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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 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 efort 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 6 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.

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

Official Site


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 BreedFull-length, 2002
Ultra Sonic HatestormFull-length, 2007

Official Site


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


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 peceful 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


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 GamesBest of/Compilation, 2001tab
I4N EP, 2001


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

Split Split, 2006


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


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


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 doomy 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


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


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


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 noone bothered to come up with a similar mixture all these years- ha ha ha!

Ice Demo, 1990
Demo Demo, 1991


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


This act deliver all-instrumental pieces which are more on the modern speed/thrashy 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


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


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


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 headbangers. The vocals are very good, although a bit dirty with this rough semi-clean blend, very similar to Chris Astley (Xentrix).

Iceland Full-length, 1990


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 generaly there is plenty of energy at display. "Cloister" is a great melodic headbanger 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


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


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 MuseumFull-length, 2009

Official Site


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 7 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


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 dynamcis is quite big reachign protoblasting 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-bacl 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


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


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 more doomy compositions with nice female vocals, and despite the loss of dynamics the latter are not bad at all with plenty of atmosphere and fine melodic tunes.

The Last Drop Of My Blood Demo, 2008

My Space


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


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-declamator.

Mental Wilderness Demo, 1991


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 MuseumFull-length, 2009

My Space


Brisk intelligent all-instrumental classic thrash emits from this EP; the band don't rely on speed too much, and vary things with more sprawled structures and a few borrowings from the modern school ("Route 666"). The 2nd 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


Very typical modern Swedish thrash/death, melodic and dynamic, but pretty derivative and rehashed as well. The guys stick to thrash more where they mange 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.

Through Darkened Days Full-Length, 2015

Official Site


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


Based on the full-length, 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 power/thrash hybriders Synasthasia.

We Are the Force EP, 2016
Guided by the Waves Full-length, 2017

Official Site


"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


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


Based on "Eremitic Vibrations", this outfit provides a modern thrash/deathy 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


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-doomy vibe of Monster Magnet.

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

Official Site


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


Modern power metal with a few more aggressive post-thrashy 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


Based on "Funthemental", this this young outfit specialize in choppy semi-technical modern post-thrash which shows its more brutal, deathy 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 number 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


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 side of theirs with the crushing guitars and the proto-groovy arrangements.

Liebe ist... EP, 1996


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


This obscure act provide quite coolheavy mid-paced thrash topped by more brutal deathy 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


This act offers atmospheric modern power/speed metal, modelled 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 suprising 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


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


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 marvellous 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


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


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.

Round 2: Fight! Full-Length, 2016



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. 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 more thrashy, 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 3 albums for the past 4 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 near the end "A God No More" where some of you may recognize the guitar of Mr. Andy LaRocque, and will be right: he is the one responsible for the gorgeous leads there.

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

Official Site


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" is not 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 Kness", 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 sparce vocal participation.

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

Official Site


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 techically-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


Based on "From Ashes Till Remains", this Polish outfit plays updated slassic 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 2nd half down.

The debut is in the same vein already introducing the buzzy 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


Based on the full-length, 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.

Abandon All Hope Those Who Oppose EP, 2007
The Enemy Within EP, 2013
In Vain Full-length, 2015

Official Site


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 productiion 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 nummbers ("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


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 accentutaed by the aggro-deathy shouts of the vocalist.

Corrosion Of Human Essence Full-Length, 2006


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 Devistation" 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 deathy 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


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


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


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 sparce 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


This obscure trio boast very good production qualitites 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


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


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-recited, 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"...

Undying FearFull-length, 2001


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


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


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 doomy riffs and gruff semi-death metal vocals.

Immortal Soul Demo, 1992


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


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


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


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


Excellent old school thrash calling to mind the Sacred Reich debut and Evildead's "Annihilation Of Civilization"; this is fast, intense music, accompanied by very good powerful semi-clean vocals ala Michael Coons (Laaz Rockit). In the middle the guys have placed a more temperate longer track, more technical, with a slight power metal spirit: "It's the End of the World", which also works great.

Take The PainFull-length, 1991


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


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


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 sparce 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's 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-pacer riffs bringing the winds of variation with it at the end.

Nightmare Attack Full-length, 2009
Eternal Hatred Full-Length, 2016

Official Site


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 "reliefs" 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 2nd half the songs become longer and a tad more complex and less energetic "When the World Hungers" slowing down considerably incorporating doomy 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, deathy 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


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 thay 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
tab Apocalypse III The Manifested PurgatoriumFull-length, 2001

Official Site


Based on "Aux Cr'e9puscules", 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 Cr'e9puscules Full-length, 1998
Thrasheurs 13 EP, 1998
Malmort Full-length, 1999
Moonblood EP, 2002

My Space


Based on "MMX", this guy (there is 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


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 baladic 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-doomy 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 tember 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


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


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 doomy stomping 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 reliefs.
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


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


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


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 chaosDemo, 1987
Little Hitler IllusionDemo, 1987
SNS - Still Not Satisfied?Demo, 1990


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


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


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


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 deathy vocals which sometimes overtake the whole space.

A Lesson in Brutality Full-Length, 2011

Official Site


3 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 is a room for improvement.

Demo Demo, 2011

Official Site


One man, the pseudonim 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


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


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 dramatism 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.

Istinto E Rabbia Full-length, 1993
Guarda Dentro Te Full-length, 1995
Denso Inganno Full-Length, 2017

Official Site


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


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 deathy fashion "duelling" 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


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 alternatiing 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, which work very well. The vocals are meanish, black-tinged, but fit the music just fine.

Demolition Business Full-Length, 2008

My Space


This outift 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.

From Chaos Rises Order Full-Length, 2016



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 deathy 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 wiith 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


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" is not 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


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 benefitted 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 more thrashy, ones.

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


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 fo the better vitriolic headbangers around, but in a way similar to the previous this effort leaves a soid aftertaste moving further away from the promising debut.

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

Official Site


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


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 deathy shouts.

Confinement Full-Length, 2014


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 are not 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


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 deathy tember 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


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



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 doomy 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


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.

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

Official Site


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


"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


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


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


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 doomy 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


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


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


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 kind of uneven effort.

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

Official Site


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


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 deathy 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


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 impleemnts. 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


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 preferrable 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


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


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


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


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


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


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 at the thrash/black metal formation Rot who had one album released in 2005.

Amazon Violence Full-Length, 2016

Official Site


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 CrematoriumDemo, 1986
Mass GenocideDemo, 1987
Uh!?!Full-length, 1989

Fan Site


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: 5 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


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.

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

Official Site


A 3-track EP of intense groovy 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 dramatism 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 allas seldom shows up later on, Still, the album delivers with its consistently volcanic rhythm-section and its frequent escapades towards fatser waters ("No Remorse", the stylish death metal-laced "Worst of Me").

Divided We FailEP, 2009
The Slaughter Full-length, 2009
All Out War Full-Length, 2012
Up in Hell Full-Length, 2014
Oppression Full-Length, 2016

My Space


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.

Burned Out CellsFull-length, 2006
Salvation Full-length, 2010
From Within Full-Length, 2013

My Space


Based on the "Life's A Bitch" demo, which is only 3 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 2nd 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


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 AgonyFull-length, 2004

Official Site


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 Nf1'f6ize" EP is in the same vein, maybe a bit more lively, until it reaches the final opus: "Victory Through Brutality", which is vintage slow 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 N'f6ize EP, 2009

Fan Site


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 2nd half may tire the listener at some stage if not putting him back to sleep completely...

Masterpiece Full-length, 2010
Tribal Wars EP, 2012
The Victim is You Full-Length, 2014

Official Site


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'fcck" (the title says it all) is a fine instrumental, which combines aggressive death metal with cool melodic leads. "Sch'f6n" closes the album in a 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 early Misanthrope; the pace goes down 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 not very ably assisted by a load of funky/industrial "decorations" which at least manage to preserve the eclectism of the predecessor, with a pinch of mid-period Meshuggah on the most inspired 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 "LieBisslieder" 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
LieBisslieder Full-length, 2008

Official Site


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


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


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


Based on the full-length, 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 2nd 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.

Stygian Deluge EP, 2013
Persisting Devolution Full-length, 2015

Official Site


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 annnoying 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.

All This Is... Full-length, 1993

Official Site


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



"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 is not bad with his emotional clean tember 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


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


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, goind 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


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 bt by bit recapturing in partly on "Mankind,Tortured Soul?" in the middle and managing to ratain 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 isntruments when in action.

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

Official Site


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 tember which carries the necessary doze of dramatism without hitting the higher registers too often.

The Reckoning Full-length, 2009

My Space


This band play aggressive modern thrash/death which slows down just on time before things get out of control (the calm doomy 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


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


Obscure brutalism which blends thrash with death metal under furious bashing spiced with several curious doomy/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


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


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 deathy 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 bombasitc and semi-balladic with doom metal standing on the side waiting to interfere at every opportunity.

Project Atopia Full-Length, 2016


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 drind/deathy breaks so expect quite a diversity in the 2nd 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


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 DystopiaFull-length, 2009

Official Site


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 diappointment 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


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


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 EndDemo, 2004
ReversalDemo, 2005

Official Site


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


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 thrashy 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


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 2nd 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


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 2nd 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


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-deathy sections on "La Cruz En La Montana") here and there, and the vocalist is a low-tuner with a mean deathish tember.

Eterna Pudrici'f3n Full-length, 2006

Official Site


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 is some cheesiness typical for the scene, but this is not as bad as it may sound.

Infamia Full-length, 1994


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 tiffage 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 EditionSplit, 1990
Beef KurtinFull-length, 1994
Enemies of the State Full-Length, 2013
Gospels of Blood Full-length, 2014

Official Site


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 ornated 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


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 2nd 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 2nd 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 deathy 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 2nd half where technicality and brutality co-exist in a dishevelled 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


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.

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

Official Site


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


Based on the "Desecrate the Church" demo, these guys have a bright future before them: 4 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


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 FamilyDemo, 2001

Official Site


Excellent 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 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 doomy, 9-min opus "The Cage Within", which 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


Based on the first demo, these guys offer aggressive thrash metal, which 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


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


A 7-song demo of heavy retro thrash/death metal with some of the most brutal suffering vocals of recent times; the music is not 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 doomy piece with twisting mazey riffs with the "gory" title "Gore", and the excellent melodic instrumental "Mi Ultima Dia".

Demo Demo, 2010


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 tember. 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


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 isntrumentals (the closing "Dawn of a New Day (Pt.1)").

Infected EP, 2014
Judgment Day Full-length, 2017

Official Site


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 doomy middle 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


Based on "Deliverance", these guys offer prettyd ecent 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


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


This unknown demo contains cleverly-constructed thrash/death which is quite brutal and lashing although there are quie 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 Misey". The vocals are gruff and shouty, and are generally not very pleasant creating quite a bit of noise when in action.

Lost Existence Demo, 1993



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


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


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


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


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 is not 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


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 particulraly 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.

Nothing but Scum EP, 2008
Necrokindergarden Full-length, 2009
Acrotomophile Mutilator Full-length, 2014

Official Site


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


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.

H.I.V. 999 EP, 2000
Life Continuity Point Full-length, 2002
Sterile Full-length, 2004
Intimacy Full-length, 2007

Official Site


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


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


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 Opresi'f3n"; the atmospheric mid-pacer stomper "Cicatrices"; the contagious galloper "Tu Oportunidad". The tempo slows down in the 2nd 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 to track down the first two efforts.

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

Official Site


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 smelling even more recent and more thrashy Satyricon.

A Lecture In SinDemo, 2005
Damnation RewindDemo, 2005

Official Site


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 peformance.
The debut is in a similar vein, sticking to familiar melodic structures and proficient leads, which are the highlight by a long shot, giivng 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


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" restires some dignity with its more energetic delivery.

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

Official Site


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 strech 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 prefectly 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-doomy 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 doomy 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 palitre 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


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 SinFull-length, 1993
Ritual HumiliationFull-length, 2001
tab Anthological HumiliationFull-length, 2002

Official Site


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


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


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


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 Arcanaaround the same time playing a similar brand of speed/thrash.

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


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 then.

Incantations of the GatesDemo, 1989
Bringer of EvilDemo, 1992
Drunk & Jammin' 1995Demo, 1995

Official Site


An imposing doomy 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 vocals, gutural vs. screechy, death metal duel handling all music swings with panache.

Dehumanized Full-length, 2018

Official Site


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


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


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 weakest effort bringing them closer to the modern death metal scene with a pedestrian 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 deathster 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.

None Shall Defy Full-length, 1987
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


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


Based on the 1st 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


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


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 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 possible choice for this kind of music.

Come Forth Hatred Full-Length, 2006

Official Site


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 which 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


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 are not 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


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


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 tember reminiscent of Mike Muir (Suicidal Tendencies).

It Should Be Your Problem! Full-Length, 1990


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 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


Based on the full-length, this band specialise 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 surprisngly comprehensive and not annoying.

Arrodíllate EP, 2014
Genetica Humana Full-length, 2017

Official Site


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 tember, but never tries anything adventurous, like the casual higher shout for example from which the music could have benefitted.

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


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.

Demo Demo, 2008

My Space


Groovy thrash ala Pantera, emulating their American peers quite a lot, including in the vocal department; there is 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 a quite intense cut with hard-hitting riffs.

Hellrider Single, 2006

Official Site


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 guitar department. The guitars sound sharper and louder, but the playful attitude, which graced just a couple of tracks from the debut, here has increased, which is not a complaint at all, 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 is 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


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". Latwr on "Perversion Reliquary" is an appetiing 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


Based on the "Disemboweled" demo, this is 4 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.

DisemboweledDemo, 1992
On Stake and ConsumeDemo, 1992


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


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 sparce 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 do not 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/thrashy style of the "bombarders" except, of course, for the singer who retains his brutal growly tember.

The "Christ Denial" EP is just 3 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. "Cold Blood War " provides the obligatory more technical moment, but don't try to look for other sophisticated sections, this is music not 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.

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

Official Site


This not very known outfit indulge in brutal, roughly produced thrash/death which is not constantly bashing, but contains the odd more meaningful moment, like the semi-technical screscendos 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


2 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 doind 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


Good classic thrash with a rich dark sound, long on atmopshere, 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


2 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


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 mertal 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 is not 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 doomy 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


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 headbanging 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 genune 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


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 more thrashy moments. Near the end the sound loses the speed concentrating on sprawling doomy, 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


Gothenburg-influenced modern thrash/death metal ala Carnal Forge and The Forsaken.

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

Official Site


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 doomy 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


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 is a vast improvement over the demo, both production and music-wise. 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.

R.I.P. (Recognition in Power) Demo, 1988
No Peace Full-Length, 2016

Official Site


After the imposing, and quite promising thrashy/orchestral intro, what follows is modern death/thrash metal 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 good Oriental clean vocals. "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


Based on "Ingquisition", these South Africans deliver crunchy modern-ish thrash with cool speedy ("My Way Or The Die Way", the short bomb "Amazing Race") moments. Things only ger better in the 2nd half, first with the wild thrash/deathster "Organ Donor", then with the excellent technical piece "God's Mistake" which is one-of-a-kind, but fits the overall hectic picture. The singer is a forceful shouter with some deathy qualities and assists well the other musicians who do a fairly decent job to keep thrash in South Africa alive.
"It's a Sick Thing" is a decent start for the band establishing the future patterns: modern varied pace-wise thrash with well-placed death metal insertions ("Fuck China" (!?)); the intelligent semi-technical brutalizer "Mcveigh's Cocktail") and several more clever decisions ("HLW"; the cool technical shredder "Jewish Nazis"(!?)). The songs are generally short (2-3min) and have a kind of an undeveloped hardcore-ish feel despite the cool riffage behind them and the higher level of musicianship involved. The singer is more guttural and lower-tuned here and maybe not as pleasant.

Itrquote s a Hate Thing EP, 2008
It's a Sick Thing Full-length, 2009
Ingquisition Full-length, 2012

Official Site


Oddleif Stensland founded this band to keep himself busy while Scariot were having a break. Both demos show the style of his later formation Communic fully developed and even better-sounding at times: think a more aggressive and thrashier version of Sanctuary's "Into the Mirror Black" with meaty, heavy riffs and superb technical thrash breaks. There are shades of Communic, of course, and these two demos actually must have been an influence on Scariot's "Strange to Numbers", although the music here is slower, but by no means less interesting. Stensland would have been perfectly set if he had carried on with this project with no need to form other bands.

Surface As CeilingDemo, 1999
Beyond EquatorDemo, 2001


Modern thrash of the heavy mid-paced type; this is crushing stuff with angry aggressive vocals and sharp meaty guitars, which are not "strangers" to some good melodies which are a cool touch despite the contrasting picture they create as opposed to the pounding riffage. Those melodies grace almost every song, also supported by the nice, albeit short, leads. "Fe" speeds up well in the middle, moving things around in a sure-handed thrash/crossover fashion, influencing a couple of following tracks one of which: "Sin Palabras", offers more complex technical deviations. The closing "Tienes el Control" follows a similar pattern, but the guitars lose their edge there in the 1st half, descending to balladic passages; the 2nd half offers faster and more appealing music, intense thrash with a touch of the Bay-Area, slightly spoilt by the tender balladic exit.

No Hay Doble RealidadFull-length, 2000

My Space


Based on the Promo, these guys offer 4 songs of modern thrash/death metal sustained in a brisk energetic tempo with sharp riffs and vicious death metal vocals. There are a few classic leanings to be caught in the guitar department as well as the odd more technical break ("Showtime For My Apocalypse").

From The Eyes Of Pain EP, 2001
Complete Domination EP, 2002
Hatred From Outside Full-length, 2006
Promo Demo, 2008

My Space


Based on the full-length, this act play tricky, semi-technical retro thrash which starts quite promisingly with the diverse "Gehenna/Hanyatlas" which alternates various rhythms at will before the guys setle for less adventurous peformance later adding the odd jumpy rhythms on "Paranoia" plus more brutal death metal riffs. Pieces like "Passziv Exitalas" and "Enigma" are major headbangers, but the band are also intent on thrashing with much more brains as well, as evident from the 9-min opus "Testtelen Tanc" which introduces a more complex play among the numerous fast-paced escapades. The closer "Felfestett Toltenyek" is a more direct lasher exiting this album with style, the good music assisted by passable mid-ranged, semi-clean vocals.

Fajdalom Szinhaz EP, 2015
Almok Temetoje Full-length, 2016

Official Site


"Motorhead on steroids" would be a very apt description of the band's style plus an added doze of crusty thrashcore which all ofa sudden comes up with the avantgarde early Voivod-esque headbanger "Maximum Dose" (after all, the guys are from Canada). The other "miraculous" occurrence is "Vincent's Fritters" which is a frolic speed/thrasher ala early Metallica. The singer shouts his lungs out at times on the edge of losing his tember completely; intense stuff...

Inhaler Full-Length, 2016


A promising demo of retro thrash with a dark, but also semi-technical edge, consisting of 4 lengthy 5-7min compositions. The band doesn't play too fast, and relies more on atmosphere and mood, adding more speed wherever necessary: "Your Death", the nice progressive opus "Spit The Death", which nicely varies the tempos the whole time. "Before You Were Born" is the most melodic offering here, sticking to the doom/gothic patterns introduced by Cemetary and Paradise Lost.

Echoes of Rage Demo, 2007

Official Site


Former Last Rite and Havoc Mass members get together for the release of another pretty cool stomping seismic stuff which also gets nicely intense on occasion ("Live While You Can"). Unlike the music of the two aforementioned acts, though, this one is strictly modern: the approach sits somewhere between early Skrew and the Voodoocult debut so expect a few industrial tricks along the way, too. "Why I Hate" is the definitive modern 90's shredder, both stomping and faster, and "Slow-Motion Murder" is the slow doomy "relief" here. The cutting pounding guitar sound carries on unabated on "These Scars", and the next "To Kill Or Die" can even pass for a headbanger with its jumpy galloping riffs. "When All Is Lost" is a brilliant 2-min lead-driven balladic instrumental; great stuff, acquitting the lead guitarist big time since the other material is clearly focused on riffage. "Taken Away" is another cold-blooded "hammer" leaving the speedy sections for the closing "Never Forget, Never Forgive" which wraps things up nicely with a portion of fast blitzkrieg rhythms. The singer is a vicious semi-cleaner who mostly semi-recites, but does it in a forceful authoritative way. 1995 doesn't look so bad, after all, with good albums like this one which also manage to reflect the vogue of the time so well.

Inhuman Full-length, 1995

My Space


Based on "Change!", this act, previously known as Evil Prophecy, pulls out decent thrash/crossover moshing out with long solid songs sounding way closer to thrash most of the time. The guys don't care too much about speed, and most of the time the music is mid-paced which some may find a pullback since the compositions are not the shortest ones in the world, and this downpour of heavy pounding guitars may wear out at some point. "Nothing To Say" is kind of a "saviour" being a brisk merry, faster piece, but the rest sticks pretty much together as one monolithic, but not really impressive, whole. At around the same time some of the musicians formed another band: Care of Souls, with whom they played more straight-forward retro thrash.

Sanction S.A. EP, 1988
Deserve No Respect Full-length, 1989
Support EP, 1990
Secrets Full-length, 1991
Change! Full-length, 1994


This band pull out "inhuman" old school thrash which mixes slow with fast tracks both working well, topped by brutal death metal vocals. "Addicted to Kill" is a more aggressive cut bordering on early Death, and generally there's plenty of energy here, the music also coming with a pretty good sound quality.
The full-length is a ripping affair the band carrying on with their merciless assault on the senses mixing thrash and death metal on an apppetizing, melodic base (check out the leads on "Holodomor"). Exemplary melodic guitar work graces "Chaos Reigns" whereas "Complete Inactivity" is a pure remorseless headbanger. Watch out for the Rigor Mortis-esque speedster "Inhuman Rage", and the hyper-active closer "New Era", a prime shredder with echoes of later-period Death.

