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


Based on "Detestation", this is a raw, simplistic, but effective mix of early thrash/crossover and Celtic Frost (considering the time of release). The album offers a fairly brutal for its time sound, and can definitely be considered one of the more extreme early recordings; the music is not very fast, but keeps a good tempo throughout, and the vocals are really aggressive, being low, semi-death (yes, indeed!) ones, sounding like a more vicious Tom G. Warrior. The punk atmosphere is still present, but delivered in a much more brutal way. There are some classic heavy metal tunes thrown in which reportedly increased on the band's second full-length release. While Loudness were pleasing the metal crowds with their radio-friendly hard'n heavy anthems, this band were laying the foundations for far more exreme sounds to come in the future...
"M.A.N." is a much more carefuly plotted ous with a more laid-back approach bordering on power/speed metal starkly contrasting at times with the harsh raven-like vocals. The compositions are much longer, too, resulting in a few impressive epic heavy metal hymns ("Frozen Dirt"). Thrash is solely covered on the more energetic "Nations Prosperity" which is an abrasive thrash/crossover cut.
"Sonicrime Therapy" is a wild chaotic affair based on a noisy blend of thrash, industrial and hardcore the guys just jamming without any serious intentions, throwing everything into the melting pot including a couple of Celtic Frost-esque stoms ("RUNS-1"), plus a portion of really stylish melodic leads on "RU-3".

Detestation Full-length, 1984
M.A.N. Full-length, 1987
Sonicrime Therapy Full-length, 2001

Official Site

G.L.S. (USA)

Thrash/crossover of the less ordinary variety; the stomping sections have a nice semi-technical twist ("Embody", "This Time You're Dead") and are the more preferrable side reaching doomy heights near the end on "Infidelity", and on the moody mid-paced title-track. The sound quality is quite good propelled forward by the very good bass performance, and the vocalist is not bad at all with his emotional high-strung semi-clean tember.

Blood Will Flow Demo, 1990


Honduras is not a very hot place for metal; that's why this band comes as a complete surprise. The guys have done a very good job; this is first-class technical power/thrash obviously influenced by Helstar's "Nosferatu". The guitar work is stunning: great solos, twin-guitar melodies ala Iron Maiden, and clever technical riffs. The music is mostly up-tempo, never very fast and aggressive, and the fine dual lead guitar lines are all over the place as well as the galloping rhythms all nicely displayed on the instrumental opener "Facing The Omnipotent". The compositions are in the 5-7min range, and are filled with various, sometimes a bit unexpected, but utterly compelling, time changes; at times the sound moves towards more intense speed/thrash ("Scavengers", "Driven By Hate"), at times it excels in technical riffage ("Skeptic's D.N.A."). "Metal Empire" is a masterpiece of technical/progressive thrash, the closer of this album, a complex opus which is a conglomerate of moods and memorable guitar hooks: some quite sharp and jumpy, others with a great doze of melody. The singer is yet to catch up with the music, though: his mid-ranged, semi-clean tone lacks the dramatism and emotion which are mandatory for this kind of music.

The "Raising Decay" demo already shows a band fully equipped to do some damage on a larger than Latin America scale. An even better piece of news is that the demo and the full-length share only one track ("Catastrophic Fate", which in the album is actually added as a bonus track) so fans of the band can enjoy seven whole songs not heard before. "The New Age" nicely introduces the technical guitars and the virtuous twin melodies although it never speeds up being heavy and mid-tempo. "Remaining in Darkness" is a compelling listen with its numerous melodic twists and guitar virtuoso sections which completely overshadow the very flat vocal performance; not much fast thrashing here, either. "Catastrophic Fate", heard on the full-length later, is a great speedy thrasher in the spirit of Paradox's "Heresy". The speed remains for "Inorganic Environment" which, combined with the immaculate technical delivery and the constantly shifting melodic hooks, stands for the highlight. "Decibel" is an instrumental-only piece, another fine display of high level musicianship concentrating more on the leads. "Burning the Flag" is full-on speed/thrash with again the leads taking a central part. "Victim of Denial" is sinister galloping power/thrash ala Helstar, which despite its undeniable qualities pales before the excellent progressive closer "G.O.D.", which well deservedly carries the band name, thrashing in an awesome technical mid to up-tempo fashion for about 8-min leaving the lead performance a bit behind which was good since up to this point the lead guitarists have been given more than enough space to perform "stealing the show" from the others. If we exclude the very weak vocals, which are simply laughable and impotent for most of the time, and the very thin guitar sound which creates at times quite a screamy atmosphere during some lead sections, everything else is close to perfect, and this demo sounds almost as convincing as the full-length stepping back probably only in the vocal department.
"180 DBA: Dawn of a New World": a very surprising comeback from the prime metal act from Honduras. The guys are alive and well, and not only but they're in a pretty good shape to do some more damage worldwide. After the imposing opening virtuoso shredding instrumental "Countdown to Armageddon" the band embark on another technical/progressive speed/thrash journey with "New World Devastation" the guys excelling in the melodic department also adding winding vortex-like riff-patterns at every opportunity. "Cyber Assassin" is another clever complexer with impetuous speedy accumulations reminiscent of Paradox and Manticora, and a stupendous technical exit. "Dark Inheritance" carries on with the intricate "assault" the band having no intentions on losing the accumulated inertia, and steel lashing riffs will fall from all sides interrupted by a spiral-like elaborate riff "salad" mid-way. "War Disciples" tones down the aggression keeping the delivery within the up-tempo parametres with more frequent mid-paced "excursions" and beautiful Oriental melodies. "Unleash the Virus" is a short explosive speedster bordering of death metal-ish dramatism, and "Signs of the Apocalypse" is a return to the more diverse approach again with more regular slower "visitations" which almost completely disappear on the closing "Symbiogenesis", a feast of progressive speed/thrash with a fine alternation between more linear fast-paced riffage and more technical insertions. This is a truly marvellous return to the scene for the band who will hopefully stay around for longer this time with more frequent descents upon the fanbase.

Burning the Flag Single, 1997
Raising Decay Demo, 1998
Incandescent Full-length, 2002
180 DBA: Dawn of a New World Full-length, 2016

Official Site


Based on the demo, this act specializes in simplistic post-thrash with several more vivid proto-hardcore passages. This is peaceful laid-back music with grunge overtones topped by suitably angry semi-shouty vocals. Some of the musicians also take part in the thrash/death formation Malvo.

Demo Demo, 2002
Antagonistic Anthems EP, 2005
Bitter Reality EP, 2007

Official Site


Based on "One Thousand Blasting Words", this band come up with a run-of-the-mill thrash/death concoction, which is suddenly "broken" by insertions (or samples) from other styles, much more melodic than metal, and are too many; interesting, but too contrasting to the furious riffs, which often go into blast-beats without warning. Some of the melodic breaks are not too bad, actually, and are directly taken from the Cynic, or Atheist textbooks; it's too sad that the guitar work is much inferior to the one of those two legendary acts. "Serum" is a nice atmospheric, slow instrumental track, possibly the highlight here, maybe because it's devoid of the awful hysterical shouts of the singer. Worth of note is that all the 11 songs start with an "S"; there could be some great concept behind the lyrics?!

Utopia City Full-length, 2004
One Thousand Blasting Words Full-length, 2006

Official Site


This very little known, but worthy band offers quite good energetic, but not very aggressive thrash metal topped by vicious hoarse vocals with a black-ish vibe. This is old school stuff, with nice bass work and stylish leads (the riff-work is of the more standard type): check out the great "Flash Back". Shades of the German wave could be heard ("Bottom Head", featuring nice rolling riffs ala Destruction), as well as a really fine nod to early Celtic Frost ("Complently"), but otherwise this band don't sound like anyone else, mainly because the lead guitar, with a unique sound of its own, takes a considerable space from the album, making it an engaging and original listen. The speed increases on the last 3 songs, showing the more intense side of this nice little gem.

The End Of The World Full-length, 1994


This band are virtually all Laaz Rockit members minus the drummer, who here comes from Defiance. The old school veterans have obviously gotten tired with the scene, and the style here is firmly in the modern 90's thrash vein ala Pantera; shades of "Nothing Sacred" can still be heard, but they're not too many, and despite the aggressive sound on this album, Gack couldn't be classified any higher than just another run-of-the-mill modern 90's thrash band.

Fix Full-Length, 1993


Early Germanic thrash metal (Kreator, Destruction, Necronomicon, etc.) is brought forth again by this young Belgian outfit who acquit themselves with pretty cool fast energetic music. "Smell My Jacket" sees them embracing the speed metal idea for a while producing a seismic piece in the best tradition of Angel Dust's "Into the Dark Past". "Violent MetalStorm" is a furious thrasher sounding as though having been left off Destruction's "Infernal Overkill". Then comes a string of shorter tracks, nice nods to the direct blitzkrieg style of "Pleasure to Kill". "Cemetary at Midnight" is a cool attempt at a more complex sound not far from the longer compositions from Deathrow's "Raging Steel", and this approach stays around until the closer "TrashAssassination" which is violent devastating speed/thrash at its classic best. The singer does a fairly good job with his vicious husky semi-declamatory style sitting somewhere between Milo (Deathrow) and K. Weber (Toxic Shock). Some of the band members also mix folk, pagan, epic and thrash metal with their other project Wapenspraak & Drinkgelag.

Drink 'till Death EP, 2009
Violent MetalStorm Full-length, 2011

Official Site


An obscure entry from the Middle East which hesitates between thrash and death metal emphasizing on the skills of the bass player who leads the show with authoritative, but not very obtrusive reverberations. The rough musical approach is interrupted by much better Oriental melodic motifs which give this otherwise not very interesting mid-paced melee a strange gothic aura. There's by all means plenty of atmosphere to be appreciated, and doom slowly takes over in the 2nd half, first with sprawling "...And No One Made A Sound" and later with shorter, but equally as morose cuts. The vocals are husky death metal ones and manage to sound appropriate, albeit not very clearly deciphered the whole time.

The Butterfly Full-Length, 1995


Two songs of fast instrumental-only thrash obviously "courting" Slayer's "Reign in Blood" with a few surprisingly lyrical melodic deviations; not bad although it's clear that it was just a rehearsal for more serious efforts which never came about.

Demo Demo, 1989


The Irish thrash metal scene has never been the most prolific in the world, but from time to time some quality music has come from there through the years (Moral Crusade, Cursed Earth, to name a few). With bands like Gama Bomb things look quite promising right now. The music is speedy (but not very) thrash with an American power metal flavour recalling Helstar, Liege Lord, Attacker, the Canadians Anvil, the Agent Steel debut. The vocals still need some working on, because this Lemmy-like style doesn't really fit the sound. Reportedly, the band have had some hardcore influences on their demos similar to Nuclear Assault, but here they could hardly be heard. It seems as though British/Irish thrash metal is starting to pull itself together again.
"Citizen Brain" is a smashing follow-up showing the band in fine form to produce great headbanging speed/thrash metal again. These are 15 tracks of heads-down retro thrash; no shades of American power metal this time, just in-your-face thrash aggression, which could only be compared to Razor's "Shotgun Justice", or Vio-Lence's "Eternal Nightmare", or the Swedes F.K.U., of the more recent acts; a thrash masterpiece which will surely be in many top tens for 2008, and may even top up quite a few of them.

"Tales From the Grave in Space" returns to the more speed metal-based patterns from the debut, but is a full-fledged metal entertainment from beginning to end. The guys play fast and tight, without forgetting about the more melodic side of things which mostly springs up on the lead sections. The singer traditionally does a good job with his levelled mid-ranged semi-clean tone, this time unleashing his high screams more often, but always at the appropriate time. Seldom can one hear an effort so fully dedicated to speed in the new millennium, either in a more thrashy ("Apocalypse 1997", "Return to Blood Castle"), more 80's speed metal-like ("Skeletron", "Slam Anthem"), or even a sincere crossover ("Mussolini Mosh") manner. By the way, the whole album can be downloaded for free from the Earache website.
Wow, the guys know no rest, and just a few months after the release of their 3rd full-length here comes a brand new 5-song EP, albeit "half cut", to please the fans of classic speed/thrash. High-speed antics await you here delivered with an early Hirax-like intensity also reflected in the relatively short length of the songs (the 44-sec thrash/crossover explosion "Deep Red").
Some more "terror tapes" from the premier act on the Irish metal scene, and they won't disappoint: there are 12 hymns of major thrashdom here with a hefty doze of crossover including in the more carefree Jello Biafra-like vocal tone which is so cool that it's imitation-inspiring. The guys shred with passion seldom dropping the dynamics the frisky riffage ably supported by sweeping leads, both melodic and screamy. The delivery only gets a tad more serious on occasion ("Beverly Hills Robocop", the closing engager "Wrecking Ball") contrary to the jocund titles where the band indulge in more technical guitarisms, but those would hardly stand a chance against the super-fast shorters, like "We Started The Fire" and "Matrioshka Brain", among other neck-spraining anthems. There would be no disappointed listening to this spontaneous tribute to all things old school the band providing what's expected in a fresh brisk manner, and with their regular presence around one knows that the classic thrash vogue is far from over.
"Untouchable Glory": the Irish lads are tireless, and here they are with their 6th full-length since their inception. The guys mosh relentlessly their vintage speed/thrashing approach intact "shooting" a "gama bomb" after "gama bomb": "Avenge Me!", "Drinkers, Inc.", "My Evil Eye", and every other one. Necks will be sprained all over, and severely twisted on the brutalizer "She Thing", or on the technical "windmill" "Witching Mania" the latter the highlight on this perennial roller-coaster of highly entertaining old school thrash which keeps churning minor masterpieces all the way to the end exiting with the excellent "After the Fire", a slightly more elaborate take on their trademark blitzkrieg style of which one can't possibly get tired. "Untouchable" stuff indeed...

Survival of the fastest full-length, 2005
Citizen Brain Full-length, 2008
Tales From the Grave in Space Full-length, 2009
Half Cut EP, 2010
The Terror Tapes Full-Length, 2013
Untouchable Glory Full-Length, 2015

Official Site


An energetic old school speed/thrash demo along the lines of Destructor and early Whiplash; the guys slow down at times, so that the "damage" wouldn't be that "heavy ("Heavy Damage"), and the speedy cuts range quite a bit, from pure hardcore outbursts ("N.F.H.") to enthusiastic crossover thrashers ("Science Addiction"), to uncompromising headbangers ("Tupa Tupa Or Die"). The bonus track at the end "Overgrill (El Grillador Loco): is a more laid-back heavy/power metal piece, with a fast crossover 2nd part. The singer has a gruff semi-clean tone, which carries quite a bit of melody of the semi-indifferent, punky variety.
The full-length features 2 tracks from the EP, but the rest is new and it will rock your world in the good 80's old-fashioned way with fast, crisp guitars with a merry crossover tone, and fast-paced ripping riffs boosted well by the crystal clear sound quality. The speedy merry-go-round never stops except on the mid-paced smasher "Overgrill (El Grillador Loco)" which will remind you of Anthrax. So this is "another doze of thrash", like the title of one of the songs says so well, done in a carefree, unpretentious way, just for the mosh out of it.
"Burst into the Quiet": it's not "game over" yet for these guys who are back with another release which doesn't stray from the good old speed/thrash providing brisk energetic pieces some of them lashing "mad hatters" ("The Eyes (Of The Mad Gardener)", the closing "Burst Into The Quiet")... sorry, "gardeners"; others optimistic merry crossoverers ("C.H.U.C.K.", "Nuke 'Em High"). The up-tempo seldom gets lost and variety is by no means the name of the game here; but those looking for a good headbanging fun will make the right choice picking this one up.
"Crimes Against Reality" is another highly energetic roller-coaster speed/thrashing with inspiration also inserting the odd more melodic hook on the more relaxed power/speed metal-fixated material (the "eagle fly free" anthem "With All That Is Left"). "Astral Matter" runs away from the formula with more serious rhythms and arrangements and it's this approach, also reflected on another longer shredder, "Crimes Against Reality", which would provide the thrashers with the more aggressive performance as the shorter cuts are pretty much happy-go-lucky speed metal paying tribute to both the 90's and the German movement from the 80's.
"Claiming Supremacy" doesn't change the course dramatically the band speed/thrashing in the expected vigorous manner adding the odd power metal tune ("Last Before The End") whenever appropriate. "Blessed Are The Heretics" is a more ambitious composition with a wider array of tempos, and "Eleven" the mild heavy/power filler which dooesn't do much to hellp this album's cause. Not to worry so much as speedy "bullets" like "Lysander" and the crossover-oriented closer "Show Me What You Got" take care of business with their energetic bouncy riffage.

Heavy Damage EP, 2009
For Humanity Full-length, 2012
Burst into the Quiet Full-Length, 2014
Crimes Against Reality Full-Length, 2016
Claiming Supremacy Full-length, 2017

Official Site


No, this isn't Nuclear Assault-influenced thrash/crossover, like some of you may think due to the band name, but is just your average 90's post-thrash with mild riffs, bad synthesized vocals, a couple of faster hardcore moments and funky passages, and one cool heavy doomy ballad at the end ("Hypocrite").

Game Over Full-Length, 1996


Good aggressive thrash which combines the fury of Slayer and Dark Angel with more technical riffage; pretty much one of its kind in those days. This is a monolithic wall of aggression which never breaks and even hardens the course at times: the furious blast-beats on "Shock Treatment" and "Gutter Rats".
The 4-song demo could have been the rehearsal for another fine brutal slab of thrash/death although the sound here smells death metal more often, and will probably remind you of the French Massacra as well. The technical riffs are more frequently present, and the overall guitar sound is heavier and faster making this little gem a really intense listen. With the death/thrash metal mixtures being quite fashionable at that time, this band could have made quite an impression on the scene with their uncompromising, but also technical at times, delivery.

Victims of Science full-length, 1989
Demo Demo, 1991

Official Site


This is fast roller-coaster thrash/crossover with hysterical hardcore vocals. The music is pretty energetic with an alternation between fast and slower sections not far from Madball. This is jolly, unpretentious stuff which is mostly marred by the noisy sound of the guitars.

Radical Mosh Disaster Full-Length, 2008


The band's works of the 90's are weak blends of modern post-thrash and classic heavy metal; nothing in common with thrash metal. Their more recent efforts add more intense riffage, but the music remains in the post-thrash camp, coming close to more recent Annihilator on the best moments. "Dead Of Alive" is by far the band's finest hour which in their case means your average modern-ish power/thrash metal mixed with faster moments ala Motorhead and early Exciter marred by a couple of heavy, but not that impressive ballads.

Gang Full-length, 1993
Unknown But Surely Evil Full-length, 1995
Piece Of War Full-length, 2002
Dead Of Alive Full-length, 2007

My Space


A 3-songer of intense speed/thrash; the title-track is a nice progressive shredder with a Bay-Area flavour, and "Shot On Site" is a dynamic headbanger with a cool shouty chorus. "Metal Morphisis" relies more on the virtuous leads to pull it through and succeeds in raising the proficiency level also thanks to the very good emotional clean vocals. The sound quality is a bit of a problem giving the guitars a prominent hissing reverberation. Some of the band members were also playing with the power/speed metallers Sound Barrier.

Gangland Demo, 1988

This is intense stuff which borders on hardcore without being too fast. It starts in an awesome thrashing fashion with the opening madder "Carnage", which promises a lot of retro mosh, but later on the guys loosen up a bit with more laid-back riffage. The singer shouts in a not very comprehensive synthesized manner, and creates a noisy atmosphere which is also aggravated by the sloppy production.

Metal Hunters-Tape Edition EP, 2011

Official Site


Based on the debut, this band play a more aggressive form of thrash/crossover going well beyond the more restrained attempts in this genre made by their compatriots Ratos De Porao. This music is more varied featuring rap and even samba moments bringing the band's sound at times closer to Rage Against The Machine and Biohazard.

"Se Deus E 10 Satanas E 666" is made with a bigger sense of humour although the aggressive shredding hasn't been abandoned completely producing some full-blooded thrashers ("Black Velho", "Chuta que é Macumba") along the way. There are certainly "distractions" from the path in the form of grunge, post-thrash and groove all this wrapped up in fast blitzkrieg numbers which this time never leave the borders of the good taste despite their really brutal nature at times. The attached shouty singer mostly semi-recites rapping here and there to a pretty hilarious effect.
"Smells Like A Tenda Spirita" title-wise is a direct reference to the mythical Nirvana debut, but music-wise this is all over the place the band apparently having fun going into all possible directions still keeping the essence within the post-thrashy confines, but there is hardcore, grunge, funk, tribal rhythms, and even sparse shades of grind all this packed in short (2-3min) numbers most of them sounding like rehearsals left unfinished. Purely unpretentious, done for the mere fun of it...
"Gente Ruim so Manda Lembranca pra Quem Nao Presta" is another eclectic affair which is chokefull of influences and nuances, the approach still dominated by short bursting speedstes like "Terno do Ze" and "Encosto", opposing more exotic jumpers like "Carnossauro Diet" or bizarre staccato "dancers" like "Trabalho pra 20 Comer". "Se Liga Doidao (Ze Droguinha)" is a tribal extravaganza which nicely exemplifies the carefree, jocund spirit of this unusual, and yet catchy recording.

Welcome To Terreiro Full-Length, 1993
Smells Like A Tenda Spirita Full-Length, 2000
6/6/6 EP, 2006
12/12/12 EP, 2007
Se Deus E 10 Satanás E 666 Full-Length, 2011
Gente Ruim so Manda Lembranca pra Quem Nao Presta Full-Length, 2018

Official Site


This Danish outfit pull out moshing old school thrash ala F.K.U. which shifts from the norm on the shorter numbers (“Shotgun Face Shower”) which are more on the brutal side of the spectre: think Morbid Saint, early Sadus. This is good fun all the way the guys playing with enthusiasm thrashing straight-ahead without offering any digressions except for a short string of more crossover-laced tracks in the middle; and the odd more technical guitars on the short shredder “Middle-Aged Madman”. The vocals are of the semi-shouty/semi-clean type with a few high-pitched shrieks unleashed at times to a startling effect.

Tales from Sentenced City Full-Length, 2014

Official Site


The debut: melodic progressive power/thrash metal which emphasizes *******************************************************************////////////////dy more than technicality, but the most inspired moments bring the sound not far from their compatriots Valkyria. The album offers faster headbanging numbers, mellow heavy/power-based ones, more complex eclectic ones, and more. The music isn't flashy, but flows nicely seldom causing the listener to scratch his head, and the singer is quite a nice addition with his levelled mid-ranged melodic voice.
"Chthonica" is an excellent elaborate work of progressive power/thrash which blends Megadeth's heydays with more surreal moments ala Psychotic Waltz and Mekong Delta to a fairly impressive effect. The opening gracefully introduces the less ordinary approach as well as the very characteristic clean vocals with echoes of Jello Biafra (Dead Kennedys, Lard). The surreality is even bigger on the title-track which abstractly blast-beats for a while before the magnanimous 9-min opus "The Night and Unbending Intent" hits with more restrained, almost doomy, guitars its gothic dramatism kind on missing the point compared to the rest. "Nevertheless" is eclectic progressivisms again without too much thrash, but arrives "They Live" and the more aggressive shredding resumes admirably providing the fastest-paced sections on the album along with a strange infectious chorus. "Sleepwish" is another less eventful semi-ballad, and "Of Pigs and Men" is the next in line avantgarde piece with echoes of Thought Industry's debut and Slauter Xstroyes. The final "My Veiled Kingdom" is an appropraite headbanger thrashing harder with the obligatory more puzzling passages, ending this fairly interesting release with a huge dynamic boost, making these folks one of the hottest propositions from the Russian metal scene at present.
"Khemosynthesis" would be another no-brainer for the progressive power/thrash metal lovers, and the opening "Innocence Bloody Innocence" promises a lot of elaborate thrashing with its complex technical riffage. The approach is more intense this time, and thrash leads the proceedings for most of the time including on the epic "Longest Train In The World" where some really aggressive headbanging sections lie in wait. Time for a rest with the balladic "The Room With Green Wallpapers" before the title-track serves intelligent power/thrash with great surreal melodic leads. Later on "Legion Calls" will stir the blood with its vigorous galloping guitars, and the final "Thirst" pours more weirdness into "the furnace" with another abstract blasting moment which is immediately accompanied by a nice balladic section. With three fairly original works released the band have all the rights to claim a place on the very upper front of the progressive metal movement wolrdwide.

Kupava Full-Length, 2008
Chthonica Full-Length, 2012
Khemosynthesis Full-Length, 2014

Official Site


This unique eclectic progressive metal act, who have whole 7 full-length albums in their discography, have given their tribute to the more unusual side of thrash on this one. The guys indulge in long sprawling, quite hard to swallow at first listen, songs where quite a lot of things happen, but there is seldom a dull moment except for a few overlong balladic sections. Here those sections are put to the minimum, and this album is a masterpiece of intricate twisted thrash. "Lead" is a great progressive thrasher with brilliant surreal riffs, aggressive speedy moments, and, of course, the obligatory hallucinogenic slower passage in the middle. "Hatred" is slower and more melodic relying on heavy less intricate riffs and longer quiet sections. "Anniversary" follows the same formula, but "Bisturi" is wondeful abstract progressive thrash with its balladic parts, twisted, swirling riffs, entwined with lyrical, peaceful passages, mid-tempo to slow, but utterly compelling. With "Deinococcus Radiodurans" the more aggressive, faster thrashing returns, but the arrangements remain quite complex and eclectic. "Obsession" is a more immediate, again more energetic technical thrasher, with a surreal atmospheric middle break. "Christmas Eve" is the only more conventional track with heavy more straight riffs, but the next "Negation of Becoming" largely compensates for that bringing the music back to the very technical level although the approach on this one is slow with more emphasis on abstract and more melodic tunes. The closing "Dreams Slayer" is not a very distant departure, and is an amalgam of straight thrashy riffs and illogical musical decisions still quite intriguing and vortex-like. On their other works the band insert the odd more aggressive passage, but this is their only effort which fully belongs here.

Forget the Colours Full-length, 2002

Official Site


This act was founded by the former Nasty Savage members after that band's split-up; the same ones who later formed Lowbrow and Lordes Werre, here also helped by the Hellwitch guitarist Andy "Turd Man" Adcock. On "Stool Sample", which opens with a lead-driven variation of "Yankee Doodle Dandy", they entertain themselves with playful unpretentious thrash/crossover sharing quite a bit from the humorous aesthetics of S.O.D.'s "Speak English or Die" and Lawnmower Deth. The numbers are mixtures of fast sharp riffs and melodic punkish passages. Some are outrageously fast ("Virgin"), others are pure punk joys ("Serial Killer"), but the majority are varied crossover affairs with numerous touches included.

Stool Sample Full-length, 1993
Perverts on Parade Full-length, 1997
Socially Unacceptable Full-length, 2001

Official Site


Messy noisy thrash/crossover which is built on heavy, but vivid riff-patterns and mean semi-declamatory vocals which are barely heard at times. The shorter material ("Priest Of Death") goes towards pure headbanging thrash, but a few heavy stompers ("Love In Asylum") also bring the requisite moshing mood. "Jaws" is a curious avantgarde dirger ala early Voivod, and "Neat, Neat, Neat " is a cover of the British punkers The Damned, pairing well with frolicer cuts among which "Soul Eater" is a particularly cute little headbanger.

Howlin Yowlin Screamin Mess Full-Length, 1988


Cool pleasant post-thrash/crossover with milder heavy metal references; the approach has its alternative vibe, but is too osft to impress the hard-boiled thrash metal fans who will abandon this recording well before the end. The singer isn't bad, though, with his soulful melancholic croon with stoner/doom reverberations.

Something's Burning Full-Length, 1995

My Space


This is an interesting band who play straight-forward speed/thrash for most of the time, but on every album there are a couple of very offbeat, eclectic tracks which one either learns to like, or learns to hate for their non-thrash, and sometimes even non-metal, nature. Let's take the debut "Misogi", for example: it begins with the smashing thrashing delight "Destroy", and if the guys had carried on in the same spirit, there would have been hardly a single band to dispute their leadership on the Japanese thrash metal scene; it lasts for nearly 7-min, and will leave you tired with headbanging. "Bala ?k?n Vara" is close to hardcore/punk alternating melodic with very fast sections. Then things get back to normal with a couple of intense thrashing numbers until the completely pointless non-metal "Certain Feel". After it whatever comes will hardly be satisfying although some tracks are crushing thrashers, not far behind the opener, but one should always watch out for the next melodic deviation (two more come later). Almost every subsequent album follows the same pattern mixing contrasting styles, and perhaps this is the reason why this band are not mentioned right beside truer to thrash metal acts like Outrage, Jurassic Jade, Ground Zero, Doom, etc.

"Kuromitten" is the staple for the band amalgam of styles, quite dynamic and diverse, with at least half the tracks intense speed/thrashers clinging more towards speed metal. The mellower songs now have more edge and never slip into melodic wankery; even the ballad "Kaze no Shiro" is quite good and heavy. The lead guitar work is traditionally on a high level, and Kiba sings in a lower-pitched less melodic manner without adhering to the higher registers too much.
"Kisho" is a much weaker effort, featuring jolly simplistic crossover with just a few more energetic moments ("VIVA!-aso-VIVA!") which are again too far from any more intense thrashy patterns. There is a certain amount of modern nu-metal thrown in; in other words, skip it if you can... please.
The "gargoyles" are here again, and their eclectic diverse approach follows them unerringly. Although being the most prolific Japanese metal act of all times, the band kind of miss the mark at times with their over-the-top performance which borrows from so many influences that often what one would wish is more consistency since all their works have their thrashy charm. So this release ("Niji Yuugou") is another wide amalgam of music which again buries the hard-thrashing in a pile of avantgardisms, melody, crossover, power/speed metal, and more. The lead guitar performance is on a solid high level the man shining quite brightly all over.
"Ronpu" is another avantgarde blend of thrash and other genres which is more on the light-hearted side with a more radio-friendly rhythm section and more laid-back arrangements bordering on speed metal. There are ballads, there's groove, there's hardcore/crossover, there's heavy/power metal; in other words, this is joy for all metal fans!
"Geshiki" is the expected roller-coaster the guys mixing fast-paced ragers with slower more sprawling tracks ("Fullcolor Answer", the closing semi-ballad "Namida No Kachi") the good taste tested on the brutal deathy "Chokugeki" and the aggressive shredder "Enriedo", but in a nice way. No surprises, no disappoined, but consequently hardly any new fans won for the "gargoyle" cause...
"Taburakashi" takes a more aggressive, thrashy stance from the beginning, and seldom betrays later on. Consequently this is the band's most intense recording in a long time. "????" is an optimistic, uplifting opener alrgely an ode to the 90's power/speed metal movement, but comes "Crumbling Roar" and the thrashing gets way more brutal. "Dragon Skull" is the next in line "machine gunner" before "Overpower" pulls the table towards purer speed metal fields again. "No Enry" is the definitive speed metal hymn of the Japanese metal movement which concludes the allbum's "flirtation" with speed/thrash for a while. A short string of mellower cuts foollows, but "Massive Thrill" is already a rousing speed/thrasher aptly supported by the short, but equally as energetic "Daredevil". "Be Daring" is another impetuous headbanger thrashing far'n wide leaving the more moderate delivery for the remaining two pieces one of which still moshing hard as a fitting epitaph. Consistency has hardly been the name of the game in Gargoyle's camp, but here we have an album which is a full epitome of this word.

