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ING (SOUTH AFRICA)

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 second 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.
"Victory" sounds angrier, a statement expressed only too nicely with the brutal death metal opener "Hallowed Be Thy Shame", and although later on the band stick to their modern thrash guns, there's no sophistication detected on the semi-technical aggressor "Covered in Hate" and the admirable staccato death/thrashy headbanger "Psychosis". There's no speed lost on this cool roller-coaster which is again often on the death metal side of things, the guys even trying something hardcore-ish ("Homicidal Dreams") to aggrandize the mayhem.

It's a Hate Thing EP, 2008
It's a Sick Thing Full-length, 2009
Ingquisition Full-length, 2012
Victory Full-Length, 2019

Official Site

INGERMANLAND (NORWAY)

Oddleif Stensland founded this band to keep himself busy while Scariot were having a break. The debut demo shows 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 a few admirable technical proto-thrash breaks ("Treskiin"). There are shades of Communic, of course, and this early stint is actually a clear influence on Scariot's "Strange to Numbers" although the music here is slower (the pensive introspective ballad "Moon Dance", later offered in a sligtly elongated form on the Communic "Where Echoes Gather" album), but by no means less interesting (the multifarious progressiver "Scientific World", the ambitious labyrinthine saga "Another Dimension"). Stensland provides a wider range of vocals here, from very thin, near-helium-induced ones to brutal death metal growls, to imposing pathos-like singing. The man would have been perfectly set if he had carried on with this project with no need to form other bands. Earlier the band were known as Clairvoya, the style reportedly similar to the one here, reflected in a 2-track demo ("Electric Sun", 1996).
The "Beyond Equator" demo could be considered the superior achievement, the dramatic shredding delight "Networked Vibrations" taken straight from Crimson Glory's "Transcendence", with heavier doomier accumulations arriving later to diversify the officiant, also fairly complex palette. More aggressive thrashier developments tale over with "Mindware Lost", this one a stylish wink at mid-period Nevermore, with Stensland a dead ringer for Warrel Dane (R.I.P.). "The First Moment" dissipates the darkness with more uplifting, more melodic rhythms, the leads at the start pure virtuoso tractates, giving way later to stomping squashing arrangements and a couple of breath-taking balladic interludes; a brilliant compendium of these two sides which take turns in a firmly logical manner. "Delusion Of Madness" moves towards more abstract riff-patterns built on a relatively moderate semi-balladic/doomy template, the hard-hitting guitarisms showing up eventually for a rapturous second half with lofty bassisms and dense technical shredding turning this piece into a true highlight on this and any other effort. "Sleeping With Worms" is sustained in a very similar vein, only a tad more brutal with seismic riffage rolling remorselessly onward, but with also a few show-offy sections where Stensland simply slays, showing his dexterity to the fullest, transforming the setting into an eyebrow-raising tech-thrash showdown. No such films on the final 9.5-min odyssey "At Dewy Prime", a steady mid-paced march which flirts with both the doom and the ballad again, with Stensland soaring above the sprawling soundscapes with a spell-binding emotional performance. This is even better than the Communic output, a sheerly inspired multi-faceted progressive metal that alone should have pricked the thick underground layer in multiple places.

Surface As Ceiling Demo, 1999
Beyond Equator Demo, 2001

INGLORIOUS BASTERDS (ITALY)

This band indulge in decent retro progressive power/speed/thrash that is both on the imposing epic (“Soldiers”) and melodic “eagle fly free” (“Of Hawks and Rats”) side, the not very clean hardcore-ish vocals slightly ruining the impression from the mellower moments, among which one should also put the heroic semi-galloping anthem “Papillon”. Watch out also for “Inglorious”, the closing tractate which contains several admirable energetic developments. The musicians are also involved with the gore/grind cohort Ultimo Mondo Cannibale and the brutal deathsters Sudden Death.

Inglorious Hearts Full-Length, 2023

Official Site

INGRAND (COLOMBIA)

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 second 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

INGRAVED (ITALY)

Based on the Promo, these guys offer four 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

INHALATOR (HUNGARY)

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 performance 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.
The "Notes of Apathy (Part I)" EP is three cuts of which "451 (Burning All the Pages)" is an ordinary melo-death/thrasher, and "Cataleptic Kingdom" is a steady mid-paced "sleeper". "L'Amour Toujours" is a surprising cover of the renowned DJ Gigi D'Agostino this popular hit made with a surprising restraint, not very hard to recognize, as a matter of fact, if we exclude the bad death metal vocals, of course. The "Neglectia" EP is two tracks the title-one an excellent technical shredder with echoes of later-period Death, a dramatic mazer with multiple tempo shitfs; and "Exterra" a tad more linear death/thrash mosher with the Gothenburg school a sure influence, the several blast-beating passages not very appropriately inserted, starkly contrasting with the psychedelic balladic respites.

Fajdalom Szinhaz EP, 2015
Almok Temetoje Full-length, 2016
Neglectia EP, 2017
Notes of Apathy (Part I) EP, 2019

Official Site

INHALER (CANADA)

"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

INHARMONIOUS (MEXICO)

A promising demo of retro thrash with a dark, but also semi-technical edge, consisting of four 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

INHUMAN (USA)

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

INHUMAN CONDITION (USA)

The debut: this is a new project of the bass legend Terry Butler (Obituary, Six Feet Under, Death, Massacre, etc.); he has teamed up with two other former members from the Massacre team, who are also involved with the black metallers Dritt Skit and the death metal gang Goregang for the creation of an intense old school death/thrash hybrid which also has a pretty suitable vocal accompaniment on the form of guttural semi-shouty death metal vocals. The guys unleash fierce fast-paced rippers ("Planetary Paroxysm") and mix them with mellower mid-paced strides ("Killing Pace"), both sides evenly distributed throughout, the brisk expletives on the final "Fait Accompli" wrapping on a steady consistent offering which is more in favour of the death metal side.
"Fearsick" is more thrash-friendly, the guys generating quite a bit of energy at the beginning ("The Mold Testament", the short headbanger "Recycled Hate"), before "King Con" reminds of the guys' death metal origins with a more overtly brutal veneer. The second half is generally more death-oriented, the ripping breezer "Fencewalker" another sure raging occurrence, leaving thrash hanging in the balance a bit towards the end.

Rat°God Full-length, 2021
Fearsick Full-length, 2022

Official Site

INHUMAN CONDITIONS (GERMANY)

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

INHUMAN NATURE (UK)

Classic thrash/crossover not far from the early efforts of their compatriots Hellbastard; intense dynamic stuff with hellish deathy vocals which are surprisingly fitting to the intense approach which still tolerates a few more tamed stompers (the power/thrashing "Satan's Claw", the playful anthem "Lines in the Sand"). Some of the band members were also active with the doom/sludge monsters Hang the Bastard.

Inhuman Nature Full-length, 2019

Official Site

INHUMAN RAGE (GREECE)

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 appetizing, 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

INHUMAN VISIONS (USA)

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

INHUMAINE (AUSTRALIA)

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

INIMIKAL (MEXICO)

This Mexican outfit indulge in first-rate intense technical classic thrash/death metal which alternates between stylish intricate pieces ("Apocalyptic Overture") and fast uncompromising outbursts ("Gates of Doom") the latter side not as strongly emphasized on with the presence of the technical speedy shredder "Anthropomassacre" towards the end, its lofty pretensions matched every bit of the way by the varied progressive masterpiece "Conquer Death" and by the closing "Spiritual Parasite", an utter amorphous delight with angular riffage and abrupt fast-paced skirmishes, the drama enhanced by a portion of brilliant Coroner-esque vortexes mid-way. THe husky shouty death metal vocals can't possibly a match to the great music, but their presence is at least not annoying.

Conquer Death Full-length, 2018

Official Site

INITIAL POINT (USA)

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 sparse 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

INJECAO PARASITA (BRAZIL)

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

INJECTOR (SPAIN)

Based on the full-length debut, 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 upon the listener leaving the music to do most of the talking.
"Stone Prevails" isn't very far style-wise from its predecessor, the guys content enough with their chosen melodic, catchy stance to which the gruff overshouty, semi-death vocals are probably not the most fitting accompaniment. "1994" is a more hard-hitting headbanger, but the rest surprisingly acquires more serious, quasi-progressive tendencies those best exemplified by intriguing spacey title-track and the melodic stomper "Justice by Fire". "Behind the Curtain" blends the two sides for one thrilling, not very predictable ride and can be considered the highlight on this aptly-stitched saga which becomes more lyrical and introspective on the closing "Paranoia in My Head".
"Hunt of the Rawhead" doesn't break any new ground although both "March to Kill" and "Unborn Legions" create fever-ish headbanging atmosphere initially, with "Dreadnought Race" killing everyone in the vicinity with its impetuous headlong riffs. The dissipations arrive in the form of the overlong clumser "Rhythm of War" and the heavy semi-balladic pageant "Into the Black", before "Arcane Soul" introduces cool more technical riff-patterns, and the excellent all-instrumental etude "Interstellar Minds" fills in the aether with infectious melodic hooks. The final "Boundbreaker" is another entertaining saga with a wider array of rhythms, a not very intense piece with intriguing melodic arrangements.
“Endless Scorn” follows the established formulas, the maddening opener “Path of the Wrathgod” pairing well with the speedy roller-coaster “Warning Blast” and the dramatic heavy march “The Executioner's Song”. The more intricate expletives of “Never Enter the Core” can easily pass for the highlight alongside the Bay-Areasque impetuosity of “Crawling One” and the bristling rowdiness of “Mindcrusher”.

Harmony of Chaos EP, 2013
Black Genesis Full-length, 2015
Stone Prevails Full-length, 2018
Hunt of the Rawhead Full-length, 2020
Endless Scorn Full-length, 2024

Official Site

INJURY (ITALY)

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 second 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"; it's really good stuff...

