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

I.C.O.N. (UK)

Based on "The Blacklist", these folks pull out radio-friendly post-thrash with shades of crossover the latter making the songs dynamic and generally more interesting. The pace seldom changes, though, and the listener may loosen his attention, especially on the couple of more laid-back, stoner/doom influenced pieces in the second half. The singer leaves a rather positive impression with his levelled clean baritone able to emit both emotion and indifference at will.

Control EP, 2006
Messiah Complex EP, 2007
New Born Lie Full-length, 2009
The Blacklist Full-length, 2015

Official Site

I.N.C. (USA)

One of the less conventional American thrash metal bands, I.N.C. play an interesting brand of dry mechanical semi-technical thrash slightly recalling Voivod and Equinox on the more experimental moments, and Intruder, or Paradox, on the faster and more straight ones. Both albums are full of interesting, stylish riffs and quirky moments although at least to these ears the speedy, direct sections work better creating nice, headbanging atmosphere. Some of the songs are long, but ironically, those are the less appealing ones as the guys simply stick to a certain number of riffs without much deviation. The band were earlier known as Genocide Inc., the style a bit more orthodox albeit still thrash-fixated.

The debut begins quite ambitiously with the 8-min and more composition "Indestructible Noise Command", which provides constant speedy thrashing, without losing the fast-tempo for a split second. "The Grip of Death" repeats the same formula, but "War Not Words" slows down, adding a very good bass bottom and stupendous lead guitar work, which takes a considerable part from the song. The more technical approach remains for two more numbers before "Fists from the Mighty" brings more intense thrash in a shorter form (only 4.5-min) which stays until the end with the bass making his voice heard quite strongly on the final "Passageway Through Purgatory". As a whole this effort offers a cool, albeit a bit uneven blend of direct and more complex thrash which could have been more appealing if the songs were at least twice as short.

"The Visitor" isn't miles away from the style of the debut, but the guitar tone is more abrasive, to the point of annoyance on the slower material ("Bed Time Stories"), and the faster tracks predominate, this time quite satisfying slabs of hard-hitting speed/thrash. If one manages to ignore the abrasive guitar sound, he will be able to enjoy this effort quite a bit, finished with the nice punk-ish cover version of The Cars' "Just What I Needed/Candy-O". Although the technical elements on this one aren't as obvious, it can pass for the better achievement with its more sincere straight delivery.

The "Bleed the Line" EP: both legends of thrash and underground phenomena rush to compete these days as to who will come up with a better comeback release so lets' welcome I.N.C. who were one of the earliest disappearances from the scene after two albums released in a quick succession. The EP contains six songs showing a band not having forgotten how to thrash in a cool energetic way, and to these ears the main annoyance comes from the singer (if that's the same one) who has acquired an unpleasant hardcore-ish semi-shout which is way inferior to his much better clean antics of old. The music is better, though, mixing classic and modern influences as the former clearly dominate producing cool headbangers ("Full Metal Jacket", "Fueled By Regret"), but the approach is pretty conventional and kind of unexciting citing more recent Exodus quite a bit, completely lacking the stylish sterile technical sound of their full-lengths. This is a workmanlike, "testing the soil" kind of effort, which would hopefully grow into something more striking on the eventual album...

"Heaven Sent...Hellbound": the eventual album is out now with all the six songs from the EP included. The other six numbers are inferior being more modern-sounding with not much life inside the exception being isolated sections from "Swallowed", and the intense headbanger "Audio Erotic Asphyxiation". The irritating semi-shouty singer additionally fails to convince the listener that this is hardly the best comeback album made in the new millennium seeing an old veteran struggling to bring back the magic of their old days sinking into mediocrity even faster than some of their "apprentices".
"Black Hearse Serenade" is just a tad better than the previous flop, and the opening "Stirring the Flock" tries to "stir" a moshpit with its dynamic headbanging guitars. More interesting moments follow later, though: the cleverly-constructed Annihilator-esque "Cyanide & Whiskey", an eventful composition with tasteful melodic leads; the dramatic crusher "The Lies We Devour"; the more laid-back quirky post-thrasher "Lucky #7". The end is underwhelming with the speed reduced considerably hitting the bottom on the closer "Love Like Napalm" which is an overlong (6.5-min) ballad bringing the album down. The band are still in a relative creative cul de sac trying to combine their old school sound with the modern trends, but this amalgam is still on the fairly average side despite the several more interesting moments encountered this time around.
"Terrible Things": it's not exactly terrible things that have been stirred here, and fans of old school thrash should be able to find quite a few things to like here with frolic thrashers like "Fist-Go-Rek" and "Declaration" ensuring the uplifting party atmosphere. The title-track rages with more passion, but "Pledge of Legions" calms the ball down with more laid-back power metal-ish rhythms. The album gains inertia afterwards with a string of intense moshers, with bigger ambition displayed on the more serious and not as aggressive "Nemesis". Not a bad effort at all, this opus can even pass for the band's finest hour since the reformation.

Razorback Full-length, 1987
The Visitor Full-length, 1988
Bleed the Line EP, 2010
Heaven Sent...Hellbound Full-length, 2011
Black Hearse Serenade Full-Length, 2014
Terrible Things Full-Length, 2019

Official Site

I.N.R.I. (HOLLAND)

A more aggressive version of the modern thrash/death metal of bands like The Crown and Terror 2000; the music is quite fast and brutal, staying closer to death metal.

Hyper Bastard Breed Full-length, 2002
Ultra Sonic Hatestorm Full-length, 2007

Official Site

I.V.R. (BULGARIA)

These Bulgarians provide modern post-thrash/power metal which is edgy and crushing, but seldom stretches beyond the Black Album conventions the singer also following James Hetfield's more recent vocal histrionics. "Dreadful Omen" tries to bang the head with a portion of more dynamic moments, but this is fun of the more moderate type with a fairly nice soothing ballad ("Soul Confession") as a finishing touch.

Soul Confession Full-Length, 2015

I'LL EAT YOUR FACE (IRELAND)

Based on "Irritant", this band, which is only two people, plays an extravagant all-instrumental mix of death, thrash, grind and progressive balladic sections which is quite technical and jumpy without being too brutal. The approach is modern, and never loses the dynamics also giving the melodic peaceful passages enough space to develop which may be considered a drawback by some since the compositions are too short, half of them closing around the 2-min line, and a bigger length would give this unusual blend a more complete form.

FatBoxLifeDestroyer EP, 2006
Now That's What I Call Manual Strangulation Vol. 1 Split album, 2008
Irritant Full-length, 2010

My Space

I4NI (USA)

This band boast a stellar line-up comprising of members from bands like Overkill, Warning Sf, Angel Witch, Exodus. Style-wise this is heavy thrash sounding like slower Exodus and Anthrax; good stuff, but somehow underwhelming, having in mind the all-star cast involved.

It's All Fun and Games Best of/Compilation, 2001
I4N EP, 2001

I ACCUSE (USA)

Fast punk-ish thrash/crossover with very short incoherent tracks, little musicianship (if any), and noisy semi-shouty punky vocals.

Split Split, 2006

I AM VENGEANCE (USA)

Modern laid-back thrash/post-thrash which is suitably intense on occasion the band shredding forward with assured steam-rollers like "Minnesota Nice", or the dramatic stomper "Devil's Wings". Just when one starts thinking that more speed would be advantageous comes "Cut the Tongue" to serve the more dynamic riffage as well as several melodic lead sections. This song, however, would be quite a contrast to the remaining material which is mild and pleasant with dark gothic overtones the harsh shouty death metal singer not quite fitting to this latter part.

Infect the Earth Full-Length, 2013

Official Site

I AM THE INTIMIDATOR (USA)

An optimistic elevating all-instrumental intro opens this cool tribute to the old school speed/thrash roster, which later develops in a both energetic spinning speed/thrashy manner ("Gasoline") or rolls around with heavy quasi-doom rhythms ("Eat the Smoke"), the decent clean-ish high-strung singer occasionally spattering his performance with scarier deathly growls. The title-track is an assured speed metal anthem, and "I Am Here...Now" is an imposing doom hymn with with scintillating lead pyrotechnics.

I Am the Intimidator EP, 2024

Official Site

I DONT KONFORM (USA)

This power trio specialize in rough old school thrash which can be pretty moshing (the aptly-titled "Mosh Pit"), but expect quite a few mid-paced walkabouts ("Defiant Breed") as well, with more frivolous thrash/crossover excursions ("We R I.D.K.") brightening the setting. The singer keeps to the mid-ranged semi-declamatory registers, pulling himself together for the more interesting deviations on the quasi-progressiver "Time to Go", but spitting only bile and venom on the curt nonchalant closer "Fuck Your Face".

Sagebrush Rejects Full-length, 2018

Official Site

I DREAM OF APOCALYPSE (USA)

Industrialized noisy modern thrash which has the requisite headbanging aesthetics and generally keeps the tempo up with overt shades of hardcore and crossover (check out the merry energizer at the end "Walk for the Bullshit") and Entombed-like post-death. "To Protect and Write Tickets" will scare the unprepared with its brutal blasting rhythms which are not encountered anywhere else and are even replaced soon after by heavy doom-laden ones on the long sinister piece "Goin' Out for Thai Food".

The Filthy End EP, 2012

I HATE SALLY (USA)

Based on "Don't Worry Lady": this band pull out a mix of thrash and hardcore, with a certain industrial edge. The vocals are awful hardcore shouts, but the guitar work is not too bad, often adhering to alternative moments. The songs are generally short, no longer than 3-min, but there are two monstrous tracks, in the 8-9min range, which sacrifice the more energetic tempos for bland dragging doom moments, and end up nowhere. "Iseah's Cancer" is a cool ballad, and is close to being the highlight of the album. "Mary! Mary!" is the band's tribute to the sludge/doom scene.

Sickness of the Ages Full-Length, 2004
The Plague EP, 2005
Don't Worry Lady Full-Length, 2007
I Hate Sally Vs GFK Split EP, 2007

Official Site

I SET FIRE (GERMANY)

Groovy 90's post-thrash which comes served with bouts of alternative elements and a few more dynamic shenanigans ("Dead but Breathing") The prevalent stomping tone is seldom broken, though, but when these breakages come, they provide the finest moments on the album: the epic blacky "Call Me Satan" which also features nice female vocals. The vocal delivery is fairly big here ranging from clean alternative croons to hysterical black metal rasps, not many of them fitting the style on display although the female participation is again not bad at all.

Destroy-Create-Transform Full-Length, 2019

Facebook

IAMDISEASE (SLOVENIA)

This band play direct stripped-down classic thrash/crossover which varies the pace "courting" at times the more modern sounds (groove, that is) ("Zelja Drugega") including the dragging doomster "Bregovi Dero-'cde Reke". Near the end the guys ultimately disappoint elongating the songs by making them boring slow experiences with repetitive monotonous riffage without any exciting moments. The vocals are another irritation being shouty and noisy with an abrasive edge.

Iamdisease Full-Length, 2012

Official Site

IBOGAINE (FRANCE)

Based on the EP, this band plays cool modern thrash, not miles away from mid-90's Voivod, and the new Eric Forrest project E-Force; the drummer from that band: Kopf, also hits the drums here. The music is dry and mechanical, but packs a punch, and sounds fairly intriguing, even finding time to thrash with the best out there: "Icon Curse". On the other hand, we have doom-laden compositions: "Zombi", which suddenly turn into a whirlwind of technical riffage. "Tibetan Terrorist" is more on the industrial side ala Ministry, whereas "React" doesn't stray too much from the mechanical thrash path carved by Meshuggah and Voivod.

Ibogaine EP, 2006
React Full-length, 2008

My Space

ICE (USA)

The name is cold, I know, but of you manage to overcome the "cold", you will hardly be disappointed. Based on the "Ice" demo, this band offer cool heavy thrash ala early Exodus and Testament, mostly mid-tempo with smashing riffs. "Walls of Oppression" suddenly turns to more up-tempo technical thrash, and is a pleasant surprise. The heavy riffage, however, returns for the demo closer: "Rasta Man", which is an interesting blend of thrash and reggae, so good that no one bothered to come up with a similar mixture all these years- ha ha ha!

Ice Demo, 1990
Demo Demo, 1991

ICE AGE (SWEDEN)

An all female thrash metal band; this is the band from where the legendary Debbie Gunn started her career, as a matter of fact. The style doesn't stray from the one practiced by other similar all-female bands, like Meanstreak and Original Sin, for example. The music is melodic, lacks a punch, but is enjoyable and catchy.
The full-length would be a big surprise as hardly anyone has expected the girls to come back in such an unheralded manner. But here they are, and the galloping swagger of "Hell Or Nothing" will pull in the listener instantly although the approach is more on the speed metal side, the girls also trying something friendlier and power metal-ish ("Clever"), the final result not far from classic Chastain except that the vocals are more lyrical and emotional, lacking the iron blend of Leather.

Demo Demo, 1986
General Alert Demo, 1987
Demo Demo, 1988
Instant Justice Demo, 1989
Breaking the Ice Full-length, 2017

Official Site

ICE FIELD KINGDOM (RUSSIA)

This act deliver all-instrumental pieces which are more on the modern speed/thrash side the hard-hitting riffs assisted by more or less obtrusive keyboards. This is imaginative stuff with twists and turns served within relatively short (3-4min) song-structures which are both fast-paced and dynamic and slower and pensive so a wide ground has been covered without sounding overdone. The only drawback is the computerized sound coming from the guitars which creates the impression that there may be just one person behind the music. Regardless, this is a cool effort which also provides several more quiet balladic moments for the tender hearts.

Civilization Of Decline Full-Length, 2013

ICE GIANT (USA)

A hyper-active blend of speed, thrash and power metal high on melodies and epic arrangements; the approach has its slower stomping side ("Obscuring Cloud"), but it's rousing speedsters like "The Tower" and "Wrath Of Justice" that keep the proceedings flying. The vocals are of the dual type, one is clean and attached, the other gruff death metal-ish.

Ice Giant Full-length, 2017

Official Site

ICED (BRAZIL)

This is officious academic old school thrash/death assisted by gruff death metal vocals. The militant march instigated on "Slaughter and Destruction" is interrupted by the more violent facade of the title-track, "Iced" reverting back to the more laid-back expletives with a near-doomy layout springing up at some stage, before a furious grinding break tears all the idyll to pieces. "Fatal Illness" carries on in the same overtly brutal manner, and "Human Weakness" switches to full-on death metal to finish off the squeamish with intense no-bars-held barrage.

Morbid Process Demo, 1996

ICED EARTH (USA)

These legends of American power metal had their feet firmly on thrash soil in the beginning. The self-titled debut is a brisk, inspired, albeit rough around the edges offering (but definitely not burnt!), full of highly-charged galloping speed/thrash rhythms ("Iced Earth", "Written on the Walls") which may make the more hot-blooded jump the horse and ride to oblivion deep into the prairies. Thrash with a Bay-Area tinge takes over on the excellent "Colours", and on the brilliant semi-ballad "Curse the Sky", one of the band's finest achievements. The aggression then gets mixed with a more serious, almost progressive song-writing to quite an impressive effect, for "Life and Death", the first-rate instrumental "The Funeral", and especially the monstrous closer "When the Night Falls" which, despite its colossal for the style 9-min length, seldom has a dull moment and never stops thrashing with force. Despite some flaws, mostly in the production and the sound-quality department, this album showed an outfit ready to keep the genre alive during its most difficult period.

Just a few months later, apparently encouraged by both the critical and commercial success, which surprisingly saw the metal masses still willing to part with a few dollars for more retro thrash stuff in the early 90's, the guys were back with another full-length. The bombastic orchestral intro of "Angel's Holocaust" and the opening balladic tunes may confuse the listener, but the speed/thrashing havoc soon springs up, nicely assisted by menacing operatic background vocals. Forceful thrash rules on the next "Stormrider", which again tries to deceit with a tender balladic start. Keyboard implements sneak into "The Path I Choose", but the thrashing madness there never stops. "Mystical End" is probably the lyrical deviation reminding of the great 80's American power metal scene, sounding more laid-back and controlled. No more of the kind, though, as "Desert Rain" is a vintage hard-hitting speed/thrash masterpiece, with one of the greatest choruses in metal history ("The desert rain... is changing me, It's called on me... to rise"), and a fine bass interlude. "Pure Evil" is "pure evil" Bay-Area thrash ala the Forbidden debut (which is the main reference point when talking about the early Iced Earth works), references also made with the title: non-stop riff-fest (with great bass performance again, accentuated on the middle break), after which the fan would hardly have any energy left to take one more colossal 9.5-min thrash metal opus which is the closing "Travel in Stygian". No complaints, as the guys have left their souls on this one, making it a really impressive take on more thoughtful thrash, bordering on the technical at times: a whirlwind of riffs and tempo changes, which come served with high-pitched vocals ala Rob Halford (remember "Painkiller") in the beginning, not heard anywhere else on the album, as opposed to the not very interesting, one-dimensional throaty main ones although John Greely does a fairly good job on the balladic parts, and his cleaner tone is by far his better side. It was pretty clear that he was on the way to improvement, but this was his last performance for the band as Matt Barlow stepped in soon after.

Three years later the guys are here again with a new singer on board: Matt Barlow, and the question about the musical direction immediately arises. To the fanbase's utter delight the guys continue in the same merciless manner, thrashing with full force all the way through, seemingly viewed as one of the very few defenders of the classic 80's thrash metal faith during the very hard for the genre mid-90's. The band's penchant for more complex song-structures springs up on the very first song: "Burnt Offerings", which despite the slightly overlong quiet break is a truly satisfying slab of vintage 80's speed/thrash. Then comes a string of stripped down speed/thrashing hammers: "Last December", "Diary", "Brainwashed", which will make you raise your fists high, as well as your middle finger to those who had said that thrash was long gone buried deep in the underground. The heavier, doomier side of the genre is honoured with the crushing riff-fest "Creator Failure". And, of course, let's not forget the epic-long closer which here reaches larger-than-life proportions with its 16.5-min; the name is "Dante's Inferno", and seldom will one come across a single dull moment. This is full-fledged thrash, seldom interrupted by the occasional more melodic, balladic interlude; the guys change the tempo frequently, relying mostly on galloping riffs, until the breathtaking outro where mighty sharp riffs meet a nice piano tune as both disappear out of hearing into the void...

This masterpiece was the band's last stop from the thrash metal train, and on their subsequent releases they chose the less edgy, more power metal-based side of the genre, and although they succeeded in becoming one of the most popular metal acts of the past 15 years, their early days are by all means those which contain the band's most inspired and creative moments.

Iced Earth Full-length, 1991
Night of the Stormrider Full-length, 1992
Burnt Offerings Full-length, 1995

Official Site

ICELAND (FRANCE)

Interesting and varied 80's thrash; there are fast headbangers, epic/pagan tracks, and slower ones close to Celtic Frost; a mixture which works well most of the time. The album opens in a shattering manner with the great aggressive smasher "Brain Washing". After that it slows down, and at least half of the tracks acquire this unique pagan atmosphere so typical for the Brits Sabbat: "Merry Sinner" is probably the best example of this influence. "Traces of Dreams" is a doom-laden, slow, heavy number, graced with stylish leads and meaty riffs. Then the music speeds up again, with shorter but effective moshers. The vocals are very good, although a bit dirty with this rough semi-clean blend, very similar to Chris Astley (Xentrix). Some of the musicians were also active with the classic thrash outfit Black Ghost.
The 2023 entry is a remastered, re-recorded version of the band’s debut; no major alterations save for two tracks (“Still Have to Pray”, “Final Mission”) missing.

Iceland Full-length, 1990
Iceland Full-length, 2023

Official Site

ICHABOD CRANE (USA)

Based on the demo, this act specializes in intense melodic modern thrash/death metal with progressive tendencies sitting somewhere between later-period Death and Dark Tranquillity. The tempo is pretty up for most of the time with loads of great melodic implements which shine through despite the several brutal blasting passages surrounding them. The singer is a high-strung semi-screamer with a lower tone applied at the appropriate times.

"Brimstone" contains the same modern thrash/death blend, this time a tad more melodic and more simplistic, also recalling the Finns Gandalf on the more laid-back moments. The speed has been preserved, though, even to the point of going over to the grindy side (the short exploder "Trust You"); and generally there's plenty of energy at display. "Cloister" is a great melodic mosher with addictive melodic licks and jumpy, semi-technical, rhythms; and the closing "Hail!" is an uplifting power/speed metal anthem also featuring clean high-pitched vocals.

The "Rot Your Brain" EP comprises playful speedy tracks, but the attitude is relaxed with a crossover feeling present, and the intensity of the preceding album can very seldom be felt (the Entombed-shaped headbanger "Huddled Masses" the sole exception), including in the vocal department where some clean punkish vocals sneak in to a hilarious effect.

No Son of Glory EP, 2008
Wearing the Horns Full-length, 2009
Redox Demo, 2009
Brimstone Full-length, 2011
Rot Your Brain EP, 2012

My Space

ICON-EIGHT (NORWAY)

Good classic thrash metal which manages to "Thrash The Moment"(and after it) quite well. The band mix furious, fast thrashers ("Torn Asunder") with moody, slower tracks ("Psycho Terrorizer"). The last song "Trial By Fire" is not a Testament cover.

Thrash the Moment! EP, 2006

Official Site

ICON IN ME (RUSSIA)

Although this act is based in Russia, it's actually quite international, featuring Tony JJ who also sang in the Atheist/Pestilence collaboration C-187 as well as the Danish drummer Morten Lorensen (Panzerchrist, The Arcane Order, among numerous other bands), leaving only the founder Artyom Sherbakov Russian-born. The music is your average modern thrash combining both heavy groovy sections and fast Swedish ones ala early The Haunted and Terror 2000.

Human Museum Full-length, 2009

Official Site

ICONKLAST (AUSTRALIA)

This obscure outfit specialize in fairly eclectic avant-garde, openly progressive thrash/post-thrash which seldom generates enough intensity to stir a mosh ("Wax 18", the linear proto-headbanger "Icon") at the beginning as the concentration is clearly on jumpy bouncy rhythms and not very standard decisions like the pronounced virtuoso bassisms on "Cantona Seven" which would make even Steve Harris envious; or the poignant lyrical balladisms on "Pyne Alley", or the weird semi-acoustic Orientalisms on "Northern Lights". Strange, strange stuff which towards the end abandons the bizarreness, and focuses on some really intriguing technical thrash (the headbanging delight "Daytona3", the creepy atmospheric "Cryode") with echoes of their compatriots Bezerker and even Anacrusis. The singer supervises the inordinately non-conventional proceedings with a leveled mid-ranged clean baritone without emitting too much emotion.

Zones Full-Length, 1998

ICONOCAUST (USA)

Based on "Judas Complex", these guys offer a semi-technical mixture of modern and classic thrash with excellent lead guitar work and a vocal duel between brutal low-tuned growls and much more melodic clean ones. The music is dynamic, never too fast, except for the intense aggressive death/thrasher "Nazi's Torch" which is a nice twisted technical number. Still, the highlight here is the galloping thrashterpiece "Road to Ruin" which also features a few complex passages, some of them quite fast. There are several quiet instrumental parts including the very cool closer "Pro a Pera Argentum" with a fine short female vocal inclusion.
"The Reckoning of Man" is less striking sticking to the modern patterns more often, but "Open Armed Conflict" is a sure-handed technical piece, very dynamic and intense. Surprises of the kind are no longer to be encountered later on (the album is only seven tracks long, two of which are peaceful balladic variations one of which is a tribute to Dimebag Darrell (R.I.P.) closing the album), but the title-track is also worth mentioning with its nice interplay between memorable melodic hooks and sharp biting riffs on a pounding mid-tempo base.

The Natural Evolution Of Metal Full-length, 2005
The Reckoning of Man Full-length, 2007
Judas Complex Full-length, 2009

Official Site

ICONOCLASM (USA)

Based on the self-titled effort, these folks offer unbridled retro thrash with a few modern throw-ins providing the headbangers with enough material to mosh till they drop. The dynamics is quite big reaching proto-blasting extremes on the short explosion "Executive Compensation". On the other hand, "T-Minus 10" is just a merry crossover cut which softens the end "The Sacred One" being a laid-back power/speed metal anthem, and the final "Bite Your Face Off" being another crossover, Motorhead-ish joy. The vocals are shouty semi-clean, and do sing at times.

Bite Your Face Off EP, 2014
Commence Your Fate EP, 2014
Iconoclasm Full-length, 2015

Official Site

ICONOCLAST (CHILE)

A potent mixture of thrash and death metal on a modern base "courting" later-period Death on the more inspired moments. The guys rip fast and tight ably assisted by an unobtrusive keyboard background. The occasional hyper-blast ("Serpiente Alada") has also been implemented, but most of the time the music flows in a speedy semi-technical way with vicious black-ish vocals helping on the side.

Naqoyqatsi EP, 2010

Official Site

ICONOCLASTIA (ITALY)

Classic thrash led by harsh death metal vocals; very good technical stuff which early jumps on the more thought-out scale with "Segno Evidente", a diverse piece with choppy not very predictable rhythms, proficient lead sections, and some straight-forward dramatic thrashing. "Desecrazione" also thrashes with quite a bit of style, some of the more furious passages easily bordering on death, the approach on that one closely resembling the one of the French Witches. "Disforia" is a highly stylized hecticer with frequently utilized stop-and-go rhythms, a really nice cut with a couple of wilder shredding passages as well, the bass player also making an admirable showing here alongside a breath-taking albeit overlong lyrical interlude. "Opera" more boldly ventures into the death metal realm, turning into a technical showdown at some stage, the frequent change of tempos and moods making this number the highlight here.

Iconoclastia Demo, 1994

ICY VALE (GREECE)

Cool classic power/speed/thrash metal with more aggressive death metal vocals; the first two tracks are fast-paced epic-tinged anthems which later give room to two longer doom-fixated compositions with nice female vocals, and despite the loss of dynamics the latter aren't bad at all with plenty of atmosphere and fine melodic tunes.

The Last Drop Of My Blood Demo, 2008

My Space

IDES OF MARCH (USA)

Power/thrash metal, a faithful, albeit hardly distinguished, echo of the dying at the time American scene; this is more on the mellower side with playful semi-galloping rhythms flowing effortlessly without creating any substantial headbanging opportunities. The "idyll" gets rudely "broken" on the scarily intense "Hellbound" which closes the album in a more rigorous manner. The singer is not bad fitting into the overall mild tone with his warm voice recalling Mike Munro (Meliah Rage). br>

Demo Demo, 1989

IDIOSYNCRAZIS (POLAND)

An obscure Polish act who specialize in aggressive old school thrash with acceptable semi-technical death metal elements, echoing both Death's "Spiritual Healing" and Pestilence's "Consuming Impulse". The guys play fast'n tight adhering to the up-pace mostly, with the casual disperses of technicality gracing the less speed-based numbers ("Mortal Way", "Unfulfilled Death"). The singer is a passable muffled semi-death metal semi-reciter.

Mental Wilderness Demo, 1991

IDLE RUIN (AUSTRALIA)

Based on the full-length, these lads pull out old school death/thrash which comes both technically-decorated ("Shackled for Adornment") and brutally virulent ("Sycophant"), the rough semi-declamatory death metal singer supporting the deathly cause more courageously. "Cult of Dominion" presents thrash in its less contaminated form, and "Diabolical Severance" is a more contrived trot with less regular rhythmic configurations. Some of the band members also play with the death metal outfit When Death Replaces Life, and the grindcore cohort Decapitated Mum.

Idle Ruin EP, 2020
The Fell Tyrant Full-length, 2023

Official Site

IDOL THRONE (USA)

Old school speed/power/thrash the guys recalling early-Iced Earth, above all, the more contrived tactics on "Unholy Warrior" also siding with the European side of the genre (Manticora, Paradox). "The Labyrinth" is a more relaxed, more immediate roller-coaster, and "Sacred Fire" is an epic rouser, the guys keeping the elevating factor high all over, including with the cool steady mid-ranged clean vocals. More complex progressive ("Last Full Measure") takes over on the second half, including on the encompassing 11.5-min title-track, but the band manage to pull off those more entangled nuances with the expected proficiency. The lads are also involved with the black/speed/thrash mixers Wraith, and the progressive metal formation Monolith.
“A Clarion Call” treads a similar trajectory as the one of its predecessor, the bristling but also poignantly melodic at times opener “Ecliptykon” nicely paving the way for the remainder among which one would definitely spot the contrived Manticora-sque shredder “Covenant of the Immortal” and the aggrandizing rowdy speed/thrasher “Petrified”. More aggressive less bridled riffage served on “The Last Voyage” before the title-track brings things back to near-hard’n heavy simplicity. This mellow etude by no means a filler, the guys carry on with the pulverizing odyssey “System Simulacrum”, a complex progressive with numerous time and tempo-switches, the undisputable highlight here, its compelling layout stifled by the closing all-instrumental semi-balladic idyll “Falconer's Cry”, a surely downbeat way to end such an otherwise interesting offering.

The Sibylline Age Full-length, 2022
A Clarion Call Full-length, 2024

Official Site

IDOLS ARE DEAD (ITALY)

Based on "Mean": melodic modern thrash along the lines of Metallica's Black Album and 90's Megadeth; this is feelgood stuff without any pretensions for a more aggressive play, flowing in the same mid-tempo energetic vein with good James Hetfield-like vocals and cool choruses. The closing track takes a more playful, groovy shade, going under the title "Twiggy" (could be a tribute to the legendary 70's model?!).

Mean Full-length, 2008
Human Museum Full-length, 2009

My Space

IFREANN (UK)

Based on the "Desecration" EP, this formation specialize in choppy retro thrash which is boosted by shouty death metal vocals and the odd sense of melody. The stomping academic pensiveness of "Raised In Hate" is cancelled by the brisk Bay-Areasque "Messiah", the crushing albeit dynamic heaviness of "Crushed By Tyranny" trying to combine both currents into one appetizing diverse melee.

Unearthly EP, 2019
Desecration EP, 2020

Official Site

IGNEOUS (UK)

Brisk intelligent, all-instrumental classic thrash emits from this EP; the band don't rely on speed too much, and vary things with more sprawling structures and a few borrowings from the modern school ("Route 666"). The second half kind of slugs a bit the speed being replaced by not very eventful mid-tempo patterns which don't generate too much interest despite the sharp edge of the guitars retained all over.

Igneous EP, 2012

IGNIS-FATUUS (JAPAN)

The debut: very typical modern Swedish thrash/death, melodic and dynamic, but pretty derivative and rehashed as well. The guys stick to thrash more where they manage to sound close to the Germans Dew-Scented ("Ignis Fatuus") and at least on half of the material the melo-death traps have been successfully avoided including on the impetuous semi-technicaller "Through Darkened Days", the highlight here recalling their compatriots Youthquake.
“Grayscale” continues the melodic friendly carnage with style, the corrosive impetuosity of “Leave It All Behind’ gelling well with the welcoming power/speed metal veneer of “Cold Blood Deceiver”. “End of the Line” more fully epitomizes the cleaner, more emotional side of the vocal duel, the Gothenburg canons paid a handsome tribute with the short concrete “Face My Evil”. “In Solitude” carries on in a similar vein, but this a more progressive achievement which isn’t very far from the mid-period Opeth endeavours even.

Through Darkened Days Full-Length, 2015
Grayscale Full-length, 2024

Official Site

IGNIS FATUUS (CZECH)

These Czechs pull out complex progressive power/thrash with very good bass performance concentrating on the musical delivery more leaving the otherwise good expressive clean singer aside. The compositions are quite eventful full of both melodic and hard chunky guitars seldom going for the really aggressive approach which still remains within the mid-paced confines. The extended version of one of the compositions "No Turning Back" is hardly necessary at the end occupying a lot of space (almost 10-min) without any visible merits except for a portion of merry optimistic leads at the end. Some of the band members press the pedal harder with their other formation, the death/thrashers Nahum.

Ignis Fatuus Demo, 2006

Official Site

IGNITER (USA)

Members of the thrash/crossover legends The Accused (the drummer Devin Karakash) were featured here at some stage; otherwise, this is pretty good classic power/thrash with echoes of Meliah Rage and early Overkill, with impetuous gallopers ("10 Little Piggies") enervating the setting assisted by very good emotional high-strung clean vocals. "Down and Out" is a heavy imposing epicer, and "Metal Rain" is a steady mid-pacer with a sudden speedy skirmish thrown in mid-way to everyone's delight.