Misogi full-length, 1989
Furebumi full-length, 1990
Kaikoroku ep, 1992
Aratama full-length, 1992
Tenron Full-Length, 1993
Tsuki No Toge Full-Length, 1994
Natural full-length, 1995
Gaia full-length, 1998
Junrein EP, 1998
Fuuin (~who in~) full-length, 2000
Future Drug full-length, 2001
Wa full-length, 2002
Bushin Battle Gargoyle EP, 2002
Kemonoichi full-length, 2003
Ronpu full-length, 2005
Kuromitten Full-length, 2009
Kisho Full-length, 2011
Niji Yuugou Full-Length, 2012
Geshiki Full-length, 2014
Taburakashi Full-Length, 2016

Official Site


This is a unique band simply because at that time very few bands managed to achieve the same level of musical intensity. It's beyond me how these guys never became big as they deserved to be, much more than 90% of those who did after them. Slayer's "Show No Mercy" played faster with a more aggressive attitude is what the band offer us, and it gets better and more brutal with each song. From the two demos "Violence Is Golden" arguably contains the better and faster material also boasting a clearer production.

Unleashed demo, 1985
Violence is Golden demo, 1985


This not very known outside their homeland band have been one of the stalwarts on the punk/hardcore scene in Japan, but one day have decided to challenge their thrash metal colleagues, and have done a nice job on these two albums. Elements from their punk/hardcore career are present, of course, but only sparingly, and both efforts are commendable thrash works, energetic and up-tempo most of the time, with some stylish guitar work, reminiscent of Voivod (both their early and mid-period), mostly on "Psycho Thrash", but often does the music take a more playful attitude recalling Motorhead and Exciter. On the shortest songs (1-2min) the guys go straight into grindcore, but fortunately these moments are not that many. "Smegmania" contains the faster and more aggressive material, and hardcore is more frequently present, bringing the sound close to early Prong and Suicidal Tendencies at times.

Smegmania Full-Length, 1990
Psycho Thrash Full-Length, 1991

Official Site


Based on the Compilation, which actually contains the two demos released before that, this very obscure act play dark atmospheric thrash/death with very bad amateurish hoarse vocals. The music otherwise is not completely without merits, coming as a more accessible version of early Messiah, and the leads are particularly good. The pace is moderate, with some cool exceptions: "Fuck The Hand", the jolly crossover "Salvation". "Kiss The Goat" is a nice, almost surreal take on chaotic technical thrash.

First Demon Demo, 1990
Load Error Demo, 1991
While God Sleeps Best of/Compilation, 2007

Official Site


Glam-looking "beauties" from Japan are not a rarity, but for the late-90's this vogue was already quite outdated. Still, these folks have appeared just for one single spell and the music is unsurprisingly more classic-sounding speed/thrash with some tasteful lead guitar work involved. The style is close to their compatriots Sex Machineguns, Cocobat and Volcano, probably a bit more modern with some awkward groovy passages inserted. The singer is a bit less high-pitched and a bit less attached.

Haitoku No Savior Demo, 1998


Based on "Jinetes Calavera", this act plays varied thrash/crossover ranging from mild semi-hardcorers ("Antiterricola") to quite intense purer thrashers ("Vacaciones"); the latter, however, are a rarity as the sound sticks more to melodic mellow patterns clinging more towards the modern side.

"Sublime Tortura" carries on in the same vein adhering to simplistic standard crossover formulas which are more on the merry playful side full of fast melodic guitars and short, melodic leads. Occasionally the sound becomes more thrashy ("Depresiva Positiva") with shades of Madball and early Pro-Pain, but generally the feelgood mood is seldom "broken" jumping boldly on the punk wagon ("Amigo del Enemigo") whenever necessary; but expect also "atrocities" from the opposite side of the spectre (the grinding shorter "Niño Viejo"). The vocals range from shouty angry hardcore ones to brutal death metal growls.
The debut is an energetic thrashcore affair with short bursting numbers galore and which very seldoim last over 2-min, and the good fun will be guaranteed for those who don't lookk for anything engaging in their music the latter becoming infectious and playful on merry-go-rounders like "Todos Somos Criminales" and the impetuous thrasher "Espectros Terroristas". The delivery become smore serious on the last two compositions which are longer and thrashier the closing "Carne" being a very surprising keyboard-driven ballad with an ambient/industrial flavour and a cool sing-along chorus.

Garrobos Full-length, 1996
Sacude el Cráneo Full-length, 1997
Un Segundo Más Full-length, 2000
Jinetes Calavera Full-length, 2003
Sublime Tortura Full-length, 2010

My Space


Based on "War, Famine, Pestilence, and Tits": expect a very dangerous "gas attack" which will bring you "war, famine, pestilence" above all, but also some massive "tits", the better part here which, of course, will be for those who survive the previously mentioned disasters. Otherwise this is unpretentious semi-amateurish thrash/crossover with a strong "garage" reverberation its only claim at bigger professionalism being the more stylish lead inclusions. It would have been better if the guys had voted to play on higher speed; now this mild, mostly mid-paced, approach will not amuse even the diehard fans of this sub-genre although the shouty hardcore vocals are on par with the style, and may pass for another relative "highlight".

Last Viable Option Full-length, 2003
G.A. II EP, 2008
War, Famine, Pestilence, and Tits Full-Length, 2012

Official Site


It shouldn't take so long for these guys to produce a follow-up because from one of the promising American thrash metal bands of the new millennium, they might remain just a one-album wonder, and it would be a pity. Their debut is smashing thrash along the lines of Violence's "Eternal Nightmare" and Slayer's "Reign In Blood". Hopefully the band will wake up for another hit soon.

Gaschamber full-length, 2002

Official Site


Based on the debut, this band specializes in all-instrumental progressive-ish post-thrash metal with both classic and modern overtones. The music is soft and not very sharp, with stretches towards the ballad and classic heavy metal.
"The Isolationist" is a different story introducing vocals of the harsh semi-angry type, but the music has become more ordinary with groovy, stoner and alternative influences with just casual more dynamic riffage ("The Preacher" at the end) present.

LandSpeedRecord Full-length, 2003
Knuckles Avec Sombreros Full-length, 2005
The Isolationist Full-length, 2007
Seething Apparatus EP, 2009

Official Site


Based on "Life's a Bitch", this band, which is actually just two people one of whom is Riff Lord from The Porridgeface, play quite cool retro thrash which isn't miles away from the delivery of the mentioned act, maybe a tad more optimistic with a more overt thrash/crossover flavour. "Forever Evil" perfectly captures the optimistic atmosphere of the recording which acquires a more technical "colouring" on "The Reaper Is Calling" and the moshing roller-coaster "Ode to Jason Voorheese". "King of the World" is a softer party stirrer, and "Not Born this Way" is a passable acoustic ballad which is the only genuinely quiet piece on this roller-coaster which also contains a cool cover of Running Wild's "Black Wings of Death".
"State of Mind": wow, if this isn't the most prolific act of the new milennium... there's no change of style here as the guys carry on with their staple stance, mixing things up the palette ranging from serious progressive power metal hymns ("The Demise of the Black King") to infectious frolic speedsters ("Let the Darkness Consume Your Soul", "Into Wishin (Intuition)"), to imposing heavy power/thrashers ("Drunk"). "September Mourn" is a rousing melodic anthem the band feeling carefree and playful, and "Innocence Is Only Abuse" is another uplifting speedy proposition contrasting with the more aggressive thrashy attitude of the closer "Christianitease".

Mind Pollution Full-length, 2017
Life's a Bitch Full-length, 2017
State of Mind Full-Length, 2017



This act is the brainchild of just two people who offer a modern thrash/death metal hybrid of the mid-paced type. The music, traditionally for the Japanese scene, has its quite a few quirky moments, like the peaceful passages accompanied by acoustic guitars and keyboards, the sudden fast outbursts, the heavy doom-laden riffs, and more. The deep emotional clean vocals which assist the main semi-hardcore ones are quite weird as well, but in a captivating listenable way recalling the ones of David Dando from the British doom masters Eterne. There are industrial shades, too, and as a whole the regular thrash metal fan may not find his favourites here since the concentration is on atmosphere and mood rather than speed and sharpness.

Step on The Gas Demo, 2004

Official Site


Based on the "The Fatigue Empire" EP, this act plays a wild, semi-technical mix of thrash and death metal which is packed in very short (1-2min) song-structures, and will remind you of both Carcass and Suffocation, with a strong thrashy twist. The singer is a scary brutal growler who is still comprehensive and fits the hectic musical delivery just fine.

Of Charlatans and Cockroaches EP, 2007
Phall If You But Will, Rise You Must EP, 2008
Redundant EP, 2009
The Fatigue Empire EP, 2011

Official Site


These Croatians pull out atmopsheric melodic thrash, still more on the classic side, with beautiful melodies and soulful, albeit a bit unrehearsed, clean mid-ranged vocals. The approach resembles gothic at times, but the tempos are energetic until they turn to some proto-groovy patterns in the 2nd half which is heavier and not as exciting. At the end there are 3 live tracks which are dragging and semi-balladic, still with a classic spirit but lacking in almost every department also thanks to the worse sound quality.

Void Demo, 1997

Fan Site


Based on "Machinacje", these guys (and a girl, who is listed as the singer although to these ears the vocals are handled by a male throat, or...) offer friendly melodic thrash metal with a shade of crossover which starts in a very tender manner with "Lepiej jak Ptak", but quickly gains inertia on the more intense headbanger "Mechaniczne Pszczoly". At this point the album sounded quite classic, but later begin the slower semi-groovy, even stoner-sounding, tracks, and it's near the end when the guys remember to thrash with more edge, on "Uciekaj", which is still more of a thrash/crossover piece. Nothing to lose your sleep over as a whole, quite an uneven effort, completely lacking an edge on at least half of the tracks.

"Dziki" is much mellower stretching into hard'n heavy and blues/ballad detours, leaving not much room for thrash metal, but is consistently unfocused in a way similar to its follow-up; jolly unpretentious stuff played just for the fun of it.

W Duchu Niewinna Full-length, 1995
Dziki Full-length, 2001
Machinacje Full-length, 2008

My Space


Based on the full-length, this act specialize in cool classic speed/proto-thrash with nods to early Living Death and Running Wild. THe guys apply all rules of the genre: the sharp riffs, the soaring melodies, the catchy shouty choruses, etc. and put no foot wrong along the way at times alluding to Motorhead and Exciter ("Heavy Metal Rangers"), at others moshing with more vigour ("Sign Of The Gatekrashör", a cool reminder of Destruction's early days) almost bringing the sound towards pure thrash near the end. The vocals are shouty and subdued recalling Bruce Korbitt on the early Rigor Mortis efforts. Some of the band members are also active with the power/speed metal heroes Hrom.

Fear of Attack EP, 2012
Gatekrashör Full-length, 2014

Official Site


This band play crisp crunchy power/thrash which is partly groove-contaminated ("Daddy"), but manages to keep the tension throughout with a certain portion of heavy mid-paced retro riffs. The sound quality is quite clear giving chances to the bassist to more fully display his talents (check out the bass pyrotechnics on the closing "Action").

Demo Demo, 1991


Based on the first demo: crushing steam-rolling Bolt Thrower-like stuff mixing mid-paced with faster passages plus a few groovy moments. The music is dynamic providing several parts for the headbangers, too.
The EP: the approach now is more intense with faster retro riffs (check out the ripping closer "Dead Roses") included mixing with the staple battle-like passages and the not as frequent melo-death moments ("Hypocrisy").
The full-length is a sure-handed modern thrash effort echoing The Haunted and Carnal Forge the more epic arrangements not so well covered the guys thrashing with gusto keeping the energy high the whole time with fast brisk pieces which don't beat about the bush, but rage through seldom interrupted by heavier, less dynamic breaks. The singer is an angry shouty death metal growler creating a lot of noise when in action.

Demo Demo, 2009
Rehersal Demo, 2009
Shadows of the Dark Ages EP, 2010
Critical Obsession Full-Length, 2013

My Space


These Aussies offer pedestrian modern thrash/death which can be quite raging ("The 59th Minute") at times, but the more laid-back passages are also around the corner (the nicely melodic closer "Eternal"). The singer is the staple deathy shouter topping a crystal clear sound with a boosted guitar edge.

In Times of Chaos EP, 2012

Official Site


Based on the "Gateway to Insanity" demo, these folks pull out classic speed/power/thrash which lacks a bit in the sound quality department, but makes up with inspired musicianship which is at times on the more technical/progressive side ("Kissing The Blue Skies Goodbye"), at others is on the vigorously bashing one ("Fading Away"). "The Pool" is a heavy doomster, but the speed returns later including for the aggressive closer "Tracks In The Snow". The vocalist is on the gruff semi-clean side and adds some dramatism to the proceedings.

The "Wake Up" demo starts intriguingly with an interpretation of Beethoven's "9th Symphony" at the beginning of the opener "Orchestra Of Death", and this start lives up to its promise, first with the engaging progressive opus "Tears In A Silver Box", then with the shorter explosive basher "A Visit To My Grave". "Wake Up... Time To Die" at the end is another more complex composition although it's more on the power/thrash metal side for most of the time despite the few more interesting technical decisions encountered in the middle.

Gateway to Insanity Demo, 1991
Wake Up Demo, 1995


Based on "Stubburn", this act specializes in modern thrash cpiced with other influences (grunge, alternative, ballad, etc.) which are not very well embedded into the overall picture. There are certainly fast energetic moments to be heard (the brisk opener "There Will Be No Peace"), but the radio-friendly material predominates as well as the uplifting optimistic guitar patterns which are well supported by the good clean soulful vocals.

Path of Nails Full-length, 2006
The Comeback EP, 2007
What Doesn't Kill Us... Full-length, 2009
Live at Brutal Metal Fest EP, 2010
Stubburn Full-length, 2012

Official Site


This band pull out merry optimistic classic power/speed/thrash which is vivid and energetic, but in the 1st half lacks the bite the guitars mostly relying on melodic hooks and uplifting solos. Out of nowhere comes the Bay-Area worshipper "The Red Vulture" which is a great cut taken straight from Exodus' "Fabulous Disaster". This track gives the effort "wings" and here comes "Smoking Blood", another headbanger with sharp lashing riffage. The end is a revelation in the face of "Through The Keyhole....." which is a nice varied composition with great speedy passages which seamlessly flow into each other topped by some of the catchiest leads one will encounter nowadays. The singer assists well with his semi-clean authoritative voice with echoes of early Bobby "Blitz" Ellsworth (Overkill).

The Red Vulture EP, 2012


Based on "Weltenbrand", this act specialize in intense, blitzkrieg modern thrash/death which also comes epic-decorated ("Fabula Realitas") on the more restrained material the latter occupying the middle. consequenlty diminishing the bite and spite released initially leading to the pleasant modern, dramatic thrasher "Goldstadt" at the end. The vocals are throaty death metal semi-recitals which add up to the atmosphere. Some of the band members take part in the black/thrashers Outrage.

Zeitensturm Full-length, 2011
Weltenbrand Full-length, 2016

Official Site


A black/thrash metal band heavily influenced by Venom; the music is heavier than the one of the Brits, but it has a very uplifting, cheerful quality typical for the works of another British band- yes, you guessed right: Motorhead. The band's music could very well serve for the background of some metal party.
"Metal Police" brings the "metal police" with it and all metal practitioners should run for cover here although the style is nothing more than the good old Motorhead spiced with the casual more aggressive nod to Venom. It's a bit hard to label this as thrash for most of the time despite its high points scored for the very optimsitic, "drunken" atmopshere it provides.
"Too Loud to Live, Too Drunk to Die" is the expected from the band merry optimistic Motorhed-ish boogie "Gehennah Will Destroy Your Life" being the more aggressive surprise with the discordant proto-thrasher "When All Else Fails-Destroy!" another more intense piece. Again, thrash doesn't play first fiddle here, but the party atmosphere is ensured all over.

Hardrocker Full-Length, 1995
King of the Sidewalk Full-Length, 1996
Decibel Rebel full-length, 1997
10 Years of Fucked up Behaviour EP, 2003
Metal Police Full-Length, 2014
Too Loud to Live, Too Drunk to Die Full-Length, 2016

My Space


A good technical thrash metal band; their style is choppy with so many tempo changes that at times the longer tracks start to lose coherence, but the stylish guitar work saves the day. The debut is a really stylish affair with a wide arsenal of puzzling time shifts and weird time-signatures which the opening "The Fallen Race" serves aplenty the guys also trying to thrash wildly amongst the intricate, mazey arrangements; gruff deathy vocals enter the scene their contribution to the engaging showdown minimal due to their ordinary nature. The others don't stop, though, and the infernal complex shreds keep coming in quick succession, the guitars having a more sterile, mechanical vibe reminiscent of Meshuggah's "Contradictions Collapse". "Yossarian" is another perplexing technicaller the rhythm section jumpier and less predictable even, the band jamming with some of the most intricate riff-formulas this side of Sieges Even's "Life Cycle" and Paralysis' "Arctic Sleep", the bizarreness increased by the ephemeral presence of better cleaner vocals; eccentric psychedelic insertions will befuddle the listener even more as the latter will find "solace" in the couple of more linear speedy "skirmishes", but the rest is just too challenging. The respite inevitably comes, and it's the short lyrical ballad "The Last Letter" before the title-track complicates the environment once again with dizzying tempo changes, the vocals surprisingly acquiring more acceptable parametres, now sounding like James Hetfield, assisting the outlandish soundscapes with more authority as the delivery becomes even more left-hand-path with quite sections creeping unobtrusively to disturb the very hectic jazzy rhythm-section which gets pacified to an extent on "D.I.O.W. to S.Y.S." which begins as a ballad before dazzling virtuoso riffs ala Deathrow start showing up, leaving a small space for a momentary serene etude to shine. "Necropolis" is the next in line head-shaker the labyrinthine vortexes literally never-ending here the speedy crescendos shorter, but more regularly inserted leading to a bigger dynamics also thanks to the great virtuoso leads the man finally matching the hyper-stylized riffage with a couple of spell-binding pirouettes. "Among the Lies" begins like a ten-ton steam-roller, but the stomping guitars are rudely interrupted by spasmodic jazzy breaks which immediately send the fan on his/her tiptoes with rare faster-paced escapades daring to disturb the superb technical spirals those great reminders of their compatriots Astharoth and Dragon; something like a chorus tries to get formed, but both the bassist and the lead guitarist are too busy to show their skills, and attract the attention towards themselves. "SelfCentered UltraDeath (S.C.U.D.)" wraps it on in a more conventional fashion the guys finally having fun of the more comprehensive, less indigestible variety although a handful of puzzling riff-formulas are stll "roaming" around plus the show-offy licks of the lead guitar player who again tries to be the star of the show, but to no avail. This is another shining example of the greatness and genius exuded in spades from the richly gifted Polish scene.
“Hunting For The Human” increases both the complexity and the eccentricity considerably, introducing numerous elements outside the thrash metal field, but at the same time contains some really aggressive tracks: “Dreams” (the only one of its kind here), also with a cool technical edge. The music becomes too avantgarde at times bringing to mind Voivod even, but never turns into the psychedelic trippy metal fiesta the Canadians started playing at some stage in the early-90's. Another reference point would be the mid-works of their compatriots Wolf Spider, but here the music is slower, and choppier. The headbanging moments are few, but the elaborate song-structures will keep you on the alert all the time. The only downpoint is the hard’n heavy number “Good Bye, Goner, Good Bye” near the end (yeah, it would be indeed good-bye, and even farewell, if you keep on playing crap like that). There's nice funky bass work; the vocals are still of the aggressive semi-death metal type, seldom interrupted by more melodic, clean ones.
The demo is a pretty avantgarde take on the 90's post-thrash/alternative idea charged with a lot of funk and jazz, among numerous other gimmicks. Exits from the main style are guaranteed as well as many off-beat passages where one will start wonder what (the heck) they are doing here. In other words, only for surreal, eclectic music completists...

Catching Broadness Full-Length, 1992
Hunting For The Human Full-Length, 1994
M.A.V.O. Demo, 1994

Fan Site


An uneven mix of classic and modern thrash metal with unsuitable gruff death metal vocals; the music fluctuates the whole time from direct fast to slow dark semi-gothic passages the latter dominating, mutating into full-blooded traditional doom on the closer "Akkhep" to a positive effect.

Shottagroho Full-length, 2009

My Space


Abrasive hardcore-ish post-thrash with boring repetitive riffs reminding of Pro-Pain at their most inspired, but there is grunge, alternative, and more thrown in this mish-mash topped by samey shouty vocals.

Calamity Circus Full-Length, 2010


Industrial thrash which has its intense ala Ministry and Skrew moments, but relies too much on electronic samples and noises to pull it through; the thrashy riffs settle well on the short intense "Believe in Miracles" and the speed/thrash/industrial wonder "Chemikill", but the other material is too overpacked with non-thrash, and even non-metal elements to be a satisfying listen.

Brutal Reality Full-Length, 1993


This band was founded by the current Exodus singer Rob Dukes and the bass authority Rob Moschetti (M.O.D., Pro-Pain, etc.). The style at play is simplistic thrashcore with Pro-Pain an obvious influence mixing classic and modern riffs on almost every song. "Self Medicating" is a cool digression, a solid heavy ballad which translates the more sleepy approach on the groovy "Depraved Indifference". The guys have problems getting up since "Slow Burn" is a really "slow" doomy cut, the energy eventually recaptured with "Walking Dead", but immediately lost on the tender acoustic ballad "Let Me Die". More corey thrash as a finishing touch on "Let Me Die", and jolly punk on the closer "Wish"; still one would "wish" more energy on this diverse offering from which was expected more having in mind its pedigree which also includes an album made under the name Mutilation in 1992 (minus Dukes) of much more intense thrash/death metal; and a project called Undivided although on the latter debut (released in 2009; Dukes not involved again) the music is not very imaginative groovy post-thrash.

"We're All Gonna Die"; well, it would be a pity if the guys decide to "die" now since this new offering is way better than the shaky debut. The band thrash with force as evident from merciless speedsters like "Prophets of War" and the galloping shorter "Friendly Fire" which is anything, but "friendly". Groovy fillers inevitably roam around, but they're not bad at all (check the dynamic "Vegas") regardless of their frequent balladic infatuations among which "There Is No Hope" near the end is a cool melancholic dreamy piece. The final title-track is another reason why we would want these guys alive and well: a major fast-paced exploder which wraps it up with a well deserved aplomb.

Red, White and Blood Full-length, 2011
We're All Gonna Die Full-Length, 2013

Official Site


Fast intense thrash/crossover with very simplistic riffs and drramatic semi-declamatory vocals which at times plainly recite accompanying this remorseless barrage which only moments for respite are the more relaxed rhythms on "Shades of Grey" and the mid-paced punker "Broken Glass".

Another Alternative? Demo, 1987


3 tracks of abrasive retro thrash/death which boasts speedy riffs galore, the overall approach not far from Rigor Mortis and Morbid Saint. The guys show no rigor... sorry, remorse thrashing wildly with aggression, and it remains to be seen whether they would sustain the same tempo on a full-length. The singer semi-growls in a comprehensive, authoritative manner.

Warlust Demo, 2011



Based on "Taste of Death", this band play modern thrash with dissipations from death, black metal and crust. This is fast lashing music which is assisted by expressive shouty death metal vocals. In the 2nd half the songs become shorter and more aggressive with a more overt death metal tone and will make the headbangers the happiest.

Vomit Culture EP, 2010
Mindumpster EP, 2010
Strangulation of a Twisted Mind EP, 2011
House of Illrepute Full-Length, 2014
Taste of Death Full-Length, 2015

Official Site


One would hardly trace the "genesis of aggression" with this one; this is laid-back melodic thrash which could be considered quite a phenomenon, having a distinctive groovy sound, which just a few years later would revolutionize the music scene big time. This is not the angry thrash of Exhorder and Pantera; this stuff was later developed on the Metallica Black Album, the works of Flotsam & Jetsam and Anthrax from the 90's, 90's Chastain as well, and many others. "Empty Gestures" speeds up, bringing forward more classic-sounding riffs with a certain Metallica-vibe, resemblances with the Americans also strengthened further by the good James Hetfield-like vocals. The focus is clearly not on intensity: there are 3 ballads, one of which ("Weakness") has nice heavy riffs (and is far from "weakness), and even the most aggressive tracks ("Under Age") come with a playful, optimistic attitude. This is the first real precursor to the 90's modern wave in thrash, and as such this band deserve to be much better known.

Disappointment Full-length, 1989


This act were previously known as Moose. The music on offer here is excellent progressive/technical thrash with echoes of Coroner and Deathrow, a consummate labyrinthine mosaic with stylish misicianship galore. The 1.5-min instrumental opener "Reflexions" is already a winner wiht its perplexing time and tempo-changes, but it's only a rehearsal to the complexity served later. The singer should have been left out completely, though: his listless antics are merely a detraction, and are completely cancelled by the much better music. "Alien Surgery" is a supreme example of surreal twisted progressive thrash, an atmospheric dissonant shredder in the best tradition of Mekong Delta and Voivod. "Crowes" is a ballad with a tad heavier for the style riffs exiting this short effort with less exuberance. Later the guys reverted to their old name, Moose, and tried to enter the 90's industrial/groovy arena.

A Thousand Steps Demo, 1991


Based on the "In Search of Power" demo, this act pulls out diverse semi-progressive thrash trying to capture the surreal atmosphere of Voivod's "Dimension Hatross", but the guys' desire to lash out in a more unbridled manner leads to oddities like "Where No One Has Never Been" which is a jumpy weird instrumental composition moving from abstract sections to direct headbanging ones and vice versa creating a chaotic feeling. There's none of it on the short "aggressor" "What Are Friends For?" which is pure stripped-down thrashcore. The eclectism continues after that on the next three songs which are spacey avantgarde pieces, maybe too melodic to be classified as thrash, clinging more towards the Voivod approach on "The Outer Limits". The singer is quite close to the indifferent cold-blooded tember of Denis "Snake" Belanger (Voivod again) perhaps a bit hoarser and less melodic.

The "Superficial" demo is jumpy rock-ish progressive which only sparcely recalls the several more aggressive moments from their past ("No Fears", the crossover oddity "Fashion City"). The rest is radio-friendly stuff with a few eclectic sections echoing Voivod's "Angel Rat" among other works of a similar avantgarde nature.
The debut demo comprises more orthodox thrash/crossover the guys inserting short, less bridled grindcore-ish passages here and there to aggravate the atmosphere. This is really wild stuff ranging from the aforementioned grindcore, and even death metal-prone ("AIDS"), outrages to quiet avantgarde moments (the title-track).
The self-titled EP sees the guys revitalized and ready for more or less eccentric exploits. The approach, however, is more on the conventional side regardless of the songs' length (5-6min), the band sticking to the standard crossover formula with a few varied, more thrash-prone exceptions ("Overthrow"). "Right" may pass for a sign for something outside-the-box with a wide gamut of influences, but generally this isn't entertainment for the regular thrash metal lover.

Toxic Planet Demo, 1988
In Search of Power Demo, 1989
Superficial Demo, 1995
Genetic Error EP, 2017



The excellent all-instrumental, lead-driven intro "Epifania Galactica" can't possibly precede some inept modern post-thrashism, and this is by no means the case: these Bolivians pull out exemplary old school technical thrash which intricate patterns are embedded into a highly energetic base as evident from the hyper-active shredder "Descarga Neuronal". "Obsolescencia Programada" carries on with the fast-paced histrionics the guys not intent on losing the accumulated inertia and the sophisticated edge of their delivery which reaches the top on the final "Homo Sapiens Fugitivo", 9-min of very diverse progressive/technical thrash which epitomizes a heavy mid-pace as the base on top of which it builds a complex rifforama of numerous time and tempo changes. The singer is a shouty death metaller, and seems to be the only weak link on this superior recording.

Reemergente del Subconsciente EP, 2016

Official Site


This act indulges in vigorous speedy thrash/crossover, the carefree approach nicely interrupted by more stylish cuts ("Toxic Force") with echoes of late-80's Voivod. Those are a rarity, though, the band lashing out with the utmost intensity on the rest reaching a Wehrmacht-like aggression with ease (check out "Chemical Torment", as well as almost every other track).

Toxic Force Full-Length, 2011


This outfit serve dynamic technical speed/thrash along the lines of later-period Death. It's only the growling vocalist who strictly belongs to the death metal genre; the music is vintage cleverly executed thrash wth great haunting melodies taken directly from the Chuck Schuldiner's textbooks. The guys thrash with force and there are plenty of moments for the headbangers to enjoy, including a few times where the guys pull out something of their own, like the cool shredder "Dependens on Society", or the heavy instrumental "Down Simulator". "Your Faith" is a nice melodic progressiver followed by the nice cover of Death's "The Philosopher" which is performed in a live setting. This is a worthy addition to the already quite voluminous legion of Death followers, and with a more individualistic approach in the future the guys may manage to stick out of the pack.

Puppets Full-length, 2015

Official Site


This band are the continuation of the techno-thrashers Sacrosanct, but the music here is slightly modernized and probably less adventurous. The debut is the more ambitious one with clear pretensions for the tag "progressive thrash" with long complex songs where a lot of things happen, but the band never forget to insert the necessary amount of fast riffage; the music is closer to the works of late-80's Metallica than to the last Sacrosanct offering, but is effective and almost as good even including one monstrous semi-ballad: the 9-min "Psycho Love", both a dreamy and a heavy number. The other material is by no means worse: the more immediate energetic, with a very good bass support, thrasher "Perseverance Kills The Game" which still holds surprises along the way for the technical metal fans; the progressive smasher "Why Don’t You" which develops as a ballad in the beginning, and remains quite doomy and slow relying on heavy meaty riffs; the cool mid-paced headbanger "Unfortunate Childhood" which offers fine complex passages and straight headbanging ones. The best, however, comes with "Afraid Of Life": an exemplary technical/progressive composition which lashes in a mid-paced fashion with great technical riffs for about 8-min, before "Inside The Triangle Of Death" speeds up, but not much, retaining the technical edge, also exceeding in the lead department. "Visual Fastfood" is pretty close in spirit to the preceding one being another fairly good technical mid-tempo thrasher. "Radical Hatred" is vintage late-80's Metallica and is the fastest track here: a headbanging fest at its finest graced by a catchy memorable chorus. With this album the band almost filled in the gap left after the Sacrosanct split-up although it remained to be seen how long the guys would be able to resist to the 90's trends.

The follow-up is more immediate with shorter songs, a less technical approach, and the modern tendencies have already sneaked into the band's potent sound now producing less striking results. The songs are much shorter with less technicality involved still preserving the intriguing shade as well as the staple heavy riffage, felt on hard-hitting modern thrashers, like "Too Good to Be True", or the steam-roller "Intentions Rule the World", which also scores high in the technical department, not without the strong bass performance. "Dedicated" even speeds up for a while, but it's "Mirror Images" which is the real revelation with the fast-paced rhythm sounding like pure 80's thrash metal. Later on another delightful piece comes: "Dragons to Slay" which thrashes in a more classic energetic manner before the final "Face the Facts" exits the album with more light-hearted crossover riffs. Far from a disappointment, this effort saw the band slowly adjusting to the new fashion, but this process was left unfinished since they split up soon after that.