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

Official Site

INJUSTICE (USA)

This demo contains three 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

INKOGNITO I. (CROATIA)

This outfit indulge in energetic modern thrash/post-thrash which flies by with lively playful rhythms, the heavy squashing "Mortality Salience" a cool intimidating presence, so is the semi-clean/semi-shouty hardcore-ish signer. "Reborn" is a decent stomping semi-technicaller, and "Resonant State" is another steam-rolling proposition, the light-hearted spacey odyssey "Possessed" resembling the clever modernisms of Die Krupps.

Inkognito I. Full-length, 2022

Official Site

INKVISITOR (FINLAND)

Based on the full-length debut, these Finnish inkvisitors specialize in right as rain old school thrash which is a capable mix of both tempos their symbiosis awkwardly intercepted at times 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.
"Dark Arts of Sanguine Rituals" hits with over-the-top, very shouty vocals which are the furthest possible departure from the earlier singer. Music-wise this is the same old school thrashing barrage with several notable exceptions like the officiant progressiver "A Shadow Suspended by Dust" and the intriguing semi-balladic, semi-technical opus "Necromancy Cascade" which is also helped by better, not as hysterical vocal inclusions.

Delirious Tales EP, 2014
Doctrine of Damnation Full-length, 2015
Dark Arts of Sanguine Rituals Full-length, 2018

Official Site

INMATE (SLOVENIA)

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

INMAZE (POLAND)

Old school thrash that can bash with quite a bit of passion ("Styx") whenever it doesn't race with the speed of light ("Salem") or doesn't weave lengthy cumbersome sagas ("Only Scream"), the shouty semi-clean vocalist trying his best to assist the various nuances presented, including the intriguing diverse shredder "Hate", a melodic but dynamic piece with nods towards the modern thrash movement (Dew-Scented, Darkane).

Between the Lies Full-Length, 2024

Youtube

INMOLATOR (BOLIVIA)

Fast lashing classic thrash/proto-death with a throaty shouty death metal throat behind the mike. The music acquires mellower speed metal-ish proportions ("In Your Head") at times, but watch out for the short piece of fury "Cervical Whiplash", a thrash/death/core conglomerate which leaves its trace on the more laid-back but still fairly energetic thrash/crossover frolicker "Butchered".

Inmolator EP, 2021

Official Site

INMOST (FRANCE)

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

INMUNDUS (SWEDEN)

Based on “The God machine”, this one-man project, the name Richard M Bryngelsson (also the black metallers Siebenburgen), sticks to acceptable old school power/thrash that pulls all the headbanging stops (the title-track) at times, but for the large part this is either meditative semi-balladic (“The Great Sleep”) or epically-ornate (“Becoming”) music which is strictly on the melodious side, the slightly hoarse husky vocals more suitable for the dramatic (the operatic progressiver “The Sands of Amarna”) moments.
"Primordia" is a more laid-back slower achievement, Bryngelsson aiming at the doom dimensions with the macabre "Kraken", but "Nightfall" is a brisk fast-paced proposition, soaring above lyrical idyllic etudes ("The Glimmering") and ponderous slow-motion sprawls ("Anima Nigrum"). The catchy playful character of "Fallen Kingdom" is well acknowledged, but watch out for the rowdy proto-death drama stirred on "A Mist of Red".

Black Arrival EP, 2020
Vae Victis Full-length, 2021
The God Machine Full-length, 2023
Primordia Full-length, 2023

Official Site

INNASANATORIUM (AUSTRALIA)

An atmospheric modern thrash/post-thrash entity which is sometimes served with complex progressive vistas ("Show Me Your Scars"), at times comes as a stripped-down headbanging sweep ("Night Terrors"), the diverse vocal coverage creating quite a bit of drama, the clean attached croons tussling with screechy semi-hysterical tirades and subdued deathly growls. "Shifting Shadows" is a nice atmospheric mid-pacer, influencing the second half that is more on the minimalistic, creepy side the rowdy semi-tech thrasher "#Scottyfrommarketing" rising for a portion of more belligerent rhythms, the closing "Accelerated Oblivion" another more intriguing, more intricate offering with puzzling, also intense death-laced, proto-galloping riffage.

Odyssey of the Mind Full-length, 2021

Official Site

INNEFABLE (MEXICO)

Based on the full-length, this band play modern thrash/death that comes served with a very abrasive hissing sound, a near-obstacle dispersed by the intimidating guttural death metal throat. Not very controlled blast-beats ("Al Borde del Abismo") shake hands with epic walkabouts ("Esclavos Digitales") and unrelenting headbangers ("Condenados a Morir"), the heavy squashing nature of "Putrido Final" another obliterating motif.

Innefable EP, 2022
Tierra de Muertos Full-length, 2023

Official Site

INNER CHAOS (FRANCE)

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

INNER DISORDER (FRANCE)

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

INNER FEAR (UK)

This is heavy, intense thrash which is on the border towards the new groovy vogues in a way quite reminiscent of Exhorder'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 crush-iness that is "Abnormal Personality". "Indoctrination" is a cool varied cut with several time and tempo shifts, and "Blind Insensitivity" 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

INNER FIRE (UK)

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-thrash/groovy rhythms. Doom metal reigns supreme on a couple of tracks in the second 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

INNER RAGE (USA)

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

Demo Demo, 1987

INNER RESISTANCE (BELARUS)

Four 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

INNER RESPONSE (SLOVAKIA)

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

INNER SANCTUM (HOLLAND)

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 timbre and is often deafened by the noisy guitars.

Song in Time Demo, 1994

INNER SANCTUM (INDIA)

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

INNER SANCTUM (UK)

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 timbre 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 future transformation. The sound quality is a bit muddy, but the singer does an admirable job pulling out effective performance with his high-strung lungs which 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 complaint 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 wildly 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

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INNER SANCTUM (URUGUAY)

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

INNER SANCTUM (USA)

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 timbre which holds both melody and aggression. The production is a bit thin, though, with a screamy edge accompanying the guitars for most of the time.

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

INNER SELF (PERU)

Based on the full-length, this Peruvian duo play old school thrash with both short direct headbangers ("Dysfunctional") and creepy near-epic compositions ("Paranoia") intertwined throughout, the violent barrage featured on "Killshot" closer to the death metal parametres. More heavy drama on the title-track, the dynamic corey riffs of "Rehab" capturing some lost territory, before "Hope" brings more hope for the moshers with an array of aggressive bashing decisions.

Inner Self EP, 2019
Inner Self Full-length, 2023

Official Site

INNER STRENGTH (USA)

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 thrashier 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

INNER VIOLENCE (COLOMBIA)

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 with the utmost intensity. The "violence" here is not only "inner", but is pretty "outer", too...

War Hymns Full-Length, 2013

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INNERFEAR (USA)

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

INNERGATE (CROATIA)

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 captured 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 drama putting on the forefront of the female vocal circuit.

Innergate Full-Length, 2011

Official Site

INNERGUILT (LEBANON)

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

INNERKILL (USA)

Two musicians are behind this project which is oriented towards the modern thrash/post-thrash idea, with steady galloping etudes ("Chaos Point") colliding with somewhat abrasive mid-tempo strolls ("Barbed Wire Noose"). "We, the Devil" attempts something more dynamic, but such moments are rare, the dramatically-executed "Guillotine" creating more passion towards the end. The closing "Message from the Grave" is a nice curiosity, a varied pounding quasi-industrial rifforama, the synthesized shouty Mille-sque vocals interlacing with better cleaner ones.

Barbed Wire Noose Full-length, 2021

Official Site

INNERLOAD (ITALY)

Based on “Mater Tenebrarum”, this band play modern power/thrash which can be both bouncy and energetic (“Tears of Blood”, the nice melo-speedster “Shadow from the Past”) and brooding and atmospheric (“Asylum”, “The Unexpected”), the technical Megadeth-esque shredder “Again” the possible highlight on this varied ride which also features the tenebrous progressive title-track and the potent complex thrasher “Aokigahara”. The vocalist is a husky death metal semi-reciter who supports the musical parade with lurking but unobtrusive menace.

React Full-length, 2011
Again Full-length, 2019
Mater Tenebrarum Full-length, 2024

Official Site

INNERSELF (SPAIN)

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 appropriate times.

Phantoms Crossing the Sky Full-length, 2017

Official Site

INNERSIDE (RUSSIA)

Based on the full-length, this act specialize in old school power/thrash which is topped by a contrasting, screechy raspy vs. guttural deathly, vocal duel the delivery also tolerating a few cleaner inclusions behind the mike. Don't expect too many speedy rushes, the mood is calm for a large portion of the time, the solid mid-paced steam-roller the main exemplifier here, the more dynamic "Mermaid's Intergill Clitoris" bringing the winds of speed for a bit, the cool lead sections another worth mentioning ingredient. The band members are also occupied with the black/deathsters Insanis and the heavy metal outfit Ignition.

The Inner Side of Devastation EP, 2013
Shelled Out and Disembowelled EP, 2019
Human's Rot Full-length, 2022

Official Site

INNERSPHERE (CZECHIA)

Based on "Omfalos", this band play modern melodic thrash/death that sometimes courts the officiant epics of Amon Amarth ("Above", the title-track), sometimes thrashes with fire ("Fire"), the doom-ornate configurations on "Wisdom" pacifying the setting, the latter becoming more serious and also less energetic towards the end, the doom epicness taking over on the academic tenebrous finale "The Fall". Some of the band members also play with the doom/deathsters Llyr.
“In the Shadows of the Sun” is a much more tamed symphonic affair, the guys relying on melody and mid-paced configurations, notching the atmosphere on the dramatic opus “Whisperer”, tasting the fields of doom on the melancholic “Ozymandias”, the second half following the same anti-climactic path with the somber elegy “The Trident Is Burning” and the gothic pageant “Nectar”. Thrash is missing for most of the time, not to mention the deathly hallows… it’s a new direction taken which should satisfy fans of Septicflesh and mid-period Sentenced and Cemetary. Some of the band members are also occupied with the melodic doom/deathsters Llyr.