Phychological War EP, 2012
Made by His Image... Killing to His Name Full-Length, 2016

Official Site


Based on the full-length, this band play a fairly appetizing thrash/death metal blend with a cool semi-technical "sting" coming close to Death's "Spiritual Healing" on the best moments ("Consumed By Emptiness"). "Lost" is a cool porgressiver with enchanting balladic breaks, and "Betrayal" is a furious death/thrash sweeper ala early Pestilence with pounding bass support. "Crush" "flirts" with more melody and impetuous galloping riffs, and "Broken Promises" is classic headbanging thrash at its best. The vocalist is a semi-shouty deathster with a throaty growl reminiscent of Jan-Chris de Koeijer (Gorefest). Some of the musicians also take part in the death metal cohort Abysmal Dawn.

Inhuman Throughout Myself Full-length, 1996
Symptoms of the Manipulated EP, 2001

Official Site


Modern death/post-thrash, which awkwardly switches from one style to another, making this EP a slightly uneven affair, since very brutal, almost grinding death metal has never co-existed well with groove. "Deterrant" is a better, more coherent thrasher, and "War Under a Southern Sky" isn't a bad nod to the Swedish death metal scene.

War Under A Southern Sky EP, 2008

My Space


This is weird stuff which at its best is intriguing technical modern thrash touching Coroner's "Grin" at times, but there's hardcore, doom, alternative, industrial, groove, and more present here. The compositions are generally long (the closer "Satellite Blasphemy" alone is 9-min of spacey alternative post-thrash doominess) and try to blend several of the aforementioned styles into one composition resulting in an uneven, often confusing, listen. The lead guitar work is pretty good and is the only connecting link between the songs which are often sprawling instrumentals with a sparce participation of the flat shouty semi-death metal vocals which are seldom interrupted by better clean alternative ones in a way similar to Acid Bath.

Gates of Ivory Full-length, 2007

My Space


This band play abrasive modern thrash with harsh shouty death metal vocals and a horrible sound quality. The guys can by all means play, but the sound is a major obstacle for the listener to appreciate these songs which vary from really cool atmospheric mid-pacers ("I LostControl of Myself") to not bad diverse progressive thrashers ("The Peace"). There's a lot of melody put into the recording, and with better production they can make a much bigger impact.

Perfect Crime Full-Length, 2016


Based on the full-length, these folks specialize in feelgood modern roller-coaster thrash which possesses some progressive pretensions on the longer compositions where intense speedy passages co-exist with calm balladic ones (check out the gigantic opus "Black Genesis"). The shorter cut aren't without merits, either; "Andromeda's Vibrations" is a nice short technical instrumental, and "Storming the Heavens" is a cool ripping headbanger. The other attempt at more ambitious progressivism, the 8.5-min "Where Death Dwells", is more volatile and interesting with a few admirable fast-paced insertions. The singer has a levelled hoarse semi-clean baritone which he doesn't intrude too much on the listener leaving the music to do most of the talking.

Harmony of Chaos EP, 2013
Black Genesis Full-length, 2015

Official Site


Based on the full-length, this band plays decent retro thrash metal of the more carefree, crossover variety. Things get serious towards the middle with more "violent" thrashers like "Violence Unleashed" introduced, but the light-hearted tone is not very often interrupted later on, the sole exception being the longer more complex "Fear Of Nothing" which develops in a stomping mid-tempo manner with capable faster insertions. The vocalist is an expressive semi-shouter with a gruff tember, not carrying a lot of melody.
Dominhate is a nicely energetic effort which rips and tears all over the guys really moshing out on full-throttle creating much more intensity, also trying something more elaborate on the longer cuts Lost Generation , which is graced by a few nice melodic tunes, and Slaves of Our Fears , which is a heavy stomping shredder with semi-balladic overtones. In the 2nd half the assault continues at times with a more melodic sophisticated edge ( Ride the Riot ), at others with a lot of stripped, bashing passion ( Annihilated by Propaganda ). There is a slight shadow of the Bay-Area ( Fashion Swine ) present here and there, and make sure not to miss the excellent lead-driven outro on the closer It's My Land ; itrquote s really good stuff...

Injury EP, 2010
Unleash the Violence Full-length, 2011
Dominhate Full-Length, 2014

Official Site


This demo contains 3 songs which are in the more intense spectre with heavy pounding riffs and forceful proto-death metal vocals. The tempos alternate as the faster side is better covered the guys' skills culminating on the final "Pariah" which is a clever technical shredder with Bay-Area overtones. The sound quality is not the best in the world depriving the guitarists from the necessary expressive cutting edge.

The Cursed Earth Demo, 1989


Based on the full-length, these Finnish inkvisitors specialize in right as rain old school thrash which is a capable mix of both tempos their symbiosis awkwardly intercepted at tiems by misplaced short blast-beating sections ( Abduction At Night ). The lead guitarist is clearly the star of the show and is logically given plenty of space to display his skills as evident from the short instrumental J-Town Anthem . Elsewhere the guys try something more galloping ( Nothing to Live For ) in a more orthodox speed metal vein; or mosh with reckless, almost Slayer-esque, abandon ( Hellbound For Carnal Knowledge ). The vocals are shouty semi-clean reminiscent of Hansi Kursch (Blind Guardian), maybe a bit higher-pitched and less melodic.

Delirious Tales EP, 2014
Doctrine of Damnation Full-length, 2015

Official Site


Modern thrash with references to metalcore; this is melodic stuff with a few more biting moments and consistent tempos (read mid), but generally the hard-boiled thrash metal fan would hardly spend more than several minutes with it the delivery also painfully familiar from countless other contemporary acts.

Free At Last Full-Length, 2012

Official Site


This young formation serve melodic semi-technical modern thrash/death which possesses a lot of dynamics and will seldom leave the listener bored, especially when the guys start shredding in a late-period Deathesque passion ("New Home"); or start shredding in the good old school way ("Sound Of Thoughts"). After the peaceful, balladic "The Anguish Remains" comes the most aggressive number, "The First And The Second", again with a pinch of Death the latter missing from the choppy closer "The Shield". The vocals are gruff semi-death metalish with a slight shouty pitch at times obviously imitating Chuck Schuldiner (R.I.P.).

Since Full-Length, 2015

My Space


This band offer an intriguing brand of technically-minded power/thrash with a more modern edge, never fast or aggressive, but with slow-ish to mid-paced guitars with frequently changing hooks and tunes. "Neopolis" is a cool debut featuring dark haunting stuff crossing Psychotic Waltz with 90's Flotsam & Jetsam and Coroner's "Grin" with surprisingly effective, slightly faster thrashers ("My Dark Side"). Despite its minimalistic nature, this is really interesting music calling to mind even Coroner's earlier output ("Conclusion"). Seldom can a band pull out such technical music without inserting speedy, intense moments: check the slow, but satisfying "Disgrace". "Neopolis 1" is a good instrumental piece with a somewhat jazzy edge; its continuation ("Neopolis 2") is another fine slab of technical power/thrash, this time with vocals. Mentioning the vocals, I have to add that they are a nice addition to the good music, being melodic, mid-ranged, with a slight alternative edge; a good display of the guy's talents is the cool acoustic closer "New Sun".
"Different Stories" is another strong effort, more dynamic than the debut, and with much more elaborate song-structures. This is sheer progressive stuff, this time bearing resemblances to Zero Hour on quite a few moments. It consists of two parts, separated by a couple of neutral tracks. The first part: "War", which is five parts, is a fine slab of progressive power/thrash although the middle balladic part is kind of underwhelming. The second part "The Tale Of John Kastner", which is four parts, is less satisfying, more complex, with more melodic sections although the last part tries to capture some lost ground, and almost succeeds with its sudden switch to intense technical thrash/proto-death, and is both a revelation and a pullback, making you angry at the guys for not throwing more aggressive riffage of the kind earlier.

Neopolis Full-length, 2002
Different Stories Full-length, 2005
Instant Replay Full-length, 2007

Official Site


Modern energetic thrash which boasts very crisp modern production as well as well as proficient, albeit somewhat mechanical and soulless execution. The guys vary the pace leaving some room for more invigorating pieces like "Wasted Youth" and "Mind the Gap" to make an impact. The rest is a bit clumsy the longer numbers trying to acquire a more complex, progressive sound, but the lack of variety in the riff department simply can't carry those attempts very far.

First Expected and Other Dumb Answers Full-Length, 2012

Official Site


This is heavy, intense thrash which is on the border towards the new groovy vogues in a way quite reminiscent of Slaughter's debut. Slayer-esque aggression ("Bullshit Philosophy") comes up here and there to stir the dormant spirits, but watch out for the ultimate exercise in stomping crushiness that is "Abnormal Personality". "Indoctrination" is a cool varied cut with several time and tempo shifts, and "Blind Insesitivity" is again on the less restrained, headbanging side. The singer is a gruff intense semi-shouter with slight quarrelsome tendencies.

Demo Demo, 1991

My Space


This new outfit specialize in a mix of modern and classic power/thrash which is very melodic to the point of losing the thrash metal edge at times the latter replaced by not very imaginative post-thrashy/groovy rhythms. Doom metal reigns supreme on a couple fo tracks in the 2nd half, and the speed gets lost completely the band epitomizing a laid-back Metallica's "Load"-era influenced sound which only works well on the closing semi-ballad "Time Must Pass", mostly thanks to the good attached clean vocals which are on a level all the way.

New Chapter Full-Length, 2011

Official Site


A melodic, but appealing blend of thrash, power and speed metal recalling Destructor, Malice, early Laaz Rockit, Savage Grace, etc.

Demo Demo, 1987


4 tracks of intense energetic modern thrash; nothing out of the ordinary, but done with competence, and with a pinch of Gothenburg death metal: "Inner Resistance".

Inner Resistance EP, 2009

My Space


Modern melodic thrash metal with both dreamy balladic stretches and brutal raging death metal ones; the vocals also vary according to the flippant music ranging from guttural death metal to clean emotional ones, both not very convincing. Despite the several intense headbanging moments the music fails to deliver with the constant hesitation between the two contrasting elements, not managing the perfect balance between them, settling for the former on the nice progressive peaceful closer "The Worlds Collide".

Two of Me Full-length, 2010

Official Site


A cool obscure demo offering classic power/thrash with progressive tendencies reminiscent of Jester's March and mid-period Fates Warning. The balladic passages are too many for just a 4-song effort, but on the other hand the band shred well on the rest, albeit the mid-pace is never broken. The singer has a not very impressive clean, mid-ranged tember, and is often deafened by the noisy guitars.

Song in Time Demo, 1994


Based on the full-length, this act provide modern thrash/death which is hardly anything too special with rehashed hard riffs and the staple semi-shouty death metal vocals. The pace varies from one track to another with March of the Wounded offering the only more interesting deviation with a portion of vivid semi-technical riffage.

Provenance EP, 2009
Legions Awake Full-length, 2015

Official Site


This great underground band is responsible for some of the most elaborate, complex tunes to ever come out of the UK, and with only one EP released, they couldn't get the exposure they more than richly deserved. Their music is labyrinthine progressive thrash recalling Watchtower (their 2nd album), Deathrow, early Psychotic Waltz, the Americans Realm, the contemporary stars in the style Twisted Into Form, etc. They certainly know how to thrash with full force as evident from the more aggressive material ("A Brief Madness", a great hammering technical thrasher) and would make quite a few heads bang, but one has to be warned against the sudden complex breaks coming out of nowhere. The singer John Knight has a great clean tember of the higher-pitched variety, and his screams in the higher registers are quite close to those of Eric AK (Flotsam & Jetsam).
The "Static Veins" demo is 3 songs which show the guys still on a more pristine level in terms of execution the music sitting in the middle ground between power and thrash metal the longer and more complex shredder "The Unloving Touch" suggesting at the futute transformation. The sound quality is a bit muddy, but the singer does an admirable job pulling out effective performance with his high-strung lungs whcih he tests at every possible opportunity.
The "Sensorium" demo steps a bit further the sound having become heavier, more technical and way thrashier. The bass now plays a prominent role and the guitars bite and sting in a familiar Bay-Areasque fashion "Excellent Or Stagnation" being a nice less ordinary headbanger. "Regression" is an almost progressive opus moving forward with squashing creepy riffage and several less accessible passages. The main comlpaint again is the sound quality which is still not very clear and hampers the musicians.
The "Shine" demo is another 3-songer (the guys like this number apparently) and is a true work of progressive thrash which makes it all the more valuable considering its time of release. The sound is now much better, and although the faster sections have disappeared the music is nothing short of outstanding. "Shine" is relatively calm and atmospheric, but "E.F.M.S." shreds with power also thrashing more widly at times among the more complicated "excursions". The culmination is "Sensorium", an immaculate blend of the two previous songs, a jumpy cut worthy even of Deathrow's "Deception Ignored". An old track, "Mentality", is served at the end in a live setting marring the situation a bit with its bad sound quality. Listening to this demo, one wouldn't be surprised to hear the mastery displayed on the following EP.

Fear Is Life's Blood Demo, 1990
Static Veins Demo, 1991
Sensorium Demo, 1992
Shine Demo, 1993
Questions EP, 1994
Knowledge at Hand Demo, 1995

My Space


An excellent release, coming from not a typical place for metal, but worth checking out: dark, haunting thrash in the best tradition of early Celtic Frost with gruff vocals recalling Tom G. Warrior quite a bit. These guys move things to the faster sector ("Deathless ProphetX", and especially the aggressive thrashing on "Electric Influence") at times, but the gloomy, brooding tone of the music remains unscathed for most of the time. On the other hand "Tears" and the closing "Wasteland" are pure exercises in doom, and are quite impressive at that.

"Christi Testamenta": these veterans rise from the ashes with style to produce another slab of doom-laden Celtic Frost-inspired music, which has lost nothing of its charm, if we exclude the somewhat annoying buzz of the guitars. This is crushing stuff with ultra-heavy riffage ("Hemoglobin") so expect the fields of doom to be "roamed" extensively, too, relieved by the more melodic insertions: the laid-back melo-thrasher "The Emperor Wears No Clothes". "The Good Shepherd" is an excellent dramatic piece breaking the gloomy formula with more dynamic spiral-like guitars, but digressions of the kind are not that many. At the end one will come across two covers: the expected one of their idols ("Return To The Eve" from "Morbid Tales"); and the every surprising take on "Heaven On Their Minds" from the "Jesus Christ Superstar" soundtrack turned into a really stylish, more technical number with an appropriate inclusion of the main theme from the cult horror film "Halloween", and a very good rendition of the calm, balladic passage near the end. As a whole the style presented here is not far from the one on the debut, but the bigger number of songs also presupposes a bigger diversity which in this case is arguably for the better with still a secret wish hanging in the air for a faster, more dynamic performance on future recordings.

Frozen Souls Full-length, 1994
Christi Testamenta Full-Length, 2011

My Space


A nice obscurity from the deep US underground showing brisk galloping power/thrash in a firm classic mode with great technical licks in the best tradition of Helstar's "Nosferatu". The elaborate approach has enough room to develop fully due to the relatively long compositions which never lose the energy despite the heaps of complex guitar patterns featured on each track. Dramatic power/thrash takes over on the heavy shredder "Bird Of Prey", and the final "The Boost" is progressive thrash served in various nuances for 8.5-min most of which are again on the heavy stomping side. The singer is not bad at all with his emotional forceful tember which holds both melody and aggression. The production is a bit thin, though, with a screamy edge accompanying the guitars for mos tof the time.

9.T.9.D.2 Demo, 1992


The debut: progressive power/thrash metal somewhat similar to the Canadians Dyoxen and Psychotic Waltz, but more experimental and varied, slower and overall less impressive. The sound is not heavy at all, and combined with the clean melodic vocals might pull back the average thrash metal fan in the beginning. But after a more careful listen one could discover some intriguing technical thrash riffs. Unfortunately, the band have the bad habit to ruin the thrashy breaks with melodic parts and unnecessarily complex guitar work. The bass performance is quite strong, and the guitars have the edge sometimes, but the band's desire to sound closer to progressive than thrash metal stifles this edge quite often, bringing forward numerous balladic sections, as well as several pure ballads. "Sunrise Dreamer" is the only more straight thrashy track, reminiscent of early Megadeth.
The demo follows the path carved by acts like Fates Warning, Lethal, and early Heir Apparent pretty closely, by also adding an individualistic touch mostly due to the strong bass support, and the more epic "decorations" ("Genetic Excellence") springing up from time to time. There's no hint at any future trashy transformations here except on a couple of edgier riffs on the more intense, technical pounder "Closer than You'll ever Be". The short acoustic ballad "Shallow Reflections" was later included on the full-length of the same title.

Within the Dream Demo, 1991
Shallow Reflections Full-length, 1994


Roughly produced, but energetic classic thrash along the lines of the German school: think Toxic Shock and early Kreator, the main difference coming from the more sensible leads. "Take Revenge" moves the approach closer to the purer speed metal patterns, and generally there's plenty of energy to be savoured some of the songs also coming with a pinch of death metal ("Hallucination", the excellent Florida-influenced "Torment of Evil"). The dedication to death metal becomes too obvious in the 2nd half on the brutal outrager "War Hymns", and the guys know no rest till the very end playing eith the utmost intensity. The "violence" here is not only "inner", but is pretty "outer", too...

War Hymns Full-Length, 2013



Good retro thrash comes out of this unknown band who manage to thrash in a sure-handed Bay-Area manner, but in a speedy, more dynamic manner ala early/mid-period Testament. Still, when the guys decide to thrash with speed, they do not fall behind anyone: the brisk "Innerfear", the semi-technical shredder "Explanation Of Life"; the Testament worship with semi-balladic tendencies "Prosperous Land". The speed takes more extreme dimensions on the blitzkrieg "The Luring / Hatred Society", but remains within the confines of thrash. "Soured Ground" is a cool mix of smashing steam-roller and faster riffs, with a nice melodic twist. "Red Snowe Plains" is even better this time a more ballad-inclined piece, to these ears coming closer to Flotsam & Jetsam's "Escape from Within", rather than the Testament achievements in the genre, with its sudden jumps from the quiet ballad to the heavy thrash shred, and vice versa. The closing "Ruthless" richly deserves its title thrashing far'n wide in a speedy frantic manner. The singer could be viewed as a pullback with his gruff semi-hardcore delivery, but the music is a pleasant reminder of the Bay-Area's heydays sounding more Testament than the Testament guys themselves at that time (remember "The Ritual").

Innerfear Full-length, 1992


New kids (and a girl who si the vocalist, of course) on the block from Croatia, specializing in quite good modern power/thrash metal with a strong gothic flavour which disappears on the more aggressive moments (check out the cutting shreds on the opening "Borderline"). The overall delivery nicely reminds of the untimely "passed" Amaran the guitars here having a more expressed technical edge the latter also bringing the band close to the one-album-wonder from Germany Over Us Eden (also with a female singer). "Walls" is a cool short galloper infused with Oriental motifs, and its aggressive aesthetics are later captired quite well by a string of numbers: "Game of Your Mind", the dark brooder "Symbiosis", etc. The fast-paced sections are not many at all, but the razor-sharp riffage, the heavy breaks, and the dramatic song-structures will ensure a good time for many fans not without the help of the excellent vocal performance of Marijana Varga (that's the girl's name) whose wide range provides a lot of dramatism putting on the forefront of the female vocal circuit.

Innergate Full-Length, 2011

Official Site


This Mid-East act, who started under the name Tristmoon where the style was a mix of black and gothic, specializes in fairly cool intense thrash/death of the classic kind. This is choppy semi-technical music not relying too much on speed with hard riffs which get suddenly interrupted by the odd spasmodic blast ("In This Prison"). "Terrorized By Silence" is a nice technical piece with whirlwind guitars and quirky tunes, a tendency partially followed on the following "My Time To Destroy" which is a dramatic cut with the tank-like riff approach and the several melodic hooks. The singer is a subdued death metal growler who doesn't shine, but ably supports the interesting musical delivery. Some of the guys attempt some groove/metalcore with Element 26.

Slanderous Society Full-length, 2012

Official Site


This is quite cool retro speed/power/thrash which delivers with a brisk, energetic tone ("Wolfhunterg") although the band aren't strangers to more serious arrangements ("Fuck Off") which also come with nice melodic hooks and a couple of great headbanging sections. The title-track juggles between galloping power metal and more intense thrash-prone passages, a nice blend which is well sustained on the remaining material, like the excellent shredding "The End Of The Way" where some admirable virtuoso guitar work can be detected, and the excellent closer "Police Brutality" which throws in some more technical pirouettes as a finishing touch. The vocals are fairly good and convincing with a shouty clean timbre which sounds both attached and angry at approopriate times.

Phantoms Crossing the Sky Full-length, 2017

Official Site


This not very known act pulls out a slightly less predictable version of the 90's post-thrash with a few more clever arrangements in the beginning, but there is not much dynamics in this somewhat sleepy mid-paced stuff which, instead of livening up with the odd faster break, sinks into balladic waters with each passing song. "There's More To Life Than Bitches & Money" is a more intense thrasher, but the rest wears out after just one listen, especially the exiting 3 tracks which are dragging bluesy proto-doomsters partly saved by the cool emotional vocals ala Lee Smith (the early Penance singer).

The debut is an even more eclectic affair, now the post-thrash base intertwined with pompous operatic arrangements, which produce the occasional impressive result (the engaging progressive thrash extravaganza "Blue Law": a discordant masterpiece with a striking bass support), but the exits from the genre are so frequent that at some point the listener has to either totally give up or fully embrace this multi-layered music. Keyboards, saxophones, and other instruments interfere at the least expected time breaking the guitar-driven landscapes the latter sounding too industrialized at times creating a not very necessary artificial noise. The singer brings a strong emotional charge, though, with his clean passionate dramatic performance.