The Fear Dimension Full-Length, 1993
Humanity On Parole Full-Length, 1994


The band's style is a direct take on Machine Head's softer period (1999-2004) (based on the debut); this is melodic, groovy post-thrash which occasionally moves towards stoner/doom: "Odio", or a more aggressive sound ala "Vulgar Display of Power": "LLegar". Oh, and there is one romantic ballad at the end for the lovers: "Hermano Mio".
"Sigo en Pie" hits harder with angrier riffs which seldom leave the mid-pace, but when they do, things pretty much hit the top: check out the perennial headbanger "Una Razón", or the tad more restrained "Palabras Necias". There are a few melodic digressions in the middle, but their catchy potential nicely intertwines with the more dynamic patterns ("El Vuelo De Los Buitres"). "Sangre Inmortal" thrashes hard as well, and till the end the energy seldom drops making this effort way superior to the not very impressive debut.

Golpe Maldito Full-Length, 2006
Genética EP, 2008
Sigo en Pie Full-length, 2013


This band's line-up includes Doug- the drummer who later joined Fear of God. Although the songs on this demo are short, within the 2-2.5min range, the guys manage to come up with a mix of four styles: thrash, hardcore, death metal and even grindcore. This is quite a wild mixture, and might not be to everyone's taste.

Circle of Insult Demo, 1988


This is the next in line derivative modern thrashy affair which has its more intense side ("Szigony", an energizing classic shredder; the corey lasher "Preparator"), but it also has its unnerving groovy shade which strongly rubs shoulders with the post-thrash movement. Still, invigorating headbanging hymns like "Nem Terit El" and the closing classic outrager "Keselyuk Tanca" are hard to be forgotten once heard, and generally this effort may strike some cords, at least in the guys' homeland where the demand for this kind of music is really big.

Nem Terit El Full-Length, 2013


A surprisingly good mix between the speedy approach of Agent Steel's "Skeptic's Apocalypse" and the darker style of Sanctuary's "Into the Mirror Black". The vocalist is more in the early Warrel Dane camp, and fits perfectly into the appetizing musical landscape with its screaming antics. That same landscape boasts clever, more technical, decisions also reminding of the underground legends Ulysses Siren ("Anxiety"). The guitars create an escalating, dramatic atmosphere which culminates in the epic power/thrasher "Into The Crypt", which sacrifices the established speedy delivery for the sake of thundering, pounding rhythms. Later the guys changed their name to False Witness, but their style remained pretty much intact, producing another several fine moments for the progressive/power/thrash metal fans in the early-90's with a couple of demos.

Demo Demo, 1987


Fairly good power/thrash metal coming as a more thrashy Sanctuary, or Attacker, with a dark haunting sound created by the heavy stylish guitar work. The tempo is mostly mid-paced, but "The Pillars of R'Leyh" is a nice galloping thrasher (remember Attacker's "Second Coming"). Like this wasn't enough, but then comes "Perish & Die" which will catch you absolutely unprepared with its uncompromising, aggressive sound: thrashing madness at its best. The guys are masters of the more lyrical side of metal as well shown with the brilliant acoustic ballad "The Passage". The vocals are just great, being slightly hoarse, semi-clean, high-pitched, sometimes to the point of screech-iness, but very well suited to the music at play.

The Passage Demo, 1989


On their only album these guys mix the stomping rhythms of early Celtic Frost with thrash/crossover. The sinister death metal vocals don't suit the music very well; otherwise this is not too bad with the Celtic Frost-influenced sections working better.

Shag Nasty ! Full-length, 1989


This EP, which actually contains 11 whole songs (but more than half of them barely go over the 1-min range), is pure thrash/crossover happiness, quite intense and aggressive at times ("What a Wonderful Life! Ha!!", "Devil Thrasher"), even smelling grindcore ("Monthly's Guest") with harsh vicious vocals which fit the sound quite well.

What A Wonderful Life!Ha!! EP, 1988


A fine demo of American power/thrash metal along the lines of Helstar and Griffin as nice clean soaring vocals and cool melodic guitar lines are the highlight here. "Imminent Impact" shows the band well able to handle more aggressive thrash ala Exodus (and has apparently influenced that band title-wise: their 1989 album) and Dark Angel. The follower "Mercenary of Evil" is vintage Helstar which beats most of the tracks from that band's same year's "Remnants of War". "Bloody Mess" is far from a "mess" being a cool heavy mid-paced smasher with an impressive atmospheric doomy ending.

Demo Demo, 1986


Raw, messy, noisy and quite brutal thrash from a band who would later write some important pages from metal history under the name of Repulsion. At least on these three demos these guys show no promise at all for better things to come with their very amateurish musicianship.

Toxic metal demo, 1984
Violent death demo, 1985
The stench of burning death demo, 1986


Thrash/crossover, quite decent, but not of the sharp, hard-hitting type, somewhat reminiscent of D.R.I., but the music here is more melodic, with a more open punk-ish attitude, and a certain Motorhead and Exciter shade in the guitar sound ("Sociopath"). The good thing is that there is a variety in the approach: it's not only speedy numbers which one can find here, but there are some slower ones, only that the little sharpness which the guitars have on these songs it almost disappears.

Submit to Genocide Full-length, 1987

Official Site


Based on the "Black List" demo, this formation play intense lashing thrash which resembles at times the music of the guys' main occupation, the more styllish thrashers Dissection into which this act transformed just a year later. There is a thin death metal-ish edge ("Escape Of The Apocalypse") carried on occasion, as well as more cleverly-concocted numbers ("Viking Sword") which "sting" with a more technical bite. "Nails On Leather", on the other hand, serves a few nice melodic tunes, in other words, there's something for everyone on this short effort which highlight may be considered the excellent galloper "Graveyard Beyond", with the hectic technical title-track a very close second. The singer just shouts in a not very attached semi-declamatory fashion, but his antics are kind of suitable and not very obtrusive.

Chain Saw Slaughter Demo, 1986
Black List Demo, 1987


A very good and long-running band on the Brazilian metal scene, Genocidio started like many other bands from the same country imitating early Sepultura. Then their raw approach developed into death metal with gothic influences in the mid 90's. Then the guys really messed it up with the very weak "One Of Them..."- uninspired and highly derivative modernized, industrial death metal with influences from where the hell. However, it was all forgiven after the godly "Rebellion", one of the finest thrash/death metal albums of the past ten years: a stellar album with tight, fast, technical play not heard in a long time. No more experiments from now on (hopefully!).
"The Clan" is another capable effort, but it lacks the vigour and spontaneity of its predecessor spreading its wings more widely this time bringing back the gothic gimmicks from the more distant past, but their "companion" this time is more ordinary modern Swedish death metal, and the final mixture suffers from the lack of more original technical decisions and intensity. At least half of the songs are mild gothic/death/thrash affairs with a clear concentration on melody leaving the more aggressive numbers feel more like fillers rather than a dominant tendency.
"In Love with Hatred" sees the band back to the better basics the opener "Kill Brazil" a ripping thrash/deathster which shows the guys at their most furious. The headbanging party carries on with "Reverse", but the band's more recent dark gothic infatuations show up inevitably, but not to the point of preventing the assault, and manage to co-exist well with the aggressive riffage: check out "I Deny" and the lyrical semi-balladic escapade "Till' Nothing Do Us Part". In the 2nd half the album loses its speedy nature, a situation partly saved by the cool cover of Mercyful Fate's hit "Come to the Sabbath", and the raging short speedster "Passion and Pride". An ambitious orchestral closer ("White Room Red") wraps it up recalling the Greeks Septic Flesh's exploits also keeping true to the guys' new found "loves".

Genoc?dio ep, 1987
Depression full-length, 1990
Hoctaedrom full-length, 1993
Posthumous full-length, 1996
One of them... Full-length, 1999
Rebellion full-length, 2002
Hiatus EP, 2007
The Clan Full-length, 2010
In Love with Hatred Full-Length, 2013

Official Site


A classic mix of thrash, black and death metal with not very intelligible raspy black metal vocals. The guys mix fast with slower, more atmospheric tracks with black metal dominating on the latter. "A Blackened Hell's Abyss" is a cool progressive number with clever musicianship and a good sense of melody in the riff department. The hyper-blast aesthetics is touched at times (the operatic "Hatred In The Flesh"), and purer thrash can be finally heard on "Omega Alignment", which is a dramatic technical composition. The closing "Condemned In Temptation" is an extreme concoction of death and black metal with great melodic implements and a few technical decisions, a virtuous epitaph to this diverse saga.

Ever Descent Full-length, 2011

My Space


Based on the full-length, these guys play decent, but hardly exceptional, atmospheric black/death/thrash with gloomy gothic flairs, and a good sense of energy well reflected in the several more intense cuts roaming around. The approach often smells the Gothenburg school, but there are attempts at a more stylish, technical play ("For Greater Say") as well as short death/hardcore-ish jokes ("With Compliments").

Part of the Process EP, 2012
Deviance Full-length, 2013

Official Site


This band have nothing to do with The Beatles, neither music or member-wise, despite the name. Even if the guys are fascinated with the Beatles' member, at least their music doesn't show it anywhere; this is very fast, well-played hardcore-ish thrash reminiscent of Wehrmacht and Spazztic Blurr. The band offer several vocal styles, but rest assured that this is the same band all over. There's no room for quiet moments here, this is heads-down headbanging attack. This album is actually the band's complete discography, so you won't be missing a single track produced by them once you get ahold of it.

Fist Two Years Full-Length, 2005


The debut: energetic laid-back thrash/crossover with an open punky edge, not very thrashy, the guys relaxing (from what?!) with stoner/doomy ("The Oath") "delights", or with sincere carefree hard rockers ("Black Hole", the more stylish psychedelic closer "Chemical God"). The singer is a typical hardcore/punk semi-declamator, inexpressive and detached.

More "germ bombs" brought to your attention with "Sound of Horns" which is another slab of thrash/crossover this time sounding more aggressive with an abrasive guitar edge which will remind you of Carnivore, more recent Darkthrone, and some crusty acts from around the world. There's some slower material ("Among Maniacs"; the heavy war-like anthem "Rages a War") added to the incessant one-dimensional barrage including the gloomy doom metal hit "Reverberation of Mankind" at the end. The vocals are more attached and melodic this time, and overall more expressive deliberately boosted in the mix to a positive effect.
"Under a Fading Sun" is in a very similar vein so no radical changes in sound here; fast and slower crusters alternate some of them served with a catchy playful attitude ("Black Mass"), others with seismic, ship-sinking riffs: the doomy blueser "Funeral Blues", first-rate Cathedral-esque doom. As a whole the slower cuts are more this time including another successful attempt at antedeluvian doom, "1000 Suns".

Infected from Birth Full-length, 2010
Sound of Horns Full-Length, 2013
Under a Fading Sun Full-Length, 2015

Official Site


These German "paranoiacs" should be better remembered due to their stylish progressive take on the good old thrash. The guys shred with a dissonant Voivod-ish flair on the opening "Meadows Of Release", the approach replaced by more immediate stomping guitars on the next "Activator Skolho" and the more dramatic "The Enemy". Later on we have a heavy ballad ("The Ignorant"), an attempt at deeper progressive ("Paranoia"), the latter a bit monotonous with too many repetitive heavy riffs. The singer doesn't shine due to his uneventful mid-ranged, semi-clean delivery where there isn't even a tad of emotion.

Falls Demo, 1994


Helmet, Pro-Pain and Rage Against the Machine shake hands here, so expect nothing more than the prototypical 90's groovy stuff, spiced with awful moments of rap ("Bones and Tombstones"), alternative, plus the obligatory heavier Pantera-sque breaks ("A Ride to the Dark").

Peace to the Chief EP, 1995

My Space


Based on the full-length: modern thrash/death metal borrowing heavily from the more recent trends on the US metal scene (the so-called NWOAHM wave): God Forbid and Chimaira, above all. This isn't bad, as the guys keep a good balance between aggression and melody, the latter really striking on quite a few times, especially in the lead section, where the guy really knows what he's doing. Some Swedish influences are inevitable, on the faster material, which is more appealing than the slower and somewhat one-dimensional rest where the music considerably abandons the more aggressive patterns. Not a bad start for the band, and at least locally the guys have all the potential to play a more vital role in the development of the US scene in the future.

Mother Fuckin' Revolutionary Metal EP, 2007
Aspirations of a Great Demise Full-length, 2008

Official Site


Be prepared for some competent Bay-Area thrash made in Japan. There are only two songs here, but the band show their skills fully with tasteful riffs, fast tempos, blazing leads, and fairly capable semi-clean vocals. More technical guitars sneak on "Bleeded Technology" turning this number into a cavalcade of stylish rhythms and various time-changes making the fan regret that the guys never lasted beyond this solitary demo which also comes with a pretty passable sound quality.

Demo Demo, 1990


The debut: abrasive modern thrash/post-thrash which mixes groove with more speedy moments the mix having a somewhat heavy, stompng character. Still, there's energy to make the fans mosh around for a while, but there are also a couple of less desirable metalcore sections which may make the more hardened thrashers frown, and for a good reason. The vocalist shouts in a dramatic high-strung fashion, and his rendings deafen the instruments on a few times.
"Infinite Punishment" moves more towards the faster parametres although the sound remains modern and abrasive with metalcore standing on the side, less evident on heavier doomy cuts like "Blackened Sun". The shorter material ("Evil Rites") carries the more electric charge, and this is the one that makes the difference from the more pedestrian debut.

No Peace in Hell Full-Length, 2014
Infinite Punishment Full-Length, 2017


An obscure act contributing nicely to the technical profusion of the scene out there; this is a 4-track demo of crunchy technical thrash which develops in a heavy mid-tempo recalling the slower moments from Helstar's "Nosferatu". The riffs jump here and there, but generally there isn't much complexity going on which make the songs easy to swallow. The singer is good pulling out a detached clean performance very similar to James Rivera, but without the latter's higher tones.

Gethesmane Demo, 1992


Thrash/death of the modern variety, which is far from the high models from the same country from the early 90's. The music is mostly mid-paced, and despite some more brutal moments ("Blasphemy", "Bloodsuckers"), it doesn't really pack a punch often coming accompanied by gothic tunes and cool acoustic passages (the ending of "I'm Your Butcher"). The closer "Sublime Disasters" deserves to be mentioned, too, mixing aggressive and pounding riffs, reminding of the glorious heritage of the French thrash/death metal scene.

The EP is nothing special sounding even less inspired than the full-length the band toning down the intensity a few notches down settling for a muddled awkward blend of post-death and post-thrash which simply drags for most of the time with annoying weeping vocals on top of the main grunting ones. The band members have no choice, but to find entertainment elsewhere, and they are also seen in the thrash/death metal outfits Hemafrost and Exkrement playing a much more aggressive brand of music.

Underworld in Mourning Full-length, 2007
Will you Understand EP, 2012

My Space


Based on the debut EP, this act plays modern thrash/death metal, dynamic and staying closer to thrash with a few grinding passages and two cool variations on moody slower thrash at the end, resembling Slayer's late-80's period with a modern twist. The band members take part in numerous other bands: the black metal masters Enochian Crescent, the death metal outfits Wings and Cartilage, etc.

Throw the First Rock EP, 2005
Hate Yourself Dead EP, 2006
Hollow Be Thy Name Full-length, 2007

Official Site


Classic power/thrash which is never too fast, but the lashing virtuoso riffs on "Heavens Burning" should make everyone happy. The rest of the material sticks more to dramatic, semi-balladic waters and consequently fails to generate the necessary amount of interest with just a sprakle from the aforementioned track. The singer is not bad, though, and his emotional clean tember could be considered the main asset.

Only Death Is Real Full-Length, 2012



Ghost Story were founded by Chris Baker- the man who was part of the great Atheist, and presently has another very good technical thrash/death metal project: Gnostic (see the review on the same page a few lines below). Based on the "Seeds of Destruction" demo, this band play good fast-paced thrash metal bearing resemblances to the Angel Dust debut and Paradox. "Circle of Fear" takes a heavier more aggressive approach featuring nice technical riffs without losing the speed. Hopefully this was a warm-up for their later efforts.

The "The Image And Reality" demo is another good effort adding more technicality to the speed/thrashing, especially on the first 2 songs, although the guitarists' efforts are slightly ruined by the unimpressive hardcore-ish singer who tries his best to follow the melody at times, and succeeds despite his unmelodic tember. "Silent Masses" is a nice progressive thrasher "relieved" by a great "acoustic vs. bass" interlude, something which later Opeth and other acts made their staple. "The Sanity Web" betrays the fast approach settling for a more ordinary power/thrash metal delivery with melodic hooks very similar to Xentrix's "Kim", a tendency also obvious on the final "I Won't Change" which is a tad faster with cool melodic leads.

Seeds of Destruction Demo, 1989
The Image And Reality Demo, 1990
Ghost Story Demo, 2003

My Space


This is the new band of Matt Preston, whose previous band was Dungeon Beast (also reviewed here), with which he released a solitary demo in 2005. His new formation offers a more diverse sound, which apart from thrash, aims at the power, and even progressive metal audience. "Red Harvest" is a laid-back power/thrasher with progressive tendencies which are not fully developed, because of the song's relative short length (4.5-min). "Sable Beldam" is longer and more satisfying, thrashing with more power and speed. "Curse of the Black Blood" is a cool direct mid-tempo power/thrash metal number followed by the short acoustic closer "Ghostly Whispers". The sound quality is not great, and the singer doesn't do a very good job with his flat, thin, kind of one-dimensional melodic delivery; "he" is actually a "she", and is Preston's girlfriend, but the remark remains nonetheless: more power and guts added to the singing could have been better.
The debut is out elaborating on the complex sound heard on the demo. The opening "Blood of the Black Witch" is pure high-octane doom metal, but later on things get more dynamic staying mostly in the power/proto-thrash metal camp with "Red Harvest" featured again. The tempo is mid with adherences to doom again here and there, plus the inclusion of several faster moments: the energetic progressive opus "Fate of Beldam". The closing "Whispers From Beyond" is a nice atmospheric ballad fitting well the peaceful pensive mood of the album. Thrash metal is not a very strong presence here, and consequently this effort would be of a bigger interest to power/progressive metal fans. The flaws in the vocal department remain, though: the girl sings in a detached mid-ranged semi-clean tone which could have benefitted from stronger emotional "downpours".
The band continue to excel, and here comes their 2nd opus which is again concentrated on power and doom more, but music so good deserves a wider exposure. The guitars sound both edgier and melodic, and the overall guitar delivery has become more technical bordering on the progressive at times, resulting in a couple of longer pieces. "...Of Untimely Death" is a nice galloper, and "House of Wary Shadows" is a more complex speed/thrasher with a strong doomy twist. The vocals are still handled by the girl, with a bit of help from Preston himself who has graced some of the songs with his backing vocals, and has taken the vocal lead on the aforementioned "House of Wary Shadows". "Scroll of the Lunar Tribe" is a good laid-back instrumental after which comes the epic power/thrasher "Island of All-Knowing Eyes", an intense varied composition with sudden speedy outbursts and cool screaming leads. The album is quite dynamic and thrashier, compared to the previous full-length, despite its overt doomy overtones, and the band's good sense of melody ensures that a wider gamut of metal fans would be pleased in the long run.

Ghost Tower Demo, 2008
Curse of the Black Blood Full-length, 2010
Head of Night Full-length, 2012

My Space


The demos: raw, mostly mid-paced black/thrash not far from the early efforts of Sodom and Bathory; there is a less serious, almost punk-ish attitude on some moments, especially on the vocals which are slightly reminiscent of Quorthon (R.I.P.), but more evil and less developed. The band later went onto much bigger fame under the name Necrodeath.

The full-length: the drum guru Mark Peso has decided to resurrect the band with which he started his career before cnanging the name to Necrodeath, and achieving much bigger glories. So the "ghostriders" return as a trio after a "lifetime" of absence, pulling out cool retro speed/thrash with vicious black/deathy vocals. The musical approach is more optimistic, with numerous melodic hooks (check out the heavy metal anthem "The Return Of The Ghost"), and frequent adherences to pure speed metal ("Ride For Your Life", the Exciter-worship "Doomed To Serve The Devil"). "Deep In Blood" is an atmospheric gothic/doom extravaganza with children's choir assisting, but all will cringe on the good aggressive cover of Onslaught's "Power from Hell", a fitting, albeit a bit too brutal for the album's main tone, epitaph to this new chapter of the band's history although no one knows how long it's going to be with Peso still keeping himself quite busy with Necrodeath.

Rehearsal Demo, 1984
The Exorcist Demo, 1984
Mayhemic Destruction Demo, 1985
The Return Of The Ghost Full-length, 2011

My Space


Started as a side project for two members of the death metallers Impaled (both of them also play in Exhumed), Ghoul quickly became a full-time band. The music has a death metal flavour, but is much more thrash with a nod to the German school as well as a certain doze of later-period Carcass thrown in. This is a really cool band who offer a nice deviation from the sea of modern death/thrash metal acts.
"Transmission Zero": ote world's favourite "splatterthrashers" are back after a lengthy 5-year break although this can be forgiven having in mind their pre-occupation with numerous other acts. So will they keep their fans happy? By all means, although the music has become softer with a certain crossover tone in the beginning which disappears for the several "Swansong" (Carcass) worships ("Destructor", "Blood Feast") in the middle, where the guitars cut like a knife, and the singer can easily pass for Jeff Walker with his mean demon-ish snarl. "Morning of the Mezmetron" is a very cool shift into slower, doomy music, an engaging operatic piece with the vocals sounding cleaner and kind of sinister. The guys quickly wake-up from this sombre composition with the last portion of hard, biting thrashers ("Tooth and Claw"), the closing "Metallicus Ex Mortis" being another cool nod to late-period Carcass. The band are a safe bet for those expecting something similar to their older output, and fans of the "splatter" (whatever that may mean) side of the genre should be moshing all over the neighbourhood swinging axes and cleavers, and why not even chainsaws...
"Dungeon Bastards": the mellower tendencies of the predecessor are immediately left behind once the opening "Bringer of War" starts blasting through the speakers thrashing till death greatly helped by the more direct hardcore-ish, also surreally semi-technical, chords of the following "Shred the Dead". The title-track is the definitive mosher, another wild thrashin' "beast"; and "Ghoulunatics" is an optimistic speedster with again a covert, corrosive hardcore-ish flair. "Blood and Guts" is a stylish wink at mid-period Carcass mixing mid-paced with flashing fast-paced rhythms. "Word is Law" follows a similar pattern, but is mid-paced and heavier. "Death Campaign" is a short bursting headbanger with great melodic leads, and "Guitarmageddon" tries to deserve its title with cool semi-technical implementations the latter gracefully continued on the excellent closer "Abominox", a diverse amalgam of moods and tempos sacrificing the hard-hitting approach for the sake of a nice atmospheric interlude for a while among the more aggressive riffage which surrounds those calmer escapades. This is a really good effort from the "splatterthrashers" who continue to excel after an unmitigated pullback.

We Came For The Dead Full-length, 2002
Maniaxe Full-length, 2003
Splatterthrash Full-length, 2006
Transmission Zero Full-length, 2011
Dungeon Bastards Full-Length, 2016

Official Site


Classic thrash: a combination of early Celtic Frost and Sodom; the Celtic Frost-inspired sections work better, the culmination being the very cool atmospheric, experimental track "Trionfo Della Morte", which has a strong "Into the Pandemonium" spirit (could have been writen by the Swiss- kidding, of course). Some more intense death metal passages could be heard here and there. The vocals are very fitting to the music, being a vicious blend of the two Tom's in thrash: G. Warrior and Angelripper (hey, I forgot Vetterli (Coroner); but he is Tommy).

Ghoul-Cult Full-length, 2004

My Space


Based on the full-length, these "ghouls" "'come knockin'" on your doors serving merry-go-round speed/post-thrash which is influenced by Motorhead, above all, with adherence to heavy and power metal with echoes from the 80's American scene, plus rougher Venom-esque shades showing timidly here and there. The singer has a drunken harsh voice, more aggressive than Lemmy, and also higher-pitched and more throaty.

Death Rock Mayhem EP, 2012
Dead Beat Glory Full-length, 2013

Official Site


Based on "King of the Undead", this band offers heavy groovy post-thrash which is not stale, but adds the obligatory more up-tempo moments, and those are the times when the music starts smelling hardcore.

Mystralengine Full-length, 1996
Carving Into You Full-length, 1998
King of the Undead Full-length, 2001
Sabacthany Full-length, 2004
Cryog?nie Full-length, 2006

Official Site


Based on the 2009 demo, this act pulls out your average modern thrash which is both fast and mid-tempo, the faster parts coming close to hardcore ("War Hero"). Some of the guys can also be seen in the melodic heavy metal formation Madhatter.
The full-length is is an intense modern thrash/death metal affair which is sadly "plagued" by too many groovy sections to be a throughly enjoyable listening, and the clean vocals are just another annoyance further "poisoning" the atmosphere obstructing the passionate deathy shouts of the main vocalist. The 2nd half is a total waste of time surrendering to groovy post-thrash with only a few faster-paced escapades ("A Perfect Shot", the crossover joy "Pain and Pleasure").

Scream Your Lungs Out Demo, 2006
Aggression Unleashed Demo, 2006
Pain and Pleasure Demo, 2007
Demo Demo, 2009
All Life Erased Full-Length, 205

Official Site


Based on "...Of Gods", these Poles indulge in pretty acceptable thrash/death metal of the old school which is moderately fast with more than passing resemblances to Pestilense's "Consuming Impulse", among other albums. The delivery is competent with good sharp guitars performing well in all departments with the gruff Martin Van Drunen-like vocals a nice boost. "Between The Eyes Of God" is an awesome encompassing death metal piece moving the sound towards Florida, but the only other full-blooded death metal tribute is the raging closer "The Elect", the rest sitting comfortably between the two styles.

The debut demo comes with a much worse sound quality which makes the guitars a bit fuzzy, although the approach is not far from the subsequent effort: stylish, occasionally semi-technical, thrash/death which stays within the up-parametres with a few temptations at a more blasting performance. The songs are seamless blends of fast and slow, battle-like sections which intercept each other appropriately without creating confusion. The singer at this stage is a not very comprehensive low-tuned death metal growler who had apparently been replaced for the next demo.

Human Race Demo, 1992
...Of Gods Demo, 1995


Melodic thrash staying between the modern and classic trends sustained in a brisk energetic pace boasting several edgy headbangers ("Tombstone", "Squirting Prick", "Rotten Soul") all placed in the 2nd half making the 1st one sound a but clumsy, less lively and generally more melodic. The vocalist is a mid-ranger with an indifferent punk-ish tone ala Wattie (The Exploited).

Gigantor Full-length, 2010

My Space


A 3-tracker of abrasive modern-ish thrash/post-thrash which stays on the avantgarde progressive side thanks to interesting diverse cuts like "Deep Red Dance" and the good vocal performance which isn't too far from the one heard on the works of other Japanese outfits like Sex Machineguns, Volcano and Gargoyle. On the other opposite we have the merry speed metaller "Sensual Color" which adds more flair to the varied character of this short obscure effort.

Demo Demo, 1997


Based on the debut demo, this formation serve fast lashing retro thrash with allusions to Slayer and Morbid Saint the latter blended later with more clever semi-technical decisions where the delivery gets a bit more laid-back: check out the energetic speedster "Senca". The singer shouts forcefully and doesn't exactly sing his rendings at times deafening the othe rinstruments. Reportedly on the other demos the band had changed their style to a more melodic form of progressive metal.

Demo Demo, 1997
Giljotina Demo, 2000
Giljotina 2 Demo, 2000


A blend of classic and modern thrash (more modern) of the mid-tempo heavy type with death-ish vocals and a nice 5-min "Instrumental", recalling Metallica's instrumental pieces of the 80's ("The Call of Khtullu", in particular).

Germinal Demo, 1996

My Space


Excellent speed/thrash which on the fastest parts touches the Forbidden and the Vio-lence debuts quite a bit, but there are songs which are slower, "decorated" with original, maybe epic elements, which bring the sound close to the Swiss Drifter, for example. But even on the slower tracks the guys add some fast elements; there's no speed lost here. The vocals are quite high, but very suitable, and will remind you of all the high-pitched screamers on the field at the time: early Warrel Dane, John Cyriis, Mike Sanders, etc.

Virgin Eater Demo, 1987


Based on "Wir Folgen", these Germans pull out heavy, quasi-industrial modern black/thrash which is not deprived of speed, but comes pretty energetic at times with an open crossover spirit ("Wenn die Sonne Scheint"), also including the jolly speedster "Uber dem Tale" and the brutal death metal cut "Heimat". There are songs which are slower with a nice viking/pagan touch ("Sieg oder Niedergang"), but hyper-blasting pieces like "Wir Folgen" cover the other, more extreme, side of black metal quite well. This is a diverse effort as a whole, often touching the larger-than-life opuses of their compatriots Die Apokalyptischen Reiter with whom they also share the penchant for singing in their mother tongue.

Am Ende Steht Der Sieg Full-length, 2009
Wir Folgen Full-length, 2011


All-instrumental modern power/thrash which recalls the Jeff Waters exploits, but is jumpier and groovier, and overall more interesting with quirky cuts like "M416" and the very hectic technical thrash/deathster "Rigor Mortis". "Pure Matter" is a cool semi-balladic stomper, and "Chase" is the full-fledged ballad with intriguing leads and nice melodic tunes. "Buried" is a brilliant technical death/thrashing twister with the more moderate progressiver "P622" a worthy companion. There are a couple of not very imaginative groovy fillers in the middle, but the best moments are almost as compelling as the ones from the works of Toby Knapp and Marty Friedman.

GK Full-Length, 2013


Based on "Atlasphere: the Burning Circle": the band's style is slow-ish progressively-tinged thrash/death metal with acoustic parts, keyboards, abstract female vocals, etc. The sound reminds of the French progressive death metal band Symbyosis at times; a fairly intriguing, unusual listen. The band were previously known as Desecration under which name they played classic speed/thrash metal.

"Fetish Parade" shows the band in a very different light: the music is not slow anymore, and death metal is nowhere to be heard. The overall approach is quite close to mid-90's Voivod being stylish dry, creepy industrialized thrash with a progressive edge. The riffs are jumpy and technical, and in this aspect will strongly remind you of the obscure one album-wonder Blood from the Soul (featuring the legendary Shane Embury (Napalm Death, Lock Up, Brujeria, etc), and Mirai Kawashima (Sigh, Necrophagia)). The singer is a dead ringer for Eric Forrest, maybe with a more shouty blend. There is no speed at display here, and the pace quickly jumps from more up-tempo moments to slower ones; "Misanthropic Hacker" is the only song which contains cheerful direct fast-paced riffs mixed with twisted avantgarde decisions, both in the vocal (clean synthesized vocals) and the music department, and could be considered the highlight here. "Antartica" is a nice progressive eclectic thrasher, not far from the bolder attempts at the style made by the Eric Forrest's new formation E-Force. The remaining 3 tracks are shorter, but the complexity is no less big, as the closer "The Fetish Parade" finds time for faster, more intense riffage, among the discordant spacey mechanical rhythms. Fans of the genre's classic period will not be very happy with this one, but those who love the modern technical twist given to the style by acts like Obliveon, Meshuggah, 90's Voivod and Baghead, may find their new heroes.
"Secrets At The Steam Forest" is only 2 tracks of atmospheric doom/death very close to the debut of the Dutch The Gathering with spontaneous outbursts of thrash which are quite entertaining, actually, contrasting with the dark morose background; a pretty good layout for the following more ambitious EP.
"Frames" is an eclectic affair, with a much more modern sound, more complex as well now boldly bordering on the progressive with various tempos and a pleiad of vocal participations, among which the alternative female ones are a nice touch. Death metal is a distant memory, and the approach is sheer modern thrash with post-shades. Some compositions are pretty peaceful with a strong presence of gothic and alternative touching mid-period Paradise Lost and The Gathering. Still, to these ears the highlight remains the enchanting avantgarde closer "Garden of Sigth", a nice labyrinthine number in the best tradition of the Norwegian innovators Atrox.
The "Illmatic" EP is another weird offering with robotic sterile guitars which deliver in a way no worse than mid-period Meshuggah, but the music here is more energetic with interesting abstract headbang-isms ala Voivod, and stylish serpentine hooks ala Coroner's "Grin" ("Cruel Culture", without the merry crossover digression). The final "D.N.A. (Do Not Abuse)" is a really nice surreal industrial instrumental akin to the American avantgardists G.G.F.H.