EP EP, 2016
Amnesia Full-length, 2018
Omfalos Full-length, 2021
In the Shadows of the Sun Full-length, 2024

Official Site

INNERSTATE (UK)

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 three 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 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

INNERWAR (CHILE)

This is a commendable dedication to the classic sounds of old, and the guys should be praised for this. Except for the slightly fuzzy 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 courting 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

INNOXIOUS (NORWAY)

Badly produced, but decent attempt at more complex power/thrash metal with intricate riffs which definitely betray 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

INNTRANCE (SPAIN)

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 more biting 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 Telon" 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

INORDEM (SPAIN)

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 gamut, and generally is not awfully bad keeping up with the diverse, unpredictable nature of the music.

Antedtesis EP, 2002
La Oruga Full-length, 2004
Progreso Full-length, 2006
Destruccion Mutua Asegurada Full-length, 2009

Official Site

INQUESTED (NORWAY)

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 aren't 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 sparse 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

INQUISIDOR (MEXICO)

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 deathly singer doesn't quite suit them. The music revolves around clumsy 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

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INQUISITION (COLOMBIA)

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

INQUISITOR (HOLLAND)

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

INQUISITOR (PORTUGAL)

The "Iron Preacher" demo: 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".
On the "Dungeons of Fear" demo the band provide pretty decent old school speed/thrash, the title-track vintage early Germanic speed, the delivery afterwards retaining its more over speed metal edge, "Fortress of Hell" and "FulminadospeloAco" both following this trajectory unerringly, the rough semi-deathly vocals emitting the odd higher-pitched shriek, the cover of their compatriots Flagelagor's "Anjo Exterminador" a tad more aggressively performed than the original, the guys also offering a fairly good sound quality all over.

Iron Preacher Demo, 2010
Dark Ages of Witchery EP 2012
Dungeons of Fear Demo 2016

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INQUISITOR (RUSSIA)

Roughly-produced but generally competently-executed retro speed/thrash that can be quite intense ("Shabash") on occasion, but expect also a few power/thrash strolls (Inkvizitor Idet"), plus the odd more technical hook ("Kto Kogo"), the singer semi-reciting in a more attached rowdy fashion.

Demo Demo, 1992

INRAGE (SWEDEN)

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 Soderman: the guitar player who did a fairly good job on the two Rosicrucian albums earlier in the 90's, although 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 Destroy Full-length, 2002

INRI (PERU)

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

INRI IMMORTAL (ECUADOR)

Based on the full-length, these lads serve old school thrash/death that settles for the expected speedy formula with the fittingly-titled "Devastation" and seldom looks away, the surprisingly moderate speed/thrash lustre of "Death to Death" passing for the relative respite, if we also exclude bits and pieces of the larger-than-life opus "Agony", a multifarious listening experience with a wider ground covered. Thesinger is a guttural death metal presence, his authoritative tirades giving bigger gravity to this decent, not always predictable entry.

Apocalipsis EP, 2019
Postmodernism Full-length, 2023

Official Site

INSADE (CANADA)

Earlier this formation were known as Oath to a Dead Man when they played old school death metal. The style on display here is a death/thrash mixture, still in the classic mode, the shorter and more technical material ("No God of Mine", "Constant State of Agony") being almost full-blooded death metal, whereas the longer tracks range form distorted but effective quasi-doomsters ("Shell Shock") to some quite intriguing classic thrashisms ("Sacrifice"). "Eyes of Fire" is another more intricate proposition, and "The Last Ride", which is indeed the last composition, is a nice venture into the more progressive side of the metal realm, with a wider array of tempos, the vociferous semi-shouty death metal vocals adding bigger gravity to the proceedings at times.

Ready for Hell Full-length, 2022

Official Site

INSAINTIFICATION (BRAZIL)

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 two 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

INSANACIDE (USA)

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

Demo Demo, 1990

INSANE (BELGIUM)

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 Beer Demo, 1989

INSANE (CZECH)

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 doom-oriented models. The singer shines all over, though, with his emotional deep mid-leveled 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

INSANE (GREECE)

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

INSANE (ITALY)

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

INSANE (SWEDEN)

Based on "Evil", this act serve intense retro thrash with interesting 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 delights ("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 surely benefits from such an over-the-top performance behind the mike.
"Victims" carries on in the same vein with speedy exploders dictating the plot, the interesting more variegated "Cruel Command" serving a portion of cool melodic hooks, the latter remaining for the speedy impetuous "Sinister Night" and the Paradox-esque shredder "At Dawn They Die". More lengthy lyricisms later in the form of the brooding atmospheric "Sanitarium", another desirable oasis amidst fireworks of vitriolic fast-paced rhythms.

Death Race EP, 2011
Interment of Life EP, 2013
Evil Full-length, 2017
Victims Full-Length, 2021

Official Site

INSANE (UK)

Based on the “Paint the Seas Black” demo, this band play mild retro power/thrash which combines moderately intense pieces (“All I See”) with frolic mid-pacers (“Paint the Seas Black”) and pleasantly heavy stompers (“Vein Truths”), the passable not very emotional semi-clean singer doing his thing with impartial moderation.

Paint the Seas Black Demo, 1990
Thoughtless Ways Demo, 1992
Things Are Looking Up Demo, 1993
Frog on a Lily Pad Demo, 1994

Official Site

INSANE ADDICTION (GERMANY)

Based on the "Blindside" EP, this band play sharp but also heavy pounding old school thrash accompanied by throaty shouty death metal vocals. The title-track serves a more refined semi-technical edge, and "Demons Unleashed" moves things around with brisk vivid headbanging riffs, with "When Angels Cry" combining both sides into one brief diverse melee.

Insane Addiction EP, 2018
Blindside EP, 2021

Official Site

INSANE COURT (GREECE)

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 frolicker, 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

Facebook

INSANE HOMBRES (GREECE)

Based on the first EP, these lads pull out intense classic thrash/crossover which can be both pleasant and radio-friendly ("Attack") and unapologetically bashing ("Blistering"). Make way for the short bursting "Little Miss Sanity Fucker" as well, a hardcore jump-arounder supported dispassionately by the leveled semi-declamatory punky signer.

To the Core EP, 1988
Louder Harder Faster EP, 2016

INSANE NOISE CREATOR (POLAND)

This is modern post-thrash which has its quirkier more technical side ("LV426"), but clumsy trots like "Office of Eternity" slow down the proceedings, before "Isotope" goes up the moshing scale with more vivid albeit sterile riffs. Thumbs up for the closing headbanger "Neuromancer", the highlight on this abrasive, also industrialized, recording that also wins a tiny point from the rending death metal vocal department. The musicians are also involved with the modern tech-thrashers Grin and the post-thrash formation Major Smiss.

Transdimensional Thing Full-length, 2023

Official Site

INSANEACIDE (USA)

This is aggressive, intense thrash with good forceful vocals ala Chris Bailey (the first Infernal Majesty singer). The guys produce 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 isn't 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 aren't bad, and they can be more clearly heard than the riffs since the latter suffer more from the fuzzy sound quality.

A Multi-Crucial Faze Demo, 1988

INSANEHEAD (ITALY)

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

INSANIA (ITALY)

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 drama 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 confines, and succeeds not without the help of the downbeat quasi-doom 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

INSANIA.11 (ITALY)

THe debut: 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 accumulations 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 mind-blowing 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.
"D'Orrore": the Italian maestros are here again, apparently not willing to lose the accumulated inertia, and this should by all means be the spirit as the fans will receive another standout slab of intricate old school thrash. The approach has been upgraded a bit, though, from the debut with a more complex, progressive clout and with more aggressive riff-formulas bordering on death metal more boldly than before. Both innovations indelibly bring more flavour to the proceedings, enriching the entangled riffs of the opening "Il Bosco", a consummate hectic thrash/deathster with the staple for the band Coroner-esque vortexes firmly in place. Bigger complexity arrives on the multifarious "Il Divoratore Di Mondi", a shape-shifting masterpiece with surprises galore including a couple of hyper-active deathy accumulations the latter taking a backseat on "Inverno", a creepy proto-doomster with enchanting balladic excursions to everyone's delight, lasting for over 8-min. "La Legge Di Dahmer-La Marcia Dei Golem" is the next in line super-technical showdown the guys relying more on atmosphere here the rhythm-section acquiring a darker vibe, with the riff-spirals getting more and more contrived as time goes by. "Madre Dolorosa" is an insanely dense shredder with a more intimidating deathly sting which is also expressed through more frequently applied speedy sections despite the nice melodic hooks also encountered, the latter also playing a major role on the closing "Nella Fossa", frenetic intricate thrash/death to the bone with virtuoso-prone arrangements recalling both Necrophagist and Deathrow, with a constantly shifting pace creating a tangible dizzying sensation at some point.
There's no end to perfection, as people say, but it's really hard to foresee how the band would be able to top this outstanding achievement; the Italians' search for technical/progressive greatness may have started with Sadists and Headcrashers, but it takes a healthy doze of insanity to keep the level high in these highly competitive modern times... and here it comes, a culmination of this quest, archived under number 11 in the metal archives.