A Tell-Tale Trail Full-Length, 1992
Protest to the Signs Full-Length, 1993


This is a commendable dedication to the classic sounds of old, and the guys should be praised for this. Except for the slightly buzzy guitar sound and the thin lead sections, the rest is pretty decent showing well executed old school thrash played with plenty of speed in a direct no-bars-held manner "couritng" hardcore (the short blitzkrieger "Slaves") and the German movement ("Psycho Lust") along the way, the latter served with a pinch of proto-death. But that's not all because the end is a nice melodic technical speedster ("Vortex In Reality") which should have been made instrumental-only: now these harsh shouty vocals mar the song badly starkly contrasting with the very good musical background.

Social Depravation Demo, 2011


Badly produced, but decent attempt at more complex power/thrash metal with intricate riffs which definitely show a Watchtower influence, only that at that (and only) stage the guys haven't perfected their musical skills yet, and the more intricate passages sound a bit awkward and unfinished. If they had kept things more simple, they would have probably done a better job.

MessengerSingle, 1990


The full-length is groovy post-thrash metal which packs a punch providing a couple of faster edgier riffs including one more intense thrasher ("Secret Alibi"), but those melodic breaks, accompanied by awful semi-clean vocals, are hard to bear; the main ones are very angry semi-death metal. Parts of "Burning My Way" are heavy as hell, too, but the guys don't have the patience (or the strength) to carry on like that till the end.

"Impio" packs more punch, and is the more interesting effort with edgier guitars, but also a bigger sense of melody also reflected in the couple of good clean vocal insertions (the cool heavy ballad "Jam'e1s te Olvidar'e9"). "Tras el Tel'f3n" is a nice energetic headbanger with a hardcore-ish vibe, but the end is strictly preserved for melodic electronic-infused ballads and other soft gimmicks.

Religion EP, 2007
The Basis of Trancetherapy Full-length, 2009
Imp'edo Full-length, 2011

Official Site


Based on "Destrucci'f3n Mutua Asegurada", this act provide energetic speed/thrash of the classic school mixed with modern post-thrash and a bit of proto-death. The concoction is all over the place never sticking to one style for too long, and the few speedy numbers ("Immortal", "Libranos Del Mal") are way ahead of the rest being forceful pieces of music with sharp lashing riffs. The singer also ranges from cool clean to shouty hardcore gamuts, and generally is not awfully bad keeping up with the diverse, unpredictable nature of the music.

Ant'edtesis EP, 2002
La Oruga Full-length, 2004
Progreso Full-length, 2006
Destrucci'f3n Mutua Asegurada Full-length, 2009

Official Site


Another valuable addition to the growing horde of thrash metal acts from Norway; this band are very close to becoming the leaders of the scene there, with their stylish semi-technical take on thrash, with their guitars players doing damage no worse than the one of their colleagues from the Shrapnel catalogue. The guys play with energy, and most of the songs are in up-tempo, with proficient, almost addictive leads and good sharp, technical riffs. Music of the kind cries out for at least one longer progressive opus, and it comes in the form of "Hollow Sleeper": a varied composition, where the guitar performance is top-notch, and the tempo changes will keep you on the alert the whole time. The more immediate direct headbangers are not that many ("Headless", "Human Failure", which is fairly intense, with a touch of death metal), and there's no need to say that their level of technicality is well above average for the genre. "The Underworld" is a surprise, being a slower, modernized number, reminiscent of the early 90's, more experimental Kreator works. The last song "Ghost of Existence" culminates in the finest performance from the guitarists, resulting in a noteworthy technical/progressive thrasher, quite energetic and intense as well, with a sparce use of blast-beats, finishing this album with grace, making a major claim at the "Best Thrash Metal Debut" award for 2008.

The Red Chambers Full-Length, 2008

Official Site


Based on the band's debut, this is speed/thrash metal from the Germanic school, but with a very thin, drilling production, and pretty generic. "Night Tears" is a different "animal", having already acquired the aggro-tendencies although the rough deathy singer doesn't quite suit them. The music revolves around slumsy repetitive, mid-tempo riffage, seldom bearing any appropriate fruit (the heavy shredding stomper "Living in the Dark"). "Sophisn" is 2-min of brutal thrash/death, and "The Perfume" is an obvious leftover from their early days, being a fast energizer with crisp lashing riffs.
"Legrimas Nocturnas": some 18 years later the guys are back, and they keep thrashing in the good old way although the sound has become heavier and a tad more modern. The approach more often stays within the mid-tempo parametres the rude awakening provided in the form of the short exploder "Llorando Por Mi Destino". Unfortunately, for 16 songs the variety isn't big enough to make anyone fall in love with this effort, and some may even lose interest listening to it till the very end.

Inquisidor Full-length, 1989
Sobre tu cadaver Full-length, 1990
Night Tears Full-length, 1992
La Ultima Oportunidad Full-length, 1996
L'e1grimas Nocturnas Full-Length, 2014

My Space


From the band's long discography only their debut EP would be of interest to thrash metal fans. It's a pity they hadn't continued in the same vein, as the style here is very good energetic semi-technical thrash with long, 9-min long compositions, which never sound boring even for a single second, where one could hear everything from the thrash textbooks- aggressive sections, nice melodic, but sharp guitars, technical breaks, swirling solos, and let's not forget the vocals which will remind you of Kelly Shaefer from Atheist. Later the guys surrendered to the black metal god(s).

Anxious DeathEP, 1990
Incense of RestEP, 1996
tab Into the Infernal Regions of the Ancient CultFull-length, 1998
tab Invoking the Majestic Throne of SatanFull-length, 2002
Unholy Inquisition RitesEP, 2004
Magnificent Glorification of LuciferFull-length, 2004
Nefarious Dismal OrationsFull-length, 2007
Ominous Doctrines of the Perpetual Mystical Macrocosm Full-Length, 2011

My Space


The debut: ex-members from several Dutch death metal acts have gotten together to play... well, the style is a mix of death and thrash metal, clinging towards thrash, despite the frequent use of blast-beats, and is quite close to the first two Sadus albums (including vocal-wise), or Hellwitch, but not as technical. This is very fast and intense stuff, quite well done at that; "Trial of Denial" is probably the only track which slows down to mid-tempo, but its closing seconds are fast as hell, too. The songs are not too short, mostly within the 4-5min range, plus the album closer "Inquisitor" which goes twice over this limit closing on 8.5min, and is a very good example of how such a long track could sound fast and aggressive all the time without any slower sections (except on a very few occasions). In the mid 90's it was always good to hear something more classically inclined, and this album is one of the better achievements of the period.
"Stigmata Me, I'm in Misery" is another impressive affair the guys thrashing with passion producing fast'n furious old school thrash which comes with an overt pinch of death on the most intense moments ("Holy Man's Gallows Pole", "Hammering Rusty Nails"). More interesting, nearly progressive, shades can be detected on "Northern Goliath-Death a Black Rose" and elsewhere, but the extreme speedy tornadoes are an impediment for those to develop fully.

Walpurgis-Sabbath of Lust Full-length, 1996
I Am Sick, I Must Die EP, 2017
Stigmata Me, I'm in Misery Full-length, 2017

Official Site


Old school speed/thrash metal which lashes in up-tempo with gruff black metal vocals, which unleash the odd high-pitched scream from time to time, and cool melodic guitars recalling the Germans Tyrant and Warrant: check out the speed metal hymn "Speed Metal Legions".

Iron Preacher Demo, 2010

My Space


One of the better modern thrash metal bands from Sweden, previously known as Lost Souls, but the music here is more aggressive and much better. The line-up includes Magnus S'f6derman: the guitar player who did a fairly good job on the two Rosicrucian albums earlier in the 90's, alhough here he hardly needs his wizardry since the style is more ordinary and standard. Two of the band members have a side project: the groovy post-thrashers Gust of Anger, which music is a direct continuation on the one heard on the Lost Souls efforts.

Built To DestroyFull-length, 2002


A cool offering from the Andes showing these Peruvian "mountaineers" acquitting themselves with cool dark thrash metal expressed in lengthy (6-7min) compositions where melody meets speed on a steam-rolling Bolt Thrower-esque base. There is a certain amount of complexity going on reaching progressive dimensions ("Iglesia Destruida") here and there. "Pontifice Del Sacrificio" moves towards more aggressive semi-technical death metal with shades of both Nocturnus and the Swedes Afflicted. "Liturgia Del Dolor" remains on fast grounds, but the slower atmospheric interludes are more frequent, those tendencies very well translated on the excellent closer "Sagrada Profecia" which provides a compelling blend of doomy and speedy technical moments the latter overdoing it a bit near the end turning into a furious blast for a while. This is a pretty promising debut which shows the guys in a bright light although it's obvious that their full potential is yet to be realised.

Efigies de Maldad Full-length, 2008

My Space


Intense aggressive thrash metal in the Slayer-mould with death metal vocals and slight death metal tendencies in the musical department on the 1st demo. The 2 songs on the single preserve the Slayer sound, but the riffs are more technical and the production is much better.

Reflections about the Inner Conflict Demo, 2002
A Few Days to Die Single, 2005

My Space


Before Usurper there was another band earlier in the States who based their music on the great Celtic Frost so expect heavy, stomping thrash, with faster parts ("The Chosen") and more melodic, and perhaps more proficient leads than the ones featured on the works of the Swiss.

Demo Demo, 1990


Standout speed/thrash in the best tradition of the Toxic Shock debut and early Destruction; this is crushing, intense music with mighty riffs and vocals which at times sound quite close to Paul Baloff (R.I.P.). "Drinking" is a kind of an intermission being a jolly 1-min crossover track, and the "Ballad of Jimmy" is a 7-sec joke similar to the S.O.D.'s "The Ballad of Jimi Hebdrix" from "Speak English or Die".

More BeerDemo, 1989


Based on "Morning in Red": good dark gothic-tinged modern thrash with a funereal atmosphere. Most of the songs are mid-paced with nice guitar melodies and interesting semi-technical riffs. There are also a few more intense thrashers ("Morning in Red", "Extremely Progressive Method", "Sentence") as well as shades of groove here and there. "Child of the Moon" is very close to doom/death, and is quite a moody piece.
"Preserve to Diverse" is a shift from the band's staple sound into a more industrial/cyber direction. The song-structures have become more complex with clear progressive pretensions, and vigorous thrashers like the more classic-sounding "New Life Propaganda" and the raging cyber thrasher "Empire" are a rarity. With the decreased speed now the compositions evolve around more restrained, almost doomy, models. The singer shines all over, though, with his emotional deep mid-levelled tone with a doomy shade.

Morning in Red Full-length, 1999
Finite Number Of Exits ?! Full-length, 2007
Preserve to Diverse Full-length, 2010

Official Site


The "Insane" demo is two tracks only of cool dark thrash/death metal ala Massacra, fast relentless music with a few nice melodic insertions and intelligible semi-death metal vocals which try to scream quite high, and succeed. This single boasts very good guitar work relying mostly on the riffs which come with an atmospheric colouring also reminding of their compatriots Nightfall.

Incense Single, 1993
Insane Demo, 1994


A mix of thrash and American power metal close to SA Slayer, early Overkill, Destructor; touches of Exciter, too; the guys prefer to play fast which is good, but the songs merge into one another, that's why the album works as a whole, because you might not be able to remember separate pieces from it even after a few repeated listens.

Wait And Pray Full-length, 2004

My Space


Based on "Evil", this act serve intense retro thrash with interestign melodic embellishments ("Ritualistic Death") bordering on the progressive at times. Speed is pretty much the order of the day ("Spiritual Possession", "Persecuted By Evil") with nice melodic leads swirling around with stomping deligts ("Obsessed By Vengeance") ensuring a different kind of entertainment. The vocals are very shouty to the point of hysteria at times, but the highly energetic delivery

Death Race EP, 2011
Interment of Life EP, 2013
Evil Full-length, 2017

Official Site


This band offer modern thrashcore which is more on the friendly side without any extreme outrages speed-wise. "Numbers" is a cool vivid mosher, but generally the riff-patterns are milder with a playful attitude more akin to the crossover acts than the thrash metal ones. "I Was There" is an uplifting speed metal frolicer, and the closing "Weekend" is a merry stoner/doom rocker; in other words, expect a lot of diversity and consequently a lot of unpretentious fun.

Oil Sucking Animal Full-Length, 2009



This is aggressive, intense thrash with good forceful vocals ala Chris Bailey (the first Infernal Majesty singer). The guys produice some fairly brutal riffs here (check out the short explosive "Corruption Corps") boldly bordering on proto-death for most of the time, coming up with a few sincerely death metal cuts ("Black Massacre"), the pounding "Cremation" being the only song which is not played at the utmost intensity. This is a vicious and brutal recording easily rubbing shoulders with the future releases of Incubus and Massacra. The improvised Kerry King-like leads are not bad, and they can be more clearly heard than the riffage since the latter suffers more from the buzzy sound quality.

A Multi-Crucial Faze Demo, 1988


These "insane" Italians specialize in dynamic melodic modern thrash with harsh death metal vocals. "No Hope" is an assured hard-hitting thrasher, and "New Life" nearly touches the classic speed metal arena. The title-track is a cool melodic shredder, and "In Agony We Trust" is an attempt at more complex, progressive rhythms ensuring the wide appeal of this nice light-hearted opus.

Scream Of Anger Full-Length, 2017


This is the early incarnation of the band reviewed underneath; on this first effort the guys already sound quite intriguing and engaging, playing quite cool complex classic thrash with semi-shouty death metal vocals. The title-track shares some of the dramatism of mid-period Death with the virtuoso lead sections and the omnipresent bass, and "Il Signore del Silenzio" is a spastic thrasher with covert death metal overtones ala Sadus, a labyrinthine masterpiece with a wide array of time shifts and virtuous melodic pirouettes which are built on a brilliant co-existence between melodic semi-leads and the bass. "My Bededrum" is a stomping chopper the leads interfering earlier to accompany another prime riff-fest built on hectic, never fast, rhythms in then best tradition of Coroner and the Dutch Osiris, with a few more orthodox decisions thrown in-between. "Supremo Onore" speeds up admirably trying to keep the proceedings within more linear parametres, and succeeds not without the help of the downbeat quasi-doomy ending. It's quite amazing to see exactly the same line-up, with the addition of two 1's to the name, managing to preserve the chemistry between them to come up with another similar masterpiece 22 years later...

Genesi Demo, 1994


This band was earlier known as just Insania (see the review above) when they had one demo ("Genesi") released in 1994. With the number 11 added to their name, they have also increased the technicality quite a bit now turning into a highly accomplished technical thrash/death metal unit which easily reaches Atheist and Coroner heights on the hectic opener "Uroboros", a masterpiece of constantly overlapping jumpy rhythms. "Metamorfosi" is by no means a sloucher throwing another ultra-complex portion of spastic riffs at the bewildered listener recalling Mekong Delta at their most surreal and unpredictable. "Nosferat (Aspettando l'Alba)" is slower and creepy, but the very technical riffage is here all over turning this cut into a maze of time and tempo shifts, a very eventful composition full of mouth-gaping rhythmic patterns. "I Morti" is a wild death/thrasher jumping high and low to a dazzling effect with some of the most intricate riffs to be executed recently, not to mention the surreal dramatic accumulatons in the second half. The closing "B Naural (I Figli Del Quinto Sole)" is nearly 9-min of dreamy, melancholic arrangements on a slow base still retaining some of the mindblowing technicality of the preceding numbers, but relying more on lyricism and brooding semi-balladisms. The vocalist can't possibly be a match to the outstanding musicianship, but his gruff semi-death metal-ish antics are at least not annoying.

Di Sangue E Di Luce EP, 2016

Official Site


"Screams from the Asylum" is a more speed metal-based effort similar to Destructor and Exciter, well done, despite the slightly raw sound. "Psychomania" is a fairly good attempt at more complex, technical thrash metal. There are a couple of intriguing riffs as well as quite intense aggressive sections supported by cool lead guitar work. On the shorter tracks the guys give way to their more brutal nature: the smashing "Circle of Death", but it's in the long numbers where the band show their actual musical skills: the more elaborate "Psychomania".
The "Media Lies" demo is a continuation of the more technical style presented on "Psychomania", and as such is another display of the guys' bigger musical skills. The title-track opens with a not very eventful mid-paced shred, but enters "The Verdict", and things immediately become more complex and interesting. "Plead Insanity" is a sinister mid-pacer, and "Outcast" is a cool reminder of Metallica's "...And Justice for All" with its twisting riff-patterns.

Screams from the AsylumDemo, 1986
PsychomaniaDemo, 1987
Media Lies demo, 1990

Fan Site


3 tracks of standard retro thrash with a noisy, buzzy guitar sound and a few more serious attempts at song-writing on the hypnotic complexer "Desert Rain". The approach is a bit samey and not very eventful the guys relying on heavy mid-paced riffage livening up a bit on the shorter and more "frantic" "Frantic Combat". The vocals are of the indifferent inexpressive kind, but suit the not very demanding musical picture.

Insaniter Demo, 2012


Based on "Phobia" (the full-length), this is quite good death/thrash metal reminding of early Death and Possessed with nice stylish solos. The pace is quite fast with occasional blast-beats, but with mid-tempo galloping rhythms as well. The guitar sound is a bit hollow at times, but this is when it suits the gruff brutal vocals quite well. The approach is kind of samey "broken" in the second half by a couple of longer slower songs: the cool galloping "Night of the Living Deads", which is decorated by an aggressive death metal passage near the end; the atmospheric heavy "Innocent Laughter"; the surprising doom/gothic-like "Sadness".
"Mind Crisis" is now a full-blooded doom/death metal affair, an approach hinted at on the debut, now fully developed with several instrumental operatic inclusions, atmosheric gothic passages, slow sprawling sections clinging somewhere between doom metal and the ballad, and more. There would be very little to appeal to the thrash metal fan here, and the latter should not try hard to track this album down. This act was later transformed into Siege of Hate, which also came with a stark style transition into very brutal death/grindcore.
The EP is just 2 tracks "Confined In Freezing (Wait And Agony)" being a dark pounding headbanger ala their compatriots The Mist; and "Brain Dead" being a straight-forward lasher with brisk ripping riffs. The guitars come with a very annoying buzz which is particularly unnerving on the lead sections.

Cryogenization EP, 1991
Phobia Single, 1993
tab Phobia Full-length, 1993
tab Mind Crisis Full-length, 1998


The "Live Rehearsal" demo is simply hard to believe: it is so insanely (after all the guys are called Insanity) fast (the demo I have could have been recorded on a faster bit-rate on purpose?) that it leaves pretty much everything behind recorded in the next few years in terms of speed and aggression. It definitely has a certain death metal-vibe, but the concentration is clearly on speed; I can't think of another band from the 80's who had come even close to this one; later the death metal bands of the 90's, of course, reached these heights, but seldom surpassed them.

"Death After Death" shows a more controlled band with a bigger focus on technical play rather than speed (although some tracks are still played at lightning speed), and the final result is still quite impressive, but on a different scale: this is technical thrash/death reminiscent of early Massacra, Therion's "Of Darkness", and No Return's "Contamination Rises".
The "Sacrefixion" EP, as well as their 2008 album "Visions of Apocalypse" are pure death metal, fast and brutal, but much less technical; both efforts are passable, but hardly anything too striking compared to their earlier output.

Live Rehearsal Demo, 1985
Demo Demo, 1989
Insanity Demo, 1994
Death After Death Full-length, 1994
Sacrefixion EP, 2002
Demo 1985 Single, 2006


The demo: this is not the most "glorious thrash" around, mind you, like the title of the opener suggests. Still, the guys have put their effort to produce energetic old school thrash/crossover assisted by acceptable high-strung shouty vocals. The tracks are short "bullets" shot with precisions with tight riffage "courting" Slayer on the more intense moments ("Straight-Jacket Mosh"). Iron Maiden are made fun with at the end with the speedy crossover cover or "Run to the Hill" here titled "Run to the Pit" played energetically with a "reckless abandon". This is good headbanging fun which should also find its realisation, and fans respectively, on a full-length. The guys also have another project, the death/thrashers Indyus.
"Insanity Alert": the full-length is already a fact and with the tracks from the EP here, with our favourite "Glorious Thrash" opening the album, lined up to assist in this perennial dynamic roller-coaster which will never let you down with the high energy involved on every single cut. The guys shoot short blitkrieg "bullets" which at times are pure hardcore outbursts ("Crucified By Zombies") recalling The Accused and the Brits S.S.S.; so there's no speed lost here with everyone doing his best to produce a sure-handed slab of the good old thrash/crossover, and place Austrian metal back on the map after a lifetime of absence.
"Moshburger" is what's on the menu in Austria these days, and the fans shoud embrace this new type of food readily since the band have epitomized the concrete, blitzkrieg style of early Hirax; in other words, expect fast uncompromising cuts, very short, spat with the utmost intensity for most of the time reaching the borders of hardcore on the less bridled material to which only the mild rocker "Wake & Bake" has the temerity to oppose to.

First Diagnosis Demo, 2012
Second Opinion EP, 2013
Insanity Alert Full-length, 2014
Moshburger Full-Length, 2016

Original Site


Common Swedish thrash/death metal, fast paced and competently done, but that's all about it.

Insanity Is Your Deadliest Weapon EP, 2006

Original Site


This young Portuguese outfit plays modern melodic thrash/death with virtuous melodies, crisp riffs, and a faithful adherence to early In Flames and Dark Tranquillity. Still, the music delivers due to its sheer energy and a genuine headbanging potential. The guys are experts at infectious melodic hooks some of which one may find addcitive ("Whispers"). Although nothing groundbreaking, this small effort is a nice listen with its dedicated approach and musical proficiency.