"Filthy Planet" carries on with the band's infatuation with the offbeat and the left-hand-path, and now this effort comes quite close to the last couple of works of the Australians Alchemist, mostly in the 1st half. The Coroner, Voivod and Meshuggah influences are also here, and the final result is really appealing boasting complex clinical compositions with weird futuristic riffs and time-changes topped by the recently acquired semi-synthesized shouty vocals. After a string of dry cosmic progressive numbers comes "Hannibal Sleeps For 8.5 years" to blast you into oblivion with aggressive headbanging rhythms the latter never losing the dry mechanical sound producing close to 3-min of standout modern technical thrash metal. Things stay on a more brutal ground with another fine portion of more energetic twisted thrash on "Intro the Torture House", and with the more straight (this is very relative here, folks) "Outburst" which is really an "outburst" of spontaneous speed/thrash, even sounding classic (ha ha, seriously!). "Walkaway" is jumpy technical thrash at its finest, and "Worms" is a peaceful progressive piece ala late-80's/early 90's Voivod closing the album in real style. One can never predict how these truly original guys will sound, but it's for certain that the pleasant surprises from their camp are far from over...
The "Equilibrium Part 1" EP is another cool entry into the guys' catalogue starting with the excellent mix of dry mechanical riffage and sweeping speedy crescendos "The Black Mountains". Then comes "Technicolor Society" which is a more direct proto-basher with sterile hardcore-ish colours. "Control" is a more intense, even to the point of death metallism, cut with great bass support and cosmic spacey arrangements ala the Australians Alchemist. The final number "New Noise" is a cover version of the punkers Refused done in a more absract manner still containing the carefree aesthetics of the original as well as the harsh shouty quarrelsome vocals.
"Equilibrium Part 2" follows suit to serve some more modern technical music this time spiced with surreal "ornamentations" not far from the Australians Alchemist again. The opening "Civil Failure" displays these "ornamentations" which come blended with furious headbanging parts. "Adrenaline Of The Night" is a more immediate technicaller sustained in mid-pace, but "Upload Your Life" speeds up again without losing the surreal technical edge. The remaining 2 pieces take a more abstract form the shreds now moving towards Meshuggah and mid-90's Voivod instilling a futuristic mechanical atmosphere which, without a doubt, would be ably translated on "Equilibrium Part 3".

Secrets At The Steam Forest EP, 1993
Atlasphere: The Burning Circle EP, 1995
Frames full-length, 1997
3 Song Promo EP, 1999
Fetish Parade Full-Length, 2000
Illmatic EP, 2004
Filthy Planet Full-Length, 2007
Equilibrium Part 1 EP, 2009
Equilibrium Part 2 EP, 2013

My Space


This new formation specialize in pretty common modern thrash relying on brisk fast-paced rhythms which still deliver despite their fairly predictable nature. The singer shouts to the point of losing it, and the title-track is a surprising mellow semi-balladic piece splitting the album into two with its volcanic, seismic riffs also influencing the 2nd half which consists of slower, friendlier tracks with catchy melodic hooks aplenty (check out the closing "Dusk").

Glacier Eater Full-Length, 2015

Official Site


A 5-song EP of cool black/thrash metal nicely mixing the atmospheric creepy mid-pace of acts like Barathrum and Thorns, with faster-paced guitars in the vein of the Portuguese Alastor and the Germans Nocturnal. "Tales Of The Macabre" is slower sinister doomy thrash, and "Pleasure Of The Underworld" is 9-min of constantly changing furious thrashing with funereal doomy passages, quite interesting, also including a catchy power metal chorus. The final "Cabeza De Motor" is 1-min of jolly punk/crossover.

Sounds of the Antichrist EP, 2007


This album contains energetic, but pretty derivative 80's thrash recalling the Bay Area bands, mixed with some moshy riffs ala Anthrax. The leads are particularly stylish, somewhat not fitting to the otherwise ordinary nature of the music, and the bass work sometimes packs a punch, but the Brazilian metal scene, even at that time, had better works to offer.

Dreadful Dreams Full-length, 1992


The band's debut is pure Sepultura worship (think "Arise" and "Beneath the Remains"). "Profitable Losses" is a good intense opener with a slight death metal edge. "Bastard Death" walks the same line introducing slower heavier riffs. The remaining tracks follow the pattern pretty closely with slight "detours": "Morbid Murdering", which is slower, but is an almost pure death metal number with nice semi-technical riffs, and the closing "Useless Child" which for most of the time is heavy pounding in the tradition of late 80's Slayer before the final fast-paced part wraps it up nicely.

"Made Of Pain" is even better, simply because the band have moved away a bit from the Sepultura influence, but have only won in the process, as their style now has a more individual face although it will still remind of many heroes from the 80's: Slayer (above all), Devastation, Vio-Lence, etc. The music is not all-out speed and intensity anymore, and "Sound Of Deep Silence" is a cool mid-paced smasher. Their more aggressive side is the more attractive one, though, and furious pieces like "Warsouls", "No Fate" and "Debtor Of Rest" will break your necks in no time. "My World" is a slightly awkward melodic, modern-sounding track, not that illogical considering the future direction the guys took very soon after this one, but the short ball of aggression "Your World" and the closer "For All Gods" will apologize big time for this one. The latter even brings back some of the death metal intensity from the debut, along with a few fine technical moments. However, the 90's were calling for a change, and the band, albeit staying true to the retro sound for a while, were tempted to try something more modern, and the very next year they took a U-turn from thrash, having released 8 full-lengths so far of not really impressive modern heavy metal, spiced with big dozes of grunge and groove.

Designation full-length, 1992
Made of pain full-length, 1993

Official Site


These guys specialize in competent old school speed/thrash which is highlighted by the passionate high-strung clean singer who stands somewhere between Tim "Ripper" Owens and Jacques Bélanger (Exciter on "Blood of Tyrants"). The music is really intense and energetic the band spitting out fiery riffs to an impressive effect the delivery further boosted by a few blasting passages. Some stomping epic sections sneak into "Bereaved by the Armament" and the crushing closer "Insurgence", but there are not many quiet moments of the kind on this invigorating slab of pure classic speed/thrash.

The full-length fulfills all the promises the main difference now coming from the frequent death metal vocal inclusions which help the main ones. The speed/thrash fun is quaranteed all over as well as the casual more heroic galloper ("Enemies Of The Cross") which will keep the speed metal fans quite happy. The 2nd half serves the more technical mid-paced shredder "Our Baleful Realm", and the diverse brutalizer "Architect Of Destruction" which is followed by the more friendly instrumental "Age Of Barbarism" the latter showing the guys' musical proficiency from all aspects (check out the virtuoso bass performance near the end). It seems as though we have new heroes here who should be able to keep the high level for another few albums.

The Ritual Begins... EP, 2012
Age of Barbarism Full-Length, 2014

Official Site


This formation serve decent old school thrash/crossover with modern insertions like groove and all the rest. The band change the pace as the seeming downside are the calm peaceful rockers ("Destroy Evil & Be Home by Dinner") which could be covers of some popular evergreen. Elsewhere we have the surreal semi-ballad "Black Saranghe" and the more dynamic closer "Durian Kaya Dip Ov The Dead". The vocals are clean and a bit declamatory still retaining a melodic blend enough to accompany the friendly musical landscape.

Louder Than Satan's Lollipop Full-Length, 2014


This outfit comes up with modern post-thrash which is suitably groovy and mellow, spiced with the odd more aggressive outbreak (the energetic opener "Tváø Samoty"). The band don't bother to re-invent the wheel, and this pretty predictable music will wear thin long before the end, despite the efforts of the good clean attached singer to move things around with his more dramatic, albeit a bit hoarse, croons.

Síla v Nás Full-length, 2004


2 songs of typical South American raw thrash, fast-paced, with a fuzzy guitar sound, and chaotic, illogical song-structures, which could have been an influence on the technical metal scene later (ha ha- kidding, of course!).

Gloster Gladiattor Single, 1987


This band play not very restrained modern thrash/proto-death with a very buzzy sound which is kind of less prominent on the more aggressive thrashy moments ("Buried in my backyard"). The delivery very suddenly becomes hectic and technical on the chaotic math-shredder "Maggot Bag", and remains such for a couple of numbers among which "Life of a Parasite" seems to be the biggest puzzler with its wild mathcore-ish arrangements. "Hush" is a brutal technical death metal "madness", and the closing "Last Words" is another less ordinary on thrash/crossover with intriguing melodic tunes and again some wild shredding with choppy breaks ala Meshuggah. This is a curious interesting release which should have a follow-up to hone the guys' original approach.

Black Room EP, 2009

Official Site


This is direct bashing thrash with hardcore overtones with a bad sound quality and semi-amateurish musicianship which is reflected in violent bashing sections with messy guitars and one-dimensional riff-patterns. The singer shouts in a more attached manner, and may be considered the main attraction here...

Violent Mind//Peaceful Heart Full-Length, 1990

My Space


Members of the eclectic progressive thrash/deathsters and the thrash/crossover stars Kill the Car have joined forces for the production of this very diverse amalgam which ranges from mild crossover cuts to unbridled death metal explosions. The attitude is by all means humorous and the band have their fun throwing numerous sing-along choruses and merry, more or less familiar, tunes. The vocal performance is quite varied, too, ranging froom hysterical, almost blacky, screams to deep cleaner baritones with everything in-between.

Pussy Finger Rock Opera Demo, 2010

Official Site


An awkward mix of thrash/death, a bit of grind, and odd balladic passages; the leads are starkly contrasting with the often impenetrable wall of sound "ably" assisted by the ultra-brutal low growls. The guitar sound is very abrasive making the riffs barely heard. There is a strange avantgarde feeling to this mess also aggravated by the operatic atmospheric sections which touch early Katatonia and Tristitia, but the guys have to rehearse more to make this strangely appealing mish-mash more coherent and listenable.

Krupica Full-Length, 2008


This is classic thrash/death metal with an intriguing semi-technical edge at times which is more strongly felt on the cool opening instrumental "War", whereas on the remaining 3 songs the sound is more direct with an open hardcore/grindy attitude on the last "Pour Elisa".

...Another Selfmade Luminary EP, 2001


Gnostic are virtually the whole Atheist line-up without Kelly Shaefer. The style recalls this band's early efforts, but the concentration is more on thrash metal this time with great technical/progressive sections and vortex-like twisted riffs, plus slight modern "updates". "Mind Lock" is the only unmitigated failure here where the band moves into a more conventional progressive territory with melodic guitars recalling Spastik Ink. The only thing which could be a kind of distraction are the overshouty hardcore vocals. With Atheist reportedly back in the game with the original line-up the future of this band is uncertain.

A new Atheist album is yet to appear, but here comes "Engineering The Rule", which will keep the fans of technical thrash/death metal satisfied. The hardcore vocals remain, but the music goes one level up producing gorgeous twisted stuff in the best tradition of the first two Atheist albums, the Norwegians Extol, the French Droys, etc. "Visceral" will exhaust you in case of you are determined to follow the numerous twists and turns in the "scenario". The traditional staple Atheist sudden hectic switches are already here, but later things get more interesting with the brilliant "Isolate Gravity" which introduces excellent both technical and melodic leads, and a never-ending accumulation of riff after riff to a head-spinning effect. Something more conventional must by all means come, to relieve "the pain", and "Sleeping Ground" could be considered one with its more straight-forward headbanging sections although it will leave you gaping at some point with a couple of ultra-technical riffs. Melody and technicality intercept in an inimitable way on the title-track which jumps high and low without sounding too aggressive or fast, before "Wall of Lies" calms down with a more direct play bringing jazzy breaks to the front. "Life, Suffering" leaves plenty of room for the drummer to show his skills although at this point he has proven his worth with outstanding drumming on every song. The closing "Splinters of Change" comes with all the guns blazing to offer some fast-paced thrash/death metal and show the band's more straight side which up to this point was very hard to hear; it still remains quite a technical feast with the mind-blowing leads and the super-twisted ending. This is a wonder to listen to with seldom a more perfect "marriage" of melody and technicality to be heard, and if the band keep on doing such a good job in the future, there would hardly be any need in an Atheist comeback release...

Splinters of Change Demo, 2005
Isolate Gravity Demo, 2006
Engineering The Rule Full-length, 2009

Official Site


Based on the debut demo, this act offers chaotic, but listenable aggressive thrash/black metal which constantly switches between numerous influences (early Bathory, Hellhammer/early Celtic Frost, Burzum, Slaughter, Beherit, Barathrum, etc.). The singer, if we can call him that, whispers in a hellish semi-human/semi-animal manner, but his rendings are the perfect match for this weird less ordinary amalgam which gets wonderfully headbangingly thrashy near the end on "Ritual Magic Circle" and on the two bonus tracks after it which are short explosive black/thrashers ala Impaled Nazarene.

Fullmoon Worship Demo, 1994
Goat Horns / The True Endless Split, 2002
Magician of Black Chaos EP, 2004
The Nocturnal Call EP, 2004
From the very Depths of Hell Full-length, 2004
Goatwatchers United - Satans Goats Tribute II. Assault Split, 2005
The Witches Curse EP, 2005

My Space


Based on the "Alliance Helvetia" split, this infernal trio mixes early Germanic speed/thrash ("Obey") with a more aggressive blasting stuff ala Ravage and Defleshed. The singer is intriguing with his semi-clean higher tember recalling a not very sober Sean Killian (Vio-Lence).

Goatwatchers United - Satans Goats Tribute Split, 2003
Don't Burn the Witch... Split, 2006
Alliance Helvetia Split, 2008

Official Site


This is mostly a black metal affair with thrash metal serving as a humble assistant here and there. This is fast, but also atmospheric, music which sits somewhere between early Emperor and Cradle of Filth, with Bathory touched on the slower more epic arrangements.

First Sacrifice Demo, 2010


Based on "Doppelgangers", this act offers a modern mix of thrash and death metal, at times brutal and merciless, at others atmospheric with gothic overtones where nice female vocals can be heard as opposed to the main brutal low-tuned death metal ones. The approach is hectic with technical pretensions which become materialized on the more stylish moments: the maddening shredder "Salt"; the brutal Suffocation-esque "The Hunt is On (Sexy Son)"; the more moderate mid-paced "The Ubiquitous Cube". Some of the musicians are also involved in the melodic black/death metal project The Apparatus.

Neander Tales EP, 2006
Simian Supremacy Full-length, 2007
Doppelg?ngers Full-length, 2010

Official Site


Based on the full-length, this one-man show, the alias Hades, deliver fast-paced retro thrash/death with crusty blacky overtones. Hades also provides a mean spitting semi-shouty tember to serve as the vocals, and also to accompany this intense barrage which recalls early Bathory, but with a more vicious, deathy flair. The prevalent speedy approach is nicely interrupted by the mid-paced hymn "Only The Strong Will Survive" which again recalls the way Quorthon (R.I.P.) used to slow down (remember "Raise the Dead").

Doomsday EP, 2015
Blood and Steel Full-length, 2016

Official Site


Unpretentious, optimistic thrash/crossover with good proficient leads and short stripped-down pieces ("Neck Hanging Kick Water Attack") bordering on pure hardcore. "M.M.M. (Mister Machine Man)" is a curious weird jazzy extravaganza, and "What's Love" is a classic heavy metal opus, a bit overlong for what it is, but decent nonetheless supported by passable semi-clean inebriate vocals.

Goatcore Full-length, 1991


This is truly awful: raw ultimately primitive classic thrash/proto-death which, even with the biggest stretch of the imagination, would be hard to believe that it has been done recently; this is so underground and amateurish that it's really hard to compare it to anything even in the very beginnings. So in other words this is plain violent bash topped by two vocals: one is in the low-tuned death metal camp, the other in the screechy blacky department. Sound quality non-existent; this has been made in a cave somewhere, and could have been done by prehistoric people (or their very close descendants) who may have miraculously survived through the centuries, now intent to make themselves heard with this wild cacophonic noise. A full-length?! This can hardly pass even for a demo...

Twenty-Nine Legions Of Goats Full-Length, 2013


Based on the debut, this band plays stylish technical thrash metal of the modern type mixing headbanging sections with a classic flavour with abstract Voivod-ish (think "Negatron") riffs. The music has its headbanging moments (the dynamic opener "Life And Death"), but most of the time this is atmospheric creepy stuff which also adheres to groove ("Behind The Truth"), but the guys could be forgiven for that considering the time of release. After a series of robotic industrialized numbers comes the small bomb "Alive" which will really make you feel "alive" with its frantic technical delivery. Things, unfortunately, start dragging a bit after that with two longer heavier tracks, before "Know What You Are" surprisingly brings forward excellent technical riffs ala Coroner, they in their turn replaced by another portion of more intense thrash on "From The First". The alternation continues with the complex "Breathe", an eclectic affair ala their compatriots Doom with frantic jumpy riffs and a few nice speedy sections the latter staying around for the good elaborate closer "Frenzy" which doesn't exactly reach the "frenzy" pitch, but is a cool versatile song, the only one which tries to break the established patterns with a couple of more melodic hooks. The singer is a bit of a distraction with his muffled low semi-death metal timbre. On their sophomore album the band switched onto more death metal-oriented approach with an even more modernized, more robotic flavour.

"Collective Unconscious" is sustained pretty much in the same intricate dispassionate vein the stylish choppy rhythm-section epitomized from the very opener "The Worth". "Congenitatiness" is a vivid bouncy jumper the dry mechanical riffage acquiring more abstract proportions not far from Voivod's "Phobos", and "No Discretion" is a surreal proposition with eclectic quiet moments breaking the sterile robotic stride which goes back to Voivod-ish territory on "What's A Meaning" which also offers more dynamic decisions the crunchy riffs constantly moving from a more aggressive to a mellower flair. "In A Corral" wins in the energetic department thanks to a slab of semi-galloping "excursions", but the approach later is srictly post-thrashy with echoes of Helmet and Biohazard as well. "The Sign Of Death" attempts some headbanging escapades, too, but the rockish frolic feeling later dissipates those admirable aspirations. This recording is probably more diverse and more eccentric, with a less coherent sound which to some may be the better option.

Breath Full-length, 1995
Collective Unconscious Full-length, 2002


The EP: heavy crushing modern thrash which bangs the head with the casual dry mechanical speedy riff ("Lost in Addiction"), and generally this is interesting stuff with a few engaging moments (the doomy proto-groover with the appropriate title "Trouble of Doom") and quite a bit of dynamics present on almost every track. The singer clings between the hardcore and the shouty death metal delivery, but by all means fits the steam-roller musical approach.
"Necrogoaticon" is typical modern thrash with epic touches (the imposing battle-like "Final Destination") and several softer rockers ("Prayers") which don't leave a very positive impression. The more hard-hitting side of the guys' repertoire returns in the 2nd half for a short sting of pieces, but this effort is just too melancholic and laid-back to keep the regular thrasher hooked for long (check out the elegiac closing title-track).

Rise of the Monkeygoat EP, 2012
Necrogoaticon Full-Length, 2015

Official Site


Based on the "This Mean War" 3-song demo, this band play mid-paced, bass-dominated retro thrash, more on the melodic side, but cool enough; bears shades of early Celtic Frost, Barathrum, the Italians Doomsword on the slower moments, some battle atmosphere as well. Some of the musicians also played in the thrash metal outfit Pandemonic.
The full-length is a carefree tribute to the Motorheads of the world quite similar to their compatriots Gehennah, also early Venom on the heavier parts, so expect relaxed speed/proto-thrashy rhythms performed with a lot of melody the latter tunes contrasting with the harsh semi-death metal vocals. "Gore Galore" is a fast invigorating headbanger, and "Die Screaming" near the end is another more intense speedster; a cool party fun with appropriate drunken atmosphere.

This Mean War Demo, 2000
Rapin' My Graveyard Demo, 2002
The Curse Rings True Full-Length, 2016

Official Site


Based on "Verses From The Black Sacramentary", this act plays aggressive black/thrash/death which is both classic and modern-sounding at various stages of the album. References to early Dissection and Deathwitch can easily be made, although when the guys thrash, they come close to the German school. Blast-beats can be heard throughout on quite a few times as well as more peaceful, sprawling sections ("Feast of the Slaughterlord"). This is fast brutal stuff with a suitable vocal "duel" between a low-tuned death growler and a more screamy black "raven".

Cult Of The Germanic Horde Full-Length, 1998
Verses From The Black Sacramentary Full-Length, 2010


Boring 90's post-thrash jumping from the 90's Flotsams to the Black Album in no time seldom providing more intense heavy riffage without forgetting about Pantera and Machine Head along the way. The compositions are longer for the style, but rest assured that you won't miss anything interesting; there are three whole ballads, and they are well done compared to the unimpressive rest, especially the closing "So Distant Now" which "distantly" echoes Skid Row's "Quicksand Jesus" from "Slave to the Grind".

Goblin Full-length, 1997

My Space


Expect a very pristine sound quality, it's a live recording, after all, and apart from that very amateurish old school stuff which resembles thrash, but could also be speed, and even power metal. With a lot of strain on the side of the listener, he/she may be able to recognize the 2 cover versions at the end: Motorhead's "Iron Fist" and Sodom's "Outbreak of Evil". The rest, as they say, is history, including the barely audible vocalist, who screams his lungs out trying his best to outshout the noisy musical background.

LPC R.M.P Rehearsal Demo, 2011


Modern 90's post-thrash with the groove reigning supreme all over, with stoner/doom escapades ("Evil") making the atmosphere even more uplifting. The hoarse inebriate vocals are a perfect fir to the unpretentious music which hits the trad doom papametres on the title-track.

Burn The Idol Full-Length, 2017


This is the same band as the one which follows, but without the BC. It features two members of the technical thrashers Agretator who here are content enough to come up with more ordinary riffs. The music is quite aggressive, even bordering on death metal (the opener "Eternal War"), but this is quite misleading, as the rest has a certain slower, almost doomy edge which, mixed with the thrashy guitars, creates an interesting sound. See the next review to find out more about the band's future metamorphosis.

Four Wise Men Demo, 1988


Pretty good crossover/thrash close to another Swedish band, The Krixhjalters (later Omnitron); nice catchy songs with good melodies and some surprisingly technical riffs. "Allergy 'Ell" is a great energetic opener boasting stylish technical moments mixed with more direct riffs. "Drunk on Wine" introduces the jolly up-lifting crossover spirit, and "Viking Tales" is an evil Celtic Frost-like stomping number followed by the cool short instrumental "Also the Deaf Have Ears". At this point the guys have walked all over the metal spectre and logically they go back from where they started with the intense thrasher "Marianne". They remain there, actually, for one more song, and "The Light" is first-rate technical thrash with nice tempo changes and more simplistic leads. "Saints" slows down once again and could pass for the most melodic track here cancelled by the much more aggressive "Love of Messiah" which provides a fine technical ending. "S.N.A.", the album closer, is a doomy dark short instrumental sounding like a variation of the funeral march.

Eargasms in Eden Full-Length, 1989


This band play modern thrash/death with touches of metalcore the latter bringing a lot of melody with it to the point of stifling the more hard-hitting sections which are still of the mid-paced not very energetic type except for the brisk number near the end "St. Hypochondriac" which tears "the silence" with ripping aggressive shreds. The singer is the traditional hoarse shouter who is the other silence interruptor, but of the less pleasant kind.

Death for Sale Full-Length, 2013

Official Site


Based on the "Agony of the Fallen Gods" demo, this band plays a nice melodic mix of black, thrash and death metal which has its ties to Dimmu Borgir's "Enthrone, Darkness, Triumphant" and The Kovenant's "Nexus Polaris"; in other words, there is a lot of atmosphere, very few (if any) hyper-blasts typical for such blends, a certain presence of keyboards, more quiet operatic organ-infused sections, and vigorous sharp thrashy riffs. The guys' diverse sense of melody makes each of the songs sticking out characterized by non-repetitive catchy hooks some of which will haunt you... literally. The sound quality is crystal clear, and it is high time some label showed interest in signing these talents.

Agony of the Fallen Gods Demo, 2000
God is Not Demo, 2002
Reptilian Demo, 2007

My Space


Modern death/thrash metal with some unexpected semi-clean vocals; the music is a blend of groovy dragging tunes and some brutal, fast sections.

Demo Demo, 2005

My Space


Fast blitzkrieg classic thrash which keeps the lightning steel riffs flowing in rapid succession softening down on the more corssover-laced "Thrash Metal Commander in Chief", of all tracks. "The Final Attack" is a cool vigorous galloper siding more with the speed metal movement, and "Beyond the Death" is a diverse rolling thrasher in the best tradition of Paradox, influencing the following roller-coaster "Deepest Darkness". The vocal duel is somewhat annoying, though, between a gruff guttural death metal and a more hysterical shrieky "raven".

Merciless Destiny Full-length, 2017

Official Site


Energetic mix of classic and modern thrash metal with bad shouty hardcore vocals; the album offers both speedy ("God's Second Son") and slower pounding tracks ("Tha Perfect Murda"). Jolly crossover tunes ("Away") can also be heard. The 2nd half offers longer slower songs, a not very impressive tendency, finished with the overlong dragging "The Very End" (could have been better, this end, especially if it's the very one, guys...). Some of the musicians are also involved with the merry thrash'n rollers Braindaence who have one EP released so far in 2005.

Planta 4 Full-Length, 2008

My Space


Abrasive modern power/thrash/post-thrash which is more on the friendly side for most of the time seldom offering something for the hard-boiled thrasher ("Homelands"). Gothic leanings come forward in the 2nd half to bring a more melodic "colouring" which retouches the guitars, but this would come largely unnoticed due to the really mild character of the music here.

In The Empire Of The Setting Sun Full-Length, 2013


Based on the demo, this act pulls out modern melodic thrash/death with death'n roll tendencies, not far from mid-period Entombed and Gandalf. The music is dynamic, and the riffs cut at times ("Graylands") with passion, but the concentration for most of the time is clearly on melody and playfulness.

Demo 1 Demo, 1994
The Sound of Robogroove EP, 1995


Based on "The Empty", this act plays dynamic aggro-thrash akin to Pantera, maybe a bit more laid-back and playful at times. "Wall of Facade" is a nice mix of doomy riffs and much faster intense thrashy ones, but the rest very seldom leaves the so well established at the time groovy formula, except, of course, on the closer "Glory (Forever)" which is a very cool tender ballad. The guys were previously known as Transcendence under which name they only released one demo in 1992 of classic heavy/progressive metal.
"Pound for Pound" is nowhere near the legendary Anvil album of the same title (1988) music-wise, but opts for the expected modern heavy post-thrash, well done again, holding engaging, interesting moments all the way through: the stylish technical instrumental "Speedball" which isn't really "speedy", but delivers with its clever sophisticated post-thrash rhythms. "Numbskull" is a cool "skull" crusher (and not only numb ones) with its angry 10-ton riffs, and before the end one will come across a nice faster-paced headbanger: "Suffer This". The intensity of the main material is aptly relieved by short balladic instrumentals scattered throughout including a really cool manic half-min lead shred ("Virus") as a finishing touch.

Know God? Full-length, 1994
The Empty Full-length, 1995
Pound for Pound Full-length, 1999

Fan Site


Based on "II", this outfit offer edgy sharp modern thrash/death metal with an abrasive proto-industrial atmosphere. The music crosses several tempos even including some macabre black metal sections ("Creepy Crawl") before switching onto full-blown doom/gothic on "To Emilie". "Fight The Gollum" breaks the "idyll" with vicious proto-blasting passages and screamy piercing leads, but it doesn't have the support of the remaining material which is again more on the slow pensive side the forceful shouty death metal vocals creating the noisy, and also scary, environment in which this album is deeply immersed.
"Just... Die" is mostly atmospheric industrial with thrashy tendencies which sounds seductively semi-technical on "Hypocrits" "Fucking Assholes" another valuable addition, despite its silly title, with its merry discordant riffs. Still, it remains on the weak side with long boring, sprawling compositions which cling towards doom and the semi-ballad without creating any positive impression. To mention the pointless short instrumental interludes between the actual songs, and the picture doesn't get any more appealing...

Godisdead Full-length, 2010
II Full-length, 2012
Just... Die Full-Length, 2015

Official Site


Modernly produced classic/modern thrash with gruffer, more aggressive death metal vocals which contrast with the generally friendly approach. The guys attempt something less energetic and more melodic (the mid-paced "The Aggressor", tne galloping epicer "Battle of the Kings") trying to divesify the environment in a way not too remote from more recent Kreator, and consequently lose the headbanging idea at some stage, failing to recapture it later the final result more on the dull, not very imaginative side.

World in Flames Full-length, 2017



Based on "Crossover", this is dry sterile modern-ish thrash with references to the old school mostly in the form of frequent less bridled hardcore outbursts, more or less appropriately inserted. The vocalist shouts in a slightly hysterical fashion deafening the instruments and generally not leaving a very positive impression. This is simplistic music with a somewhat unfocused feel which should be shaped (or may have been on the sophomore effort) into something more substantial at a later stage.
"Revolusi Demokrasi" is quite close in spirit to the debut comprising pedestrian modern thrash which only seldom starts lashing with power: "Rasa Tertulis..." which is also death metal-decorated. This is dry mechanical stuff which has its fair share of more dynamic hardcore gimmicks, but the approach is predictable the most surprising elements being the more quiet semi-balladic inclusions on the closing "Cukup Adalah Cukup".

Crossover Full-Length, 2007
Revolusi Demokrasi Full-Length, 2012

Official Site


The full-length: a bunch of Finns pay tribute to Slayer and other heroes from the 80's with this barrage of intense retro thrash bordering on hardcore on quite a few times, but in a good way. The band play fairly fast, but never let things out of control eventually slowing down ("Born to Live"; the nice atmospheric shredder "Dead in the Abyss" which could have been on both "South of Heaven" or "Seasons in the Abyss" on any day) on the casual irregular stomper those cuts also recalling Slayer. Things go towards the death metal border ("Barely Legal") in the second half before the final "Dead It" safely wraps it up with the exiting portion of fast catchy thrash/crossover rhythms. The singer is a high-strung shouter who resembles later-period Tom Araya possessing a bigger doze of dramatism probably thne his renowned American colleague. The band members take part in various other acts arounf the Finnish underground: the classic heavy metal defenders Bleak Crowd, the progressive metal outfit Joint Depression, etc.