Di Sangue E Di Luce Full-Length, 2016
D'Orrore Full-Length, 2018

Official Site

INSANIAC (USA)

"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 Asylum Demo, 1986
Psychomania Demo, 1987
Media Lies Demo, 1990

Fan Site

INSANITER (GREECE)

The demo: three tracks of standard retro thrash with a noisy fuzzy guitar sound and a few more serious attempts at song-writing on the hypnotic complexer "Desert Rain", later updated for the sophomore. 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.
"Eyes of Lies" is a much better-constructed effort, the guys shredding with bigger intricacy on the opening "Army of Darkness", the intrigue preserved to an extent on the choppy deviant "The Night of the Wolf", the title-track another noteworthy presence with a covert catchier speed metal sniff. "In Night Fall" is a more aggressive thrasher the band still sounding technical and appealing, but "Death Trap" slows down the proceedings being vintage doom with intimidating deathly vocals and a momentary fast-paced motif, and one would have real problems recognizing the Destruction hit from "Infernal Overkill"; a very characteristic interpretation which still does the band justice. "Desert Rain" continues with the technical excursions, the guys betting on complex variations and sparse speedy sweeps, the closing "Kolash" a nice atmospheric instrumental piece with psychedelic overtones.
"Back in the Days" is a combination of old and new tracks, the new material ("The Gods") decidedly on the fast bashing side, with more atmospheric descents ("Alley of Fear"), the creepy "Eclipse of the Beast" a sure asset with its suggestive anti-climactic arrangements. "Star & Wars" is a sure-handed speedster, and "So Far Away" is a heavy more complex opus, supplemented by the equally intriguing "Human" and the brilliant Helstar-esque roller-coaster "My Lady of Winter". "Iced Hills" is a nice crisp fast-pacer, its hyper-active qualities marvellously sustained for the more entangled "Needle of Death" and the labyrinthine closer "End of Insanity".
"Half Faces" is another noteworthy achievement, the tight intricate riffs of "Chuck and Cobra" throwing bridges towards the heritage of visionaries like Coroner and Realm, the title-track flirting with heavy pummeling rhythms and creepy technical strokes, before "Screaming Pictures" embarks on a full-blooded prog-thrash journey with melodic embellishments and grand epic sprawls. "Trapped Universe" a slow-burner with the pounding riffage and the gradually building drama, leaving the less restrained moshing expletives for the short ripping but still pretty entangled "Breathdrop". "Sharp & Sin" is a complex speed/thrasher with steel lashing guitars, a few surreal tractates calling Voivod to mind, the latter overwritten by tight dense riff-patterns on the superb "Vengeance of Gods", the possible highlight on this most assured statement of intent.

Insaniter Demo, 2012
Initium EP, 2014
Half Faces Full-length, 2014
Eyes of Lies Full-length, 2016
Back in the Days Full-length, 2023

Official Site

INSANITY (BRAZIL)

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, atmospheric 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 two 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
Mind Crisis Full-length, 1998

INSANITY (GERMANY)

Based on the "Tales of Insanity" demo" former graduates from the Primal Fear school of thought have upgraded their delivery on a separate dish, still holding onto the power metal canons more, but the crunchy stomping rhythms of "Riots" direct things towards thrashier ways of expression, the title-track turning into a lofty prog-thrash opus with echoes of Paradox, with hard-hitting passages interlacing with compelling technical decisions and a few quieter interludes. "Sign of Times" is more on the semi-balladic side, a calmer less confrontational piece, accentuating on the cool clean mid-ranged vocals; and "Incredible Madness" is another more aggressive lasher interlacing heavy mid-tempo strolls with vehement speedy skirmishes. The band members also shredded in the power metallers Comedy Club, and are at present reaping glories with the death metal stalwarts My Darkest Hate.
The "Delegated Nations... Insane Earth" demo is a confident power/thrash conglomerate with the Bay-Area a major influence, the opening "The New Generation" leading the pack with sharp lashing riffs, "Like a Marionette" entering the scene with a more complex array of riffs on a consistent mid-paced base, "Family Cast" serving as the respite with a milder semi-balladic layout. "Nothing Has Changed" is an ordinary mid-tempo cruncher, but "No News" is decidedly more eventful with a speedy, also more intricate stroke provided in the second half. "Back to the Truth" follows the same pattern, another semi-technical shredder that can pass for the highlight on this cool slab of old school metal.

Welcome Death Demo, 1989
Tales of Insanity Demo, 1990
Delegated Nations... Insane Earth Demo, 1991
The Human Side of Paradise Demo, 1996

Youtube

INSANITY (USA)

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

INSANITY ALERT (AUSTRIA)

The demo: this isn't 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 blitzkrieg "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 should 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.
"666-Pack" is sustained in a very similar vein to its predecessor; in other words, expect uncompromising speedy thrash/crossover reflected in short moshing bombs some of them ("The Body of the Christ Is the Parasite") marginally milder with a clearer crossover vibe, others ("Cobra Commander") grabbing the good old speed/thrash straight for the throat, not to mention the hyper-active tribute to Bee Gees' "Stayin' Alive" that is the short ripping hardcorer "Saturday Grind Fever". It's all one cool, very unpretentious headbanging fun...

First Diagnosis Demo, 2012
Second Opinion EP, 2013
Insanity Alert Full-length, 2014
Moshburger Full-Length, 2016
666-Pack Full-Length, 2019

Original Site

INSANITY ARISE (ITALY)

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

Insanity Is Your Deadliest Weapon EP, 2006

Official Site

INSANITY IN SCARLET (SLOVAKIA)

This is then product of Pavol Demek, the alias Demo, who indulges in a pretty standard combination of thrash, death and power metal, on over-saturated genre to which Demo doesn't bring anything new, just rehashed melodic rhythms, proficient leads, those the finest part of then album, and the expected clean/gruff vocal duel. Speedy Sweeps ("Kirai") take turns with heavy mid-paced strollers ("Team O"), the more brutal deathly additives ("No Tears for Your Sacrifice") aggrangizing the environment which in its turn gets immediately pacified by pleasant lyrical instrumentals ("Fate").

Insanity in Scarlet Full-length, 2021

Original Site

INSANIUM (USA)

Based on "Portrait of Misery", this US duo specialize in complex progressive thrash/death of the old school type that has its marginally more immediate semi-bashing side ("The King of Lies"), but the album's real power lies in the elaborate tapestries ("The False Shepard", "The Pain of Letting Go" woven for the large part, the lead guitar work particularly striking as opposed to the not very expressive semi-declamatory death metal vocals which at least are quite intelligible. Several soothing lyrical segments (the title-track, "What Is?") are thrown in amongst the numerous entangled conundrums, one of those served in a fierce galloping fashion on "The Voyage That Never Ends", the more linear thrashing of "Addict" preceding the very cool, more pensively executed, cover of Death's "The Philosopher", the late Chuck Schuldiner's (R.I.P.) a tangible influences here and there. The lads also have another project, the death/doom hybriders Children of Nothing.
"The Fall of Man" is another pretty appetizing offering, the aggressive complexity of "Death of a Bloodline" setting the tone for what follows, "To Live Forever" nodding in the Swedish canons' direction with a more orthodox layout. "Walking Softly into the Sun" is a sorrowful balladic elegy, with clean vocals also popping up; and "Under a Hateful Sky" is a raging death/thrasher with a serene implement. Watch out for the brutal brisker "The Labyrinth", and by all means for the closing 10-min odyssey "Strophica Infinitum", a sometimes semi-meditative tractate on thought-out thrash/death lore.

Portrait of Misery Full-length, 2024
The Fall of Man Full-length, 2024

Official Site

INSANNICA (BRAZIL)

Based on the full-length, this band play modern, heavy steam-rolling thrash with smashing sharp riffage and cool melodic licks (check out "The God of Hatred" for both the riff and the lead department). The "clean vs. gruff death" vocal duel isn't such a highlight but the music delivers with both seismic, tank-like ("Cryonics") and speedy moshing excursions ("Absence of Attitude"). Some of the band members are also involved with the folk metal formation Hagbard.

No Way Back EP, 2013
Cryonics Full-length, 2018

Official Site

INSANUS (PORTUGAL)

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 addictive ("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

INSECT OF SOCIETY (ITALY)

The very muddy sound quality leaves a lot to be desired, but the guys do try to acquit themselves among the buzz and the noise by unleashing passable retro speed/thrash/crossover which is further marred by the awful unrehearsed semi-clean/semi-shouty vocals. The choppy more ambitious rhythms of "La Mano Nera" raise the lathe a bit higher, but it's unrestrained aggressive jolts like "Braintoasted" and the near-grinding mess "Glam" that dictate the plot here although "The Son of Misery" tries hard to insert a hefty doze of both melody and intricacy into the very simplistic proceedings, but the generally very pristine musicianship simply can't help with the completion of such lofty endeavours.

Falsa Gloria Demo, 1992

INSECTICIDE (USA)

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

Official Site

INSECTILE (USA)

Based on "Entropic Necromancy", these lads pull out a retro thrash/death compendium with a hefty Gothenburg flavor; so expect frequent melodic nuances among the fervent blast-beating expletives, with thrash mostly popping up on the more moderate cuts (the mid-tempo stroll 'Carnage"). "Incineration" is another more thrash-fixated offering, the intense shouty death metal singer overwriting other similar attempts with his vociferous omnipresence.

Hymns of Enslavement Full-length, 2018
Death Incarnate EP, 2019
Entropic Necromancy Full-length, 2021

Official Site

INSECURITY (CHILE)

These lads serve brisk classic Bay-Areasque which has both a straight-forward more melodic ("Intruder of Reality") and more contrived ("Stabbed by Treasons") side, the dazzling virtuoso leads on "The Worst of Days" a major strife at musical dexterity. Run for cover on the short thrash/crossover explosion "Have Beware!", and check your prog-thrash watches on the closing encompassing behemoth "Insecurity". The singer is a cool semi-clean/semi-shouter who presides over the proceedings with the requisite attachment. Some of the band members also play in the death/thrashers Alienation and the black metal formation Suicide Club.

Intruder of Reality Full-length, 2022

Official Site

INSEMINATOR (POLAND)

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

Official Site

INSENSATE MACHINE (USA)

This outfit provide excellent futuristic dystopian thrash that is not too far from works of the masters Voivod and the Poles Myopia. There are quite a few twists and turns on the opening abstracter "The Quiets of Space", before "Cylinder" pacifies the setting with several stiff robotic rhythms. "Insensate Machine" is a surreal quirky march with a few bizarre stopovers, and the title-track is a superb labyrinthine prog-thrasher with sterile fast-paced accumulations. "Toxicloud" is a more conventional, more memorable tractate, and "Can't We Live" is a spacey crunchy semi-headbanger, the band turning to more streamlined progressive on the meditative "The Cower", before the closer "Interplanetary Immunity" produces another gust of visionary mechanical thrashisms with bouts of unheralded quasi-balladic musings. The vocalist is a dispassionate clean performer whose not very attached antics perfectly complement the lofty less ordinary musical canvas.