Wrath of Creation EP, 2010

My Space


Based on the debut demo: fast, furious speed/thrash with short tracks similar to Hirax. The rhythm section is perhaps more pounding, and "Phobia" may remind you of Dark Angel's "Merciless Death". "Buzzzz" is 30-sec of brutal buzzing noise, an obvious nod to the grindcore scene. Some of the band members took part in the even more obscure formation Eyeball where the style was reportedly similar to the one here.
The guys have decided to give themselves another go, this time with an official release, and here comes "...for a Dying World". This is an aggressive affair with explosive short tracks with a strong hardcore/crossover charge. The guys take a break from their relentless barrage (the longer "Unkind"; the dragging balladic doomster "Media Man") eventually, but overall this is a tiring bashing effort with very little sophistication present. The singer shouts in a typical hardcore fashion not singing too much.

Demo Demo, 1987
Swarm Kill Demo, 1988
Unreleased LP Demo, 1990
...for a Dying World Full-Length, 2010

Original Site


Based on the "Into Rotten Coma We Drift" EP, this band play a blend of thrash and death metal, jumping from fast, intense ("Inseminate or Die") to heavy, with a doomy edge ("Rotten Coma") songs. The last track is a very fast, brutal cover of Death's "Evil Dead", which is combined with another, equally as aggressive number: "Beyond the Unholy Grave".

Death Thrash (Inseminate or Die) Demo, 2004
Dark Flame of Holy Inquisition Split, 2005
Into Rotten Coma We Drift EP, 2006
Deaththrash Coma - Rotten Insemination Best of/Compilation, 2006

Original Site


This is modern thrash/post-thrash which crosses more energetic hymns (the title-track) with longer, semi-balladic compositions ("Rotting Lies") the overall mood not far from the one achieved on The Black Album, maybe a tad more carefree and more simplistic. The singer is a hoarse semi-cleaner who possesses the requisite passion to assist on the more lyrical moments.

Long Leash Full-Length, 2017


Based on the "Life of the Hypocrites" EP, this act plays predictable modern thrash/death characterized by heavy thick guitars. The band alternate fast with slow moments concentrating more on the latter "Life of the Hypocrites" being a particularly effective epic doomy cut recalling the dark atmosphere of mid-period Samael ("Passage"). The vocalist is a low-tuned growler who again will remind of Xytras (Samael).

Now Entering... INSICKNIA Full-length, 2006
Ascent to the Sky EP, 2007
Life of the Hypocrites EP, 2012

Original Site


Modern thrash/death, which tries to run away from the trite formula with some dry mechanical riffs, more accentuated on the very cool "Lies In, Blood Out".

Ascend to the Sky Demo, 2007


Whether "inside" or "outside" this act pull out your average modern Gothenburg-influenced death/thrash which is both dynamic and "sleepy" on various occasions the mid-pace kind of prevalent as well as the infectious melodic leads (check out the heavy proto-doomster "King Of Blinds" and the catchy anthem "Stay In Silence") which are clearly the highlight. The singer is a throaty dramatic death metal growler ala the early style of Matthias Lodmalm (Cemetary) and leads the show competently when the lead guitarists are relaxing.

Hologram Full-length, 2010

Official Site


Based on the "Rocking (Metalkoholic) Demon" Compilation, these guys offer an intense blend of thrash, black, and death metal crossing mid-period Immortal with the more melodic and more compelling sound of Dissection and early The Kovenant. The hyper-blasts are not that many, and a few epic moments can also be caught ("Storming Hell"). The guitar sound is a bit fuzzy, but the singer delivers with his vicious apocalyptic raven-like tone.

Darkness...Begin Demo, 2000
Hellish Hate Holocaust Demo, 2005
Rocking (Metalkoholic) Demon Best of/Compilation, 2010


Based on the debut, these guys are fonder of death metal of the more direct variety, leaving not much room for the thrash metal idea to develop, which is also hampered by the frequent adherence to atmospheric doom/gothic motives, at time stretching into whole compositions ("At Every Step", "Inside Our Dreams"). Still, when mixed with a certain doze of thrash, this trend bears some good fruit: "In The Dark": a mid-tempo gothic/thrash sleeper. Apart from the brutal opener "Miracle of Time", there is hardly a tune which would make you headbang, although one shouldn't have problems getting accustomed to the calm brooding tone of the music.

Rose of Memory Full-length, 1996
Devil Inside Full-length, 1998
Poluoshtustenie Full-length, 2000
Tebia Uje Net Full-length, 2003

Official Site


Modern thrash of the more groovy variety with industrial overtones, with unpleasant noisy synthesized vocals, and certain Swedish influence in the guitar department. The music actually comes close to a more aggressive late-period Sentenced: the clean vocals, which spring up from time to time, are also very similar to those of Ville Laihiala (Sentenced).

Inside Four Walls Full-length, 2007

Official Site


The EP: melodic modern thrash metal of various tempos of which the fast ones are the more appealing side, except on the moments when they sound purely blast-ish ("Sin"). Nothing original here, rehashed riffs with a shade of groove springing up from time to time, and an inconsistent "gruff-clean" vocal duel.
"Beyond the Ghosts" can't possibly be a distant departure from the sound of the EP released just a few months later, but one may be quite surprised when hearing the opening "An Island With No Sea" (which actually comes after the peaceful semi-acoustic intro "A Starless Night"), which is pretty intense thrash, and later on some tracks try to reach it (the excellent speedster "Bring The Rain") with not much effort. So this album delivers quite a bit although the approach is again strictly modern, but the groove is left far behind, and the good emotional clean vocals are now given much more space, to help the guys provide much more convincing stuff with melody and intensity mixed quite well together.
"Blood" delivers "blood" in copious amounts, and besides that similarly-styled groovy modern thrash/post-thrash which at timtes takes off towards more energetic fields with the odd galloping section ("As God Hides"). "Inside It Grew" is a brutal speedster with a Swedish melo-death flavour influencing a couple of songs after it to make the 2nd half more dynamic and interesting including the meditative closer "Crawl in Darkness" which is a very cool doomy ballad with nice hypnotic guitars.

From The Ashes EP, 2010
Beyond the Ghosts Full-Length, 2011
Blood Full-Length, 2014


Modern thrash/death, switching from Gothenburg-influenced sections to cool headbanging thrashing ones; at times the album loses the intensity and speed, but at least half of the songs are graced by sharp guitars to make you stay with this album till the end.

Against Adversity Full-Length, 2008

Official Site


This is modern thrash with metalcore a close call. expect no surprises along the way, just emchanical shred in mid to up-tempo topped by the obligatory shouty vocals. Well, that's it... if we exclude the more engaging closing progressiver "The Firmament" which features some cool dramatic riffage.

A History Of Violence Full-Length, 2012


Based on the full-length, these folks provide primal old school thrash which crsses the bay-Area sophistication with the cruder sound of the early Brazilian scene. "Chaos Within" is a brilliant technical instrumental which doesn't have a match later on, but one shouldn't complain with energetic moshers like "BloodMass" and "Chemical Carnage" roaming around. "Amargo do Ódio" borders on technical death metal with its brutal, intricate rhythms; and "Autophagic Butchering" isn't too far behind in terms of brutality raging hard with wild deathy riffage. "Thrash or be Thrashed" says it all title-wise, this is an all-out thrash attack with great melodic semi-leads offered towards the end. Brace yourselves for the final which is a cover of Death's "Zombie Ritual", delivered faithfully the guttural death metal vocals a perfect fit to this immortal hit.

Chemical Carnage EP, 2016
Autophagic Butchering Full-length, 2016

Official Site


An alternative form of the 90's post-thrash which still holds surprises for the headbangers (the energetic mosher "Blood 4 Blood"), but most of the time the music is laid-back with ballads/semi-ballads and more intense aggro-tones ("Chaos Elecdead") here and there. The singer is quite good, though, alternating between angry semi-shouts and emotional clean singing the whole time.
"EVEYSIS" is way better than the not very confident debut the band now shredding with more passion and vigour the post-thrashy paths now partly abandoned for the sake of more direct inspired thrashing which will overwhelm the listener with numerous stylish dramatic crescendos ("The Cave Myth") which culminate on the moody semi-balladic opus "Eleysis", a 10-min "elegy" with nice female vocals accompanying the proceedings. The bad news is that after it the remaining compositions sound a bit clumsy and not as eventful the closer "Alexander" aiming at progresive greatness both with its epic length (11.5-min) and the numerous twisted arrangements which are finished by excellent operatic female vocals again. Apparently this is a concept abum revolving around the very rich Greek history, and the guys have managed to preserve the coherence for most of the time by also raising the musicianship a few notches.

Chaos Elecdead Full-length, 2011
ELEYSIS Full-Length, 2013

Official Site


A 3-songer of muddily produced galloping power/thrash in the vein of Attacker, early Laaz Rockit, and Helstar. The guys play on with inspiration, but their skills are not fairly high except for the good singer whose high-strung tember sits somewhere between James Rivera and a lower-pitched John Cyriis.

A Verdict Demo, 1988


A new power trio from the States rocks your world in a seismic retro thrash/death metal fashion lashing out rapid-fire riffs galore, sustaining the intense delivery even on more complex pieces like "Children of the Cult" and "Stalagmite of Ice", the latter containing a breathtaking ambient outro, a stylish "calm before the storm", the storm being the furious "Malicious Resurrection". The borders of good behaviour are crossed with the excellent death metal-laced smasher "Rites of Execution", and the 3-min of ultimate brutality "Face the Insinnerator" in the best tradition of early Cryptic Slaughter. This is brutal in-your-face stuff which comes with a good production and capable declamatory semi-clean vocals.

Stalagmite of Ice Full-length 2011

Official Site


Pretty ordinary, and quite unimpressive groovy thrash with all the gimmicks introduced by Machine Head's weak period (the clean vocals, the pop-ish rhythms, etc.). At least the name promised something...

Dark RealityDemo, 2005

Official Site


This band was earlier known as Mengele, and right now is practicing under a slightly modified name: Wengele. All band variations provide solid classic thrash with an aggressive, proto-death edge, whenever needed. This 4-song EP is truly a masterpiece of intense old school thrash, starting with the aggressive "Pledge Of Allegiance", before moving onto the more controlled technical "Anti-Sleep Reaction", which in its turn leaves room for another fast-paced killer: "Guys From The Watchtower". The closer "Fareell to Bubbo" is a quiet 1.5-min acoustic instrumental.

Insomnia EP, 1990

Official Site


Well done sharp semi-technical thrash recalling Wrekking Machine, Mordred's debut and Mandator; after two good mid-paced smashers the guys move up the speed scale with the excellent "Reckless Abandonment" which is brisk speed/thrash at its best also touching the Forbidden debut. Hectic technical thrash is what awaits you on the next "Armageddon Battle Hymn" which twists and turns with nice unobtrusive technical guitars and very good bass work. "Through My Eyes" at the end is another semi-speedy highlight with a great melodic main riff which nicely merges with the lead guitars. The singer is on par with the good music singing in an attached mid-ranged clean tember reminiscent of Joey Belladonna.

Suicide Generation Demo, 1989


A bit noisy, but inspired classic thrash which shreds its way in a brisk relentless fashion the boosted guitar sound kind of hampers the lead guitarist who tries hard to impress with a portion of stylish melodic licks. There are moments of more carefree crossover ("Vida Desperdiciada") witnessed, as well as more serious, almost progressive, numbers ("Obispo of shit/A Fresh Place Into The Sky"), and generally the good feeling is preserved all over including in the shouty semi-clean vocals; if only the music wasn't so boisterously noisy...

Mundo Desconocido Full-Length, 2014

Official Site


Operatic atmospheric black/thrash which lets thrash loose on the chorter numbers ("Black Rose", "World Wide Crypt") where even some death metal has sneaked in to help. The longer compositions are intriguing, quasi-porgressive opuses ("Destroyer") which disappear at the end being replaced by short joke tracks with variations on crossover and classic heavy metal. This is a diverse offering which lacks focus at this stage, but it's obvious that black metal is the band's main interest.

Death of All Fools Full-Length, 2016

Official Site


These obscures later continued their career under the name Misery. What we have here is fast blitzkrieg thrash/proto-death, merciless shredding in the vein of Gammacide and early Sadus topped by forceful high-pitched semi-declamatory vocals and effective, albeit short, screaming lead guitar sections. The guys never stagger towards the mid-pace, and "Death Thrash" very well sums up what one will come across here both title and music-wise.

Instant Death Demo, 1987


The drummer from Blood Feast Joe Moore is involved in this mess which features noisy, buzzy thrash which at least hits the stride twice: on the impetuous galloping headbanger "One by One", and the Bay-Area roller-coaster "Impaled". The rest is one unintelligible mid-tempo mish-mash with some of the fuzziest guitars one could come across during the-90's. The singer tries hard, though, and his clean high-strung antics aren't too far from the one of Joey Belladonna.

Fate of the World Demo, 1997


Excellent, obviously all-instrumental, thrash which is more on the modern side, but its ripping energetic nature should keep everyone on his/her toes. The guys shred with passion without overdoing it in the technical department. There are fast pieces (the excellent diverse masterpiece "Mach Infinity"), there are slower, more elaborate exercises in circling virtuosity ("New Years Day"), there are also short more immediate pounders ("Playing With Fire"). "Power Metal" is more of a speed metal number with some great technical leads the latter never occupying too much space unlike other all-instrumental works except on the beautiful melodic balladic closer "The Genetic Beauty Of Melancholy". This is a really strong release which will give the fan a hefty portion of hard-hitting metal without any vocal distractions.

The Flesh Catastrophe Full-Length, 2009


Based on the debut, this act provide your average modern groovy 90's post-thrash ala Pantera. The music is mid-paced and one-dimensional with the obligatory for the genre sudden angry "explosions". It may be hard to believe that those were the same musicians who produced several underground technical/progressive thrash gems under the name Sintillion a mere few years back.

Point of This Full-length, 1994
Drain Full-length, 1997

My Space


This Japanese trio specialize in pretty decent old school thrash which can be quite wild and technical (the title-track), and generally the guys don't spare themselves in the technical department as evident from interesting complex shredders like "Dementia" and "Exception In Synchronism" the latter an interesting piece with echoes of Paradox and Deathrow. "Criticall Fluffed Elevation" "flirts" with more melodic embellishments, and "Comforts" is another admirable exercise in clever intricate thrash the technicality staying around for the short stylish closer Only Lies". The vocals are husky semi-deathy shouts which lead the show confidently albeit a bit noisily and vociferously.

Vultures & Hyenas Full-length, 2017

Official Site


Raw, messy, fast and brutal thrash recalling Sarcofago and early Sepultura; it's considerably worse than the efforts of the aforementioned bands from the same time, but the guys were determined to carry on changing their name to Sextrash where they started producing much better music.
The "Ignoring The Falsity" demo is another raw messy affair with distorted guitars which are inferior to the more attached mean vocal delivery which now is close to the one of Schmier, and is not completely bad. The tempos change and generally there's not much speed to be savoured the band dirging forward in a not very exciting mid-tempo. Some of them can be seen nowadays in the death metal outfit Angerise although they are yet to release a full-length with several demos and an EP under their belt.

Black ChurchDemo, 1987
Ignoring The Falsity Demo, 1989

My Space


Rough bashing old school thrash with shouty death metal vocals; one-dimensional stuff with surprisingly good melodic leads on "Thrashing Hell". "Black Blood Desecration" is an excellent hypnotic doomster, but the rest is smashing headbanging fest with ripping guitars the latter taking another break on the closing "Into Battle" which recalls the "battle" hymns of mid-period Bathory with a touch of pagan.

Crypts of Satan Full-Length, 2016

Official Site


The full-length debut: this is vicious black/thrash which doesn't stray from the odd stylish Oriental hook; this is mid to up-tempo music with semi-whispered macabre vocals and one cover of Celtic Frost's "Into The Crypts Of Rays" thrown in at the end. The guys have another formation: Morbid Flesh with which they concentrate on classic death metal.
The "Black Vomit" demo is in the same black/thrashy vein maybe faster and more aggressive as a whole and with a more primal, dirtier and a more classically-rooted sound finished with the intense cover of Possessed's "The Exorcist".
"Metal Still Means Danger" comes with a more simplistic approach with strong echoes of Motorhead and Exciter. The shadow of Celtic Frost and Hellhammer also looms over the heavier material ("Here Falls the Hammer"), but expect more brutal death metal moments ("Icons and Symbols") here and there, too, including surprisingly versatile performance on the closing title-track.

Skull Krushers Demo, 2008
Black Vomit Demo, 2009
We Are the Plague Full-length, 2013
Metal Still Means Danger Full-length, 2017

My Space


One of the first speed/thrash/crossover bands, Insurgency play fast and energetically with simplistic, but nice and catchy riffs and a more thrash-oriented sound than many of the thrash/crossover acts who appeared later. Worth mentioning are the vocals which are a nice deviation from the pattern: unique high-toned mean snarls which manage to carry a certain sense of melody. In 1985 such music was nothing short of groundbreaking, but the band never recorded again.

Demo Demo, 1985


Modern technical thrash/death metal which comes as a more technical version of the French Lyzanxia; the music is mostly mid-paced alternating direct thrashy passages with complex arrangements resulting in quite a captivating listen. Some songs are really high achievements in the technical death/thrash metal field: "Four More Years", the excellent fast-paced hectic "Blackened Pages", the twisted Coroner-influenced "Mephisto", the hammering steam-roller "Prologue To Our Demise" at the end.
"Fracture" is a more straight-forward offering wih not many technical "distractions" except only occasionally (the nice vivid jumper "The Colony"), and the guys get the message through with direct Swedish melo-death/thrash riffs for most of the time, an "idyll" broken by another more technical "detour" (the frantic piece of aggression "L'empire des Vautours") later on. The 2nd half is not very convincing, though, with the energy from the beginning almost completely lost replaced by less lively, not very original, chugga-chugga riffs.

Prologue Full-length, 2008
Fracture Full-length, 2010

My Space


This outfit serve intense retro speed/thrash in the vein of the early German school: think Toxic Shock, early Deathrow, Iron Angel, etc. The guys bash with enthusiasm and it becomes clear very quickly that the star of the show is by all means the lead guitarist who simply deserves more proficient colleagues: his inspired pyrotechnics shine all over elevating this otherwise average effort to the higher ranks. The headbanging fun is never-ending here even boosted with the sparce blast-beat ("Reign of Fire"). "High Speed Metal" deserves its title with its hyper-speed approach although the sound on this one is quite thin retouching the sharpness of the riffs a bit. Another track worth mentioning is the final "Chaos and Dark Rebellion" which is a nice nod to Destruction with its spinning riffage. The singer shouts in a declamatory manner not singing much in the process, but capably assisting this inspired roller-coaster barrage.

Necromancer Full-Length, 2013



Excellent progressive power/thrash sounding like a mix of early Psychotic Waltz and heavier, thrashy Fates Warning; the music is mostly heavy and mid-paced, with interesting tempo changes, and the shorter and more aggressive tracks have a certain Bay-Area flavour (think early Testament): "Trial of Insanity", and the longest track on the demo, and arguably the best one: "Holy War", which is a direct take on Metallica's late 80's period with the smashing riffs, the technical dry sound and the swirling Kirk Hammett-like leads. The songs (some of them) are intercepted by really nice balladic moments including one pure short ballad: "Death Note", which suit perfectly the powerful vocals, a great mix between Buddy Lackey (Psychotic Waltz) and John Arch (Fates Warning).

Holy War, The War WithinDemo, 1993


This power trio from California resurrects the 80's American power/thrash metal style on full-throttle producing a worthy effort which suffers from the slightly fuzzy guitars, but greatly makes up with its dark brooding tone which also brings them close to the Brits Deathwish. The album opens with the energetic 1.5-min speedster "Blackout" (which is not a Scorpions cover) before encapsulating a heavier darker sound on the menacing, but not much slower, "Bleeding Holes" which galloping riffage in the middle will remind you of Metallica's "The Four Horsemen". "Creatures Of The Night" (which is not a Kiss cover, folks!) is a furious piece of thrash with great stomping dramatic breaks. "Hidden Threat" is a compelling cut of pounding technicality followed by the direct crossover interlude "Join Us Or Die". "Path Of Suffering" is another fine track mixing slower steam-rolling with faster jumpy rhythms to a fairly dramatic effect. This stylish approach is followed on a string of 3 songs and kind of wears thin at some point nicely interrupted by the faster, but underwhelming, hardcore-esque "Thrown To Oblivian". "Trapped In The Catacombs" is pure thrash madness with the staple heavier breaks which the band have epitomized so well that these ears have problems recalling someone from the present scene to apply them in such a convincing way. The pleasant surprises continue with "Virus Of Violence", a fine dark intense piece thrashing hard for around 2-min influencing the remaining two songs, the closer "Wretched" also showing the lead guitarist in a bright light who could have pulled more of those cool short melodic leads earlier on. This is a really promising debut with a characteristic individual sound which would definitely benefit from the reduced buzziness of the guitars in the future.

Morbid Illustrations Full-length, 2010

My Space


This is the product of a multi-instrumentalist named Reza Rostamian who specializes in diverse death/thrash which is both classic and modern also acquiring imposing doomy qualities ("Some Day In The Future") which are also well translated on the brooding Bolt-Thrower-esque shredders "Blood Wedding" and "Nightmare". "Saint Malaria" is a cool more technical short instrumental, but the dominant mood is dark without too many deviations from the formula the established mid-paced steam-roller character still delivering the goods the guy helping with his authoritative low-tuned death metal growls ala Karl Willets (Bolt Thrower again).