Godlesson EP, 2009
Fuck, Satan, Hell, Die, Yeah! Full-length, 2011

Official Site


A 4-track EP of cleverly-constructed thrash/death which is on the modern progressive side. The guitarists excel in infectious melodies which clearly predominate over the edgy riffage. More speedy passages come forward on "Shiva's Dream" which turns to raging death at some point to a mixed effect. The diversity keeps getting bigger when the next "First Contact", a kind of a not very impressive semi-ballad; but all technical/progressive thrash breaks loose on the final "Harvesting the Slave Race" which is a short swirling piece with great riffs and puzzling tempo-changes. The singer delivers with his deep clean voice which holds both emotion and aggression well mixed together.

Gods Of Eden EP, 2012


The demo: good intense old school thrash ala Vio-Lence and Exodus; "High on Hate" is an explosive opener, but later the guys spice things up with slower moments added to the other songs until the pure aggression returns with the closing "Near Death Experience": a smashing headbanger recalling also Sacred Reich's "Ignorance". The singer will also take you in the same direction with his gruff Phil Rind-like vocals. Some of the band members have arrived from the split-up modern thrashers/post-thrashers Greed.
"Apex Predator" notches it up aggression-wise adding several more brutal proto-deathy moments ala Gammacide, but the formula succeeds again making the sound more potent and more intense. "Atheist=Heretic" is a cool mix between hard-hitting riffs and slower atmospheric breaks ala late-80's Slayer, and the short exploder "High On Hate" with overt death metal sections. "Witness to a Lie" is a not very necessary "wink" at the modern school which is cancelled by the final slab of cool retro thrashers.
"The Book of Blood" mixes the old and the modern school in a standard, very familiar, way and consequently fails to follow up on the demo's more aggressive nature. Still, more interesting pieces can be found: the Bay-Area ripper "Last Confession", the short headbangers "Divine Brutality" and "Crushed", the more varied and stylish "False Prophet". The angry shouty vocals are nothing new, and their synthesized at times nature can be quite annoying.

Gods Will Be Done Demo, 2006
The Book of Blood Full-length, 2009
Apex Predator Full-length, 2013

My Space


This is virtually the continuation of Sabbat, the last attempt of Andy Sneap, along with his other colleague from Sabbat Wayne Banks, to remain a musician, before moving onto the other side of the music spectre. Well, he could have tried harder since this is just a little more original take on the modern 90's sound, still containing remnants from the 80's, staying in the mid-tempo, slowing down to create more atmosphere, and actually succeeeding like on the cool dark creepy thrasher "Mindflying". "Nothing To Declare" is a cool energetic more classically-oriented number sounding not too far from the last two Testament efforts at the time. "Fiction" could have been left out being a not very impressive acoustic ballad.

Godsend EP, 1994


Melodic thrash/crossover with some modern thrash elements and hard rock tunes.

Liberty or death full-length, 1992


Based on the full-length, these guys pull out a dull boring blend of modern and some classic thrash metal trying to emulate the patterns of the Black Album for most of the time, leading to not very good results. The music lacks an edge, even acquires some dancing tendencies: "Down And Out" (shame, isn't it). "Chains" comes splashing in the middle, and is a total surprise, introducing finally some headbanging riffs. Apparently from this point on the guys will keep on thrashing, to the classic thrash fans' delight, and "Hero" turns to be another cool retro thrasher. Unfortunately that's all from the more classic sector, since "Dancing" (as you see, there will be a lot of dancing here) is the next flat groovy filler, slightly compensated by the more energetic closer "Fearless".

Death Before Dishonor Full-length, 1999
Steet-Leveled EP, 2001


This is the band previously known as Slavery, under which name they only managed to release one demo (the guys also have another death metal project: Icon). Based on the EP, this band pull out cool classic speed/thrash metal which crosses the two influences from both sides of the Atlantic in a seamless way as well as super-fast with crushing mid-tempo riffs (check out "Slaves To The Black"). No slow moments on the speed/thrashing killer "Wings Of Wrath", which will split your head, or on the brilliant Angel Dust-esque "Dead Reckoning", which is also full speed ahead. Only on "Where The Sun Sleeps" the band relies on a heavy slower pace (apparently not willing to wake up the Sun), but the riffage there is genuinely sinister and heavy with fine doom passages.
"Into the Black" is a sure-handed continuation of the band's saga which will "thrash" you from the very beginning with the appropriately-titled "Thrashed" which is a fiery unrelenting lasher, the guys' anger taking even more speedy proportions on the next "Anvilised" which this time will "anvilise" you with literally hammering riffs. Few will be the ones to resist to join the speed/thrashy roller-coaster on "Insomniaddict" with its ripping sharp riffs and memorable rhythms. More thrashing carnage comes on the just a tad more melodic "Unleash the Slaves" which is vintage early Paradox; but wait till you fall in the next mincer "Slippery When Dead", speed/thrashing fury with a few stylish insertions. The "madness" never stops, actually, except perhaps for the short instrumental interlude "A Shot In The Dark" which moshes in a more restrained melodic fashion, followed by a trio of speed/thrashers, among which "Zombie Panic Holocaust" goes away with all the praises being a short bursting piece with great ultra-sharp riffs. The title-track is left for the end, but it would be quite a surprise being a potent traditional doomster in the spirit of early Candlemass and the Germans Doomshine, the nice clean vocals (and also the sparce scary death growls) provided by the Sacred Steel throat Gerrit P. Mutz, who would be easily recognized by the fans; but your jaws will literally drop on the ultra-speedy ending; you've been warned. Other guests include the Destruction mainman Mike Sifringer, who plays a couple of leads, and the new Mekong Delta guitarist Benedikt Zimniak. This is a really nice addition to the contemporary thrash metal scene, having its own face without readily copying old patterns, despite the several nods made to the past so we will wait and see how much more "thrashing" and "anvilising" from these guys we could bear later...

"Welcome to the Green Zone" is the expected from the band roller-coaster where hard speed/thrashing is the order of the day pretty much from the get-go with the rousing opener "Green Zone". The modern production boosts the guitars which shred their way also helped by short, screamy leads. "Demon" is a soaring speedster ala early Helloween, and "Mad In Germany" is a pleasant thrash/crossover deviation. The end, however, is preserved for the most diverse material: the milder power/thrasher "Children Of The Pit", and the closing doomster with a very fast-paced ending "End Of History".

Bound By Chains Full-length, 2008
Out of the Ashes EP, 2008
Into the Black Full-length, 2011
In Hell Full-Length, 2013
Whatever We Want! A Tribute to Status Quo EP, 2015
Welcome to the Green Zone Full-Length, 2016

Official Site


Really bad 90's post-thrash with boring rhythms and rehashed riffs, even for the time of release; it could be compared to all the awful stuff which was coming from all sides at the time... it lacks energy, it lacks speed, it lacks melody; it seems to lack everything.

Ride Full-length, 1994


This band provide a retro thrash/death roller-coaster which revolves around short intense songs where the bash seldom stops turnig to death/crust ("Unholy Crucifixion"; this one also comes with great dissonant riffage in the 2nd half ala Immolation) here and there. The shortest (1-2min) numbers are pure blasting death metal, but they're overshadowed by the sparce exercises in technical death metal ("Cadaveric Incubation"). The singer plainly whispers in a subdued deathy manner and can't be clearly heard for most of the time. The guys also participate in other projects: the crust/death/hardcore hybriders Facada; the black/grindcore "freaks" Monge.

Satanic Holocaust Full-Length, 2013

Official Site


This is volcanic seismic modern thrash which battle-like atmosphere is ruined by the black metal vocal inclusions which accompany the main guttural death metal throat. Otherwise this is squashing, steam-roller stuff which doesn't change much till the end, and may not leave a very lasting impression with the listener who will be spared since the compositions are not very long (2-3min) coming with a pinch of crust.

Resurrection Full-Length, 2014

Official Site


4 songs of The Black Album-inspired post-thrash, but much less interesting with elements of groove as well as a few classic throw-ins, again more in the late-80's Metallica vein. The singer is semi-angry adding the odd melodic pitch which suits better the not very hard-hitting nature of the music.

Godzilla EP, 1995


Based on "Finis Ixion", these folks serve modern, abrasive steam-roller thrash/post-death which is quite dynamic even blast-beating ("Cursed Wind") at times with reckless abandon. However, those brutal escapades aren't many at all, and the fan has to adapt to the prevalent squashing rhythm-section which may also remind of Bolt Thrower's battle hymns ("Erynies Modus Operandi"). Expect to headbang on the spontaneous ball of fury "Deception's Cloud" before the band wrap it on with a duo of heavy doom-laden anthems. The singer is a low-tuned, growling "beast" with a few shouty tendencies.

A Divinis Full-length, 2014
Finis Ixion Full-length, 2016

Official Site


One of the better bands of recent days who offer a potent mix of modern 90's thrash, death metal, doom and even a slight shade of hardcore. The band were previously called Godzilla under which name they managed to release 4 demos of more conventional classic death metal. Their roots can clearly be heard on the first two albums which are more concentrated on death metal, but there is a certain feel of 90's Sepultura as well (think "Chaos AD"), Meshuggah, Mastodon, late period Massacra, and more. The guitar work is really intriguing on quite a few times, bringing the sound close to progressive metal, but of the heavier and more intense type. There are not any fast songs, the music is mostly mid-paced with crunchy, chugging riffs. "From Mars To Sirius" could be considered the band's magnum opus at this stage; it's less heavy and more diverse, introducing more thrash, among the other aforementioned influences, and is truly a compelling listen. Despite the high quality of the material released so far, it seems as though the guys' finest hour is yet to come: one of the leading, and best French metal bands these days.
"The Way Of All Flesh" offers a heavy, less complex sound, with the guys steadily refusing to speed up, although stompers like "A Sight to Behold" and "Yama's Messengers" (this one introduces the first faster sections) will give you a headache with their intense riffage. "Adoration for None" is a fine combination of technical and direct, speedy guitars, and despite its relative short length, compared to the other longer numbers, is very close to being the highlight on the album. "All the Tears" comes crushing down with some really aggressive delivery, and is quite a worthy slab of more complex thrash/death. "The Art of Dying" takes advantage of the gained inertia, and hits the top in the progressive category, with the wide gamut of moods and tempos covered during its 10-min. "Esoteric Surgery" is a cool dark technical thrasher ala Meshuggah, followed by the even better "Vacuity": another fine display of "aggression-meets-technicality". "Wolf Down the Earth" is the band's tribute to the doom metal scene, served with an industrial twist. "The Way of All Flesh" is not the best possible closer, continuing the doom theme from the previous song, but failing to capture the spirit of the earlier material. This work by no means beats "From Mars To Sirius", but is not too far behind.
"L'enfant Sauvage" is not miles away from the heavy seismic sound of its predecessor, but the guitars have a more clinical feel, and the approach has been complicated a bit making epic doomy cuts like "The Axe" and "Liquid Fire" major progressive achievements. Still, those numbers sound quite samey and would wear thin after a few listens. "The Wild Healer" is a nice 2-min quiet instrumental, before "Planned Obsolescence" explodes in your ears with the opening machine gun riffage; don't expect anything too fast, though, since the focus is clearly on thundering steam-rolling rhythms making this album the band's slowest effort. "Pain Is A Master" near the end has some pretensions at being at least a partial headbanger, but this is just an isolated moment. Fans of the heavy aggro-side of the genre with a pinch of progressive would be delighted, but those who prefer a more accessible and a more dynamic delivery will have to look elsewhere.
"Magma" starts not very promisingly with the mild progressiver "The Shooting Star", and later on things don't become much more aggressive "The Cell" being a cool spacey shredder, and "Stranded" an atmospheric progressive dooomster. The rest is progressiive with numerous melodic deviations with echoes of more recent Cynic, nothig to make your hard-thrashing heart fall in love with.

Terra Incognita Full-length, 2000
Maciste All Inferno EP, 2003
The Link Full-length, 2003
From Mars To Sirius Full-length, 2005
The Way Of All Flesh Full-length, 2008
L'enfant Sauvage Full-length, 2012
Magma Full-Length, 2016

My Space


Based on "Backwoods Messages", this band plays edgy thrash/crossover, often lashing out in a pure thrash metal fashion in the 1st half, with very screechy hysterical vocals mixed with more conventional lower-tuned death metal ones. Both are an awkward choice for the music, which is not bad at all, and offers a non-stop headbanging fest with fast sharp guitars, opening the "pandora's box" of mosh quite wide with the first 4 songs before "Motorskills" switches onto slower punkcore. "Grindstoned Cowboys" is on the other extreme being very violent deadly grindcore which stays around for the next hardcore/grindcore mix "Original Goler", which also "flirts" with the opening and closing theme from Iron Maiden's "The Trooper". More surprises wait along the way: "Grand Design"- a brutal death metal number, and another grinding attack: "Charged". As a whole the 2nd half is more varied and way more aggressive showing a band having hard time controlling themselves, for better or worse.

South Mountain Style Full-length, 1999
Second Generation Full-length, 2004
Backwoods Messages Full-length, 2008

My Space


Based on the "Perception" 4-song EP, this band pulls out heavy thrash metal which borrows both from the classic and the 90's scene with James Hetfield-like vocals, maybe more hoarse and less intelligible. The music also recalls Metallica, and more particularly their heavier more technical late-80's period ("Pathetic", "Living in a Lie").
"Day of the Oppressed" is heavier and more modern-sounding, but also more boring sticking to repetitive mid-paced heavy riffs spiced with stylish but short leads. "Native" is the best song, a cool intense headbanger, with the energetic closer "Pushed" a close second, but this is too little to make this effort even an average one. The Hetfield-like vocals remain, but their tone here is even harsher with a shade of hardcore.

Cynicism EP, 1994
Perception EP, 1995
Day of the Oppressed Full-length, 1996

Official Site

GOLGOTHA (USA, Louisiana)

This band is the early incarnation of the the sludge doomsters Acid Bath. Here the guys thrash quite impressively, with the obligatory slower sections, suggesting at the future transition. The music is quite heavy, with crushing riffs, not much speed involved, with some of the finest doom/thrash mixtures ever composed: "Apocalyptic Sunshine", "Reactor Number 4", "Love Eats Its Own". Often it is all-out thrash, more of the up-tempo variety: the excellent dynamic "Cradled In The Arms Of Death"; the brilliant dark technical "Fingerpaintings Of The Insane": a haunting masterpiece with aggressive mid-paced riffage; the furious death-tinged "Nothingness"; the raging riff-fest "What Color Is Death". On the other side we have "Blood Of God": pure doom at its finest. The style is close to the Manilla Road more thrashy period (think "Out of the Abyss", above all), but these guys have done a better job here- no kidding. Dax Riggs has one of the most emotional deep voices in metal, and his dark gothic delivery here can seldom be matched; occasonally does he adhere to his unholy death-growls and shrieks which later took a bigger part from the Acid Bath works. Not that Acid Bath are a bad band at all; it's just that with this act the guys could have had a much bigger appeal on the scene.

Demo Demo, 1991

My Space


These Croatians are proud to have Jejo Perkovic in their midst: the drummer who helped Leif Edling in both Abstrakt Algebra and Candlemass. The style of this act clings between doom and modern thrash, but the fuzzy guitar sound is hardly an asset. Perkovic does a good job behind the drums, but the others are not anywhere near the professionalism of his colleagues from the Swedish acts, especially the singer who does the biggest damage with his gruff raw tember which could be much better suited to some death metal band. The tempo is seldom above the mid-pace, but on the other hand seldom really slows down. As a result we have a clumsy attempt at blending two contrasting genres, also borrowing from gothic ("Agony") and dark wave ala Sisters of Mercy ("Ocean Of Emotions"). It's not a total waste, and when it holds onto thrash metal more, sounds quite cool ("Tears Of Children", "Metamorphosis").

She Full-length, 1997

Official Site


Ordinary mid-paced moderh thrash metal, slightly reminding of the more recent Mokoma works.

Demo Demo, 2005


Based on the "Thrashing Madness" demo, this band are more speed/thrash metal-inclined rather than being an example of the more brutal side of the genre, like they apparently thought they were. This is a mix of speed and thrash metal reminiscent of early Helloween and Warrant; a touch of brutality is given by the death-metal styled vocals. The very bad sound quality and the fuzzy guitar sound will prevent you from getting a good listening experience.
The "Still Insane" demo is way worse than the debut one, both in terms of production and musicianship. This is extremely brutal thrash/death barrage which makes some sense with each passing number, but generally the aggression is fairly big strongly recalling Protector ("Misanthropy", above all). For the time this effort could easily pass for one of the first genuine attempts at raw unpolished death metal; not for the faint of heart....

Thrashing Madness Demo, 1987
Still Insane Demo, 1989
Doomed Man Demo, 1991
Beyond Believe Demo, 1992


Dark doomy progressive metal with thrashy tendencies; this is brooding, often semi-balladic, music, and thrash metal comes with very heavy riffs ("Still Know The Day"), mid-paced at best. It co-exists well with doom ("Thoughts") in a way no worse than Communic, and the only disappointing number on this cool effort would be the overlong tender ballad "Wings". Much more satisfying is the capable cross between doom and ballad "One Of My Last Tears" following suit which shows the singer in a top form delivering all the way with his emotional dramatic semi-high pitch. The guys are now known under the name Corporate-ID where the style is classic heavy metal.

Weakness Within Living Memory Full-length, 1997

Official Site


Heavy modern thrash metal with classic moments ("No One Will Remember") thrown in, with a solid doze of hardcore; the album starts intensely, but little by little loses the edge and the speed settling down for heavy tedious mid-paced riffage. It's kind of not surprising that after this one the guys had "gone without a trace"...

Gone Without Trace Full-Length, 2004


This young Slovenian act offers quite typical modern thrash/death with a Swedish flavour sustained in a fast pace with the obligatory melodic licks, quite close to Dark Tranquillity. The music is full of energy and the guitar work is not bad, but this can be said about many other modern thrash/death metal practitioners nowadays. Some of the band members make attempts at more classic-sounding thrash with their other project Crossbreed.

Chains of Ignorance Full-length, 2009

My Space


Power/thrash of the classic type with good expressive, high-strung vocals courtesy of Leandro Pacheco (also Surrealist, Annulation); the delivery gravitates towards the mid-paced parametres although more intense scapades ("Price Of Eternity", the dramatic jumper "Fragments") aren't completely excluded. "Behind The Wall" is a nice lyrical ballad, and "The Lead Masks Of The Vintem Hill" is an engaging progressive epic anthem "winking" at the 80's American heritage.

Minotaur Full-length, 2018

Official Site


Based on the "Bratfett" demo, these guys play traditional thrash/crossover, at times intense and fast, at others mild and jolly; the only part which never changes is the brutal semi-death metal vocals, not the very best choice for such kind of music.

Good Vibrations Demo, 1994
Beam me Up Demo, 1997
Bratfett Demo, 2008

Official Site


The full-length shows a band who tread the well-trodden paths of the groovy heritage of the 90's; the music is not very hard or fast, relying mostly on retouched riffs ala mid-period Machine Head and GZR. Sometimes the sound boldly jumps the stoner wagon, and one may mistaken a couple of sections for a Down album ("Controller" and others). The lack of dynamics is the reason for this effort to wear thin very quickly, so unless you are a die-hard (with a vengeance) fan of the 90's trends, there is no way you would stand this boring tedious stuff till the end.

Welcome To Suffer Age EP, 1998
Chemical Garden Full-length, 1999


Based on the "Massacre of Humanity" demo, this is thrash/crossover along the lines of The Accused and Crumbsuckers.

Stem the Bloodbath Demo, 1986
Massacre of Humanity Demo, 1987


Based on the full-length, this band provides modern melodic thrash/death metal with very brutal low-tuned growling vocals. The music is up-tempo with numerous melodic "decorations" which give the album a genuine characteristic shade, although the guys overdo it at times with an overabundance of melody. The music delivers despite the bad buzzy guitar sound, and the more direct delivery is nicely interrupted by the more brutal technical Morbid Angel-esque "Demons Of Darkness" in the middle, which remains the highlight.

Ánima EP, 2007
El Olvido De Dios Full-length, 2008

My Space


An Australian trio who serve pleasant modern power/post-thrash which curisly blends straight fast passages with some strange alternative references. The resultant mixture may take some time to adjust to, but generally this is not music for the hard-boiled thrashers who would hardly find a track or two (the final "As Dawn Bleeds the Sky..." is one) to move around. The singer has a clean, but firm and harsh at times, tember which is probably the main asset of this effort. yes, you're right: this is one of the cases when the band name is very misleading...

As Dawn Bleeds the Sky… Full-Length, 2013

Official Site


This is an avantgarde listen, mixing thrash and death metal on a progressive base, also adding industiral and doomy elements. The influences are not very well embedded, though, ending up like a pre-occupied concoction of Bal-Sagoth, Misanthrope, and Mindrot. The initial faster rhythms disappear later on, replaced by heavy chugga-chugga guitars, with only the mechanical shred "Lust" at the end providing more life to this eclectic, sterile effort which suffers from bad, ultra-brutal, low-tuned vocals.

The Apokalypse Full-Length, 2011


This "evil" US trio offers pretty competent old school death/thrash with low-tuned death metal vocals. The band mosh on full-throttle coming very close to the rage of the Merciless debut and Devastation's "Idolatry", unleashing crisp sharp riffs aplenty which get nicely technical ("Sadistic Slaughter") on occasion. A cool, expected (after all, it's "zombies" we're talking about) cover version of Death's "Zombie Ritual" is placed in the middle to increase the "zombie" atmosphere on this no-brainer of a sheer headbanging fun which will sprain your neck well before the end.

Zombie Slaughterfest Full-length, 2011

Official Site


Based on the last split, with the Danish black metal outfit Goatfago, these guys are vicious black/death/thrashers who bash in a not very intelligible fashion with a very muddy guitar sound and awful low-tuned death metal vocals. The leads surprisingly make sense being both screamy and melodic trying to keep up with the very fast riffage which will remind you of both Torture Squad and Defleshed.

Gut Dumpster Demo, 2009
Shark Warfare EP, 2010
Infernal Warbeasts of the Necrotorium Split, 2011
Goatshark Abominator Split, 2011

Official Site


Based on the EP, this is a mix of black and thrash metal; the guitars are firmly in the thrash camp, and the black metal shades come in the form of atmospheric, keyboard-driven passages. This is enjoyable energetic, mid-paced thrash in the first half, and quite brutal and vicious in the second one, where brutal blast-beats are implemented alongside the intense thrashy riffage.

Faith Demo, 1999
Total Depravicy EP, 2003
Promo Demo, 2003


This band were formed by Howitser- a former singer of one of the leading Australian metal acts in recent years Destroyer 666. The style is not miles away from that band's, being a furious mixture of black, death and thrash metal with a clear old school sound. These guys are a bit more aggressive, sticking to the formula without adding any more melodic epic elements which sneaked into the Destroyers' sound on later releases, and are perhaps more death/black-oriented.

Monuments of Impurity EP, 1998
Eve of the Conqueror EP, 2000
A Call To Arms Full-length, 2002
Realm of The Damned Full-length, 2007

My Space


Based on the "Italian Thrash Assault" demo, this band play classic thrash metal which hesitates between mid-paced gothic-tinged numbers ("The Darkest Sleep") and faster, more aggressive ones ("Thrashing Souls"). The final result is not very appealing, with a muddy sound quality, raw, undeveloped guitar work, and gruff, death-ish vocals, which awkwardly change into cleaner ones to better suit those more melodic, gothic sections ("Welcome to My Destruction").

Promo Demo, 2000
Take Your Soul Demo, 2002
Thrasherized Full-length, 2004
Promo Demo, 2005
Italian Thrash Assault Demo, 2006

Official Site


Good entertaining thrash of the more melodic, uplifting type; the leads are quite good, and most of the time the pace is energetic, without being too fast, resembling the Metallica debut on the faster moments, and early Megadeth on the other ones. The debut allows some power metal elements to sneak through in the second half, whereas the follow-up is more aggressive, with a better guitar work.

Killer Instinct Full-Length, 1988
Just A Face In The Crowd Full-Length, 1989

Vibrations of Doom


These guys offer non-standard dark, mostly mid-paced thrash metal with hardcore vocals, the latter sounding quite close to Tommy Victor. The sound is still classic, and will remind you of Fear of God on the best moments (the very good hypnotic opener "Lapse"), but the funky sections ala Mordred and Re-Animator (check out "Grind Of Tears") don't serve the band right. There are moments when the music takes a more playful crossover attitude ("One Day To Understand") and moments when straight classic thrash passages could be caught ("Beyond Help"), but not for long. The band change the moods too often to create a coherent sound, switching to doom/gothic, hardcore, adding acoustic and violin parts, losing focus quite a bit on some songs. The album has its cool moments, but as a whole doesn't hold water for long.

Supplicamentum Full-length, 1991


The band name is misleading, as the music has nothing to do with gothic, but is heads-down classic thrash metal, and not too bad at that. The tempo is energetic, but never too fast, and the guitar work is excellent, albeit not very sharp, relying more on melody, maybe too much at times. The first half is thrash metal all over, with the riffs recalling even the mighty Kruiz at times. But the tracks in the second half, like the semi-ballad "Escape", or the album closer "Doroga na Berlin (The Way to Berlin)", which is actually a cover version of an old Russian military song from World War II, here turned into a cool thrash/crossover number, slow down and shift away from thrash a bit. There is also a half-min instrumental called "Ode to Van Halen" and, believe it or not, the guitar wizardry displayed there is not miles away from the one of Eddie Van Halen himself. The guys have by all means "created thrash", but could have put a bit more effort into it.

Creating Thrash Full-Length, 2003


Energetic retro/modern thrash/death metal with suitably brutal low-tuned death metal vocals; the music is fast and tight with sparce short groovy breaks, and "Kamisori" is a cool mid-pacer ala Pro-Pain with catchy melodic hooks. In the 2nd half the music sticks to aggressive death metal more, but on the other hand this is the place where some awful clean vocals come up. Still, the very end is preserved for a couple of vigorous Slayer-esque thrashers including the 9-min (!) fast thrashing shredding closer "Kanraku".
"Retributive Justice" is another hard-hitter with an accentuated more modern sound which boosts the guitars too much. The mechanical shreds may come as too dry for some, but the energy is quite big all over for anyone to be very disappointed. The title-track goes over the edge towards brutal death metal, but such escapades aren't that frequent although ragers like "Immortal Assassin" and "Benetnash" aren't too far behind atb all. "Last Man Standing" shows the slower, more sophisticated side of the band whwre some really cool melodic leads can be caught.

Mouryou Full-length, 2009
Retributive Justice Full-Length, 2015

Official Site


Aggressive modern groovy thrash/death metal with industrial overtones, chaotic arrangements and awful synthesized vocals; the tempo is mid to slow with sudden totally misplaced grinding parts, where the sound goes head-over-heels into the Australians The Berzerker territory. To talk about separate tracks would be a bit difficult since everything comes as one thick impenetrable wall of sound.

Go Berzerk EP, 2009

Official Site


The band's style throughout the EP's is mostly black metal of different varieties (at times recalling Marduk, at times Khold), but on "Hell Is Here" one can hear pounding thrashy riffs ala Barathrum or Celtic Frost. Certainly the black metal fans will find more to like here.

Simplicity of genocide EP, 2003
Kampklar EP, 2003
Hell is here EP, 2004
Black unholy thrash metal EP, 2005
Howl EP, 2006

Official Site


The debut: an interesting retro-sounding mix of progressive, power and thrash metal; the music often changes the pace starting with the faster "Lucky, Again" before moving onto crunchy mid-paced thrash on "Decay". The progressive tendencies are increased with "Find Out What" which is a more moderate power/thrash metal piece, but the intensity and speed are back on "Misery" and "Even" which are nice blends of technical thought-out riffs and more immediate faster ones. "Crying in the Night" is a sudden switch to hard-hitting thrash which moshes out in a heavy mid-tempo fashion influencing a couple of songs after it. "Busy People" brings back the speed recalling the band's compatriots Warrant. And finally one tribute to the modern scene in the form of the groovy post-thrashy "Die" which is hardly the most-fitting closer to this enjoyable reminder of the glorious 80's.
The demo is another power/speed/thrash metal mix and the galloping might of the opening "Generation's Trouble" can't be denied. "Ticket To Hell" is a more moderate power metal anthem, but "Aunt Sally (Tante Ema)" picks up intensity once again. "Way Cool" reduces the speed as a finishing touch adding diversity to this short effort which still can be viewed as a decent warm-up for the coming full-length.

Ticket to Hell Demo, 1992
Graaf Full-Length, 1994
Different World Full-length, 1997
Frozen Full-length, 2003

Official Site


The most distinguished drum guru in Russia Andrew Ischenko adds another act to his belt who may pass for one of the better projects he has taken part in with its stylish take on progressive/technical thrash/death reflected in carefully crafted lengthy compositions where wild mazey shreds come across spiral-like, maybe a bit hard to swallow at times, structures which still make room for the odd headbanging passage (check out the hallucinogenic opener "Prophecy of Somnambulist" for all of the aforementioned "tools of the trade"). All songs here are similar to the opening one developing in a complex labyrinthine manner which would require the fans' full concentration for most of the time since they may miss some part of the elaborate fun if they get distracted. There are moments ("Adzhimushkai") when the album starts dragging a bit due to the lack of speedy digressions, but the latter are amply provided elsewhere so there shouldn't be too many complaints, especially when the closing "Orchids of the Fallen Empire" is such an enchanting progressive cut with melody and technicality "married" so successfully that one may want to hear it a few times in a row in order to savour its greatness. The harsh high-strung growling death metal vocals are served by a girl (Polina Berezko) who doesn't hide her fascination with Angela Gossow (Arch Enemy) and does a fairly good job overall.

Enthrallment Traced Full-Length, 2012

Official Site


This act provide energetic modern thrash which doesn't exactly pulls all the stops speed-wise, and at some stage inevitably calls for help the groovy implements whcih at least are not that annoying. "A Cry for Redemption" would be a delight to listen to with its infectious melodic leads which get well translated on the final string of numbers despite the reduced speedy sections on them. The vocalist tries to rise above the mediocre musical performance with his attached clean tember which carries a lot of emotion, something which the musical delivery doesn't really require.

World Undone Full-Length, 2013

Official Site


The 90's post-thrash is given a more technical twist here, and meandering numbers like "Attrition" or the hectic shredder "The Gallery" will inevitably catch your attention also coming with very good melodic leads. Still, the approach is not as engaging the whole time the proto-groovy patterns ruling the show at least half of the time abandoning it for the excellent technical riff-fest "Shapechanger" which is also very ably assisted by the intense thrashy closer "Your World" which formidable galloping rhythms will at some point remind of Helstar's "Nosferatu" even. The vocals are also convincing acquitting themselves with a sure-handed clean tember ala John Bush (Anthrax, Armored Saint). This is an uneven effort which pulls the stops on a few times, but more was required at that time when many, both old and new, "forces" were/are competing for a place under the metal sun.

Science of Discontent Full-length, 2000

Official Site


The apocalyptic rhythms of Hellhammer and early Celtic Frost are resurrected on this underground demo to produce an evil black/thrash/doom metal hybrid which comes with a very fuzzy guitar sound and an interesting vocal "duel" between raspy witch-like vocals and gruffer death metal ones of the more intelliglble kind. The music is not on a very high level the guys trying to put all the styles into one song, but to these ears the morose doomy sections seem to deliver the best.