World Suicide Demo, 1990

Youtube

IGNITION (GERMANY)

Based on the full-length debut, these folks serve a modern blend of power, speed and thrash where vigorous headbangers ("Unstoppable") interplay with quasi-groovy mid-pacers ("In Glory or the Sand", "Reveal My Way") with more epic-built progressive compositions ("I'll Take the Shelter") standing on the side. The vocals are cool clean, slightly hoarse trying to meander through the various moods permeating the album. Some of the band members are also involved with the power/thrash hybriders Synasthasia.
"Call of the Sirens" is quite comparable to the last few recordings of the guys' compatriots Paradox, but there's nothing wrong with that as memorable choruses, soaring melodies, and sharp cutting riffs will make the fan's day all over, the mellower power metal references ("Reach Out for the Top") also perfectly legitimate although it's the high-octane epicers like "Riding the Drakkar" and "Call of the Sirens" that go away with the laurels on this fairly cool offering which will also please fans of early Blind Guardian and Manticora.

We Are the Force EP, 2016
Guided by the Waves Full-length, 2017
Call of the Sirens Full-Length, 2020

Official Site

IGNORANCE (GERMANY)

"Legion": thrash/death of the classic type, mixing more energetic numbers with steam-rolling, Bolt Thrower-like ones; the music is never all-out speed, and the guys' infatuation with the pounding rhythms takes the upper hand more often. As a result this album might turn out a fairly tiring experience for the regular headbanger, with its repetitive one-dimensional lifeless approach.
"Bloodfed": the fast-paced death/thrashing title-track promises a more dynamic entertainment this time, and indeed, this album is relatively faster, but on the other hand at least half of the songs are full-fledged doom/death ala Beyond Belief and early Tiamat. Those numbers are well mixed with the more energetic material, although to these ears the opening track has no match later on, and one has no choice but to embrace the dark doomy sound offered for most of the time.

Legion Full-length, 2004
Bloodfed Full-length, 2006

Official Site

IGNORANCE (UK)

Based on the debut, these guys try to break the standard thrash formula in a way similar to another British band: Re-Animator, or the Americans Mordred: in other words, funk meets thrash metal. Ignorance are more of a crossover/thrash act, and have done a better job than the other two bands, simply because apart from all these new touches used they haven't forgotten to be a thrash metal band, and there's a considerable presence of heavy sharp riffs. Contrary to the debut, their sophomore release is a total disaster, very negatively shocking, having no ties to thrash at all, being very bland, unappealing funky alternative form of rock/wave: hello, Re-Animator!

The Confident Rat Full-length, 1991
Positively Shocking Full-length, 1992

IGNORANCE FLOWS (ITALY)

This act specialize in intense modern-ish thrash which seldom pauses for a respite although the overall delivery isn't constantly on the extremely moshing side of the spectre. Brisk headbangers like "Lethal Virus" and "Last Act of Violence" by all means dictate the plot, the bashing melee supervised by the aggressive shouty semi-death metal vocals.

Rotten Riot Full-length, 2018

Facebook

IGZORDIUM (USA)

Based on "Eremitic Vibrations", this outfit provides a modern thrash/death roller-coaster which blends melody, aggression, and a tad of technicality on a slightly fuzzy base. The speed gets lost at times replaced by more atmospheric Amon Amarth-esque sections ("This Blood Runs Cold"), but the hyper-speed outrages ("Wanted Dead") are just around the corner. The brutal low-tuned vocals are at times intercepted by capable clean female ones.

The self-titled debut is in the same vein, only more melodic (check out the short technical cut "Open Your Eyes") and not as fast, the clean vocal participation now being male, of the dispassionate alternative type. The guitars come with an abrasive, industrial edge, and some gothic melancholy ala mid-period Sentenced has been thrown in ("In Times of Darkness") for good measure, too. The closing "Forever In The Grave" is a more serious offering crossing furious, almost grinding, sections with much more romantic ones with a touch of Gandalf and Night in Gales.

"The Lost" starts engagingly with the melodic epic opener "The World Of Sin", but the "idyll" never settles in with "The Formation Of Life" blasting its way out in a merciless death metal manner. Still, the dominant approach later on is smashing, heavy thrash with a dark edge and a pinch of doominess ("The Broken Memories"). Then all of a sudden comes the merry melo-thrash/deathster "The Absence Of Life", and the picture gets quite varied, with the thoughtout 9.5-min title-track added in the 2nd half as well. Be prepared for something more monstrous, though: the closer "The Other Side" is 13-min of gloomy doomy music with a cool keyboard background; a pretty effective moody composition, a bit off-context, but engaging and expertly executed.
"IV" is another melo-death/thrash affair which has it all: the formidable fast-paced riffage, the imposing atmosphere, the clever semi-technical moments, etc. The problem is that the music too often meanders from one style to another looking for its more coherent face the whole time without being able to find it consequently calling for help even heavy and power metal ("Stellar Wind") at some stage. Overall this effort is decidedly the most melodic one of the lot its tender statement firmly sealed with the closing balladic instrumental "I Am Forever".

Igzordium Full-length, 2009
Eremitic Vibrations Full-length, 2011
The Lost Full-length, 2012
IV Full-Length, 2014

My Space

IKINAE (FINLAND)

Based on the "Alfons & Co." EP, this act offers melodic modern post-thrash which doesn't try to hide its infatuation with Metallica's Load/Reload period. This is laid-back carefree music sharing also some of the proto-doom vibe of Monster Magnet.

Lucky Seven EP, 2004
Second Symptom EP, 2005
Alfons & Co. Single, 2006

Official Site

IKILLYA (USA)

The debut: this US trio pulls out modern metalcore-ish thrash which is suitably melodic and fast, but music of the kind needs much more to make even a few heads turn these days, when this sub-genre is overfull with practitioners...
"War for an Idea" is a superior affair as the band have embraced the more orthodox metal canons, and the opening "Starve" is a promising headbanger. "Your God" reaches nearly death metal dimensions, but "Rebel" on the other hand is a more elaborate progressiver giving this not very pretentious recording a more serious aura.

Recon Full-length, 2011
Vae Victis Full-length, 2014
War for an Idea Full-length, 2017

Official Site

IKKI CRANE (USA)

Modern power metal with a few more aggressive post-thrash moments; this is peaceful stuff with an occasional hit potential which may bore the listener at some point providing a predictable mid-pace over and over supported by not bad clean mid-ranged vocals.

Dead Again Full-length, 2002

IL PASARO (BULGARIA)

Based on "Funthemental", this this young outfit specialize in choppy semi-technical modern post-thrash which shows its more brutal death metal side on the shorter material ("Skull Box") whereas the longer compositions ("Fundamental") drag a bit with their not very eventful riff-section. In the middle the situation becomes a bit groovy and less engaging until the doom hymn "Torment Days" hits the latter overshadowing the remaining pieces among which the closing "On My Soul" contains some intriguing Oriental motifs.
"Revived" is in a similar vein may be a bit more diverse containing both more aggressive (the opening "Soul Butcher") and more progressive, more atmospheric ("Dread to Death") numbers. The title-track is a cool choppy technical piece nearly reaching Coroner-esque heights in the middle, but alternative Tool-esque elaborations ("Stop Thinking I Am a Zombie") haven't been spared, either, including a couple of soulful ballads ("Sacrifice What You Pray").

Claim the Power Full-length, 2011
Torment Days EP, 2012
Funthemental Full-Length, 2013
Revived Full-Length, 2017

Official Site

ILEX (GERMANY)

Heavy creepy post-thrash with heavy mid-paced riffs and a good galloping section on the more energetic "The Deer". "Sleepwalker" goes into the other extreme being a high-octane doomster, and the guys' delivery kind of suits this particular side of theirs with the crushing guitars and the proto-groovy arrangements. The band members had a steadier and a more impressive presence on the scene as the retro thrashers Pyracanda, and later attempted another tribute to the groovy post-thrash 90's under the G-Reizzt moniker (self-titled, 1997).

Liebe ist... Full-Length, 1996

ILEX (SPAIN)

Harsh groovy post-thrash with a slight industrial edge; the riffage is ultra-heavy to a squashing effect at times, and here and there one can sense a more dynamic delivery although the band are intent on seldom leaving the steam-roller aesthetics behind. "Sleepwalker" is a pure doom metal pleasure, but generally the guys try to avoid the stoner/doom "traps" by often adhering to faster passages. The singer is a more attached semi-shouter who disappears on the final progressive opus "Nineveh" which is a really interesting composition with a wide gamut of moods and riff-patterns.

Quercus Full-Length, 2012

ILL EARTH (USA)

This obscure act provide quite cool, heavy mid-paced thrash topped by more brutal deathly vocals. The band try to capture the progressive aesthetics of acts like Psychotic Waltz and Toxik on engaging cuts like "Portrait" and "Twilight Of Fight", but the real winners here are the short hectic tracks like "War Machine" and the atmospheric shredder "Reality Obscure" which thrashes with passion moving up the speed scale with ripping sharp riffs.

Blown Demo, 1995

My Space

ILL OMEN (USA)

Based on the full-length, this act serve old school power/thrash supported by more aggressive death metal vocals. Heavy steam-rollers ("The Arrivals") take turns with even heavier doom-prone tunes ("Tread"), the instilling tedium dispersed by the livelier "Seven Sisters Road" and the more insistently thrashing complexities on the cool diverse closer "Await the Ritual".

Sword of Destiny EP, 2022
March of Decay Full-length, 2023

Official Site

ILL VISION (AUSTRALIA)

Based on the compilation, this act indulge in decent old school thrash/death that provides enough twists on "Road to Annihilation" to be labelled as at least semi-technical stuff, the same format preserved for the more aggressive shredder "Used and Abused", before "Black Friday" embraces the death metal trajectory almost completely, the short non-fussy skirmish "Loose Ends" also nodding in the same direction, leaving "Mortality" to cope with a few more laid-back balladic digressions, those naturally missing the harsh shouty death metal singer.

Music to Hate People To Full-length, 2007
Rise of the Underground Full-length, 2008
Loose Ends Compilation, 2024

Official Site

ILLEGAL BODIES (CANADA)

This act offers atmospheric modern power/speed metal modeled after early Children of Bodom with shades of thrash and black (think the progressive elaborations of later-period Emperor). The music delivers also being quite atmospheric with proficient leads and riffs, completely overshadowing the dispassionate clean, mid-ranged singer who is barely audible at times. When the guys get tired of the highly energetic delivery, they have a rest by dooming: the officiant sleeper "Eradication of Deviants". Well rested, they also try something hyper-blasting ("Re-emerge to Breathe") later on, as well as orchestral, Bal-Sagothesque arrangements ("Carrying the Fire"). The final "Necropolis" is a surprising power metal hymn, the singer trying something more expressive and consequently laughable which clearly shows his limited vocal abilities.

Mindflayers Full-Length, 2011

Official Site

ILLEGAL IDEAS (ITALY)

Rough blitzkrieg thrash/crossover with hoarse semi-shouty hardcore vocals; the middle is occupied by longer more sensible numbers where the approach is mid-paced and more thrash-prone. Despite the really muddy sound quality, the guys try really hard to impress, and in the long run their charmingly naive delivery could have found a few dozens of fans back then, especially with relentless moshers like the closer "Quando La Musica Morira" presented with such reckless abandon.

Quando La Musica Morira EP, 1988

ILLEGIANCE (UK)

A blistering debut EP of heads-down old school thrash which will make you headbang the way past masterpieces have: Vio-Lence's "Eternal Nightmare", Necrodeath's "Fragments of Insanity", Sacrifice's "Forward to Termination", etc. "My Temple, Your Tomb" is an explosive aggressive opener, followed by the more controlled and heavier "Betrayed". "Visions Of Torment" is a marvelous steam-rolling thrasher; the speed returns with the closing "Sombre Promise", which finds time to slow down in a nice atmospheric way before the final intense, furious thrashy section shoots the listener at close range. The singer has a very effective sinister singing style, coming as a vicious fusion of Rob Urinari (Sacrifice) and Marcelo "Flegias" Santos (Necrodeath). This is an impressive beginning which finely paves the way for the coming of the eventual full-length.

Disease and Disorder EP, 2005

Official Site

ILLUSION (SPAIN)

Based on the full-length, this Spanish trio specialize in energetic classic thrash, the sprightly blistering "Legacy of Greed" leading the hyper-active pack among which one will invariably select "Lost Generation", the definitive remorseless headbanger, and certainly the diverse progressive "Mr. Death", the brief thrash/crossover anthem "La Nº 7" keeping the spirits high until "Titans of the New World" mortifies them with a portion of heavy squashing riffs. The closing "Titans of the New World" is another short crossover hymn, the raucous hoarse singer not sparing himself too much without actually singing even for a split second.

Liberty for Sale EP, 2018
Born in Technology Full-length, 2022

Official Site

ILLWILL (SWEDEN)

Members of Mercyful Fate and King Diamond have gotten together with the intention to pay tribute to the modern thrash metal scene. And they've done a good job; this is nice modern technical thrash with magnificent guitar work courtesy of the mighty Andy LaRoque who, again, is in top form here. The music is like a more technical version of Fight's "War Of Words", the resemblance coming also from the vocal department where the guy really sounds like Rob Halford for most of the time, but you have to think of the vocals Rob used on the Fight works, and more particular, "Small Deadly Space". As a matter of fact, the vocalist whose name is Jonas Dahlstrom, comes from a Judas Priest tribute band named Desert Plains so it shouldn't be a surprise his open, and to these ears fairly successful emulation of the Metal God. There's industrial thrown in as well, and another band the music might remind you of, would be Skrew, but here the riffs are more interesting and the tempos more varied. Don't take it as a downpoint that the best track here is a ballad, "Eternal Sleep", which boasts very cool heavy guitar work and a strong vocal performance. Maybe, to compensate things a bit, the guys put the most aggressive song right after it: the excellent riff-monster "K.A.O.S.". Apparently a one-album project, Illwill are really worth checking out.

Evilution Full-length, 1998

Official Site

ILLYRIAN (CANADA)

This act were previously known as Hellborn Death Engines. The style remains classic thrash, heavy, stomping, but also technical at times like on the less predictable epic title-track which also calls death metal for help. "Opulent & Imperial" thrashes with a more officiant tone before "Chaotic Neutral" admirably speeds up and notches up the technicality once again also introducing nice melodic hooks. "Zeta Reticulan" is a catchy stomper with jumpy riffs translating its heavy aesthetics on the following "Mindbender". "Five By Five (The Dark Slayer Comes)" flirts with more technical arrangements adding a cool lead-driven virtuoso passage in the middle. The technicality remains for the epic speed/thrasher "Wings Of Freedom" and for the short, a tad more immediate "Technodrone". The closing "Sound of The Serpent Siren" rages hard as a finishing touch without forgetting about the more elaborate structures resulting in a fine intense progressive thrasher. This is a really good effort seeing the band as one very capable unit ready to do a bigger damage in the years to come.
"The Entity, Unknown" is a similar beast the guys trying to balance things between a more technical and more immediate performance the latter kind of prevailing in the long run thanks to more inspired non-fussy headbangers like "Grant Us Eyes" and "Xanthous". The melo-death aesthetics are too tangible at times making this album a not very legitimate tribute to the Gothenburg school.

Round 2: Fight! Full-Length, 2016
The Entity, Unknown Full-length, 2019

Facebook

ILTI MILTA (NORWAY)

Based on the "Wolves" demo, these lads specialize in semi-progressive power/proto-thrash of the old school, the dynamic but relaxed riffage of "A Cultural Speech" superseded by the heavy epic configurations of "War to the Knife" and the leveled mid-paced composure of "Invaders of Society". The singer is a not very expressive clean mid-ranger, recalling at times Chris Astley (Xentrix), fitting the not very eventful landscape, the highlight on which seems to be the bouncy more militant closer "The Final Step".
The full-length is a marginally more laid-back offering, the more abrasive guitar edge somewhat marring the classic intentions the latter also partly violated by the goofy fusion-esque tractate "My Last Mistress", a curious but misplaced proposition. There's very little thrash here, largely reflected in the several more belligerent rhythms on the final saga "Tides". The rest is a semi-ambitious psychedelia which sides more readily with the more recent, less death-prone Opeth repertoire.

Wolves Demo, 1990
Maze Demo, 1992
Sectors Full-length, 2013

Official Site

IMAGIKA (USA)

The band's self-titled debut is power/thrash with more emphasis on power metal- a good job, but not hard enough to be classified as all-out thrash. "Worship" is a good move in the right direction with thrash metal taking the upper hand. This eventually led to the band's finest hour, their third effort "And So It Burns", first-class Bay Area thrash from beginning to end. The band have the detrimental habit to leave big gaps between their albums, making a large part of the metal audience forget about them by the time of the next release. Fortunately, this tradition has been broken in 2006 when the band came up with an immediate follow-up to the excellent "Devils On Both Sides". Their last two albums saw the band going back to the mixture of forceful thrashers and more restrained power metal tracks.

"Feast For The Hated" follows on the steps on the last two albums; in other words we have a good blend of thrash and power metal, which reminds me of a thrashier, more recent Iced Earth this time, including the very good, Matt Barlow-like vocals, which in the clean sector surpass even him (check out the nice ballad "The Sick Sense"). The new implements are blast-beats on "Bleed As One Appease the Gods", which is a cool progressively-tinged song; the aggressive proto-death riffage on "Behind Immoral", accompanied by more brutal death-ish growls, but otherwise this is not very intense stuff, and as such falls behind the great "And So It Burns". Pure more immediate thrashers are nowhere to be heard, and all compositions mix the two aforementioned styles in almost equal dozes. "Thinning Out The Herd" thrashes quite intensely, but it still has its more quiet breaks. The other thrash peak is the speedy "New Power Succubus", which is all-out thrash almost until the end. The closing "Succubus" is traditionally longer and more complex, and here the singer is helped by a fine female vocalist who gives the song an additional gothic shade, an impression further "cemented" by the inclusion of some atmospheric sections; from a thrash metal point of view this song may not be of big value, but is truly a good piece of serious, thought-out metal.

The guys became a more regular presence on the scene now with three albums for the past four years, closing the big gaps which were so typical for their past. Still, to these ears the more thrash-fixated "And So It Burns" remains their finest hour, with the excellent reminder of the best from the 80's American metal scene "Devils on Both Sides" a close second, although the band's hyper-active retro power/thrash metal style epitomized well on the last two albums is on full-throttle on "Portrait of a Hanged Man" as well, again decorated with several more extreme elements (death metal blasts, etc.), and its encompassing sound will definitely leave a lot of fans pleased. More speed could have been better; now the majority of the songs are pounding mid-tempo power/thrashers with sharp heavy but repetitive riffs. Watch out for the beautiful short instrumental "A God No More" near the end where some of you may recognize the guitar of Mr. Andy LaRocque; he is the one responsible for the gorgeous leads there.
"Only Dark Hearts Survive": with the vocalist Norman Skinner busy with the side-project Hellscream, an excellent enterprise co-founded with the Cage guitarist Dave Garcia, the future of Imagika wasn't very certain. However, the man is back to work with his old comrades, and this next chapter from the Imagika saga should keep the old fans hooked as it presents the power/thrash hybrid from their earlier repertoire pretty much intact. However, intense thrashy surprises along the lines of "And So it Burns" are very sparsely provided the seismic restlessness of "Suffocate on Hate" not really passing for those; neither does the speed metal-ish frolicness of "The Spiteful One". "Firefight" marches on with more boisterous strides, but one has to wait for the closing title-track to finally feel the more encompassing spirit of "Devils On Both Sides" put on the table, a diverse power/speed/thrash conglomerate which still only partly justifies the ordinary, not very exciting character of the material before it. A lengthy break that hasn't made the guys' style more attractive, unfortunately... at this stage the Hellscream initiative seems the more viable one... by a long shot.

Imagika Full-length, 1995
Worship Full-length, 1998
And So It Burns Full-length, 2001
Devils On Both Sides Full-length, 2005
My Bloodied Wings Full-length, 2006
Feast For The Hated Full-length, 2008
Portrait of a Hanged Man Full-length, 2010
Only Dark Hearts Survive Full-length, 2019

Official Site

IMBALANCE (NORWAY)

This band were operating under the name Frost before, releasing a solitary demo with a style closer to black metal. Here the music is quite diverse: there is heavy groovy thrash, but quite often it speeds up acquiring classic qualities with good, hard-hitting riffs. The EP opens with the aggressive thrasher "Burial Of Consciousness" in the best tradition of Slayer and Vio-Lence which is partly ruined by the sloppy groovy ending; apparently the guys were warming the settings up for the groovy "Deprivation". "Ride the Blades" isn't faster but boasts cool sharp guitars and a very cool lyrical deviation in the middle. "Torn From My Time" is another ordinary groovy track, if we exclude the nice balladic mid-section with a gothic shade.

"Period Three Implies Chaos" is an intense modern thrash "monster" the guys moshing with full force all the way through making even the more laid-back slower moments ("Hellfire") sound intense. Slayer-esque aggression is easily reached on the short bomb "On Your Knees", and later one will encounter the excellent more complex piece "A Furore Normannorum Libera Nos Domine(Part 1)" (part 2 is apparently intended for a later release), a seamless blend of furious crushing and heavy pounding rhythms. "Burial of Consciousness" is a cool deviation into abstract dry technical thrash, followed by the "bestial" fast-pacer "Bestial by Nature" and the atmospheric stomping closer "Ease Your Pain" which is mostly heavy hammering riffs with sparse vocal participation.

Burial of ConsciousnessDemo, 2004
tab Bestial by Nature EP, 2006
Period Three Implies Chaos Full-length, 2010

Official Site

IMMACULATE (SWEDEN)

A decent attempt at classic thrash metal with nods to numerous practitioners of the genre, mostly "courting" the German school; the problem is that these guys want to be something more than just old school thrash-resurrectors, and they try something more elaborate and technical, but either the lack of clear ideas or musical skills lead these experiments nowhere, making some of the songs sound kind of clumsy and unfocused, something like a lesser and more aggressive Realm (USA). Sticking to the laws of more conventional thrash metal would serve these guys a lot better as it clearly shows on quite a few of the tracks with the song (and the album)-titles constantly referring to the genre at display ("Into The Pits of Thrash", "Satanic Thrash Uppsala", "ThrashZilla's Revenge", etc.).

"Atheist Crusade" continues the more technical tendencies heard on the debut, but now the final result is way better coming close to their compatriots Hypnosia, and even Kreator's "Coma of Souls". "Thrashark" is an awesome shredder with proto-death shades compensating for the slightly unfocused feel on the opening "Cross of Nero" which tries hard to reach Atheist (the album-title could be an allusion to the Americans?) heights to mixed impressions. "The Immaculate Dead" starts in a sleepy slower manner, but soon the mayhem begins, and this number is another technically-polished exercise in fast intense speed/thrash metal. "Sanity's Eclipse/Steel of the Missionary" is two songs mixed together, both fine attempts at fast technical thrash with numerous hooks and tempos including a brutal death metal exit. "Atheist Crusade" is a really ambitious composition closing on nearly 9-min ending up being a very good progressive thrasher with a lot of fields covered, the dominant one being fast and fairly complex broken by a cool lead-driven balladic interlude. "Thrash Metal Avenger" is a more immediate up-tempo piece followed by the fine surprise: the cover version of Fates Warning's "The Apparition" from "The Spectre Within", done faithfully with the thrash left behind for the sake of forceful heavy power metal riffs. The end comes in the form of the most brutal number "Gutterthrash" which is shattering blitzkrieg thrash which will tear you apart; not much room for more clever deviations, this is direct merciless attack which strays into a really good guitar "duel" ala Iron Maiden in the middle for a while. This is a really fine achievement which sees the guys finding the right way to blend the more straight side of their music with the more complex one to a pretty positive effect. Maybe one should give the debut another listen to try to discover some hidden "sparkles" of genius there as well...

Thrash, Kill 'n' Destrf1'f6yFull-length, 2007
Atheist Crusade Full-length, 2010

Official Site

IMMENSE DECAY (POLAND)

Based on "From Ashes Till Remains", this Polish outfit plays updated classic thrash with a boosted production which makes both the drums and the guitars a bit fuzzy. The pace changes from mid to up and vice versa, but it's the short bursting numbers which would make the fan's day: "Undertake the Warfare", "Killing Spree". "In the Hall of King" is a more moderate power metal piece, but it's more than welcome since this is where one can hear some really good melodic leads. The end is clearly underwhelming with the dragging heavy metal anthem "Army at Demand" which pulls the second half down.

The debut is in the same vein already introducing the fuzzy guitars and the boosted modern production. The approach is a bit more laid-back with a more frequent presence of mid-paced riffs consequently making this first effort inferior to the follow-up, pulled further down by the unimpressive groovy closer "Field of Fire".

KillZone Full-length, 2009
From Ashes Till Remains Full-length, 2011

Official Site

IMMENSION (UK)

Based on the full-length debut, this British trio indulge in modern melodic power/thrash akin to the Germans Perzonal War and the Poles Horrorscope. The approach here is probably a bit more biting as evident from energizers like "Lost & Forgotten", and especially the vigorous speed/thrasher "In the Dead of Winter". For most of the time the delivery is still on the mellow side the closer "The Father You Will Never Be" being a good emotional semi-ballad the vocalist doing a very good job with his dramatic clean performance.
"Worth Dying For" carries on in the same direction, melodic, occasionally bumpy, modern power/thrash with a few more officiant, epic developments. "Desire Is the Death of Satisfaction" is an admirable speedster, but the backbone of the album are less dynamic mid-pacers like "The World's a Stage" and balladic/semi-balladic pieces like "The Bitter End" and "For It All", with "Survive the Night" being the other more seriously thrash-fixated cut.

Abandon All Hope Those Who Oppose EP, 2007
The Enemy Within EP, 2013
In Vain Full-length, 2015
Worth Dying For Full-Length, 2018

Official Site

IMMINENT ATTACK (BRAZIL)

An "imminent attack" from Brazil this way comes and will rock your world big time with its no-bars-held retro thrash/crossover attitude and quite polished production values. Fans of Municipal Waste and F.K.U. will salivate over this spontaneous slab of energy and vigour ably supported by good clean semi-shouty vocals. Purer hardcore outbreaks are inevitable ("Secret Of Skin", "Mechanical Mind"), but more serious thrashers are immediately offered as a compensation ("Sweet & Pink" (ignore the silly title, this is some really hard-hitting stuff); the closing "Splact").
"Welcome to My Funeral" is another ripping "beast" which surprises with a brisk sound quality and sharp cutting guitars which lose their sharpness a bit on the shorter, more hardcore-prone numbers ("This Troubled Mind", "Abductors"). The guys have good fun moshing out also thrashing with force ("Work, Buy, Die", "Devil's Tattoo") whenever needed. There's nowhere a break from the non-stop fast-paced attack which lasts for just a bit over 30-min of very well spent time for the thrash metal lover.

Deliver Us From Ourselves Full-Length, 2012
", Couch Potato EP, 2014
Welcome to My Funeral Full-length, 2015

Official Site

IMMINENT CHAOS (BRAZIL)

This band play modern thrashcore which can be both heavy and dynamic, but the short duration of the tracks leaves quite a few ideas hanging in the air unfinished. "Dead Weight" by all means deserves its title being a seismic doomster accentuated by the aggro-deathly shouts of the vocalist.

Corrosion Of Human Essence Full-Length, 2006

IMMINENT PSYCHOSIS (AUSTRALIA)

Based on "Ruthless", this act offer cleverly-plotted thrash/death of the retro type. The guys play fast'n tight unleashing sharp fiery riffs at will, but the more moderate moments ("Concrete Boots") are also here. The end is occupied by two longer compositions where the diversity becomes too big to be followed closely by the listener who may lose the plot also scared away by the vicious semi-shouty death metal vocals. Some of the musicians are also active with the modern thrash/death metal outfit Order of the Buzzard.
"To Walk With The Dead" carries on in the same vein death/thrashing with power and speed the fast'n sharp rifforama never ending the short bombastic "Vitriol" bravely flirting with crossover to an amusing effect. "To Walk With The Dead" and "Master of Your Devastation" are more moderate power/thrashers with modern, also semi-balladic vibes, but aggression takes over from there and till the end the guys mosh relentlessly the final "Transcendence" trying to justify its title with a few more quiet "transcendental" passages as a finishing touch.
"Burying the Masters" would be a fairly pleasant surprise for the band fans being quite good old school thrash/death with impressive headbanging moments gracing almost every track, not to mention the excellent leads (check the ones on "Endless March"). The guys mosh with so much passion that one may consider cuts like "Web Of Delusion" and "Closer To The Grave" the ultimate exercises in primal headbanging retro thrash. "Ternal" goes towards less travelled this time deathly fields, and "Invocations Dwell Within" embraces this example even tighter producing the only blast-beats on the album. This effort can easily pass for the band's finest hour, and they surely have more potential to reveal in the future.

Imminent Psychosis Full-length, 2004
Ruthless Full-length, 2008
Arsonistic Pleasure EP, 2010
To Walk With The Dead Full-length, 2013
Burying the Masters Full-Length, 2016

Official Site

IMMINENT REAPER (MEXICO)

Based on "Walls of Death", this band play ripping classic thrash ala mid-period Kreator with the vocals also going in this direction, shouty hysterical rendings ala early Mille. Just when you think that you have figured out all the hyper-active bashing madness, arrives "Let the Blood Run" to offer a milder, more intricate approach based on heavy stomping rhythms those enhanced by a portion of more vivid riffs for a more thrilling, multifarious ride, also keeping the element of surprise in the air. Some of the band members also played with the death/thrashers Iron Force.

Evil Claims Full-length, 2013
Walls of Death Full-length, 2019

Official Site

INMODIUMM (MEXICO)

This is a project of someone Inmodiumm, Vol. 1, real name Jose Luis Morales Ochoa. This is a modern mixture of post-thrash and doom which can be more openly boisterous ("The Sacrifice") at times, but for more than half the time this is a tribute to the slow-motion side of the apocalypse, best exemplified by the vintage doom metal hymn "Get Suicide". However, comes "Weasel" and turns everything on its head with its sprightly hard thrashing riffs, "Double Trouble" following suit with another portion of fierce speed/thrashing expletives. The production is abrasive bordering on the overtly noisy at times ("The Unknown"), and the singer is a winner with his versatile performance, the latter ranging from lyrical clean tirades to spastic hardcore-ish semi-shouts.

Inmodiumm, Vol. 1 Full-Length, 2021

Official Site

IMMORAL HAZARD (GREECE)

The EP: tight retro/modern thrash metal alternating fast with slower tempos mixed on a fairly melodic base to which the gruff semi-clean vocals do not quite suit. The pace is mid for most of the time the finish a really nice touch being a marvellous acoustic balladic piece.
"Convulsion" is more on the classic side with the shadow of Slayer looming heavily over the faster material (check out the opening ripper "Pitch Black"). Still, there are a number of slower heavier numbers where the modern trends say their word more often, among which is the pensive melancholic "Vultures Dance" which leads another similar piece after it: the balladic "Dead End Trails" in the spirit of Lake of Tears. Near the end the approach gets more aggressive the band restoring their more brutal character which stays intact on the closing rager "Last Nerve".

A Minor Innovation EP, 2010
Convulsion Full-Length, 2014

Official Site

IMMORALIST (RUSSIA)

Excellent technical/progressive thrash with echoes of Death, above all, but also Living Death, Target, etc.; there's a slight Gothenburg influence in the guitar work as well, but it's aptly mixed with the precise, technical riffage. The band play energetically, and the up-tempo is constantly present although the slower technical breaks are also quite a few. Seldom does the music take blasting extremes ("Euphoric") for a while, but the listener's attention will be completely grabbed by intense technical experiences like the brilliant title-track which is an impeccable downpour of steel technical riffs supported by an outstanding bass bottom and a nice quiet balladic exit. "Potential Threat" is a masterful blend of melodic and technical guitars, an obvious nod to later period Death, graced by great speed/thrash deviations. "Totalitarian Slavery" takes your breath away with a fascinating balladic intro, before unleashing a more moderate, less speed-based approach to technical thrash. "Imminent Destiny" is the most melodic number on the album which also relieves the technical play, followed by the more edgy short instrumental "Paved Roads to Abstraction". Having lost its initial bite at this point, the album makes up with another Death-influenced song, "Without Judgement", a speedy thrasher, which serves well to pave the way for the glorious closer "Mental Liberation": technical speed/thrash metal at its best, a perfect "marriage" between fast and technical riffs until the end, again, in the best tradition of late-period Death. This is a more than welcome addition to the contemporary prolific metal scene although a bit more of an individual approach would not be detrimental if the guys want to move away from the hordes of the Death imitators of present times.

