most brutal and uncompromising acts on the metal scene (Maniac Killer, Lord Gore, Blood Freak). With Frightmare he apparently shows willingness to "court" other metal styles with emphasis on thrash. Although some of the fans might be pulled back by the brutal low death-growls of the singer and the several blast-beats, they would be definitely won in the long run, because this is enjoyable thrash metal spiced up with classic heavy, death metal, and even punk moments; thrash/gore-fest, to sum it up.

Midnight Murder Mania Full-length, 2003
Bringing Back the Bloodshed Full-length, 2006

Official Site


The EP offers first-class thrash metal. The influences vary quite a bit: early Sadus, Necrodeath, Kreator; very fast, and occasionally technical music; 4 songs (the 5th one is a short acoustic epilogue) of explosive old school "thrashin' machine". The two guys behind this project also play in the black metal horde Moribund.

"All Thrash Breaks Loose" finally saw the light of day although 4 years are too big a "luxury" to be afforded by a not very well established on the metal map band. Never mind that since the album simply crushes as expected fulfilling all the promises and beyond. "Cyber Eater" has a slightly unnerving title, but this isn't modern industrial stuff: this is great headbanging retro thrash with a technical twist. "The Chaos Spheres" is a blistering blend of aggressive proto-death blasts and technical riffs; no ties to Meshuggah despite the allusions made by the song-title. The band's infatuation with speed carries on unabated on "Metal Commando" which again adheres to some blasts, but in a very cool way. "My Own World" is a mighty fast-paced thrasher, again with a nice technical edge, followed by the even more aggressive and faster "The Need To Kill". The short 1.5-min instrumental "Doom" delivers exactly what the title suggests: slow atmospheric doom. "The Wrath Of The Predator" is another stylish mix of aggression and technicality, this time concentrating on the leads, and virtually closes the album which is full of short acoustic peaceful outros/intros/epilogues/interludes; not bad, but their number is perhaps too big. Actually there are 8 actual songs here which still are more than enough to satisfy even the most pretentious thrash metal fans.

The "No More Room In Hell" EP: the band lost all the accumulated inertia disappearting for whole 7 years... and they're surely intent on recapturing it now with this explosive 5-tracker which will throw you into a "deathlike trance" with the very opener "Deathlike Trance" which is stampede aggressive thrash/death the latter lasting all the way to the end aptly accompanied by stylish technical hooks. The tracks are generally short, but there's riffs galore in each one of them including short blistering leads (check the ones on the title-track). "Revolution" is a less than 2-min explosion, and the all-instrumental closer "Toxic Waste" is another ripping display of polished technical aggression with a few more eccentric quasi-abstract breaks. The guys should hang around for longer this time, otherwise there'll be "no room in hell" for them...

Thrashin' Machine EP, 2003
All Thrash Breaks Loose Full-length, 2007
No More Room In Hell EP, 2014


This is a supergroup consisting of members from Death Angel, Vicious Rumours, Nevermore, Testament, including the drum guru Paul Bostaph. The impressive line-up already raises the expectations fairly high, and the fans will be definitely surprised to find out some dark, almost hypnotic at times, classic thrash which is built around lengthy numbers with clear progressive pretensions which may be a bit hard to get into since there's a lot happening within. The thrashing is served with a hefty doze of broodiness which borders on doom ("Psycho Killer" which is also an intriguing creeper with a few more technical decisions), but the listener shouldn't be disappointed in the long run, especially after hearing gigantic pieces like "Eyes of My Dead" which also provide plenty of hard-hitting rhythms. "Nun With a Gun" is a very cool Oriental-infused song which works despite the silly chorus. Monotony inevitably sets towards the end where two long elegiac quasi-doom/thrashers lie in wait despite the presence of the much more dynamic and shorter "Ascent from Hell" where some hellish deathy/blacky vocals appear to confuse the main mid-ranged semi-clean singer. The closing "The Sleep" perhaps deserves its title a bit with its doom-laden main riffage still holding a few thrash surprises along the way. This is a diverse listen which by all means has its moments, and doesn't slacken in terms of musicianship regardless of how many influences are embedded within.

Ascent from Hell Full-Length, 2014

Official Site


Based on the full-length, this band offers pretty stylish technical/progressive thrash/death metal, literally "out of nowhere", which is also quite melodic, staying mostly in mid to up-tempo, the good music slightly impeded by the rough low-tuned deathy vocals. At least half of the compositions are in the progressive melodic death metal camp, but watch out for unexpected conversions to technical thrash, mostly in the 2nd half: the hectic lasher "Factory Of Hate"; the sweeping speed/thrasher "Right To Die", a tour de force with some of the greatest riffs around; the creepy nod to Coroner "REM", which is the last original song on the album, followed by two covers: Cancer's "Hung, Drawn And Quartered" from the Brits' sophomore effort "Death Shall Rise", done by-the-book, pretty straight-forward; and Death's "Sacred Serenity" from "Symbolic", a virtuous rendition of this great song, translating both the melody and the technicality with passion.
Spain has been producing talented technical acts for the past few years (Unreal Overflows, Continuo Renacer, Kill'em, Achokarlos (and its sister act Dying Clarity), etc.) threatening to take over other scenes (the Canadian, the German, the Italian) as the leading one in this sub-genre, and this new band fits nicely alongside those names by developing their own individual approach to the style which has a lot of potential for bigger future exploits.

Kingdom of Fools EP 2006
Agony Full-Length, 2011

Official Site


These Finns indulge in nordic, battle-like black/thrash which recalls mid-period Immortal. Consequently black metal is the dominant force here thrash taking its toll on more moderate cuts like "Wargods Unbound" and "Tribunal Of Terror" amoidst the sea of more or less controlled blast-beats and dirgy Barathrum-esque arrangements. The band members can also be seen in the black metal horde Sacrilegious Impalement, and the black/thrash metal outfits Evil Angel & Crosswrecker.