No More Room in Hell Full-Length, 2011


Based on the debut, this band specializes in pretty ordinary groovy post-thrash with both funky and industrial digressions, neither of which can be considered anything special, the overall impression being firmly on the negative side, a situation hardly improved by the more intense numbers: the short bursting hardcorer "Funny Thing"; or by the brutal low-tuned death metal vocals which otherwise could have been an asset if used with more aggressive music.

Indifference Full-length 1996
Darkest Space Full-length 1998


This band appeared in the mid-80's releasing a couple of demos, and one EP and a full-length reportedly staying close to the speedy boogie of Motorhead with not many ties to thrash except on a few more intense occasions. Based on "Sgt Leppers Falling Parts Club Band", which title is an apparent comic allusion to the Beatles' legendary album, this power trio pulls out an avantgarde eclectic mix of hardcore, punk, thrash, industrial, and non-metal styles topped by numerous samples from films, songs, shows, etc. (those could have been made by the musicians themselves). The main singer simply recites with a synthesized hypnotic voice, and surprisingly fits the crazy musical amalgam which takes off on a few moments, actually, with furious thrashy sections, but the constant presence of the other gimmicks prevent them from developing into a coherent song. It's good fun, though, with an over-the-top sense of humour reflected both in the lyrics and the music including a nice crossover rendition of the popular children song "The Yakee Duck" near the end, here called "French Roast".

Blowin in the wind EP, 1988
Safe Sex Full-length, 1989
Sgt Leppers Falling Parts Club Band Full-length, 2004

Official Site


A fairly cool obscure demo of energetic speed/thrash with sparce more melodic power metal excursions ("Judgement Day") the latter severely hampered by the buzzy sound quality, but greatly helped by the excellent clean mid-ranged singer who on the more dramatic natics sounds close to Bruce Dickinson himself. The music is quite varied the band changing the tempos all the time producing the best pefformance on the galloping shredder "Night Of The Falling Axe" and the excellent more technical instrumental at the end "Intense Regret": a stylish bashing delight at its best.

Intense RegretDemo,1989

Official Site


With Thy Gate Beyond on an apprently indefinite hold, the singer Fausto Di Persio has decided to entertain himself here with this pretty decent slab of intense old school thrash which is sustained in a constant energetic mood which seldom gets lost on the lengthy tracks which include the imposing speedster "One with the Beast...Meet with the Damned" and the closing cover version of Grim Reaper's hit "See You in Hell" played in a more restrained heavy metal manner quite faithful to the original except for the rougher vocals which lack the dramatic depth of Steve Grimmett although Fausto pulls out quite good performance on the other material by no means worse than the one on the Thy Gate Beyond works.
"Wise Is the Beast...but the Hunter Doesn't Know" continues the trend with the wise, story-telling, long album-titles and music-wise it doesn't stray too far from the path chosen with the debut. The sound now is along the lines of early-Blind Guardian and Paradox so expect a lot of sing-along choruses among sharp impetuous riffage which is quite impressive on the roller-coaster "Insane by Wrath" and the short ripper "Flag ov the Fallin' Peace". No mercy later with the vigorous hymns "Cryptonomicon" and the speed metal winner "Steelbreaker", and a nod to technical thrash has been made with "To be Is Not", not to mention the superb melodic leads on this no-brainer of a headbanger. Eagles fly free and high on "Fortuna Meretrix Mundi", another sweeping speedster, before the cover version of Def Leppard's "Me and My wine" wraps it up in a more laid-back fashion, trying to stay faithful to the uplifting hard rock spirit of the original. With one more similar effort no one would be missing Thy Gate Beyond anymore...

One with the Beast... Meet with the Damned EP, 2011
Wise Is the Beast...but the Hunter Doesn't Know Full-Length, 2014

Official Site


Based on "Fade", Interceptor play a fusion of modern thrash and death metal; style-wise the music is similar to late-period Massacra or the Polish Dragon (their works from around the same time), but the Slovenians' music borrows from other genres as well: there are a few ballads, jolly rock-ish passages, cover versions of other Slovenian bands, and more.

The BeginningFull-length, 1993
tab Fade Full-length, 1996
tab Mora Full-length, 1998

My Space


Modern 90's thrash meets death metal; this is good stuff reminiscent of the last two Massacra albums, but Interdiction speed up more frequently, and sometimes venture into industrial territories (the use of synthesized vocals, some Fear Factory-like moments, etc.). "Keep A Way" may pass for their most consistent effort, thrashing in a crushing fashion, speeding up whenever necessary (the energetic "Crying Despair"; the crossover-laced "Fallacious"), without forgetting about their doom "brothers" at the same time ("Sinmaster", and especially the traditional doom delight "Demon To Be", where the gruff death metal vocals are nicely "assisted" by good melodic ones).

Keep A Way Full-length, 2000
tab Devotion EP, 2003
tab Utopia For Sale...Full-length, 2003
tab War Fetish Full-length, 2006

My Space


The music on the demo is excellent 80's Bay-Area thrash metal in the Testament, Exodus-vein. A full-length is badly needed to put the band on the metal scene, because there is great potential here. They have to change the vocals, though: these hysterical, black metal snarls don't fit the music.
The EP is not too far behind, both music and vocal-wise, despite some deviations into more melodic, power/thrash metal fields ("True Believer"), where those vicious raspy vocals do not suit at all. "Prayshit" pays tribute to the early German speed/thrash metal scene, and "Mass Funeral" is a dark, brooding thrasher in the early Nasty Savage/Hallows Eve vein.

Self Destruction Demo, 2004
Where The Highests Are The Highest EP, 2007

Official Site


Black-ish thrash of the old school with original atmospheric semi-technical guitar work, occasionally blasting and brutal ("Incarnation of Evil", which is not a Mercyful Fate cover), and generally up-tempo and intense. "Nebukadnezar" "kills" the inertia being hypnotic, doomy black/thrash with balladic overtones; an atmospheric masterpiece, but kind of out-of-context.

Incarnation of Evil EP, 2009


A young instrumentalist, and also singer (the name Michael Smith), is behind this promising project which combines thrash and death metal on a jumpy modern base. The futuristic rifforama starts with the opening atmospheric shredder "Those That Cleanse The Earth", then becomes more exuberant and spastic on "The Global Collapse" before it metamorphoses into the sophisticated deathy brutalizer "The Cosmic Balance". "Conspiracy Designed" is a more puzzling headbanger with echoes of Gorguts and later-period Death, and "Technological Existence" follows the same path only slower and more dramatic. "The God Rod" rips the aether with hard-hitting, proto-blasting, guitars the latter intercepted by a nice melodic spacey, lead-driven interlude. "They Look Forward" is a unnerving, creepy puzzler with spasmodic blasts inserted, and the final "Searching For The Sane" is a futuristic thrash/deathster reminiscent of Darkane and Theory in Practice with speedy virtuoso passages gelling with cosmic progressive sweeps to an imposing effect. Michael sings in a shouty harsh death metal-ish fashion, but his musical skills are what will bemuse the listener here who will faitfully follow this young talent's future exploits.

Tales of the Stars and the Inhabitants Full-Length, 2016

Official Site


Based on "Spiritual Poverty", this act provide retro thrash with crossover undercurrents the latter not very well embedded standing on the way of energetic cuts like the opening "Fall from Grace" and "Folded Faces". Things get more stylish on the technical jumper "Draw the Line" and elsewhere, but this comes for the sake of the speed, and the 2nd half is less intense the guys finding the way to thrash with power near the end on "Sector 11' and the frolic speed/thrashing closer "The Bridge". The vocals are clean mid-ranged with a slight hoarse blend except on the moments when the guy tries his more brutal side shouting in a scary death metal way.
The debut is a more energetic affair the band speeding up more often to provide good headbanging opportunities without reaching any extremes. The classic spirit of the album is betrayed slightly by more groove-oriented numbers like "Still Born", but the overt dynamics of pieces like "Will Not Speak", the cool semi-technicaller "Dead Rising" near the end, and especially the excellent ripping closer "Running of the Bulls" largely compensate for them.

No Reason to Live...No Reason to Die Full-length, 2009
Feast or Famine EP, 2010
Spiritual Poverty Full-length, 2013



Wild chaotic hysterical thrash/death with less bridled grindy elements; this is not for the faint of heart, the band lashing like demented their fury reflected in short (1-2min) numbers their efforts slightly clouded by the very abrasive guitar sound.

Venomous Full-Length, 2013


Based on the "War of Silence" EP, these Aussies play a modern/classic blend of thrash and a bit of death metal which is usually fast with a few blasts along the way (the semi-technical shredder "Profuse Bleeding"). The sound quality is quite clear and the vocals are brutal deathy growls which are quite present all over, but don't annoy fitting the fairly intense musical delivery.
The full-length: the 3 songs from the preceding EP are here and the rest try to provide a suitable environment for them to exist with abrasive thrashy rhythms of a more simplistic character suddenly enlivend by a fairly stylish progressive interlude: "Devoid Of Consciousness" which is a jumpy spacey proto-groover with great lead guitars. "Eternal Unrest", on the other hand, is a heavy steam-roller with doomy overtones before "Futile Existence" shoots a desirable portion of faster riffage. "War Of Silence" is appropriately-titled acquiring a more officiant battle-like tone akin to Bolt Thrower superseded by a short string of fast vitriolic numbers "Profuse Bleeding" a violent deathy basher with the hyper-speedy "Rancid Cremation" assisting it quite well to create a lot of bruality near the end. The last duo are 10-ton hammers squashing the listener with super-heavy riffs ensuring the album's wide appeal and its lasting impact with its less ordinary take on the genre.

Promo EP, 2009
Segregation EP, 2010
War of Silence EP, 2012
Chaos Reborn Full-Length, 2013

Official Site


The "bass doodle" in the beginning is stylish, but the rest is not that striking seeing a band willing to pursue a more technical, all-instrumental, path by piling time-signatures and odd riff-patterns aplenty without any certain focus changing abruptly a finely flowing passage into an awkward jazzy/funky one and vice versa. The resultant picture lacks coherence, and it would be ultimately difficult for one to distinguish between various tracks. This is the reason why to compare this ambitious, but heavily flawed, effort would not be easy; probably a blend of Canvas Solaris and Electro Quarterstaff, both bands at their busiest, with a pinch of Alarum and Behold... the Arctopus would be an adequate, but hardly perfect, description. This is a mind-stretching listen, but at this stage few would bother.

Demo Demo, 2012


Post-thrash meets industrial meets gothic (based on the demo); so expect a more aggressive version of Evanescence and Lacuna Coil with very good soulful female vocals and hhard, abrasive guitars. The compositions (4 altogether) are well-constructed with diverse nuances although no one should expect anything developing beyond the mid-tempo. Previously the band was known as Dying Tears where they used to play symphonic gothic/doom metal.

Interria Demo, 2006
Digital EP, 2008
Les Corps Impatients Full-length, 2009

Official Site


This talented outfit serve complex technical/progressive thrash/death reflected in long meandering compositions which don't sound boring, and are full of original riff-structures which are never fast, but the mind-scratching is quaranteed on puzzlers like "The (Death Of Christ) Splitting" which twist and turn in several directions recalling Psychotic Waltz and Sore Plexus. The execution gets more dramatic and linear on "The Lesson (Of The Illuminus Prophet)" which even blast-beats in an unbridled death metal way for a bit also introducing scary growly vocals as opposed to the main emotional clean ones ala Buddy Lackey (Psychotic Waltz again). The second half is a bit more messy and scattered the tracks getting more chaotic and less decipherable the not very nice death metal vocals taking over completely. "Hate Generator" is a short reliever with some clever technical arrangements, and the final band name-carrier is an epic progressiver which brings back the much better clean vocals to wrap it on with more style than this effort deserves. Some of the band members operated at around the same time under the name A Scapegoat's Faith where the style was progressive gothic metal reflected in a solitary demo released in 2001.

Evil's Intertwined Full-Length, 1999

My Space


Based on the "Words of Violence" demo, this act plays melodic thrash of the modern variety which makes an interesting attempt at a more atmospheric, almost progressive, song-writing with the dramatic "Say It With Violence", but "Run Like Hell!" is a short headbanging assault, the finishing touch coming in the form of "Left For The Scavengers", a stomping intense "hammer" with cool technical tendencies.
The "Growing Line of Caskets" demo provides another 3 songs of pretty pedestrian melodic modern thrash metal which this time doesn't offer too many deviations sticking to predictable melodic patterns in mid-pace with the brutal death metal vocals quite a contrast.

Promo Demo, 2009
Words of Violence Demo, 2010
Growing Line of Caskets Demo, 2011

Official Site


This is the continuation of the Canadian thrash legends Sacrifice. The guitar sound is kind of abrasive and a bit dry (a tendency already started on "Apocalypse Inside"), but the opener "Crown of Lies" promises a lot of old school thrashing. The very next song ("The Cage"), however, shows that the band have moved on with its modern groovy, Pantera-sque sound. The style carries on in the modern vein with the old headbanging riffs coming back once more on "Last Breath".

Cydonia EP, 1999

Official Site


A capable, but fairly unknown, trio from Poland who used to play stylish dark semi-technical thrash/death not far from their compatriots Hellias, with more aggressive proto-grindy outbursts (the deathy brutalizer "Jesus Christ"). All the songs (8 altogether including an intro) are nice pieces of cleverly-executed music with various tempos "Eternal Rest" being the odd off-the-track stomper. The vocals are of the rending semi-hysterical variety reminiscent of Kelly Shaeffer (Atheist), maybe a bit rougher and lower-pitched.

Heritage of the Evil Demo, 1994


A mix between the Black Album and a more progressive song-writing similar to the Voivod works from around the same time; the mixture works although there are only 4 songs here, and some of the ideas kind of stay undeveloped. The singer has a clean high emotional pitch which reminds of Eric A.K. (Flotsam & Jetsam).

Creepy Eepy EP, 1992


Based on the EP, these guys offer heavy classic thrash similar to the Germanns Warpath with a slight modern edge stomping and mid-tempo for most of the time with a pinch of hardcore/crossover. The riffs weigh quite a bit, and don't change a lot; neither do the vocals which are of the semi-shouty inexpressive type.

"See You Pay" is ordinary dry-sounding thrash/crossover which still retains its classic roots also trying to sound dynamic with a constant alternation between mid-tempo and faster riffs. The closing "Disposable Friends" is a curious piece with alternative/doom overtones, much longer than the other compositions, and a more interesting one at that, also relying on intriguing melodic decisions among the heavy pounding riffage.

See You Pay Full-length, 2006
Black Dawn Full-length, 2008
Call Of The Void EP, 2010

Official Site


An obscurity which boasts a very good bass bottom, and besides that a bit hectic semi-technical thrash with piercing screamy leads and high-strung shouty clean/semi-clean vocals. "Crown Of Thorns" is a cool number with dramatic rhythms and some headbanging passages, but this effort is too short to allow those moments to develop more fully.

Emotionally Mangled EP, 1989


Raw amateurish thrash/death which may have been made by just one person; the guy tries hard in the lead department, but everything else is just laughable including the impotent singing which varies from guttural death metal to horrible unrehearsed clean vocals. "Apples of Edem" at the end reaches some interesting progressive eclecticism, but the sound quality is just too awful to turn those sparkles into a lasting flame.

Begin Demo, 1996


On "Monomania" the band plays raw messy thrash reminding of early Razor and Hallows Eve. On "Tango of Nietsche" the music has become way more proficient with clear speed/thrash metal pretensions not far from early Angel Dust although the songs are longer, and are not "strangers" to the casual technical hook. "Whatever" is an excellent instrumental, a confident mixture of fast lashing riffs and a quiet balladic mid-break.

Monomania Demo, 1989
Tango of Nietsche Demo, 1990
Into Hibernation Demo, 1991

My Space


Based on the "Black Skull" demo, these guys play energetic old school speed/thrash metal which gets pretty brutal ("Maximun Damage") on occasion reaching Slayer extremes and beyond with ease. Still, the German school is the main influence for most of the time, Vectom and Iron Angel, above all, although the guitar work is pretty noisy, and the singer sings in an unpleasant gruffy manner with no shade of melody.

Speed Assault Songs Demo, 2005
Black Skull Demo, 2007

My Space


Classic speed/thrashy rock'n roll aplenty will one come across here; the delivery is appropriately frolic and inebriate reminding of the Portuguese Alastor, and Warrant and Iron Angel from their compatriots plus a few rolling guitar "tricks" added in the vein of Destruction ("Metal Porno Slut"). The rock'n roll is reflected in a couple of soft merry-go-rounders like the tributes to Motorhead "Lock Up Your Daughters" and "Rock'n Roll Hellpatr'f6l". The speed metal saga is finished with the mild catchy rocker "The Chase Is Better Than The Catch" which is a nostalgic cut with memories of Thin Lizzy, AC/DC, and Nazareth. The singer is a "drunken" Lemmy worshipper who puts his voice in a lower-tuned, semi-clean register with semi-declamatory characteristics.

Rock'n Roll Hellpatr'f6l Full-Length, 2013

Official Site


Fast blitzkrieg retro thrash quite close to the Brazilians Violator also managing to capture some of the primal power of Vio-Lence's "Eternal Nightmare". This is a non-stop moshing listen with sharp cutting riffs and a few interesting technical moments ("The Choice is Yours") which show a lot of promise not without the professional musicianship behind it and the forceful semi-shouty vocals which resemble at times James Hetfield and the early antics of Daniel Brennare (Lake of Tears). A balladic digression can be heard on the final "Time for Destruction", another indication that the full-length would be both a worthy and not very predictable effort.

Demolition Demo, 2011


Energetic retro thrash/crossover with cool merry-go-round rhythms and vicious semi-declamatory vocals which still produce the necessary melodic semi-choruses which go well with the style. There are also a few slower tracks ("Vicio") which don't spoil the impression even on more modern-sounding "moshers" like the final "Mosh!".

El Viejo Del Saco Demo, 2011


Based on "...of Reign and Demise", this band specialize in modern thrash/post-thrash which covers all possible tempos as the tracks which come with a more overt deathy flavour ("2000 Years") seem to deliver the better. A few sleepers (the gothic rock pleaser "Crowned Donkeys") are badly misplaced, but after all this offering is quite diverse catering to a wider audience who may be moved by the more aggressive character of the closing shredder "Acoustic Emetic" (nothing acoustic here), but hardly by the ordinary shouty death metal vocals.

Back for Hunting You EP, 2007
Parasites Full-length, 2010
...of Reign and Demise Full-length, 2017

Official Site


Speedy energetic retro thrash recalling Tankard's early efforts; this is jolly unpretentious music with a great headbanging potential openly carrying the carefree crossover spirit ("No Mercy (For Blade)" at times, but watch out for pure merciless thrash attacks like "Tonight" and "Cheetos en la Torta". Tankard are certainly honoured with a cool faithful cover version of "Zombie Attack" at the end.
"V.I.O.L.E.N.C.E." is another "violent" offering the guys producing the same energetic roller-coaster classic thrash without any visible alterations the frolic crossover spirit all over the album expressed in such merry hits, like "Speed And Beer", for example, which capture the mood around it very well. "Thrashformers" is more on the core side ala Broken Bones, but the rest of the material is vintage early (definitely not "empty") Tankard the German legends' worship particularly well reflected in the attached shouty vocals which are dead ringers for Gerre. This is as party fun thrash as thrash can possibly get...

Beware of Metal Full-length, 2009
V.I.O.L.E.N.C.E. Full-Length, 2012

Official Site


Modern mechanized thrash which moves forward in a steady steam-roller manner completely lacking in the speed department. Consequently, the music will play secondary role here the very good singer, who is vintage early Chriis Holmes (Paradise Lost), leading the show all the way overshouting the instruments for most of the time. Amazingly, ther is a track in the middle which will make the fan jump around for a bit: "The New Belief", which is ruined in the 2nd half by a clumsy groovy break. Its more speedy aesthetics are partially translated on the next "Social Parasite" which thrashes with might at some stage, too. Generally the band wake up in the 2nd half to produce more interesting and much more intense music finishing with the longer pounder "Breaking Strength Of Mind" which is nothing special, but at least shows more brain and thought.

Inner Decay Full-Length, 2012

Official Site


Melodic modern post-thrash with a power/progressive edge; this is peaceful, semi-balladic music with harsher for the style semi-clean vocals. "Struggle" in the 2nd half is a groovy "traitor" betraying the more elaborate delivery before it seeing the band "intrepidly" testing new waters which are further waded into with two more similar tracks.

World Is Broken Demo, 1994


Based on "Va:l": semi-technical modern thrash with Tommy Victor on vocals; kidding, of course, but seriously, the singer is a dead ringer for the Prong frontman. The music is jumpy and mid-paced spiced with quite a few softer alternative/balladic elements as well as groovy parts, and despite some interesting guitar decisions it doesn't sound too original with only the last track trying something in the more aggressive department.
The debut is more simplistic and more prone to hardcore with a few trips towards more serious groovy post-thrashy, semi-shredding ("Smooth the Notch"). "Burn" is an excellent less predictable semi-technicaller, but the rest is too bland and unimpressive to make this album a highly recommended listen.