War of the Worlds Full-length, 2023

Official Site

INSHOCK (CHILE)

The debut: 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.
“Pervert Clown” is both a more aggressive and more complex opus, the band providing the entangled wonder “Odio Industrial”, a multi-faced piece with a couple of really delightful speedy crescendos and a brutal deathly colouring. More stylish surprises served with the dramatic “The Eternal Idea of Loss” and the vivid roller-coaster “Wander”, the band excelling all the way to the end with the corrosive violator “Mental Breakdown” and the more playful moody title-track.

Long Leash Full-Length, 2017
Pervert Clown Full-length, 2023

Official Site

INSICKNIA (DENMARK)

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/doom 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

Official Site

INSICKNIA (ITALY)

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

INSIDE (COLOMBIA)

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

INSIDE (MALAYSIA)

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

INSIDE (RUSSIA)

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

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INSIDE FOUR WALLS (PORTUGAL)

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

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INSIDE IT GROWS (GREECE)

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 times 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

INSIDE ME (SPAIN)

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

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INSIDE PROJECT (FRANCE)

This is modern thrash with metalcore a close call. expect no surprises along the way, just mechanical 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

INSIDE WAR (BRAZIL)

Based on the full-length, these folks provide primal old school thrash which crosses 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 deathly 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

INSIDEAD (GREECE)

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-thrash 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 progressive 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 album 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

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INSIDIOUS THREAT (USA)

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 timbre sits somewhere between James Rivera and a lower-pitched John Cyriis.

A Verdict Demo, 1988

INSINNERATOR (USA)

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

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INSLAIN (AUSTRALIA)

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

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INSOMNIA (FINLAND)

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 "Farewell to Bubbo" is a quiet 1.5-min acoustic instrumental.

Insomnia EP, 1990

Official Site

INSOMNIA (USA)

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 timbre reminiscent of Joey Belladonna.

Suicide Generation Demo, 1989

INSOMNIO MUTANTE (CHILE)

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

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INSOULENCE (AUSTRALIA)

Operatic atmospheric black/thrash which lets thrash loose on the shorter numbers ("Black Rose", "World Wide Crypt") where even some death metal has sneaked in to help. The longer compositions are intriguing, quasi-progressive 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

INSTANT DEATH (USA)

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

INSTIGATION (USA)

The drummer from Blood Feast Joe Moore is involved in this mess which features noisy fuzzy 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

INSTIGATOR (USA)

Based on the full-length, this band play old school thrash with gruff semi-deathly vocals. There's an audible semi-technical sting ("Ignorant Trend", the twisted shorter "Haunting Chapels") that creates more intrigue, but it's steam-rolling moshers like "False Prophet" and "It Could Be You" that will delight the listener the most, the more complex walkabouts ("Stick It", "Saturn") reducing the intensity but bringing a fresh doze of originality.

Built to Defy EP, 2018
Necessary Evil Full-length, 2020

Official Site

INSTINCT (HOLLAND)

Based on the EP, this act specialize in steady modern post-thrash the gruff inebriate vocals leading the show which softens considerably for the lyrical ballad "Sleepless" the man behind the mike suitably providing a cool soothing clean croon. "Insane" surprisingly starts thrashing with force at the end, a pure retro headbanger, but this is just a gust of nostalgia. Some of the band members also played with the progressive metallers Conrad Hultermans.

Instinctive Terror EP, 1997
Hate of Mind Full-length, 1998

INSTINTO OCULTO (COLOMBIA)

A black/thrash/death combo which rolls onward in a brisk frenetic pace, with deep atmospheric currents ("Instinto Oculto") disrupting the mosh at times, the lofty more technical aspirations of the black-fixated "Tormented" a sure highlight, but only after everyone's agreed that the excellent shredder "Montanas en Sangre" is too melody-infused, and that "No Hay Piedad" is too hyper-active and hectic. The singer is a gruff subdued deathster, sticking to muffled semi-recitals for most of the time.

Montanas En Sangre Full-Length, 2022

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INSTRAMETAL (SOUTH AFRICA)

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

INSULT II INJURY (USA)

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

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INSULT KILL (JAPAN)

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. "Critical 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-deathly shouts which lead the show confidently albeit a bit noisily and vociferously.

Vultures & Hyenas Full-length, 2017

Official Site

INSULTER (BRAZIL)

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 isn't 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.
"Insane": wow, the full-length has finally become a fact, and the guys should rejoice on all counts as this way more polished than their early messy exploits, the delivery within the retro thrash confines, but this is dirgy mid-paced stuff at the beginning, the band bursting on the lengthy semi-technical winner "Amityville", later following up with the crunchy headbanger "All The Pain Of The World" and the remorseless mosher "In My Eyes", the shouty deathly vocals accommodating the rousing fiesta which also knows its mellower speed metal-ish side ("Shadows In The Night").

Black Church Demo, 1987
Ignoring the Falsity Demo, 1989
Insane Full-length, 2021

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INSULTER (GERMANY)

"Crypts of Satan": 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 a 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.
"The Misanthrope" offers the same entertainment as the more convincing material is the one where fast and slow parts are intertwined ("Zombie Forces", the excellent melodic roller-coaster "Horny Necromaniac"). "'Til Dawn" sides more with the epic power/speed metal hordes, and "Into Battle II-Misanthropic Death" is a more elegiac/doom way to close this otherwise pretty dynamic opus.
"...to the Last!" inserts a hefty doze of death metal into the therapy, the headbanging rifforama also tolerating a few black metal hyper-blasts alongside the staple fast-paced rippers ("Ripper", the more frivolous thrash/crossover "When Lightning Strikes"). "Hunt for the Wolf" is a merry-go-round speed metal anthem, and the closing title-track is an academic epicer with a pulverizing second half.

Crypts of Satan Full-Length, 2016
The Misanthrope Full-length, 2018
...to the Last! Full-length, 2022

Official Site

INSULTERS (SPAIN)

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/thrash 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

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INSURGENCY (USA)

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

INSURRECTION (CANADA)

The debut: 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 with 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 second half isn't 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
Prototype Full-length, 2013
Extraction Full-length, 2017

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INSURRECTION (COLOMBIA)

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 sparse 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

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INSURRECTION (HOLLAND)

Based on the full-length, this band play formulaic modern thrash/death which is built around constant fast-paced formulas, the headbanging guaranteed all over if you manage to overcome the insistent sense of deja-vu the latter slightly dissipated by the atmospheric dirger "The Deeper Depths" and the epic-prone black metal-peppered title-track the latter greatly helped by the screechy overshouty vocals.

Catatonic EP, 2015
Circles of Despair Full-length, 2019

Official Site

INSYNYRY (USA)

Excellent progressive power/thrash sounding like a mix of early Psychotic Waltz and heavier, thrashier Fates Warning (the semi-balladic atmospheric masterpiece "Pain of Loss"; the jumpy shape-shifting shredder "Eye To Eye"), think the style on "No Exit". The music is mostly heavy and mid-paced with interesting tempo changes. The shorter more aggressive tracks have a certain Bay-Area flavour (think early Testament): the blitzkrieg technicaller "Trial of Insanity", and the longest track on the demo and arguably the best one, the over 9-min multifarious saga "Holy War", the supposed title-track, a direct take on Metallica's late-80's period with the smashing speedy riffs, the technical clinical riff-formulas, the dramatic pounding developments 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 Jeoff Tate (Queensryche).

Holy War, The War Within Demo, 1992

INTACT (ESTONIA)

Based on the full-length, this act serve an admirable update of the early sound of GZR/Geezer so expect rowdy 90's post-thrash exploits supported by cool boisterous semi-clean vocals. The unadulterated galloping dynamics of "Blacklist" merge with the groovy seismicity of "Toxicate" and the deathly urgency of "Bastard", the delightful more technical walkabouts on "Danse Macabre" making circles around the more orthodox remainder. "Blue Morpho" is a really cool more melodic proposition, a dramatic pounder with memorable licks, and "Red Admiral" notches up the aggression again for a bumpier ride before "State Conclusion" closes the proceedings in a subdued balladic fashion, also showing the singer as a really capable more lyrical performer.

Chasing Shadows EP, 2017
State: Depression Full-length, 2019

Official Site

INTANGLED (USA)

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 isn't 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 three 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 thrashing 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 pirouettes 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

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INTEGRAL RIGOR (IRAN)

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 doom 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

INTENSE (HUNGARY)

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

INTENSE (USA)

Based on the demo, this band play fairly capable old school thrash with assured choppy rhythms and very good clean attached vocals. The established brisk mid-pace seldom gets broken, but "Narrow Minds" tries to do that with crisp semi-technical riffage, and "Running the Maze" notches up the melody in both the riff and lead department, the latter hitting the top on a few delectable virtuoso passages. The irregular, nervy tech-thrashing of "Don't Be Involved" is a true revelation, the guys abandoning their so-far displayed Bay-Area infatuations for a stroke of twisted Mekong Delta or Target-esque genius, "Death In the West" following suit with equally arresting but more melodious approach, the lead guitarist again making circles around everything and everyone with his dexterous fireworks. Some of the band members were also engaged with the heavy metallers Electric Punishment.

Run the Maze Demo, 1991
Hyperphysics EP, 2009

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INTENSE MOSH (ARGENTINA)

Based on "Dulce y Carinoso", these lads serve intense ripping old school thrash/crossover which touches the more brutal proto-deathly parametres with the violent "Frutosdel Horror", the intimidating shouty death metal vocals also helping the scary cause. The melodic flirtations on "Deudas Personales" are more than welcome, also showing bigger musical proficiency, but both "M.F.H." and "Santas Toxinas" are less restrained hardcore exercises, the band moshing with gleeful abandon. The band members also play with the death/grindcore psychos Entre la Bazura, and the progressive deathsters Zaqueo.