Iron Overkill Full-Length, 2016



This is the band who put thrash metal on the Russian music map way back in 1986. The demo is a raw, heavy mixture of early speed/thrash (not much) and classic heavy metal riffs; the final result is not bad at all, although the thrashiness is not that much, with only one full-blooded , but excellent, speed/thrasher: "Heavy Metal" (it goes well beyond what the title suggests), and partially the up-tempo "Metalizacia". Later on the albums the band moved towards a brutal proto-death metal sound.

Metallizacija Demo, 1986
Der Wasser Der Koln Full-length, 1990
Mortal Surgery Full-length, 1992

Official Site


Classic black-ish thrash mixed with more conventional heavy metal tunes reminiscent of Venom, Bathory and the Japanese acts Abigail and Sabbat; the vocals are quite similar to Burzum, but the music is firmly in the thrash metal camp; simple, but entertaining.

Ars Satanic ex Tempus EP, 2005
Black Spells of the Damned Full-length, 2006
Cursed Lake EP, 2007

Fan Site


Some of you may be surprised to find this band on the pages of this website, but those who are familar with the band, know that these techno-industrial pioneers had a short spell with metal on this album, and have done a great job, playing very intense thrash, of course populated with industrial elements, but much fewer than on their other efforts. Like with every industrial metal work, there is no speed involved; this is mid to up-tempo music with mighty razor sharp riffs which will cut you like a knife. There's a very good attempt at the "rap meets thrash" variety: "Victim of a Criminal", which is even better than the Anthrax/Public Enemy collaboration "Bring The Noise". Those who like industrial metal might want to check out the follow-up to this album: "Hard Wired" (1995), which has no many ties to thrash metal, but quite a few hard-hitting riffs can still be heard as well as some of the most haunting atmospheric orchestral passages of the 90's, which are truly one-of-a-kind.

Millennium Full-Length, 1993


Based on the full-length, this formation provide clever technical modern post-thrash with shredding overtones and a few mathematical decisions which inevitably call Meshuggah to mind. The dominant pace is mid, but the riff-changes are nice and not very predictable, and may also remind of Prong's seminal "Beg to Differ". At some stage the listener may get a bit tired of those intriguing groovisms which start to get repeated near the end topped by harsh semi-shouty death metal vocals, a pleasant surprise being the closing "Mind Control" which is a faster cut with a timid headbanging potential.

EP-2009 Demo, 2009
Death Eaters Full-length, 2014

Official Site


3 songs of typical modern post-thrash in a predictable mid-pace and angry deathy vocals. The guys don't bother to deviate from the norm too much, if we exclude the several more stylish leads, which are kind of surreal on the pedestrian background.

Unleash The Beast EP, 2011

Official Site


These Poles offer pedestrian modern thrash which comes with both groove and energy, the latter acquiring more aggressive deathy overtones at times. The pace doesn't go up a lot, though, and the overall tone is kind of sleepy, sharing some of the brooding mood of the gothic scene ("1902"). Expect also industrial "outrages" (the noisy hardcorer "Kulminacja"), and sprawling doomy ("Linia Lycia") closers.

Nasze Jest Kr=lestwo Potega I Chwala Na Wieki Full-Length, 2001


This formation indulge in modern-ish power/proto-thrash which is generally peaceful, but comes "The Line" and brings more "violence" to the proceedings with its raging riffs. It livens up the situation and the guys start thrashing with more vigour although "Earth's Bane" in the middle is just a frolic epic doomster, a formula later followed by "Wolfram" and the closer "Bermuda". The vocals are appropriately inebriate with a hoarse shade although they manage to retain their nice clean blend for most of the time.

Frostfang Full-Length, 2014

Official Site


This act boasts the presence of the drum wizard Shannon Frye (Avenger of Blood, Biogenesis, Vengeance Rising, etc.). Based on the full-length, the name of the game here is fast melodic Swedish thrash/death metal with allusions to purer German speed/thrash metal ("Forlorn Tides"), but with also several brutal blast-beating sections. "Tomb Of Sordid Ruin" has shades of Dissection with its clever melodic hooks, and "Endless Winter" is a cool more technical thrash/deathster. The singer is a shouty witchy raven who may be more suitable for some black metal horde.

The Northwinds Rend Flesh EP, 2012
The Endless Winter Full-length, 2015

Official Site


Based on "Bonsai", the style is a mixed bag: the best moments include hard-hitting thrash in the Anthrax-mould, but there are more melodic post-thrash tracks, again reminding of Anthrax, but their 90's, much less impressive period. The overall effect is probably on the dull side.

Dying Phase EP, 1991
Bonsai Full-length, 1994


Based on the "Bewitched Lost Souls" 3-song demo, these guys pull out an intriguing mix of black, thrash and death metal recalling early Rotting Christ, but the music on offer here is more varied with numerous quiet orchestral/acoustic passages, and gothic tunes, but when the band decide to thrash, they show no mercy, like on the direct, stripped-down title-track which again comes with a cool orchestral outro.

In Limitless Hate Demo, 2002
In Death We Trust Demo, 2002
A Life of Inanimation Demo, 2003
Shrine of Failure Demo, 2004
Bewitched Lost Souls Demo, 2005
Shining Comes Benighted EP, 2006
And The Six Wolves Ate Mankind Split, 2007

Official Site


Based on the 2nd demo, these Russians play vicious black/thrash metal reminiscent of more recent Absu, and early Impaled Nazarene when the guys lose it completely. There are also shades of viking/epic metal not far from mid-period Bathory ("Valhalla Across The Bay", which title is more than a reference to the two Bathory magnum opuses "One Rode to Asa Bay" and "Valhalla" from "Hammerheart").