Progressive Demise Full-length, 2008

Official Site

IMMORTAL (DENMARK)

This unknown 4-songer presents well played evil intense thrash/death with wicked vicious death metal vocals with a witch-like blacky blend. The pace is fast without being too extreme if we exclude the sparse moments when the approach becomes pure death metal ("World Crack") for a short bit. The sound quality is quite muddy creating the impression that at times the bass and the drums are taking a break and don't participate in the barrage.

Presto Fortissimo Demo, 1991

IMMORTAL BLADE (USA)

Old school power/speed/thrash which has an interesting vocal choice, the guy sounding like a hoarser gruffer Lemmy (R.I.P.). This is energetic stuff which is characterized by the vivid "Hang the Masters High", but expect a couple of heavier steam-rolling occurrences ("Unbuild"), including the epic "Until the Last Blade Falls".

Regicide EP, 2022

Official Site

IMMORTAL (USA)

This obscure trio boast very good production qualities which are particularly obvious on the long Anthrax-worship "Outer Darkness" which is total shredding mosh at its most inspired best. The other compositions are very short cuts which are clearly rehearsals for longer achievements which the guys didn't have time to realise. The bass is very expressive and the singer is not bad at all with his attached semi-clean "recitals" clearly showing infatuation with Joey Belladonna.

Dead & Buried Demo, 1990

IMMORTAL CHOIR (BRAZIL)

Vintage speed/power/thrash metal with progressive tendencies, worthy followers of the Danes Manticora, early Blind Guardian and the Polish Hellfire; "The Battle of Moonstone" opens the album in a magnificent fashion, revealing all the beauty of the band's sound: fast-tempos, soaring melodic vocals, addictive melodic hooks, sing-along choruses (the cheesy side, and the only unmitigated failure), etc. "The Great Vast Forest" steps the pedal harder, acquiring death metal tendencies even, but the great vocals and the keyboard background soften the approach a bit. "Beyond the Mist" follows the same pattern, but "Eyes in Flames" is slower epic power metal. "Dance of Sacrifice" is progressive metal at its best, still quite intense and fast. "The Curse of Celith" is a heavy semi-ballad, but the closing "Fall of the Empire" comes with all the guns blazing: another progressive opus, quite heavy and aggressive, blasting out on quite a few moments, boasting a superb quiet acoustic interlude. So apart from a mysterious land, sheltering cannibal tribes and numerous exotic animal and plant species, the Amazon jungle has also something to offer to the metal fans, and if there's more of the same high quality out there, then it's high time one started exploring/digging there more seriously...

Beyond The Great Vast Forest Full-length, 2002

IMMORTAL CRINGE (USA)

This is a really good album of technically-minded thrash which rubs shoulders with the early works of the Dutch Paralysis and even with the legendary Sieges Even debut. There's more bizarreness going underneath here probably: check out the serpentine riff-patterns on the opening "Diminished" before the more aggressive hectic thrashisms on "Glass Room" put you on the tip of your toes. After the 3-min acoustic interlude "BC" comes the title-track to startle your world with an intriguing combination of straight galloping and twisted meandering riffage. Another deviation from the technical path is the short crossover joy "Drunken Guy", but the puzzling guitar decisions start over again with "Mend Your Trend" which also provides cool up-tempo moments. "Aimless" is indeed "aimless" being a half-min of calm serene acoustics, before the closing "I See" thrashes the environment with choppy swiftly changing rhythms in the vein of Realm also adding a few very cool bass implements. The singer semi-recites but does this with authority and quite a bit of pathos thus suiting the ever-changing musical landscape. It's a pity the band are no more; there was a lot of potential "lurking in the shadows"...
The demo is another no-brainer also coming with a very good sound quality, the delivery clinging towards the technical death/thrash hybridization movement (Hellwitch, Vacant Grave, Atheist). "Senseless" is an exquisite shredder which perfectly reveals the guys' consummate musical skills with bedazzling lead sections, steel precise riffs, and virtuoso bass implements. The vocals may take some time to get used to as they're in the mean screechy Kelly Shaefer (Atheist) camp, but who would complain about any unmitigated vocal pitfalls when the music is so arresting with "Evil Dead" unleashing a fury of more orthodox vitriolic riffs, with "V.C.I.H." bringing back the schizoid intricate skirmishes, not to mention the excerpts from classical music lore that are constantly circling around, reaching a culmination on the brilliant rendition of Antonio Vivaldi's "Summer". "G.Spot" is a joke, a direct fast'n furious proto-grinder, but watch out for "H.P.", a spastic thrash/deathster with brutal rifforamas packed within a bit under 3-min. Much more space provided on "Garza", a progressive thrash masterpiece which overcomes the initial inertia generated by a lengthy balladic etude where even some admirable clean vocals can be heard; part 2 is some of the finest moments from the technical/progressive thrash roster, consummate shreds and labyrinthine riff-patterns overlapping each other in a seamless all-instrumental fashion, the balladic introduction brought back for a still fitting serene finale. This effort is every bit as good as the full-length, way more than a dress rehearsal for it.

Eye See Demo, 1998
Undying Fear Full-length, 2001

IMMORTAL DEATH (DENMARK)

Based on the "Ihjel" demo, this band play retro thrash/crossover which clings between the carefree boogie of Motorhead ("Re-entering the Grave") and the heavier mid-tempo walkabouts ("The End of Depression"), the uplifting nature of punkers like "Death To Religious Fanatics" definitely elevating the mood, regardless of the singer's rough quarrelsome hardcore-ish tactics.

Ihjel Demo, 1990
Vomit Demo, 1992

IMMORTAL END (USA)

Not bad retro thrash which relies on both speedy proto-death ("Vein Lane") and elaborate pounding epicers ("Wasteland") to pull it through, with some academic doomisms arriving on "Aftermath" to darken the setting which received a few more additional morose strokes from the threatening harsh semi-death vocal department.

Avenger Of The Past: The Mad Scientist Saga Full-Length, 2020

Official Site

IMMORTAL SENSE (JAPAN)

These guys, who are known in their homeland under the name Enema, play modern melodic thrash/death metal which is predominantly up-tempo with several metalcore leanings and a couple of catchy power/speed metal hooks which are really good, by the way. The melody carries the album all over, but the same can not be said about the awful vocal duel between the lower and higher death metal vocals, which is traditional for this kind of bands.

Call It Anything Full-Length, 2010

IMMORTAL SIN (USA)

Classy music sounding like a more aggressive Intruder ("Born to Lose"), power/thrash ala Griffin, or Omen ("Dark Castle"), or stylish technical thrash in the Have Mercy and the Ulysses Siren vein ("Sonic Scream").

Demo Demo, 1988

IMMORTAL SOUL (USA)

Classic thrash of the heavy brooding variety not miles away from Infernal Majesty; the tempo is expectedly not very fast, except for the brutal Slayer-sque outbreak "Black Plague", but the guys are good at evoking atmosphere with heavy doom riffs and gruff semi-death metal vocals.

Immortal Soul Demo, 1992

IMMORTAL SOULS (USA)

Based on the “The Inferno” demo, this band play crisp retro speed/thrash that acquires nice progressive tendencies on “Immortal Souls”, the brisk sharp riffs unleashed on “The Entrance-Ante-Hell” a sheer delight alongside the levelled mid-ranged clean vocals. “Wall of Dis” is a brief concrete ripper, and “Malebolge” is another intense complexer ala Agent Steel and Holy Terror, the shadow of Nasty Savage also rising on the perplexing mid-section. Fiery lashing gallops will one come across on “Pit of Hell”, a fitting epitaph to this highly delectable obscurity.

Who Will Be Your Master Demo, 1988
Immortal Souls Demo, 1989
The Inferno Demo, 1989

Youtube

IMMORTAL SUICIDE (RUSSIA)

This act provide modern/classic thrash with low-tuned death metal vocals which are quite bad and barely heard. The music is just a bit better probably with a computerized feel to it and adherences to the Swedish trends in the style. The tempos vary from one song to another, but there is not much energy at display. The guys had another project running at the same time: the black metal outfit Winter Beauty with which they had one demo released in 2001.

First Step to Immortality Full-Length, 2002

IMMORTALITY (CZECHIA)

This is classic thrash topped by intimidating growling death metal vocals; the seeping dark atmospherics of cuts like "Smrtelna Infekce" gel well with more technical shredding exercises like "Chram Poznani", the lead guitarist a major star all over, his stylish melodic inclusions clearly the highlight, despite the presence of a prominent bass bottom on most of the songs. "Nebudem Spaseni" is an exemplary brooding intricate piece, the fast-paced "Kanibal" dispersing the claims at complex greatness, the latter justified at least half the time.

Born in a Casket Demo, 1992

IMMORTALITY COMPLEX (JAPAN)

This is an edgier thrashier version of Motorhead. The guys play it simple and direct with merry melodic guitars and hoarse drunken vocals modelled after... well. The tempos are in the mid-range which may be a complaint since a more energetic delivery could have made this effort more listenable which still benefits from several more intriguing sections with a progressive flavour ala Hawkwind which, needless to say, have no ties to thrash metal whatsoever.

Monochromatic Madness Full-Length, 2010

IMORTALIS (PORTUGAL)

This new formation offer standardized modern mid-tempo thrash/power which captures at times the steam-rolling greatness of Cerebral Fix, and sudden faster pieces ("Abstracted Fears") sound kind of misplaced and not really necessary "Necrophobia" being the more successful attempt in this direction. "Death Of Mother Earth" is another more convincing shredder which recalls the late-80's Metallica exploits including in the vocal department where the guys openly emulates James Hetfield the whole time, more or less successfully. Near the end the guys relax with a few less serious hardcore-ish cuts.

Confession Full-Length, 2000

IMPACT (CHILE)

This is classic thrash which rips through the speakers in a truly scintillating fashion thanks to uncompromising moshers like “Voice in Hell” and “Stone Colossus”, the aggressive nature of “Cuervos” challenging the vocalist as well since the man has to strain his vocal cords beyond the comfortable for him mid-ranged semi-clean perimetres. “Cannibal Sentence:” is a more entangled, more varied opus, and the title-track is the next-in-line smattering pulverizer. The band members are also involved with the retro thrashers Lethal Fist and the thrash/crossover unit Alitosis.

Trepanación Full-length, 2013
Confrontaci?ó?n Full-length, 2023

Official Site

IMPACT (ITALY)

This is friendly power/post-thrash with merry punk-ish rhythms and optimistic clean vocals also with a punk-ish vibe. The songs are all within the 5-6min range and contain this elusive quasi-progressive aura best expressed on the dissonant Voivod-ish "P.O.S.T." near the end.

Demo Demo, 1995

IMPACT (USA)

Pretty decent, also quite intense old school thrash calling to mind the Sacred Reich debut and Evildead's "Annihilation of Civilization"; this is fast aggressive music (check out the pummeling opener "In the Flesh") accompanied by good powerful hoarse vocals with an occasional more melodic octave. In the middle the guys have placed a more temperate longer track, more technical, with a slight power metal spirit, titled "It's the End of the World", and is a really nice galloping piece with a wide array of time and tempo changes. Elsewhere we have the optimistic title-track, another moshing occurrence; the short neck-sprainer "Kill on Kommand", and the Slayer-esque violator "When the Evil Takes Its Course", the band knowing no mercy throughout, the band adding a nice more technical sting on the still fairly brutal mosher "Plaque of Death".

Take The Pain Full-length, 1991

IMPACT WRENCH (USA)

Based on the "Attention Defecit Disorder" demo, these guys pull out cool thrash which manages to sound quite interesting most of the time. This is technical stuff, quite choppy and tempo changing, although the music never gets too intense (except on the closing riffs of "Believe in Extremes"). The sound is heavy with a strong presence of the bass and might remind you of Forced Entry, or even Forbidden's "Twisted Into Form" on the best moments ("It's a Personal Problem").

Violence Sweet ViolenceDemo, 1989
Attention Defecit DisorderDemo, 1991
Impact WrenchDemo, 1992

My Space

IMPACTOR (GERMANY)

Based on split with their compatriots Godslave, these youngsters play decent classic thrash metal in a galloping up-tempo with epic/pagan tendencies distantly recalling the Dutch Bifrost, and mean husky Schmier-like vocals. The guitar work is melodic with good leads and simplistic, but catchy, riffs, and suits the battle-like atmosphere well.
The "Prepare For Impact" EP offers typical Germanic speed/thrash metal without too many digressions this time sounding very close to early Destruction and Necronomicon nicely breaking the generally fast-paced mood with pounding heavy breaks ("Downstairs", the macabre semi-galloper "Frightnight"). "Twisted Insanity" is a glorious speedster with naive, but inspired, melodic leads which will also remind you of the early days of Deathrow, and "Thrash, Thrash, Thrash" at the end will keep no secrets, revealing everything by its very title, moshing left and right with crisp headbanging riffs.

The full-length is finally out and it will hit you with steam-roller riffs which can become quite catchy on the memorable anthem "Through the Wall". Just when one becomes worried a bit due to the relatively peaceful beginning comes the raging "Outatime" to throw you into a spontaneous mosh around the house ably supported by a string of faster-paced cuts which recall more mid-period Sacrifice ("Soldiers of Misfortune") rather than the German heroes from the past. No complaints, as the delivery is quite dynamic with plenty of melodic hooks scattered among the fiery riffage which has quite a bit of work to do on the closing "giant", the 11-min title-track which is a nod to modern day Kreator featuring quite a lot of music without losing the thrash metal idea.

Impactor Demo, 2009
Prepare For Impact EP, 2009
Thrashed Split, 2009
Arise in Decay Full-Length, 2012

My Space

IMPALER (JAPAN)

The debut: the blitzkrieg very concrete style of early Hirax is brought to the fore once again by these Japanese "tsunamis". Short speed outbursts will nail you down from the get-go, and you will stay there until the end, maybe getting up for a while on the longer and more diverse "I'm Alive" although within its more than 5-min one will hardly come across anything more than furious fast thrashing except for the heavier slower Slayer-esque break in the middle. The brutality goes a level up on the blast-beating "Dozaemon" and "Slave Of Master" for a while, but this can hardly be a complaint. The appropriately-titled "Thrash Genocide" near the end is a nuclear bomb of speed/thrash which will make even their compatriots Fastkill proud although in terms of speed the other songs are not very far behind. The only complaint comes from the vocal department where the singer semi-screams in a throaty hysterical voice although his sparse Tom Araya-sque piercing shouts are well worth mentioning.
"Eternal Hatred" carries on in the same vein the guys thrashing with no remorse now also recalling the Whiplash debut also in the screechy vocal department. The songs race with the speed of light at times like on "Sodomination" and the ridiculously-titled "Thrash Garlic Alien". The only respite would be the closing "Fast is Justice" which exits with a portion of heavier, mid-paced riffs bringing the winds of variation with it at the end.
"Nightmare Strikes Back" is another speedy beast, the band shooting a bullet after bullet into the furnace, the vehement nature of "Speed Hell Awaits" and "Fun to Kill" hard to resist by the sworn headbangers who will jump around like crazy all around, including on the short hardcore outrage "Slander Stop It!" and the surprisingly stylish semi-progressive thrash/crossover hybrider "Junk Brain...Putting Off".

Nightmare Attack Full-length, 2009
Eternal Hatred Full-Length, 2016
Nightmare Strikes Back Full-length, 2021

Official Site

IMPALERS (DENMARK)

This act, who were initially known as Rigor Mortis, indulge in cool intense retro thrash (based on the debut) which is big on speed all over with relevant galloping relieves offered ("Aggressor") along the way. "Nuclear Nights" crosses the border towards death metal and the overall approach recalls Sodom's "Tapping the Vein" quite a bit including in the vocal department where the singer impersonates Tom Angelripper fairly well maybe coming a bit more brutal. In the second half the songs become longer and a tad more complex and less energetic "When the World Hungers" slowing down considerably incorporating doom and balladic elements leaving the final damage for the furious closer "Death in Fire". This is a true sincere dedication to the old canons not offering anything new, but winning the fanbase with its direct no-bars-held attitude. Some of the musicians provide more brutal sounds with the death metal purveyors Disintegrated.
"God from the Machine" is another energetic affair the guys thrashing with reckless abandon shooting a "bullet" after "bullet" with the utmost intensity relaxing a bit on the semi-balladic "Beyond Trinity" which will remind of Metallica's "Fade to Black" in the beginning. Fillings will drop later on "Destroy the Meek" and "Ghost" although another meditative moment is provided later, the 8-min instrumental "The Walls of Eryx" which is again on balladic/semi-balladic side. The following number "I Am Revolution", however, is shattering thrash with strong death metal overtones reflected in several blast-beating passages ensuring the album's place as one of the surest headbanging picks for the fan in the year 2015.
"The Celestial Dictator" unleashes another vicious attack on the senses the guys thrashing with force the shorter material ("Color Me White") boldly bordering on hardcore as opposed to a couple or more moderate, more complex numbers ("Into Doom"). "Sun" is the leader of the headbanging fest here with "Believe" a very close second where nice cleaner vocals emerge to overshadow the main throat behind the mike whose mean shouty, deathly recitals become particularly venomous on the closing shredder "Antithesis".

Power Behind the Throne Full-Length, 2013
Prepare for WarEP, 2014
God from the MachineFull-length, 2015
The Celestial Dictator Full-length, 2017

Official Site

IMPENDING DOOM (GERMANY)

Like some other bands from Germany at around the same time, Delirious, Blood Red Angel, Desaster, Cockroach, Fatal Embrace, etc. these guys have tried to make us all feel like the 80's had never been gone. And they have managed to do that with their classic take on thrash which will remind you of early Kreator and Destruction, Razor's early undeveloped period, and they haven't forgotten to slow down here and there, where the order of the day becomes Celtic Frost/Hellhammer. The musicianship isn't on a very high level, but it wasn't very high in the early stages of the genre, either, so for nostalgic reasons this band score high. "Apocalypse III the Manifested Purgatorium" moves the band's sound into more modern territories, introducing black and death metal in the proceedings, also improving the production qualities a bit.

Caedes SacrilegaeFull-length, 1997
Signum Of HateFull-length, 1998
Blasphemy IncarnateEP, 2000
The great pale HunterEP, 2001
Apocalypse III The Manifested PurgatoriumFull-length, 2001

Official Site

IMPENDING DRED (USA)

Aggressive old school thrash/death supported by brutal death metal vocals; an intense violent melee built on short virulent sweeps ("Ultimate Evil", "Recipients of Death") where the significance of death metal is actually bigger, thrash recapturing lost ground with "Dawn of the Crucifiers", with "Bloodshed" the other more thrash-fixated number. The poor hissing sound quality is hardly a detriment as the musicians are sincerely inspired with this hyper-active barrage.

Impending Dred Demo, 1990

Official Site

IMPENITENT (UK)

The debut: a classic black/thrash/death metal amalgam produced by just one musician, the alias HT Bastard, the guy proficient in mixing all the three styles into one composition, creating interesting multifaceted experiences ("Never") in the process, the brooding mid-pacer "Pitiless Time" another plus on this intriguing offering which also covertly flirts with doom ("Fictional Lives, Mental Graves", the crushing Bolt Thrower-esque "Empowered Victim"). "Vision of Time to Come" resurrects the spirit of mid-period Bathory, but the harsh guttural vocals of the Bastard kind of ruin the picture on that one.
"This Time Its Personal" is a marginally more thrash-fixated affair, the band moshing with both visionary intricacy ("No Words (It's All Down Hill From Here") and far-reaching melodic virtuosity ("Fat Narcissus Covert Projection"), the surreal psychedelic progressivism of "Unholy Sacrament" a sure highlight, the guys looking at their death metal inspirations once again, with black metal showing its abrasive noisy head on "55". "Holy Mother" is another black/death conglomerate, the concise immediate "Filler" another display of musical proficiency despite its brevity.

Impenitent Full-length, 2019
This Time Its Personal Full-Length, 2022

Official Site

IMPERATIVE (FINLAND)

Old school thrash which hints at Bay-Area possibilities ("Code of Silence") for at least half the time, with ponderous doomy expletives ("Alternative Experiment") also roaming around, the leveled semi-clean singer doing a decent job to keep all stylistic swings in check. The steady mid-paced shredder "Cancelled" is a sheer highlight, "Decimation" following the same pattern with urgent fast-paced cumulatives, the closing "Tragedy" a real spoiler, though, a playful rocker without any merits, thrash or otherwise.

Fraction of Danger Full-Length, 2024

Youtube

IMPERFECTA (BRAZIL)

This is a one-man project, the name of the artist Nilmon Filho, who indulges in acceptable classic thrash which has both technicality ("Foreseen Demise") and energy (the opening "Consumed"), the sweeping speedster "Redout" combining the two currents into one sizzling high-brow melee. "Nuclear Deliverance" is a more melodic all-instrumental power/thrash proposition, affecting a few numbers afterwards like the sluggish "Death Row" and the modern quasi-groover "Once Upon a Race", but Filho wakes up towards the end with the short explosive "I Punch You Bleed", the closing "The Rise of the Sixth Sun" a lengthy progressive exercise in thought-out power/thrash. Filho keeps to a decent mid-ranged clean timbre behind the mike, pitching it more dramatically on occasion, his vocal demeanour at times recalling Dave Mustaine.

Broken Humanity Full-length, 2022

Official Site

IMPERIAL (FRANCE)

Based on "Aux Crepuscules", this band offer cool aggressive classic thrash with a black-ish edge. The opener "Le Narcissique" will startle you with its furious, ultra-fast approach, but later things get under control, although those blast-beating moments don't disappear completely, and grace at least half of the songs. "Vermin" is an excellent cover of one of the best songs of the Dutch Asphyx. "La Lune Rouge" is an awesome speed/thrasher, with great guitar work, followed by two similar, but shorter, ones: "Imperial", and the closing "Thrasheurs 13", which slightly betrays the thrash idea at the end, slowing down, adding a more melodic touch to the proceedings.

Aux Crepuscules Full-length, 1998
Thrasheurs 13 EP, 1998
Malmort Full-length, 1999
Moonblood EP, 2002

My Space

IMPERIAL SLAVE (NEW ZEALAND)

The self-titled debut shows a band who mosh with conviction, mixing thrash and death metal on a sizzling hyper-active base, the shattering "Imperial Slaves" and "Black Mass" obliterating meeker mid-paced propositions like "Liars/Traitors", the shouty death metal singer not sparing himself behind the mike. The closing "End of Empires" is an admirable tech/prog-fest with several intriguing twists and turns, including a quiet balladic interlude.
"...Still at Large" treads a similar path, blending overt displays of brutality ("Who Rules the World?") with choppier more intricate pieces ("Those Who Serve"), the non-fussy trajectories drawn on "Origin" juxtaposed against the entangled shredding of "536" and the lyrical lead-driven cover of Beethoven's "Moonlight Sonata".

Imperial Slave Full-length, 2021
...Still at Large Full-length, 2023

Official Site

IMPERIATOR (CANADA)

This Canadian duo serve old school black/thrash which is both cavernous and atmospheric ("Betrayer of the Gods") and ravagingly intense ("The Pain of Salvation"). The 8-min instrumental odyssey "Hymn to Neptune" is a cool progressive achievement, largely a doom-laden orchestral tractate, missing the screechy raven-like vocals.

Resurrection of Ancient Hymns Compilation, 2022

Official Site

IMPERIOUS REX (USA)

Based on "The Beast", this act specialize in old school speed/thrash which is spearheaded by mean spiteful semi-shouty vocals. The delivery is vintage early Destruction and Necronomicon, also recalling another not very known German outfit, Violent Force. The guys mosh with passion, with short biting bullets ("Better off Dead", "Grindstone") breezing by, with a couple of appetizing melodic hooks ("Full Bore") dissipating the somewhat one-dimensional speedy saga.

The Beast Full-length, 2007
Speed Demon Full-length, 2009
Metal Damage Full-length, 2010

My Space

IMPERIUM (CANADA)

Based on "MMX", this guy (there's only one musician involved in this project) plays cool modern-ish power/thrash metal with progressive elements. The music is predominantly mid with frequent Oriental "ornaments" with the lead guitar playing the main role. There are quite a few quiet balladic moments stretching into two whole compositions, both not bad at all with good guitar performance. The riff-work falls behind a bit being of the less imaginative heavy type with a certain shade of doom.

Imperium Full-length, 2009
MMX Full-length, 2010

My Space

IMPERIUM (HOLLAND)

Another buried treasure dug out of the Dutch underground; the high level of musicianship, though, shouldn't come as a surprise considering that two ex-members of Sacrosanct take part here; the same ones who left the latter act after their debut "Truth is-What is". The music here is more progressive-based with both power and thrash metal assisting in almost equal dozes. "Too Short a Season" is a dramatic piece in a relatively slow tempo with an echo of Lethal and mid-period Fates Warning, but the following "Play of Compassion" is a creepy puzzler ala Psychotic Waltz's debut, again not the fastest song in the world, but quite compelling with its razor-sharp riffs and sudden tempo-changes. "Chemical Dreams" follows a similar pattern in the first half, before turning into a faster thrasher in the second one by preserving the twisted riffage. "Silenced" is a heavy steam-rolling piece thrashing hard with smashing guitars and sparse balladic adherences. "Left Meaningless" develops those balladic tendencies fully to a positive effect being a cool heavy ballad with great leads and a pounding rhythm section. "...To the Things that were..." offers a full compensation for the several more quiet moments encountered previously with forceful cutting riffs which speed up nicely towards the end in a sure-handed Hexenhaus-esque fashion. "Messiah Mask" is both fast and technical with echoes of the German underground "warriors" Flaming Anger, with the short balladic passage in the middle increasing the drama assisted by the next portion of sophisticated virtuoso leads. "Slip of Tongue" is the guys' tribute to the doom metal scene, a heavy crunchy piece in the vein of Pathos and Morgana Lefay. "Awakening" is 8-min of pensive proto-doom progressiveness, the only underwhelming composition on this very good album, a slow thoughtful number with shades of Queensryche and Fates Warning again. The singer is the perfect match to the music with his dramatic emotional timbre which never leaves the mid-parametres, but ably assists the complex musical delivery the whole time also given quite a space to perform on the more laid-back moments. Some of the band members are still active now under the name Sphere of Souls, but the style has shifted towards more temperate progressive metal with more frequent balladic stretches.

Too Short a Season Full-length, 1993

IMPIETUS (BRAZIL)

This is dark atmospheric black/death/thrash of the old school, which can become fairly wild and unrestrained ("Blood") on occasion, but the appropriately chosen melodic implements keep coming an nearly every composition, the varied saga "Burn" smelling doom on the more controlled moments, whereas "Drown Us All" is a short compelling speedster matched by the semi-technical shredder "Blind Eye". "Candyman" is a tribal groovy filler, totally off-context; and "Killer" is a short industrial oddity, synthesizing the intimidating guttural death metal presence behind the mike.

Demons Full-Length, 2023

Facebook

IMPIETY (RUSSIA)

An obscure act offering intense fast-paced retro thrash with a couple of nice insertions, like the flamenco guitars on "In Search of Yourself". "Forces are Together!" is a heavy pounder breaking the formula for a while, but the rest doesn't lose speed and sharpness unnecessarily despite the slightly abrasive guitar sound.

The Step in Flame Demo, 1995

IMPIETY (SINGAPORE)

Throughout their career the band stick to a very furious, aggressive mix of black, death and thrash metal which serves them well, although very often the intensity is too big for the average thrash fan to handle. Their style resembles Impaled Nazarene, early Destroyer 666, and another act from the Far East: the Chinese Resurrection. The last two full-lengths come with a more controlled, almost technical guitar work, although the aggression still reigns supreme.
"Terroreign (Apocalyptic Armageddon Command" is another very fast and intense black/death/thrash blend, with the tempo seldom going down to mid. The hyper-blasts are everywhere, and it's only on the final "My Dark Subconscious" when the guys take a break with heavy mid-paced riffs, but this is "nicely" compensated by the ultra-hyper-blast ending, the most furious part of the album. Impaled Nazarene are left way behind on this effort, both in terms of speed and brutality.
"Worshippers of the Seventh Tyranny" is an ultra-brutal hyper-fast amalgam of black, death and just a bit of thrash metal. This is easily the band's most aggressive release, with the breaks coming in the form of stomping doom sections ala early Celtic Frost the latter not many at all, so don't rely on them too much to save you from this intense head-splitting downpour.

The guys are eager to play, and here comes an EP less than a month after the full-length, to provide a more restrained slab of thrash and black metal with the former given more chances this time to stand for itself with sharp riffs resulting in the nice epic 8-min thrashy opus "Blood Ritual Defamation", and the much more aggressive super-fast "Advent of the Nuclear Baphomet". "Ave Satanas", the other song, is pure hyper-blasting black metal with a few more laid-back relieves.
Productivity is the name of the game when mentioning these guys, and "Ravage & Conquer" arrives to please the band fans with its relentless brutal delivery which this time goes over the borders of the good taste with super-aggressive chaotic blasts which turn this album into a really tiring listening experience. Needless to say, thrash is a distant memory here. Since the compositions are long (6-8min) one can only beg for mercy provided that the band seldom stop bashing violently until the "gory end". If the band want to compete with the speed of light, then they have all the rights to do so, but the listener may lose the plot here more than now and then all this coming as one often impenetrable wall of sound created for brutality's sake which only shows a little bit of subtlety at the end on the good cover of Bathory's "Sacrifice".

Salve The Goat...Iblis ExelsiEP, 1993
Asateerul AwaleenFull-length, 1996
FuneralightEP, 1997
Skullfucking ArmageddonFull-length, 1999
Kaos Kommand 696Full-length, 2002
Paramount EvilFull-length, 2004
Formidonis Nex CultusFull-length, 2007
Terroreign (Apocalyptic Armageddon Command Full-Length, 2009
Goatfather EP, 2010
Worshippers of the Seventh Tyranny Full-length, 2011
Advent of... EP, 2011
Ravage & Conquer Full-length, 2012

Official Site

IMPIOUS (SWEDEN)

One of the better practitioners of the modern death/thrash metal mix; the music is along the lines of The Crown, The Haunted and the likes. Impious are perhaps more aggressive, with their sound staying closer to death metal.

EvilizedFull-length, 1998
tab Terror SucceedsFull-length, 2000
tab The KillerFull-length, 2002
tabtab The DeathsquadEP, 2002
tab HellucinateFull-length, 2004
tabtab Holy Murder MasqueradeFull-length, 2007

Official Site

IMPLEMENT (BRAZIL)

This Brazilian trio pulls out vigorous headbanging thrash of the old school, inevitably having its shifts, both into very fast and slow waters all this creating a somewhat disjointed feeling, a situation hardly improved by the very brutal low death metal grunts.

Decaptated EP, 2006

My Space

IMPLOSION (CANADA)

Wow, this is one of the rawest, most brutal, also amateurish thrash/death recordings to ever grace these ears; a wall of noise which surprisingly becomes more comprehensible on the 9-min odyssey "Asphyxiation", a semi-messy conglomerate of doom and thrash/death, with some of the most guttural vocals on the scene. Pristine violent barrage, above all, for completists only.

Surgically Altered Demo, 1992

IMPOSTOR (ARGENTINA)

The debut: this formation specialize in modern thrash which straddles between ripping headachers ("Idio") and friendlier heavy rockers ("Cordero de Dios"), the equilibrium tipped towards the mid-tempo proto-groovy side where steady shredders like "Poseida" and "Cautivo" belong. Watch out for "Ser o Ser", an impetuous headbanger which alone can catapult you out of the chair, the shouty deathly vocals changing the pitch here and there, but largely creating a noisy background and not much else.
"Jardín de Cadaveres" carries on in the same direction, the intensity nearly reaching proto-death dimensions initially ("Oraculo", "Cosecha de Sangre") with a string of moshing pieces, the meeker rhythms of "Nocivo" mortified by the surrounding spams of aggression, amongst which "Vindicta" is another more welcoming, more lyrical proposition.

Liber Tenebris Full-length, 2019
Jardín de Cadaveres Full-length, 2024

Official Site

IMPOSTOR (NORWAY)

This is another band where Messiah, the former member of Mayhem, used to play in the past, along with the legendary Faust: the man behind the black metal icons Emperor, and a current member of the thrashers Blood Tsunami. Based on the "Little Hitler Illusion" demo, this is played just for the fun of it Hellhammer-like black/thrash, so don't expect any high achievements music-wise. There are moments where the guys (apparently drunk) make fun of some children's lullabies, or military marches, or everything in between. This is hard to be taken even as a rehearsal for the much bigger things awaiting the band's members in the near future.
The "SNS-Still Not Satisfied?" demo contains more serious and more aggressive music evolved around varied (both fast and slower) thrash/crossover, but the sound quality is so bad that it leaves quite a bit to the listener's imagination at times to figure out the details on the not very clearly heard sections. Still, it remains a fairly raw listening experience despite the fact that the guys are apparently more sober here (or are they?)...