Dulce y Carinoso Full-length, 1993
17 susurros en tus oídos Vol. 2 Full-length, 1996

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INTENSE MUTILATION (USA)

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

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INTENSE REGRET (USA)

A fairly cool obscure demo of energetic speed/thrash with sparse 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 antics sounds close to Bruce Dickinson himself. The music is quite varied the band changing the tempos all the time producing the best performance 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 Regret Demo, 1989

Official Site

INTENT (USA)

The debut: moderately complex retro thrash with more entangled arrangements as evident from the multi-layered 8-min title-track which thrashes with gusto nearly the whole time, nearly matching the unadulterated vigour of shorter, more immediate headbangers like "Insight". "Network Failure" is a cool more technical proposition with covert proto-death elements, and "Tyrannicide" is a really stylish intriguing closer with more expressive intricate embellishments, the guys successfully capturing the manic riff-dense spirit of Dark Angel's "Time Does Not Heal" by adding another less restrained deathly stroke.
"Exile" comes with a very abrasive sound which ruins the intentions (no pun intended) a bit, those circling around the straight-forward moshing idea, above all, the band spitting fast'n fiery numbers (the title-track, "Shallow Earth") as the dominant leitmotif, occasionally reminding of the first instalment's more intricate clout ("Primal Instinct"), but this isn't the target to be hit here, the frantic psychotic rhythms on "Time" the other less orthodox moment.

Vox Populi Full-length, 2018
Exile Full-length, 2022

Youtube

INTERCEPTOR (ITALY)

With Thy Gate Beyond on an apparently 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

INTERCEPTOR (POLAND)

Based on the full-length, this act deliver fast blitzkrieg classic thrash that rushes through the speakers with very little ado, the welcoming rhythms of "Zangetsu" bypassed by the fierce demeanour of the hardcore-prone "Korrok" and the contrived stomps of "05_WTOREK". The shouty punky vocals are surely a vital ingredient, but can't stand on the way of the more inspired moments among which one should also savour the crossover vigour of "Selfdestruct" and the moshing vehemence of "Nie Jestem Gwiazda Rocka".
“Goats City Parano” is a decidedly more abrasive fare, and although the fast-paced demeanour hasn’t been tampered with that much, one can easily spot the more entangled expletives of the title-track and the rigorous speedster “Zamet”. The march-like drama on “Natchnieni” borders on hardcore, but run for cover on the fast-paced explosion “Patrz na Mnie”, before “Zadnych Szans” introduces a meeker, mellower soundscape with semi-balladic overtones.

Czas Surferow EP, 2019
To Nie Jest Kraj dla mlodych Ludzi Full-length, 2022
Goats City Parano Full-length, 2024

Official Site

INTERCEPTOR (SLOVENIA)

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

INTERDICTION (GERMANY)

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

INTERFEAR (BELGIUM)

Dark semi-technical old school thrash, providing the stomping roller-coaster "Hollow Man" initially, before attempting something atmospheric and doomy on the minimalistic "Veindamaged-Broken" combo; the all-instrumental "Prophecy" thrashing with more verve and pound, the clean mid-ranged vocalist adding his contribution on a couple of subdued recitals.
The EP is a heavier beast, the volcanic steam-roller “Souldigger” courting the modern groovy trends gleefully, the openly post-thrashy “S.I.C.K.” trudging reluctantly behind, the lethargic picture enlivened by the choppy nervy “Weeds”, a stylish nod at Tool; and by all means by the pulverizing near-thrash experience “Bloodstained”.

Demo Demo, 1995
Tolerance EP, 1998

Demo Download

INTERFECTOR (POLAND)

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's great potential here. They have to change the vocals, though: these hysterical, black metal snarls don't fit the music.
The EP isn't 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

INTERFECTUM (HOLLAND)

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 doom/black/thrash with balladic overtones; an atmospheric masterpiece, but kind of out-of-context.

Incarnation of Evil EP, 2009

INTERNAL CALIBRATION BALANCE (USA)

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 deathly 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 faithfully follow this young talent's future exploits.

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

Official Site

INTERNAL CORROSION (USA)

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 second 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 moshing 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

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INTERNAL EXCAVATION (HUNGARY)

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

INTERNAL INFESTATION (CANADA)

Three tracks of intense semi-technical thrash/death, devious not very regular stuff with twisted rhythms and dramatic riffy escalations, the vicious mean black metal vocals increasing the pressure, the latter turning into a more dazzling tractate from the early Suffocation repertoire on "Aurora Gorealis", a lofty intricate shredder which has its logical sequel in the face of the restless speedy hecticer "Chainsaw Bloodlust".

Demo Demo, 2021

Official Site

INTERNAL NIGHTMARE (AUSTRALIA)

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 death metal 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 enlivened 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 doom 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 death metal basher with the hyper-speedy "Rancid Cremation" assisting it quite well to create a lot of brutality 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

INTERNAL PERDITION (POLAND)

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

INTERRIA (FRANCE)

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 hard 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

INTERTWINED (USA)

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 guaranteed 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

INTERVENTION (FINLAND)

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 three 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

INTERZONE (CANADA)

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

INTESTINES (POLAND)

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-grind outbursts (the deathly brutalizer "Jesus Christ"). All the songs (eight 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

INTO ANOTHER (USA)

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

INTO THE VOID (USA)

Based on the EP, these guys offer heavy classic thrash similar to the Germans 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

INTOLERANCE (USA)

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

INTOXICANT (UKRAINE)

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

INTOXICATE (SWEDEN)

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.
The full-length becomes a fact after the reformation in 2014, the band showing both a penchant for a more aggressive death metal-ish song-writing (the title-track) and more complex tendencies those best exhibited on the encyclopaedic doom-laden opus "Posthumous Posthuman" and the excellent diverse lashing roller-coaster "Eyes Unwilling". Expect also some truly relentless thrashing ("Retention Rumba") all over the guys coming back with full force, and hopefully for more such achievements in the future.

Monomania Demo, 1989
Tango of Nietsche Demo, 1990
Into Hibernation Demo, 1991
Retrogressive EP, 2014
Cross Contamination Full-length, 2019

My Space

INTOXICATED (BRAZIL)

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 gruff manner with no shade of melody.

Speed Assault Songs Demo, 2005
Black Skull Demo, 2007

My Space

INTOXICATED (GERMANY)

The debut: 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 the title-track. 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 (R.I.P.) worshipper who puts his voice in a lower-tuned, semi-clean register with semi-declamatory characteristics.
“Sadistic Nightmares” is a more aggressive fare, the band even attempting something more stylish on the vibrant opener “Street Metal Bastards”, the speed metal melee unleashed on “Merciless” and “Sadistic Night” contrasting with the aid-back Motorhead-ish boogie exhibited on “Bad Habits” and “Violation”. Watch out for the hyper-active speed/thrasher “Sex, Violence & Death”, the guys’ most aggressive offspring at this stage.

Rock'n Roll Hellpatrol Full-Length, 2013
Sadistic Nightmares Full-length, 2023

Official Site

INTOXICATED (POLAND)

The debut: 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 a not very predictable effort.
"Extermination" is another major, 21-min long, fist in the face the guys lashing fiery riffs to no end like demented, with some cuts ("The Extremist") easily entering the proto-death realm, with a headbanger after headbanger following in quick succession, "Inspiration To Kill" hinting at more intricate arrangements with "Stronger Than All" wrapping it on with a marginally more laid-back approach the band staying true to their uncompromising, high-speed nature.

Demolition Full-Length, 2011
Extermination Full-length, 2019

Official Site

INTOXICATED (USA)

Based on "Watch You Burn", this act serve epic retro death/thrash which steam-rolls in a manner no worse than Bolt Thrower themselves, but when the guys step on the speedy pedal, they take no prisoners ("Grovel"). Still, the dominant tone is stomping and battle-like, best exemplified by the cool militant march "Legacy's Demise", the smattering gallops unleashed on "Majestic Ride", another plus in this act's resume, who also try something twistedly technical on "Dumpster Div", also leaving thrash behind on that one, the latter returning with glory to spare on the horse-riding winner "Revelation Denied", also a power metal-peppered hymn; and surely on the highly entertaining moshing shorter "Analyze". The vocals don't falter, though, the man sticking to his gruff shouty/screechy deathly timbre the entire time. Some of the musicians also shred with the metalcore heroes Pain Principle.

Metal Neck Full-length, 1997
Walled EP, 2020
Watch You Burn Full-length, 2022

Official Site

INTOXICATED RAGE (USA)

Based on the "Apocalypse" EP, these lads serve modern power/thrash which chugs in a dominant mid-tempo, the more energetic title-track a real revelation, its galloping tendencies nicely picked by "Political Warfare", a fitting headbanger which doesn't find its match later although "The False Prophet" isn't a bad heavy ballad, partly ruined by the hoarse unmelodic shouts of the singer.

Patient Zero Boston EP, 2016
Apocalypse EP, 2019

Official Site

INTOXICATED ZOMBIE (CHILE)

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

INTOXICUM (GERMANY)

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 deathly 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

INTOXXXICATED (MEXICO)

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

INTRACTABLE (SWITZERLAND)

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 Chris Holmes (Paradise Lost), leading the show all the way overshouting the instruments for most of the time. Amazingly, there's a track in the middle which will make the fan jump around for a bit: "The New Belief", which is ruined in the second 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 second 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

INTREPID BASTARDS (USA)

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

INTRICATE (GERMANY)

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-thrash, 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

INTRINSIC (USA)

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 two 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 second 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 without 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

INTROSPECTRE (USA)

The 1997 demo is only two 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 benefited from more variation of the pace which now makes all the songs merge into one another.
The full-length is another worth-hearing slab, the band thrashing with confidence and a sense of the more technical, "Chromosome" being a really cool meandering shredder with echoes of Watchtower. "Night of the Hunter" is a short violent steam-roller, but "Echoes Of Dissension" is classic prog-thrash at its most labyrinthine, a standout composition which is nearly matched by the equally intriguing near-all-instrumental masterpiece "Inferno/Death Watch" combo which is built on mesmerizing melodic hooks and flashy lead pyrotechnics bordering on the virtuoso; before "Inheritance" offers something a tad more immediate with heavy stomping rhythms. The title-track is in the same seismic vein, but watch out for the excellent stylish leads again which make circles around the mansions of the Shrapnel performers. "Necromancer's Call" is a slightly more conventional mid-tempo shredder, and "I Malign" stretches for nearly 10-min to provide sprawling, largely mid-tempo, entanglements. "Brother of Mine" retains the volcanic arrangements from the past few numbers, but this is a more contrived saga which receives really handsome support from the closing all-instrumental roller-coaster "Defcon", a lively melodic technicaller. The vocals remain in the throaty semi-declamatory parametrers, knowing when to add both the more aggressive deathly semi-growl and the more lyrical actually-singing accompaniment.