Freezing Fire Of Northland Demo, 2007
Metalheading Northwards: Icy Depths Of Burning Hell Demo, 2008

Official Site


Based on "Full Head-On Damage", this is groovy thrash which was quite typical for the 90's mostly; the style isn't too far from Machine Head or Pantera. Nothing surprising here, even the vocals take turns between the traditional for this style angrier, and clean ones.

Undertone Full-length, 1998
Full Head-on Damage Full-length, 2004

Official Site


Based on the "Beyond All Repair" demo, this obscure trio play diverse old school thrash with shades of Anthrax and Forced Entry and if it wasn't for the bad sound quality, this offering would have been a nice "spark" into the settling gloom of the early-90's. The pace varies within one song creating a busy technical impression which is well justified the compositions being interesting eventful listens the final "Sambuca Shuffle" the only exception the guys turning it into a merry crossover cut with more laid-back optimistic riffage. The singer is a pullback, though, his indifferent punkish tember not matching the serious complex character of the music.

The debut demo is a noisy semi-amateurish affair the band not having honed their weapons so well at this early stage. The songs are bashing and to the point still comprising some more interesting riff-sections the latter ultimately marred by the awful sound quality which deafens the instruments, but makes the lead passages stand out. This isn't very sensible barrage which is hard to be viewed as a set-up for the much better 2nd demo.

The Drunk Undead Demo, 1989
Beyond All Repair Demo, 1991


This band, along with Legion and Muro, started the speed/thrash metal movement in Spain. Although the band name might pull back the more pretentious (and it definitely doesn't serve the band right) part of the metal fanbase, the music makes up many times for it. The band's debut is rawer, with early Slayer being an obvious influence. It starts in a more controlled, but energetic speed metal manner ala Exciter, before switching onto full-blooded thrash with "Maniac" and "The Last Flight". "Awaiting your Death" is a light-hearted crossover joke, which influences the following thrash/crossover piece "Blood in the Night"; there's no way you won't start singing the infectious chorus on this one. The more aggressive thrashy patterns return on "Another Sacrifice", but the sound lets loose towards softer heavy metal waters with "Sue'b1o Maldito". "Born to Die" is exemplary speed/thrash metal paving the way for the coming of the Slayer cover of "Black Magic", quite well done, furious and merciless, with only the vocals failing to produce the vicious screams of Tom Araya.

"Hell On Earth" thrashes with no mercy from the get-go, with "Witch (Hell Below the Belly)", and later on it only gets more aggressive as well as more technical. Some crossover motives can still be caught, but here they are way more aggressive: "Midnight Confession". "Whom You Never to Say His Name" is an unforgettable small thrashing bomb, not least because of the catchy memorable vocal delivery. No such catchiness on the next fierce thrasher "Don't You Have Fear", but it comes aplenty on the more speed metal-based "Hell on Earth", an obvious influence on the future speed/power metal wave of the 90's. Finally something slower: the heavy mid-paced "In Your Grave", which serves as a break for the guys to recapture their energy for the great final 10-min instrumental "Cyclone" which, apart from the furious speed/thrashing sections comes with quiet ones as well, very strong bass performance, stomping heavy riffage, and melodic semi-lead deviations ala Iron Maiden. Arguably the finest Spanish thrash metal act from the early days, this band left a big trace on the scene with these two strong efforts which wide appeal had made them favourites to many fans, and not only in their homeland.

"Smile as You Kill": "smile as you" listen to this comeback effort from Spain's oldest thrashers who arrive splashing after a lifetime of absence. The truth is that the veterans know their craft, or rather haven't forgotten it completely, and this new offering is full of energy and catchy tunes in a way quite similar to their early works. The melody/aggression "marriage" works well on almost every track "Gardens Of Stone" a particular highlight with its speedy rhythms and catchy lyrical forms. To these ears the approach is closer to speed metal on at least half the tracks the delivery recalling Warrant (Germany), Iron Angel, and of course Helloween. "We Are Back In Town" will inevitably become a hit with its supremely catchy chorus, and "Impera la Corrupcion" is a major 90's speed metal resurrector. Near the end we have the old anthem "People In War" remade without too many changes, and a cover of Rainbow's "Long Live Rock & Roll" done quite faithfully the otherwise good clean vocals disappointing on this one a bit due to their less emotional nature. This is a cool recording which sees a veteran sitting well on the reunion background of recent years without stretching themselves into new directions.

Another Sacrifice Full-length, 1988
Hell On Earth Full-length, 1990
Smile as You Kill Full-Length, 2013

Vibrations of Doom


This is wild brutal thrashcore with open death metal elements; an intense affair which, when slowing down, manages to sound acceptably thrashy ("Homo Homini Lvpvs", the industrialized "Cult Of Intoxication"). Sadly, those moments aren't many at all and most of the time what one will experience would be ultimate bashing boldly venturing into grindcore.

No Peace. No Love. No Whores. No God. Full-length, 2005
Anti All Full-length, 2008
The Pulse of [Self]Destruction Full-Length, 2010

Official Site


This Canadian trio "fucks you all" offering thrash of the retro type with a very bad sound quality with the ugliest most brutal death metal vocals around which are never heard clearly. Otherwise the music isn't very hard-hitting, albeit trying to stay within the up-tempo parametres, having also elements of crossover/hardcore all this compiled in simplistic 2-min song structures.

Fuck You All Demo, 2005

My Space


The debut: your average modern thrash/death metal band; the music is energetic and brisk, but is too ordinary and has been heard so many times before and after that there's almost nothing more to add; maybe the duel between the gruff death-ish vocals and the mid-ranged clean ones, which was not quite common on the scene at the time.

"Off The Face Of The Earth" shows the guys in a better light, offering longer more varied compositions although the pace is still up, and the leads are quite cool, melodic, sometimes forming a nice "duel" with the rhythm guitar ("When Passion Dies").