Rehearsal of chaos Demo, 1987
Little Hitler Illusion Demo, 1987
SNS-Still Not Satisfied? Demo, 1990

IMPRESSURE (GERMANY)

Based on the full-length, this act serve modern thrash backed up by shouty, also guttural, death metal vocals, the latter helped here and there by cleaner attached ones ("Darkest Day"). The brutal less restrained veneer of "Imperium" doesn't have a match later, but both "The Game" and "Vengeance" have their moshing expletives, including the more contrived, also more atmospheric, closer "Silenced". Some of the musicians are also busy with the thrash/death hybriders Moshcircus and the retro thrash formation Inner Fear.

Behind the Sun EP 2015
Darkest Day Full-Length, 2023

Official Site

IMPRINT (NORWAY)

Modern groovy post-thrash with very hysterical shouty vocals; the music is reasonably heavy but offers the same jumpy hectic pace and mechanical industrialized guitars, with very few more dynamic passages ("Evil" is a surprising raging death metal-laced number).

A.R.T Full-length, 2007

My Space

IMPROVED GODS (GERMANY)

This a mix of modern and classic thrash/crossover which is more on the playful mellow side. The guys never incorporate too many sharp riffs to entertain the crowds, and their not very dynamic radio-friendly approach will bore easily even the not so diehard classic thrash metal fans. Near the end the guys lose it completely with a string of awful heavy rockers led by the not very convincing clean mid-ranged singer. These "gods" are far from "improved"; they actually need years for improvement, maybe even a lifetime... if they want to be considered a thrash metal act, of course.

Living on the Edge Full-Length, 2013

Official Site

IMPRUDENT KILLER (SPAIN)

Based on "Into the Light", this outfit specialize in perfectly acceptable old school thrash which sticks to the Bay-Area patterns most of all (think Exodus, Death Angel) providing both more playful ("Ghost Way") and more intense ("Phobos Preacher") thrashers along the way, with occasional more technical guitar work ("The Wraith") showing up here and there. "The Last in Line" and "Red Rum" are relaxed, more crossover-prone numbers thrown at the end, not using the rough semi-shouty vocalist very appropriately.
The debut is another capable retro thrash affair, the guys lashing with the requisite amount of intensity on the moshing title-track and the galloping ripper "Evil Side". The band let some steam off on mellower cuts like the power metal-based "Get Out" and the crossover joy "The Death", the more stylish spacey riffs on "Atomic Bomb" close to being the highlight.

Imprudent Killer Full-length, 2014
Into the Light Full-length, 2018

Facebook

IMPULSE (FINLAND)

Based on the "Merry Doomsday" demo, this outfit specialize in fats ripping retro thrash/death, "Insane" being a more technical laid-back piece with alluring melodic leads. The rest is either mid-tempo and macabre ("Necrophobia") or thrashier and more intricate ("Dream Has Arrived"). "Gods of Pain" is the deviation from said norm, a violent brutal death metal outrage, the intimidating shouty guttural vocalist the perfect fit to the more aggressive side of this obscurity.

Ashes to Ashes Demo, 1990
Merry Doomsday Demo, 1991
Third One Demo, 1992
Aggressions Demo, 1993

IMPULSE MANSLAUGHTER (USA)

On both albums the style is thrash/crossover mixing very fast aggressive sections with laid-back punk-ish ones. "Logical End" features a not very faithful, but effective hardcore cover version of The Sisters of Mercy's "Gimme Shelter".

He Who Laughs Last...Laughs AloneFull-length, 1987
Logical EndFull-length, 1988

Vibrations of Doom

IMPULSIVE AGGRESSION (USA)

Will this be a "a lesson in brutality" indeed? Well, the guys have tried to justify the album-title, but should have tried harder... This is modernized abrasive thrash which doesn't hide its fascination with the old school, and generally there is a good balance between all-out moshers and mellower mid-pacers so there is very seldom any real "brutality" encountered. This is passable stuff without any really engaging moments with shouty death metal vocals which sometimes overtake the whole space.

A Lesson in Brutality Full-Length, 2011

Official Site

IMPUNITY (COLOMBIA)

Three songs of raw primal old school thrash the guys (and one cute girl on the bass as well) bashing relentlessly adding some more melodic variations (the playful crossover tunes on "Sinceramente") whenever appropriate without overdoing it. The sound quality is pretty muddy and the vocals are too screamy to the point of hysteria so there's a room for improvement.
"Los Dias del Odio" rages onward with little restraint and sophistication, but this is cool moshing fun which offers brief bursting numbers ("Destroy It and Run", "Retaliation (Vindication)") in a dizzyingly quick succession, with proto-death amply featured on those as well, the intriguing semi-technical "Maquinas De Guerra" recalling later-period Destruction, "The Trace of Our Blood" adding some crossover joy amidst bouts of semi-blasting proclivities.

Demo Demo, 2011
Muerte llama a la Muerte EP, 2014
Raiz Ennegrecida Full-length, 2016
Vindicacion EP, 2016
La miseria de las Masas Full-length, 2017
Potencias Infernales Full-length, 2020
Los Dias Del Odio Full-Length, 2022

Official Site

IMPURE ESSENCE (BRAZIL)

One man, the pseudonym Luvarth, is responsible for this black/thrash metal project who, based on the "Dark Union for Baphomet" split, acquits himself with a raw misanthropic mid-paced sound close to early Bathory which he honours with an evil cover of "13 Candles". The extremely buzzy guitar sound kind of contributes to the menacing atmosphere, but it has to disappear if the guy wants to leave a more lasting trace on the scene.

Dark Union for Baphomet Split, 2008
Impure Essence/Disturbia Split album, 2009
Sex Death and Misanthropy Demo, 2010
Occult Alliance of Destruction Split, 2010

My Space

IMUNITY (PORTUGAL)

Based on the 1993 debut Promo, this band plays thrash/death metal of the dark brooding variety clinging somewhere between Benediction and early Nightfall. The sound quality is pretty awful, and if it wasn't for the melodic hooks used on almost every track it would have been really hard for the listener to make much sense out of this. The guys alternate slow with fast passages the whole time assisted by very brutal low-tuned death metal vocals.

Promo Demo, 1993
Promo Track Demo, 1994
Easter Rumour Demo, 1997
Liberty Demo, 1998

My Space

IN.SI.DIA (ITALY)

This band evolved from Inviolacy, a promising act playing aggressive Slayer-esque thrash (see the review a few lines below). The name change brought changes in the style as well as the music this time is of the heavy, more technical type with longer song-structures, quite similar to late-80's Metallica, "updated" with more modern elements ala the Black Album (mostly on the sophomore effort). The debut follows the style of the big Americans closely with the opening "Fuggire" which sounds like a leftover from "...And Justice for All". It sets the tone for the rest, and the pace is quite energetic until it reaches "Il Tempo" which is a nice ballad in the first half, finished in a faster crossover fashion; a melodic, slightly off-context song. After it the thrashing carries on, pausing for a break again for the cool short "acoustics-versus-leads" instrumental "Satanka". The final "Tutti Pazzi" is softer with elements of crossover again sneaking, but it shouldn't be a surprise since it's a cover of the Italian hardcore/punk legends Negazione.

"Guarda Dentro Te" shows no signs of compromise with the opener "Nulla Cambia" which is a fine dark hypnotic thrasher in the best Metallica tradition. "Si... Realte" keeps the intensity, and is even faster, and "Terzo Millennio" is a sure-handed cross between heavy pounding rhythms and fast-paced ones. The pounding riffs remain, but the speed gets lost for a couple of tracks until the coming of the more aggressive "Fino A Che Punto". More hammering heavy, more modern-sounding guitars follow suit, plus another cool peaceful instrumental ("Nel Silenzio"), before "Mai Capiro" adds furious, hardcore moments and modern shades. "Oltre Quel Muro" finishes the album in a manner quite similar to the first song mixing speedy and mid-tempo sections of the classic type. As a whole this work sounds almost as appealing as the debut with the modern throwings nicely adding up to its heavy hypnotic nature. Whether this was a transitional album with the band gradually preparing to finally surrender to the modern trends, remained unclear: the guys never recorded again...
"Denso Inganno": another legend from the distant past is attempting a reunion, and in this case they have combined both the classic nature of the debut with the more abrasive, modernized delivery from the sophomore. "Il Mondo Possibile" shows how the blend of these two sides would sound with brisk vivid guitars and stomping, seismic inclusions. It's "Cosa Resta", though, that puts classic thrash on the map as the rest of the material clings more towards the 90's trends with thick grooves and the more sterile, more mechanical riff applications as evident from "La Casa Dei Segreti". "Il Vero Potere" is a nice more engaging progressiver with more volatile rhythmic patterns, but the instrumental piece "Sintesi" nearly reaches death metal drama among the stylish melodic hooks. The band have done a decent job keeping their old fans happy on all counts although a warmer, more retro-based approach would have been more in pace with the current old school resurrection wave.
"Di Luce e D'aria" is a more immediate, more classic-infused affair, "Dentro il cerchio" thrashing with passion at the beginning, the more welcoming power/thrasher "Welcome to My World" softening the setting, the later having problems getting back to the more vivacious formula from the start, the speed metal joy "Non Siate Complici" enlivening the spirit, bit it's the more headbanging anthems "Dimmelo Ora" and "Rigenerato" that will keep the band old fans moshing, and certainly the dramatic diverse closer "Notte Diversa".

Istinto E Rabbia Full-length, 1993
Guarda Dentro Te Full-length, 1995
Denso Inganno Full-Length, 2017
Di Luce e D'aria Full-length, 2022

Official Site

IN AGGRESSION (CHILE)

Good aggressive thrash metal in the Slayer-vein with some proto-death parts and touches of early Celtic Frost in the slower sections.

Advance Tape Demo, 1988
An Extensive Aberration Demo, 1989

IN ARKADIA (FRANCE)

Based on "Wasteland Chronicles": this formation started as a classic heavy metal outfit before moving onto more aggressive thrash/death metal as evident here. The guys do a decent job thrashing with force blasting out on occasion, the latter giving the album a black-ish flavour without forgetting about the numerous melodic decorations. The second half is calmer and more peaceful the speed reduced to the point of disappearing from most of the songs creating quite a contrast with the first half. The singer shouts in a grunting deathly fashion dueling with the melodic hooks which take almost the whole space towards the end.

Release the Shadow Full-length, 2006
Blind Oppression Full-length, 2008
Wasteland Chronicles Full-length, 2010
Regurgitate EP, 2012
Eyes of the Archetype Full-length, 2013

Official Site

IN ASUNDER (USA)

An interesting compilation for sure, which still provides three tracks from the EP... where do the remaining cuts come from, that's to anyone's guessing. Anyway, this act indulge in sleepy morose modern thrash/death which marches onward in a steady mid-tempo not bothering to put the listener on her/his toes with the casual more aggressive stroke. On the contrary, more lyrical melodic propositions (the semi-balladic "The Inner Demon", the elegiac My Dying Bride-sque doomster "A Broken Promise") can be encountered, the intense shouty death metal vocals disturbing the peace on those with their vociferous, restless authority. At present some of the musicians are taking part in Belligerency where finally some more belligerent melo-death metal is the order of the day.

[Pray]Lude EP, 2008
Lost and Fragmented Compilation, 2018

Official Site

IN CHAINS (BELGIUM)

Pretty cool classic thrash, which offers both speedy intense thrashers ("The Snakepit") and stomping steam-rollers ("Convulsions of the Truth") in the best tradition of the Brits Cerebral Fix. The guitar work is quite cool, nicely alternating between sharp riffs and more catchy hooks. The fast-paced numbers are more, and quite of you will jump around on tracks like "Shot at Dawn" and "Instinct (of Selfpreservation)". "Gas Attack" brings forward more intriguing riffs and makes the thrashing even more appealing. The closer "Thrashed Down" is not the fastest or the most aggressive song, but relies on heavy stomping riffs that work very well. The vocals are meanish, black-tinged, but fit the music just fine.

Demolition Business Full-Length, 2008

My Space

IN CHAOS (PORTUGAL)

The debut: this outfit pull out modern power/thrash along the lines of more recent Megadeth so hard thrashing is out of the question although the album is by no means boring. "In Hell" moves towards the headbanging parametres, and "Mystery of Darkness" is another more dynamic shredder aptly supported by the more wildly thrashing closer "World War III" (please, ignore the balladic ending on this one). The vocals are cool attached croons quite reminiscent of James Hetfield.
“Hope Wears Black” is a lighter mellower affair, the inebriate speed metallisms of “Devil´s Call” stifled by the clumsy proto-groovisms of “Bigger Crown” and the semi-balladic infatuations of “Circus on the Loose”, “War is Coming” the main fast-paced light in the tunnel in the second half, assisting the rowdy “Roots of Hate” in thrashing the neighbourhood albeit with suppressed moderation.

From Chaos Rises Order Full-Length, 2016
Hope Wears Black Full-length, 2024

Youtube

IN DEATH... (AUSTRALIA)

Based on the full-length: a modern groovy affair with technical pretensions mostly in the hectic jumpy department although the music seldom leaves the mid-tempo to higher/faster dimensions settling for mid-paced guitars with occasional jumps to Swedish death metal hooks. The singer tears his throat producing rending shouts reminiscent of Kirk Windstein (Crowbar). The bass work is good courtesy of a beautiful girl called Danika.

The "Thanatos" EP is another testimony to the band's heavy seismic nature which occasionally strays into more aggressive blasting waters ("Beneath The Deceased") for good measure. Otherwise other surprises are almost nowhere to be encountered if we exclude the intense speedy cut "Do Not Resuscitate" near the end. The vocalist continues to do additional damage to his lungs with inhuman deathly shouts which are put too much up front.
"The Devil Speaks" starts thrashing quite surprisingly from the get-go, and their headbanging enthusiasm amazingly stays around the whole time the guys producing a "bullet" after "bullet" the stylish melodic leads serving as the softer mediator. Even the heavily titled "Godzilla" is a fast-paced energizer with only the closing "King of the Dead Pool" showing some mercy with its stomping, angry rhythms.

In Death Full-length, 2009
Carnival of Horrors EP, 2009
Thanatos EP, 2013
The Devil Speaks Full-length, 2016

My Space

IN DEFENCE (USA)

Based on "Into the Sewer": melodic energetic thrash/crossover, not very thrashy, sincerely punky at times; "Head of the Thrash" is the most aggressive song, although it would hardly "head" the contemporary thrash metal movement. "Don't Call Me a Moshist" isn't too far behind, although it concentrates more on hardcore-like speed.
"Party Lines and Politics" is way more aggressive, but is more hardcore-oriented with the songs barely going over the 2-min line most of them speedy bullets with simplistic riffs assisted by intelligible, shouty clean vocals.
The debut is a sure-handed sincere tribute to the Suicidal Tendencies debut and The Accused; the guys serve jolly unpretentious thrash/crossover shifting from the model with the casual slower and more pensive cut ("Boombox Crew"), but overall bashing with vigour and a big sense of humour reflected in the lyrics and the general jocund attitude.
"Don't Fuck with the Dungeon Master" continues the established trend of dynamic roller-coaster thrash/crossover again coming a tad more aggressive than its predecessor, with furious cuts like "Guns in School" and "ADHDTV" "flying" around. The fans will have their good time jumping around on the merry unpretentious rhythms which will make even Slayer and Dark Angel cringe on the brutal closer "Refrigerator the Energy Efficient Household".

Don't Know How to Break Dance Full-length 2007
Into the Sewer Full-Length, 2009
Party Lines and Politics Full-length, 2011

Don't Fuck with the Dungeon Master Full-Length, 2015

Official Site

IN HELL (BRAZIL)

This is another band where Mauricio Nogueira (Torture Squad, Krisiun), one of the best modern Brazilian guitarists, shows his talents. Based on "Suffering in Hell", these guys play a cool mixture of thrash and death with a classic edge. The music only seldom reaches for more aggressive fields, and the riffs flow nicely being of the heavy dark variety staying closer to thrash. The pace is mostly in the mid-parametres and could have benefited from more faster sections, like the ones on the excellent "Profane Creation" which offers technical licks ala Death, or the opening "We'll Honour The Insignificance". "The End" "ends" the album in a more brutal manner combining the furious death metal guitars with nice, more technical and thrashier ones.

Suffering in Hell Full-length, 2002
The Final Torment Full-length, 2004

IN MALICE'S WAKE (AUSTRALIA)

The full-length debut: if we exclude the irritating angry harsh vocals, the rest is pretty decent classic power/speed/thrash, not very fast and aggressive, recalling the Germans Red to Grey, from the newer acts, and Liege Lord, Laaz Rockit ("Know Your Enemy"), and early Iced Earth, from the other side of the Atlantic Ocean, and from the older practitioners. The guitar work is sharp, but also melodic, often unleashing the famous galloping rhythms: "Man-Made Death" which is the definitive speed metal hymn. The approach is seldom all-out speed, and the guys like breaking the dynamics in a good way with more laid-back, power metal passages ("The Path Less Travelled"). Be ready to be surprised, though, on "As Dusk Covers Day..." near the end, which will stun you with a sudden blasting death metal break, and the modern leanings towards the Swedish scene. "Weakness In Numbers" preserves the Swedish influences adding a big doze of melody, a situation worsened, or improved- depending on the taste, on the closing instrumental "Where Silence Hides" which has nothing to do with thrash, and is a romantic pleasant heavy metal instrumental with good lead guitar work. The guys have spread their wings wide trying to reach the souls of most of the metal fans: good try, but one can't help, but wonder whether their next offering would contain any pleasant surprises for the thrash metal brotherhood...
"The Thrashening" already shows quite an ambition with the title, and later on the guys don't disappoint the thrash metal crowds concentrating on invigorating Bay-Areasque music except for the gruff semi-shouty death-ish vocals. "Endless Possession" is a sure-handed opener in the best tradition of the Metallica debut before the sound moves towards speed metal on "Evil By Design". Nice technical hooks sneak on the galloping winner "Onslaught" which lashes fast fiery riffs to no end. "Fuel For The Fire" is a more immediate crossover/thrasher, but the more technical approach comes back, in a more "crawling" fashion, on "The Crawling Chaos". Still, the guys' heart lies in the stripped-down moshing sector, and the remaining three numbers are in-your-face headbanging thrashers which will leave no stone unturned in your backyard. This effort is a lot more homogenous with a bigger concentration on pure thrash and as such could be viewed as the superior achievement with its less compromising, seldom-bars-held, attitude.

The debut EP is 4 tracks of energetic classic speed/thrash again the least positive impression created by the unsuitable death metal shouter for whom is provided the more death metal-laced number "As Dusk Covers Day" to match him better. The musicianship is already pretty decent with the leads having reached the top; the riff-base sounds a bit thin, though, and the focus is strictly on melody at this stage with death metal showing its "ugly head" from time to time to provide the most aggressive moments on the EP.
"Light Upon The Wicked" is not as interesting the band now branching into modern thrash/death trying to capture the compulsive aggression of Testament's "The Gathering", but 16 years later a delivery of the kind would hardly hold water for long. "Hear The Howls" is a decent shredder, and "Annihilation Frost" is one of the better vitriolic headbangers around, but in a way similar to the previous this effort leaves a solid aftertaste moving further away from the promising debut.
"The Blindness of Faith" is a loftier recording the guys obviously hungry for more hard-hitting old school thrash, and although the production is strictly modern and all, there's little wrong with either fast ripping cuts ("Graven Image") or more intricate thrash/death ("See the Light") hybrids. Still, the all-out moshers ("Religious Holocaust", "Into the Outer Darkness") seem to be the more attractive side, the nice more varied chopper "Ritual Slaughter" standing guard vigilant with an engaging, clever semi-technical approach.

Blackened Skies EP, 2005
tab Eternal Nightfall Full-length, 2008
The Thrashening Full-length, 2011
Light Upon The Wicked Full-Length, 2015
The Blindness of Faith Full-length, 2020

Official Site

IN MEMORIAM (PARAGUAY)

Dark brooding thrash is what these lads offer; not much speed involved, but the effective creepy rhythms on "Deceiver in Me" and the gothic-tinged "A New Kind of Human" should be able to win over the listener, the academic march-like riffs on "In Memoriam" stirring some more belligerent emotions, but chances for those to turn into a storm are very slim with friendly quasi-thrashers like "Remembrance" and not very focused dark progressivers like the final "Lines of Sorrow" determinedly keeping the delivery within the more tamed realms... unlike the vocals, though, which are on the vociferous shouty death metal side.

Rotten Full-Length, 2020

Official Site

IN MEMORY OF... (IRELAND)

This band provides rough (think production-wise) classic thrash with echoes of Bifrost topped by even rougher death metal vocals. The music has a nice epic/pagan quality thanks to the heavy galloping riffage which gives way to more aggressive headbanging thrash later on, with "Regression Therapy". Dramatic doom/thrash takes over on "Nil", and never leaves producing another portion of battle-like epic tunes on the closing "Equal Daemons". This is diverse music as a whole, and with a little bit of refinement it may turn into something interesting.

In Memory Of... Demo, 2006

My Space

IN NOMINE (CHILE)

Based on the full-length, these lads serve a decent early Bathory worship that is a bit one-dimensional also coming with a solid doze of crust. There are a couple of more complex, also more laid-back configurations ("Guerra Inherente", the epic 9-min saga "Isis sin Velo") presented, but the unbridled fury of outrages like "Paso Al Frente" and "Angeles de la Caida" is more than enough to compensate for any anti-aggressive slipovers. The vocals assist the varied, mostly hyper-active, fiesta with brooding semi-declamatory authority resembling Tom G. Warrior (Celtic Frost).

Suerte y Muerte EP, 2015
Un pie Sobre Sus Cabezas EP, 2016
Resistencia al Poder Full-length, 2018

Official Site

IN SOULITARY (BRAZIL)

This is epic battle-like modern power/speed/thrash which is boosted by a couple of more brutal death metal hyper-blasts, but the dominant tone is friendly and soaring the galloping rhythms taking the biggest space assisted by some keyboard implements here and there (the speed metal anthem "Mouth of Madness", the impetuous closer "River of Souls"). The vocal performance is quite diverse ranging from attached melodic croons to aggressive death metal shouts.

Confinement Full-Length, 2014

Official Site

IN THE FIRE (USA)

The debut: a trio from Philadelphia who specialize in a tight compact thrash/death blend the shorter more immediate material ("The Devil in the Mirror") keeping the fans on the edge of their seats with the highly dynamic execution, whereas numbers like the radio-friendly "Channel" and the lyrical balladic instrumental "In the Fire" reveal a more tender side that may not side too well with the more aggressive one. "Techno-Sociopathic De-Evolution" is a short curious hardcore-ish modernizer which is immediately superseded by the more intricately-performed "Inside Out" and the downbeat doom closer "The Poisoned Rye". Musicians from this outfit are also busy with the modern thrashers Rumpelstiltskin Grinder, the black metal stalwarts Solace in the Shadows and Dust Is Everywhere.
"The Living Horror Show" has been enriched with shades of black so expect even bigger hyper-activity than before, the guys shooting uncompromising rippers ("the title-track) and melo-thrash/deathsters ("Martyrs Perished"), the hyper-blasting black metal-ish element ("Wrestling Faith", "Lycanthropy") not that heavily accentuated, but still tangible enough to proclaim this effort as another addition to the extreme "without boundaries" metal roster.
"Test of the Pendulum Blade" is a tad more controlled than its predecessor, the more intricate veneer of "Blasphemously Blessed" surely welcome, as is the melodious frivolities on the unexpectedly sprightly "Rest in Power". "Unsung" is a somewhat lazy dirgy stroll, but the snoozing audience will invariably wake up on the galloping wonder "Cemetery Evil" and the infectious speed/thrasher "The Old Estate", with some death arriving with "Alluring Parasite" to brighten the horizon, the latter enriched with a bout of mirth on the ironically-titled "The Sadness", the final "Expulsion" another more contrived tune with dramatic pounding arrangements.

Volatile Beings Full-length, 2019
The Living Horror Show Full-length, 2020
Test of the Pendulum Blade Full-length, 2024

Official Site

IN THE NAME OF (USA)

Retro thrash with a very modern production; the guys play fast'n tight suddenly branching out into wild brutal death metal ("Blessed Curse"), but the dominating thrashers aren't bad, some of them carrying a good sense of melody ("War on Freedom") both in the lead and riff department. The inevitable softer side comes in the form of the pleasant mid-tempo instrumental "Ignorance Is Bliss", and several sections from the songs which are slower so don't expect too many detractions from this competent headbanging slab.

Methods of Control Full-Length, 2010

IN THE NAME OF GOD (POLAND)

This band provide intense retro thrash with boosted modern production which makes the guitars click like wall clocks at times. Still, this isn't a big problem and the fans should be able to enjoy this competent mix between direct and more elaborate thrashing both sides served with a dark, morose tone the latter also shared by the singer whose subdued deathly timbre suits perfect the minimalistic musical approach which loses the dynamics a bit on the closing elegiac "Poison Chalice part 2" (part 1 is the opener).

Imaginary Paradise Full-length, 2014

Official Site

IN THE NAME OF THE DEAD (USA)

Based on the full-length, this is modern steam-roller thrash/post-thrash/death which definitely has its fast-paced side ("The Nature of Dark Energy"), "Memory Abortion" following the same uncompromising path, even upgrading the delivery towards the less bridled death metal parametres, the harsh guttural vocalist also clinging towards that direction. "Sinister Routine" is a pure death metal carnage, and "Sometimes...Dead is Better" is a flirtation with realms of doom, a heavy morose hymn with echoes of the Dutch beyond Belief. Some of the musicians also play with the melo-deathsters Call upon Your Gods.

Chaotic Psychosis EP, 2018
Harvester Full-length, 2022

Official Site

IN THE PRESENCE OF ENEMIES (USA)

Based on the full-length, this young act specializes in virtuoso classical-influenced, all-instrumental, progressive metal with shades of thrash the latter very well embedded into the interesting varied picture. "Anima" is a brutal proto-death shred mixed with atmospheric electronics and excellent leads to create a small 2-min opera of dynamic ever-changing music. "FFVIII: Force Your Way" is melodic lead-driven power/thrash with an abundance of keyboards; "The Powers That Were" is a jumpy technical power/thrasher with jazzy breaks and sudden time-changes coming as a cross between Spastic Ink and Watchtower. The rest is more laid-back sticking to more moderate progressive patterns with not much adherence to a faster play.

Impulse EP, 2007
Learning Curve Full-length, 2010

Facebook

IN TYRANNOS (GERMANY)

The debut: It's not a very common practice among the German thrash metal bands to sing in their native tongue if we exclude a few solitary attempts made by Sodom in the not so distant past, but with bands like In Tyrannos things may change. Apart from singing in German, these guys offer a really fine slab of classic thrash which doesn't sound like the thrash we used to associate with this country, but is more along the lines of their American colleagues: Slayer, Vio-lence, Devastation, among others. The tempo is predominantly fast and quite intense, but without any proto-death elements; the only time when the guys take a break from the aggression, is on "Logenrituale": a dark slow doom/thrasher. This is pure unadulterated thrash the way it used to be played during the genre's heydays. The guitars are very sharp, with a slight technical edge here and there. Although the German metal scene has been filled constantly with retro thrash metal acts in recent years, this band has all the chances to become one of the more prominent acts from there.
"Schlimmer als die Pest": ten years later the band are alive and well, and the music on display delivers although it's less striking than the bursting, rowdy debut, with battle-like epic hymns ("Spartas Gesetz", "Langemarsch") now present. The speedier numbers like "Winkelried" come death-decorated, but this is more of a more dynamic Amon Amarth than any actual splitting retro bash. The guys have become more welcoming and friendlier here the intense semi-shouty death metal vocals ruling over milder, much less intense proceedings.

Die Maske Fallt Full-length, 2007
Schlimmer als die Pest Full-length, 2017

Official Site

IN VAIN (SPAIN)

Based on "IV", this act indulge in classic power/speed/thrash which pays more attention to the speed metal sector reminding of the 90's German power/speed metal scene. Restless gallopers like "The Void Inside" also look at the 80's American heritage with several explosions ("A New Beginning") bringing the thrash with more verve. The rest is mostly classic speed metal topped by not bad semi-clean, often high-strung, vocals.
"All Hope Is Gone" thrashes with more verve, the guys marching onward with vigorous speedsters like "Falling to the Ground" and "Kings of the Hill", the more epic decorations of "Last Endeavour" bringing the power metal realms to mind, the galloping fervour of "Hannibal ad Portas" served with a nice complex veneer. The speed metal field is courted eventually with the melodic fist-pumper "All Hope Is Gone", "Never Look Back" another sweep in the direction of early Helloween and the likes, before the gigantic 10-min closer "Goodbye and Fuck You All" takes care of a large gamut of nuances for a thrilling, frequently hyper-active ride.
"Back to Nowhere" is a more laid-back achievement, the speedy soaring fervour of "The Force of Thunder" recalling Blind Guardian and Persuader, whereas the more measured trots of "Never Live Again" turn the tables towards the other side of the Atlantic (think Omen, early Savage Grace). The epic urgency of "Metal Enlightenment" is worth of note, as is the sprawling speed metal swagger of "The Last Breath of Freedom", but thrash doesn't come to play so prominently here, excluding the short volcanic closer "Sacred Bond".

Of Gods and Men Full-length, 2009
In Death We Trust Full-length, 2012
The Little Things That Matter Full-length, 2014
IV Full-length, 2017
All Hope Is Gone Full-length, 2021
Back to Nowhere Full-length, 2024

Official Site

IN VEIN (PORTUGAL)

Modern thrash/post-thrash where groove blends with more intense headbanging passages for the production of jarring, diverse numbers among which the cool shredder "Slaves of God" can pass for a highlight on any of the last few Kreator efforts. "Infinite Night" is also worth mentioning with its more complex arrangements as the rest is more on the intelligently bashing side supported by decent shouty death metal vocals.

Resurrect Full-Length, 2017

IN YOUR BLOOD (USA)

This US trio serve ripping old school thrash, alternating more pensive pounding cuts (“Inside My Head”) with more complex expletives (“Era”) and corrosive fast-paced blitzkriegers (“Do You Suffer”). “Flight 19” is a cool rousing speed/thrasher, and “Afterlife” is a complex composition with an array of time and tempo changes. The singer is a decent mid-ranged semi-clean performer whose antics get lost on the several more sprawling instrumental sections.

In Your Blood Full-length, 2024

Official Site

IN-QUEST (BELGIUM)

"Made Out Of Negative Matter": a long-running stalwart on the modern thrash/death metal scene in Belgium, this act combines the more dynamic approach of Darkane with the more abstract mechanical style of mid-period Meshuggah by also adding a couple of more extreme early Fear Factory-like moments. So you can imagine that this is not the easiest to swallow music out there, but the constantly changing tempos will keep you on the alert along with the several spacey lead-driven passages ("Compelled Misogyny", "Evasive Crosscurrents" and elsewhere) which are a nice touch and should be used more in the future. There are a few clumsy moments where the sound gets groovy and stuck, but one may find them only adding nicely to the albums' already wide appeal.

Extrusion:Battlehymns Full-length, 1997
Operation:Citadel Full-length, 1999
Destination:Pyroclasm EP, 2003
Epileptic Full-length, 2004
The Comatose Quandaries Full-length, 2005
Made Out Of Negative Matter Full-length, 2009
The Liquidation Files EP, 2010
Chapter IIX-The Odyssey of Eternity Full-Length, 2013

Official Site

INALLSENSES (ITALY)

Although listed as a technical death metal band here and there, this band are mostly modern thrash metal with slight technical tendencies (the vocals belong to the death metal camp). The title track in the beginning thrashes with force, but later on the band adopt a more restrained approach with the slower laid-back "Thrash No More" (indeed, they thrash no more on this one), and the groovy "Lady Nature". "Inviolated" is a nice melodic, but also edgy piece, with great leads, recalling the power/speed metal scene. The energy remains for the songs which follow, as well as the fine lead guitar work, which easily overshadows the rest (check out "Heaven of Praises" and "I Will Kill You"). "Bad Society" is a raging thrasher with a classic edge, and the closing "Light In The Dark" is a magnificent 2-min acoustic instrumental, one of the best of its kind.
"Hysterical Psychosis" is not a distant departure from the debut, but is kind of more ordinary and uninspired. The music has become a tad more melodic, and the all-out speed attacks are very few the rest being one not very impressive mid-paced whole with the shouty death metal vocals sticking out, sometimes not very pleasantly. With the technical tendencies (and the brilliant outro, of course) left aside now the band can not hide their fascination with the Swedish school, but here this is not a very big compliment.