Satanistom Ia Rojden Demo, 2006


This is typical for the South American scene brutal, raw thrash/black/death metal (based on the debut) which is not miles away from their Brazilian counterparts: Sextrash, Sarcofago, Vulcano; but here the music is better, and has this surreal twisted character which at times recalls Morbid Angel, and despite the awful sound quality, some stylish parts could be distinguished. The demo is surprisingly much better both music and production-wise, but the band's sound has completely moved into the death metal realm by then.

Reincarnation Full-length, 1989
Mother Fucker Demo, 1992


Based on "The Abyss": these guys pull out heavy Pantera-sque angry thrash, but refuse to speed up like their apparent idols, opting instead for a more radio-friendly approach on some tracks, bordering on stoner/doom. The guitar sound is crushingly heavy, and this album could have been a major hit 13-14 years ago. Still steam-rollers like "The Real Shit" and "Calling In Favors" can not completely fall into oblivion, but rest assured that they are fully compensated by numerous mellow moments.

Open Your Eyes Full-length, 2003
The Business End EP, 2005
The Abyss Full-length, 2006

Official Site


These Frenchmen pull out varied classic thrash which almost captures the ambivalent intricacy of their German godfathers on the opening "Biological War" which is a meandering quirky composition with loads of atmosphere. "Became the Lord" moves towards the death metal side for a bit where also the vocals belong. Back to thrash territory with the heavy stomper "Still Be A Drug Addict" where the delivery stays "flirting" either with gothic ("Suicide") or plain thrash/crossover ("Rest In Peace").

Depressive Age Full-Length, 1996


Based on "Apocalyptic Metal", these Argentinians play heavy industrialzed post-thrash which is too much on the slower doomy side of this style pouring seismic repetitive riffs over and over in a way not far from Neurosis and Grope only that here the approach is too samey with very little imagination put. The singer shouts to no end his rendings trying to reach extreme Burton Bell (Fear Factory)-esque heights, but there isn't much support from the other musicians involved this steam-rolling wall of distorted heavy guitars soon wearing out.
"Prisionego" is more dynamic and less noisy, but there's more groove involved, for better or worse. Still, this isn't such an impediment for the band to come up with vigorous cuts like "Escupiendo Al Cielo" and the jumpy "Roto X Dentro". "De-Construccion" is a short semi-technical hecticer, another valuable addition to this not very predictable efort which sees the band in a much better, more inspired, light.

Tocá Metal, Cagón EP, 2010
Historias Full-length, 2012
Apocalyptic Metal Full-length, 2013
Prisionego Full-Length, 2015

Official Site


Based on the 2nd demo, this is mostly black metal with touches of thrash in the guitar department sounding like a lesser version of Enslaved. There are not too many fast brutal sections, and the guys rely quite a lot on sprawling, slightly epic melodies, but with a fuzzier undeveloped sound. There are good ideas thrown in, but it needs a lot of work to put them in a really good shape.

Demo CD-R Demo, 2006
Demo Demo, 2007

My Space


Based on "The Dead Justifies The Means", this act play modern progressive thrash with "grand" melodies which dominate over the several attempts at a more technical performance. The dramatic build-ups may come as too much for the regular metal fan since they grace almost every number and impede some speedy proceedings ("Box of Glass") which were nicel yleading the album towards technical brutal death metal fields. "Genetic Greed" is an exemplary speed/thrashing headbanger lifitng the 2nd half on a higher pedestal not without the help of the short puzzler "Obstacle Run" which is anythign but an "obstacle for the listener to have some real headbanging fun which stays till the end although the closing "The Superior Arrival" overdoes it a bit in the hyper-blasting department. The singer has a dramatic shouty semi-death metal tone which he strains too much at times, and this is the time when a cleaner, but less attached and not as dramatic, voice comes to help.

Burn With Grace Full-Length, 2010
The Dead Justifies The Means Full-Length, 2013


This is good classic thrash which at times could be quite hard-hitting and intense (the opener "Evil") in the best tradition of Slayer, at times more laid-back, mixing power and thrash ("Future Daze") metal ala early Laaz Rockit, at times coming up with clever technical guitars ("Solitude"). The headbanging Slayer-esque numbers predominate so not a fan would waste his time with this very obscure, but commendable, release.

Graphic Violence Full-length, 1997

Official Site


Good classic thrash/crossover sharing both the more hardcore-based aesthetics of early D.R.I. and the more thrash-tinged delivery of early Rumble Militia. So expect mostly energetic fast-paced numbers, within the 1-2min range, accompanied by rough semi-shouty hardcore vocals. The very few "detours" into more complex music ("Head Bang Mosh Stage Dive And Circle Pit") result in longer songs with more melodic guitar work, closer to crossover, but watch out for the several more direct takes on classic thrash as well, like the closing "Pedansa Kuburan".

Morbid Nation Full-length, 2010

My Space


Based on the self-titled demo, this band, who features ex-members of the death metal pioneers Tirant Sin, plays cool semi-technical thrash/death metal along the lines of Pestilence's "Consuming Impulse" and Hellwitch, when the sound gets faster (the insane shredder "Feast of the Damned"). The generally fast pace is often intercepted by heavy stomping breaks which are particularly good on the twisted Morbid Angel-esque quasi-doomster "Heritage of Doom", an excellent mazey piece with puzzling rhythms and a few faster sections. Hectic riffage with a pounding shade will meet you on the short, but "busy", "Morbid Extraction", which will also see you (it's the last track) with a surreal backward play ala Morbid Angel again. The sound quality is crystal clear, and hopefuly the guys' potential will be more fully realized soon on a full-length, if the guys manage to free from their other obligations: the death metal formation Carnal Dissection, and the death/thrash metal hybriders Mayhemesis.

The Resurrection EP 2010
Grave Descent EP 2011

My Space


3 songs of heavy vigorous modern post-thrash with playful qualities which are reflected in several nice melodic hooks ("Sands of Time", in particular) and the cool semi-clean vocals. "Nightmare (Curse My Name)" has a few more intense moments, but generally this is stuff along the lines of the Volbeat debut and the Voodoocult sophomore effort.
The "The Darkest Sunshine" demo is a better offering, more aggressive and more thrashy, but expect some nice doomsters (the traditional doom anthem "Demise of the Crown") present as well. The general character of the music is heavy, mid-tempo with sparce outbursts of aggression (the intense speedy piece "The Hills Have Eyes"). Near the end the demo aquires officiant doomy aesthetics; it loses the faster moments, but produces a string of fine doomy tracks with desirable speedy insertions, fisnishing with the 11-min epicer "The Darkest Sunshine".

Curse My Name Demo, 2010
The Darkest Sunshine Demo, 2010


Based on "This Day Forth", these guys play pretty decent retro thrash of the less hard-hitting variety, pleasant and feelgood. The longer opener "No News… Ain’t Good News" kind of misleads with its soft power metal approach, but the music soon starts to bite with two faster-paced pieces placed after. Two moderate power/thrashers follow suit, a situation saved by "Death Undone" which is much more aggressive with a proto-death origin. "Holy Blood" thrashes with no mercy after that, but the closing "Affluenza" is another long boring exercise in mellow power/thrash metal leaving this album hanging somewhere around the "average" line.
"Fight To The Death": this very prolific act are ready with a new opus less than 7 months after the previous album's release; so what can we expect from "Fight To The Death"? Well, the music is not entirely different from the one heard on the last one being a varied work of power and thrash metal mixing fast with slower numbers the former hitting relatively hard with direct heavy riffs. "The Years Of Carnage" is a pleasant surprise in the middle, energetic full-fledged thrash, a competent mix of sharp riffs and melodic hooks, the positive impression from it also aggravated by the next "Call Me A Dreamer", which is a nice galloping power/thrasher with a male-female vocal "duel" and a slight presence of keyboards. Then the mosh continues with "Destruction Comes", although after it the speed gets decreased, with the final "Light In The Shadow" bringing some "light" (in the shadow) with more dynamic pounding riffage. As a whole this isn't a bad effort at all seeing the guys coming up with a pretty decent material on very regular terms without sounding trite and boring. Some of the musicians are also members of the death/thrash metal outfit Scourged Flesh.
"The Fight Goes On" doesn't derserve its boisterous title simply because this is some bland, soft power metal and thrash only appears in co-existence with speed metal for the production of a few more energetic cuts like "Duluth Airbase Intruder" and the ripping closer "Glimpse Of Armageddon". The band have said Good-bye to thrash and only time will show how far down the rabbit metal hole they're going to reach...
"It Has Begun" is a marginally livelier proposition "Run for Your Life" speed/thrashing with all the vigour the guys can muster,a nd although later they return to their friendly mellow rhythms, this opus has more bite and verve also expressed by the hyper-active speester "No Longer the Broken Man" regardless of how many feelgood heavy/power metal anthems roam around.

Grave Forsaken EP, 2005
Beside the River of Blood Full-length, 2006
Horror and Sadness EP, 2007
Destined For Ascension Full-length, 2008
This Day Forth Full-length, 2009
Fight To The Death Full-length, 2010
Reap What You Sow Full-length, 2012
Plugged in the System EP, 2013
The Fight Goes On Full-length, 2015
It Has Begun Full-Length, 2017

Official Site


This obscure outfit indulge in intense speed/thrash with very screechy hysterical vocals. The music carries a certain hardcore charge with it, and the bass performance is quite worth of note; "Inside The Flourescent" is a cool technical shredder, but "exploits" of the kind are not a very common occurrence the remaining material bashing like demented also "courting" proto-death on occasion ("Iron Sons").

Garden Party Demo, 1991


This is crusty thrashcore which has a strange classic flair especially on the more aggressive Slayer-esque moments ("The Harbinger"). "Tomes of the Dead" is vintage stoner/doom, but "Radiated Flesh Decay" clings towards the death metal side aptly supported by the short hardcore rager "Nuclear Annihilation". Before the end we have another stylish exercise in antedeluvion doom, "Chasm", and the happy hardcore closer "Re-Animated". The vocalist is an assured semi-growler akin to Tom G. Warrior and leads the show with authority.

Tomes of the Dead Full-Length, 2015

Official Site


This 4-song demo shows an act providing energetic old school speed/thrash which suddenly jumps into the fields of black metal with evil blasting passages creating a lot of of musical "havoc" along the way. The singer is an unholy rasper with a forceful intelligible voice unleashing the inappropriate shouts and screams here and there. This is constantly fast music which has the fitting misanthropic atmosphere of the early black metal bands, but the method of execution is more on the bashing side with "Soldados da Morte" being the only full-blooded thrasher sustained in the spirit of Alastor (Portugal) and the Canadians Megiddo.

Sob o Martelo de Satã Demo, 2012

My Space


Energetic retro speed/thrash with a very good sound quality; the approach is pretty intense at times bordering on proto-death ala Rigor Mortis. The guys shred fast'n tight seldom slowing down also touching the German school (Angel Dust, early Destruction) on the longer material ("Ghoul Call"). The singer is the only drawback with his gruff low-tuned death metal tember who kind of misses the point being too brutal for this kind of music.

Ghoul Call EP, 2011


Based on the demo: fast vicious black/thrash using early Bathory as a base; short simplistic tracks with brutal abrasive vocals, pretty basic and quite noisy as well. The single is way more brutal, though, now sounding like full-fledged death metal, constantly blasting relentlessly, with sparce black metal elements still present. The guys also have one more demo released under the name Chernobyl where the approach is pretty much the same, without the black metal overtones

Morbid Obscurity Demo, 2007
Ensnared in Dismal Blasphemies Single, 2010

My Space


This is the same act who have previously reelased two pretty cool retro thrash albums: one under the name Crotalus in 2000 ("Machines of Doom"), and one under the Blistered Earth moniker in 2004 (self-titled). The potent Bay-Area style of those two albums has been tampered with here (based on the Promo) with the insertion of a big doze of death metal, resulting in a more aggressive sound. Still, the musicianship remains on a high level as well as the good production qualities so there'll be few disappointed with this shift of "vision" which is still waiting for its fuller realisation.
The full-length is a modern thrash/death metal affair which is way inferior to the guys' previous output seeing them well content to pull out predictable derivative stuff without any highlights, "ornated" by two covers: Dissection's "Where Dead Angels Lie" from the Swedes' masterpiece "Storm of the Light's Bane" done quite well, albeit without any individual interpretations; and... hold on to your chairs, folks!... Dire Straits' "Money for Nothing", a slightly more aggressive rendition of this hit, but otherwise having nothing to do with thrash or death metal the hoarse death metal vocals moving towards the cleaner gamut, even impersonating Mike Knopfler at times quite well. Your money may be indeed spent "for nothing" for this album which shows the band uninspired and without any fresher ideas. (Dire Straits' "Money for Nothing"; come on!)

Return of the Curse of the Creature's Ghost Full-Length, 2007
Promo Demo, 2008

Official Site


Based on the on the 2-song "Metal of Death" EP, this band offers an energetic mix of black and thrash metal. The music is closer to thrash, but the singer is an evil black metal rasper.
"Rites of the Pentagram" is a cool debut which adds some death metal to the black/thrashing blend making it more appealing and more aggressive. The speed-based numbers are more, the tendency started with the very 1st song "Rites of the Pentagram" which is cool energetic thrash/proto-death metal. "Decibel Ritual" sees death metal added, and is a much more brutal track. "Bloodsoaked" is classic black/thrash at its best with slower and faster passages taking turns within, and it's on "Pissing on Your Grave" when the first depressing doomy riffs can be heard: hello, Khold and Barathrum!; the 2nd part is a pleasant turn to bombastic speed/thrash. "The Luciferian Mark" is a mid-paced stomper, no switches to a faster play here; neither are there any on the similarly-sounding "By Scourge & Wrath". So the speed is gone, only to re-appear on the brisk intense shredder "A Celebration of Wounds", which picks a death metal aggression ala Death later on. "Reckoning" is the short acoustic instrumental "rest" after which the guys take no prisoners with the furious death metal explosion "One Million Dead & Counting"; a slow doomy interlude graces it at the end, but it only serves to aggravate the impact from the brutal ultra-fast riffage.
"When All Roads Lead To Hell", I guess one has no choice but to listen to this new slab of thrashy black/death metal which this time is more thrash/death-oriented with a good balance between the slow and the fast numbers. The technical charge is again felt on more clever arrangements like "Pray For War" which also comes with loads of infectious hooks and melodic leads.
"Death Curse" is a wild black/thrashy "beast" which has its more stylish side: the fast ripping semi-technicaller "At Hell's Command" and "Fear the Reaper", but other tracks deliver the goods almost as well: the Celtic Frost worship "Open Their Throats". "Unending Lust for Evil" is a death metal "freak", another cool piece with great Oriental implements, and the closer "The Ascending Fire" is an admirable epic cut with echoes of mid-period Bathory also serving a maddening fast-paced passage in the middle, plus the eponymous doomy outro.

Metal of Death EP, 2007
Metal of Death/Advocation of Murder and Suicide E.P. EP, 2008
Rites of the Pentagram Full-length, 2009
When All Roads Lead To Hell Full-length, 2011
Death Curse Full-Length, 2014

My Space


Based on "Your Fault", this act provide "grave", also "huffer" thrash/death with twisted grindy elements with a few stoner/doomy moments ("Gravehuffer"). "Of Fish and Men" is a short hardcore explosion, and "Kill for Sport" is full-blooded nod to the stoner/doomy brotherhood. "Powers That Be" is a nice surreal speedy shredder which represents the best side from this album which mostly suffers from the overshouty vocal department. The band were earlier known as Krom when the style was more conventional retro thrash.

Blasphemusic Full-length, 2012
Your Fault Full-length, 2017

Official Site


This Italian outfit indulge in cool intense retro thrash. The band is fronted by a girl, the name Alice Karn Murder, and she's expectedly the vocalist as well as the rhythm guitarist. Her manly rendings are way over the majority of the singing women in thrash metal in terms of aggression, second only to Mrs. Sabine Classen (Holy Moses) perhaps. Still, she accompanies the fast sharp musical delivery well the guys thrashing with passion slowing down at times ("Sudarium") for the odd mid-pacer, the latter a nice brooding track when compared to the other "stop from the train": the not very impressive heavy ballad "Bleed Hard for Me". If we exclude the slightly thin guitar sound and the not very focused at times drumming, this album is not bad at all and is a fitting entry into the Italian thrash metal catalogue of recent years, also adding another forceful female throat to the movement.
The split with their fellow thrashers Nuclear Aggressor contains 3 songs from the full-length which are here performed wihout any changes. The girl sounds kind of more brutal, though...

Pathology Full-length, 2011
Österreichisches KüstenThrash Split, 2012

Official Site


Death/thrash/speed of the classic school with an epic atmosphere, and a couple of furious black metal blasts; surprisingly this mix works, and enough room has been left for the thrash riffs to develop, although on the longer songs ("Gravenloch") the cocktail becomes too big, with certain elements of cheesy power/speed metal also present. Still, cool galloping speed/thrashing delights like "Insurgent Incursion", "Descent Into Hades" or the excellent closer "Mechanized" are hard to be ignored, neither are more melodic crossover-based, but equally as energetic ones ("This Is Metal", although the light-hearted speed/power metal deviation could have been spared). "Never To See The Light Of Day" is a more laid-back epic number with a nice balladic intro, and "Hordes Of Damnation" is actually the only more brutal death metal-based track featuring raging blasts mixed with cool melodic hooks recalling a more recent Destroyer 666.

Gravenloch Full-length, 2009

Official Site


Based on the "Carnivorous Monarchy" EP, this band offers a depressive cocktail of doom, black and thrash metal calling to mind early Celtic Frost, Barathrum, Khold, and the Germans Warhammer. Don't expect any fast headbanging parts except for a while on the slightly more dynamic "Killing Machine" at the end; this is sleepy minimalistic stuff with very underground "funereal" snarly vocals.
"Into Battle" contains the same ultimately depressing stuff which now sounds even closer to the bleak "landscapes" "drawn" by Khold including in the vocal department where the singer is a low-tuned whispering snarler sounding like one of the few vampires survived through the years. With an impressive number of 21 songs featured, it should be no wonder the presence of a couple of more dynamic tracks which come with a strong shade of early Bathory although they are hardly enough to alter the gloomy misanthropic atmosphere created by the doomy black/thrash delivery of the rest.
"Black Fire" is in a very similar vein: depressing minimalistic, but pretty listenable, music with frequent gloomy/doomy overtones. Thrash metal is a distant memory here (well, it wasn't a very close one on the previous offering, either) except on the more nice catchy power/thrash metal hymn "Venomous". "Blood of the Pentagram" is two of their old EP's ("The Bestial Hordes" & "Carnivorous Monarchy") put together without too many changes plus 10 unreleased tracks from their pre-official release period.
"Infernal Minions" is a marching officiant blend of thrash and black metal which evolves in a dark sombre, almost doomy, fashion which resembles Khold and partially Barathrum the speedy deviations not many at all. "The Beast Of The Abyss" is a more playful catchy number, but the rest of the material is too dark to appeal to many thrash metal fans; it's good music all the way, but some may find it too depressing for their taste.

W.A.R.B.E.A.S.T. EP, 2000
Ancient Storms of War Full-length, 2000
The Bestial Hordes EP, 2002
Dark Souls of Hell Full-length, 2002
Carnivorous Monarchy EP, 2003
Into Battle Full-length, 2003
Under the Banner of War Full-length, 2005
Funeral Empire Full-length, 2009
Black Fire Full-length, 2010
Blood of the Pentagram Full-length, 2010
Netherfiend Full-Length, 2011
Infernal Minions Full-Length, 2013

Official Site


Based on the full-length, this band play direct, simplistic thrash/crossover which is also graced by the presence of punk and hardcore. The drunken party mood is sustained all the way till the end, and the band create the atmosphere without speeding up at all even finding the time to insert a beautiful romantic, acoustic episode on "Pocket Puppet Show". The band members also take part in the much more aggressive death/thrash outfit Re-Armed, and the metalcore heroes Nailed Coil.

Brainwashed by Moonshine EP, 2014
High Heels and Broken Bones Full-length, 2015

Official Site


A small obscure effort from the guys who later made a more lasting impression under the name Scornage. The style here hesitates between heavy pounding classic thrash and the modern trends, and ends somewhere on the way from Defiance's "Beyond Recognition" to Cyclone Temple's "My Friend Lonely" with a softer power metal edge added ("Why?"). The short energetic closer "Evil Dust" will invigorate you with its speedy tempo, but the rest is mid-paced and repetitive with the subdued, muffled semi-clean vocals not helping much.

Walk your Walk EP, 1993


These guys, previously known as Ysyssy under which name they released a solitary demo in 1997, play (based on "Dragonsneeze") a more technical hybrid of thrash/death metal clinging more towards the modern trends. The music is hectic without being too complex partly spoiled by the trite "hysterical vs. low-tuned" vocal duel; the spasmodic blasts are a cool addition and could have been more. The approach is not too far from early-90's Carcass with a more sterile mechanized guitar sound, but definitely not as original, although the listener will by all means enjoy quite a few stylish touches. The overall delivery is closer to death metal bearing some really fine "fruit" near the end: the technical shredder "Pope After Death"; the aggressive basher "Laughing To Death" graced by a fine balladic atmospheric interlude with the lead guitarist stealing the show with standout performance; the creepy minimalistic doomster "Colonel Nelson's Strike"; and especially the compelling progressive death metal "opera" "Coffee My Master": a tour de force crossing piercing technical with morose doomy riffs in an impressive way, all this finished with a few fierce crossover takes, first on the Joan Jett evergreen "I Love Rock'n Roll", and then on the children's alphabet song ("A, B, C, D... sing along, folks!). The technical death metal field has been quite abundant in recent years, maybe even over-abundant, but it's always good to hear a band who successfully moves away from the two main trends (the more sophisticated one ala Death, and the super-technical very fast one along the lines of Suffocation and Necrophagist) by also choosing a side from the aforementioned British legends' career not very often explored.

Every End Full-length, 2000
Dragonsneeze Full-length, 2010

My Space


The name of the game is retro thrash for the upteenth time this millennium, and these young thrashers do a good job resurrecting the old classic sound of the 80's. The band give a more aggressive edge (the title song) to their sound, which comes up here and there, but the majority of the tracks are long, with clever, but not overtly technical riffs recalling Metallica, both their early and late 80's period as well as the Germans Paradox: the more speedy material ("Hypocrisy", "War Mentality"). The pace is energetic throughout with short mid-paced, and even balladic ("War Mentality" again) sections, with fine guitar work, accentuated by the really nice melodic leads. The singer gives a solid performance with his angry semi-clean tember giving the desirable dramatic decoration to the songs.
The "Hit n' Run" is 3 tracks of solid speedy classic thrash metal, now sounding faster, with sparce blast-beats scattered throughout. "All Systems Fail" is slower and heavier aiming at the more technical field ala Forbidden's "Twisted into Form", and is almost as convincing as the more aggressive material. The vocalist is again on par with the music unleashing a couple of sure-handed higher tones.

Thrash Till You Die! Full-Length, 2008
Hit n' Run Demo, 2009

Official Site


Based on the full-length, this act play modern thrash/post-thrash which is intense and all, but hardly offers anything too striking. The tempos mix all the time as well as shorter and longer numbers which mostly develop on a melodic mid-paced base the shorter material ("Death Monks") rending the environment big time sometimes served with a pinch of death metal, not far from the Swedish patterns (the closer "Creature Feature").

Dawn of the Death EP, 2012
Death Monks EP, 2013
The Deathening Full-length, 2013

Official Site


This demo shows an act determined to scare away the listener with unbridled thrash/proto-death which is every bit as wild as Kreator's "Pleasure to Kill". There are slower stomping passages which serve as "reliefs" from the constant mosh, but it's only the appropriately-titled "Threshold Of Doom" which relies on them more. A few short hardcore-ish numbers are thrown in as well (the demo is whole 10 songs including an outro) adding to the overall wild frenetic delivery. The singer is a deep throaty death metal shouter.

Pain of the Earth Demo, 1987


Based on the "Venom of God" EP, this act plays cool atmospheric black/thrash metal mixing the dreamy, but sinister, landscapes of early The Kovenant with the more laid-back ferocity of more recent Impaled Nazarene. "Venom Of God" is less intense, almost doomy at times, whereas "Carnivorous Lunar Activities" is a nice diverse thrasher with epic/pagan overtones also recalling their compatriots Destroyer 666. The guys are quite busy around the Australian underground, also taking part in the death/doom outfit Stone Wings, the traditional doomsters Across the Scarlet Moat, the classic death metal act Innsmouth, and others.

Venom of God EP, 2003
Hellsong EP, 2004
The Howling Damned Full-length, 2007

Official Site


Modern Swedish thrash/death metal sustained in a brisk fast tempo with good melodic guitar work; plenty of memorable melodies will one find here as well as proficient short leads.

Debut EP, 2010


The band's first two efforts are good technical death metal with shades of Death and Pestilence, but with more aggressive guitar work. "The Order Of Folly" abandons the technical play for more uplifting thrash/death'n roll not too far from Entombed or Hearse. "Presence Of War" switches onto war-like death metal ala Bolt Thrower and the sound is decidedly slower, almost epic at times. "Lifelong Days" is modern industrialized thrash/death metal not too far from Fear Factory or Scarve.

Border Of Misty Times full-length, 1996
Gravehead full-length, 1999
The Odour O' Folly full-length, 2001
Presence With War full-length, 2004
Try EP, 2006
Lifelong Days full-length, 2007

Official Site


Based on the "Raw Knuckle Taste Test" demo, this act deliver friendly rocky post-thrash with heavy stoner/doomy riffs and not very sober hoarse semi-clean vocals which are at times interupted by gruffer, and more expressive, proto-deathish ones. The approach is mostly within the mid-paced confines, and the bass is a main instrument creating a cool thundering echo in the background.

Forced Religion EP, 1989
Grey Malcolm EP, 1992
Raw Knuckle Taste Test EP, 1993

My Space


Based on "The God Machine", this band play classic power/thrash reminiscent of Morgana Lefay and New Eden. "Greydon Fields" is a cool progressive power/thrasher also reminding of later-period Iced Earth, but the samey mid-tempo delivery may wear out at some stage reaching balladic dimensions on "Wake Up In Hell". The other more aggressive composition is the other lengthy one, "Hellfire", which thrashes harder lifting up the atmosphere near the end which comes in the form of the heavy title-track, a cool power metal anthem. The singer does a fairly good job leading the show with his assured attached clean tember. Some of the band members also played in the power/thrashers Artcrime with one album released in 1997.

Room with a View Full-length, 2013
The God Machine Full-length, 2015

Official Site


This is angry modern thrash/death which gets surprisingly brutal ("Killing The Scum") at times where semi-technical death metal takes over for a while. The leads are quite impressive, both technical and melodic, and take quiet a bit of space to positive impressions. "Twisted Tolerance" is a cool short death/corey headbanger, and the latter turns to full-fledged technical stuff on the next "The Skies Over Berlin". The unpredictable delivery reigns supreme till the end the guys throwing numerous influences into the curious amalgam, most of them not that bad, like the 2-part saga "Kaleidoscope" which is a total wide ranger from quiet balladic moments to wild raging blasts all this thrown in a somewhat chaotic, but still listenable, manner. The vocal side is more on the shouty death metal one, but the guy gets quite a bit of help from the others who assist with frequent shouty choruses.

Unrest In The Northwest Full-Length, 2013

Official Site


This is the brainchild of just one man: Tanus Greystar, who pulls out diverse stuff, built on a solid thrash base. "Can't Stop (Runnin)" is a cool melodic crossover/thrasher with stoner doom overtones after which the 9-min long song with the clear message "Fuck You Jesus" comes forward, offering more of the same, but lasting for a longer time and with a more aggressive edge. "Life Preserver" has little to do with thrash, with stoner/doom taking over, although the brutal low-tuned death metal vocals are hardly the best choice for this kind of music. "Manripper" finally starts thrashing hard lasting for about 9-min, and it was high time, since I can see quite a few thrash fans having abandoned the album by that stage. This track provides intense headbanging moments which increase for the next "Undestined to Die" which offers quite cool guitar performance (something which can not really be said about the other songs) including lead pyrotechnics, and one would definitely get the feeling that this guy has wasted his time earlier on, trying not very successfully to bring two contrasting styles together. "Warriors of the New Dawn" once again circles around the 9-min range, but for most of the time is a satisfying mid-tempo thrasher ruined by the bad gruff death metal vocals which are particularly bad here (not that they ever sounded cool on the other material). Far from flawless, this effort delivers the goods in the second half, and a 2nd release could have honed the guy's approach, but this remains his only offering at this point.

The New Dawn Full-length, 2000

My Space


This is your average modern thrash mixed with more intense death metal, to which genre also belong the heavy semi-shouty vocals. The band manage to mix fast with slow passages on almost every song inserting plenty of melody in the process as well; competently done, but pretty derivative.

The Honesty EP 2011

Official Site


This is modern thrash with aggressive death metal vocals the overall delivery not far from the Swedish school, think early The Haunted. The guys vary the pace as the headbanging side ("Reckoning") seems to deliver better although interesting melodic variations like "Ending Time" are also worth checking out.

Exodus Full-Length, 2017


A 3-songer offering modern updated, Exhorder-esque thrash which is not that bad (the energizing headbanger "Brain Guts") and generally keeps away from the already set groovy "traps". The singer is quite a find with his jocund semi-declamatory clean baritone providing a lot of cheerful atmosphere.

Demo Demo, 1992


A smashing debut of fast-paced old school thrash metal which will make you headbang for days. It's not all out speed all the time, although the first two tracks will sweep you away with their fast, sharp riffs. "Sown by Hatred" introduces some slower, heavy riffs with an Oriental touch, and is a cool break because after that the assault continues with full force, with another couple of brilliant thrashers until "Eternal Curse" which is more power metal-based and more melodic, but delivers the goods with its slightly epic atmosphere. The other three remaining tracks show no mercy returning to the heads-down intense thrashing. This album is a nice companion piece to Ritual Carnage same year's "I Infidel", and is almost as good. Hopefully these guys are still active: it would be unforgivable to give up after such a great first effort.
The guys should make the gaps between albums smaller if they want to keep their status which is very well deserved judging by "Worship". This is well executed old school thrash attack which starts confidently with the brisk headbanger "Crack Of Doom". "Disorder" comes next, and breaks the intensity with its calmer mid-paced approach. "Captured Soul Eternity" captures the essence of 80's speed/thrash metal better than whole full-lengths, but apparently there will be an alternation between fast and slow songs here, since "New Kind Of Wicked" is less dynamic and much more melodic. "Revolt" comes splashing to produce another slab of aggressive thrash, and "Built My Brain" is a pleasant surprise, breaking the "fast-slow" alternation with good energetic riffs; more peaceful passages are thrown in here carrying a genuine technical/progressive shade. "Worship" and "Into the Void" are speedy thrashers leaving room for the elaborate progressive "Midnight Sun" which abandons the speed, offering a more thought-out material ala late-period Death. No speed "lost" on the closing "Lost" showing the band well able to win themselves a place on the very front row, and not only in Japan.
"Act of Treason" is hardly "an act of treason" as the band thrash with passion from the first to the last cut scoring a lot of points in the lead department where the guy is simply unstoppable unleashing pyrotechnics at every opportunity: just check the short blazer "Beyond". "Fight Or Flight" shows more technical prowess in the riff patterns, and its inspired galloping histrionics should delight anyone. The title-track moshes out directly without any tricks, and "Ebony Dark" is another more technical deviation with twisted rhythms covering the intense headbanging base. "Overdose" is "an overdose" of brutal unadulterated bashing thrash, this aggressive downpour superseded by the jumpy Meshuggah-esque experiment "Unleash", a very unusual composition which brings a fairly modern flavour to the otherwise classic proceedings. Nevertheless, it's a great deviation from the norm before "Driven Insane" nails everyone down with a portion of fast, blitzkrieg riffs and more dazzling, virtuous leads. The ending is in the form of a remastered version of their old hymn "Blood Lust" here offered without any major altertations.

