Copyright (c) 2007-2024 THE THRASH METAL GUIDE 0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z F.A.F. (CANADA)
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 F.A.L. (ARGENTINA)
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 F.B. BASTARD (SWITZERLAND)
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". The title-track 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, with the style more on the modern-ish power/thrash metal side.
Bastards Never Die! EP, 1987 Vibrations of Doom F.B.O.T. (MEXICO)
This is fast ripping classic thrash with rough deathy vocals; the approach shares some of the bashing vigour of the early German school (think Destruction, above all) with a similar rolling riff application ("Fuck 'Em All") here and there, with a couple of quirkier, semi-technical exercises ("Adixxxion-Surrender to the Thrash") scattered around. Exploding pieces like "Toxic Society" and "Warface" propel this album forward, the latter bringing the winds of proto-death for a bit.
Information Disease Full-length, 2018 Official Site F.C.D.N. TORMENTOR (USA)
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.D.P. (FRANCE)
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 F.K.U. (SWEDEN)
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.
Metal Moshing Mad Full-length, 1999 Official Site F.O.B. (CZECH)
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.
Blame? EP, 2000
Official Site F.O.D (INDONESIA)
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 Official Site F.T.G. (MALAYSIA)
"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.
Freedom That's Gone EP, 1991 F.U.C. (AUSTRALIA)
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 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 FA-Q (USA)
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 FABULOUS DESASTER (GERMANY)
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 Official Site FACE DOWN (SWEDEN)
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 Official Site FACE DOWN HERO (GERMANY)
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.
Opinion Converter Full-length, 2007 Official Site FACE OF A VIRUS (PORTUGAL)
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 My Space FACE OF AGONY (SLOVAKIA)
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.
Welcome To Our Souls Full-length, 1998 Official Site FACE OF CHAOS (FINLAND)
Two songs of heavvy pounding modern thrash with a couple or really memorable melodic lead sections; "Ceased to Exist" is a mid-paced
stomper but "Death Seraphim" suddenly switches to ripping headbanging motifs for a bit, the angry shouty deathly vocals following the
stylistic swings with vociferous gusto.
Face of Chaos EP, 2012 Youtube FACE OF EVIL (SWEDEN)
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 FACE THE HATE (USA)
This 2-tracker is a typical product of its time, groovy post-thrash which is steam-rolling and thick on "Deadbolt", and playful and dynamic on "I, the Jury", both cuts accommodated by cool emotional clean vocals with an admirable higher-pitched potential.
The demo is another commendable affair the guys speed/thrasing in a more goofy, less intense manner with preferences towards the mid-tempo, the songs generally being shorter with "Voices of the Wind" nicely complicating the environment with a portion of more entangled riff-patterns and a few dazzling lead pirouettes.
Chicken Metal Demo, 1990
F.C.D.N. EP, 1991
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.
"The Horror and the Metal": horror and metal come bended expectedly, once again on the works of these admirable thrash purveyors who won;t disappoint their fans with this notable old school barrage, the moshing qualities of the opening title-track and especially the short explosive "(He Is) The Antichrist" never in doubt, the consistent stomping rhythms of "The Spawning" not given much room to breathe elsewhere, the face-melting spasms of "Harvester of Horror" not quite for the faint-of-heart. Make sure to welcome the brisk gallops on "They Are 237" and the hyper-active extrapolations of the closing "You Are Who You Eat", the band keeping the moshers fully satisfied in the short exhausting run.
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
The Horror and the Metal Full-length, 2024
"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.
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
Asa Full-length, 2000
Tentang Dunia Full-length, 2012
"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.
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
Humans Being Full-length, 2016
"Off with Their Heads" carries on in the same trajectory the band moshing with passion all around with more carefree attitude served on the early Metallica-sque "Abra Cadaver". More hard-hitting thrash roams around ("Nut Up For Shut Up") as well, sitting well with more contrived pieces like the excellent diverse title-track and "Against The Wall" (check the melodic leads on those two). Another more pleasant surprise would be the more technical "Eye For An Eye" the guys relaxing afterwards with two less pretentious heavy/power metal anthems.
Hang 'Em High Full-length 2016
Off with Their Heads Full-length, 2018
The Twisted Rule The Wicked Full-length, 1998
The Will To Power Full-length, 2005
"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. Sparse 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 timbre.
"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 again 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.
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
Behind the War Lines EP, 2006
Rise and Begin EP, 2011
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.
Imitations Of Life Full-length, 1999
The Die Is Cast Full-length, 2005
Hunting Season Opened Full-length, 2009
Death Blow Full-Length, 2015