The Experience Full-length, 2008
Hysterical Psychosis Full-length, 2010

Official Site

INANE EMINENCE (AUSTRALIA)

Modern melodic thrash metal with a slight death metal edge, quite close to the French Lyzanxia and Swedish acts like Corporation 187, Carnal Forge, etc; fast-paced music with melodic guitar lines and shouty, throaty vocals.

The Fading Light In Your EyesEP, 2004

Official Site

INBREED (USA)

Based on "Bastards Forest", this not very known trio play rough dramatic, mid-tempo retro power/thrash which reaches progressive heights on the diverse title-track, and on the jumpy modern-ish shredder "Claws Of The Devil". "Fuel The Fire" moves up the speed scale, and the closing "Witch-Hunt (They Cast You Out)" is a larger-than-life saga with balladic passages interlaced with heavier doom ones the real winner in the end being the very good lead guitarist who pulls out exemplary performance on this last composition as a final touch. The vocalist isn't very far behind, though, with his dramatic clean mid-ranged baritone which he could have pulled a bit more towards the higher registers.

Back to the Undergound Full-length, 1995
Consenting Goat Full-length, 1996
Bastards Forest Full-length, 1998

INCAPACITATE (USA)

This is fast moshing thrash/crossover which suffers badly from the awful shouty death metal vocals. Another negative are the frequent misplaced blast-beats and the awkward groovy breaks which break the consistent speedy barrage the latter taking the buzzy guitar background as an advantage due to its simplistic nature.

March to the DeathFull-length, 2012

Official Site

INCAPACITY (SWEDEN)

A supergroup with members, who have done service in renowned acts around the globe (Spawn of Possession, Am I Blood, Scar Symmetry, Crimson Moonlight, Torchbearer, etc.), have joined forces for the release of this (based on the debut) not very inspired spin on the good old Swedish thrash/death style. The band are experts at mixing groove, speedy passages, and the casual technical flair ("Paradise Crushed") the resultant songs having it all; it's just that it all sounds too familiar to many other works out there. The band could have experimented a bit more with the trite formula having in mind their pedigree: now this short collaboration will remain just another project destined to acquire a deep underground status.

Chaos Complete Full-length, 2003
9th Order Extinct Full-length, 2004

My Space

INCARCEHATED (BRAZIL)

Based on the full-length, this band play classic speed/thrash alleviated by mellower passages which are present on almost every track. "Dead Man" is a merry optimistic speed metal anthem, and "Preacher of Misery" is a heavy squasher with with frequent speedy outbursts. "Vengeance" is the friendly mood "killer", a dragging proto-groover, but "Conspiracy" on the other hand is an exemplary shredder ala Megadeth the vocals also acquiring the mean-ish tone of Mustaine. This cut revitalizes the album which hits the roof with the nice speedster "Speeding Down", another reminder of Megadeth's heydays; and the final "Products of Society", a varied power/thrasher with slight progressive tendencies, a fitting epitaph to this interesting but somewhat uneven effort.
"Yellow Majesty" is a marginally more focused, more thrash-fixated affair, the band exhibiting the requisite fervour and vigour with splashing pieces like "Forgotten Ones" and the carefree speed/thrasher "The Temptation", but watch out for mellower distractions like the bland modern alternative closer "Hollow", and the trite semi-ballad "Losing My Will".

Halfskull EP, 2014
Tales from the Streets Full-length, 2016
Yellow Majesty Full-length, 2019

Official Site

INCARCERATED (UK)

Based on the single, this band offer two songs of well produced semi-technical thrash/death which comes close to the dark complexity of Death's "Human"; even "Winter Fall" falling a bit in the sleepy department due to its hypnotic not very frequently-changing riffs. The vocalist is a deep death metal semi-shouter who deafens the instruments when in action.

Life Count Demo, 1990
Primitive Demo, 1991
Unnatural Disorder Single, 1992
Engulfed in Infinity Demo, 1992

INCARCERATED (USA)

This is lively Pro-Painesque thrashcore accentuated by brutal death metal vocals. "Time" is pure bashing hardcore, and "The More I Learn" is a more playful cut with heavy roller-coaster rhythms, the latter leading to something marginally more ambitious on the stomping stroller "Psychotic Haze".

Incarcerated Demo, 1996

INCARNATE (HOLLAND)

The demo: this is a 5-track demo of aggressive fast-paced thrashy hardcore along the lines of Sick of It All and Beyond Possession. "Hands of Guilt/Eyes of Greed" is full-fledged thrash most of the time, of the modern The Haunted-type, before "The Damage Done" breaks the "idyll" with furious death metal riffs. The end is kind of underwhelming, though, the energy from the beginning gone replaced by samey mid-pacers with clumsy proto-groovy riffage. The singer is a typical death metal semi-shouter unleashing scarier low growls from time to time.

A Dark Age Of Lies Demo, 2004
Embrace the Horror Full-length, 2008
Hands of Guilt/Eyes of Greed Full-length, 2011

Official Site

INCARNATE DEITY (USA)

This band play a diverse mix of thrash, death and black metal which is both technical and brutal at various stages of its evolvement which is built on a somewhat noisy background with brutal guttural death metal vocals and not very successful attempts at a more majestic/operatic atmosphere ala Bal-Sagoth and mid-period Dimmu Borgir. Thrash is just a humble assistant, playing a second fiddle to the frequent intense black/death implements. The guys give more freedom to their darker, blacker side with the black metal outfit Finger of Scorn.

Pure Weaponized Misanthropy Demo, 2012

Official Site

INCARNATED (SLOVENIA)

This band offer noisy modern thrash with hysterical, overshouty death metal vocals; the music is not very fast ("Satori" is a ripping shredder, but that's about it), and more preferable are the breath-taking atmospherics of cuts like "Egonized", and the beautiful melodic leads on "The Wave".

The Dawn of Slaveland Full-Length, 2015

Official Site

INCARNATION (MALAYSIA)

Based on the EP, these folks provide ordinary modern thrash which smells metalcore at times, and generally the guitar work is quite melodic without being too fast. The vocalist shouts a lot and rends his lungs to produce an intense death metal baritone.

Stainless Perfect Murder Full-length, 2008
Killer Persistence EP, 2014

Official Site

INCARNATUM (MEXICO)

A modern mix of power, post-thrash and post-death, the growling death metal vocals seriously disfavouring the laid-back power metal-ish moments ("Trauma"), the banal groovy character of "Signals" and the clumsy "Tzilacatzin" the clear downsides, on the other side residing the excellent heavy ballad "Incarferum" and the lively speedster "Devastacion", and to an extent the complex atmospheric closer "Apex Inferno".

Apex Mortem Full-length, 2020

Official Site

INCARNIT (SWEDEN)

Based on the full-length, these Swedes offer an alternative form of the good new power/thrash which lacks speed, but makes up with plenty of melodic hooks and cool clean vocals which harden the course on occasion with the odd more aggressive hoarse shout. The delivery recalls the French Lyzanxia, but the guys here are a bit mellower and more meditative (check out the balladic sections on the closing "The Last of Us".

Home EP, 2010
Incarnit EP, 2010
Incarnit EP, 2011
Umbra EP, 2012
The Grand Cult Full-length, 2015

Official Site

INCENDIARY (SWEDEN)

These guys play modern post-thrash with hardcore and alternative overtones sounding like a mix of Biohazard and Madball; shouty vocals, simplistic riffs, a few dragging groovy breaks, and a couple of energetic headbanging moments; that's it. Some of the band members do a better job in the death metal/fusion band Zinc Organ, and the retro thrash metallers Chainsaw.

Incineration Demo, 2002

INCENDIARY (USA)

Modern thrashcore of the heavy groovy variety, think Biohazard spiced with a more aggressive jumpier attitude topped by shouty semi-clean vocals.

Crusade Full-Length, 2009

INCERTAIN (GERMANY)

The EP: intense modern thrash with gruff semi-shouty death metal vocals; the approach is heavy without too many speedy escapades, but the situation is dynamic thanks to shredding "volcanoes" like "Mankind's Grave" and especially the closing technical rifforama "Abortion of Benevolence".
The full-length is a pretty wild affair with death metal showing its head alongside interesting more technical decisions ("Mankind's Grave") where heavy seismic riffs meet quirky stylish knots and very good leads. "Amok" is an outstanding technical shredder after a lengthy operatic intro and heavy dramatic accumulations; and "Crusader" pleasantly surprises with a couple of nice Oriental motifs. "Immortality" shifts the tempos in a handsome hectic fashion also enchanting the listener with several delectable melodic hooks, and "Social Lies" is the next in line intricate riff-provider on top of imposing stomping passages. "Mask" almost reaches progressive dimensions with more atmosphere pouring out of the guys before the closing "Pain Diet" crushes everything around with the exiting portion of volcanic uncompromising rhythms. This is a really admirable achievement in the annals of modern thrash showing the guys well equipped to reach far on the contemporary scene.

My Hostage EP, 2015
Rats in Palaces Full-length, 2017

Official Site

INCEST BREATH (USA)

Based on the full-length, this band play competent energetic old school thrash that comes assisted by guttural death metal vocals. Expect brief lightning bolts ("I Am an Active Serial Killer", "The Incubation Process") to rudely invade your privacy, "The Killdozer" a more serious pulverizer with heavy squashing riffs. "I Have a Bomb" even tries something more technical, but the perennial melee can;t be stopped by such exhibitions of bigger musical proficiency, the guys still trying less orthodox rhythms on the slow-builder "Railgun Lobotomy", "Vivisect" another less ordinary violator with pummeling steam-roller decisions.

There Are Bugs Under Your Skin?.?.?. EP, 2022
Keeping the Bloodline Pure Full-length, 2024

Official Site

INCHAINED (USA)

A black/thrashing trio whose most intimidating ingredient seems to be the mean spiteful witch-like vocals which also keep the black metal tag in play as music-wise this is strictly retro thrash, minimalistic, largely mid-tempo stuff marred to an extent by pristine production which still can't stand on the way of the addictive melodic tunes on "At the Gates", or on the sprightly rhythms on "Last in Line", a nice epic hymn with echoes of the Dutch Bifrost.

Redeemer Full-length, 2012

Official Site

INCINERATE (BELGIUM)

The debut: ripping classic thrash with sharp guitars and vicious death metal vocals; the guys thrash with passion inserting the odd semi-technical riff ("Outerspace Race"; the jumpy "One Million Megaton Hyperblast" which isn't exactly hyper-blasting). This is a primal blitzkrieg assault on the senses which also wins from the very clear sound quality. The guys previously played with the thrash/black metal formation Rot who had one album released in 2005.
"Back to Reality" is performed with the same vision in mind, fast moshing riffs with a couple of heavier semi-technical deviations ("Human Demise Ritual), the crooked intricate shredder "Internal Distress" retaining the intrigue, the latter shot higher on the longer more entangled "Synthetic Blood Plasma Bath", a masterpiece of thought-out not very predictable thrash. Hold your teeth and hats for the remainder which is woven of speedy uncompromising lashers ("Collective Indoctrination", "Room 101"), the final impression from this entertaining roller-coaster firmly on the positive side.

Amazon Violence Full-Length, 2016
Back to Reality Full-length, 2021

Official Site

INCINERATOR (HOLLAND)

Based on "Concept of Cruelty", these folks pull out a thrash/death mix which follows the canons of the early Swedish school almost unerringly. Fans of early Dismember, Unleashed and Entombed will be quite happy all over whereas the more orthodox thrashers may not be perennially entertained as this is death metal-based fun more a couple of short rippers ("My Darkest Needs", "Pigs") keeping the thrash metal idea alive among the bouts of abrasive down-tuned riffage which works surprisingly well on the heavier, doomier material ("Covered In Red") alongside the spiteful shouty death metal vocals ala Matti Karki (Dismember).

EP EP, 2013
Stench of Distress Full-length, 2017
Concept of Cruelty Full-length, 2018

Fan Site

INCINERATOR (ITALY)

Based on the "Live Into the Crematorium" demo, this is probably the first band in Italy who picked on the proto-death sound of bands like Possessed, Sarcofago, Messiah, and the likes. Their music is fast and aggressive the only disappointment being the awkward power/heavy metal number "Crematorium", occupying the middle. And of course, the bad throaty vocals which sound like a poor version of Anihilated's Simon Cobb.
"Uh!?!" carries on in the same vein, but the music is even faster and more intense consisting of short, brutal outbursts plus another cheesy number, this time placed at the end: "Uh!?!" ("Uh!", indeed).

Live Into the Crematorium Demo, 1986
Mass Genocide Demo, 1987
Uh!?! Full-length, 1989

Fan Site

INCINERATOR (SWEDEN)

A good job: classic German thrash in the Destruction, Kreator and the first Exumer album spirit; this is really a thrash attack; short, but memorable: six tracks of fast aggressive thrash with good, sharp riffs and nice vocals in the Mem Von Stein (Exumer) vein.

Thrash Attack EP, 2000

Fan Site

INCINERY (UK)

Based on the full-length, these folks provide angry heavy, modern thrash which cleverly mixes the pace relying on the more fast-paced side which consequently creates numerous headbanging opportunities. The sound comes close to Sepultura's "Chaos AD" by adding the odd more retro hook ala "Arise", and there are no slouchers even among the slow numbers ("Destroy the Gods") which still have no chance against short rippers like "Tragedy of One" and "Deceiver". The vocalist rends his throat, shouting in an expressive death metal-ish manner.
"Hollow Earth Theory" is another decent proposition, a bit more aggressive as evident from the impetuous tiffs on the supposed title-track "Hollow Earth" and the seismic drama of "The Less Dead". "Forgotten One" flirts a few choppier, more technical walkabouts, but generally this is straight-forward non-fussy stuff which wins more points from the intense mosher "Carrion King" and the ripping headacher "Ellison".

Dawn of War EP, 2011
Nothing Left EP, 2013
Dead, Bound and Buried Full-length, 2014
Hollow Earth Theory Full-length, 2020

Official Site

INCITE (USA)

A 3-track EP of intense groovy post-thrash which offers more dynamic moments ("Army Of Darkness"), as well as melodic guitar hooks ala the Gothenborg school ("Die With What You've Done"). The singer Richie Cavalera is... yes, you guessed right: the son of Max Cavalera.
The full-length is faster and more interesting now focusing on the Gothenbug influences with heavy crushing guitars. Even the groove-laden sections deliver with their energetic angry tone. The heaviness and anger are nicely "relieved" on a couple of tracks with melodic guitar lines, but the more aggressive moments ("Down and Out", the explosive opener "The Slaughter") would be paradise for the headbangers.
"All Out War" is another fitting entry into the modern thrash repertoire, Richie Cavalera and Co. seemingly getting better at the craft, mixing fast-paced with aggro-groovy passages to a generally positive effect. One will inevitably "feel the flames" on smashers like "Feel The Flames" which will roll over the listener with their seismic steam-roller riffage. More serious, almost progressive-sounding, notes may surprise (check out "Nothing Remains"), but they are handled with dexterity and are never annoying. Richie may want to tone down those infernal shouts for the future: his forceful rendings overshadow at times the instruments.
"Up in Hell" continues the ascension with another display of crushing musicianship the heavy groovisms now mixed with a certain doze of death metal and a few more technical licks. The album develops in a fairly energetic fashion changing the tempos at will to a positive effect. At times the sound goes more towards purer hardcore ("Rise to Greatness") ala Biohazard and Madball, but the heavier side is also quite well represented: check out the pounding "Still Here". Richie sings with passion without betraying his staple vicious shouts adding more dynamic drama to the music.
"Oppression" starts in a highly energetic manner with the rousing "Never Surrender", and the next "Lost Reality" shows the band's heavily guarded technical side which is really captivating, but alas seldom shows up later on, Still, the album delivers with its consistently volcanic rhythm-section and its frequent escapades towards faster waters ("No Remorse", the stylish death metal-laced "Worst of Me").
"Built to Destroy" doesn't drastically break the established formula although the approach is prevalently mid-tempo and quite heavy with the more technical exercises ("Resistance", the interesting shape-shifting "Human Cancer") again just hints at a bigger potential that may as well remain unrealised. The second half is more like it with the dramatic near-death "Confronting Darkness" and the more dynamic moshers "Cessation" and "Savior Self", and bigger concentration on those sides can only be beneficial in the future.
"Wake up Dead" is a more energetic livelier affair, the band thrashing hard with some passion and enthusiasm, also inviting none other than Mr. Max Cavalera (Sepultura, Soulfly) to lend a few venomous shouty vocals on "War Soup". But even without eminent names the guys pull no punches, "Sucker Punched" and "Built to Destroy" leading the intense moshing show with dignity, the steam-rolling potency of "Fallen" another welcome ingredient into this entertaining opus which also boasts the cool more intricate closer "The Slaughter".

Divided We Fail EP, 2009
The Slaughter Full-length, 2009
All Out War Full-Length, 2012
Up in Hell Full-Length, 2014
Oppression Full-Length, 2016
Built to Destroy Full-length, 2019
Wake Up Dead Full-length, 2022

My Space

INCITER (BRAZIL)

Based on "Dark Daggers of Divine Decease", this is dark old school black/thrash that recalls early destruction (“The Brackish Grail of Death”) quite a bit on the faster-paced material, whereas the alluring melodies on “Epileptic Gospel” side with the hordes of black a tad more. “The Pestilent Wounds of the Crucifixion” is a stylish more technical shredder, and “Daggers of Divine Immolation” is a bombastic black/thrash conglomerate with again addictive melodic hooks floating around in copious amounts. Watch out for the effective mid-paced stomp “Beyond the Alpha and Omega”, and for the maddening cover of Desaster’s “Hellfire's Dominion” from their 1998 fare of the same title. The singer is a raven-like croaker with a more subdued death-ish baritone. Some of the musicians were also engaged with the black/thrashers Scarecrow.

Apocalyptic Apostasy of the Polterchrist Full-length, 2013
Agonies of a Purgatorial Existence EP, 2017
Dark Daggers of Divine Decease Full-length, 2022

INCITER (CROATIA)

Good old school thrash which brings to mind quite a few heroes from the 80's on the best moments: Metallica, Testament, Xentrix, etc. The singer tries to emulate James Hetfield, and succeeds at times, but the decision to spice those main vocals with clean alternative and gruff death metal ones, is awkward and could be avoided for the future. The pace is mid to up-tempo, but with the appearance of those clean alternative vocals, the music seems to lose its edge. There are touches of modern thrash, as well as more technical sections on the longer songs ("Defray", "Lifeless (Agony)"). "Organic" is very good heavy, mid-paced instrumental thrash.
"Salvation" would be a disappointment, offering a less interesting modern sound with shades of post-thrash. "Unite" and "Inside This Life" are excellent faster shredders, and the sole reminders of the much better debut; but the rest is not nearly half as impressive the band sacrificing the energy from the debut for the sake of retouched riffs and playful rhythms with a semi-balladic flavour.
"From Within" acquires a more modern sound plus several references to metalcore which retouch the dynamics and intensity to a generally duller effect. There are a few more intriguing riffs to be savoured ("Leading the Blind", the hectic, less predictable "Reborn"), but this is too pedestrian and unexciting for most of the time to make anyone fall in love with it even after several careful listens.
"Against the Grain" is a more optimistic power/speed/thrash affair which also sounds decidedly classic for most of the time, the guys emitting quite a bit of passion thanks to fast-paced excursions like "Better off Dead", but the general layout is more on the mid-tempo side of the spectre, with thrash only sparsely covered, leaving the first fiddle status for the good old power metal, the latter panting among the frequent balladic/semi-balladic tricks.

Burned Out CellsFull-length, 2006
Salvation Full-length, 2010
From Within Full-Length, 2013
Inciter Full-length, 2016
Against the Grain Full-length, 2022

Official Site

INCOGNITA (PORTUGAL)

Based on the "Life's a Bitch" demo, which is only three songs, this band plays laid-back proto-modern thrash/crossover of the inexpressive mid-tempo type with cool balladic passages ("Myself"); mild stuff with cool semi-clean vocals recalling the more melodic ones of Phil Anselmo (his vocals on the Down albums; also remember "Planet Caravan").
The full-length is surprisingly more vivid and intense featuring some really cool jumpy riffs, nothing old school, but not completely bad with memories of early Helmet and mid-period Machine Head. The harsher notes disappear in the second half replaced by milder friendlier sections, the more surprising moments arriving at the end with more lively post-thrashers like "Eco Killers".

Demo 93 Demo, 1993
Life's A Bitch Demo, 1994
Live in Johnny Guitar Demo, 1994
Madeirus Sarcasticus Full-length, 1995

Fan Site

INCONTINENCE (CANADA)

Intense vehement thrash/crossover not far from mid-period D.R.I. and Attitude Adjustment. The delivery is clearly more oriented towards the hardcore parametres, the throaty shouty vocalist another addition in this trend. Short explosive cuts mark this effort which is full to the brim with jolly optimistic tunes as well: check out the more technical expletives on "Why"; or the stomping dramatic accumulations on the more serious thrasher "Transendent Healing".

Sick of Being Sick Full-length, 1997

Official Site

INCREDIBLE PAIN (GERMANY)

Heavy, mid-paced death/thrash is what these guys offer on their only full-length so far; good stuff with sharp smashing riffs. The overall style might remind of the first two Six Feet Under albums; the singer also tries to death-scream the way Chris Barnes does.

Screaming in Agony Full-length, 2004

Official Site

INCREMATE (GERMANY)

Based on "Unexposed", these lads deliver retro thrash/death which can be quite brutal ("Vast Eradication", the semi-technical explosion "The Bestial Assault") on occasion, but the galloping vigour of "Moulded and Destroyed" and the slow-burning pounds of "Haunting Cries" balance things out, leading thrash to take over on "Unbending Ferocity" and the steam-roller "Revenge" as opposed to the aggressive guttural death metal vocals.

Prospect of Death Full-length, 2016
Violence and Insanity Full-length, 2018
Mortal Domain Full-length, 2020
Unexposed Full-length, 2023

Official Site

INCRIMINATED (FINLAND)

Good black/thrash metal of the old school, bass-dominated and mostly mid-paced although sometimes the music slows down considerably, moving into the fields of doom; for fans of Celtic Frost, Barathrum and Warhammer. The 4-song "Death Nize" EP is in the same vein, maybe a bit livelier, until it reaches the final opus "Victory Through Brutality", which is vintage slow-motion doom ala Sleep and early Saint Vitus.

Illusion of LoveEP, 2001
tab Miracle Of PurityFull-length, 2002
Ride of the TyrantsFull-length, 2003
HypocricideEP, 2004
tab Kings Of MiseryFull-length, 2004
The Promise of Worse to ComeFull-length, 2005
Death Noize EP, 2009

Fan Site

INCRIMINATED (MEXICO)

This is classic thrash ruined a bit by the overshouty, at times semi-declamatory, hardcore vocals; the wayward thrashiness of cuts like "Creeping Thrash" would by all means engage the fans in spontaneous mosh while the more moderate layout of "Suicide Maniac" would evoke more technical vistas with "Fears of Men" combining both sides for a thrilling roller-coaster ride at the end, the slightly muddy sound quality another unmitigated detriment.

Suicida Maniaco EP, 2018

Facebook

INCRYPT (AUSTRALIA)

An uplifting mix of heavy, power and thrash metal of the modern type, laid-back with a few adherences to crossover/hardcore as well as several more classic-sounding sections; the approach lacks energy, though, sticking to heavy mid-paced riffs with quite a few melodic hooks scattered around, the hoarseness coming mostly from the throaty, albeit good intelligible, vocals ala Kerrmit (Tyrant (Germany)).
"The Victim is You" is a bit heavier and more intense, but the mid-paced formulas have been applied without too many deviations sometimes mixed with shades of Swedish melo-death ("Deathspirit Dethroned"). This is calm pensive music which is not completely without merits, but the semi-balladic tempos in the second half may tire the listener at some stage if not putting him back to sleep completely...
"Thrashing Extinction" is a big u-turn for the band, almost to the point of beyond recognition. This is excellent lively hyper-active proposition, the title-track showing only too well that thrash is very far extinct, the lashing sharp riffage receiving a nice technical, also melodic, baptism on the excellent "Pushed Beyond Breaking", a glorious odyssey along the lines of Manticora and the Poles Hellfire. The ride acquires more complex progressive proportions on "Open This Pit", the energy retain all over, lost a bit on the more dramatic slow-builder "Extermination". Classic speed metal takes over on "Point Evolution", a headbanger second-to-none, followed by the semi-galloping wonder "Stars of the Southern Land", and another vintage speed metal saga, the "eagle fly free" epitomizer "Ghost Hour Chimes". The closing "Chaotic Freedom Remains" is the definitive speed/thrashing mosher, the guys doing a really good job all around, producing arguably their magnum opus so far.
"Eyes upon This World" is also a more vivid affair, but the actual grandeur of the band's more energetic arsenal hasn't been revealed to the fullest. "They Shall Not Kill" raising the flag of the good old speed metal sky-high, the title-track following a similar dynamic pattern, "Primordial Graveyard" also jumping the modern thrash wagon for a while. Watch out for "Into the Grave", a short ripping semi-technical cut, followed by the equally vicious and intense "Tombs". This is a warm-up for the much superior successor, a decent if not very spectacular recording.

Masterpiece Full-length, 2010
Tribal Wars EP, 2012
The Victim is You Full-Length, 2014
Eyes upon This World Full-length, 2017
Thrashing Extinction Full-length, 2022

Official Site

INCUBATOR (GERMANY)

Based on "LieBisslieder", these guys pull out a cool blend of thrash and death metal of the classic type. The music is fast-paced, and the album is full of short energetic thrashers ("Frei", "-S-"), but the softer, more laid-back side of the mixture is not forgotten, either: the romantic, gothic-tinged "Stapellauf", where one can hear fine female angelic vocals as well. "F**k Mich" is a more aggressive nod to the Rammstein sound, and is the drawback here. "Der Weg" returns to the more intense thrashing, and "Danke" continues even into a more aggressive, death metal territory. "Instrumentalst'fuk" (the title says it all) is a fine instrumental which combines aggressive death metal with cool melodic leads while "Schon" closes the album in an admirable headbanging thrashy fashion, stirring a fair amount of interest in tracking the rest of the band's catalogue.

The band's previous output is quite a treat with a wide gamut of styles presented. The debut is a full-fledged classic death metal affair close to the Floridian school, mostly in up-tempo akin to the early Death efforts. "McGillroy The Housefly" could still be labelled as death metal although there are doom and gothic additions to be heard as well as other eclectic moments recalling even the early Misanthrope psychoramas; the pace decelerates throughout seldom jumping over the mid. "Hirnnektar" finally offers something for the thrash lovers, but the approach is strictly modern compared to the previous two albums, and the guys pile a modern jumpy riff over a modern jumpy riff, the resulting pile ably assisted by a load of funky/industrial "decorations" which by all means manage to preserve the eclecticism of the predecessor with a healthy pinch of Voivod and the Japanese Doom on the more inspired, also more bizarre sections.
"MCMETALXCVIII" is a somewhat unexpected turn to doom/death, quite well done by the way, with a nice inclusion of deep clean vocals, with all previous influences almost completely gone. "Divine Comedy" even leaves the "death metal" tag seeing the band concentrating on doom almost exclusively with the aforementioned clean vocals now playing a major role, to produce another cool slab of slow atmospheric music. All works are worth hearing actually although the 1992 and 1993 ones may be a bit hard to swallow with their quirky decisions and unusual arrangements, but still for the thrash metal fan "Lie Bisslieder" will be the album to please him/her most.

Symphonies Of Spiritual Cannibalism Full-length, 1991
McGillroy The Housefly Full-length, 1992
Hirnnektar Full-length, 1993
MCMETALXCVIII Full-length, 1998
Divine Comedy Full-length, 2001
Lie Bisslieder Full-length, 2008

Official Site

INCUBUS (AUSTRALIA)

A 4-song demo of cool energetic Germanic thrash along the lines of early Destruction; the vocals are sinister black metal rasps, but fit the music quite well.

Sinful Dreams Demo, 1987

INCUBUS (USA)

The first band to ever mix thrash and death metal on an official release; "Serpent Temptation" is furious, very fast thrash/death which took the genre into its next stage. The music is still more thrash than death metal, but some sections are so intense that many future death metal bands would find hard to match: the brutal explosive "Blasphemous Prophets", the lightning speed killer "Incubus", etc. Perhaps the more conventional, but still aggressive thrashers seem to work better: the Slayer-esque "Sadistic Sinner", the stomping, semi-technical "Ungerground Killers", simply because the intensity of the rest might come as too much for the thrash fan at this early stage of the most extreme genres' development.
"Beyond The Unknown" is almost a full-blooded death metal recording with a nice technical edge, but still furious and brutal, bringing the delivery close to their compatriots Nocturnus and the early efforts of the Swedes Therion.

Serpent Temptation Full-length, 1988
Beyond the Unknown Full-length, 1990

Vibrations of Doom

INCULCATOR (UK)

Interesting diverse, semi-technical black/thrash which throws quite a bit at the listener with meandering compositions, avantgarde melodic decisions, some wild thrashing, and puzzling riffy structures the latter turning cuts like "Voces Mysticae" into masterpieces of engaging progressive metal. "Unfurling Qemetiel Qliphah" is a quiet acoustic instrumental, but the following "Liber Beelzebub (Foci Inferus)" is the next in line complex concoction where unrestrained blast-beat "duel" with breathtaking melodies and screamy leads this cannonade topped by not very clearly heard semi-death/semi-declamatory vocals. "Didactic Darkthrash" is a superb way to finish this album with some stylish thrashing excluding the operatic black-ish interlude, and the cosmic outro which reaches the pompous orchestral exploits of their compatriots Bal-Sagoth. This is a fairly intriguing listen which will require several listens before one learns to savour all the nuances scattered within.

Void Abecedary Full-Length, 2016

Official Site

INCULTER (NORWAY)

Based on the full-length debut, this 2-man band provide intense classic thrash which follows the German patterns (think Kreator, Necronomcon, Destruction) pretty closely spicing the venomous approach with several tasteful melodic leads and the odd heavy stomper ("Traducers Attack"). "Pastoral Slaughter" is an exemplary rager which gives an enormous boost to the second half, and is followed by a string of merciless "bombs" among which "Death Domain" is served with a portion of less bridled blast-beating moments, the culmination reached on the encompassing closer "Envision of Horror". The vocalist is a shouty deathster who sounds fairly comprehensive throughout.
"Fatal Visions": the delivery is pretty much the same the guys bashing with reckless abandon for most of the time, adding the odd death metal tinge ("Impending Doom"), with bigger ambition also exhibited on the diverse "Endtime Winds" where some haunting doom passages can be come across as opposed to blitzkrieg headachers like "Final Darkness" and "Fatal Visions". The final "Through Relic Gates" mostly relies on heavy brooding rhythms excluding the rude awakening provided near the end where the band comes out with all the speedy guns blazing.
“Morbid Origin” is not a very energetic roller-coaster, the band moshing with glee and overt enthusiasm at the beginning, the explosive opener “Death Reigns” setting the tone with iron determination, the few nice balladic digressions notwithstanding. “Age of Reprisal” is already a poignant nostalgic semi-balladic trip, but this is good musicianship all over, including the mid-paced pounder “Chained to the Void”. Expect both aspects to be blended seamlessly on the excellent “Extinction”, but the lyrical side clearly dominates on “Morbid Origin”, an 8.5-min opus which really outstays its welcome, “Perennial Slaves” being another not very striking sleeper, the final “Lethal Salvation” a more convincing showing with a cool spacey less orthodox second half.

Stygian Deluge EP, 2013
Persisting Devolution Full-length, 2015
Fatal Visions Full-Length, 2019
Morbid Origin Full-length, 2023

Official Site

INCURSION DEMENTA (HOLLAND)

This band, who are named after the Nasty Savage song from "Indulgence", play good aggressive old school thrash coming as a big slap to the modern tendencies in the middle of the 90's. The sound is quite close to the Sepultura heydays ("Arise", in particular), and some modern elements are inevitably present, but never to an annoying extent. "Self Conceit" is a brutal, Slayer-esque ball of fury, and the following "Some Overdo It" isn't too far behind with more choppy breaks. "The...End" is a surprising, but very cool heavy ballad with the singer being the highlight adjusting his hoarse delivery to better suit the mellower nature of the music. The attack continues after this one, producing another couple of headbanging delights, finished with the lengthy, but fairly satisfying "Cut This Live Off From Me", which begins as a ballad, and isn't anything technical although it mixes fast and slower parts quite well, including a couple of interesting funky passages.
The demo is already a fairly accomplished affair the band thrashing with gusto, sometimes to the point of proto-deathiness ("S.I.P."), at others shredding in a more moderate mid-pace ("Mother Goose's Lies") recalling the Bay-Area fraternity. "Ryker's Island" is a more complex, more technical proposition with more twists and turns, showing the band's more ambitious side which they never sought to explore further.