Intricate Full-Length, 1992
Va:l Full-length, 1993


Based on the self-titled debut, this is mostly power/speed metal in the vein of Savage Grace or Griffin, but Intrinsic's music is more edgy, with the obligatory thrashy riffs and a more aggressive attitude. "Distortion Of Perspective" is a mixed affair starting in a very mild soft hard'n heavy manner with the first 2 songs before "Piracy" splashes out in the middle with raw raging riffs. Things get even better on the cool hectic semi-technical power/thrasher "Maximizer", and the closing "Fear And Loathing" is a good reminder of the North American speed metal scene (Exciter, Attacker, Savage Grace again).
"Nails": another underground hero is rising from its slumber. Actually, this is an album which had been recorded right after the band's self-titled debut, but saw the light of day whole 24 years later. Anyway, this is a sheer no-brainer of everything called classic metal: "State of the Union" begins in a crushing speed/thrashing manner, a glorious 80's hymn, but the guys' intentions aim way higher and here comes "Fight No More", a progressive cut with echoes of early Queensryche with a fast-paced passage ala Attacker stirring the spirits in the 2nd half. The more complex side of the band's repertoire stays around, and after one more more direct cut (the speed/thrashing fury "Die Trying") the guys enter the progressive power/thrash arena where acts like Fates Warning, Helstar, and Savatage reside. "On Gossamer Wings" is the ultimate galloping progressiver, a total "Nosferatu" qualifier, before "Pillar of Fire" starts thrashing harder. "Mourn for Her" is a bit overlong ballad which may indeed make you mourn for her, him, and all of them; but "The Vicious Circle" is American speed metal at its finest, the next "Denial" being a seismic mid-pacer. "Yikes!" is hectic technical instrumental speed/thrashisms in the best spirit of Toxik and Realm, a supreme cut which will make you listen to it over and over. Make sure not to miss the better ballad, "Inner Sanctum", which follows suit also offering a cool violin motif. "Dazed & Confused" is obviously a Led Zeppelin cover, very well done with a slight speed metal-ish boost and very good leads. "Too Late, But Not Forgotten" is the last nail in the coffin, raging technical speed/thrash with swirling riffs and a great fast-paced exit; sublime stuff. All the way to the jokey bonus track "Cannabis Sativa", a funky rocka rolla with a heavy rhythm-section. The vocals are absolutely stunning recalling Bruce Dickinson and Jeoff Tate often hitting the higher registers wuthout sounding ridiculous. One can't be sure what acceptance this very strong effort would have had at the time of creation, but right now this is a gem of classic metal which the nostalgic fans will become addictive to in the months to come.
"Closure" is not such a winner featuring an angrier, but still classic-sounding, rhythm-section which is full-blooded thrash at the beginning relaxing later on with lyrical, romantic ballads ("3x0"). There are whole 15 tracks here so expect diversity, like several semi-ballads, dramatic mid-pacers, and the unavoidable groovy escapades plus the obligatory rude awakenings: the brutal pounder "Visceral".

Intrinsic Full-length, 1988
Distortion Of Perspective EP, 1990
Closure Full-length, 1996
Nails Full-Length, 2015

Vibrations of Doom


The 1997 demo is only 2 songs which show a band trying to adapt to the modern 90's trends by mixing their heavy still classic-sounding approach, not far from Defiance and mid 90's Testament with a couple of modern groovy moments. This is mid-paced, a bit one-dimensional, music which reportedly on their only full-length sounded closer to the Bay-Area, and had more punch.
The "Misplaced" demo isn't bad offering mid-paced classic Bay-Area thrash metal again recalling Defiance, above all, and the Brits Slammer. The guitar work is good, both melodic and heavy, the singer delivers with his mid-ranged semi-clean voice, but the demo could have benefitted from more variation of the pace which now makes all the songs merge into one another.

2 Song Promo Demo, 1995
Misplaced Demo, 1995
Buried Inside Full-length, 1996
Demo Demo, 1997


Based on the debut demo, this formation specialize in cool melodic thrash/death with both modern and classic tendencies which suffers a bit from the not very clear sound quality. The guys play tight'n fast adding the odd more stylish hook as well as more officiant epic rhythms ("Grave's Gate"). Casually does the approach move towards the fields of black metal ("Black Sun") which gives this effort a nice melodic/atmospheric twist, and fits better the raspy witch-like vocals which aren't bad, actually, and add up nicely to the macabre aesthetics of this short, but satisfying, piece of metal darkness. The band changed their name to Deathcaller in 2007 and released a full-length of modern thrash/death metal.

Demo Demo, 2004
Apocalyptic Vision Demo, 2004

Official Site


This band should be mentioned right beside Megadeth, Testament, Slayer, Metallica, etc. Their style is solid technical speed/thrash metal which is by no means worse than the best achievements of the aforementioned bands. The first two albums are almost identical mixing fast-paced thrashers with laid-back power metal-based numbers; the former are the much better side of the band, bringing their sound close to masters like early Angel Dust and Warrant: for fans of the speedy side of thrash, both works are highly recommended; the second one adds genuine technical touches in the guitar department, as well as a cover version of Sex Pistols' "I'm Not Your Stepping Stone", turned into an awesome speed/thrashing piece here.

"Psycho Savant" tries to break the formula of the first two by adding heavier guitar work and longer compositions, bringing the sound closer to Heathen's "Victim Of Deception" on the more complex tracks although the guys try to add an energetic section into almost every song. It's not a very distant departure, though, although the technical implements are more frequent, and the speed has been reduced a bit, but the final result isn't bad at all as the ever changing rhythms and tempos will keep the listener entertained the whole time.

Cover Up / Cold Blooded Killer EP, 1987
Live To Die Full-length, 1987
A Higher Form of Killing Full-length, 1989
Escape from Pain EP, 1990
Psycho Savant Full-length, 1991

Official Site


This band were previously known as Decisive Intrusion; they have shortened their name now and the style at display is interesting sombre thrash/death metal with more officiant doomy overtones. True speedy moments ("Numbered Days" comes to mind) are a rarity the band preferring to march onwards in a heavy seismic manner with heavy riffage which is not repetitive and even contains melodic moments of "clarity" ("Blessing Turned a Curse"). The singer expectedly semi-shouts in a sudbued death metal fashion.

Reach for the Light Full-Length, 2013

Official Site


This Spanish formation spin around the so well-established modern thrash formulas, but at least try to run away from the more trite Swedish patterns, to these ears successfully also adding some epic dramatism on more officiant cuts like "Red Lake" (but, please, exclude the super-fast break in the middle). In the 2nd half the album disappoints abandoning the speedy riffs for the sake or more tired-sounding slower ones akin to Mokoma with the sole exception of "Vacio Infinito" which is a fast blitzkrieger. Despite his limited range, the singer tries to accompany the music throughout all its nuances and manages to provide a decent blend of angry deathy and more laid-back semi-clean tones. The band were previously known as Knife, and some of the musicians also play in the death/black metal formation Ulthrash.
"Eros & Thanatos" is quite close in spirit to the debut the main difference being the more frequent quiet "excursions" which starkly contrast with the lashing riffs the latter still for most of the time serving mid-paced, not very eventful numbers. The more impetuous thrashers ("Animal, "Olvido") lift the mood, but the real highlight is the varied progressiver "Autodesprecio" which is a really nice combination between raging riffs and meditative balladic sections, the former also finding a very good expression on the closing explosion "Dulce Agonía (Vuelve Al Abismo)".

Aphophis Full-Length, 2009
Eros & Thanatos Full-Length, 2015

Official Site


These newcomers indulge in typical fro their homeland modern thrash metal which is a bit more Gothenburg-influenced than early The Haunted so expect more aggressive death metal passages on at least half the songs. The guys play energetically without any fancy tricks, and the vocalist shouts his lungs out successfully avoiding the hysterical "traps" set along the way.

...and So It Begins Full-Length, 2013

Official Site


The first two albums are fast relentless death/thrash metal attacks recalling Kreator's "Pleasure To Kill" and the Brazilians Sarcofago. There's no variety, but the sheer intensity of the music is more than enough. "Conquered" is probably the better and more aggressive effort; it more boldly ventures into death metal waters, and the pace is constantly fast, albeit a bit samey, with the exception of "Sound Of The War Drum" which, as the title suggests, concentrates on the drum performance. Near the end the guys step the pedal tighter, and the last two tracks are quite good aggressive thrash/death metal pieces with smashing razor-sharp riffage.
"Orchestrated Kill Maneuver" is an aggressive affair moshing fast sounding way closer to death metal than the debut, with the Brits Benediction a close soundalike, both in the music and vocal department. The guitars come with a slightly abrasive edge, and the guys nicely slow down to appropriate heavy passages which intertwine nicely with the faster ones. Watch out for the brutal blasting sections on "War Machine" which are still listenable and not annoying. "Black Thursday (Trapped in a B-17)" is pure thrash almost to the end, but that's as far as this album relates to the genre discussed on those pages.
"Destroyer of Mankind" is another more death metal-fixated recording the guys seldom finding the time to thrash amongst the furious blasting extremes and the imposing battle-like rhythms. "Dying on the Beaches of Normandy" is a full-blooded blitzkrieg thrasher managed to somehow evade the death metal "siege", and "A Satisfying Death" is "a satisfying" death/thrash blend with a cool epic flavour the latter abandoned on the raging death/thrashing closer "Shores of Betio Island".

Conquered Full-length, 1999
Berserk Artillery Barrage Full-length, 2002
Orchestrated Kill Maneuver Full-length, 2010
Destroyer of Mankind Full-Length, 2017

Official Site


This act specialize in intense black-ish thrash of the old school which mixes, in the beginning, fast blitzkriegers with slower, almost epic, cuts the resultant "therapy" being more on the mild side due to the increased presence of more melodic hooks in the 2nd half including a nice balladic instrumental ("Into the Eyes of Mars"). "A Barbaric Future Foretold" is the definitive Viking hymn, a cool nod to mid-period Bathory, before "Escaping Confines of the Flesh" finally starts thrashing with more dynamics onyl to lsoe the "battle" against the final "Hell in a Handbasket" which is 8.5-min of doomy epic stuff the shouty deathy vocals failing to produce a very pleasant background to it. Some of the band members also take part in the black metal formation Decieverion.

Ride... Invade... Kill... Conquer... Full-Length, 2009

My Space


The "World Plague" EP: good retro thrash which nicely combines brisk, speedy numbers in the vein of early Destruction ("Drug Justice") with heavy stomping ones ("FBI") recalling Slayer's late 80's period. The 2nd EP: the concentration is on the faster side of the previous effort now moving up the aggression scale towards mid-80's Slayer and the Bay-Area (think Exodus, above all). It's only "Putrescent Resurrection" which serves slower tempos, but ends up sounding quite cool lashing stylish sharp riffs the whole time, plus a cool speedy exit.

"Derealization" offers similar entertainment to the previous two EP's: speedy energetic thrash covering a Bay-Area ground most of the time with sharp guitars and cool semi-shouty vocals. The guys keep themselves busy playing in other projects: the death/thrashers Laceration, and another similar classic thrash metal act Survival.

"Facet of Aberration" is a cool, assured full-length debut, which relies on new stuff (with 2 exceptions) with a more intense Slayer-esque style also added to the vigorous bay-Area riffage. The guys don't abandon their speedy approach, sticking to it fathfully, inserting the casual more melodic "decoration" (the interesting progressive leanings on "Formication"), or the odd stomping rhythm ("Solace In Mediocrity"). "Two Faced Lie" is a total ripper ala "Reign in Blood", but a short portion of laid-back melo-riffs arrives with the following "As The Locust Starve" (check also the solos on the closing headbanger "Noetic Affliction"). The vocalist doesn't betray his expressive shouty style, maybe straining himself more this time, resembling more recent Tom Araya.

World Plague EP, 2008
Demented PerceptionEP, 2009
Derealization EP, 2010
Facet of Aberration Full-length, 2011

Official Site


Based on the self-titled sophomore effort, this act indulge in fast blitzkrieg retro thrash which is competently executed impeded by the abrasive sound quality which doesn't do justice to the guys' classic approach. "Terrorizer" is a short ripper "dragging" after it a string of similarly-styled numbers where the delivery is more carefree and optimistic with a certain crossover tinge. The singer is a typical mean 80's thrash throat with echoes of Schmier, Gerre (Tankard), and Don Dotty (Dark Angel).

Thrashgressive Full-length, 2011
Inverno Full-length, 2012

My Space


Modern laid-back power/proto-thrash with friendly catchy rhythms topped by gruff semi-clean vocals. The established mid-tempo "idyll" is rudely broken by the death metal blaster "Dios Cuervo" which awkwardly sticks out in the middle of the album the latter finished with the fine more serious progressive opus "La Voz Del Trueno" where another portion of hard-hitting thrash can be heard.

La Era Del Cuervo Full-Length, 2015

Official Site


It's beyond me how talented acts like this one get lost after just one demo: first-rate technical power/thrash with an excellent bass bottom, mid-paced to slow ("Journey of the Blind" could be viewed as a ballad, actually, at least the first part) with crushing riffs and great leads recalling Dark Angel's "Time Does Not Heal", and Heathen's "Victims of Deception", with really nice melodic, maybe a bit too emotional and high-strung at times, vocals as well. There are times when the music very surprisingly speeds up ("Silent Termination") as though coming out of nowhere, having in mind the heavy nature of the dominating material. You might not be able to headbang too much on this demo, but if you sit down and listen with care, you will come across a real winner.

Demo Demo, 1991


This is weird stuff: half of it is absract doomy black not far from early Barathrum with monotonous repetitive riffs; the other half is much more dynamic black/thrash with genuine technical pretensions coming from the illogical time-signatures and the abstract guitars which, however, are abruptly interrupted by brutal fast sections which serve to no purpose, but to bewilder the listener even more. It could be a compilation of past and present recordings, and both sides aren't bad at all; they just don't co-exist very well together, their only "bond" being the deep apocalyptic vocals, a mixture of Tom G. Warrior and early Peter Steele (the Carnivore albums).

Nefandus EP, 2008

Official Site


A good, somewhat original sound have these guys forged for themselves. This could be described as progressive thrash/death metal which shares some of the technicality and dramatism of bands like Quo Vadis (Canada) and Opeth, but this "idyll" is frequently being interrupted by aggressive thrash riffage, and more conventional melodic death metal moments ala At the Gates. Apparently the guys try to attract fans from a few sides of the metal sectre, but their technical skills are high enough to place them safely among the more progressively-inclined representatives of the genre if, of course, they show more readiness to use them in the future.

InvidiaDemo, 2003
Reflections of the Shattered GlassDemo, 2003
Cornerstone of ChaosEP, 2006

Official Site


The Promo offers 2 songs of intense retro speed/thrash ala the early German school (Destruction, above all) with a very fuzzy guitar sound and slightly unsuitable, but forceful, gruff death-ish vocals.

Black Ritual Demo, 2008
Promo Demo, 2009

Official Site


These are the same guys who a few years later released two good albums under the name In.Si.Dia. This early incarnation could be considered the better sounding, there are no traces of modern 90's thrash, this is pure old school attack, both aggressive and technical with mighty crushing riffs in the Slayer and Vio-lence vein.

No Compromises!!!EP, 1991

Fan Site


A symphonic take on the old school thrash idea which is a bit all over the place although cuts like "Commandos" are admirable speed/thrashers the keyboards giving them an ethereal ornamentation. Diverse progressivers like "The End of the Universe" and "The Fate of Atlantis" are another cool addition although the rough semi-clean vocals are hardly the best accompaniment to the superior musical background.

Diversity Full-Length, 2017


Based on the full-length, this band play modern thrash/death with frequent technical decisions, albeit nothing too show-offy. The delivery is pretty intense without any extremes the vocal support being on the brutal death metal side. The middle is occupied by a couple of more mdoerate mid-tempo compositions and just when on gets a bit tired, arrives the final string of headbangers among which the closing "Interno Final" is rather "Inferno Final" with raging guitars calmed by beauriful ethereal passages; a nice finsih to this cool energetic effort.

En la Oscuridad EP, 2013
Averno Full-length, 2014

Official Site


Based on "Descendent the Black Throne": two Chilean "satanists" are responsible for this intense tribute to the old Germanic speed/thrash movement which comes with a more expressive, harsh blacky "sting". The songs are short "bullets" shot with abrasive, almost crusty at times, guitars the wild blasting "Occult" spoiling the mood a bit in the middle. No complaints, however, on remorseless thrashers like "Under the Shadows of Pentagram" or the chaotic semi-technical exercise in thrash/death near the end "Descendent the Black Throne" which grows into the good more serious closer "The End of Time". The vocals are scary death metal growls with a vicious, semi-shouty baritone.
"The Flame of Hate" blends the already familiar German worship with the more primal sound of early Bathory, and even touches the madness of Impaled Nazarene on the most aggressive moments (the title-track). "Nocturnal Silence" goes towards death metal with its wild blasting sections, and "Evil Mountains" is the band's attempt at something more elaborate and progressive. The rest is the good old Germanic speed/thrash so well exemplified by the energetic closer "Renegades of The Light".

Unholy Blasphemies Full-length, 2014
Descendent the Black Throne Full-length, 2015
The Flame of Hate Full-Length, 2016



4 tracks of good old school thrash close to the Germans Nocturnal and early Destruction; the music is generally fast and sharp, with a couple of catchy melodic hooks thrown in and vicious black-ish vocals. "A Passage Through Fire" jumps on the more extreme wagon, with furious black-ish blasts introduced in the middle.

Demonic OnslaughtEP, 2008

My Space


Invocator came right on time to replace Artillery on top of the thrash metal realm in Denmark, who had split up that same year. The band's demos of the late 80's have already suggested at the new coming force of Danish metal. The guys don't betray the sound displayed on those demos (and there was no reason to, as the demos are top-notch): aggressive technical thrash with hints of death and very heavy, but also fast guitar work. After such a smashing debut the bands usually think carefully before making the next step, but Invocator were ready with their next offering less than two years later. The aggression has been decreased to a certain extent, and some modern elements have come to replace it, but the result is almost as good as before: one of the better examples of 90's progressive, modern-sounding thrash. With two stellar albums on their account, the third release came as a cold shower to the metal fanbase- pretty average, groovy thrash with very slight shades of the band's previous technical flair ("Dying To Live"... not very likely, it's rather "Dying To Stop Playing Music"... for a while). Consequently, this would be the band's last effort for eight years when they finally dared to show up for one last temptation so far. Their last album is much better than "Dying To Live", but despite some genuine technical touches it is not much different from the modern thrash/death metal trends of recent years.
The 2002 demo is a satisfying 4-track slab of technically-minded thrash, still sounding quite intense and classic on "Infatuated I Am" and "There Is No Savior", the latter suggesting at more modern things to come, with a laid-back break and clean vocals. "On My Knees" is slower and modern, with heavy smashing technical riffage, and could well be considered a leftover from "Weave The Apocalypse". "Sand Between The Teeth" mixes the two styles, starting in a pounding modern manner, before turning into an intense faster hammer later on. As a whole this small gem sounds way better than the following full-length.

Excursion Demise Full-length, 1991
Insurrected Despair EP, 1992
Weave The Apocalypse Full-length, 1993
Dying To Live Full-length, 1995
Demo Demo, 2002
Through The Flesh To The Soul Full-length, 2003

Official Site


Based on the demo: these guys provide good brisk retro speed/thrash metal ala Rigor Mortis and Torture, with bad gruff death metal vocals. The music is fast, with timid attempts at a more intense proto-death play, and the riffs, albeit simplistic, are sharp and catchy. All the tracks flow in a samey headbanging fashion, the exception being the more light-hearted thrash/crossover number "Night Of The Hellboozer". Some of the band members were busy earlier with the black metal outfit Alienchrist.

Initiate Mind Regression Demo, 2005
Hate Corp. Split, 2006

My Space


Members of numerous Dutch thrash metal acts (Engine of Pain, Form, Speedica, Trile 7, etc.) have joined forces for the production of this old school roller-coaster which moshes out with passion plus a few more officiant doomy cuts ("Resignation") served for a change of environment mostly. Heads will shake in unison on the galloping delight "Involved", and the headbangers will have their go on the more aggressive "Mutilate"; although the modern flourishes on the final "Shutdown" will probably make some doubt the truly retro qualities of this album which could have been more convincing having in mind the stellar cast "involved".

Chaos Order Balance Full-Length, 2012

Official Site


Modern thrash with gruff death metal vocals; it has a bite ("Tras la Sotana") where some death metal enters the scene as well, and generally the tempo is quite ennergetic with vigorous thrashers like "Sentimiento Asesino" roaming around. "Opresion" is a cool melo-thrasher with more intriguing embellishments closing this effort with more style than it actually deserves.

A Imagen y Semejanza Full-length, 2017

Official Site


A 4-song EP demo of dark atmospheric thrash with gothic overtones; energetic stuff with both sharp and melodic guitars, memorable hooks, a couple of short melodic leads, and very brutal low grunting vocals. The compositions have certain progressive pretensions with their interesting arrangements and various tempo changes, but they are not long enough for those tendencies to develop completely.
The full-length is a more energetic offering although it retains the dark pessimistic tone of the EP as well as the more complex progressive arrangements. The thrashers should have their fun on most of the tracks although the full-fledged attacks on the senses are not too many the guys alternating the fast with slower play calming down on the melodic closer "Divergence" which comes with certain gothic "decorations".

Monoloque Demo, 2009
Divergence Full-Length, 2012

Official Site


This is a pleasant surprise: speed/thrash metal from the German underground featuring Peter Schultz who later joined the more popular Protector. This is good music which manages to combine the speedy, semi-technical rhythms of early Destruction and Exumer with darker, brooding riffs, topped up by more melodic, but slightly rough vocals which could remind you of Jon Van Doorn from Deathwish.

Shot by ShotDemo, 1986
Off LimitsDemo, 1987


Aggressive, noisy, punk-ish thrash/crossover with short 1-2 min long tracks which sounds fairly more aggressive even than Wehrmacht.