Inflict The Inevitable Full-length, 2006
Off The Face Of The Earth Full-length, 2009

Official Site


Veterans from the 80's US thrash metal scene (Possessed, Sacrilege BC, etc.) have gotten together for the recording of this pedestrian dragging take on the new post-thrashy trends with a pinch of industrial which sounds more appealing when it slows down (ha ha- are you kidding?!), like on the cool industrialized ballad "Fueled", an atmospheric hallucinogenic piece in the best tradition of Front Line Assembly; or the abstract alternative spacer "Savior". No more "saviors" later, unfortunately, if we don't count the dry sterile closer "Bleached" which is a cool nod to Godflesh with hypnotic beats and distorted guitars.

Fueled Full-length, 1997


This is groovy post-thrash which spends most of the time in repetitive, ultimately bland groovy pattenrs with the staple very shouty vocals another annoyance. The riffs are suitably heavy, though, creating seismic atmosphere, especially on the formidable steam-roler "Poison on My Skin", the highlight here.

Two by Eight Full-length, 2016



Excellent speed/thrash metal which sounds similar to several contemporary Brazilian acts like Executer, Bywar and Blasthrash; in other words, Germanic thrash of the new millennium. The first song says it all: "Thrash Is Back": a great speedy thrasher, followed by a couple of similarly styled songs, until "Betrayal", which is mid-paced, and "betrays" the basic much more aggressive sound, with a certain power metal flavour, graced by good melodic guitars. If this track has shaken your confidence in the band's thrashy skills, here comes "Massive Execution": 3-min of pure thrash aggression in the vein of early Destruction, and the excellent, but more melodic instrumental "Metal Forever". "Command Of The Beast" closes this fine debut combining the predominant speedy patterns with stomping heavy riffs.

"Plunging Into Darkness" sees the guys "plunging" on the scene again, and this effort doesn't disappoint offering the same heads-down vigorous approach. After the initial more formal and laid-back instrumental opener "The Arrival" comes the thrashing fury "Rising From Beneath" to claim your souls. "Within The Abyss" is a mid-paced delight, but "Unidentified Remains" is a pure Slayer madness: brutal, short and to the point. The title-track returns to the more speedy German models followed by another more intense proto-death laced piece ("Eye Of The Demon") later on. "Evoke", which is an intro placed in the middle (this is probably the new regulation about intros, but I haven't heard about it), is a quiet balladic instrumental, obviously a leftover from the next (a reference made with the title) "Evoke The Curse" which is another brisk speed/thrasher. There's no mercy shown till the end, the guys moshing out in a smashing Slayer-esque manner on the remaining 3 tracks. The band keep on raising the classic thrash metal flag sky-high by expanding their delivery to cover a wider gamut of influences ending up with a more aggressive sound.

"Trapped in Perdition" would a bit of a surprise to the band fans acquiring more aggressive death metal shades quite similar to Death's "Spiritual Healing" also notching it up in the technical department. The approach varies, but always in a good way, "Forsaken Deity" the slower "distraction" its humble nature completely compensated by the surrounding blitzkrieg pieces. Technical shreds galore will one come across on "Defaced Mortality" and the short "slayer" "Symbolic Slaying" is pure headbanging insanity. The closing "Obliteration" tries to insert a more-thoughtout progressive delivery, and succeeds leaving the final damage for the bonus track "Depiction Of Demise" which thrashes with might with hard fast riffs. This is clearly the band's finest achievement so far seeing an act eager to evolve all the time avoiding the stale territories where many contemporary bands have ended up. Some of the musicians try something more brutal with the grind/death/thrash hybriders Sodomizing the Dead with which they have 4 demos released.

Spread The Fire!!! Full-length, 2006
Plunging Into Darkness Full-length, 2010
Trapped in Perdition Full-Length, 2013

My Space


Old school death mixed with old school thrash metal; works fine all the time with heavy crushing riffs and mid-paced to slow tracks, and I guess that's the reason why on quite a few times the music reminds of bands from the death/doom metal sector: Beyond Belief, to name one, or Six Feet Under's "Haunted" with a thrashy edge. Still, when the guys pick up speed, they can make quite a few heads bang with full force: "Killing Spree", "Fueled by Hate". Clever semi-technical riffs can also be heard: "Valkyria", but sparingly. This is diverse stuff really worth tracking down.

Filled with Rage Full-length, 2002


These Chileans provide heavy post-thrash blended with doom/stoner to a maximum squashing effect. The approach is seismic and doomy and would probably be of a bigger interest to the doom/stoner metal crowds.

En Guerra Full-Length, 2013

Official Site


Based on the split with Incriminited, these guys play choppy heavy thrash/death metal with a lot of groove and an interesting, not annoying, mixture of clean and brutal vocals. The music is nothing much to write about: mid-paced repetitive stuff with no highlights whatsoever. "Flabbergasting Eggbeater" is the odd chaotic energetic number, and "Manual Churnkneader" is a cool alternative semi-ballad.

Conquer Me/Sight Of Aggression Single, 1996
Incriminated/Fulcrum Creak Split, 1998


90's groovy post-thrash with a playful attitude, not bad, recalling Prong's "Cleansing" with heavy sharp riffs, quite memorable, despite its not very original nature. "Coal Black Eyes" is a very cool semi-ballad where the hardcore vocals melt to really impressive clean ones. The tempo is mostly mid and doesn't develop beyond this border. "Why Can't You" is a stunning progressive modern thrasher, lasting for more than 10-min, featuring very heavy doomy sections which, despite their one-dimensional nature, are quite appealing combined with the more energetic passages.

Negative Full-length, 1995

My Space


Phil Anselmo has moved to a classic thrash metal act; ha ha ha, not exactly, but the singer follows very closely Phil's singing style which contrasts well with the hard-hitting retro thrash these guys offer. This is heavy mid to up-tempo stuff which comes as a mix of the Exhorder debut and Evildead's "The Underworld", but offers better lead guitar work than both. After the two straight intense headbangers, the band tries to show their more ambitious side with longer more complex songs, and admirably succeed to produce some high-octane technical thrash: the chaotic in the beginning "Cancer", the multi-layered "If I Had One Neck To Break", which ends with a nice instrumental, energetic technical section.