A Mounting Crisis... As Their Fury Got Released Full-length, 2005
Worship Full-Length, 2009
Act of Treason Full-Length, 2016

My Space


Twisted very good, very technical modern thrash/death which will make your head spin from the very first track "Alien Abortion" which is a bit more than virtuoso pyrotechnics piled on top of each other to a strong disorienting effect. "Anal Leprosy" is choppy hectic, not veyr predictable thrash/death with echoes of Atheist and Coroner, and "Deformed" is a puzzling interpretation of the Bay-Area canons with a cool acoustic/Oriental digression and numerous headbanging rhythms. "Mutilated Witches Kunt" is a very surprising turn to atmospheric black/doom which is still effective topped by the unholy guttural vocals which elsewhere don't create such a macabre impression overshadowed by the great music.

Grill EP, 2015

Official Site


Another thrash metal act from Australia who pull the string hard to produce this evil mix of thrash and black metal with officiant epic overtones (c hekc out the sprawling elegiac closer "For They Bleed") the latter blending well with the generally intense riffage. The guys alternate the pace seldom blasting with passion ("The Forgotten") leaving plenty of space to the hard-hitting sharp riffs to develop, mostly in mid-tempo on the longer numbers (the cool semi-ballad "For They Bleed"). The leads are excellent and should be more widely covered in the future since now they just sparingly assist the proceedings. The singer is a capable diverser shouting in both a brutal deathy and screechy blacky manner (if that's the same one). Some of the band members can also be seen in the gothic metal outfit Requiem of the Damned.

Nameless Graves Full-Length, 2012

Official Site


This band again has something in common with the thrash metal greats Ritual Carnage, in this case the guitarist (who also sings here) Katsuyuki Nakabayashi. His side-band offers good thrash of the old school, obviously influenced by the Bay-Area scene. "Lunatic" is an impressive intense opener with heavy energetic riffs, and not very pleasant hardcore vocals. "God Cries! World Dies!" will catch you unprepared with its furious, aggressive delivery: a mighty headbanger which thrashes with no mercy for about 3-min. "World Of Chaos" is a slightly different story being slower, but quite heavy. "The Sin Of The Blaackest Dye" is another fine slab of more aggressive thrashing, followed by similarly styled tracks, until the last one: "Struggle" which is a nice technical piece in the vein of late 80's Metallica, still full with energy finished with a very stylish slower, doomy ending. This is a sure-handed debut of well executed Bay-Area thrash which will apparently have to wait (I hope not for long) until Nakabayashi finds some more time outside his main band, to see its follow-up.

Circulation To Conclusion Full-Length, 2000

My Space


Based on the "Damageplan" demo, this act plays sharp classic thrash metal mixed with a couple of heavier proto-modern groovy sections. The music is energetic with a slight proto-death shade at times ("Hatets Lustar (D?dens Maskineri)") as well, and hoarse semi-death metal vocals.

Damageplan Demo, 2006
110% Metal Demo, 2007

Official Site


This young Australian formation offers an entertaining mix of thrash and the dark gothic post-death metal sound of Sentenced's "Amok". Although the predominant tempo is mid-paced, the guys have added fairly cool speedy numbers ("Burden Of Reality", and especially the furious speed killer at the end "Mental Balance"), which thrash quite intensely. Moments of the kind are not very frequent, but the heavy stomping riffs, combined with the melodic hooks, and a couple of softer crossover tracks ("Before"), make this album a welcome addition to the scene. Don't get too critical over songs like the stoner/doom metal delight "The Shadow", or the Black Album-influenced "Sleep" (check out the James Hetfield-like vocals on this one as well): they come served with the desirable energetic tone.

XVI Full-length, 2006

Official Site


Heavy pounding thrash with a technical edge is offered on this very obscure effort which shares some of the dry dispassionate aesthetics of Metallica's "...And Justice for All", without forgetting completely about the more speedy delivery ("Don't Disturb The Dead"). Still, the heavy steam-roller section is the dominant force providing a cool mid-pace which, albeit not changing much, is a good listen. The singer has an interesting deep semi-clean voice who shows both his more aggressive gruffer and more pleasant melodic side the latter particularly good on the closing semi-ballad "Imaginary Friend".
The demo continues the more officiant doomy side of the full-length the band now an almost full-fledged doom metal outfit with barely a thrashy tune to catch the ear on these 3 seismic tracks which liven up for a bit on the merry proto-speedster "Wipin' My Eyes" which is a total carnivore worship if we exclude the deep throaty semi-death metal vocals.

Neurotic Facade Balance of the Soul Full-length, 1991
Grim Village Demo, 1992


Ordinary classic power/thrash this way comes from Ukraine. The guys play in a relaxed laid-back mode without relying on speed too much and the heavy hammering riffs take over soon after the more energetic opener "Liar" which is indeed a "liar" with its misleading lashing approach. If we exclude the dragging overlong ballad "All I Want" and the following it lyrical cut "Angel", the rest is merely passing without any major flops although the dominant tone is too radio-friendly to catch the hard-boiled thrash metal fan's ear who may have some good time on the shredding mid-pacer "Metal Attack". The vocalist is not bad at all with his warm versatile performance who emits both force and emotion at various degrees throughout the album.

Twisted Games Full-Length, 2012


The debut: laid-back gothic-tinged thrash metal with bad black-ish vocals which can hardly be heard for most of the time; after a couple of mid-paced sleepers along the lines of mid/late-90's Rotting Christ, the guys hit the mark with more energetic music clinging more towards the early German models except for the last two numbers where all hell breaks loose with ultra-fast brutal riffs and grinding tempos. Two more acts emerge from this one: Narcosis and Alcoholic Rites, both playing retro thrash metal with a shade of black (the latter).
"ACNORAJACAL" is in the same vein being even more melodic and gothic-oriented with hardly a blast-beat present, laced with very long sprawling balladic passages, some of which are purely acoustic ultimately ruined by the rough low-tuned growls, despite the sparce presence of much better female vocals.

Grimorium Verum Full-length, 2008
ACNORAJACAL Full-length, 2010

Official Site


Based on the full-length, this act deliver groovy post-thrash wtih doomy overtones topped by expressive intense death metal vocals. The approach is heavy and mid-paced evolving in a peaceful manner "Bark At The Moon" baing a cool cover of the Ozzy Osbourne hit done quite faithfully including in the virtuoso guitar department. The heavy steam-roller riffage leaves room for more melodic developments, but generally this is not very diverse stuff altough it's hardly the worst example of the ever-present 90's trends. The band members are more active with the death metal formation K626.

Pure American Werewolf Metal EP, 2009
Lycanthrope Full-length, 2011

Official Site


Industrialized modern thrash recalling the German curiosity Voodoocult spiced with both more classic leanings and heavier groovy post-thrashisms. "Liberation" is the nod to the 80's canons, a prime stylish headbanger; and "FWWF" is the other more classic tune with a shouty chorus and an insistent main motif. The closing "Alcohol" is relaxed crossover ala Motorhead partly ruined by the throaty shouty semi-death metal vocals.

Grin Full-Length, 2016


Based on "Decision 120", this band plays modern mechanical thrash with early Meshuggah being an obvious influence, as well as the Canadians Obliveon. The music has its twists and turns, and is probably more complex than the one of the two aforementioned bands, as is evident from the labyrinthine opening title-track. The sound becomes more attractive when the guys unleash more speed and aggression without losing the technicality: the great dynamic technical thrashterpiece "Doomed". The same pattern is preserved for another technical greatness, "Genom", which is a textbook of modern technical thrash effortlessly switching tempos reaching "Mental Vortex"-esque heights on quite a few times; one would hardly feel when those 8.5-min have passed. "Paradox" is a shorter, but equally as complex whirlwind of riffs and moods, and the following "Shadow" is the only not as elaborate composition, relying mostly on heavy smashing, more direct riffs spiced by the casual speedy outbreak. "Splitting Personality" is a heavy form of progressive/technical thrash which is kind of underwhelming since despite its cool intriguing start, the song fails to evoke the eerie complex atmosphere of the earlier material.

L.P.M. EP, 1999
Decision 120 Full-length, 2001

Official Site


Based on the first demo, this formation, named after Coroner's last album, pull out semi-technical modern post-thrash, pretty much a groovy affair as a whole with a few more interesting guitar licks. The approach is mid-paced and a bit clumsy at time, a situation further worsened by the very muddy sound quality and the really bad unrehearsed semi-clean vocals. There are a few more stylish moments to be heard, but they get lost in the surrounding, largely senseless barrage.
The "Universal Antidote" demo is an all-instrumental offering remotely touching the eccentricity of the aforementioned Coroner effort, but ultimately this is groovy heavy music with atmospheric elements which is again marred by the not very clear sound quality which stifles the riffs the latter fighting to be heard more clearly for most of the time to not much success.

Z Pamietnika Wariata Demo, 1996
Duum Demo, 1997
Rehearsal Demo, 1999
Universal Antidote Demo, 2002



This formation specialize in modern abrasive thrash with subdued growling vocals. The approach is heavily groove-laden, but at the same time tehre are a lot of dynamic passages including several where sparce blasts can be heard (the mechanical rager "Treacherous Betrayer"). Still, the dominant tone is established by mid-paced quasi-doomsters like "The Black River" and the closer "Extra Life Disease" (but please, ignore the death metal outbreak near the end), or the pounding jumper "Fucked up Nation". Some of the musicians were previously involved in the death metal act Emptymist, and the gothic doomsters Alice in Darkland.

Mass Distraction Full-Length, 2014

Official Site


One of the less known German speed/thrash metal bands; "Dawn For The Living" is a smashing debut in the vein of Iron Angel and Paradox; great speedy music, featuring some of the finest thrashers around: the fast & furious "Obsession", the pounding heavy "Dawn For The Living", the speed metal delight with an early Helloween shade "Magician". "Frozen Hatred" offers a heavier, more technical approach, but is the only one of its kind, among the speed/thrashing pieces. The album ends with the lightning-speed killer "Traitor" and the cool crossover speedster "F.O.A.D." which despite the musical references is not a Broken Bones cover.

"Dead End" is another impressive offering, but the heavier, more technical song-writing, which was only slightly hinted at on the debut, now has taken the upper hand, and as a result this album sounds quite close to Flotsam & Jetsam's "No Place For Disgrace". Some speed has been sacrificed which could be considered a drawback to an extent. After the first longer and more complex tracks, the music becomes a bit more dynamic and enjoyable, and tracks like "The Blade Is Back" and "Just Another Scar" bring back the sound from the debut, but with heavier guitar work. The longer songs return in the 2nd half, this time including one good semi-ballad: "Why?" (I don't know: pun intended). "Train Raid" is a light-hearted speedy punk-ish number, contrasting with the crushing thrashing closer "Unlock The Morgue", an intense piece, graced by a very good bass bottom.

"Nothing Is Sacred" is the band's most melodic effort, which actually moves back towards the fast patterns from the debut, but the guitars are less edgy, although songs like "The Spirit of Violence" and "Nothing Is Sacred" thrash with full force. After them the sound slows down for a while, but the songs become more catchy: the nice power metal number "None Of The Birghter Days", which has a very memorable chorus. The modern groovy "Pavement Tango" could have been left out, as well as the jolly crossover "The Nothing Song" (it's nothing, really, believe me/them!).

Dawn For The Living Full-Length, 1988
Dead End Full-Length, 1989
The 1st EP EP, 1990
Nothing Is Sacred Full-Length, 1991


Based on the "Terror Rising" demo, this band unleashes wild modern thrash/death metal, not very fast, but with heavy jumpy riffs, inevitable Gothenburg melodies, and one jolly thrash/crossover piece: "Twentyfour Seven (Fuck The Heaven Sent)", with a more brutal twist at the end.

Terror Rising Demo, 2004
460 from Hell Demo, 2005

Official Site


The Unholy Promo reveals an "unholy" band unleashing an "unholy" mix of black, thrash and death metal. The music is at times semi-technical, drawing resemblances to Morbid Angel mixed with black ("Vendetta"), at times it's heavy and pounding ala Immolation ("Forsaken"); at other times it's cool atmospheric epic black/thrash ("We are not alone").

Live in Leeuwarden on 16-11-2003 Live album, 2003
Unholy Promo Demo, 2005

My Space


Although the opener "Get Out Of My Yard" may raise the hopes high that this would be another "survivor" from the classic era with its energetic retro approach, the band will soon put an end to these hopes with the other much less interesting material which faithfully follows the 90's groovy trends adding the odd stoner/doom twist at times. "Demons" at the end thrashes in a faster manner recalling "Never to Reveal" from Flotsam & Jetsam's "Quatro", but that's all one will get from this pretty pedestrian effort.

Grip Full-length, 1994


Grip Inc were formed by Dave Lombardo and Waldemar Sorychta (Despair), and quickly rose to the upper echelons of the 90's thrash metal movement. Style-wise the music sounds neither like Despair nor Slayer, taking a clearly modern approach, but with a considerable atmospheric/technical twist- a style perfectly displayed on the band's first two efforts, especially on the incredible "Nemesis": one of the finest thrash metal works of the 90's. "Solidify" saw the band flirting with the modern groovy sound, and was a letdown. After a long, 5-year break the band were back with another strong release, hopefully not the last one, having in mind that their singer Gus Chambers had a one-album spell with the Germans Squealer, and Lombardo is busy working again with his old colleagues from Slayer.
Unfortunately, the band won't be able to use the services of Chambers who sadly passed away on October 13th 2008 from an overdose.
The "Hostage to Heaven" EP: wow, if this isn't a surprise... The band are reportedly still inactive, but maybe Waldemar Sorychta and Dave Lombardo have decided to test the soil for another effort. And it's high time if you ask me... Anyway, the title-track is the already familiar hymn from the guys' eponymous debut, slightly reworked, followed by three previously unreleased tracks "Dragging Me Down" being a 1-min brutal hard/grindcore joke; "Bittersweet" a nice semi-acoustic ballad with very tasteful guitar work; and "Crawl" which is an all-instrumental 3-min thrash/deathster with orchestral implements, a fairly unusual cut for the band. The singer is unmistakably Chambers (R.I.P.) all over which shows that this is an old material recorder earlier, issued either as a tribute to the late vocalist, or as a flagship for an upcoming official release...

The Power Of Inner Strength full-length, 1995
Nemesis full-length, 1997
Solidify full-length, 1999
Incorporated full-length, 2004
Hostage to Heaven EP, 2015

Official Site


Based on the "Greatest Evil 666" demo, this act pulls out raw, underground black/thrash metal with moments of doom, mixing early Burzum with Hellhammer to a pretty evil effect. The singer is barely audible, semi-whispering/semi-hissing, and his amateurish aesthetics perfectly match the rough musical approach, which awkwardly switches between dark doomy and ultra-fast, blasting passages the whole time. The drummer Drumitor666 is a famous figure on the Australian underground, taking part in other, more popular bands, like the black/thrashers Spear of Longinus, and the death/thrash metal outfit Vomitor.

Karma/Kazi Demo, 2004
Depraved Demo, 2005
Outbreak of Evil Vol. III Split, 2006
Death of a Kunt Demo, 2007
Prima Noctre Demo, 2008
Greatest Evil 666 Demo, 2011

My Space


An even mix of thrash/crossover and more laid-back power metal; the music delivers also coming with a very good sound quality, although some more speed added for the future would only be beneficial. The guys should think of changing their name, though ("grave board", in English): the fan would expect to hear some hard, or even grindcore, on this one rather than this thoughful more moderate muusic.

Net Sil Pit Demo, 2011


The 2010 single contains two songs of a diverse thrash, death, folk/pagan metal, and more, amalgam topped by another diverse vocal participation among which the gruff low-tuned death metal vocals seem to dominate. This wild mix drops the ball for the final track which is a slightly amateurish, but recognizable, cover of Slayer's "Raining Blood".
The "Rock De Brasiliaen" single is just one song of jolly melodic crossover with modern metal elements. The "Sotnia Bochek" EP is a mix of folk and post-thrash; a merry drunken affair, with a very big suprise at the end: an excellent cover of Entombed's "Supposed to Rot" from their "Left Hand Path" album, done vigorously with an appropriate death metal attitude.
On "Shron" the band entertain themselves with light-hearted crossover with pleasant melodic riffs seldom stepping the pedal for more intense performance, which only happens for isolated parts from the songs. Some 90's groove sneaks in ("Sotnia Bochek"), as well as the title-track from the "Rock De Brasiliaen" single, among other alternative and balladic niceties. In other words, "rock de party"...

Zubui i Cherepa EP, 2009
Mujskaia Gordost Full-length, 2010
Single Single, 2010
Rock De Brasiliaen Single 2011
Sotnia Bochek EP, 2011
Shron Full-Length, 2012

My Space


Old school speed/thrash metal in the vein of early Overkill and early Metallica; the musicianship is below par, and the modern elements "inserted" do not work well combined with the other music.

No Change Without Revolution Demo, 2004


This avantgarde act offers an eclectic blend of straight-up thrash and plenty of melodic hooks coming from blues, jazz, classic heavy metal, crossover, and more. There are also a few less bridled hardcore "outrages" ("Pull The Rope"), but nothing really aggressive, just pure joy and fun all over, never losing the thrash idea, even coming up with something more complex (the Voivod-esque extravaganza "Ants Have No Chance"). The singer is a capable semi-shouty punker with an attached clean tember recallig John Connely (Nuclear Assault) on the more high-strung moments.
The debut demo is intense energetic thrash/crossover without any distractions, straight aboveboard stuff expressed in short (1-3min) cuts some of the longer ones ("Waiting On Deathrow") bringing a few more stylish deviations, but not for long. Half of the tracks come with a worse sound quality as though having been recorded at an earlier (or could it be later?) stage. The singer is an attached angry shouter who semi-recites for most of the time.

One Fine Day Demo, 1987
Promo Demo, 1989


This band were formed by two members of the one-album wonder Pixie Killers. However, if you expect bombasting classic thrash metal similar to the one on the only Pixie Killers album look elsewhere because this new formation is pure modern groovy thrash metal very close to Pantera and the likes; not bad, but pretty generic. Their last couple of albums (from "Desert Storm" onwards) move more towards the stoner/doom metal spectre.

Primates full-length, 1994
Soul pieces ep, 1995
The fury full-length, 1996
Desert storm full-length, 1997
Intercooler full-length, 1999
If you were my dog full-length, 2002


This Russian outfit pull out modern post-thrash with doomy overtones. The sudden more intense breaks ("Pod Pricelom", "Sdohni") are more than welcome since they give this otherwise mild offering a desirable brutal edge. The music is suitably heavy with squashing, steam-roller riffs which don't lack dynamics, and mean hardcore-ish vocals which try to shout in an angry Anselmo-sque manner from time to time.

What Doesn't Kill Me Makes a Big Mistake Full-length, 2012

Official Site


Another good newcomer from the technical metal scene in Canada; the band's style recalls late period Death and the Polish Sceptic, but is more aggressive and more thrashy with a frequent adherence to blast-beats where shades of Suffocation could clearly be heard, and by no means less technical. Chuck Schuldiner (R.I.P.) is an obvious influence on the guitarists so expect great leads and mighty technical riffage all over.
"The Disconnect" arrives after a lengthy four-year hiatus, and shows the guys not having lost their penchant for stylish, technical music which gets expressed quickly in the whirlwind of hectic riffs which are the brutal deathster "Our First Perversion" and the mellower, progressive-tinged twsiter "A Final Vestige Of Hope", a great nod to later-period Death. More serious music comes with "Illusionary Dissent" which is a lyrical cut with several dreamy passages and great lead guitar work. The title-track carries on in the same thought-out, progressive vein without forgetting about the faster side with a few speedy inclusions. "Predestined Intention" thrashes harder with a clever technical twist and a fine abstract exit, before the short instrumental "Elegance And Despair" elegantly puts you in a calm, meditative state with its soothing acoustic guitars. "Fragmented Reality" is a dramatic piece with numerous jumpy moments, sounding both peaceful and raging throughout. The final "Inquisition" is an exquisite technical thrash/deathster in the best tradition of Atheist, Pestilence and Coroner, the culmination of this no-brainer for the technical/progressive metal lovers that makes this not very regularly present on the scene band stand proud beside the pillars of the genre from their native land (and not only) with just two albums released.

The Process of Indoctrination Full-length, 2007
The Disconnect Full-length, 2011

Official Site


The debut: although this act had been founded in the distant 1990, the band members' (including the guitarist Shawn McCoy: Confessor, Age of Despair) other engagements kept it from releasing anything until now. What we have here is quite good classic thrash with very cool clean vocals which have the requisite dramatism despite their more ethereal alternative nature with a distant echo of James Hetfield on the lower-pitched notes. The music is fairly energetic as the slower moments border on gallops ("Generation 36") the rest moshing with passion: check out the opener "Worthless Humans" which is vintage Sepultura's "Arise" (the actual song), the short exploder "Haunting the Waters", or the more intriguing headbanger "13 O'Clock" and "Sleep Into Dreams". The closing title-track is a technical masterpiece of complex structures and virtuous performances, among which the one on the bass is simply stunning; fast blitzkrieg thrash blends with clever elaborate decisions to a startling effect; and serioUsly, these bassisms will haunt you... This is intense, fairly appealing, music which should have no problems settling into the modern thrash metal fan's blood system, and stay there for quite a while.
"Escaping Gravity" preserves the stylish moments from its predecessor, but the guitar sound now is somewhat mechanical and airy although this particular aspect isn't that audible on the more immediate, faster-paced ("Zero Day") material. "The Incomplete" jumps on the spacey progressive wagon, and is a very cool short shredder which flows into the weird psychedelic progressive opus "Invitation", a surreal blend of Mastodon and Devin Townsend. "Soul Worn Thin" recaptures some thrash ground, but the real revelation is "Into the Vault", a superb thrashing progressiver with vivid amorphous riffage and hard ripping insertions. "Escaping Gravity" serves the final portion of cosmic, psychedelic abstracticism which doesn't have much to do with thrash again, but is a really original way to finish this highly entertaining, eventful saga.

Overthrow Full-Length, 2014
Escaping Gravity Full-length, 2017

Official Site


Retro thrash metal of the intense Rigor Mortis type, but coming with a very buzzy guitar sound and ultra-brutal low-tuned death metal vocals. The band surprisingly jumps on the death metal wagon with "Entropia", and "Insomnia" after it is an exemplary speed/thrasher, before the closing "Terrrorismo De Estado" finishes you off with another portion of raging death metal with grinding tendencies.

Criogenesis Demo, 2011


Based on the "Demonstration Of Grotesque Decay" demo, this Norwegian trio offers an energetic blend of thrash, black and a bit of death metal which is at times fast as hell (the sweeping "Hellgrinder"), at others is more relaxed with early Venom ("Satanic Sins") an obvious influence, although the dominant approach clings towards the former with fiery biting riffs. The vocals have a drunken rough shade not far from Mr. Lemmy himself.

Rehearshell Tape Demo, 2008
Demonstration Of Grotesque Decay Demo, 2008
Apocalyptic Radiation Split, 2009

My Space


A Swedish trio which offers cool classic thrash with doom/death elements (the seismic opening instrumental "Unleashing The Pestilence"; the high-octane doomster "Shadow Of The Colossus"). The guys play fast on the shorter tracks the music assisted by mean blacky vocals and an appropriate underground sound quality.

Tales From the Crypt EP, 2012

official site


Thrashy power metal sounding like a less classy Eidolon or the Germans Mystic Prophecy. Classic heavy metal tunes are involved, too. An interesting slower version of Anthrax's "Metal Thrashing Mad" finishes this not really impressive release.
"Dragged" is close music-wise to the debut providing laid-back power/semi-thrash metal, this time sounding purely modern, with only "Days In Rage" offering something for the headbangers. The singer is good, though, with his detached semi-clean James Hetfield-like tember.

Insanity Full-Length, 2006
Dragged Full-length, 2010

official site


Typical modern thrash metal very close to the more recent Machine Head works with soulful, blue-sy moments ("Black Universe" from the 2nd demo).

Ground inch demo, 2002
Come get some demo, 2003

Official Site


Modern mechanical post-thrash/thrash which too heavily relies on dry, sterile rhythms to be a truly entertaining listening experience. The overshouty vocals are another detriment. On top of that the tempo is one-dimensional mid-paced, and "Death Project" in the 2nd half is more than welcome to bring life into this bleak sterility with its brisk, invigorating riffs.

Unborn Full-Length, 2015


A standout band whose style is close to Destruction and Hydra Vein with stupendous technical passages and a few great melodic lines. "Gate Of Death" is an impressive debut with a heavier and a tighter sound compared to the more speed metal-based EP. The vocals are a bit rough for the style, mixing hardcore and semi-death metal tones. The music is energetic, and occasionally quite speedy (the excellent aggressive "Gate Of Death"). "Strange Shadow" is another highlight with its fast technical riffs. "Suicide" brings forward more melody reminding of the catchier style of the EP. With a couple of more albums of that calibre Ground Zero could have been one of the stars of the show worldwide, but they never recorded again.

Etherealize EP, 1986
Gate Of Death Full-Length, 1987

Vibrations of Doom


The industrial/thrash/death metal mixtures are getting more and more fashionable in Norway, so it wouldn't be a surprise if they overtake the black metal scene over there some day. Based on "Molotov", this band plays industrial thrash/death metal which lacks the energy and originality of acts like Fear Factory or Meshuggah, and some dance sections ala KMFDM will make quite a few of you frown ("DEKAYNY"), especially when you hear the very melodic vocals there. "Hasten the End of Days" reminds of the excellent Nefilim's "Zoon", but the rest is just a more aggressive version of the German industrial practitioners Ooomph, or later-period Misery Loves Co. (Sweden).
"Counterculture" is another industrial offering, but this time the approach is milder with shades of post-thrash and an abundant use of keyboards which create a pompous orchestral atmosphere not far from the Swedes The Project Hate and mid-period Moonspell. There are a few more energetic, dancey tracks ("Blackout Revolution"), but the dark dominant tone is seldom "broken" set by moody gimmicks, like the semi-balladic industrial noise on "Be All, End All" or the funeral doom-laden dirge on "Fed to the Wyrm". The singer is a subdued death metal performer with a strong synthesized flavour.

Newropa EP, 2006
Molotov Full-length, 2008
Counterculture Full-Length, 2011

Official Site


This act was run by the same musicians who also started another career under the name of Redimoni. Reportedly the success of Redimoni was the reason why the guys abandoned this act. The style is not very different from the varied amalgam presented by Redimoni the main asset of the act here being the very good emotional female vocals which are not very suitable for a thrash metal band, but deliver with their warm semi-operatic tember. Music-wise this effort is a tad less intense power and speed metal playing a more prominent role and one may be surprised to hear that the other formation was more successful having in mind the prevalent tastes of the time and the growing fascination with female-fronted acts in the late-90's, including in Spain (Dark Moor, Amaran, to name just a few). From a musical point-of-view the demo leaves something to be desired, though: the approach is not very professional the guys coming out of synchronicity here and there with their skills at this stage not quite matching their enthusiasm.

Growing Cells Demo, 1998

Official Site


This Japanese outfit specialize in a more energetic form of the groovy post-thrash. The overall delivery sits somewhere between Flotsam & Jetsam's 'Quatro" and Machine Head's "Burn My Eyes" the main difference coming from the really expert leads. The vocals are the typical for the style shouty semi-aggro ones. Some of the guys previously made more noise with the thrash metal formation Harkenkreuz.

Insanity Brain Full-Length, 1996


This is merry, uplifting stuff paying tribute to Motorhead and The Almighty most of the time, adding the heavier pinch of stoner/doom, and the encessary more aggressive proto-thrashy edge. There is a certain garage rock aesthetics, also typical for Monster Magnet, as well as a few blues leanings; a light-hearted fun which will attract a wider crowd.

Grumpynators EP, 2011


Two ex-members of the legends Mortal Sin, and respectively, future ones of the black metallers Baltak, had strayed from the "herd" for the release of this solitary demo which is a really nice slab of vigorous old school thrash/death metal which comprises of 2 speedy numbers and one slower dark one ("Rise Above") all played with simplistic direct riffs and brutal death metal vocals.

End Of The Trail Demo, 1993


A 3-songer heavy choppy post-thrash ala Grope and Puncture; the riffs are squashing and volcanic, and the vocals are of the mildly angry, semi-clean type. Later the two guys involved in this project found much bigger glories with the technical thrash/death outfit Vicious Circle.

Grunt Demo, 1996


Based on "Our New Earth", this act serve harsh abrasive industrial post-thrash with elements of Biohazard-esque hardcore. The riffs cut with might, but the guys have found room for more melodic moments which are of the balladic variety, and create a necessary contrast with the hard-hitting passages. The vocals are of the rending shouty type also carrying a strong death metal flavour.

Capital Punishment Full-length, 1995
Progression of Aggression EP, 1998
Our New Earth Full-length, 2000


Based on "Skull Baptism", this act offers thrash-tinged black metal very similar to Dissection and early/mid-period Dimmu Borgir with sweeping melodies, plenty of atmosphere, haunting doomy breaks, and vicious apocalyptic vocals. The guys bash with no mercy for most of the time, but still manage to bring forward the necessary melodic insertions, although there is not a single full-blooded thrasher here the latter decorating many songs, taking most space on the closing "Icon of Sin" which is a great diverse composition with numerous tempo changes and cosmic larger-than-life arrangements. The guys leave more room for thrash metal on their other project Magnificat where the style is still pretty blackened.

Silence Endless Full-length, 2005
Death Born Full-length, 2007
Skull Baptism Full-length, 2010

Official Site


The dark brooding style of early Celtic Frost serves as a background on this faithful take on the early thrash/proto-death metal hybrid from the late-80's/early-90's which is not as enigmatic as the album-title (anyone?). Otherwise the band thrash with power the intense musical delivery ably accompanied by throaty death metal vocals. The guys' efforts, however, are severely hampered by the very muddy sound quality which makes all the instruments sound muffled and inexpressive. Heads down for this, on the other hand, since, if applied intentionally, this sound recalls the early days of the genre even better than some works recorded 30 years ago.

Only Tia Gertrudes is Real Full-Length, 2013

My Space


The full-length offers heavy mid-paced power/thrash metal still having something classic left, but the modern tendencies are more than obvious although the guys' sticking to the semi-balladic patterns don't give them enough room to develop. Still, there are quite a few heavy riffs to be encountered which in the middle grow into a couple of almost purely balladic, or semi-balladic, doomsters.
The EP "E" is the better offering, faster and thrashier, at least in the beginning with the brisk headbanging opener "Evil Light". Neither of the remaining songs reaches this intensity, but they liven up here and there with the odd more dynamic section never falling into the doomy "traps", also trying to avoid the modern ones, but with less success.