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

INTRUDER (POLAND)

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

INTRUDER (USA)

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

INTRUSION (HOLLAND)

This band were previously known as Decisive Intrusion; they have shortened their name now and the style at display is interesting somber thrash/death metal with more officious doom 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 isn't repetitive and even contains melodic moments of "clarity" ("Blessing Turned a Curse"). The singer expectedly semi-shouts in a subdued death metal fashion.

Reach for the Light Full-Length, 2013

Official Site

INVADEATH (SPAIN)

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 drama on more officious cuts like "Red Lake" (but, please, exclude the super-fast break in the middle). In the second 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 deathly 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)".
"Tenebris Tearrae" continues the melodic romantic leanings from previous recordings, the bouncy less restrained energy of "Somos" a cool deviation as elsewhere we largely have calm not very belligerent mid-tempo to slow-ish rhythms, the cleaner vocals more fully epitomized, with more frequent semi-balladic strolls ("El Tiempo", "Dos Mundos") roaming around, "MiEnemigo" the other illustration of less bridled thrashing behavior.

Aphophis Full-Length, 2009
Eros & Thanatos Full-Length, 2015
Tenebris Tearrae Full-length, 2021

Official Site

INVASION (LATVIA)

This band perform classic thrash/death which develops in a largely mid-paced manner, with gothic touches carved into the monolithic main frame, where even some angelic female vocals can be heard accompanying the main harsh shouty death metal ones. "Immortality" displays some admirable technical proficiency, but elsewhere the approach is more conventional, if we also exclude the dramatic atmospheric prog-thrash configurations on "Immortality".

To the Eternity... Full-length, 1996

Official Site

INVASION (SWEDEN)

These newcomers indulge in typical from 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

INVASION (USA)

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

INVASIVE COMMAND (USA)

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 second 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 only to lose the "battle" against the final "Hell in a Handbasket" which is 8.5-min of doom/epic stuff the shouty death metal 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

INVECTION (USA)

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 second 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 two 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 faithfully, 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

INVEIGH (USA)

Crunchy heavy Bay-Areasque thrash along the lines of Defiance's last two (minus the comeback effort), built around choppy hectic rhythms, but without any speedy escapades, the band marching forward in a steady mid-tempo, the rough death metal-ish vocals mostly shining on the brooding quasi-doomster "Oblivion-Nuclear Age". "A Hint of Doom" is ironically the most dynamic proposition here, not shades of doom on it, just jumpy boisterous rhythms with abrupt faster-paced developments.

Demo Demo, 1991

INVERNO (ITALY)

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

INVERSUS (ITALY)

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

INVICTA (CANADA)

Based on the full-length debut, this band play modern death/thrash modeled after the Swedish exploits, with thrash more insistently applied, think The Haunted' first two, and to an extent Dew-Scented. The pace is fairly energetic, and the lead guitarist feels at home with the regular provision of stylish pyrotechnics ("Sacred Scourge"). Death metal takes over on "Halls of Extinction" but it's the more thrash-fixated numbers that deliver the better, like the sprightly instrumental "None but Ash" and the excellent progressive shredder "Dark Side" with the closing, also instrumental, saga "The Rapture" not far behind despite its wider, a bit overblown and disparate on occasion, array of moods and nuances.
"Triumph and Torment" is a tad more intense than its predecessor, the shattering bombs "Forces of Annihilation" and "Battle the Beyond" leveling the floor in no time, the more relaxed melodic excursions on "Sinister Obsession" providing the requisite variety the latter also occupying quite a bit of space on the encyclopaedic closing title-track, a diverse conglomerate of atmospheric developments and intense aggressive accumulations.

The Executioner EP, 2018
Halls of Extinction Full-length, 2019
Triumph and Torment Full-length, 2023

Official Site

INVICTRA (USA)

Based on the full-length, this outfit indulge in intense roller-coaster old school power/speed/thrash which slips into more elaborate speed/thrash confines ("Cardinal Sin") the final result not very far from the feats of Manticora and Paradox save for the mild balladic blander "Priestess Of Delusion" and the power/speed metal relaxer "The Serpent's Bite". The vocals are hoarse, semi-clean and attached although a more lyrical approach would have been beneficial on the several quieter sections.
The "Chaos Theory" EP comes with more modern production and the resultant approach is definitely more on the modern side. Still, one can't possibly remain indifferent on the great melodic tunes on "Wretch Of Deceit", or on the old school speed metal impetuousness emitting from "The Adversary". There are a few not very impressive mid-pacers but generally this is lively stuff which should attract fans from the modern and the new school.
"Of Flesh, Steel, and Stone": the excellent melodic lead-driven intro ("Vozrozhdeniya") remains the most pleasant surprise on this recording which passes the time in bland not very exciting mid-paced power/thrash riffs, the "clean vs. gruff" vocal duel grating on the nerves, provided that music-wise not much is happening, the short ripping "Scrape" a lively light in the tunnel, the latter clogged by the clumsy unimaginative sprawls on the dragging 9-min long closer "Revenant".

Invictra EP, 2016
The World Game Full-length, 2018
Chaos Theory EP, 2020
Of Flesh, Steel, and Stone Full-length, 2021

Official Site

INVICTUS (USA, KY)

This is tenebrous, cavernous doom-laden thrash of the old school which marches first with steam-roller semi-technical rhythms on "Darkest Secret", "The Hunt" speeding up in a brooding grudging manner, "Death on the Tracks" notching up the doom for a seismic elegiac fiesta with a balladic echo. The singer is a mid-ranged semi-cleaner who exudes some emotion occasionally, without drastically changing his delivery.

Exercise in Futility Demo, 1994

Official Site

INVICTUS (USA, AZ)

This outfit specialize in cool old school thrash which is both intense and semi-technical ("Mind Control") and feverishly pounding ("Family Man"), the complex near-progressive veneer of "Forever Hold Your Piece" standing for the highlight, the dramatic headbanger "Amendment 27" a close second. "Condemned" is another highbrow opus with a wider array of tempos, the muddy sound quality hampering those loftier ways of execution. The singer is a capable high-strung semi-wailer, who leads the show with all the drama and pathos he can summon.

Mind Control Demo, 1991

INVID (USA)

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 dominant 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.
The single expectedly comprises two songs, "Crypt of Reflection" a militant techno-chopper with serpentine leads weaving more bewitchment around the crooked visionary riffage, the guys speeding up with formidable gallops later on, the dramatic high-pitched vocals soaring above the complex rifforama with glass-breaking pathos at times, recalling both Messiah Marcolin (Candlemass ) and Jeoff Tate (Queensryche). "Endless Void" is a well-measured mid-tempo trot with alluring Oriental motifs rising out of the thick not very penetrable rhythm-section, the leads adding to the heightened musical gravity, the latter also welcoming a leaden doom-guided passage.

Demo Demo, 1991
Crypt of Reflection/Endless Void Single, 1991

Youtube

INVIDENTIA (GERMANY)

This is weird stuff; half of it is abstract doom/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

INVIDIA (USA)

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 drama 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 spectre, 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 Glass Demo, 2003
Cornerstone of ChaosEP, 2006

Official Site

INVINCIBLE FORCE (CHILE)

The Promo offers two 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. Some of the band members are also active with the death metallers Ancient Crypts, and the black/thrash hybriders Evil Madness.
"Decomposed Sacramentum" is a wild thrashing parade, bordering on death/proto-death on quite a few times, with several pieces ("Perpetual Black Mass", "The Covenant") easily reaching the speed of light, with "The Shadows Over Canaan" jumping the Impaled Nazarene black metal wagon for a bit. This is way more brutal than the promo, a brutal uncompromising slab of vintage old school metal.

Black Ritual Demo, 2008
Promo Demo, 2009
Satan Rebellion Metal Full-length, 2015
Decomposed Sacramentum Full-length, 2020

Official Site

INVIOLACY (ITALY)

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

INVISIBLE ENEMY (FINLAND)

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

INVOCATION (ARGENTINA)

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 moderate 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 beautiful ethereal passages; a nice finish to this cool energetic effort.

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

Official Site

INVOCATION SPELLS (CHILE)

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 black metal 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".
"Spread Cruelty In The Abyss" primarily contains raw early Bathory-sque barrage with allusions to both the early German speed metal movement ("Rotting Sacrifice") and the semi-technical proto-death style of Rigor Mortis ("Victims of Doom"). The guitar work overall is a bit superior to the one from previous recordings, and although the muddy production does its best to stifle it, one can't ignore the presence of surreal Voidod-ish shreds on "Spread Cruelty" or the pummeling near-death experience that is "Obscure and Evil".
"Evil Subconscious Possession" doesn't alter the course, the guys lashing venomous riffs with spite and gusto, the hyper-active stance of "The Essence/The Realism" and "Pazuzu" driving away the posers in no time. "Certain Death" is indeed a more death metal-induced cut, the musical extremity reaching Impaled Nazarene-sque proportions on the outrageous "Misticism".

Unholy Blasphemies Full-length, 2014
Descendent the Black Throne Full-length, 2015
The Flame of Hate Full-Length, 2016
Spread Cruelty In The Abyss Full-Length, 2018
Evil Subconscious Possession Full-length, 2023

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INVOCATION WAR (USA)

Four 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 metal 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 (DENMARK)

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 post-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 isn't very 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. All the four cuts featured here later appeared on then following full-length, but unfortunately the new material wasn't as convincing.

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

INVOKER (COLOMBIA)

Retro thrash played with intensity and inspiration, the band marching with enough restraint to ensure the presence of laid-back power metal mid-pacers ("The Empty Land of God"), the raging "Amok" forming the mosh-pits with the requisite fervour, also helped by the bursting invigorator "Reanimator". The closing "Harvesting Souls" attempts something more complex and ambitious which works, also with the help of the proficient melodic leads and the cool semi-shouty/semi-clean vocals. Some of the band members also shred with the heavy metallers Canterville and Hellrider.