Suck up to My Neck EP, 2002


Ths is "devastating" modern thrashism which moves in a minimalistic semi-technical manner which isn't very adventurous, but captures the imagination with its creepy rhythms. The vocals are on the negative side being too brutal for this kind of music, of the guttural low-tuned death metal variety, fairly inappropriate. The originality, however, wears thin in the 2nd half since the band don't add anything too new and the general mid-paced delivery becomes trite hitting the balladic/semi-balladic "bottom" at the end. There's a potential, but with the lack of dynamics at this stage this album can only be viewed as a dignified rehearsal, and little else.

Devastating Full-Length, 2012


Based on the full-length, these lads provide quite cool old school thrash witn somewhat rending shrieky vocals. The delivery is brisk and fast-paced for a large portion of the time thanks to remorseless speedsters like "No More Than Trash" and the "belligerent" title-track which show an obvious fascination with the early German school (Necronomicon, Exumer, Destruction, etc.). "Long Horned Squad" is a more varied shredder with a more relaxed speed metal mood, the only track that doesn't fully share the obsession with intensity encountered here.

Born to Thrash EP, 2008
Rise and Fight Full-length, 2017

Official Site


Based on the debut, this is modern thrash with shades of groove which is at times surprisingly impressive (the fine instrumental opener "Triple Mosh Point"). Occasionally the speed is quite high ("All As It's"), and the guitar work brings forth nice melodic hooks, both in the lead and the riff department, but the derivative and generic moments are also here... Actually, the overall style isn't too far from Anthrax's "We've Come For You All", but this effort here is a thrashier, and overall better, effort.

Fulltrap Full-length, 2002
Heartbeating Full-length, 2003

Official Site


These Danes provide a dark brooding brand of modern post-thrash which boasts very good bass support the latter suiting the slower doomy moments better. The singer emits gruff semi-clean antics which are by all means a match to the officiant gothic-tinged musical background.

Galskaben Ta'r Overhsnd Demo, 1998


Based on the demo, this is mostly black metal played in a fast furious tempo with hyper blasts and all with the occasional less intense thrashy break jumping here and there, in the vein of later period Immortal.
"In Dominus Blasfemical Est... Ad Noctum Sathania" is a sure-handed take on the black metal idea, but the fast thrashy sections are not completely lost, and this aggressive blend now comes pretty close to more recent Impaled Nazarene if we exclude the cool epic breaks ("Sadomasochrist") ala Immortal and early Enslaved. Death metal steps in for a bit on the short brutal piece "Tormento" and hyper-blasting black metal reigns supreme on the title-track, and in the 2nd half the guys make no compromise sticking to brutal ultra-fast black metal for most of the time.

Manifiesto al Esclavo Demo, 2005
Holocausto Impfo en el Desierto de Golgota EP, 2006
In Dominus Blasfemical Est... Ad Noctum Sathania Full-length, 2009

Official Site


Based on "Bendiciones De Muerte", these guys serve fast aggressive thrash of the old school with a strong hardcore edge. This is fast one-dimensional music with rough death metal vocals. The bass-bottom is pretty strong stifling the thin guitars at times. Expect a thundering cover of their compatriots' Brujeria's "Brujerizmo" at the end.

Muerte A La Bestia Full-length 2005
Bendiciones De Muerte Full-length 2010

Official Site


This is one of the first bands founded by the omnipresent Paul Speckmann, this time with the help of the Znowhite guitar player Alex Olvera. Based on the two 1987 demos, this band had played a major role in the formation of the death metal genre; their style is brutal, fast death/thrash with short 1.5-2 min tracks, and Speckman's vocals being higher-pitched, sinister snarls, different from the ones he later used on his other projects. Later he changed the band's name into Master where the transition into full-fledged death metal was complete.

Demo 1 Demo, 1985
Demo 2 Demo, 1987
Funeral Bitch Demo, 1987
Nuke'em Demo, 1988


Based on the full-length, these guys specialize in heavy classic thrash which doesn't offer a very wide array of tempos as the stomping mid-paced one seems to be the prevalent one. "The Gods Armor" is a more complex, progressive-prone composition, but more speed would have been a nice addition. "Trapped Memories" would have made Paradise Lost proud as well as at least half the material here which doesn't benefit much from the gruff semi-shouty death metal vocals.

The Meaning of Destruction EP, 2016
The Releasing of Anger Full-length, 2017

Official Site


Good thrash/death metal recalling the French Massacra; there is nice technical guitar work present here, and the band definitely have a taste for good melodies (check out "Chernobil": the Russian fanbase will surely recognize the theme there), but they don't forget to be quite brutal, too ("Brutal Madness"). These guys also have the knack of putting quite a few riffs into short 2-min tracks making them an intense, but satisfying, listen. Even the harsh vocals ala Janne "Demonos" Sova (Barathrum) fit quite nicely. This album is another reminder that there is much to look for in places which are not a very hot place for metal.

Invite To Die!? Full-length, 1992

Official Site


Excellent death/thrash metal influenced by Slayer and Rigor Mortis; "After The Battle" is a good debut with simplistic, but effective guitar work, a unique dark edge, and cool Tom G. Warrior-like vocals. Despite the intense fast tempo, the music is long on atmosphere helped by the nice melodic hooks and the short, but meaningful, leads. The songs flow nicely sometimes sounding closer to death metal ("The Dark"), sometimes surprisingly melodic with a crossover flair (the instrumental "Reign of Death"), sometimes first-rate thrashing pieces ("In Silence"), and occasionally even technical ("Eternal Promises").

"The Benediction" is full-blooded thrash most of the time with more ordinary guitar work, softer, even offering cool attempts at a more balladic song-writing: "Encased in Glass", as well as more ambitious longer compositions ("The Apocalypse"). The pace is still quite energetic with the aggressive closer "Maniac" smelling death metal on the most intense parts.