Ever Never Demo, 1991
All This Is... Full-length, 1993

Official Site

INDEMNITY (BELGIUM)

Stripped-down thrash/crossover with a more overt hardcore flavour; the guys mosh with passion, a bit one-dimensionally, but fans of the more direct, less serious side of the genre should have no problems savouring the dispassionate semi-shouty vocals, the unpretentious guitar work, and the cool bluesy hardcorer at the end "Left for Dead".

Bloody Minded Bullet Headed Full-length, 2017

Facebook

INDESPAIR (POLAND)

"Time to wake up", but with this not very eventful groovy post-thrash one would have problems waking up. The guys seldom leave the somewhat tiring mid-pace except on the more vigorous "A Ripper, A Butcher, A Demon" and partially on the lashing "To the Weak Ones". The end is far from promising with longer songs which are built around even more dragging semi-balladic patterns which may satisfy the more romantically-inclined fans. The singer isn't bad with his emotional clean timbre which stays within the mid-parametres, kind of adjusting to the not very adventurous musical approach.

No Escape EP, 2007
Time to Wake Up Full-length, 2012

Official Site

INDESTROY (USA)

Another notable speed/thrash metal band, largely forgotten by many; on the debut the band plays fast and energetic speed/thrash, but the bad production ruins a lot. With that obstacle put aside on "Senseless Theories", the band unleash full out speed/thrash attack which only flaw is that it's very short (six tracks only). "Instant Insanity" opens with furious speedy riffs, reaching almost a death metal intensity on the fastest sections. "Living In Filth" is more controlled, but is served with nice clever, almost technical guitar work. "Sam the Butcher" is a heavy, sinister short instrumental, followed by the slower, pounding "Senseless Theories" which, just before it gets too boring, introduces a smashing ultra-fast thrashy ending. "Terminal Choice" is another aggressive speed/thrasher with jumpy frantic sections thrown in. "Tortured By Fire" ends this EP with heavy, technical riffs, reducing the all-out speed delivery a bit. With this strong effort, having come at the very right time, the band could have joined the front row of thrash if they had lasted longer.

Indestroy Full-length, 1987
Senseless Theories EP, 1989

Vibrations of Doom

INDEUCED (USA)

Modern power/thrash which is quite comparable to mid/late-90's Megadeth, relatively peaceful mid-tempo stuff with composed, not very emotional clean vocals. "Unstoppable" is a surprising speedy all-instrumental crescendo, and "Apathy" is an enjoyable frolic speedster, but the rest is more welcoming, the epic march "Defence Line" pairing well with the progressive semi-balladic closer "Echo of Insanity", the latter graced by a few really infectious melodic leads.

Hidden Dimension Full-Length, 2021

Youtube

INDICA (USA)

A smart band who quickly felt where the wind was blowing; their music is a good blend of modern and classic thrash. The EP: the music stays more on the classic side, boasting good meaty riffs with slight progressive overtones. "Pavement" is a classic headbanger, with nice tight sharp guitar work. "Repressed" is slower, but the rhythm section is heavy and pounding, and some cool technical riffs come up. "Green" carries on in the same vein, sounding like a more aggressive version of some tracks from the Metallica's Black Album. "Ego" is a first-class technical thrasher bringing to mind Metallica again, but their best, late-80's period, going even beyond that with the inclusion of wonderfully abstract, but quite intense, moments. "Burning Sphere" stays closer to the 90's trends, but is a great atmospheric, slightly industrialized thrasher ala Coroner's "Grin". This was a promising beginning, but the band called it quits soon after, apparently not willing to join the modern thrash metal wagon on a full-time basis.

Indica Demo, 1992
tab Pavement EP, 1993

Fan Site

INDICATOR (GERMANY)

Based on the full-length, this power trio from Germany provide decent modern thrash with metalcore references resulting in not bad melodic stuff which starts really energetically before losing its initial dynamics bit by bit, recapturing in partly on "Mankind,Tortured Soul?" in the middle and managing to retain in till the end which comes in the form of a cool galloper "Meet Your Creator" which borders on the technical with the few less expected time and tempo-changes. The singer is an angry shouter who deafens the instruments when in action.

Translate:Conscience EP, 2009
Drowning of a Culture Full-length, 2010

Official Site

INDIGN (USA)

The debut: this is thrash/post-thrash more on the modern side, the sterile hygienic execution aggravated at times by spasms of unruly headbanging behaviour like "Below the Line" and "Downward Spiral", the galloping vigour of "King to Pawn" another energetic boost worth mentioning. The vocal duel isn't that impressive featuring a hysterical shouty and a much more convincing cleaner timbre, both sides alternating on the calmer, post-thrash material (the title-track).
"Retribution" comes served with a more corrosive, angrier sound the latter sensation also handsomely reflected in the fury of numbers like "Ripped and Torn" and "Call to Tepes". Expect a couple of more timid post-thrash walkabouts ("Reaper's Birth", "The Final Hunt"), including the more lyrical semi-balladic pageant "Immolation".

Autumn Storm Full-Length, 2020
Retribution Full-length, 2022

Official Site

INDISPERSE (AUSTRALIA)

With Ryan Huthnance of Mortal Sin fame among the band members the expectations are more than the average ones, and this young act doesn't disappoint offering vigorous classic thrash metal with Bay-Area overtones lashing in an energetic mid-tempo, with "Catalyst" a particular highlight being an exhilirating galloping speedster in the best tradition of Attacker's "Second Coming". After it the mid-paced crushiness carries on until the coming (not second this time!) of "The Reckoning" which speeds up again nicely recalling the Forbidden debut. "Sabbath" is another more intense thrasher which influences the last two songs: "Sanctify", all-out speed/thrash metal with nice crisp riffs, and "Execration", which is a bit more complex, but the hard thrashing is not neglected, and the exiting section is a full-on violent attack with proto-death shades. The singer does a good job adding a nice emotional colouring to the music with his attached mid-ranged clean timbre which carries the necessary doze of drama without hitting the higher registers too often.

The Reckoning Full-length, 2009

My Space

INDOCTRINE (FINLAND)

This band play aggressive modern thrash/death which slows down just on time before things get out of control (the calm doom piece "Iniquity In Justice"). This is professionally done, albeit too ordinary following the path of the Gothenburg style quite faithfully if we exclude the more dramatic, even to the point of hysteria at times, higher-pitched vocals.

Indoctrine EP, 2012

INDOMITUS (SWEDEN)

An obscure Swedish act who play a progressive brand of thrash, still on the classic side, relying on heavy squashing riffs and enchanting balladic tunes ("Lower") to pull it through, and succeeds on all counts also with the help of shorter, more immediate pieces ("Darkened"). The singer is a clean mid-ranger who doesn't occupy a lot of space leaving the music to do the talking.

Indomitus EP, 1995

INDULGENCE (POLAND)

Obscure brutalism which blends thrash with death metal under furious bashing spiced with several curious doom/gloomy moments. The faster passages are taken directly from the textbooks of Benediction, Brutality and Morgoth, from where some of the band members hail. Thrash reigns supreme on the nice Exodus cover of "Metal Command", but the rest is more of a mess things eventually coming together on the closing aggressor "Embodiment Of Evil" which is graced by a fine haunting ambient outro. Some of the band members had also come from the speed/black metal outfit Scarecrow.

Embodiment to Evil Demo, 1992

INDUNGEON (SWEDEN)

The band's debut is cool thrash blending the classic and the modern style with a few touches of melodic death metal. The guys never speed up too much, and their music has this smashing, steam roller-like quality, very typical for the Brits Cerebral Fix; here one can hear melodic, Gothenburg-influenced guitars, and these Swedes have a bigger sense of melody: check out the brilliant "522 666", or the very catchy "Cybergenetic Supermind": there's no way you won't recognize these songs once you've heard them. Seldom does the sound reach doom/stoner dimensions: "Desolation Creation" which nicely speeds up near the end with great headbanging riffs. In the second half the melody comes maybe too much, on tracks like "In the Ashes of Civilixations"; even the most aggressive number ("Charging Against You") is graced by nice melodic, and even technical hooks which is hardly a complaint since the band are really expert at infusing the compositions with a lot of melody, giving them a cool distinctive edge.
Unfortunately, melodic death metal has taken a much larger space on the sophomore release, making it sound like many other contemporary thrash/death metal acts around; too bad because these guys were definitely going somewhere with their first effort.

Machinegunnery Of Doom Full-length, 1997
The Misanthropocalypse Full-length, 1998

Official Site

INDUSTRY OF NIGHTMARES (GREECE)

Modern operatic, industrialized thrash with plenty of black metal-ish decorations making this album another larger-than-life metal opera the eclecticism further aggravated by the inclusion of female vocals as opposed to main death metal ones. Hard-hitting thrashing is out of the question except on isolated bits ("A Ballad For Fools"; the technical outrages on "Children Of Atom", the highlight here); the rest is bombastic and semi-balladic with doom metal standing on the side waiting to interfere at every opportunity.

Project Atopia Full-Length, 2016

INDUXION MENTAL (ARGENTINA)

This is competent retro thrash which desirably doesn't follow the mellower power/thrash metal trends so typical for this country, but go heads-down into more aggressive thrash moshing out with gusto producing quite a few forceful thrashers (the semi-technical shredder "Matando Esperanzas"; the vigorous headbanger "Arruinados En Veneno"). "Oscuros Deseos" is a stretch towards softer thrash/crossover, and "Criaturas Magicas" is the only more power/thrash-based number. "Gente Toxica" inserts ultra-brutal grind/death breaks so expect quite a diversity in the second half which is less consistent except for the vocals which remain in the hoarse semi-clean camp the whole time.
The EP is another cool offering thrashing with force also coming with a crisp sound quality. The "assault" seldom stops the band obviously having fun playing this energetic brand of the good old school thrash with no bars held and very few "winks" at the more modern trends, like the more expressive hardcore-ish shouts of the singer this time, etc.

Arruinados En Veneno Full-Length, 2011
Vientos de Sangre EP, 2012

INDYUS (AUSTRIA)

This is old school thrash/death metal with the early Swedish school an obvious influence. This is good professional music, but stays much closer to death metal also featuring a couple of nice melodic rhythms ala Bolt Thrower ("Future Is Over"). "The Necrosis (of Human Kind)" is a nice attempt at atmospheric doom/death, and the closer "Zeitgeist" finishes the album with a magnificent melodic doom-based passage ala My Dying Bride and Anathema which one may end up listening over and over; addictive. The singer is a very low growler not miles away from Karl Willets (Bolt Thrower).

Ashes of Dystopia Full-length, 2009

Official Site

INERTIA (FRANCE)

Based on the "Filthy World" demo, these lads pull out roughly-produced classic death/thrash which on the title-track is a bit more than heavy squashing mess, whereas "Terror Healing Choice" is a cleverly-constructed mid-paced thrasher. The bashing qualities of death-oriented "Combat" again cling towards then amateurish side, and "Fever" is an earthshaking doomster partly betrayed by the not very comprehensible guttural death metal singer.

Stains of Sin Demo, 1995
Filthy World Demo, 1996

Youtube

INERTIA (ITALY)

There is a rekindled interest in Slayer in Italy; Inertia are one of the proofs for that. The sound is clearly Slayer-influenced with very annoying synthesized vocals which ruin much of the good impression made by the music. The last song from the demo is a cover version of Slayer's "Angel of Death", and I will give anyone 1000 bucks if he would be able to recognize it...

The EP would be a big disappointment to those who liked the demo: it features bland boring post-thrash, with a very slight excuse brought on the last "Virtually Enslaved", which is furious thrash/crossover. The guys also operate under the name MG66 where they entertain themselves playing unpretentious jolly thrash'n roll similar to the style of the Tom Angelripper side-projects and Motorhead.

Fly Into DarknessDemo, 2000
Dead End Railway EP, 2006

Official Site

INERZIA (SPAIN)

These Spaniards play thrash/crossover spiced with more modern-sounding elements. The music recalls early Pro-Pain, but "Asesinos" is a major retro headbanger, although right after it the guys lose it with bland playful hard'n heavy rhythms on the remaining material. Some of the musicians involved here play harder stuff with the death/thrash metal formation Total Death.

CuervosFull-length, 2003

Official Site

INEVITABLE END (SWEDEN)

This band prefer to tread the well-trodden path of Swedish thrash/death metal along the lines of Carnal Forge and The Crown. Sometimes these guys add atmospheric black metal touches, probably with the intention to sound less generic.

Inevitable End Demo, 2004
Reversal Demo, 2005

Official Site

INEVITABLE PLAGUE (USA)

Based on the full-length, this American duo, who were previously known as Silent Genocide, play abrasive, noisy modern thrash/death which, despite its strong industrialized character, manage to come up with the odd melodic moment both in the lead and riff department. The compositions are lengthy with a progressive flair the atmospheric epicer "The Blasphemous Brigade" leading the pack there with the orchestral blacky "Exaltation of Spirit" a close second. "Delirium" is another black-infused/doomy instrumental dirge, and "Serpent Unwound" flirts with the more technical side reaching Korova-sque heights including on the sprawling closer "Amnesia". The singer is a subdued death metal growler who isn't very actively involved.

Inevitable Plague EP, 2014
Exaltation of Spirit Full-length, 2016

Official Site

INEXACTA (CHILE)

Groovy modern post-thrash with robotic cold riffs and forceful semi-death metal vocals; this is jumpy mid-paced at best stuff with a few stretches towards alternative. More direct thrashier guitars can be heard on "Breathing Deception", which is a cool mid-tempo sleeper with nice leads and a cool balladic section (later on there is one cool melodic balladic instrumental: "Assuming the End"). "Lie to my Face" even speeds up right after, albeit in an abrasive hardcore fashion.

Previous Trick Us Full-length, 2006

My Space

INEXIHIBIT (ITALY)

The debut: this young Italian formation specialize in quite good heavy technical/semi-progressive thrash/death which sits between the modern and the classic school. The music is dynamic and not very predictable (check out the surprising tender ballad "The Ancient Map"). "Crash" is a curious technicaller with some twisted riffs, and "Countdown" is another less ordinary blend of quiet and fast raging, blast-beating sections. "Without Me" is a tad more linear recalling early Death; and the final "W. W." is another more intriguing cut with several interesting jumpy passages. The vocals are on the shouty, angry side to the point of rending, but their application is well measured and not very annoying.
"Passenger" is a more pedestrian offering relying on heavy seismic riff-patterns leaving the dynamic structures of the debut behind which makes this album a somewhat tiring listen. Ironically, it's the most lyrical moments which deliver the goods here: the excellent ballad "Cast Away" with great melodic leads twisting and turning. Things turn for the harder and faster in the second half with more intense pieces like "I'm The Night" and "Run", and of course the headbanging closer "All Went Wrong". Still, they're not enough to make this effort an attractive listen the guys obviously trying to please a wider range of fans.
"Quetzalcoatl" brings back some of the more progressive flair of the debut with with the dry shredding opener "Mrs. Mystic & Mr. Perfect", but later there's too much groove and djent-like moments to make the thrash fan too happy, the delivery degenerating into a repetitive numetal mish-mash in the second half, the several more stylish Meshuggah-esque histrionics not enough to make this effort a recommended listen.

Inexihibit Full-length, 2014
Passenger Full-Length, 2016
Quetzalcoatl Full-Length, 2017

Official Site

INFACT (LUXEMBOURG)

Modern chugga-chugga post-thrash/thrash which manages to find the equilibrium between moderate and more intense tracks. Still, the melodic pieces dominate turning into ballads/semi-ballads at some point in the second half the closing "The War" being a heavy rousing hymn of squashing hard-hitting thrash. The vocals are shouty and semi-clean, and are generally not a detraction from the mildly pleasant musical approach.

State Of Decay Full-Length, 2015

INFAME (ARGENTINA)

This is slightly rough modern power/thrash metal with the guitars having a noisy abrasive edge, which takes away some of the melody of the riffage, despite the compensation offered by the proficient leads. The songs develop in a not very exciting mid-tempo, which gets suddenly broken (the aggressive proto-death sections on "La Cruz En La Montana") here and there, and the vocalist is a low-tuner with a mean deathish timbre.

Eterna Pudrici'f3n Full-length, 2006

Official Site

INFAMIA (ITALY)

Modern power/speed metal meets melodic thrash; some of you out there might argue about the inclusion of this band here, but at least half the tracks carry the thrashy edge quite a bit. There's some cheesiness typical for the scene but this isn't as bad as it may sound.

Infamia Full-length, 1994

INFAMOUS SINPHONY (USA)

Based on the debut, this is aggressive thrash mixed with hardcore sounding like a mix of Dark Angel's "Darkness Descends" and Wehrmacht's "Shark Attack". The vocals do a good job to ruin a lot being awful hysterical hardcore shouts.
"Enemies of the State": comes 2013, and the band are back on the scene with a new opus, and as "enemies of the state" they don't have too many chances to survive on the competitive contemporary field. The style is more serious than before, but the staple sharp simplistic riffage hasn't been abandoned completely, and now this blend of more serious and more carefree songs fails to deliver as well. On top of that, the dominant pace is mid the band seldom going with all the guns blazing also trying something more melodic and corey ("Mascara", "Cold Blood"), not to mention the terrible funky post-thrasherism "# Twelve" awkwardly hanging in the middle. The singer is way better, though, his attached forceful antics now being much more tolerable. Near the end the guys wake up for some really hard-hitting thrash and the closing string almost makes this effort worthwhile if at least for a single listen.
"Gospels of Blood": the guys have earned their lesson well, and now they mosh out like demented reaching Slayer heights from the get-go with the aggressive title-track. The style remains quite intense throughout with short lashing pieces "flying" around in a random fashion, thrashing hard with a more or less overt hardcore "sting" ("Struggle"). Suddenly comes the semi-technical shredder "Soldiers of Misfortune" to lift the positive impression even more, and the listener will have no choice but to be completely won near the end, first by the short hectic technicaller "Insidious Occupation", then by two exiting brutalizers which will nail you down with smashing brutal riffs bordering on death metal. This is the real comeback for the band, and a really nice reminder of thrash metal's heydays.

ManipulationFull-length, 1989
Wild Rags Limited Edition Split, 1990
Beef Kurtin Full-length, 1994
Enemies of the State Full-Length, 2013
Gospels of Blood Full-length, 2014

Official Site

INFAMY (USA)

Based on the debut 2-song demo, this act indulge in fast lashing thrash/death with brutal low-tuned, death metal vocals. The music makes sense also coming ornate by very good melodic leads, and even touches the semi-technical histrionics from the Merciless debut and Death's "Spiritual Healing" on "Delusions of Reprieve". The sound quality isn't good at all and hampers the guys efforts which are worth exploring further on the subsequent demos.

Tranquility? Demo, 1990
Anguish Demo, 1991
Romance Pathetique Demo, 1993

INFANT DEATH (NORWAY)

Based on "War": this is simplistic classic black/thrash which rages on in a not very restrained fashion hyper-blasting its way without much control exercised by the musicians. Still, hats down to the guys for the excellent speed/thrasher "Powerful and Prosperous", and the 1.5-min of brutal technical hatred "Breaker of Oaths". But that's not all since in the second half the guys incorporate more stylish technical death metal touches (check out "Bestial Slaughter") which ably implement the aggressive main delivery. The singer is a pure death metal shouter who rends his throat without any sophistication. This is good fun stuff which hyper-extreme at times aesthetics shouldn't be a pullback except for the very faint-hearted. Some of the guys are also active with another black/thrash metal formation, Hellstorm.
"Violent Rites" is another fairly brutal downpour of riffs the band elaborating the situation more this time with a much more stylish play, like the addition of the surreal passage on the ultimate aggressor "Burning Wild", or the technical death metal leanings on "Subhuman Elimination". More dissonant surreality arrives with "Mutilation Hammer" another major ripper, before "Blasphemy Prevails" introduces merrier rhythms ala Impaled Nazarene if the Finns were covering Motorhead. "Purified Remains" is a glorious speed/thrasher, the most melodic cut here, and "Malicious Lust" tries to follow the same righteous path only that it tries to reach the speed of light at some stage. The band kind of calm down in the 2nd half the black/death outrages toned down except for the final "False Prophecies" which is another hyper-active thrash/blacker with jumpy semi-technical insertions and a cool addictive melodic section in the second half. As a whole, the guys have done a very good job by enlarging their arsenal with newer tricks by keeping their initial ferocious delivery almost intact.
"Total Hell" is another no-bars-held, ferocious affair the guys lashing with passion still serving their quirky semi-technical twists (the deathly brutalizer "None Shall Flee") whenever possible the frolic rock-ish feeling also evident on merrier cuts like "Feel the Blade". "Sadistic Rights" reminds of Impaled Nazarene's "atrocities", but "Kill Rape Destroy" is stylish bash at its most uncontrolled and technical. Chaos reigns supreme in the second half where technicality and brutality co-exist in a disheveled random manner still producing tasty "fruit" like the excellent surreal, Voivod-ish "Warchild", or the technical death metal basher "Boned", cacophony at its most joyous and disorganized. Watch out for the glorious old school speed/thrasher "Snake Attack" near the end as well as for the superb closer "Demonic Perversion", another display of chaotic dissonant semi-technicality which seems to turn into the band's individual signature to a fairly positive impression.

War Full-Length, 2013
Total Hell Full-length, 2014
Funeral Massacre EP, 2015
Violent Rites Full-length, 2016

Official Site

INFANT MEAT SHIELD (HOLLAND)

Based on the full-length, these folks serve fairly aggressive retro thrash/death which marches onward with atmospheric drama ala Morbid Angel ("Dissecting the Corpses") shaking hands with effective heavy stompers ("Shell Shock") and brutal speedy melees ("Slow Cut Torture"). Attempts at a more technical play ("Infant Meat Shield") are also well noted, but this album is not exactly a walk in the park, the band showing little mercy sticking to the fast-paced confines for most of the time.

Dead Age EP, 2017
Lunacy Full-length, 2019

INFANTERIA (SOUTH AFRICA)

The debut: these folks serve fairly decent melodic thrash which is both classic and modern-sounding excelling in the melody department the lead guitarist leading the show there with his inspired cuts: check the breath-taking leads on "Cataclysmic Oppression" and elsewhere. Hard riffing is also present, "Deceived by the Blind" is an intense smasher closely followed by the death/thrashing madness "Steel Our Extinction". "Beyond All Strength" provides some lyrical sections, but generally it's another merciless shredder with more technical Bay-Area overtones. The attack becomes only a tad more relaxed near the end with the more melodic leanings on "Remnants of Life" and the closing speed/thrash technicaller "Making a Killing" which wraps up the proceedings with style seeing a new rising force from the South African metal scene fully equipped to make their voices heard outside their homeland not without the help of the very good singer whose attached clean mid-ranged antics provide capable assistance to the inspired music.
"Where Serpents Conquer" is another major ripper the guys speed/thrashing with confidence resembling more recent Paradox with the same good taste for fine melodic leads. The stylish "carnage" is interrupted on the ballad "We All Have Dreams" which has a strange In Flames vibe and doesn't quite reach the greatness of the similar Paradox attempts. Regardless, the band acquit themselves with two ripping pieces before the colossal 8.5-min closer "Runes in the Red Forest" wraps it up with another portion of calmer semi-balladic escapades. This is a relatively more complicated opus with more care put behind the compositions.
"Patriarch" produces more surprises overall, the band speed/thrashing in the expected manner ("Burnt Relic") at times, at others attempting something melancholic and progressive (the semi-balladic "Into the Depths"), "Swansong" another but more potent claim at a more complex, more absorbing song-writing. "Embrace the Trauma" embraces again the more intense ways of expression, thrashing with bigger verve, before the title-track closes the campaign with a wider array of tempo and rhythmic decisions, the band trying to reach to wider audience, at this stage succeeding in translating their more ambitious strives.

Isolated Existence Full-Length, 2013
Where Serpents Conquer Full-Length, 2015
Patriarch Full-Length, 2022

Official Site

INFANTICIDE (NORWAY)

This outfit provide moody gloomy classic thrash/death which is sustained in a steady monolithic doom-guided mid-tempo, the stance of the musicians best exemplified by the seismic “Liers We Are” and the pensive elephantine “Depths of the Dark”. The title-track is almost pure doom, and “Infanticide” is a nice short lead-driven instrumental, missing the guttural death metal vocalist. Some of the musicians were also involved with the death metallers Black Sun Brotherhood.

False Prophets Demo, 1991

INFANTICIDE (RUSSIA)

The Russian metal guru Maxim Layko (D.I.V., Manic Depression, Mafia, Korozia Metala, etc.) is behind this very short-lived project of which he shouldn't be too proud since this is just raw noisy bash of the thrash/death metal hybrid with bad shouty vocals and messy song-structures among which the leads make some sense. Otherwise the delivery is pretty fast bordering on death metal more, and those same leads are quite proficient at times not really deserving this semi-amateurish stuff heard for most of the time.

Annihilation of the Newborns Demo, 1994

INFANTRY (HOLLAND)

Based on "Terminal Society", this band play old school thrash which is clearly on the bashing fast-paced side, the shouty death metal vocals commanding the show the latter ranging from speedy extrapolations ("Destination: Wonderland", the epic saga "Under Destruction") to more academic heavy marches (the closing title-track), the more brutal deathly clout of "Hail the Victorious" standing for the openly aggressive highlight.

Make War Not Love Full-length, 2017
Terminal Society Full-Length, 2022

Official Site

INFANTRY (USA)

Based on the "Desecrate the Church" demo, these guys have a bright future before them: four tracks of unadulterated classic black/thrash, staying close to the German school. "Imprisoned By Fire" is a cool speedy opener, but later on the band varies things by offering something in the Slayer-vein as well ("The Betrayal"). "Malicious Thrill to Kill" is vintage early Destruction, whereas "Desecrate the Church" goes up the aggressive ladder once again, slightly "winking" at the Bay-Area. The "black" tag to this promising demo is mostly due to the unholy sinister vocals; the music is pure retro speed/thrash.
The "Resurrect" demo is close to the subsequent one, being cool speed/thrash of the classic type. The German school seems to have the bigger influence here, proven in the form of speedy explosions like "Brutal Torment" and "Unholy Blasphemy".

Ressurect Demo, 2007
Desecrate the Church Demo, 2008
Thrash Clash Volume 4 Split, 2008

My Space

INFANTRY OF DOOM (GERMANY)

Aggressive thrash/death metal with an old school sound; this is a standard, but brutal approach to the genre, and could be better if the guys leave the thrashy riffs to develop fully for the future without unnecessarily interrupting them with fierce blast-beats.

The Saw Is Family Demo, 2001

Official Site

INFEARIOR (GERMANY)

Fairly cool power/thrash metal with shades of doom; Eidolon and Morgana Lefay come to mind, especially in the guitar department, and Hexenhaus ("Dejavoodoo", in particular). This is mostly mid-paced music with heavy riffs and frequently melodic guitar lines, with a touch of Hexenhaus' Mike Wead (the very good leads). Nice Oriental sections come up here and there: check out the cool, energetic "When Symbols Fell". The obligatory ballad is here as well: "Still Your Eyes Break the Silence". The lead guitarist shows his skills on the short, 2-min instrumental "Phobos" which is followed by the 9-min doom opus "The Cage Within" that would even suit the works of Candlemass and Memento Mori. "Last Generation" is another melodic deviation "courting" the American power metal scene of the 80's with a good galloping rhythm.
The demo is an auspicious start for the band although the style is more epic and heroic, and the sound quality is quite muddy. Still, it can't possibly stand on the way of impetuous shredders like "Rough Waters" and the sinister mid-pacer "Insanity´s Mind" which see the influence of the 80's American school: think Attacker, Liege Lord, early Metal Church.

Times of Ignorance Demo, 1999
Two Faced World Full-length, 2004

Official Site

INFECT (USA)

Based on the first demo, these guys offer aggressive thrash metal that strangely reminds of Bathory (R.I.P.)'s "Requiem" with the hollow guitar sound and the simplistic riffs. The music acquires slight death metal tendencies at times, but most of the time it is straight thrash bashing, simple and intense with short, 2/2.5-min tracks.

Demo Demo, 1988
Face the InfectionDemo, 1991

INFECTAI (BRAZIL)

Intense speedy modern thrashcore with allusions to the old school touching veterans like The Accused and Sick Of It All without forgetting about the "old dogs" Motorhead on the more melodic moments ("Escravo do Inferno"). This is direct bashing stuff with angry shouty vocals and several memorable choruses.

MMXII EP, 2012

INFECTED (ARGENTINA)

A 7-song demo of heavy retro thrash/death metal with some of the most brutal suffering vocals of recent times; the music isn't bad at all with clear technical pretensions and haunting melodies both in the lead and the riff department. The guys concentrate more on creating mood and atmosphere sacrificing the speed with scattered blast-beats present. The overall style is very close to early-90's Messiah, but the approach is probably more technical at times: check out the creepy doom piece with twisting mazey riffs with the "gory" title "Gore", and the excellent melodic instrumental "Mi Ultima Dia".

Demo Demo, 2010

INFECTED (BRAZIL)

Members of various thrash metal acts from Brazil and overseas (Farscape, Guillotine, Toxic Holocaust, Blasthrash) have gotten together for the recording of another retro thrash album. Traditionally they have done a good job, although from the above cited bands it's only Farscape who can be considered a soundalike. The music is fast and intense, having shades from both the German and Bay-Area school. The singer is probably the downpoint, having a hoarse hardcore timbre. This effort actually beats the works of the already mentioned bands, providing a non-stop downpour of speedy lashing riffs seldom spiced by more laid-back speed metal moments ("The Damned Land"). On the other hand, pieces like "Possessed" and "Violent Reaction" smash no worse than the best tracks from Vio-Lence's "Eternal Nightmare". "Thrash Attack" and "Death For Us All" are exemplary "thrash attacks" with rolling Destruction riffs, closing this album in flying colours, and it would be worth it to hear something more from them in the near future, in case of the guys find time to record again while having a break from their busy schedules with the other bands.

Who is Not? Full-length, 2009

Official Site

INFECTED (GREECE)

Based on the "Beyond Reality" demo, this band play decent dark classic thrash which is quite rich in moody atmospheric decisions ("Vision of Murder"), the fast-paced lustre of "Creative Mind" breaking the mould for a bit, before "Dreams of Death" resumes the tenebrous rhythms and the sinister setting, the latter also aptly backed-up by the intimidating growling death metal singer.

Beyond Reality Demo, 1995
Infected Demo, 1997
Nuclear Invasion Demo, 1998

Official Site

INFECTED (ITALY)

Based on the full-length, this act provide a mix between classic and modern thrash with a wide range of vocals as well, the main ones being of the semi-clean/semi-shouty type. Atmospheric mid-pacers (the not very appropriately-titled "Fight") alternate with more vivid pieces like the speedy roller-coaster "Infected", but more variety should be expected here like the inclusion of quiet bass-driven instrumentals (the closing "Dawn of a New Day (Pt.1)").
“The Myth Grinder” is strictly on the modern side, the abrasive sound quality also helping with the modernized cause, the latter clinging towards the post-thrash realms more than now and then, the vivid colourful ”Trust No One” incorporating several influences into its frame, “My hell” another more intense interpretation of the modern thrash canons. “Lambs” is a cool more technical proposition, the highlight on this less striking, more generically executed opus.

Infected EP, 2014
Judgment Day Full-length, 2017
The Myth Grinder Full-Length, 2023

Official Site

INFECTED (SWITZERLAND)

An interesting band playing dark aggressive thrash, sounding like a better produced and more technical version of early Messiah, with touches of Celtic Frost, and death-vocals ala Protector. Moments of early Coroner are also present, so as a result we have an album which brings all the great Swiss acts together although put together this concoction is less impressive than the separate acts on whom the music is based. The tempo varies from more intense songs (the excellent opener "Media Control", which also contains a very cool doom mid-section) to stomping, heavy ones ("Headless"). "Backstabbing Small Talk" combines both the most aggressive and most technical riffs, again recalling Protector, but their later 90's period.