Another Religion..... .....Another ViolenceEP, 1987
tab Motive of GenocideDemo, 1988


A dark brooding mix of retro thrash and doom staying more on the dynamic side of the style in the beginning with crushing volcanic riffs galore which culminate on the excellent Cathedral worship towards the end "Right Hand Ov Doom" and the psychedelic stoner closer "The Craft". The singer is moderately angry and his quarrels are comprehensive and fitting to the overall morose music.

Valley Ov Black Sickness Full-Length, 2012


The "Delirium Tremens" demo: cool, a bit and dispassionate, speed/thrash/crossover which creates a quirky atmosphere on the creepy, not very predictable "Delirium Tremens" not far from Voivod, but later on the material becomes more simplistic and direct "Il Tuo Futuro E' Gia' Passato" near the end producing another portion of offbeat, more original decisions with a surreal flavour. The closer "Civita' Sepolta" is a major spoiler, though, 10.5-min of clumsy repetitive power/proto-thrash without a tad of inventiveness pulling this obscure effort down to the very underground where it always belonged.
The "Oltre L'Apparenza" demo is more simplistic and raw-sounding "Clown" being the only track where some intriguing dissonance appears for a bit the title-track being the other more energetic basher accentuated by the harsh shouty, hardcore vocals.

Oltre L'apparenza Demo, 1989
Delirium Tremens Demo, 1991

IR 8 (USA)

This band was formed by Jason Newsted during the long hiatus between the Black Album and "Load". In his effort he is helped by the omnipresent Devin Townsend, and the drummer Tom Hunting (Exodus, Angel Witch). Based on the demo, this is stuff which is decidedly more thrashy than the two Metallica albums between which it sits. The music is both classic and modern, and Newsted does a good job on the vocals. It will please fans of thrash metal in general with its heavy, semi-technical riffs, also carrying a part of the late 80's Metallica spirit. Considering what Metallica started doing later, Newsted could have been better off keeping this formation alive, instead of helping his main band fall into metal oblivion.

IR8Demo, 1994
IR8 vs SexoturicaSplit, 2003

Official Site


This is a good classic thrash metal band. Their debut crosses the sound of the German speed/thrash movement (Paradox, Exumer, Angel Dust) with the more aggressive sound of mid-period Sepultura (think "Beneath the Remains" and "Arise"). The songs are confident fast-paced "bullets" decorated with melodic, technical passages and gruff, Max Cavalera-like vocals. The interlude is in the form of "Total Death": a short technical number, mostly serving as a vehicle for the lead guitarist to show his skills, and the mid-paced heavy "The Last Day/In The History Of Mankind": remember "Subtraction" from "Arise". The technicality jumps up the scale after that, and hits the top on the speed/thrash killers "Orpheus In The Shades' Kingdom" and "Lobotomy", where again the guitar players play the most important role. "The Call Of Hell" is a glorious closer: great technical instrumental with a touch of Death, blasting wildly in a furious manner for a while.
"Reincarnation of the Immortal Evil" is not as intense and fast, although the guitar work is on a traditionally high level, and the singer has hardened his delivery, now sounding quite close to the early Chuck Schuldiner's (R.I.P.) style. The riffs are more technical and heavier, but no speed is lost on monsters like "Morbid Passion" and "Eternal Devastation". The delivery is overall more controlled, and consequently the spontaneity and the impulse of the debut are seldom felt. Still, one can not help but admire the technical prowess on tracks like "Unmercyful Reality", which at some point in the middle "flirts" with a Bulgarian folk tune in a nice lead-inspired fashion, or the overwhelming hammering riffage on "Sinking World", which rises and develops like a huge tsunami. Watch out for the technical masterpiece in the best tradition of late-period Death "Funeral Symphony" near the end as well, where the excellent leads provide a nice contrast to the hectic technical riffage. Another instrumental awaits the listener at the very end: "The Territories": speed/thrashfest at its finest; could have been left out from the debut, a very direct smashing number. If having been released in a country with a bigger metal scene, or at least in more appropriate for the classic sound times, these guys would have been major stars on the thrash metal circuit.
The legends of Bulgarian thrash are back with another outstanding effort: "Demoratoria Irae - Back In Dark Ages" is every bit as good as the guys' older material, producing the same potent technical sound, this time with a more sophisticated, progressive shade. "A Quitely Norman Human Nightmare /T.E.R.H.G.O./" is a relatively straight opener, thrashing in up-tempo without too many twists, except for the surprising blasts in the middle. Enters "Suicidal Undertaking", and the puzzling melodic riffage in the beginning already makes you tearful with memories of later-period Death; this is a no-brainer of a track: technical, melodic, aggressive, lyrical, stomping, you name it. "A Diary Of A Loser" carries on with the same technical charge, only slower with a pinch of doom and semi-ballad. "Forbiden Infinity" speeds up again, also adding another balladic passage, the latter accompanied by elusive female vocals. "Meaning Of Life" is calmer, mixing fast and slow sections on an elaborate progressive base. In the 2nd half the sound becomes more complex for the sake of the speedy sections, but loses nothing of its charm, which lies in the stylish guitar patterns, which always know when to mix things up (check out the excellent diverse instrumental "M.L.B."). Prepare for a few surprises at the end: a very characterictic cover of Judas Priest's "Breaking the Law" (here named "Breaking The ... What?", an obvious reference to how the Metal God likes to introduce this immortal hit on concerts), done in a great speed/thrashy manner with a technical/progressive colouring; one of the most unique old songs' interpretations to ever grace these ears. But this is not all, since the very last piece is another fairly individual take, this time of DIO's (R.I.P.) "Egypt", which is done in a heavy, doomy fashion with epic/progressive overtones, not having much to do with the style on the album, but a fairly engaging, atmospheric composition. One should always expect presents for Christmas at the end of the year, but this one is truly a gift, quite unexpected at that; one of the undisputable highlights of 2011.

Anger of the Gods Full-length, 1993
Reincarnation of the Immortal Evil Full-length, 1995
Demoratoria Irae - Back In Dark Ages Full-length, 2011

Official Site


This outfit indulge in old school progressive thrash with a not very suitable dual vocal "attack", one screechy and hysterical, the other low-tuned and death metal. The band start in a more linear fashion with two proto-epic numbers before pulling out all the stops with the hectic "Forsaken Throne" which gives the needed boost to the remainders among which "Pillage the Village" and "Swamp Donkey" are cool stylish headbangers, and "Psychotic War Machine" is an excellent elaborate piece with dramatic technical riffage and jumpy intricate arrangements. "Death to Posers" is right as rain classic thrash with beautiful melodies, and the closer "Irukandji" is an immaculate riff-fest offering technical surprises at every corner with labyrinthine structures intertwined to a dazzling effect. This is a very strong first effort, and another one of that calibre should catapult the guys to the front echelons with ease. Some of the band members also play in the progressive stoner/doomsters Flummox.

Global Genocide Full-Length, 2016



Based on "New York Metal": this band pull out playful modern thrash with a hardcore edge (which could only be played in New York, I guess?), along the lines of early Pro-Pain and Grope, but the guys here add a nice melodic edge in the guitar sector here and there, and their music sounds quite intense at times ("Shattered Dreams"), suddenly jumping on the Swedish thrash/death metal wagon. Surprises of the kind are not many at all, and most of the time the album flows in a predictable groovy fashion, with the aforementioned melodic "ornamentations" finely alerting the listener.
The debut EP settles the tone to be followed as the guys thrash/post-thrash with a lot of heaviness with creepy seismic guitars, not much hardcore this time, but doom metal is touched on the sombre "Bronx Unity" before the closing "Central Park" shreds with more technicality as a finishing touch.

Burden of a Crumbling Society EP, 1998
1134Full-length, 2001
Demo 2003Demo, 2003
New York MetalFull-length, 2005

Official Site


Melodic power/thrash, a mixture of classic and modern influences, in mid-tempo, with numerous melodic, playful hooks, one cool acoustic ballad ( Egunero ), one cool, albeit a bit cheesy, galloping speed metal anthem ( Ehistoria eta Txoria ), and one good semi-technical power/thrash closer ( Hil Arte ).

Ez Horratio! Full-length, 1997


Based on "Denial of Creation", these folks specialize in a varied mix of black, death and thrash as the operatic arrangements and the bombastic decisions favour black metal more as thrash can be heard on the tracks devoid of the omnipresent hyper-blasts ("Sacred Deception"). "Covenant of the Unbounded" is another notable stomping thrasher with a hefty epic vibe, and "In the Name of Decay" isn't far behind recalling mid-period Bathory with a nice speedy exit. The vocals are strictly in the death metal camp changing the pitch becoming a tad less shouty and brutal on the slower moments.

Götterdämmerung (Zorn der Elemente) Full-length, 2007
Dekonstrukteur des Fleisches Full-length, 2010
I Am Risen Full-length, 2013
Denial of Creation Full-length, 2017

Official Site


Based on the demo, this band pulls out competent old school thrash, following the early patterns from the American scene: Exodus, Slayer, Nasty Savage, etc. They don't rely on sheer speed too much, and most of the time the music flows in a cool heavy mid to up-tempo, with switches onto more speedy headbanging sections ("Tierra de Promisi'f3n", "Inocencia Perdida", which is a nice more intense thrasher, frequently alternating faster with slower parts). "Unidad" is sustained in a more dynamic tempo the whole time, featuring a long, but good melodic lead guitar section.

Thrash Slash Vol. 1 Split, 2008
Unidad Demo, 2008

Official Site


This is evil thrashing black metal , like the album-title says so well, done the classic way without sounding like any veteran in particular. The musicianship is on a semi-amateurish level, and the production is too sloppy for the listener to fully enjoy this tribute to the classic school which often mixes the pace also providing the characteristic doomy Celtic Frost sound at times (check out When The Darkness Rules The Kingdoms ). The Visit is a more proficiently made operatic instrumental, but the rest is too crude to be highly recommended including the vocals which are mean semi-declamatory tirades with a not very accentuated death metal vibe.

Thrashing Black Metal Full-Length, 2015


Based on the full-length, this act provide classic black/thrash with the hyper-blastts reigning supreme not leaving much room for thrash to breathe. Consequently it's the black metal lovers who will be happier with this "Four Elements" offering more entertainment for the thrashers with its bristlling speedy overtones. The guys have ties to other Dutch outfits like the death metal veterans Altar, the deathcorers The Scarlet Claw, and the symphonic metal formation Seven Waters.

Battle of Time EP, 2004
The Summoning EP, 2009
Into My Order Full-length, 2017

Official Site


Based on "The Sleeping Eye", these guys (or a guy as the only known member from this outfit is a guy called Alex) offer classic thrash/crossover straddling between edgier faster and slower heavier tracks. Both sides deliver as the faster one is more appealing, and this is where the sound comes close to D.R.I. and the D.B.C. debut. The leads are quite stylish, and the end is preserved for a heavy doomster titled "The Way is Narrow".
The Saga Demos offer two very cool songs, long and more serious exercises in heavy, not very fast, retro thrash metal interestingly recalling the UK legends Sacrilege ("Riddle of the Skies"). "Join the Wind" is slower and doomy with hypnotic pounding riffs which deliver in a different, seismic, way topped by the forceful vicious vocals.

Constant Struggle Full-length, 2006
The Way is Narrow Single, 2008
The Sleeping Eye Full-length, 2009
Saga Demos Demo, 2011

My Space


One of the more influential German speed/thrash metal bands; "Hellish Crossfire" is a strong debut, mixing speed and thrash to a volcanic effect, kind of starting the whole speed/thrash metal genre in Europe, along with Helloween's "Walls of Jericho" (this one has no ties to thrash, though). The opening "The Metallian" tells a different story, never heard before, with its lashing fast riffs and the soaring, both gruff and melodic vocals. Later on the speed is being replaced on some tracks with stomping, heavy riffage ("Black Mass", "Nightmare"), creating a sinister dark atmosphere. Lighter, heavy/power metal numbers ("Hunter In Chains") could have been left out maybe, since they just don't fit very nicely along the speedy killers, like the mighty "Rush Of Power", "Wife Of The Devil", or the storming closer "Heavy Metal Soldiers": no signs of cheesiness on this one, like one might think reading the title.

"Winds Of War" is more melodic, and could be considered one of the best "Walls of Jericho" worships, along with Not Fragile's "Who Dares Wins", and Blind Guardian's "Battalions of Fear", with some cheesy (the cheesiness finally came) moments, later a big influence on the 90's power/speed metal scene: the power/heavy metal number "Son Of A Bitch", the rock hymn "Born To Rock", the marvellous short acoustic ballad "Back To The Silence", showing the singer in another, also great light, with his nice clean voice, and could hardly be classified as thrash metal, except based on a few songs: the speedy opener "Metalstorm", the shredding riff-fest "Fight For Your Life", the soaring speed/thrash metal hymn "Stronger Than Steel", the crushing speed/thrashing closer "Creatures Of Destruction". Generally not a bad album at all, it was left without a follow-up, which was probably good in consideration of the direction which the band was taking. J'fcrgen R. Blackmore, Richie Blackmore's son, guested on guitars on "Winds of War", and later recruited the singer Dirk Schr'f6der and the guitarist Mike Matthes for his band Superstition, where the style is hard'n heavy, quite similar to Deep Purple (from father to son...).
The 2007 demo shows that the band are waking up for more speed/thrash, and indeed, the intro is called "The Awakening", and lasts for whole 3.5-min, the guys warming up with a more intense speed/thrash passage near the end the latter flowing into the cool retro thrasher "Puppet On A String", which hardly recalls their 80's material, belonging strictly to the Bay-Area. Actually this comeback is done by the singer Dirk Schr'f6der and the guitarist Mike Matthes, who here also plays bass and drums (the band lost one of their guitar players, Peter Wittke, who passed away in 2000; another one, Sven Str'fcven, also died, in 2008). "Back From Hell" is heavy mid-paced proto-modern thrash, and "Sanatorium" is awful nu-metal, after which most of you will stop listening, and well deservedly so. "Unbreakable" is 8-min of a bit better mid to up-tempo modern thrash ala more recent Annihilator. Schr'f6der is almost impossible to recognize, singing in a very bland mid-levelled semi-hardcore tone. This effort will be a very unpleasant surprise for the band fans, having nothing to do with their past output, and it was probably good that Schr'f6der put an end again to this formation, due to a failure to find musicians to commit to the band on a full-time basis.

Hellish Crossfire Full-length, 1985
Winds of War Full-length, 1986
Back from Hell Demo, 2007

Official Site


A curious release: most of the time the music is in the speed/proto-thrash metal vein similar to Exciter or Destructor, but there are some heavier tracks calling to mind Celtic Frost and some doom metal acts. The opening "Under Attack" is vintage early Exciter, a rowdy belligerent speedster that can easily qualify for "Violence & Force", the main difference coming from the hoarse semi-declamatory/semi-shouty vocals which are the drama encapsulated by Exciter's Dan Beehler. "Bad Tidings" is a dark fast-paced cut also "winking" at the early German movement (Iron Angel, Vectom), but "Game of Fools" is a doomy hypnotic cut with echoes of the mentioned Swiss masters with more dynamic developments in the second half. "Fatal Will" is the next in line speed metal winner with a more intense thrashy "sting" the guys sounding angrier, but then balladic intro of "Beware the Innocent" bodes more pensive tides, and this pice remains a sombre semi-balladic elegy with a speedy epitaph. "Home Sweet Hell" is a sweeping galloping anthem ala Attacker, and "Wage of Sin" and "M.I.A." are two more dynamic propositions with a few more academic, stomping escapades the latter elaborated on "Merciless Knights" which is another worthy contribution to the doom metal genre. "Minutes to Pray" combines both sides into one final speed/thrashing melee the slower stopovers scattered along the way creating a nice contrast with the more aggressive "skirmishes". The band have never officially split up although productivity-wise they haven't been on the forefront, and as of now one can notice the guitar player Chris Mittleburn (also Master, Sindrome, Death Strike) in their midst.

Church and State Full-length, 1987


Based on the full-length, this is merry-go-round power/speed/thrash which combines the frolic aesthetics of the 90's speed/power metal scene with the free rock'n roll spirit of Motorhead the singer emulating Lemmy to an impressive effect. Otherwise this isn't aggressive music with thrash being just a humble assistant although the speedy patterns are very seldom abandoned (the mild heavy rocker at the end "Hit & Run") despite the soft nature of the guitar sound and the obvious clinging towards the more laid-back side of the genre.

Road to Hell Full-length, 2012
Black Fist EP, 2012

Official Site


This band started as a Motorhead cover act, but later managed to come up with their own style which, based on their debut, is quite intense bashing old school thrash by preserving the inebriate Lemmy-like vocals may be giving them a more aggressive tone. The approach is at times more prone to crossover ("Disintegrate"), at others reaches an almost Slayer-like intensity ("Itch to Die "), at others slows down to merrier doomy proportions ("Beyond The Gates"). Still, there's quite a bit of thrash to be savoured here, like on the impetuous title-track, the proto-death roller-coaster "Addirted To God", etc. reportedly on their sophomore effort the guys abandoned the thrash metal idea and switched onto more soulful stoner/post-thrash.

Loaded Gun Full-length, 1992
Motor Sexle Mania Full-length, 1994


Based on the "Gun at My Head" demo, this is unpretentious mild thrash/crossover with an open punk attitude; it's interesting that the guys don't bash mindlessly the whole time, but manage to come up with better mid-paced passages whereas on the faster cuts the guys balance between Motorhead and Broken Bones. The singer is a semi-shouty punker who is also able to pull out a melodic tune or two under his sleeve.
The full-length is another merry offering, an optimistic cross between punk, crossover, and power/thrash. The songs are catchy and sing-along and the vocalist creates additional reasons for happiness with his cool clean comic tember. The guys play in a very samey mid-pace, but the low pretensions of their style hardly requires too many tempo-changes, and the party fun will be guaranteed for metal fans from all walks of metal.

Crucify Me Demo, 1985
Gun at My Head Demo, 1988
Lewd, Crude and Tattooed Full-length, 1990


The full-length debut: this modern thrashcore act is a side-project of members of Municipal Waste and Darkest Hour. The guys here are perhaps more on the classic side still bashing with passion recalling early D.R.I. also in the vocal department where the singer really leaves a positive impression with his dramatic semi-clean shouts. The last songs are a take on the carefree Motorhead sound and possess the biggest musical merits toning down the incessant speedy barrage.
"Crossover Ministry" carries on in the same remorseless fashion the guys bashing with all the vigour they can muster creating a nice pogo party from beginning to end. "Electric shocks" like "Fuck the Neighbors" will go beyond "fucking the neighbours", and the title-track will easily replace all the D.R.I. and Attitude Adjustment hits in the annals of thrash/crossover with ease.

Worse Than Dead Full-Length, 2013
Spoiled Identity EP, 2014
The Tyranny of Will Full-length, 2014
Crossover Ministry Full-Length, 2017

Official Site


The good old Motorheads are channeled for the upteenth time; more aggressive thrash appears on "N.G.C.", but generally this is mild party stuff "Where's The Gold" being the other more brutal distraction from the good time. The vocalist is vintage Lemmy and could replace the man any time behind the mike for the Brits.

Do You Fancy Me? Demo, 1990


This obscure short-lived Canadian outfit consists of just one girl (or a woman), called Dana Lee, whose full-time occupation was a grave digger at the time. She was apparently too busy digging graves, so she managed to only record those 2 tracks, which betray her infatuation with the doomy brooding style of early Celtic Frost and Hellhammer: heavy doomy riffs with an abrasive guitar sound and vicious low-tuned, but intelligible vocals, which are quite brutal considering that they come out of a girl's throat. The 2nd song "Horror Of The Zombies" starts with a beautiful acoustic passage, before the massacre begins...

Thy Deadly IllusionDemo, 1988


Based on "Respect/Defend/Create", this band pull out aggressive thrash/death, which at its best comes close to masters like Slayer and Devastation, but with a slightly more modern edge, but their desire to leave room for death metal leads to very fast, almost blast-beating sections, which kind of spoil the atmosphere, at least to these ears. The vocals are death metal-ish, being deep growls, but of the more shouty type (think Jan-Chris De Koeijer from Gorefest).

Durch das Volk - Mit dem Volk - F'fcr das VolkFull-length, 1998
Respect/Defend/CreateFull-length, 2001
Faith Is Stronger Than FireFull-length, 2005

Official Site


4 tracks of playful retro speed/thrash reminiscent of early Whiplash, but expect more intense thrashing on "Reino Do Terror" and an ambitious 12-min opus ("Sangue Em Nome Da Supremacia") at the end which also features a bit of melo-death and doom among the speed/thrashy boogie which on this one comes mixed with longer slower passages.

Maquina Da Morte EP, 2011


Thrash/crossover which might remind you of D.R.I. in the more straight-forward sections, which are not that many, as a matter of fact. Ironchrist's style is more technical and more thrash-oriented, and more appealing. It starts in a very hectic, even chaotic way with the title track which later finds its way to more straight aggressive bashing. The songs flow in the same manner- fast, often brutal, with tight and sometimes interesting technical guitar work. The tracks are short, but the intense musicianship makes them a fairly satisfying listen, especially the aggressive and technical instrumental "Mechanized Emotions" which will overwhelm you with loads of riffs. "Cyborg" is a break from the intense delivery being a mid-paced number with a cool acoustic middle, but it's followed by another furious technical instrumental "Contusion" after which one can't help but take this band seriously. The rest is by no means less interesting, and as a result we have a truly fine slice of technically-minded thrash/crossover, pretty much a state-of-the-art achievement, considering that very few are those who have dared to cross this genre with the more technical side of metal (the Swiss Lunacy come to mind, but their style is less aggressive).

Their debut self-titled 3-track EP is a lot more ordinary sounding like a prototypical thrash/crossover release, staying closer to D.R.I. (the last song), and Slayer (the other two, which are quite aggressive and intense).