Reign of Death EP, 1991
After the Battle Full-length, 1991
The Benediction Demo, 1992


An obscure underground entry from the Portuguese thrash metal scene, this band presents us with heavy mid-paced 90's thrash balancing between the mellower sound of The Black Album and the angrier groovier one of Pantera, the vocals strictly belonging to the Phil Anselmo-camp. The guys tried some death metal with Necris Dome under which name they released a solitary demo some time in the early/mid-90's, and had a similar formation around the same time: Bloodshed, with which they again released one demo of classic death metal.

Promo Demo, 1994


Like with most of the extreme contemporary metal acts from Australia, there are always members of Destroyer 666 involved, two of them in this case; and not surprisingly, the style is a mixture of black, death and thrash metal, not miles away from the early Destroyer 666 efforts; maybe on this EP the music is faster and more brutal, and more black metal-tinged.

Winds of Hell EP, 2006


Based on the debut: crossover/thrash with short direct tracks and an overall style close to mid-period Cryptic Slaughter or Ludichrist; the downpoint is that the sound is on the melodic softer side without the intensity which used to go with this style in the 80's.

"And Then You Fucking Die Man" is a much more melodic affair, a total tribute to early Motorhead, in other words what you will hear here is jolly very unpretentious one-dimensional proto-thrash/speed with simplistic mellow guitars and drunken hoarse vocals.

The "Nova II" EP (where is "Nova I"?!) comprises the staple for the band fast energetic thrash/crossover which delivers with its laid-back riffage and forceful semi-shouty vocals ala Kurt Brecht (D.R.I.). This is cool uplifting music which will keep you entertained with dynamic cuts like the galloping "Nova 2" and the surprisingly technical, but in a weird chaotic way, "Pellucidar"; it's a pity that the band never chose to develop this side of theirs any further.

Invasion from the Death Dimension Full-length, 2006
Nova II EP, 2007
Stranded in Time EP, 2008
Babeboobs EP, 2010
And Then You Fucking Die Man Full-length, 2010

Official Site


This "funny" band had a much more intimidating name earlier: Death Armada. Based on the debut, they indulge in the already fashionable for the time groovy post-thrash which is suitably jumpy and grungy with the compulsory faster sections ("Your Face") well embedded although the best moments here are those where speed isn't present at all: the doomy creeper "Face Of Fear". The approach is too one-dimensional to impress even the 90's listener who may be surprised near the end on the long heavy ballad "Love?" which is not bad, albeit a bit overlong. The singer at least tries sometimes to sing dramatically, sometimes shouts in an angry quarrelsome manner, but his efforts aren't enough to make this album just another not very necessary entry into the voluminous groovy catalogue of the 90's.

Pseconds Full-length, 1993
Potential Hazard EP, 1994
Biting the Hand Full-length, 1995
Amputate Full-length, 1997


This new act specializes in energetic classic thrash/death with sharp, vivid riffs and slightly rough, lower-pitched death metal vocals. The guys play fast and tight dropping the up-tempo in the 2nd half for the sake of a string of cool mid-paced shredders ("Cementerio De Los Vivos", "Victimarios", etc.). The aggression comes back for the closing "Cenit del Genocidio" which is a raging death/thrasher with a sophisticated, both melodic and semi-technical, edge.

Forajidos Full-Length, 2010


This band play slightly less ordinary modern quasi-industrial post-thrash which won't get on your nerves due to its more diverse than usual nature (check out the interesting mechanical shredder "Walk Alone"). The tone is dark and brooding, and the singer matches it all over with his semi-synthesized/semi-clean tember which is of the narrative, declamatory type.

Before The World End EP, 2011

Official Site


Based on the full-length, this band play right as rain classic speed/thrash without any deviations from the norm. Still, the execution is profesional, and one can't help but have good time on uplifting roller-coasters like "Agent of Chaos" and "Shitness". A couple of numbers begin in a fairly intriguing way with quirky technical riffs, but those moments never develop beyond those isolated intro which is a pity since the potential is by all means here, and shouldn't be wasted on merry heavy rockers like "Watch Out" where the hoarse drunken tone of the vocalist simply can't fit.

Violent Music EP, 2010
Burn After Listening Full-length, 2017

Official Site


These "thrashing folks" execute acceptable retro power/speed/thrash which by all means knows how to thrash ("The Raging Begins") with the finest out there even when it's more complicated than the norm ("The Realm Of Furion"). "Storm The Gates of Babylon" is a nice short creeper where the dominant semi-clean semi-shouter is replaced by a more aggressive death metal growler. Oriental and Balkan folk motifs are well embedded in some of the songs, but the heavily boosted guitar sound doesn't do them justice.

Thrashing Folks Full-Length, 2013

Official Site


The EP: punk/hardcore with two great technical thrashers at the end (based on the EP); it's definitely a mixed bag making you ask yourself what these thrashers are doing in an otherwise completely non-thrash album.
"Theory of Diversity", recorded in the distant 1992, and released just recently, is excellent aggressive old school thrash, quite close to Torture's "Storm Alert", both music and vocal-wise. The opener "Decompression State" is direct intense thrash, but "Always From Inside" slows down bringing cool technical riffs to the fore. Later on there isn't much technicality present, but the pace is energetic spiced by good heavy slower sections. "Every Indetermination Is Complete" shows the more technical riffage again and is actually a very good technical thrasher of the stomping variety switching onto all-out speed near the end, a tendency gracefully continued on the furious follower "Homo Superior" which also comes technically decorated. Just a year after the not very convincing EP these guys had managed to release a good album of uncompromising old school thrash.