Dark Century Full-length, 1989

INFECTED AUTHORITAH (GERMANY)

Based on "Deliverance", these guys offer pretty decent modern thrash which main detriment are the very shouty, quarrelsome vocals. The band alternate more varied, progressive compositions ("Broken") with more compulsive headbangers ("Leave You Alone") as there are more lyrical moments (the semi-balladic "I Will Haunt You"; the interesting doom/thrash hybrid "The Final Drop") where the guys show a good sense of melody.
Shadows in Me EP, 2011
Deliverance Full-length, 2017

Official Site

INFECTED MIND (BRAZIL)

Your average modern thrash metal with more aggressive death metal vocals; the approach is uneventful, mostly mid-paced, lacking sharpness in the riff-department, and although there is not much groove involved, the music remains pretty predictable with no surprises whatsoever.

Rascals of Destruction Full-length, 2006

My Space

INFECTED MIND (POLAND)

This unknown demo contains cleverly-constructed thrash/death which is quite brutal and lashing although there are quite a few intriguing technical elements dispersed throughout. The band play fast'n tight slowing down on "Crazy Horse" for a couple of heavy stomping passages. The title-track is a short splitting ripper, and "Terminator" switches onto full-fledged technicality where the sound becomes pure death metal for a while. More twisted rhythms from the closing "Dumb Scream" which rages on for nearly 6-min recalling peaks of the genre like Invocator's "Excursion demise" and Sadus' "Visions of Misery". The vocals are gruff and shouty, and are generally not very pleasant creating quite a bit of noise when in action.
The full-length tries to belatedly capture the magic from the "ancient" demo, but the delivery is a tad more simplistic and direct at the start, the harsh shouty death metal vocals leading the show, with "Morbid Obsessions" bringing back some of the more technical delivery, but the guys are intent on firing on full-throttle with short bursting cuts like "Lost Existence", leaving the more contrived developments for the nervy "Far from Reality" and the more melodic quasi-progressiver "Birth of Chaos". Things continue being more interesting on the shape-shifting roller-coaster "Personal Hell" and on the death metal explosion "Dumb Scream" at the end, both numbers raising the level almost to the one of the demo with their inspired intricate skirmishes, infecting the Polish metal scene with a hefty doze of entangled death/thrashisms.

Lost Existence Demo, 1993
Far from Reality Full-length, 2018

Official Site

INFECTED NOISE (SWITZERLAND)

Based on "Anxiety", this act pull out vigorous classic thrash with more complex arrangements as evident from the not very predictable opener "I'm Godless". The title-track continues the stylish "carnage" with clever semi-technical riffage and breath-taking balladic breaks, and "Kill Fuck Die" simplifies the environment with more immediate blitzkrieg decisions, but watch out for the supreme Coroner-esque exit. "Contaminated Prophet" is a more linear headbanger, and "God Among Slaves" brings back the more intricate rifforamas and the more tightly woven guitar knots. "Cursed" is another notable technicaller before the end again recalling the guys' mentioned renowned compatriots, before the closing "Where Pain and Death Are Left" sweeps everything with its rousing speed/thrashing crescendos ala Paradox. The harsh shouty death metal vocals don't quite do justice to the very good music, but overall the symbiosis works without disrupting the high level of musicianship.

Out of Control Full-length, 2005
Anxiety Full-length, 2017

Official Site

INFECTED NOIZE

Three tracks of modern thrash with frequent death-y implements of the blasting variety; some technicality sneaks through ("Saved Not"), but it all comes cancelled on the final track which is a Terrorizer cover ("Corporation Pull-In").

Demo Demo, 2010

INFECTED SYREN (BRAZIL)

Frolic playful Motorhead-ish power/speed/proto-thrash also trying to please the groove lovers with a couple of thicker rhythms ("Sick") alongside uplifting crossover roller-coasters ("Toothless Tigers"); merry unpretentious stuff with clean-ish dramatic vocals which try to cover a wider gamut of moods.

Infected Syren Full-Length, 2018

INFECTED UNION (GERMANY)

Pretty decent retro thrash the guys combining melody and aggression on nearly every track, the more speed metal-based ("Nightmare") delivering a bit better than the more rigorous thrashers ("One Day in Heaven") among which one can come across more thought-out ones ("Downfall") with both a more melodic and progressive flair. "Rust In War" is a slow ponderous cut which slows down the proceedings although the intense shouty quarrelsome vocals try to enliven it with their forceful interference. The band were previously known as Ambrace with a style closer to the modern thrash trends.

Embrace the Beast Full-length, 2017

Official Site

INFECTED VOICE (POLAND)

This act may have taken their name from the Sepultura song from "Arise", but the music on offer here is more in the Slaughter's "Not Dead Yet" camp being minimalistic retro thrash with heavy passages akin to early Celtic Frost thrown in. There isn't much speed to be heard, and although the Celtic Frost moments are well handled, this album may get boring at some stage because of its slightly monotonous repetitive nature.

Memento Mori Full-Length, 1993

INFECTION (PERU)

Based on "Acrotomophile Mutilator", this band, who consist of just two members, play quite good intense technical thrash/death which is well balanced between aggression and melody. The shorter numbers ("Tetrodotoxin", "First-Degree Murder") are stylish exercises in precise technical music, and generally those are the ones that dominate the eventful landscape. "Kidnapped and Killed" is a cool reminder of early Morbid Angel with its rousing, epic brutality; and "Psychopath" is another take on the short technical formula recalling Atheist with its spastic time shifts. The complex performance never gets lost later reaching heights on the chaotic "mutilator" "Acrotomophile Mutilator" and the more melodic instrumental shredder "Devouring the Living". The vocalist present a more ordinary antidote to the fairly engaging music being a guttural death metal throat reminiscent of Karl Willets (Bolt Thrower) at times.
The debut full-length is another very stylish display of sophisticated technical musicianship mixing thrash and death with a tasteful balance between aggression and melody on almost very song. "Autopsy Room" is a particularly impressive cut with pounding rhythms and virtuous technical guitars the latter acquiring a spinning vortex-like character on the next "Bacterial Endocarditis". "Fecal Burrito" is a prime example of speedy, brutal technicality which becomes serpentine and semi-chaotic, all to very good impressions, on "Necrokindergarden". More polished brutalisms on "Nothing but Scum" and "I Choke" those culminating on the short half-min rager "Gastric Disorder". Then the guys' more melodic infatuations are given a chance with "Brain Infection" which is still played at the speed of light at times. The final string of pieces provides the consummate technical speedster "The Heinous Brick Attack"; the multi-layered progressiver "Antiesthetic Surgery" which is mostly meandering mid-paced guitars; and "Definitive Inquisition" which is an aggressive bashing, an all-instrumental bonus track without too many technical merits. These Peruvians are a very pleasant surprise and although their passion for death metal is obviously stronger, their admirable talents should make many metal fans happy.
The "Beheaded Children Contest" EP is another fascinating slab, but the orientation is almost exclusively towards death metal, the guys disturbing the peace with short galvanizing tech-deathsters (the superb amorphous puzzler "Excrement Overdose", the title-track), also perplexing the environment with their entangled feats. The half-min brutalizer "Horrific Accident Was Not an Accident" is a direct non-fussy neck-sprainer, but expect twisted limbs galore on the excellent contrived melo-excursion "Rape Kill Rape". "First Your Kid Then Your Wife Then You" further complicates the setting with brisk technical licks this one also displaying some thrashy valour, with everything coming nicely together on the hyper-active grindcore-ish 18-sec closer "The Kill".

Nothing but Scum EP, 2008
Necrokindergarden Full-length, 2009
Acrotomophile Mutilator Full-length, 2014
Beheaded Children Contest EP, 2020

Official Site

INFECTION ATTACK (MEXICO)

Raging hardcore-ish thrash of the old school which stripped-down, immediate character is compensated by the virtuous lead sections which soar high above this direct barrage which will remind of Slayer, the Viking debut, and early Kreator. The vocalist is a semi-shouty/semi-declamatory semi-cleaner who leads the proceedings without being heard clearly the whole time.

The Disaster Outcome Full-Length, 2016

Official Site

INFECTION CODE (ITALY)

Based on "Life Continuity Point", this act provides noisy quarrelsome industrial thrash which is pretty jumpy trying to surprise the listener with sudden switches to more atmospheric semi-progressive breaks ala Fear factory including the transition to cleaner vocals as opposed to the brutal hysterical synthesized screams heard for most of the time. Certainly, there are pure exercises in electronic industrial which further aggravate the mechanical artificial atmosphere of this recording.
"In.R.I" is a more ambitious odyssey, the guys entangling the proceedings more, also adding a more dynamic vibe ("Unholy Demo(n)cracy"). Doomy uneventful dirges like "Where the Breath Ends" can be grating on the nerves, but there's little wrong with jarring shredding mid-pacers like "The Cage" or the jumpy thrashing progressiver "Alteration". "New Rotten Flesh" flirts with death metal for a bit, but the complex death/thrashishms of "Dead Proposal" and the steady mid-tempo strides on "8HZ" are fairly entertaining without breaking the deeply-carved industrial canons.
"Alea Iacta Est" continues the more contrived trend from the previous instalment, the devious opening twister "In Perpetual Error" remaining the most intriguing proposition here, the energetic jolts on "Daily Slavery System" keeping thrash in check, also the heavy stomper "White Rooms", this last number influencing the remainder, the industrial fiesta lacking the previous dynamics somewhat, the closing "The Great Destroyer" a dirgy bouncy tribute to Godflesh and early Pitchshifter with its methodical pummeling rhythms.
“Sulphur” is more subdued fare, the band relying on heavy squashing riffs (“The Colour out of Space”) at first, before the ripping “Evil Side of Mercury” restores the energetic hegemony with verve, the dirgy sinister “Old Viral Order” telling a different story for a bit. Less bridled vitriolic thrash comes served on “Something Wicked This Way Comes”, the pogo continued by the At the Gates cover of “Blinded by Fear” from “Slaughter of the Soul”, the atmospheric doom-prone “Lurking Creepy Love” killing all other claims at brutality.

H.I.V. 999 EP, 2000
Life Continuity Point Full-length, 2002
Sterile Full-length, 2004
Intimacy Full-length, 2007
Fine Full-length, 2010
La dittatura del rumore Full-length, 2014
00-15: L'avanguardia industriale EP, 2015
Dissenso Full-length, 2018
In.R.I Full-length, 2019
Alea Iacta Est Full-length, 2022
Sulphur Full-length, 2023

Official Site

INFECTONATOR (USA)

This is a brutal recording which evolves around classic death/thrash with echoes of early Sadus, the Greeks Flames, and early Kreator in the beginning ("Echoes in the Dark"). The youngsters play quite fast with more nods to death metal perhaps, but the very cool surreal lead guitar work, the comprehensive lightning-fast riffage, and the bit laughable, but fairly mean early Mille-like vocals will ensure the listener's entertainment. "Birth of a Beast" is a curious "beast" bringing the winds of black metal this one a prime early blacker with not much thrash to be heard. "Watching you Bleed" is a strange atmospheric galloper which translates its weird aesthetics on the final "Spreading the Plague" the latter a spacey more laid-back number with the leads again doing the biggest damage. "Fevered Dreams" is another brutal weirder with several quirky decisions those not far from pure progressive. The end comes in the form of a cover of Darkthrone's "In the Shadow of the Horns" rendered faithfully with all the bombast and the blasting elements. This is an interesting, albeit unpolished, effort which introduces several intriguing ideas that have to be explored more fully on future releases.

Brainfuckers Demo, 2013

Official Site

INFECTOR (CUBA)

This is ripping speedy old school thrash obviously modelled after early Kreator, the fast pouring riffage leaving no one indifferent, with bullet after bullet ("Blind Faith", "Let the Infection Begin") rushing to squash the listener, including with wilder proto-death atrocities ("The Void of Conciousness"), the antidote to those being the meeker pounding "Poser's Holocaust". The vocals are harsh rapsy tirades, again not far from the ones of early Mille.

Let the Infection Begin Full-length, 2019

Facebook

INFECTOSIS (CHILE)

Classic Slayer-sque thrash with a pristine hardcore feel, ruined by the awful shouty death metal vocals; the sound quality is too bad as well making the drums overtake the whole space on a few times. The approach is messy, fast and slow moments intercepting each other awkwardly the former working better with the direct, stripped riffs suiting this side sounding too clumsy and unrehearsed on the less intense passages.

Caos, Sangre Y Destruccif1'f3n Demo, 2011

INFEKTOR (SPAIN)

Based on "El Cuarto Mundo", these folks pull out intense raging classic thrash which boasts a fine sound quality among other assets, like a very expressive sharp edge of the guitars. Some of the numbers are lengthy with more sprawling, almost progressive, decisions: the excellent dramatic technicaller "El Peso de su Opresion"; the atmospheric mid-pacer stomper "Cicatrices"; the contagious galloper "Tu Oportunidad". The tempo slows down in the second half where the compositions become repetitive and lose the initially good ideas. Still, this is good fun and would by all means arouse the fan's curiosity in tracking down the first two efforts.

Ahuar Maiek Full-length, 2002
Falsa RealidadFull-length, 2007
El Cuarto MundoFull-length, 2014

Official Site

INFENSUS (NORWAY)

Based on the "A Lecture In Sin" demo, this band pulls out quite good black/thrash, jumping from slow funeral passages ala Barathrum to very fast ones which range from Impaled Nazarene-esque outbursts to more controlled 80's thrash. To these ears the former seem to work better consisting of heavy dense dark riffage which simply crushes: "Demigods", the best song here, devoid of any speedy distractions, even smelling more recent and thrashier Satyricon.

A Lecture In SinDemo, 2005
Damnation RewindDemo, 2005

Official Site

INFERI (USA)

Based on "The End of an Era", these guys offer quite fast and furious mixture of thrash and death metal of the modern type, with early Dark Tranquillity being the closest reference point. The guitar work is quite good, relying more on melody, rather than sharpness, but the constant speedy tempo would satisfy most. More emphasis has been placed on death metal including in the vocal department, where we have a constant duel between the higher-pitched rasps and the more brutal low-tuned growls. The highlight is the excellent 9-min instrumental "The Warrior's Infinite Opus" which sums up everything this album is about: well played high-speed melodic death/thrash with proficient, near Shrapnel-like guitar performance.
The debut is in a similar vein, sticking to familiar melodic structures and proficient leads, which are the highlight by a long shot, giving the album a nice virtuoso edge. The tempo is pretty energetic the guys shredding with both sharpness and melody.

Divinity in WarFull-length, 2007
The End of an EraFull-length, 2009

Official Site

INFERIOR (SWEDEN)

Based on the full-length, this act, who is a continuation of the short-lived formation Nodawn, specialize in heavy dark thrash which clings between the modern and the classic spectre with a few more dramatic death metal-ish arrangements those also bordering on battle-like doom/death akin to Bolt Thrower. The tempo is mid at best with very few temptations at speedy variations and the sound inevitably starts dragging at some stage especially on the longer compositions in the middle. "Ceremonial Transformation" livens up with more dynamic riffage, and just before the end there is one more cut ("Abysmal Sea Of Deceit") which thrashes harder. The very end is another dragger, "The Maker's Waste", which is monotonous doom with a few more vivid moments. The singer is a shouty deathster who arguably does a better job than his other colleagues.
"The Red Beast" speeds up and also clings more towards the old school and the more aggressive proto-death metal spectre (check out the raging "Expressed in Murder"). Death metal has been introduced more thoroughly on "Continuous Resentment" with Slayer a close call on the most intense material ("Divine Spectres"). In the second half the band slow down and shades of their debut start sneaking in taking away quite a bit from the intensity until the final "The Righteous Will Rise" restores some dignity with its more energetic delivery.

Inferior EP, 2009
Unsoiled Full-length, 2013
The Red Beast Full-Length, 2016

Official Site

INFERIOR DESIGN (USA)

Based on "Perspectives", this band play modern thrash/post-thrash which begins in an overt uncompromising fashion with "Defiance", a rowdy pulverizer which doesn't quite find its match later, but both the steam-roller drama "Condemned for Life" and the hectically pumping "Dead Air" have their moments of belligerence, the remainder reminiscent of the Bolt Thrower repertoire only presented in a more modern, less deathly perspective, save for the intense death metal singer who is clearly on the more intelligible side. Some of the musicians are also busy with the gothic/thrash hybriders Cult of Dionysis.

Inferno Full-length, 2018
Inferior Design Full-length, 2020
Perspectives Full-Length, 2023

Official Site

INFERNAEON (USA)

Based on "Genesis to Nemesis", this band offers really cool atmospheric stuff mixing black, thrash and death metal to a fairly positive effect. The overlong orchestral intro "Into The N.O.X." may stretch your nerves a bit, but it fits pretty well into the diverse atmospheric picture. "First Of The Fallen" is a compelling progressive composition ala The Project Hate with a pinch of The Kovenant's "Nexus Polaris". More aggressive thrash/death metal hits with "Lilith Ave Satanas" offering constantly changing tempos on a strong technical base. Technicality and atmosphere come perfectly mixed on the short deathster "Legacy of Kane" which is also graced by great melodic leads and slightly pompous keyboard insertions. "Ziasudra" is a cool moody technical death/thrasher with a few raging sections followed by the pleasant surprise "Creeping Death", which of course is a Metallica cover done on a gothic keyboard-driven base with the riffs very faithfully delivered. The carnage continues right after it with the technical death metal madness "The Scar of David", a standout puzzling piece in the best tradition of Necrophagist and Suffocation. "Immaculate Deception" follows the same path with thrash metal disappearing completely at this stage only to return for the much slower proto-doom creeper "Graven Image". The closing "Revelations" is a varied amalgam of black, thrash and death metal of the fast technical type finishing this commendable effort in flying colours. Although the thrash metal fan will not find too much thrash here, music of such a high quality will definitely keep him entertained the whole time.

"The Cancer Within" is another masterful display of the guys' skills who death/thrash their way through with familiar blistering technical touches, but with more bombastic blacky arrangements ("Death of the Sun"; the hyper-blasting madder "The Slow Lie") as well. There's more thrash to be savoured this time, and cuts like "Emaciated Dreams" are some finely composed technical pieces with an epic blacky edge. The leads are on a particularly high level gracing almost every song and work especially well on the more melodic, and longer, material ("Chaotic Waterways"). The more technical performance gradually leaves superseded by the newly implemented black metal elements, but returns near the end with the exploding "Ash", and the wonderfully chaotic closer "Undying" which combines the three styles into one seamless whole finished with a grand doom ending. One may mourn the decrease of the stupendous technical decisions from the debut, but the overall impact of this album would still be big due to the big palette of moods and tempos provided.

A Symphony of Suffering Full-length, 2007
Genesis to Nemesis Full-length, 2010
The Cancer Within Full-Length, 2013

Official Site

INFERNAL (BRAZIL)

Based on the debut, Infernal play old school thrash/death metal with no influences from the 90's metal scene. The music is obviously influenced by the Floridian death metal bands, Morbid Angel's "Altars of Madness", in particular. The tempo varies from very fast brutal parts to slower, crushing sections; nothing extraordinary but well done.

Drowning In The Chalice of Sin Full-length, 1993
Ritual Humiliation Full-length, 2001
tab Anthological Humiliation Full-length, 2002
tab

Official Site

INFERNAL AGGRESSION (USA)

Based on the debut, this band play a crunchy modern/classic thrash hybrid, the intense semi-shouty hardcore-ish vocals bringing an added doze of threat on intimidating moshers like "Requiem" and "Born Against", the more complex choppy rhythms on "Genetic Alteration" drawing more ambitious vistas which are promptly abandoned with the frolic crossover joy "Not Gonna Cum". Watch out for the goody lyrical intro to "Pussy Whipped", an otherwise rude death-laced outrage. Some of the band members were also active with the death/thrash hybriders Sudden Relapse.

Born Against Full-length, 1997
Herding the Sheep Full-length, 1999

INFERNAL ASSAULT (USA)

Based on "Patient Zero", this act serve pretty cool intense old school thrash which isn't far from the early Sacrifice musings, minus the eye-gouging debut of course. So expect a few more entangled developments ("Collateral Damage") although the approach is pretty pulverizing all over, the guys not fooling around, too much, shooting uncompromising bullets like the aptly-titled "Adrenaline" and the title-track, the vehement nature of "White Dust" bordering on proto-death, not to mention the short ball of fury "Curse of the Ball". The singer is a strong shouter, his thin but attached antics venomous enough to match the hyper-active musicalities.
"Hostile Environment" is sustained in the same uncompromising vein, with fiery riffs flying from all sides, the more complex arrangements on the title-track with short biting pieces ("Economic Failure", "Perfect World") pouring more violence into the furnace, the emitted extremity inevitably reaching both hardcore ("Bombing Campaign") and proto-death ("The Night Before") proportions. Make sure not to miss "Electric Execution" and the closing opus "Into the Sky", both elaborate takes on the energetic old school thrash idea, with quite a few intriguing twists and turns.

Natural Selection Full-length, 2012
Hostile Environment Full-length, 2015
Patient Zero Full-length, 2021

Official Site

INFERNAL BIZARRE (POLAND)

Based on the full-length, these lads serve varied modern thrash/death which is built around fast merciless shredders (the wild title-track, the proto-blasting "Zjawa") those also coming with the requisite classic flair. A more flexible song-writing can be detected on "W Imie Wiary" where a few slower deviations keep the proceedings on the less expected side the culmination in this trend reached on the encompassing multi-layered closer "Ostatnia Wyprawa", the harsh subdued death metal vocals clearly a fitting accompaniment to the dark moody, but fairly intense soundscapes.
"Mroczne Dziedzictwo" follows the same vein as the one explored on the preceding opus, a complex intricate modern thrash/death which sounds quite twisted and alluring on the opening "Truposz", with a bigger doze of creepy surreality added on "Udreczony", the bashing qualities of "Klatwa" well acknowledged as well, before "Wiedzma" extrapolates the death metal skills of the guys to the max, the entangled rifforamas on "Apostata" standing for the highlight, the band phasing out the thrash completely by the end, "Ofiara" finalizing the feverish hyper-active proceedings with a serene doom/balladic etude.
Prometeusz EP, 2015
Medium Full-length, 2018
Mroczne Dziedzictwo Full-length, 2022

Official Site

INFERNAL COMMAND (PARAGUAY)

Good old school black/thrash with some death metal elements, not too far from Destroyer 666; their first demo has a cool cover of Bywar's "Thrasher's Return".

Time of Thrash Demo, 2003
Demo I Demo, 2005

My Space

INFERNAL COURSE (BRAZIL)

Based on "Impaled Society", this act deliver classic thrash/death which relies more on melody and pounding choppy riffage ("Fallen Gods"), the title-track nicely enriching the setting with a portion of cool melodic hooks. The less bridled headbanging sensibilities come to the fore on "Crawling over the Carcass" and "Marching in Hell", the harsh shouty death metal vocalist ensuring the more brutal death metal clout on those.

The Devil's Sentence of Destruction Full-length, 2009
Impaled Society Full-length, 2016

Official Site

INFERNAL DAMNATION (USA)

Based on the full-length, this act pull out fast blitzkrieg old school death/thrash the admirable musical approach slightly hampered by the not very rehearsed rough death metal vocals. Bullets like "Dominions Obscure" and "Invocations Of The Dead" can shatter someone's senses the latter served with a more overt technical death metal flavour, and "Cast Down Into Hellfire" is another more intricate headbanger recalling the Floridian scene also adding a very intriguing psychedelic vibe to the proceedings. "Decomposed Hordes" is a fine polished brutalizer with great slower passages both sides alternating to a nearly progressive effect. "Sabbat" wraps it on with super-speedy riffage regardless of the doomy intro, and later it even blast-beats in a less controlled manner to ensure a well deserved brutal finale to this entertaining roller-coaster.

Ancient Evil EP, 2010
Into The Crevice Of Obliteration Full-length, 2015

Official Site

INFERNAL DEATH (GERMANY)

Based on the "The First Attakk" demo, this band plays aggressive early Germanic thrash ala Kreator and Destruction, also recalling Slayer's late-80's period on the heavy slower moments. Near the end things get out of control a bit with "Cries From The Crypt" hyper-blasting for a while, and with "...For Baphomet" which is total extreme black metal madness.

The First Attakk Demo, 2007
Deathcult-The Final Inquisition Demo, 2008

My Space

INFERNAL DEATH (UK)

Based on the "Clinic 1A" demo, this British formation play quite decent speed/thrash with a tasteful change of pace and biting, sharp riffs. "Possession" is an inspired galloper which shows a clearer speed metal influence, and "Walk Of The Undead" is an excellent semi-balladic power/thrasher with some addictive melodies. "Death By Fire" is a raging roller-coaster followed by a nice cover of Diamond Head's "Am I Evil", probably the first act to defy Metallica in this trend. The positive mood created so far is partly ruined by the joke crossover cut "Fuck Off Peter Mitchell (Die You Cunt"). The singer has a cool baritone which he doesn't strain too much, but manages to exude the odd sense of melody. Some of the band members were also operating under the name Arcana around the same time playing a similar brand of speed/thrash.

Death By Fire Demo, 1987
Clinic 1A Demo, 1988

INFERNAL DEATH (USA)

Based on the "Incantations of the Gates" demo, this band pull out a vicious blend of thrash and death metal. The music has shades of Celtic Frost and Possessed, but is not as good, partly because of the awful sound quality, partly because of the bad throaty vocals which ruin things quite a bit. The guys are better keeping the speed up where the Possessed influence is clear, and one could catch some cool riffs there.

Incantations of the Gates Demo, 1989
Bringer of Evil Demo, 1992
Drunk & Jammin' 1995 Demo, 1995

Official Site

INFERNAL FAITH (MEXICO)

An imposing doom intro ("Requiem") with echoes of the Funeral March inaugurates this aggressive, quite heavy take on the retro thrash/death metal hybrid which often moves from impetuous gallops to furious blast-beats within one song. More lyrical, slower respites like "Chaotic" are also provided as well as epic battle rousers ("Nicht Mehr") the vocal, guttural vs. screechy, death metal duel handling all music swings with panache.

Dehumanized Full-length, 2018

Official Site

INFERNAL FORCES (USA)

Dark dramatic classic thrash which can be both melodic and epic ("Searching for the Day") and intense and dramatic ("Jail of the Youth"), the more impetuous rhythms on "Just Say No" creating the requisite headbanging setting. The leveled mid-ranged semi-clean vocalist doesn't really shine, but is always on par with the musical expletives, the latter becoming more intricate on the excellent dramatic epicer "Illegal Entry", before "License to Kill" shatters the complex environment with apportion of violent bashing riffs. Some of the band members were also involved with the death/thrash blenders Poverty.

Words of Wisdom Demo, 1986

Official Site

INFERNAL FURY (FINLAND)

This outfit indulge in ripping black/thrash of the old school, the furious rhythms embalming the listener from the get-go with the frenetic "I Spit on the Thought of God", the stomping machinations of "Abomination" passing for a relative respite, before the violent riffage of "Iankaikkinen Ihmisviha" reminds of the guys' compatriots Impaled Nazarene. Prepare for something heavier and more restrained on the slow-burning "Open Heart Surgery", but make no mistake on "Recrucifixion of the King of Slaves" which also calls death metal for help alongside the husky mean deathly shouts provided behind the mike.

Hate Reborn Full-Length, 2024

Youtube

INFERNAL GOAT (ITALY)

Unholy black/thrash this way comes from Italy offering a constant alternation between furious blasting passages and more moderate thrashy ones; this is fast merciless music with one black-laced tribute to Motorhead included: "Christian Explosion". The vocals are one of the most agonizing horrifying ones one would hear these days; could be coming straight out of the bowels of hell? The guys abandon the thrash concentrating on pure misanthropic black metal with their other formation Unholy Impaler.

We Like the Goat... And the Goat Like Us EP, 2003

INFERNAL LEGION (BELGIUM)

The full-length shows a band ready to do damage in the aggressive black/thrash metal department although the high speed is at times interrupted by nice epic numbers ("Dead In My Own Reality") akin to Destroyer 666, or by majestic doom/black opuses ("Under Influence of Sickness") which may even be the highlight on Burzum's "Filosofem". Watch out also for the melodic speedster "Melancholy Reigns" with an early Children of Bodom-flavour.

Die and Become... A Forgotten World EP, 1999
Sculptured Humans Full-length, 2001
Annihilate EP, 2004

Official Site

INFERNAL MAJESTY (CANADA)

A legendary Canadian thrash metal band; the debut is a landmark work with its dark ominous sound, complex song-structures and great technical, but at the same time aggressive, riffs. The band surprisingly preferred to keep a low profile for more than ten years sporadically releasing demos until they finally entered the studio in 1998. "Unholier Than Thou " is another great work showing how badly these guys were missing from the scene. Their style has been slightly adapted to the modern tendencies by also moving up the aggression scale now staying closer to death metal, but the trade mark riffs are intact, and with even better, more technical guitar work ala later-period Death present, the final result is nothing short of outstanding. Alas, another long pause followed till the "One Who Points to Death" which saw the band introducing an even bigger doze of death metal, this time for the sake of the technical elements, consequently producing the band's least convincing effort, bringing them closer to the modern death metal scene with a less imaginative, more stripped-down approach.
"Demon God" features 5 songs of exquisite technical thrash/death metal which retains some of the aggression of the last full-length, but is a major improvement with much better guitar work (brilliant leads), and is a fabulous return to the more complex sound of the previous two albums, suggesting at something great this way to come soon (hopefully). "Burnt Beyond Recognition" is a great combination of technical guitars and aggressive, fast tempos. "Systematical Extermination" is a fabulous technical thrasher; "Crusade" thrashes more intensely with a death metal flavour. "Nation of Assassins" is a glorious headbanger with a mighty technical Oriental twist and superb leads. "S.O.S." from the debut is remade in a very brutal, violent way with Corpsegrinder (Cannibal Corpse) guesting on vocals. The other remake is of the immortal explosion "Skeletons in the Closet", from the debut again, but this time Chris Valagao from Zimmers Hole takes over the mike.
"No God": the Majesties are back after teasing the fanbase with an endless string of singles. And they mean business from the get-go with the furious opener "Enter the World of the Undead", a moshing thrash/deathster with a hefty atmospheric "sting". "In God You Trust" acquires more lyrical proportions moving forward with semi-technical mid-paced riffs, and "Signs of Evil" is a brilliant melodic death metal piece with a myriad of tempo shifts which continue unabated on the following "Another Day In Hell", another fabulous composition with dramatic accumulations recalling the debut, and a supreme atmospheric lead-driven break among the stylish mid-tempo shreds. "Kingdom of Heaven" carries on with the infernal shreds, but in a more minimalistic, mid-tempo fashion leaving the more dynamic histrionics for the title-track which embarks on a more death metal-fixated journey with loads of interesting melodic decisions. "Nation Of Assassins" is a wild thrashing complexer with the staple melodic "excursions" mid-way which take a wonderful technical flavour on "House of War", another more mid-paced oriented track. "Systematical Extermination" marches onward with heavy intricate guitars without speeding up too much, weaving elaborate knots of sharp lashing riffage; a tendency rudely interrupted on the closing "Extinction Level Event", a speedy roller-coaster the guys thrashing with a lot of passion, unleashing a few twisted decisions in the second half along with a mesmerizing lead section, one of the finest ever used as a finale. Needless to add, this album is a most strong statement of intent the band creating something that can easily match every other work of theirs, including the eponymous debut. The fans can only hope that their visitations upon the scene will be much more regular from now on.
The "Nigrescent Dissolution" is just two songs, but still sounds like a warm-up for a potential sequel to the mythical debut, "Into The Unknown" being a creepy atmospheric piece with heavy hypnotic riffs, a slow-burning twister with a faster-paced exit, with Bailey semi-shouting in a curt but still melodic manner. "Hell On Earth" is a brilliant technical thrasher with a devious rhythm-section and a couple of less restrained wild passages, a dark savage masterpiece and one of the band's finest achievements.
The "Creation of Chaos" demo sees Bailey departing for a brief respite, replaced by the complete unknown at the time Donald Kuntz aka Vince The Vampire. Kuntz exonerates himself with a deeper less shouty baritone, which perfectly fits the musical setting, mind you, the guys notching it up in the technical department with the virtuous "What's What", a choppy fervent wonder with vortex-like rifforamas and a frequent change of pace. Nothing overtly brutal occurs on that track, but comes the ominous "Power Intrusion" and the approach swings in the direction of Slayer's seminal "Hell Awaits", a doom-laden tractate with dense tenebrous atmosphere and punishing squashing rhythms. "Into the Unknown", a song from the preceding demo, carries on in the same direction, mid-paced at best stuff with a more linear rhythm-section and a sudden speedy digression accentuated by the screamy lead stroke. "Those about to Die" comes with a more officiant, epic decoration, a 10-ton pulverizer with a more aggressive deathly veneer also exhibited, largely through the few intense fast-paced excursions; a diverse absorbing composition, one of the guys' finest creations.

