Copyright (c) 2007-2024 THE THRASH METAL GUIDE 0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z G.I.S.M. (JAPAN)
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 extreme sounds to come in the future...
Detestation Full-length, 1984 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 preferable side reaching heavy 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 timbre.
Blood Will Flow Demo, 1990 G.O.D. (HONDURAS)
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 drama and emotion which are mandatory for this kind of music.
Burning the Flag Single, 1997 Official Site G.O.R.E. (FINLAND)
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 Official Site G.T.I. (FRANCE)
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 Official Site G'ROVA (ITALY)
"Unearthly Symmetry": Giovanni Rovatti, the guy from the prog-death wizards Aydra (previously Hydra), is striking under his own name. Expect quite arresting prog-thrash/death of the modern variety, with hectic abstract riffage (“Erase of the Results”) embalming the listener from the get-go, the frantic shredder “Necessary Force” and ‘The Nameless City” inserting a vital doze of dynamics, overwriting the somewhat cumbersome minimalistic “External Restrain”. The Voivod-ian psychedelia of “Unearthly Symmetry” is also well acknowledged, with both the frantic spacey “Lost” and the bouncy quirker “Anesthesia” handsomely supporting the non-linear cause. Rovatti sticks to a not very expressive but acceptable semi-clean mean-ish croon, recalling Jeff Waters (Annihilator) and more recent Mille.
The Lost Gate Full-length, 2021 Official Site G-NOMES (FRANCE)
Based on “Nouveau Depart”, this act serve intense pummeling retro thrash that hesitates between more volatile heavy cuts (“La Chair et leSang”) and straight-ahead violators (“Mensonged'État”), the latter ornate with a cool shade of melody. “Generation Sacrifiee” is a heightened speed/thrashes in the best tradition of the guys’ compatriots Killers, and the title-track is a formidable semi-galloper with reverberating ten-ton riffs. The vocals are subdued semi-recitals/semi-shouts, sat times recalling Thierry Andrieu (Killers).
Français Moyen Full-length, 2014 Official Site GABISH (JAPAN)
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 three songs, showing the more intense side of this nice little gem.
The End Of The World Full-length, 1994 GACK (USA)
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 GAE BOLGA (BELGIUM)
Early Germanic thrash metal (Kreator, Destruction, Necronomicon, etc.) is brought forth again (based on the full-length) 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 "Trash Assassination" 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 with their other project Wapenspraak & Drinkgelag.
Drink 'till Death EP, 2009 Official Site GALLINA NEGRA (HUNGARY)
This is very weird bizarre thrash/death of the old school that has to be heard to be believed. Minimalistic twisted stuff which is built around largely mid-paced crooked riffs the latter accompanied by a truly proficient funky bass presence, the deceitfully playful character of the title-track soon violated by spasms of irregular rhythms and surreal time-signatures, the "melody vs. jazz" eccentricity of "Siras Neve" befuddling the listener big time, with calm and turbulent sections taking turns in a somewhat random fashion. The vocals don't help much in the deciphering of the music conundrum with their subdued semi-declamatory baritone, the several attempts at hellish deathly shouts an even more perplexing additive. "Hiba" slightly speeds up in a merry crossover way, but expect a most uneasy ride with even death metal coming to shine at some stage, think Atheist's "Unquestionable Presence" for a good reference point, the headbangers spraining their necks on the fast-paced passage in the second half. "Mozdony" is a whirlwind of eclectic accumulations, a chaotic journey with a few noteworthy technical puzzles, Coroner meets Mekong Delta on those, the thick mind-stimulating miasma embalming this cut only partly dissipated by "Oszi Sanzon", a steady slow-builder with gradually-accumulating inertia on top of some entangled riff-vortexes, the drama achieved not far from the one on progressive metal pillars like Deathrow's "Deception Ignored" and the Russians Legion's "Knights of Cross". This is easily one of the finest achievements of the whole Hungarian underground, a visionary if not very accessible work of art that should find a bigger exposure for the off-the-beaten path recordings' seekers.
Hoseg Demo, 1991 GALLOWER (POLAND)
A hellish Polish trio who specialize in ripping old school black/thrash, the band racing with the speed of light at times ("Damned Cavalry", "Necromancer"), but there are also slower more battle-like hymns like "Gutter Rats" and a couple of mellower less-thrash bound moments (the epic power metal anthem "Phantasms Of Coven"). The vocalist is a hoarse inebriate semi-reciter who can suit any extreme metal genre.
Behold the Realm of Darkness Full-length, 2020 Official Site GALLOWS (ISRAEL)
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 second half, first with the sprawling "...And No One Made a Sound" and later with shorter but equally 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 GALLOWS PRIDE (USA)
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 GAMA BOMB (IRELAND)
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.
Survival of the fastest full-length, 2005 Official Site GAME OVER (ITALY)
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 moshers ("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 second part. The singer has a gruff semi-clean tone which carries quite a bit of melody of the semi-indifferent, punky variety.
Heavy Damage EP, 2009 Official Site GAME OVER (SLOVENIA)
Based on the EP, this act serve energetic classic thrash which is best exemplified by the opening headbanger "Hell Are People Around You", the rest sometimes containing cool atmospheric digressions (the title-track), or stomps forward in a complex progressive fashion ("Defence and Provocation"), "Last Notion of Living" reaching the prog-thrash parametres even with the inclusion of a lengthy balladic intro, the bass player pulling a standout performance on that one, the decent but hardly exceptional semi-shouty/semi-clean vocalist also trying to sound more attached on that one.