De Industrialized EP, 1991
Theory of Diversity Full-length, 1992 (but released in 2008)

My Space


Based on "Eclipse", the style is a combination of modern thrash, classic thrash and even a bit of death metal. The classic songs work best, but the rest isn't bad, either, if we exclude the angry vocals which are slightly irritating.
The debut is a cool slab of headbanging old school thrash, moshing somewhere between Slayer and Exodus. Some nods to the modern tendencies are inevitable ("Adult Lust", the Black Album-influenced "In Your Dreams"), but they are done with taste. Insertions like the merry crossover smashing instrumental "Ridin' with Sioux" only make things more attractive contrasting nicely with the more aggressive material.

"Strange Ways" is truly a revelation coming after the slightly modernized "Eclipse", and serves six tracks of heads-down 80's thrash which apart from the straight headbangers ("Chaos Within", "Born Of The Flag") contains a very cool ballad ("My Dying Time") with a Metallica-shade, heavy mid-paced stompers ("Way To Perfection"), and one excellent longer, more technical composition ("The Challenge") in the best tradition of late-80's Metallica.
The "Profit Counts" is an impressive display of the guys's skills as this is the base for the prevalent classic thrash fiesta encountered later on the debut. The approach is kind of more elaborate, with more intriguing embellishments blended well with the vigorous thrashing, reflected in quiet balladic insertions on "Prepare Retailiation", and in less predictable, more stylish riff-paterns on "Fast N' Furious" which is an otherwise "fast'n furious" number. "Taking Over" shelters a cool balladic section at the beginning with the lead guitar player shown in a very bright light; it's business as usual later the guys moshing with vigour, seldom pausing for a break save for a brief Oriental respite on "Muslim Aggression", and another momentaty dash of tranquillity at the start of "Chaotic Thoughts", a superb instrumental with genuine technical pirouettes, one of the band's finest achievements.
"Roll The Dice" is a banal, tedious, vociferous tribute to the dying at the time post-thrashy movement, having very little to do with the band's earlier recordings. The few sparkles of mdoernity heard on them, however, have fully materialzed, right at the dawn of the new millennium when the old school was preparing to return to the spotlight.

Profit Counts Demo, 1990
Primal Touch Full-length, 1993
Eclipse Full-length, 1995
Strange Ways EP, 1996
Roll The Dice Full-length, 1999


Fast blitzkrieg old school thrash which clings between mid-period Sepultura (think "Arise", above all) and the ore technical side of the Bay-Area brotherhood (Testament, Forbidden, Death Angel). "Faceless Children" is an awesome opener with heavy stylish riffs and a fast ripping pace setting the tome for the remaining material which includes the more orthodox headbanger "Home Prison", the less predictable progressive thrash "Age of Hate" in the best tradition of "Twisted into Form", the mid-tempo slow burning brooder Year", and the blistering energetic closer "Shotgun". The singer is a cool addition to the music with his semi-clean high-strung timbre which he strains towards slightly more hysterical hardcore parametres at times.

The Order Remains the Same Full-length, 2017

Official Site


The debut: very good progressive metal with a thick modern sound of the aggressive thrashy type; "Greed" is an intense Nevermore-sque opener with very heavy brutal riffs, but "Doomed" is already a more light-hearted technical headbanger with crunchy jumpy guitars (not much doom here), before "A Certain Idea Of Human Kind" smashes your skull with some of the heaviest riffs around; this one remains fairly up-tempo adhering to more laid-back progressive balladic breaks and a couple of swirling complex ones. "Further Dimension" is an ambitious semi-balladic opus which balances between peaceful and intense thrashy passages. "The Evil Power Of Their Souls" is the ultimate modern technical thrasher with a super-heavy rhythm section with successful attempts at more classic galloping power/thrash. The album loses steam in the middle: "Stare Of Sunken Eye" is a modern groovy lead-driven instrumental filler with a short speedy part at the end, followed by the other interlude: the cool ballad "Is This The World We Created". "Middle Age" is a progressive modern track with a few interesting vortex-like leads which are too technical on the more conventional background. Things liven up at the end with the trilogy "The Monolith Effect" which 3 parts introduce energetic complex thrash of the technical mid-paced variety, until the short blasting death metal sections on the last part which also mark a change in vocals: the cool clean mid-levelled ones are replaced by brutal death metal grunts. This is an engaging serious listen which gives a nice progressive twist to the modern sound. Some of the band members also take part in the power metallers Inner Visions, and the heavy/thrash metal act Insomny.

"They Live": the guys will by all means "live" producing another fine slab of intense thrashy progressive metal which begins in a scarily aggressive manner with the death metal-laced title-track which is an invigorating mix of aggressive riffs, brutal blasting breaks, mazey sections, virtuous leads, and quiet surreal passages. One may get tired following the numerous twists and turns on this one all served within a bit over 5-min. "Between Love and Sadness" is a more relaxed shredder, but comes "Dualitude", and things get way more aggressive again the singer adding scary death metal-ish shouts to aggravate the atmosphere. "Colony of Shame" is a balladic composition with groovy implements carrying the next "Hope" with it, but death metal reigns supreme under nice melodic leads on the instrumental "Delirious Water". "Principles of War" is a jumpy oddity the jumpiness taking a curious stylish technical direction on "Save Me" before "Red Planet" clears the stage with the next portion of more intense vitriolic riffs. "Blues on the Moon" is a fairly unexpected acoustic balladic closer to this furious concoction which will bring to mind quite a few of the modern practitioners of more though-out metal: Chaoswave, Nevermore, Darkane, Biomechanical, Altered Aeon, etc. Generally this is more diverse than the debut, and one should take his/her time with it since one listen may not be enough for him/her to grasp all the nuances floating around. Is it better than the first album? Well, it has to be swallowed first before one gives an objective assessment... there's a lot going on.