None Shall Defy Full-length, 1987
Nigrescent Dissolution Demo, 1988
Creation of Chaos Demo, 1991
Unholier Than Thou Full-length, 1998
One Who Points to Death Full-length, 2004
Demon God Demo, 2007
No God Full-length, 2017

Official Site

INFERNAL MANIAK (COLOMBIA)

The "infernal maniaks" from South America offer fast blitzkrieg Germanic speed/thrash metal courting early Kreator, above all, with crisp sharp guitars and kind of screamy blacky vocals.

Tropas Del Metal EP 2010

My Space

INFERNAL RAVEN (COLOMBIA)

Corrosive noisy retro thrash which has the requisite amount of energy, the hoarse vocalist semi-reciting on the side in an overtly deathly fashion. Otherwise, this is decidedly energetic stuff with several more entangled elements (“Lucifer's Return”), the furious nature of cuts like “Wake Up from the Perpetual Nightmare” and “Llanto de un Pueblo” stifling the deep atmospherics of ”Maldicion” and the fuzzy speed metallisms of the closing “Valle de la Muerte”.

La Venganza Full-length, 2023

Official Site

INFERNAL REASON (USA)

Raucous abrasive old school thrash which has the thoughtful choppy stops ("Buried Alive"), the violent uncompromising rhythms ("Not So Smart"), the brief semi-balladic escapades ("Morbid Life")... the sound quality is very muddy, and the singer is a spiteful semi-declamatory spitter who doesn't occupy too much space.

Infernal Reason Demo, 1992

Youtube

INFERNAL SLAUGHTER (CHILE)

Based on the first demo, these Chileans, who share musicians with the death metallers Demonic Rage, play classic Germanic thrash metal with a few more extreme throw-ins akin to early Massacra (the furious "Deny The False God", the death/thrashing madness at the end "Thrash Metal Maniac From Hell"). The music is fast recalling Kreator's "Pleasure to Kill" with hard riffs spiced with the odd more melodic hook. The gruff vocals strictly belong to the death metal genre, though.

Demo 1 Demo, 2003
Rehearsalcoholic Demo, 2004

INFERNAL STRONGHOLD (USA)

Based on "Excommunicated": black, thrash, grind and punk put together to produce brutal vicious music quite close to early Impaled Nazarene; there are more quiet atmospheric black metal sections, and it's good that they are around, otherwise one may not be able to stand through this merciless bashing. The short punkcore piece "Destruction" is also a relief, and partially the stomping beginning of the early Celtic Frost-like "World Extinction: Gay Hysteria". The closing "Thrashed Empire" tries to justify its title serving raw early simplistic black/thrash, not far from the first Sodom efforts.

200666 EP, 2006
Excommunicated Full-length, 2007
Godless Noise Full-length, 2009

Official Site

INFERNAL THORN (USA)

These are the guys who under the name Violent Fury released two demos in the early/mid-90's of intense classic death/black metal. The music here is still pretty much black metal, but death metal has stepped down for the sake of several thrash metal leanings which ably assist on both the more atmospheric ("Upon the Throne of Darkness", the excellent epic stomper "Resign My Fate") and more aggressive ("Inhumane Edict") moments. Seldom does the music wade into tasteless blasting waters ("Come Forth Hatred"), but mostly sticks to the moody atmospheric patterns if we exclude the macabre witch-like vocals which croak/scream with the utmost intensity, but are still the best choice for this kind of music.

Come Forth Hatred Full-Length, 2006

Official Site

INFERNAL THRONE (GREECE)

Based on the full-length, this formation comprising just one musician (Panos Hliopoulos), provide classic black/thrash which frequent blasting propensity (“Wings of Winter”) is aptly balanced by the soothing epic marches (“Desolation” inserted, the croaky subdued black metal singer serving the nefarious cause with his effective albeit minimalistic presence. “Caelum et Infernum” is a cool diverse speed/thrasher, and “And Lead Us Not into Temptation” is another blistering hyper-active proposition that logically leads to the raucous core-guided violator “Cataclysm of the Soul”.

Back to the Abyss EP, 2020
Caelum et Infernum Full-length, 2023

Official Site

INFERNALE (SPAIN)

Modern progressive post-thrash which nicely flirts with melody (check out "The Perfect Size to Fit Inside Your Heart") in order to dissipate the groovy monotony that permeates all tracks which length is quite ominous (6-7min) for the style. "When All Is Gone" is a very good ballad with breathtaking leads, and "Echoes of Silence" is a nice semi-technical closer with meandering riffs. The vocals are semi-shouty death metal ones with a slight semi-clean shade.

Echoes Of Silence Full-Length, 2016

INFERNIA (MEXICO)

Cool retro speed/thrash metal which will bring you back in time to the 80's American scene and the early efforts of acts like Blessed Death, Destructor and Hallows Eve. So don't expect anything too aggressive, and be prepared even for some happy moments from the 90's power/speed metal scene ("Desquiciado", "Bruja Blanca"), assisted by nice melodic leads. Exits from thrash like this one aren't that many, though, and are compensated by quite brutal tracks, the way Hallows Eve used to throw them in their early works from time to time ("Antesala del Infierno"). The singer shouts like a typical hardcore performer and could be a serious detraction to some. Be careful not to miss the Black Sabbath cover of "Symptom of the Universe", sung in Spanish, quite faithfully done.

La Antesala del Infierno Full-length, 2006

My Space

INFERNO (COSTA RICA)

A nice little demo of intense retro thrash/proto-death metal; this is aggressive stuff with rough shouty semi-hardcore vocals. The guys lash without mercy adding the odd melodic hook ("Tras Las Consecuencias"; this one also contains the most extreme speedy section on the demo) here and there, but detours of the kind are not many at all the guitars bashing in a raging, but also quite comprehensive, manner.

Infeccion Mundial Demo, 2010

My Space

INFERNO (GERMANY)

An obscure act who unleash wild bashing thrash with slight crossover tendencies. The mixture isn't sustained that well with tracks like "Behind My Back" scattered all over the place including the presence of several blast-beating passages, and "Hate For Joy" going for the other extreme being a mild crossover teaser. The singer isn't bad with a carefree timbre reminiscent of Mike Muir (Suicidal Tendencies).

It Should Be Your Problem! Full-Length, 1990

INFERNO (HOLLAND)

While Asgard and Mysto Dysto were trying to lay the foundations of speed/thrash metal in Holland, another band went straight for the throat. Inferno must have caused an earthquake with this merciless brutal piece of thrash/proto-death back in the mid-80's. This demo, along with Kreator's "Pleasure To Kill", tried to show to the other side of the Atlantic that Europe could also produce its extreme music as opposed to Slayer and Dark Angel that same year. Listen to it at your own risk...

Terrorstrike Demo, 1986

INFERNO (SPAIN)

Based on the full-length, this band specialize in bashing wild thrash/proto-death which seldom knows mercy (the stylish semi-technical shredder "Asesino" is a handsome exception) although moments of more sophisticated bashing ("No Es Tu Dios") can also be detected. The vocals ate harsh shouty death metal ones, but are surprisingly comprehensive and not annoying.

Arrodíllate EP, 2014
Genetica Humana Full-length, 2017

Official Site

INFERNO (USA)

The debut demo: fairly interesting progressive power/thrash which shares some of the avantgarde dreamy qualities of the Germans Lost Century and Depressive Age, but is seldom fast-paced. "Psychic Distance" (part one) is an assured complex intense opener which meanders between elaborate and direct headbanging passages. "Sacrosanct Delusions" follows the same path, but the pace is marginally less energetic although the intensity has been retained due to the more aggressive guitar lines. Those laid-back stretches increase for "Cloaks" which is a cool progressive composition ala early Queensryche with edgier thrashier guitars. "Public Eye" is more aggressive and a bit jumpier, but is clearly on the more melodic side of progressive. "A.C.R.E." finally speeds up with impetuous gallops thrown in although the melodic hooks dominate for at least half the time. "Infinite Regress" shines the brightest with choppy technical riffs and swirling leads recalling Helstar's "Nosferatu", also with its main galloping rhythm. "Malice Domestic" is the opus, more than 9-min long, mixing progressive slower, almost doomy at times, moments with hard-hitting up-tempo ones, but there's more to be heard, like a breathtaking acoustic section and a couple of twisted technical, almost Coroner-like, riffs. "Psychic Distance" (part two) is, certainly, the closer: more ballad-inclined and slower than part one recalling mid-period Fates Warning and early Psychotic Waltz. Works like this one were quite a rarity in the USA in the mid-90's throwing a fine bridge over the Atlantic, bringing together the American progressive movement and the German progressive/technical thrash metal wave which was at its peak at that time. The singer has a good mid-levelled clean timbre, but never tries anything adventurous, like the casual higher shout for example from which the music could have benefited.

The second demo is pensive dreamy progressive metal experiencing the same metamorphosis as the one of the Germans Sieges Even: this is melodic, but also dynamic stuff (the almost headbanging shredder "Staring into Chaos") with some impressive Rush-like labyrinths ("Panels") created. This is another very good effort by the band, but would be of almost no interest to thrash metal fans.

Psychic Distance Demo, 1994
Architect Demo, 1995

My Space

INFERNO NOIR (UK)

Female vocals courtesy of Patsy Collins, guide this intriguing, not very ordinary retro power/thrash pageant which can be quite intense and belligerent as evident from the rowdy opener "Aim to Kill", but expect also some surprisingly effective creepy atmospheric cuts ("Deep Underground") ala Fear of God's "Within the Veil" to darken the horizon and establish a steady trend embracing a couple of numbers in the middle, this group exuding a hefty macabre doom aura. The dramatic accumulations on "Dare to Dream" are more than welcome to slightly brighten the setting, but such respites are sparse at best on the angry "Succubus" and the bonus track at the end, the band holding their own with an apt alternation between the two sides. Collins adroitly helps the cause with lyrical clean croons taking turns with threatening deathly semi-whispers, the chameleonic performance of the diva reminding of the one of Ipek Bilgin from Wykked Witch.

Inferno Noir Full-length, 2019

Official Site

INFERNO NUCLEAR (BRAZIL)

Healthy enjoyable old school speed/thrash, sometimes courting Metallica's "Kill'Em All" ("Anarquia"), sometimes the early German school ("Vitimas", which is a knock-out smashing thrasher), but some heavy rock metal aesthetics ala Motorhead, or Accept and Scorpions ("Soldados Do Mal") is also present to a good effect.
The full-length, arriving after a lifetime of hibernating, is a cool affair, the band having not forgotten how to mosh with verve, the speed/thrashing melee stirred from the get-go thanks to prime energizers like "Anjos da Guerra" and "Soldados do Mal", the short ripping "Alienacao" boldly bordering on hardcore. The highlight seems to be the more technical "Vitimas", although each of the closing trio of vigorous speed/thrashers can quality for this position, especially the uncompromising non-fusser "Unidos pelo Underground".

Demo Demo, 2008
Diante de um Holocausto Full-length, 2021

My Space

INFERNO SUNN (USA)

Based on the full-length, this trio serve a modern/classic power/speed//thrash blend which mixes short pulverizing cuts ("Dread") with ponderous mid-paced trudgers ("Solitude"), the infectious energy of the speed metal winner "Retake" a nice reminder of the glorious 80's. Expect less bridled gallops on "Mindless", and seismic doom currents on the closing "Injustice Plagues American Lives". The vocals are semi-shouty rasps bordering on death at times. Some of the musicians are also busy with the similarly-styled formation Charonyx.

Fidelity EP, 2019
Injustice Plagues American Lives Full-length, 2022

Official Site

INFERN0 (NORWAY)

Old school thrash bringing us back to the days of the Destruction debut mini-album and Sacrifice's first two releases; simple and raw, but fun. The music on the debut delivers the goods with direct up-tempo headbangers, occasionally acquiring more mellow tendencies, not too far from early Exciter ("Tormentor", "Storming Metal"), with catchy riffs and rhythms which could be considered the better side by some. "Infernal Invasion" is a total nod to the Destruction masterpiece "Bestial Invasion", but the guitar prowess of the Norwegians still has room for growth, and that song is not as striking. The singer is not the best asset of the band, delivering his mean-ish, semi-hoarse vocals one-dimensionally, and some unholy screaming from time to time could have been a nice touch.

The second album is a bit faster, and with a better sound quality; it totally worships early Destruction all the way although again something little seems missing in the riff-application department. The guitars sound sharper and louder, but the playful attitude, which graced just a couple of tracks from the debut, here has increased; that isn't a complaint at all, though, since it makes this work more memorable in the long run. Really cool exercises in speed/thrash metal can one hear: "Straight From Hell", "Bulldozer"; awesome intense heads-down thrashers as well: "Utter Hell", "Rot in Hell" (the guys like this word "hell", hey! After all, they are Infern'f6!). Despite the samey nature of all the tracks, it's always pleasant to hear music so passionately dedicated to the classic 80's sound.

Utter Hell Full-length, 1996
Downtown Hades Full-length, 1997

My Space

INFERNOISE (SPAIN)

Groovy post-thrash ala Pantera, emulating their American peers quite a lot including in the vocal department; there's a certain southern doom spirit ala Down involved, but not enough to stifle the heavy groovy guitar sound. The second track "All My Rage" is quite an intense cut with hard-hitting riffs.

Hellrider Single, 2006

Official Site

INFERNUS (USA)

Based on "Grinding Christian Flesh", this act play brutal hyper-blasting black metal with elements of thrash the latter expressing itself more clearly on "Pagan Warfront" and the early Destruction and Kreator worshipper "Verminnihilation". Later on "Perversion Reliquary" is an appetizing mix of bombastic black and thrash, and the final "Whore of Christ" is a short speed/thrasher with some really tasty leads. The singer is the staple black-ish raven who croaks his way with spite and viciousness.

Nex Um Monastica Full-length, 2012
Grinding Christian Flesh Full-Length, 2015

My Space

INFEST (FRANCE)

Based on the "Disemboweled" demo, this is four songs of quite brutal thrash/death which comes well more aggressive than the sound of the "holy three" of French thrash/death (Massacra, Agressor, Loudblast). This is actually pure death metal most of the time with the thrash breaks more prevalent on the closing "Hidden". The rest: relentless all-out controlled bashing, not for the faint-hearted. If the music doesn't destroy you, then the damage will be done by the very brutal low-tuned growls which will surely bring you nightmares.

Disemboweled Demo, 1992
On Stake and Consume Demo, 1992

INFEST (GREECE)

This is intense retro thrash with more aggressive proto-death elements, not far from Slayer on the more brutal cuts. The singer is not a very suitable death metal growler, especially on the more optimistic crossover pieces like "Alcoholic Retro-Revolution" and "E.I.L.K".

Infest Full-length, 2010

My Space

INFEST (SERBIA)

Based on the debut, this band offers aggressive classic thrash/death, quite close to the Merciless debut and Morbid Saint. So expect fast furious riffs which don't change much throughout the album, if we exclude the sparse slower breaks ala Sepultura's "Arise". The title of one of the songs ("Maximum Violence") sums up best what one will find here. "Inquisition" would be a surprise near the end, being a much softer thrash/crossover piece, to which the harsh death-ish vocals don't suit at all. Some of the band members were previously involved with the black/death metal act Bane.

"Everlasting Genocide" is a sock-blower, an explosive display of classic thrash/death aggression also offering a subtle semi-technical edge ("Upon The Suffering"). The band are this time fonder of death metal and don't try to hide their fascination with this genre, maybe a bit on the slower numbers ("Conspiracy Is Reality"), which are quite a rarity among the furious speedy rest. At the end the guys pay tribute to one of the veterans on the former Yugoslavian metal scene: Bombarder from Bosnia, covering their early hit "Horde", where the tone goes down quite a bit in order to suit the more relaxed speed/thrash style of the bombarders except, of course, for the singer who retains his brutal growly timbre.

The "Christ Denial" EP is just three songs which doesn't shift from the chosen path, and that is thrash/death played at the maximum intensity with the appropriate stomping decorations ("Back to the War") and a very good sound quality which slightly boosts the gruff semi-shouty singer.
"Cold Blood War" continues up the aggression scale with the next portion of intense thrash/death, again more on the death metal side for at least half the time. The numbers are lightning fast the slower cuts ("Demonic Wrath ") offering some "shelter" from the ultra-fast downpour, but not much. The title-track provides the obligatory more technical moment, but don't try to look for other sophisticated sections, this isn't music for the faint-of-heart, a true dedication to the gods of brutality who may have found their new headquarters on the Balkans.

"Addicted to Flesh" is a similar raging beast with bullets like "Deathrash Legion 666" and the relentless title-track shooting the listener at close range, still leaving some room for slower more epic developments ("I Bring You War"). "The Blind One Leads the Way" is a cool more technical piece with echoes of Sadus, the highlight on this perennial roller-coaster which retains the guys' staple, no-bars-held sound.
"Psychosis" is the next-in-line wild thrashing affair from these psychos, the operatic choruses on "Hail Fire, Hail Death" diversifying an otherwise intense hard-moshing palette, "...Of the Fallen Lord" another hyper-active proposition with a not very overt epic clout. "The Last Cremation" adheres to heavy mid-tempo developments, but short lightning bullets like "Mental Warfare" and "Nuclear Deathrash" quickly dispatch of such respiteful dissipations; those simply have no place on a vehement album of the kind.

Anger Will Remain Full-length, 2006
Christ Denial EP, 2008
Onward To Destroy Full-length, 2009
Everlasting Genocide Full-length, 2011
Cold Blood War Full-Length, 2014
Addicted to Flesh Full-length, 2017
Psychosis Full-Length, 2021

Official Site

INFESTATIO (BRAZIL)

Based on the full-length, this act serve modern core-ish thrash which moshes with passion ("Mankind Demise") on occasion, but most of the time it delivers in a less exuberant mid-tempo fashion ("Storm Knights") although after a string of similarly-styled numbers the monotony hits with full force in the second half, the surprisingly sprightly progressive joy "Agony" saving the day with a wide array of tasty gimmicks, the rough shouty death metal vocals not the most fitting choice for those latter tunes. Some of the band members also play with the classic heavy metal upstarts Richlord.

F.Y.A. EP, 2013
Unleash the End Full-length, 2020

Official Site

INFESTATION (GERMANY)

This formation pull out brisk old school thrash that is accentuated by relatively short but pulverizing bullet points (“Executioner”, “Infestation”) which get shot with the maximum intensity, the venomous spiteful vocals readily siding with the uncompromising character of the music. The all-instrumental semi-technicality of “Kill the Traitor” can pass for the highlight, but watch out for the insistently pounding histrionics of “Ravage Unleashed!” and the more frivolous thrash/crossover stance of the elevating closer “Death Road”.

The Vermin Within Full-length, 2023

Official Site

INFESTATION (USA)

This not very known outfit indulge in brutal, roughly produced thrash/death which isn't constantly bashing, but contains the odd more meaningful moment, like the semi-technical crescendos on "Plastic Nation", or the progressive build-ups on "Epidemic". The leads are screamy and piercing, the bass is prominent, and the singer is a not very pleasant death metal shouter. Some of the musicians also played in the speed/thrashers Descending Darkness.

In the Flesh Demo, 1991

My Space

INFEX (USA)

Based on "Burning in Exile", these lads serve decent retro thrash which lashes through a tight brisk set of numbers among which the Bay-Areasque nodders "The Burning" and "Exiled" stand out, although there's little wrong with the remainder, the more technical expletives on "Acid Reign" coming spiced with shrieky death metal vocals. The rest is on the cool bashing side, the short "Torn Apart" a near-hardcore outrage.

Circling the Drain Full-length, 2012
Killing for Jesus Full-length, 2016
Burning in Exile Full-length, 2021

Official Site

INFIDEL (SINGAPORE)

Two people are responsible for this brutal raw noisy thrash/death/black, and everything in-between. This is constantly fast stuff, with the drums stifling all the other instruments, and the singer doing further damage with his brutal low-tuned shouting. In terms of aggression this scores high, but music-wise it's worth hearing just out of curiosity. The guys have also taken part in the leaders of the Singaporean extreme metal scene Impiety.

Flames of Redemption Demo, 1989

INFIERNO INTERIOR (ARGENTINA)

Good classic thrash with a rich dark sound, long on atmosphere, too, reflected in balladic passages and very good melodic lead guitar work. The singer ruins the picture a bit with his unemotional gruff semi-clean delivery, but the music packs a punch mixing hard-hitting riffs with more quiet ones. The bass work is very strong thundering all over, but the guys could have tried to bring more speed to the proceedings; they have only tried something more aggressive on the final "Erradicador de Esperanzas" which is a brutal death metal-laced composition, off-context, but satisfying with aggressive semi-technical shred.

Idem Full-Length, 2002

INFILTRATION (NORWAY)

This is mostly heavy mid-tempo thrash which has some stealthy progressive pretensions ("Die For My Sins"), but the one-dimensional mid-paced riffage seldom changes for this to become a wholesome prog-thrash presentation. "Mystify" tries harder to impress the fandom with a more diverse riff-array, but the sloppy production and the unrehearsed harsh hardcore vocals ruin the setting quite a bit, including the several live tracks thrown at the end.

Behind the Mask of Terror Demo, 1991

Youtube

INFILTRATOR (USA)

Two songs of classic speed/thrash ruined by the bad shouty death metal vocals; the guys play energetically with a good sense of melody the overall approach smelling speed metal more in a way similar to Vectom and Tyrant (Germany) the melodic hooks also recalling the French side of the style: ADX and Killers.

Demo Demo, 2012

INFINIGHT (GERMANY)

This young outfit, who feature two ex-members of the thrashers Inner Logic, acquit themselves with edgy retro power/thrash (based on the debut), which is progressively-tinged with a rich dark sound crossing mid-period Iced Earth with Morgana Lefay. The approach is a bit samey, though, seldom leaving the predictable mid-pace, deviating from the path either with mellow power metal happinesses ("Goodbye, Cruel World") or with better heavy ballads ("Final Question"). "Labyrinth of Lies" is an energetic "horse rider", but the 9-min semi-balladic closer "Gallery of Dreams" is hardly the highlight, wearing out at some point with its repetitive riffage. The singer isn't bad, and his attached clean singing fits the music, although a few attempts at higher-pitched antics could have been suitable, too.
"Like Puppets" comes with a drier, more aggressive, guitar sound, but the approach isn't far removed from the debut being a more thought-out form of the good old power/thrash metal, with several more intense thrashers ("Egomaniacal") "roaming" around. The guys' balladic infatuations ("Godforsaken") again remain one of the best parts of the album, but watch out for the galloping speedster "Like Puppets", and its immediate follower "Media Serpent": headbanging speed/thrash ala early Paradox. Another, this time even more balladic, closer will befall you: "To All the Fallen Heroes", a morose composition with sprawling doom moments ala Solitude Aeturnus.
"Apex Predator" is much more melodic clinging too much towards the power/speed metal movement and as such doesn't really deserve to be on this website's pages. This is soft mid-tempo music with numerous lyrical digressions and certain progressive pretensions at times coming close to early-Queensryche.

Sea of Knowledge Full-length, 2005
Like Puppets Full-length, 2011
The Vision EP, 2013
Apex Predator Full-length, 2015

Official Site

INFINITE TRANSLATION (FRANCE)

Yes, indeed, this is a really "impulsive attack" of unadulterated retro thrash which starts uncompromisingly with the ultra-thrashing instrumental "Escaped" the latter setting the tone for the extreme sounds one will encounter later. Another instrumental awaits you in the middle ("Impulsive Attack"), a great nod to the German scene, Destruction above all, which lashes fiery riffs throughout its 7-min adding the odd technical hook here and there. Some mid-paced mercy is shown later on the clever semi-technical "Zombie Squad" which influences the closer "Feat the Face of Death". Although the last two songs kind of betray the furious speedy nature of the preceding material, this album is a cool reminder of the heydays of German thrash metal with a cool twist.

"Masked Reality" is a smashing attack the guys sweeping the listener with the opening shredder "Malicious Mental Oppression", a headbanger with great clever riffage. The "carnage" only gets more aggressive later on with "Destined to Death", and "Join the Masses" which are sure leftovers from "Eternal Nightmare". More technical thrash appears on "Killing Solution" which is another moshing delight to the bone which carries on unabated till the very end the guys never getting tired (I can't be sure about the listener, though) of thrashing like demented the only genuine piece of serenity being the short 1-min acoustic instrumental "The Boat Can Leave Now". The closing "Masked Reality" arrives after it to present the "reality masked" in intense technical thrash which sees the guys a very worthy competition to No Return right now also coming with their own face not sticking to the old German patterns so much this time. The singer is a really cool asset with his forceful authoritative semi-shouts which possess the screamy power of early Tom Araya, albeit this side more sparsely unleashed.

Impulsive Attack Full-length, 2010
Masked Reality Full-Length, 2012

My Space

INFINITY (USA)

Based on the full-length, this band play modern-ish power/thrash the established crunchy mid-tempo fiesta tolerating a couple of more stylish, semi-technical escapades (the title-track), but generally doesn't tolerate too many digressions, the shorter material ("Pressurize") providing the more dynamic respites. "Nothing to Lose" is a chuggy not very eventful stiffer, and "Terminal" is an effective heavy ballad holding onto the Testament and Metallica models in the genre. If only these rough semi-clean/semi-declamatory vocals were a bit more lyrical and more expressive...

The Beginning of the End Full-length, 2017
Awakening Full-length, 2019

Official Site

INFLAMMARE (GERMANY)

An atmospheric dramatic mix of black, thrash, and pagan/doom (the excellent "Nebel") metal which is based more on melody rather than aggression, and as such comes close to mid-period Immortal, early The Kovenant, and even the Dutch Bifrost on the thrashier moments. Near the end the sound loses the speed concentrating on sprawling doom, almost progressive-sounding, landscapes which touch The Austrian black metal/ambient masters Summoning as well. This is a moody (in a good way) musical experience which will have a wide appeal to all kinds of metal fans.

In Memory of Full-length, 2010

Official Site

INFLICTION (ITALY)

Gothenburg-influenced modern thrash/death metal ala Carnal Forge and The Forsaken. The debut is both a catchy melodic ("A Credit to Dementia") and aggressive lashing ("As Coward Meets Coward") affair, the band also relying on the sometimes lush keyboard background, the shouty death metal vocals sometimes intercepted by more convincing cleaner ones. The second half loses the intensity almost completely, the band settling for not very impressive mid-paced melodicisms, "Unmorning" frankly bordering on the balladic and the sentimental.
"The Silencer" follows a very similar path, with fast-paced violators ("Redhouse") alternating with atmospheric sprawlers ("Poisonradio"), the latter side way more widely covered, with doom-peppered strolls ("Paperlife") and gothic soporifers ("Thirtyseven") overwhelming the landscape, with death metal completely disappearing from the picture, the doom/gothic melancholia fully overtaking the scenery by the end, including the timidly showing here and there thrash configurations.

The Faint Smell Of Suicide Full-length, 2002
The Silencer Full-length, 2005

Official Site

INFLICTOR (AUSTRALIA)

Based on the “Jesus Wept” demo, these lads indulge in heavy seismic classic thrash which on “The Soul” also comes with a pinch of dynamics, the galloping belligerence of “Manic Depressant” a sure booster with its pummeling guitars. “Hemorrage” is an elevating speed/thrashing joy, and “Jeckyl and Hyde” is a stomping all-instrumental piece with a breath-taking balladic interlude. More albeit entangled and serious thrashing comes served on “Cremated to Dust”, a varied exhilirating ride with potent scintillating riffs and a pleiad of tempo changes.
The “Freefall” demo contains the already-mentioned instrumental (““Jeckyl and Hyde”), the other material comprising the insistently-pounding semi-technical title-track, this one vintage later-period Nasty Savage with the more or less unheralded riffy twists; the blistering melodious shredder “Ceremony of Death” with the bumpy gallops; the slow-burning but very effective behemoth “Hellbound”; and the direct raging delight “Tragic Magic Salacious”.

Jesus Wept Demo, 1990
Freefall Demo, 1991

Youtube

INFLIXTION (ITALY)

This is intense but melodic thrash with a not very emphasized crossover ("The Sentence") sensitivity the latter not greatly helped by the gruff death metal vocals. The headbanging atmosphere of the title-track doesn't have a lot of matches throughout, but watch out for the more complex configuration on the near-progressive "Heatred", and the steady power/thrash march on the closing "Heatred".

Human Monstrosity Full-length, 2020

Official Site

INFRACTOR (UK)

Modern thrash metal of the more laid-back variety; the fast numbers are by far more appealing ("Discorporated"), but watch out also for the brilliant doom exit on "Momentary Pain & Distress", a marvellous touch in the Candlemass tradition devoid, of course, of the pedestrian semi-hardcore vocals.

Visions of Suffering-Album Sampler EP, 2008

Official Site

INFRAKTOR (PORTUGAL)

The musicians from the thrashers Pitch Black have moved onto another project which indulges in a similar modern/classic hybrid path, the guys traditionally moshing with quite a bit of passion, adding the odd smell of proto-death ("Son of a Butcher") here and there, mostly to match the forceful death metal vocals. The heavy stomping stuff ("Confront") works almost as well if we exclude the few staggerings towards the Pantera heritage ("Speech of Deceit").

Exhaust Full-length, 2018

Facebook

INFRARED (CANADA)

The demo: the rough sound quality leaves not much to be enjoyed from this otherwise energetic affair which sees an underground act trying to catch the last train to thrash metal stardom. Well, this could hardly have happened, even during the genre's heydays, since this is fairly derivative and not very inspired coming as a mix between the heavier side of the Bay-Area (Defiance, the British counterparts Xentrix and Slammer) and their compatriots Razor's better moments ("Thoughts Caught (In Between)"). The singer does the best job with his attached clean singing which needs little to reach the heights of Joey Belladonna and David R. White (Heathen). Some of the musicians were also operating under the name Witch Master General around the same time playing power/thrash metal.
The full-length debut is a vast improvement over the demo, both production and music-wise, hailing the guys' return to the field after a gigantic hiatus. The overall delivery is classic power/thrash which now sounds closer to Meliah Rage, Reverend and respectively, early Metal Church. The band thrash with restraint ("My Good Will"), and their power metal side isn't bad at all ("Social Science") although merry-go-round fillers like "Cliche" could have been omitted. "Down Below" is a nice galloper, and "Untimely Storm" is a more complex shredder hinting at a not yet realised progressive potential.
"Saviours" is a more complexly-woven affair, "Project Karma" setting the tone for the more serious song-writing with its heavy hammering riffs, the guys patiently marching onward, touching doom on the officiant title-track with "The Fallen" holding onto very similar pacifying patterns before "All in Favour" erupts in bouts of less controlled thrashing fury. However, this isn't exactly the band's chosen path as "They Kill for Gods" is a nearly 8-min quasi-doom opus with abrupt speedy skirmishes which leaves its intimidating mark on the remaining two pieces. The bigger complexity encountered here comes for the sake of the excitement as the overall approach is too one-dimensional and not very eventful.
“Manifestation” is an immediate bursting entry, the Slayer-esque virulence of “Temple of Sin” stood up by the power/thrash gravity of “Nikko” and the catchy near-thrashcore viscosity of “Demon's Blood”. The mid-tempo trot of the title-track dictates the proceedings in the second half, the regulations slightly violated by the semi-balladic lethargy of “Reforma” and the brisk lively rhythms of the closing “My Dreams Are Real”.

R.I.P. (Recognition in Power) Demo, 1988
No Peace Full-Length, 2016
Saviours Full-Length, 2018
Back to the Warehouse EP, 2019
From the Black Swamp Full-length, 2021
The Metal Inquisition EP, 2022
Manifestation Full-length, 2024

Official Site

INFRAVISION (GREECE)

After the imposing and quite promising thrash/orchestral intro, what follows is modern death/thrash with a progressive and again orchestral twist. Not bad, but the alternation between hard guitar-driven passages and keyboard-oriented ones, all this on a strong industrialized base, kind of doesn't deliver the whole time. "Psychotic Tormentor" leaves those shortcomings behind, thrashing in a more up-tempo for most of the time without completely abandoning the keyboard implements. "Damage per Second" is the other highlight, again more energetic with cool intriguing technical riffage and capable Oriental clean vocals , those opposing to the growly shouty main death metal ones. "Agoraphobic" also makes attempts at more aggressive thrashing, but watch out for the closer "Descending in Time" which has nothing to do with metal but is a satisfying piano-driven ballad with good female vocals.

This Epileptic Serenity Full-length, 2008

My Space


Copyright (c) 2007-2024 THE THRASH METAL GUIDE