The Madness Serene Full-length, 1996
E EP, 1997

My Space


This is merry old school power/thrash/crossover which is too carefree and laid-back to strike a cord in the heart of the hard-boiled fan, but as a background for housework, or even homework it should work just fine due to its merry-go-round unpretentious character. This is too melodic to be a faithful "follower" ot Horcas and Hermetica from the same country, but should find its fanbase among the more tender souls.

Sin Límites al Fin Full-Length, 2012


The band's first two demos are furious black/thrash/proto-death, quite fast and intense, but the musicianship is not on a very high level, and is similar to the one on Necrodeath's "Into the Macabre", but the music of the Poles is faster and more vicious. The second demo actually shows the guys pulling themselves together, and there are more stylish guitars to be heard, but the aggression reaches extremes here: songs like "Okrutna Rzej" are pure death metal rage, brutal as hell (this song seems to be a remake of a song from the first demo, although the original is 6-min, whereas the remake is half as long, and is 10 times as brutal). The vocals are very scary brutal black metal shrieks. This is easily one of the most intense recordings released in Europe in the late 80's; has to be heard to be believed.

Guardian Demo, 1988
Resurrection on Beastliness Mental Demo, 1989
Mind Of Darkness Demo, 1991


Energetic power/thrash metal in the vein of Attacker and Meliah Rage which at times gets nicely technical ("Immortality") without any warning, or heavily doomy ("Immortality" again) before the hard thrashing comes with the slightly chaotic "Unknown Time". The sound quality is really bad a hissing sound constantly accompanying the guitars and the not very impressive mid-ranged semi-clean singer whose mean semi-declamatory antics are not very comprehensive.

Demo Demo, 1989


Based on the debut demo, this act plays classic speed/thrash metal ala early Whiplash and Alastor (Portugal). The music hits hard at times, at times it's melodic and soaring, at others is pure speed metal ala the early German trends ("Odio (Sinfon?a De La Venganza)"). "Metal Holocaust" is a slightly softer number paying tribute to the 90's power/speed metal scene, but there is seldom speed lost on this cool effort where only the singer may disappoint a bit perhaps with his semi-clean/semi-declamatory delivery. The guys take part in various other projects around Colombia: the thrash/death metal act Necronslaught, the black/thrash metallers Eternal Dark, etc.
"Nuklear Zombie Division" would be a sure winner to the fans of 80's speed/thrash metal from all walks of it. "Terror Thrash" will overwhelm you on the opening "Terrorthrash", and will seldom let you loose, hardening the course to Slayer-esque proportions on "Thrash Zombie Horror", which "infuriates" the following tracks turning them into raging speedsters, a slight relief being the more relaxed nod to Exciter "Black Rock And Roll", which is still a pretty speedy offering. One can go no wrong with this sincere dedication to the old school sound, direct straight music from beginning to end done just for the fun out of it.
On "Mas Alla De La Tumba" the speed/thrashy saga carries on on full-throttle. The guys mix early Whiplash and Pile Driver with the manic Germanic shreds of Tankard and early Living Death. So expect a lot of fun and jumping around, infused with plenty of catchy, memorable hooks the latter disappearing on the coup,e of more intense thrashers ("Mas Alla De La Tumba", the explosive bomber "Holocausto Zombi"). "I Am The Werewolf" is a cool crossover "relief", after which follow two tracks from the full-length debut, almost unchanged, but with a worse sound quality.
"Antichristian Zombie Hordes" is another classic roller-coaster which this time goes up the aggression scale with a few full-blooded proto-blasts (check out the opening "Invasion Demoniaca (Alien Invaders II, and the short exploder "Cementario Infernal") which are still not so detrimental for the good fun ensued here. The speedy crescendos never end and one can feel a certain presence of the old Bathory spirit sneaking among the already mentioned previously influences alongside some pure exercises in speed metal in the best tradition of early Helloween and Iron Angel ("City Of The Living Dead", "ZombieHammer" which inserts some great melodic leads into the "carnage"). The singer continues to semi-growl with his husky semi-declamatory tone providing the requisite macabre mood.
"El Armagedón Continúa" is total classic speed/thrashing madness, a truly faithful rendition of the early careers of Helloween, Warrant, Vectom and Iron Angel. The tone is a bit more aggressive perhaps with a more overt thrashy vibe, but the enthusiasm and inspiration are pretty much the same with a pinch of early Bathory ("Bastial Evil Genocide", "El Armagedon Continua") still hanging in the air. "Grande Messe des Morts" goes beyond the good taste a bit with a few blast-beating moments, but be prepared to meet Motorhead at the end with the jolly closer "Black Speed Rock and Roll" which very well encapsulates the spirit at large here...
"Cthulhu Zombies & Anti-Cosmic Black Goats" is a very varied offering offering a few blast-beating sections ("Anti-Cosmic Chaos") with a black metal flair. Still, the dominnat tone is the good old speed/thrash again served with a more uplifting attitude ala Motorhead and early Bathory the latter influence more strongly felt on the couple of more black-ish pieces also strengthened by the hoarse early Quorthon-esque (R.I.P.) vocals.

Zombie Thrash Horror EP, 2009
Nuklear Zombie Division Full-length, 2010
Mas Alla De La Tumba Full-length, 2011
Antichristian Zombie Hordes Full-Length, 2012
El Armagedón Continúa Full-Length, 2013
Cthulhu Zombies & Anti-Cosmic Black Goats Full-Length, 2014

My Space


Based on the "Autodestruccion" demo, this Peruvian trio plays energetic classic thrash metal with a slightly muddy guitar sound which makes the leads sound too screamy, and an overall approach not too far from "Bonded by Blood", with the sloser "Carreteras de Sangre" adding more intense Germanic (think early Kreator, Toxic Shock) riffage. The impact would be bigger if the guitars can be heard more clearly in the future, and if the singer manages to subside this growling death metal tember by at least trying to semi-sing at times.

Dia del Jucio Demo, 2004
Autodestruccion Demo, 2008

My Space


One would be utterly shocked to find out that this is the Cavalera brothers' first act run at the same time with the first couple fo Sepultura releases. Run for cover on the debut demo which is a really brutal take on the thrash/proto-death metal idea to the point of absurdity reaching the Cryptic Slaughter debut extremes with ease. The sound quality, however, is really bad, and this short piece sounds more as a draft for something more serious which may have come about on the other demo... Now this chaotic downpour of very fast grinding guitars and unrehearsed punkish shouts, courtesy of Sílvio SDN (Mutilator), the only non-Sepultura member from the line-up, can hardly stand a chance against the much more polished efforts of the guys' compatriots (Sarcofago, MX, Sepultura, etc.) from the same period.
"Live at Festival da Morte" "boasts" some of the worst sound qualities to ever grace these ears. Everything is one big bashing mess at least compirising sings not heard on the band's debut demo. This is thrash/death metal played on a fairly amateurish level with rending quarrelsome vocals which never make a single attempt at singing. Surprisingly the Death cover of "Infernal Death" at the end is relatively easy to recognize, at least in the beginnig due to the faithfully produced opening riff and the Schuldiner's (R.I.P.) infamous shriek.

Guerrilha Demo, 1986
Live at Festival da Morte Demo, 1986


Modern death/thrash metal with interesting riffs and proficient lead guitar work; "Red Moon Rising" from "On Target" is an 8-min masterpiece which will put many progressive metal bands to shame. Although highlights like that are not too many, these guys easily stick out of the pack. The music on "No Inch Back" is more aggressive and simplistic, but is closer to thrash, and the vocals take a more unpleasant tone, mixing hardcore with death metal vocals, with the rare addition of semi-clean ones ("Greed").
"Kickstart Revolution" is a commendable slab of modern thrash akin to Carnal Forge and early The Haunted, although the Germans are fonder of melodic breaks, and the tempo varies more being mid to up-tempo. At least half of the songs are heads-down headbanging thrashers ("Shatter The Swastika" comes served with proto-death elements), being superior to the rest which is slightly monotonous and soft clinging towards power/thrash on the mellower numbers, and this time the gruff vocals are intercepted by cleaner ones from time to time. Unfortunately highlights from the ranks of "Red Moon Rising" are not present, and the music never leaves the well established modern thrash formula, for better or worse. By the way, the whole album can be downloaded for free from the band's Myspace page.

Breed Us, Feed Us, Weed Us! EP, 1998
On Target Full-Length, 2001
No Inch Back Full-Length, 2004
Kickstart Revolution Full-length, 2010

Official Site


Stalwarts from the death metal underground in the UK have gathered together for the creation of this intense modern thrash/death affair which also relies on groove to pull it through at times n a way not far from the early Six Feet Under efforts. The delivery is perhaps a bit more proficient and intriguing than the one of the Chris Barnes gang (check out the lyrical deviations on "Anatomy of a Bastard", but overall this isn't the most original music in the world the more interesting moments arriving near the end with the vivid headbanger "To Snare a Brain Dead Skag", and the hypnotic stoner/doomster "Mediaphile".

The Human Epidemic Full-Length, 2016

Official Site


Thrash/crossover with death metal vocals (based on "You Will Not Survive"); up-tempo, moderately intense guitar work in the vein of D.R.I. and a few varied longer tracks ("Hold The Line") which offer more than just one-dimensional bashing, something which happens quite often on the other songs. Pure hardcore outbursts are a rarity ("Fucking Americans"), but are not excluded, as well as slower heavy high-octane doomy closers ("Killing Floor") which partially make up for the lost speed with a very fast middle break.

Guided Cradle Full-length, 2005
You Will Not Survive Full-length, 2007

Official Site


This new formation specialize in modern thrash with operatic arrangements bordering on the progressive "Price Of The Contempt"). Tasteless brutalizers like the grinding "Fly Over The Crap" are not really necessary, but the band seemingly lack focus stretching into all possible directions including in the jumpy post-thrashy department ala Prong with "A Long Tongue Of Shit", not to mention the balladic dreamy instrumental "Acceptation". The vocals are shouty death metal-like and are stifled at times by the lush musical background.

The Bridge Full-Length, 2015

Official Site


A nice debut of classic aggressive thrash similar to late-80's Kreator and the Swedes Hypnosia; this band slow down at times for heavier, but by no means less impressive songs. "Soul of Heavy Metal" might shock you in the beginning sounding like a heavy metal hymn ala Accept or Judas Priest, but then a wall of fury rises and it turns into another mighty thrasher. On the other hand, "Sodomized in Hell" introduces more intense death-ish elements into the sound. Watch out for the hidden track which is combined with the last one: a very good faithful version of Death's "Defensive Personality".
The "DEATHRASHEAVY" EP follows the patterns established on the debut, although to these ears the riffs come too retouched at times, making some moments more melodic, especially those on the Motorhead cover of "Sacrifice" at the end.

Metal in Veins EP, 2006
Metal in the Vein Full-length, 2007

My Space


"Voy" is good intense fast-paced thrash which comes as a more diverse version of Master's "With the Noose Around the Neck". The album opens in a merciless vicious fashion ala early Incubus and the Swedes Merciless with the deadly "Vse Protiv Menya", but the sound moves towards the German speed/thrash metal field with the next "Deti Podzemeliy". "Legion Smerti" deviates into epic power/thrash, a clumsy doomy song. "Ballada" is exactly that: an acoustic balladic instrumental, and one may start to wonder whether there will be any more speed/thrash later on. Yes, there will be: "Sklep" is heads-down retro thrash, but "Ved'ma" again "flirts" with the softer power/thrash metal formula saved by the faster second half. "Chyorniy Gertsog" provides less dynamic mid-tempo thrash in the beginning before it switches onto more intense thrash metal later. The closing track well deservedly carries the album-title thrashing far and wide for more than 7-min. This is a cool obscure entry from Russia which places this act right beside their more famous colleagues from Master, Kruiz, Mortifer, Shah, etc.
The EP is three songs of twisted technical thrash/proto-death which sees the band in a more stylish, but also more aggressive light. "Humanity In Blood" is vintage mid-period Sadus, a meandering eventful track with clever hectic riffage. The technicality goes up a notch on the excellent "Misanthrope" which reaches dizzying Atheist-like heights; before "Immolation" calms the ball down a bit with more straight-forward guitars and more conventional structures.
Confession of a Blasphemer": all the hopes for an elaboration on the EP are met here the guys death/thrashing with gusto producing the Russian analogue to Atheist's "Unquestionable Presence" with a pinch of mid-period Messiah (think "Rotten Perish"), an intense technical work which stands proud beside pillars of the sub-genre from their homeland like Aspid, Koma and End Zone. The music is still on the thrashy side, but the faster-paced numbers ("Into the Other Worlds", to give one example) are "bolts of fury" lashing fiery riffs with passion. The bonus track at the end "Humanity in Blood" is a bit rough around the edges with an echo of Death's "Spiritual Healing", contrasting with the progressive closer "To the End of Sufferance" which is more moderate taking it easy on the speed. This is a real highlight for the Russian scene in the 90's, and it's a pity that the band didn't survive after this one to show more of their undisputable skills.

Voy Full-length, 1992
Humanity In Blood EP, 1993
Confession of a Blasphemer Full-length, 1994

Official Site


This band is a side project of two members from the power metallers Nocturnal Rites and two others from Persuader who wanted to give a way to their "darker" more aggressive side. This is well done old school German thrash in the Kreator tradition, with a touch of the early German speed metal scene (Heloween, Vectom, Warrant); fast, aggressive riffs attack you from beginning to end. There is no much variety, and all the songs tend to merge into one another, but the sheer intensity of the material will surely keep you entertained.
"Blood Money": eleven years later the guys have found some time again to record under the Guillotine name. There's no change of course music-wise, as this is a straight continuation of the debut: fast-paced Germanic speed/thrash this time spiced with slower tracks ("Insanity", "Dying World") which come directly from Kreator's "Outcast". "Madness" is a nice short lead-driven interlude, but the rest is a good reminder of the heydays of thrash metal.

Under The Guillotine full-length, 1997
Blood Money Full-Length, 2008

My Space


Two tracks of evil misanthropic black/thrash metal ala Megiddo with a pinch of cold groove ala Khold, the latter band also an obvious influence on the malicious hellish vocals.
The "In the Name of Evil" EP is only two songs, the 1st one "In the Name of Evil" being a catchy black/speed/thrasher ala the Swedes Bewitched, except for the evil, misanthropic unholy vocals; and the 2nd one being a cool minimalistic version of the early Bathory hit "Necromansy".

Satanic Salutations Demo, 2010
In the Name of Evil EP, 2010


A below average thrash/crossover band who actually sound more hardcore than thrash most of the time, and with the throw of some punk-ish elements here and there the thrash metal fan knows that he should stay away from this.

Bring Down The Curtain Full-Length, 1989

Vibrations of Doom

GUILLOTINE (USA, Manassass, Virginia )

Interesting stuff, mixing old school power and thrash metal with black-ish vocals; there are some folk melodies here present as well. Surprisingly this mix works well, and it would be interesting to see how far these guys can reach.

Off With Their Heads EP, 2005

Official Site


This band play groovy thrash without any surprises, mid-paced with death metal vocals coming through apparently to help the not very convincing main hardcore-ish ones. Despite the predictable nature of the music at display here, some intriguing guitar work can still be caught ("The Ghost of Denying").

The Ghost Of Denying Demo, 2007
The Three Knot Lane Demo, 2007

Official Site


Based on the full-length, this outfit offer radio-friendly power/thrash which is more on the modern side recalling Perzonal War and more recent Mokoma. Expect cool moderate riffs galore, mid to up-tempos, a few nice balladic moments ("Elysium"), and sparce ventures into more aggressive speed/thrash (the excellent shredder "Lack of Control"). The end is also on the more intense side with the mid-paced pounder "Preach to the Masses", and the closer "Down" which is a stylish nod to the Bay-Area with an admirable portion of hard-hitting guitars. The singer is a more throaty and more aggressive version of James Hetfield and leaves a positive impression with his semi-clean antics.

Boxed In EP, 2009
Leap of Faith Full-length, 2014

Official Site


The debut: excellent retro speed/thrash metal which mixes the dominating speedy antics with more laid-back ones ("Graveyard Fantasies", "Logarithm"); still, those can not stand on the way on high-speed explosions like "Invert The Cross" or "Ashes To Ashes", which will break your neck. A few stylish melodic "decorations" can be heard ("Priest Of Lucifer"), as well as clever technical ones ("Strike Of Death"), but generally there's no speed lost on this entertainig reminder of the good old 80's. The singer Daniel Rei? also takes part in the black/thrashers Thargos, and he also plays guitar for the Finnish classic heavy metallers Wizzard.
"PsychoMania" offers competent retro thrash metal which grabs you for the throat from the get-go with the furious opener "Circles In Darkness". The attack carries on full-throttle on "Into The Fire". The inevitable "pause for rest" comes with the slower "Infiltration", but the next "Psychomania" is already a more vigorous thrasher. "Fallen Angels" will surprise you big time being a nice full-blooded ballad, an unexpected, but nice, addition. "Nation Of Evil" partly captures the fury of the preceding material being mid-paced and melodic, but "Insurrection" moshes hard. "Witchdance" is a pleasant epic Iron Maiden-esque heavy metal hymn, and the listener may start wondering as to what to expect next since the sound has mutated into quite a few directions recently. Fortunately, the closing "No Remorse" shuts the album down in a raging thrashy manner, cancelling the bonus track "Maniac Metal" which is an otherwise nice take on the early Exciter speed metal boogie. As a whole this effort may not be better than the debut missing in the aggressive sector quite a bit, but its diverse nature will please a wider range of fans.
"Out of Disorder" will keep the band fans happy all over with energetic riffs, more technical arrangements, and additional atmospheric elements (the Orinetal hymn "Echnaton"). The title-track is a pure unadulterated headbanger, aptly accompanied by the galloping "Poetry in Black", and the aforementioned atmosphere returns with the gloomy doomy "Weight of Words". A string of three shorter tracks follows which lift the mood high, especially the speedy roller-coaster "John Rambo" which is a tribute to... Rambo, not Silvester Stallone, obviously. A 10-min closer ("Final Curtains") is a very ambitious finale, but the song works thanks to the diverse misucianship recalling recent Overkill and Forbidden.
"By Endurance We Conquer-Demons & Damnation": the long album-title nearly matches the duration of the album which comprises 20 tracks, but the quality of the music doesn't fluctuate a lot with melodic speedsters ("Deadline", "Marooned") taking turns with aggressive Slayer-esque bombs ("Bloodbrothers") and less linear, more technical developments ("Stonehenge"). The instrumental piece "Siege of Sardis" is the next in line display of bigger ambition with the melodic experimentations, the more jarring rhythm-section, the interesting psychedelic atmosphere, and the more flexible tempo changes; the highlight on this otherwise straight-forward effort.

Priest of Lucifer Full-length, 2009
PsychoMania Full-length, 2010
Out of Disorder Full-Length, 2014
By Endurance We Conquer-Demons & Damnation Full-length, 2017

Official Site


This is a decent mix of the classic and the modern sound jumping from energetic headbanging passages to heavier semi-groovy ones. The former are by far the more attractive side often coming with more intriguing semi-technical riffs ("Gun"). The jumpiness and the funky playfulness of some songs will also remind you of Mordred's "In This Life".

Heredity Full-Length, 1993


This band pull out decent Caucasian modern power/thrash which comes with a very boosted guiatr sound which deafens all the other instruments. "Fallen King" come swith a few spasmodic deathy blasts, but is an otherwise cool galloping shredder which is ably supported by the following "Awake!", anotehr attempt at a more aggressive play. The rest is considerably mellower, mostly mid-tempo, assisted by not bad clean vocals which don't have a range, but at least don't try anything risky and undesirable.

Eternal Dark EP, 2012


This band was formed by V.O. Pulver- one of the legends of Swiss thrash metal having taken part in many of the big names on the scene: Messiah, Poltergeist, Carrion. With the coming of the modern trends in metal in the 90's, he decided to follow them closely, and this band's style is prototypical modern groovy thrash akin to Pantera and Machine Head.
"Never Fail" doesn't stray too much from the aggro-path followed so steadily through the years ever since the band's inception although the opening title-track will shock you with fast raging guitars, and the following "Terminate" will not offer much relief, being an intense mechanical headbanger. Later on more invigorating thrashers can be heard: "Rising From The Ashes" as well as more clever arrangements ("Higher Meaning") with a pinch of technicality. "The Truth Will Leak" is more on the crossover/hardcore side with a dry industrial shade, and the final "Velvet Apocalypse" is a surprisingly lyrical doomy/semi-balladic instrumental closer, a really good touch showing the guys' more tender, but also more musically-proficient, side. Pulver, who also found time a few years back to form a band under his own name, specializing in doom/southern metal, sings in his staple angry throaty manner fitting the intense musical delivery, even carrying the odd shade of melody whenever needed.
"Fake" is a more light-hearted effort with less pretentious and much less heavy guitar patterns bordering on carefree speed metal ala Blood Money and Exciter on the opening crowd pleasing title-track. The promise later is fulfilled with the hard-thrashing "White Death" also featuring very cool melodic leads; and with the awesome speed/thrasher "Hunter of Dreams" which lifts the mood big time leading to other headbanging delights: "Near Miss" and "Neglected". This is a surprisingly refreshing offering from a band who are famous for their conservative stance, and it would be interesting to see how far their horizons can be expanded in the future.

Addicted full-length, 1995
Urd full-length, 1995
D-fect full-length, 1996
D-fect the remixes full-length, 1997
Down the drain full-length, 1998
Bedlam full-length, 2000
Encounter full-length, 2003
Bang! Full-length, 2006
Your Drug Of Choice Full-length, 2009
Never Fail Full-length, 2011
Fake Full-length, 2014

Official Site


Groovy thrash similar to Pantera with shouted hardcore-ish vocals.

Natural Hostility Full-length, 2002


The Compilation includes every single track the band have created so one will get thoroughly acquainted with their career when listening to it. The band's style is energetic thrash/crossover with deep semi-shouty death metal vocals. At the early stages this is pure classic stuff, but in the 90's it acquires more modern deviations mostly reflected in pounding proto-groovy passages although the dynamics seldom gets lost the guys sticking to the up-parametres more.

Demo Tape Demo, 1989
D.T.P. Sessions Demo, 1990
Disturbing the Peace EP, 1990
Off the Deep End Demo, 1992
1989-1992 Discography Compilation, 2006

Official Site


A somewhat uneven mixture of fast furious thrash/death metal of the modern type and heavy groovy riffage; in other words, this band brings you all the modern trends in metal; not that it's very bad: it's just that the guys are way better thrashing without any gimmicks ("Falling"), but the rest is a mish-mash of speedy guitars, stomping groovy sections, melodic gothic passages, and clean vocals as opposed to the main death metal shouts.

In Conclusion The Abstinence Full-length, 2005
Demo EP Demo, 2007

Official Site


Jumpy hardcore-ish post-thrash with references to early Pro-Pain and Helmet; this is laid-back unpretentious music with angry shouty vocals which manage to deliver a couple of more catchy choruses ("Standing Tall").

Never Forgive, Never Forget EP, 1999


The aggro-tendencies of the time are fully embraced on this obscure effort which shares some of the death metal ferocity of the early-90's adding a huge doze of destructive groovy riffs resulting in an earthquake of heaviness of the accumulating dramatic type despite its not very diverse nature and the consistent crushing effect which won't let you loose till the end. The singer further acelerates the depressig feeling with his apocalyptic semi-shouts ala early J.S. Clayden (Pitchshifter).

Demo Demo, 1995

My Space


This band features three brothers and apart from that a cool heavy fusion of thrash and death metal in the classic mould, mid to up-tempo, with nice crunchy riffs.

Bleed For Us To Live Full-Length, 1994
Gutted Full-Length, 1997


Based on "Blood Desire", these Aussies offer crushing modern thrash/death which blends fast and slow passages on almost every song creating a lot of headbanging dramatism as a result. The very guttural death metal vocals are interrupted by more tolerable screechy ones both suiting the dominant death metal sections the latter sadly obstructing the greatness of the purer thrashy pieces like "Divine Monstrosity" and especially the cool atmospheric mid-pacers "Burnt" and the more hectic "Depp Throated Knife".

Gutter Tactic Full-length, 2013
Blood Desire Full-length, 2016

Official Site


Guy Mann-Dude is a guitar virtuoso who displays his versatile talents on the debut which is purely instrumental clinging more towards the heavy/power metal field with a lot of shred, of course, which is of the less frantic type leaving quite a bit of space for the riff-work to be heard, too. "On The Verge" is a manic power/thrasher followed by an excellent speed metal cover of the Rolling Stones hit "Paint It Black". The closer "The Clincher" is also worth mentioning being another wild speed/thrashy/shreddy piece ala Cacophony.
"Mannic Distortion" is a very good album now introducing a singer, the music being invigorating retro power/speed/thrash metal quite close to Metal Church's "The Dark" and Laaz Rockit's "Annihilation Principle". "Hand In Hand (Death Walks With Life)" is a great opener, an intense speed/thrashing shred topped by dramatic high-strung vocals which cover all ranges with ease. "Against The Grain" is another aggressive speed/thrasher with lashing mid-paced sections, and "Blue Liquid Eyes" is the obligatory ballad, heavy and romantic at the same time, boasting great technical leads and sudden harder riffy insertions. "Broke Dick Dog" is wild direct thrash with Bay-Area overtones contrasting with the following "Faces In The Dark" which is a pretty good pensive semi-balladic composition recalling Onslaught's "Welcome to Dying" from "In Search of Sanity" with a cool chorus and crisp sharp riffs. The thrash metal "carnage" carries on with "Conformity (No, Not Me!)" and "Enemy", and some technicality sneaks in on the diverse jumpy instrumental "Swath Of Carnage" with Guy showing his skills in the lead department in the best way. "Let Me Out" is raging speed/thrash shred at its uncompromising best, brutal but also technical stuff, very close to being the highlight. The final piece is all-instrumental again, called "Gilda", and is in the balladic mode again except for a vigorous mid-break which will crush your skull. This is a great listen from beginning to end, and could have been a top ten pick in any year from the mid-80's. Guy used session musicians for the recordings of both albums, one of them being Barry Sparks: the bass player who specializes in helping solo musicians having also been recruited by stars like Yngwie Malmsteen, Dokken, Vinnie Moore, and Roland Grapow (Helloween).

Sleight of Hand Full-length, 1989
Mannic Distortion Full-length, 1991


The title says it all: this outfit, who later went onto bigger glories under the name Carrion Kind, had no vocalist at then beginning, and here are their early, all-instrumental efforts. The music is, needless to add, virtuoso-prone alternating many various tempos throughout although to these ears the better material is the less varied, more coherent one like the almost meditative "Groovie Do Me", and the stripped-down thrasher "Mean Fucker". "Black Exercise" is a very cool dramatic technicaller, the sheer highlight here, and the final "Seven Heavies" is an up-tempo roller-coaster with great impetuous shreds and a few nice melodic tunes. Well, it doesn't look like these guys are of such a dire need of a vocalist...

The Search For A Vocalist Demo, 2011


This band have made quite a name for themselves mainly because of their outrageous live performances where the guys do all kinds of "atrocities" dressed in their "out of this earth" costumes. The music has always been secondary when talking about Gwar and indeed, it doesn't give many reasons to be discussed too much; it is simplistic, mid-paced thrash akin to Carnivore, spiced up with hardcore and punk, plus the use of instruments like accordions, flutes, violins, etc. The musicianship is not very high, but on the last three albums some big change must have taken place: the guitar work is much tighter and more aggressive, the sound is decidedly thrashy (something which one couldn't say about much of their older material), and there are some really ambitious songs. Apparently the guys have decided to show to the world that music is what they are meant to do in the first place.
"Lust in Space" is quite a mixed affair with the guys pulling out quite an amalgam of styles (power, heavy, thrash, hardcore, punk, etc.) among which the power metal-based ones seem to work the best ("The Price of Peace", "Make a Child Cry"). It would certainly not put too many smiles on the thrash metal fan's face, but is enjoyable and crossover enough to please a wider spectre of metal maniacs.
"Bloody Pit of Horror" is expectedly a larger-than-life offering, but its headbanging potential is bigger with thrash and hardcore leading the pack here. At the same time, the catchy choruses have been increased making each song pretty memorable. Of course, there are a couple of really pointless tracks meandering somewhere between classic heavy metal and punk, including one not bad ballad ("You Are My Meat"; I know the title is hardly suitable for the tender stylish music), an interesting soft deviation, a not very common phenomenon in the band's voluminous catalogue. Still, in terms of fun this album can not possibly fall short, fulfilling all the expectations in this department, and as such will fare well among a wider circle of metal fans.
"Battle Maximus" is on the softer side the band just having fun playing mellow radio-friendly power/proto-thrash with more dynamic crossover implements. There is hardly a speedy passage to be savoured here, and this album can easily pass for the guys' softest achievement.
"The Blood of Gods" is pure heavy metal with very few relations to thrash if any at all. there's rock, there's blues, there's epic, in other words, expect our favourite spacers to literally space out beyond all imaginary genre borders... silly unpretentious fun if nothing else.

Hell-O Full-Length, 1988
Scumdogs Of The Universe Full-Length, 1990
America Must Be Destroyed Full-Length, 1992
This Toilet Earth Full-Length, 1994
The Road Behind Ep, 1994
Ragnar?k Full-Length, 1995
Carnival Of Chaos Full-Length, 1997
We Kill Everything Full-Length, 1999
Violence Has Arrived Full-Length, 2001
War Party Full-Length, 2004
Beyond Hell Full-Length, 2006
Lust in Space Full-length, 2009
Bloody Pit of Horror Full-length, 2010
Battle Maximus Full-Length, 2013
The Blood of Gods Full-length, 2017

Official Site


Interesting dark, gothic thrash with orchestral decorations; the music delivers the goods, and is a stylish blend of hard-hitting faster riffs and slower atmospheric ones. The main vocals, which are not very convincing gruff ones, are ably supported by a pleiad of backing ones which spring up all the time out of nowhere, and create a lot of dramatism. Tracks like "Fallen Angel" are mighty more straight thrashers, whereas other like "Extreme Aggression" (which doesn't really deserve its title, and has absolutely nothing with Kreator music-wise)) are more on the atmospheric sprawling side. "Silver Wings" is a great ballad with nice leads which are otherwise pretty ordinary on the rest of the material; this ballad, despite its undeniable qualities, influences the following compositions which never capture the intensity of the preceding ones. "Warlike Lord Of Pagan Land" remains in the melodic confines, being a cool quiet atmospheric instrumental. With "On A River Of Blood" the album returns greatly to more aggressive territories, and later on "Doubts" offers a really compelling mix of crushing riffs and epic-tinged melodies. The closer "Adage" is a fine stylish melodic instrumental with a marvellous acoustic guitar.

Gwrando Full-Length, 2008


Late 80's Slayer (their heavier and slower period) meets death metal; the vocals are strictly in the death metal camp, but the music, with a few exceptions, is thrash: mid-paced and heavy with the occasional blast-beat.

God Send Death Full-Length, 2006

Official Site


Two US blackers are responsible for this dark, but also quite melodic at times, black/thash metal hybrid which looks for inspiration at the very old school: think early Venom, above all, but this is served in a much more proficient manner with several more dynamic Exciter-esque explosions and sombre death metal vocals. The early Celtic Frost-esque dirge works very well on "Celige Burunmusler" and should have been "employed" more frequently rather than being sunk in carefree tunes near the end those dissipating the "darkness" coming close to the merry-go-round histrionics of Motorhead.

Balbal Full-Length, 2013

Official Site

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