HATrEd EP, 1990 GAME OVER (SOUTH KOREA)
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 doom-guided ballad ("Hypocrite") at the end .
Game Over Full-Length, 1996 GAMMACIDE (USA)
Pretty good aggressive thrash/proto-death 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, like with the furious blast-beats applied on the hyper-active, near death-experiences "Shock Treatment" and "Gutter Rats", the intense shouty vocals pouring more both drama and tension into the boiling "pot".
Victims of Science full-length, 1989 Official Site GAMY
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 GANG (FRANCE)
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 riffs 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
"M.A.N." is a much more carefully plotted opus 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 stomps ("RUNS-1"), plus a portion of really stylish melodic leads on "RU-3".
M.A.N. Full-length, 1987
Sonicrime Therapy Full-length, 2001
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 drama, 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 marvelous return to the scene for the band who will hopefully stay around for longer this time with more frequent descents upon the fanbase.
Raising Decay Demo, 1998
Incandescent Full-length, 2002
180 DBA: Dawn of a New World Full-length, 2016
Antagonistic Anthems EP, 2005
Bitter Reality EP, 2007
One Thousand Blasting Words Full-length, 2006
The debut is another fairly attractive contrived riff-fest, Rovatti moshing a bit more for a start, mixing creepy spacey-ness ("Forgotten Things") with complex death metal-ish drama ("Fragments of Mind"), the psychedelic Voivod-ish atmosphere also roaming around, if we exclude the rushing mosher less fussy "The Lost Gate" and the linear pounding mid-pacer "Existence". "Archaic Knowledge" is knowledge in urgent fever-ish tech-thrash, and "Little Spheres" is a weird headbanging psychedelia with covert shades of hardcore, the latter also gracing the more entangled "Homesick", an eccentric merry-go-rounder which transcends into the bouncy avant-garde closer "The Drown"; hard-hitting thrash meets trippy abstract arrangements for a worthy highlight on "Killing Technology" even.
Unearthly Symmetry Full-length, 2023
Pensees Primitives EP, 2017
Nouveau D?epart Full-length, 2023
Violent MetalStorm Full-length, 2011
"Citizen Brain" is a smashing follow-up showing the band in fine form to produce great moshing 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 leveled 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 sixth 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 more 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...
"Speed Between the Lines" delivers in the same way as the guys' few previous recordings; which can only be a good thing as the entertainment factor is high once again with catchy optimistic frolickers like "Give Me Leather" and "666Teen" supervising the proceedings with their hyper-active goofiness, the more aggressive clout of "R.I.P.U" pairing well with the purer speed metal-ish excursions like "Motorgeist", and the more crossover-prone "Alt-Reich" and "Stay Rotten". Kurt Russell would invariably revitalize his career if he hears "Kurt Russell", the definitive mosher of the new millennium, a raging speedster the vocals acquiring admirable screaming qualities on this one, a hyper-active showdown to remember with the final "Faceblaster" another cut worth mentioning with its marginally more contrived layout. There's absolutely nothing wrong with this roller-coaster, the lads sticking to their guns with youthful enthusiasm and energy to spare.
"Sea Savage" is a slightly more optimistic recording, with fast merry-go-round rippers ("Judo Killer", the title-track) bordering on thrash/crossover, the setting coming even closer to the purer hardcore confines on the impossibly catchy "She's Not My Mother, Todd". Hold onto your chairs for "Lords of the Hellfire Club" and "Rusty Jaw", vigorous headbangers with vitality to spare, before "Monsterizer" turns to pure speed metal for a bit, the party wrapped on with the interesting, more technical "Ready, Steady, Goat!", and the hyper-active spin-arounder "Gone Haywire".
“Bats” doesn’t betray the band’s roots, the Oriental uplifter “Egyptron” launching the hyper-active assault on the senses, the latter easily reflected in face-melting brutalizers like “Living Dead in Beverly Hills” and “Materialize”, the more tamed layout of “Rusted Gold” evoking bigger gravity. No such films on the rest, the speed metal hymn “Don't Get Your Hair Cut” also reminding of the Motorhead exploits, and “Speed Funeral” justifying its title with another portion of fiery virulent riffs.
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
Speed Between the Lines Full-Length, 2018
Sea Savage Full-Length, 2020
Bats Full-length, 2023
The full-length features two 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" is the mild heavy/power metal filler which doesn't do much to help 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.
“Hellframes” is a much more relaxed speed metal-prone recording, the jolly uplifting opener “Call of the Sire” drawing the mellow line along which the album develops, with power metal (“The Cult”) and the ballad (“Count Your Breaths”) coming to play with determination, their idyllic qualities dispersed by the fiery “Deliver Us” and the dramatic progressive belligerence of the closing title-track.
For Humanity Full-length, 2012
Burst into the Quiet Full-Length, 2014
Crimes Against Reality Full-Length, 2016
Claiming Supremacy Full-length, 2017
Hellframes Full-length, 2023
Eclectric (full version) Full-length, 2008
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 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 pretty technical at times, delivery.
Demo Demo, 1991
Unknown But Surely Evil Full-length, 1995
Piece Of War Full-length, 2002
Dead Of Alive Full-length, 2007