The Monolith Effect Full-length, 2010
They Live Full-Length, 2012

Official Site


The debut: decent intense retro thrash of the dark brooding type with meaty heavy riffs which soften down for the couple of more epic numbers ("Storyteller"). Moshers like "Sworn for Revenge" and the closing "Defeat" (this one even blast-beats for a while) will rock the fans' world with force, but the majority of the material is more on the volcanic mid-paced side. The singer is a semi-shouty death metaller who is at times stifled by the ripping guitars.

"Un Mondo Infinito" comes with a more complex sound, but also with a more melodic delivery which borders on late-preiod Opeth ("Devastating Vengeance Unfold") where the approach is pure progressive, no thrash. Fortunately, the guys haven't completely forgotten about their roots, and here comes "I Am The Truth" to shatter your senses. Still, the 2nd half is deeply immersed in progressive leaving not much room for any more aggressive developments (the furious blast-beats on "Light Has Died" the sole exception).

Destroying Atropolis Full-Length, 2013
Un Mondo Infinito Full-Length, 2015

Official Site


Based on "Slavekind", this is decent fast-paced thrash of the Bay Area school with two different vocal styles: one of the angry modern type, the other one clean. There's a certain doze of death metal, too, which adds up to the aggressive character of this album.

Fury Full-length, 1997
Stigmatized EP, 2000
Slavekind Full-length, 2001
Forbidden Art Full-length, 2005
Blood, Sweat and Iron EP, 2005

Official Site


This excellent act specializes in hard-hitting progressive power/thrash which has enough edge and heaviness to fill in 10 other albums. The opening riff-monster "Anarchy For All" introduces ultra-sharp guitars, high-strung Halford-esque vocals, and great bass support. "Repentance" is vintage Sanctuary, a powerful dark composition, the good emotional vocals now resembling Warrel Dane as well with a touch of Trouble's Eric Wagner on the wailing notes. "Land Of The Living" is a crushing mixture of doom and thrash, but the initial energy is quickly captured right after with the mid-paced steam-roller "Downward Spiral". "Picture To Wonder" is a more laid-back progressive piece with echoes of Fates Warning and Lethal. "Deceiver" will bring you back straight to the very roots of US power metal, as forged by acts like Jag Panzer and early Attacker. Then the sound acquires slower progressive dimensions for two longer songs where the singer adds subdued lower tembers to a fairly good effect until the arrival of the much more immediate speedster "Gutwrench". The closing "Minds Of The Living/Battle Of Truth" is another sprawling progressive opus, more thrashy than the previous similar pieces with a consistent mid-tempo rhythm which doesn't change much throughout, but guarantees a solid listening experience, coupled with the clever meandering riffs. This was a good beginning for this act, but their quick disappearance very soon after the album's release is probably an indication that this collaboration was just for this effort without any concrete future plans.

From Beyond The Horizon Full-length, 1997


The debut: a classic thrash "barback attack" done by these Frenchmen who mosh in a direct simplistic fashion their efforts slightly hampered by the noisy modern production. "Personal Sphere" is a more serious, more engaging composition, but the rest is straight and to the point the slower mid-paced moments left for the closer "Corrupted Leaders" which even acquires epic, sing-along proportions near the end.
"Plug and Plague" doesn't betray the approach from the debut, and the band carry on with their energetic brand of old school thashisms with a few more technical complications ("Facing the Threat", the choppy diverse shredder "Into the Void") along the way. "Dead Brain Market" is a more laid-back power metal-ish deviation, but it's no-bars-held headbangers like "Genitals Crusher", the choppy, less predictable "Carnal N°5", and of course the aptly-titled "Ulthrash" that propel the album forward.

Barback Attack Full-Length, 2014
Plug and Plague Full-length, 2017

Official Site


The full-length: modern power/thrash with abrasive, hissing guitars; the music has a playful, crossover-ish character as evident from the sing-alonger "Devil's Candy", and generally seldom picks up speed remaining heavy and mid-tempo save for a few isolated cuts like the title-track. The singer is a semi-shouty semi-cleaner, and his histrionics are well noted, albeit a bit over-the-top at times.
"Galaxy Brutality" is a heavy "beast" which stays much closer to doom for most of the time despite the short, episodic length of the trackks which create the imppression that the guys haven't taken this job very seriously this time, and have just jammed in the studio with "Object Unindentified" the only more energetic proposition.

Count Me Out EP, 2016
The Touch Of Death Full-Length, 2017
Galaxy Brutality EP, 2017

Official Site


Three songs of dark gothic thrash with Nightfall overtones; atmospheric music which doesn't miss out a lot in the fast department as well offering sharp dynamic riffs which take the music towards late-period Death ("Futureless") on occasion. The singer is suitable with his rough death metal tember, and the leads are cool of the shorter melodic type.

In Whitechapel Demo, 2000


Germanic thrash is on offer here suffering a bit from the not very clear sound quality which still isn't a very big obstacle for the guys to rip hard the approach recalling early Deathrow and Destruction. While the music is cool and energetic the riffs lashing with power seldom slowing down, the rusty screamy vocals are not very rehearsed, and may turn into an annoyance at some stage as well as the very thin leads which are fortunately short, but will still pierce your ears when in action.

Hospital Infectado Demo, 2010



A 4-track demo of cool energetic thrash owing much to Slayer's "Hell Awaits" and the Dark Angel debut with slightly indifferent declamatory vocals and impromptu Kerry King-like solos. "Kill Me if You Can" is a nice aggressive thrasher, whereas "Berserker Fury" is a fabulous speed metal number which could fit fine even on the Angel Dust debut, or early Helloween.

Demo Demo, 1986


Based on the debut, this band plays cool retro power/thrash metal mixing heavy pounding tracks with brisk speedy ones. Some balladic passages ("Celtalanul") are well embedded into the overall picture although the alternative clean pitch of the vocalist isn't well adjusted to them.

Pokoljdfrat Full-length, 1995
EmlTk EP, 2000
Kor Full-length, 2008

Official Site

Copyright (c) 2007-2018 THE THRASH METAL GUIDE