Ironchrist EP, 1988
Getting The Most Out Of Your Extinction Full-length, 1990

Fan Site


This new Colombian outfit specialize in rigorous, intense classic speed/thrash and the opening "Iconoclast" is already the new flagship of the speed metal brotherhood with its steel riffs and sweeping tempos. The shorter "Ritual of Vengeance" is closer to pure thrash, and "Unbreakable Fear" is a cool reminder of the short, but essential, heritage of Iron Angel. "Ride the Winds of Death" is an ultra-speedster, something which Angel Dust used to do so well in "dark past", a shining example immediately followed by "Rape the Priest" and the shredding brutalizer "Radical Extinction". "Rain of Bullets" deserves its title only that it's sharp headbanging riffs is hwat "rains"; nicely paving the way for the arrival of the closing "Claim of Steel" which is glorious speed/thrash suming up the whole movement, from early Helloween and Warrant to more contemporary heroes like Solitaire and Hellfire. This is a really cool offering seeing a risng star on the South American metal horizon.

Iconoclast Full-Length, 2015

Official Site


On this split with their compatriots Abigail, these guys provide us with a similar slab of black-ish thrash, but more aggressive and varied, with some slower, stomping parts, and a pinch of death metal. "Silent Sorrow" is a cover of the the legends Nuctemeron. "Tyrannikal Adversaries" is a sinister black thrasher, rich on atmosphere, but with an awful sound quality.

Holocaustik Metal Sexxxekution Split, 2008


Modern power/post-thrash which most aggressive asset are the harsh semi-death metal vocals which surprisingly sit well with the friendly musical background which moves from Pantera-sque groovers ("The Sic") to relaxed rosk-ish cuts ("Vaua con Dios") in the spur of a moment.

Recreational Self Destruction Full-Length, 2017


Based on the full-length, this act indulge in brisk old school speed/thrash with a carefree crossover flavour although the leads tell a different story being quite proficient. The shortest numbers ("Bestial") are pure inbridled hardcore providing the needed contrast to a couple of meticulously crafted melodic speedsters ("Pathogen", the headbangers' winner "Senses Attuned"). The singer has a hoarse semi-shouty timbre which comes with a tad of melody.

First Strike EP, 2014
Retaliate EP, 2015
Annihilate Full-Length, 2017

Official Site


Based on "Totally Negative Thoughts", the band's style is a typical modern death/thrash blend similar to The Haunted. "Upon These Ashes" throws a nice classic-tinged light on the proceedings, and the album for most of the time is pure retro thrash of the fast aggressive type "courting" Slayer and Devastation with ease. The guys thrash with no mercy throughout occasionally slowing down in a cool late-80's Slayer-esque manner ("Echoes Of War"), and heads will fall on raging proto-death numbers, like "Nothing On My Mind", or short blitzkrieg thrashers like "Repentance Of God" and the closer "Instinct Of Death". On "Vengeance" there is even an attempt at a more complex technical play which results in another couple of more laid-back passages with a cool atmospheric doomy ending. The band have done a much better job here, and it would be interesting to see whether those classic tendencies have already been started on the previous album. Some of the band members also make similar "noise" in the thrashers Hellstorm, and a slightly softer more crossover-based one with L'Ordadunto.

Yes, indeed, those tendencies have been started with "War Was Won" which is full of energetic retro thrash riffs from beginning to end seldom wasting a precious moment for a hesitant slower play. After two fierce headbangers comes the galloping fury of "Elements Of Wrath" and the short speedy lasher "Dregs Of Societs" which even blast-beats for a while. Time for retrospection with the calmer "Slaughter Of The Innocents" which influences the next two tracks, but all is finely recaptured on the thrash/deathfest "Worst Enemy" and the more technical speedster "In The Chaos". The closer "The Last Chapter" indulges in heavy stomping riffs offering a cool doomy twist at the end, but kind of pulls back shirking from the relentless assault heard earlier.
"Shreds of Humanity": the "irreverent" Italians are here again, and their staple blitzkrieg style is on fine display once more. One can't possibly raise na eyebrow on more stylish exercises like the title-track or the furious semi-technicaller "Paradox". "Discordianism" is another less ordinary composition with a cool quasi-balladic beginning, but in the 2nd half the numbers are more simplistic with a bigger headbanging potential despite the presence of another more laid-back cut, "Endeavour to Live" which arrives before the energizing closer with the appropriate title "Bullets".

Totally Negative Thoughts Full-length, 2001
Target: Hate EP, 2003
War Was Won Full-length, 2005
Upon These Ashes Full-length, 2010
Shreds of Humanity Full-Length, 2014

Official Site


Based on the debut, these guys play heavy doomy thrash relying more on atmosphere although the sudden speedy outbursts are a cool addition, and should have been more. Another pullback is the hissing sound of the guitars which considerably takes away from the melody which is well covered, also in the form of quiet balladic sections ("Isaia"). The singer semi-shouts in a not very convincing semi-clean manner merging quite a bit with the snake-y guitars.

"Temnaya Bashnya" follows the same patterns, but this time the songs are much longer, and black metal has sneaked in, of the hypnotic Burzum-like quality, the difference coming from the lack of speed here, again the music sharing a lot with the doom metal scene. The hissing guitar sound remains, but now it fits better into the overall monotonous hypnotic picture which is mainly spoilt by the harsh shouty vocals which are a strak contrast to the moody brooding music, and shouldn't have been used on the couple of very cool balladic acoustic sections.

Sila Lyubvi Full-length, 1996
Temnaya Bashnya Full-length, 1997
'c8'f1'f2'e8'ed'e0 'f7'e5'f0'ed'ee'e3'ee 'f7'e5'eb'ee'e2'e5'ea'e0 Full-length, 2003

Official Site


This is eventful jumpy modern post-thrash which doesn't sound boring and even introduces nice lead guitar work. The riff picture is vivid and dynamic with a few more intense headbanging passages ("Blood Stains the Memory"; the dramatic semi-technical "A Synthetic Ending") also showing up. Aggro and alternative sections take turns the vocals also following those shifts the brutal shouty ones alternating with the clean ones on almost every song the former somewhat matched in terms of intensity by the aggressive shreds on "Drones". This is one of the few albums in recent years which manage to show the 90's vogue's more attractive side, and as such should take plce right next to Pantera and Machine Head's highest achievements from that period.

The Identity Full-Length, 2011

Official Site


Based on the self-titled EP, these guys play pretty average post-thrash with metalcore breaks, which has its more stylish, atmospheric moments ("Like Pulling the Wings"), but the clean vocals on those are so cliched that the listener may just pass them without noticing.

Iscariot EP 2004
Lifeless Design Full-length 2006
King's Collapse EP 2008

My Space


Based on "Pot na Pot", this band offers nice melodic power/thrash metal of the classic variety. The songs in the beginning are potent mixtures of more laid-back power metal riffs and intense speed/thrashy ones. The second half is less impressive with power metal taking over and the songs becoming longer. The guys acquit themselves on the closing "Osaczona" which is stripped-down speed/thrash metal of the Germanic type. To these ears the vocals could have been delivered by a girl, but one never knows...
The debut is a tasty thrash/death affair with good semi-technical guitar work quite reminiscent of Death's "Spiritual Healing", the latter acquiring more ambitious, progressive proportions on "The Last (Lord's) Supper". The title-track is a stomping shredder in mid-pace, and "Protector" is an atmospheric headbanger with sharp vitriolic riffs. "Night Sailors" is another mid-tempo piece with more suggestive atmospherics, and "Just Like You" is the short exploder without any gimmicks. Its impetuousness is cancelled by the heavy semi-balad "Lilith", the final "One Day" nails one more nail into the "coffin" with an exiting portion of fast lashing riffs and great melodic leads. At this early stage it seems as though the band were more proficient musicians with better ideas circling in ther heads, and this excellent album is a sure testimony for that.
"Upadle Krolestwo": well, there's a girl in the line-up, after all, but it's the keyboardist, the name Justyna Szatny. Anyway, this new opus raises the level higher at the beginning with more inspired guitar work as evident from the varied melodic opener "Fora Ze Dwora". "Judasz (Iscariota)" is vehement speed/thrash ala their compatriots Hellfire the guys even blast-beating at some stage, but "Sny O Potedze" is just a tender ballad. Another speed/thrashing explosion ("Kolezanka Szklanka") follows suit, but the band are intent on mixing the two sides, and here comes "Plone", another mellow hard rocking number. "Bastion" is the expected "aggressor", but with more melodic leanings; and "Martwi Bogowie Miasta" is a razor-sharp mid-pacer which breaks the alternation witnessed so far with a fast-paced exit. The title-track is the closer and it thrashes with might pouring intense crushing riffs over the blissful listener who may finally be content with the band's new face, I mean the one after their death metal spell.
"Historia Zycia" is a cool speed/thrashing efort with an expressive melodic edge the opening "Gdanski Portowy Swit" greatly exemplifying the style on display although the staple mellower pieces are also amply provided. The title-track is the new speed/thrashing hymn moshing in a fairly raging fashion, leaving some energy for the closing "Legion" which is another furious headbanger with fiery riffs and very good choruses.

Cosmix Paradox Full-length, 1995
Pot na Pot Full-length, 2007
Lilith EP, 2012
Zeglarze Nocy EP, 2012
Historia Zycia Full-length, 2015
Upadle Krolestwo Full-length, 2016

My Space


The legion of thrash metal bands from Norway has been growing fast in recent years. Quite a few of them come up with a sound which has a certain black-ish vibe, and Iskald are one of those. At their best, these guys recall Dissection in their prime, but with a more thrashy edge. What thrash metal fans might find annoying is that the band often adhere to the typical for black metal ultra-fast breaks which at times sound awkward combined with the thrashy riffs.

Shades of MiseryFull-length, 2006
tab Northern TwilightEP, 2006

Official Site


Simplistic thrash/crossover with awful hysterical shouty vocals; the music is fast, with one surprising thrash/proto-death metal outbreak: "Todos Pelo Underground", and an overall style not too far from early Broken Bones.

IsmirilationDemo, 2007

Official Site


A dark doomy slab of classic thrash metal with brutal low-tuned death metal vocals; it inevitably suffers from a lack of speed, the tempo never stretching beyond the mid-parametres, making it sound like more routine doom/gothic at times. The shadow of the guys' other formation- the doom metal outfit Tides of Eternity, is very clearly felt more than just now and then.

Soul Infector Demo, 2008

Official Site


3 tracks of sterile, robotic modern thrash which becomes playfully doomy on To Kill A Clown , and fairly intense and headbanging on Incision the latter still not as ordinary with several offbeat rhythmic sections. The singer is a dispassionate semi-reciter who pitches it higher at times to a more positive impression.

IsoLayDead EP, 2015


Modern melodic thrash with metalcore overtones; this is vivid stuff which serves nothing new to the scene, but at least the guys play with energy and the main annoyance is probably the "gruff/clean" vocal duel which comes a bit overdone. The 2nd half is "besieged" by too much groove which kills the inertia and brings the tracks to semi-balladic variations with a more active participation of the clean singer. "Birth Of Liquid Desires" saves the day being a merry speedster, but prepare your hangkerchiefs for the final lyrical ballad "I'm Your Super Hero".

Lead By The Blind Full-Length, 2016


A modern heavy mix of hardcore and thrash, stretching into other genres as well: grindcore, industrial, grunge, stoner/doom, with awful hoarse, shouty vocals. The music is often chaotic, trying to put all the aforementioned genres into one song. The straight thrashers are not too many ("Imperial", "Corrego Seco"). The closer "Vinkar av Kattegatt" could have been a good touch with the nice acoustic beginning, but later degenerates into bland, one-dimensional undistrial noise.

Imperial Full-Length, 2007


Aggressive technical thrash/death along the lines of early Invocator and Pestilence. This is really good stuff with ripping guitars, hectic rhythms, and the more vigilant should be able to hear how close this effort sounds to Pestilence's new opus "Obsideo" predating it with 4 whole years. Not very long tracks offer plenty of time and tempo changes seldom blast-beating ("Haloperidol") with vitriolic passion, or pounding in a volcanic steam-roller way ("Guess Who I Am"). The tight execution presented here should make many old and new practitioners take notes: this is compact technical music without any unnecessary wankeries. The singer is also on par with the proficient musicianship with his authoritative shouty death metal tember.

Make My Suffer Short Full-Length, 2009

Official Site


This is dynamic modern/classic thrash which meanders through the fields of more technical, and even progressive, music by keeping the tempo up for most of the time. All the 3 numbers are stylish pieces mixing speedy sections with more puzzling ones the noisy guitar sound kind of not doing justice to the other instruments. The guys keep things interesting throughout surprising the listener with the less expected riff or tempo twist, and a full-length of the kind should be a highlight on the South American scene, and not only there.

Dies Irae EP, 2011

Official Site


Decent modern thrash, both melodic and intense, topped by brutal death metal vocals. The riffs are mid to fast, direct without any technical gimmicks, weighing quite a bit, despite the frequent insertion of laid-back passages ("Faith to faith") the latter having a certain metalcore flavour. "Alienation" is a surprising death/thrasher in a vigorous pace, but the best comes in the form of "The End Of The Game-Lullaby" which is a nice progressive, thought-out piece with good hectic riffs and appropriate melodic hooks which comes at the end to hint at the band's bigger potential.

Alienation Full-Length, 2012

Official Site


Fans of these progressive metallers would be quite surprised to hear their new offering (not their "IV"th, but 5th one), which harderns the course moving away from their pleasant, dreamy style to much more hard-hitting power/thrash. The opening "Rape of Time" is a crunchy thrasher with a heavy rhythm-section, quite reminiscent of more recent Eldritch, with the same penchant for catchy choruses and melodic lead sections. "Expelled From Heaven" is a modern angry number with Pantera given a nod or two, including in the vocal department where the otherwise soulful, melodic singer acquires gruffer, Anselmo-sque tones. The very heavy guitar sound remains for the whole albym, which later boasts the fine semi-ballads "Hands to the Sky" & "Catatonic Sleep", the pounding shredder "Wailing Wall", among other niceties. It may take a while for this new approach to settle in among the band's fans, but the overall delivery and the song-structures are not very major departures. Some of the musicians are also involved in the heavy metal formation Ritual Steel.

IV Full-length, 2011

Official Site


The heavy, sinister style of early Celtic Frost meets the faster, more aggressive riffs of Rigor Mortis. The final result is not bad at all: black-ish thrash, with gruff, more vicious Tom G. Warrior-like vocals.

In Hoc Signs VincesDemo, 1986


Abrasive modern-ish thrash with mean vicious witch-like vocals; the band lie it slower, and their seismic heavy delivery often crosses the border towards pure doom (the title-track, the gothic brooder "Nightborn"). "Chaos And Control" is a more energetic number, but generally the approach clings more on the melodic softer side with the surprising flash of technicality: the puzzling twister "Warzone". Watch out for the last cut: a really cool version of Carcass' immortal "Heartwork" done in an even more technical fashion the leads reaching a melodic climax which even the Brits can't brag about.

Strategy And Violence Full-Length, 2014


This new outfit specialize in a progressive mix of modern and classic power/speed/thrash which delivers the goods picking a lot of galloping passion from albums like Attacker's "Second Coming" and Helstar's "Nosferatu". Those riffs will invigorate you big time on impulsive headbangers like "Torched". There's a lot of atmosphere on the creepy semi-balladic "Sanatorium Rd.", but while this track could pass for a reliever, "Story of My Hell" is pure aggro-groove marring the effect from the intense thrashing closer "Crimson Defendant". There is quite a bit of variety in this short effort, so one can never be sure in what direction the band will swing on future releases.

Ixion Lux EP, 2012

Official Site


This band offers quite cool retro speed/thrash metal sustained in a vigorous fast tempo the whole time not hiding its obvious fascination with the German speed/thrash school (Angel Dust, Warrant, Iron Angel, Scanner, etc.). After the first two blistering speed/thrashers the guys start thrashing more aggressively, this moment immediately followed by a heavy doomy ballad, and another much more tender one; those two tracks diminish the very positive impression from the beginning, but fortunately there is more intesne thrash coming right after, still leaving room for one more melodic power metal-based song, and the lager-than-life closer which is an ambitious, albeit flawed, "cocktail" of thrash, doom, power metal, and more. The leads are great easily being the highlight, and the singer isn't bad as well singing in a clean emotional, not very high, tone.

Vosmidesiatye Full-Length, 2010


The full-length sees an act who don't stray too much from the melo-death/thrash canons of the Swedish school. THe delivery is not comlwtely devoid of surprises, and "Circulo de Judas" can easily pass for a semi-technical shredder with drier, more sterile riffage the latter detected on a couple of other tracks as well. The vocalist is an intense shouty death metaller who leads the show with force and sometimes strained tirades.

Desde Las Cenizas EP, 2014
6to Dia Full-length, 2017

Official Site


Two full-lengths released for one year is a feat worthy only of bands like Manowar, or Therion. Well, these Swedes have done it, too; their music is a cool mixture of black and thrash metal, not fast, mostly mid-paced, along the lines of Barathrum, early Bathory, with shades of recent Satyricon and Thorns as well. Their style is rich in atmosphere and slower doomy sections, all this ably supported by the vicious black-ish vocals, which might remind you of Satyr from... well...

IXXIFull-length, 2007
Assorted ArmamentFull-length, 2007

Official Site


Based on the debut full-length, this is mostly mid-paced atmospheric death/thrash metal with very good lead work. The vocals are sinister semi-death/semi-black metal ones, and are performed by a girl. The music is thrash metal most of the time, with good melodic guitar lines, which nicely intertwine with the sharp riffage. The band are not strangers to clever technical sections ("Warmonger"), as well as great galloping thrashers ("Balance of Terror").
"New World Order" is a pleasant surprise, offering three tracks of pure thrash, energetic and sharp, with cool technical licks, and one longer slower, doom-laden, but equally as effective, piece ("World Power (or Downfall)").

"Tribute to Totalitarianism" starts not very convincingly with the dragging slow "Hail Victory", which has no ties to thrash whatsoever, but very soon things take a nicer shape with a couple of energetic thrashing numbers, albeit of a more conventional nature, without the more stylish technical moments, which were heard on the previous efforts. "New World Order" slows down again, but the main riff is quite catchy. The problem is that the album loses intensity, and the following tracks are mid-tempo at best, with much more timid, edgeless guitar performance, hitting the bottom with the melodic gothic-tinged closer "Out Of Many, One", which tries to save the day at some point with nice Oriental hooks. This is not a complete failure, but the band's attempt to broaden their horizon might lead to their sounding like many other acts nowadays who try to put many metal styles together, with mixed results.

The "Point of no Return" EP contains four tracks which by all means have more life than the ones on their lacklustre last full-length, and are quite intense thrash/death experiences, varying the tempos, staying closer to death metal. Several atmospheric passages have been thrown in, giving the compositions a somewhat gothic feeling, but there's no speed or sharpness lost here.

"Code of Consequences" brings the "winds" of thrash metal again" the band now sounding much faster and tighter than on the last full-length, logically continuing the more aggressive trends from the preceding EP. There is an alternation of fast and slow numbers throughout the album which is carried by the faster side boasting ripping thrashers like "My Secret Society", and the sweeping speed/thrash/melo-death metal winners "Center of Momentum" and "Deathstrip". "Psychopathic Mind" is a nice hint at the band's more technical potential, still pretty fast and furious. "Population Zero" is a capable mix of dynamic and heavier, almost doomy, riffs, before the closing title-track wraps it up in a pensive, all-instrumental semi-doomy fashion, a fitting epitaph to this sure-handed return to form. Some of the band members play similar music with Deluzion, maybe a bit more death metal-based.
"Congress of the Insane" is another commendable achievement the band suitably angry with death metal again stepping in to lead the show on at least half of the material. There's more dramatism involved as well with the speed logically reduced, the dominant tone being officiant and mid-paced with not very frequent fast-paced outbursts. The riff-work is acceptable, but this album kind of misses the spark which used to "kindle" the band's endeavours in the past, the music now sounding too calculated and not as inspired except for the forceful vocal performance the girl doing her best to stay on top of the show with her throaty semi-shouty antics.
"The Ferryman's End" is a sure step into the right direction for these thrash/death purveyors who here have decided to thrash their souls out their vigour spiced by the odd stylish, technical hook ("The Evil Within"). "Absolute Necessity" is raging semi-technical death metal madness, and from here onwards things only become more brutal with blast-beats settling comfortably in on "Reclaim My Identity". A few more restrained cuts in the middle do little to stop the bashing machine which brings thrash back with a vengeance on the remorseless headbanger "Lost In Tranquility".

Bird of Prey EP, 1999
Guidelines for Genocide Full-length, 2002
New World Order EP, 2005
Tribute to Totalitarianism Full-length, 2008
Point of no ReturnEP, 2009
Code of Consequences Full-length, 2011
Congress of the Insane Full-Length, 2013
The Ferryman's End Full-Length, 2016

Official Site


An eclectic, very wild and occasionally brutal blend of thrash, hardcore and grind; the guys have the competency to pull out interesting music, like it shows here and there, but they prefer to stick to the less serious, light-hearted side of the mix, and those more technical decisions remain buried under jolly, noisy, diverse compositions, "courting" many other styles in the process. Overall we have an interesting, listenable effort, which is by no means worse than similar works of more renowned acts, like Zimmerhole, Waltari, Municipal Waste, etc.

Jit Stalo Luchshe, Stalo Veselee Full-Length, 1997


These Russians offer five tracks of decent intense retro thrash with a varying sound quality which leaves the impression that the songs have been recorded at different times. Nevertheless all of them are brisk energetic headbangers except for the nice semi-ballad "Ballad o Maniake" with suitable mean clean vocals.

Zima Demo, 2009

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