Invoking the Evil Full-Length, 2022

Official Site

INVOKER (FRANCE)

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

INVOLVED (HOLLAND)

Members of numerous Dutch thrash metal acts (Engine of Pain, Form, Speedica, Triple 7, etc.) have joined forces for the production of this old school roller-coaster which moshes out with passion plus a few more officiant doom 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

INVUNCHE (CHILE)

The full-length: 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 energetic 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.
The EP is more of a death/thrash hybrid, with both fast-paced violators ("Hidra") and pounding diversers ("Costra de la Vulneracion"), the moody doom undercurrents of "Batalla Perdida" partly supported by the more technical twists on the excellent atmospheric piece "Quimera".

A Imagen y Semejanza Full-length, 2017
Emerge EP, 2022

Official Site

INWARD (SLOVAKIA)

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

INWARD EYE SLOVAKIA)

This is fairly capable old school speed/thrash which tries something ambitious and progressive on the lengthy odyssey "Food of the Godz", the band's lofty endeavors ruined by the really bad unsuitable gruff semi-clean/semi-shouty throat. "Severed Existence" is an excellent steel galloping wonder, and "Decide" is another more contrived exercise in clinical sharp thrashisms with echoes of Forbidden. "Environmental Rape" touches the Bay-Area in a cool subversive manner, a varied clever shredder with great proficient leads, the heightened fiesta continued on the labyrinthine shape-shifting masterpiece "Demons Inside (the Box)". The sloppy sound quality does little to spoil the impression from this outstanding obscurity.

Beyond the Threshold Demo, 1992

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INXIGHT (SPAIN)

Based on "Art of Overload", this act provide pretty decent classic power/thrash which relies on melody more, the acceptable mid-ranged clean vocals certainly helping the cause with their more attached timbre. This is consistent mid-paced stuff which picks up speed with the impetuous title-track and the harder thrashing roller-coaster "Under Cold Stars", the closing "To the Core" another more intense proposition, the band attempting something more technical as a finishing touch, and this gimmick should be elaborated on in the future.

Heaven Never Answers EP, 2005
The Lovely (T)reason Full-length, 2012
Right Words Full-length, 2014
Art of Overload Full-length, 2019

Official Site

INZEST (GERMANY)

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 Shot Demo, 1986
Off Limits Demo, 1987

INZEST (JAPAN)

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

ION STORM (USA)

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

IPNOSI (ITALY)

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.

IR8 Demo, 1994
IR8 vs Sexoturica Split, 2003

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IRA DEUM (BULGARIA)

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 Quietly 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. "Forbidden 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 second 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 characteristic 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/thrash manner with a technical/progressive colouring; one of the most unique old songs' interpretations to ever grace these ears. But this isn't 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 doom 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

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IRACONJI (USA)

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

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IRANIMA (CHILE)

This is modern thrash supported by threatening guttural death metal vocals. Expect a mix between ripping headachers ("Banderas Negras") and mid-paced strolls ("Maldito"), with thick grooves ("Crueldad") invading the listener's space, "Esclavos" adding another portion of energetic moshing rhythms to the overall elevating show.

Almas en Ira Full-length, 2022

Official Site

IRASCIBLE (USA)

Based on the full-length, this US duo serve modern post-thrash that is a bit on the sleepy doomy side on "DOOM", the more vivid rhythms of "Nail in the Casket" stifled by then playful rockish atmosphere of "Starless Night". "Lord of Flies" is a major energizer helped by the gruff semi-declamatory singer, but it's all gloom and doom on "We Must Dissent" and the stoner/doom monotony "Leviathan", the latter piece acquitting itself with a faster-paced portion later. Please skip the final "DOOM (8-Bit)", a noise/industrial vocal-less non-sense, a complete waste of 6-min.

Ages of Man EP, 2021
NorseFire Full-length, 2023

Official Site

IRATE (USA)

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 somber "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

IRAULTZA (SPAIN)

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

IRDORATH (AUSTRIA)

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

IRE & UPRISE (USA)

Based on the full-length, these folks serve orchestral atmospheric black/death/thrash which reaches operatic proportions with ease, and overall there isn't much impetuous thrashing if we exclude the dynamic "Silver Storm" and the cool semi-technical roller-coaster "Skein of Delusions". The vocalist is a deathly shouter/overshouter who fits the ambitious landscapes with his vociferous presence.

Empire Complex EP, 2016
Penumbra Full-length, 2019

Official Site

IREBORN (GREECE)

Retro power/thrash which is a bit on the clumsy side, with leveled mid-paced riffage ruling the show, the dark hypnotic but also dragging "The Evermore District" suddenly bursting into a fountain of speedy skirmishes to everyone's delight, but such moments with lengthy ballads ("The Miracle Antidote") and mid-tempo strollers ("Sick Tone Asteroid", the more progressive "Utopian") occupying the front seat, ensuring a steady but hardly very eventful environment, also with the help of the not very expressive clean mid-ranged singer.

Raw Entrance Full-length, 2021

Official Site

IREFUL (ITALY)

Based on the full-length, this act pull out pretty decent classic thrash that embraces certain speed metal tendencies on the opening energizer "I, Caligula", the Bay-Area also a close call thanks to the enjoyable mid-tempo ride "...And God Will Take Its Ones" and the galloping wonder "that is the title-track. Prepare for a lot of mosh on the short maddening "Ireful", but make sure not to miss the complex rifforamas on "Blackhearted Master", a smashing stylish roller-coaster with echoes of Death Angel and Testament. "Exiles for Metal" embraces the short headbanging format again, its hyper-active passion proving infectious for "A.B.Normal", and by all means for the quite cool spatout semi-clean vocals which lead the show with near-matching velocity. Some of the band members are also busy with the the grindcore unit Eraser.

The Walls of Madness EP, 2021
Agents of Doom Full-length, 2024

Official Site

IRIDIO (ARGENTINA)

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 Promision", "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

IRISIS (FRANCE)

An interesting slab of modern progressive thrash which reveals a goofy psychedelic side on "Uroboric Supraflorescence" before "Breathing The Parasite Roses" reminds of the Tourniquet heritage with the multi-layered physiognomy and the soaring addictive melodies. "Selene" is a more aggressive shredder with subtle death metal-ish embellishments, the hoarse semi-shouty deathly singer also helping in this direction. "Skyless Aurora" is a serious virtuoso-prone progressive thrash, the highlight here, a shape-shifting roller-coaster which shows the lead guitarist as a striking talented performer.

Equinox Requiem EP, 2019

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IRKALLA (MEXICO)

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

IRMIN (HOLLAND)

Based on the full-length, this act provide classic black/thrash with the hyper-blasts 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 bristling 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

IRON AGE (GERMANY)

Based on the "Second Demonsteration" demo, this band demonstrate raucous crunchy classic power/proto-thrash with quite cool female vocals. The delivery is mostly dramatic and melodic ("Dance With the Society"), with fist-pumping power metal cuts ("Knock Down") also amply provided, "Queen of the Night" the most professionally accomplished tune here, a semi-balladic epic with hard but not very consistently fascinating riffs.

Iron Age Demo, 1993
Second Demonsteration Demo, 1994
Concussion of the Brain EP, 1995

IRON AGE (USA)

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 doom-oriented 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

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IRON ANGEL (GERMANY)

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 marvelous 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. Jorgen 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 Schroder 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 Strocven, also died, in 2008). The title-track 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. Schroder is almost impossible to recognize, singing in a very bland mid-leveled 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 Schroder 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

IRON ASSAULT (USA)

Aggressive bristling classic thrash the guys straddling between the hyper-active style of Vio-Lence's "Eternal Nightmare" and the more restrained pounding histrionics of Defiance ("M. I. A."). In other words, expect the Bay-Area mentality to be restored in your household detonated by exploders like "Shell-Shocked" and the more contrived "Prophets of Doom", the enjoyable clean semi-declamatory vocals trying to keep up with the prevalent no-bars-held character of the music.

A Vicious Reality Full-length, 2020

Official Site

IRON CROSS (USA)

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. "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 total opposite to 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 hypnotic doom cut with echoes of the mentioned Swiss masters with more dynamic developments in the second half. "Fatal Will" is another speed metal winner with a more intense thrash sting, the guys sounding angrier, but the balladic intro of "Beware the Innocent" bodes more pensive tides, and this piece remains a somber 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", 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

IRON CURTAIN (SPAIN)

Based on the full-length debut, 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 (R.I.P.) 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.
"Danger Zone" is another optimistic roller-coaster which this time is completely devoid of the thrash metal idea, the band just having a good time pulling out happy-go-lucky speed/heavy/power metal although the more energetic rhythms on "Wildlife" and "Running Man" should make even the more pessimistic move around in approval.
“Savage Dawn” brings back the thrash, to some extent, in a carefree early-Metallica-sque fashion, the impossibly optimistic lustre of cuts like “Gypsy Rocker” and “Thy Wolf” simply too catchy to be frowned upon, the hyper-active progressive melo-complexities of “?????????? 47” standing for the highlight, with “Tyger Speed” raising the speed metal flag sky-high, before ‘Evil is Everywhere” pacifies the spirits with a portion of milder heavy/power metal tactics.

Road to Hell Full-length, 2012
Black Fist EP, 2012
Jaguar Spirit Full-length, 2013
Guilty as Charged Full-length, 2016
Danger Zone Full-length, 2019
Savage Dawn Full-length, 2024

Official Site

IRON FIST (HOLLAND)

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, the guys preserving the inebriate Lemmy-like vocals, maybe giving them a more aggressive tone to match the more aggressive musical stance. 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 doom 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 "Addicted 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

IRON FIST (TAIWAN)

A retro thrashing assault is what these young Taiwanese unleash upon the world, and "Back In Thrash" very handsomely summarizes the fury both title and music-wise, a ripping headacher second-to-none which is followed by the equally as vicious "The Killing Street" and the Slayer-esque ball of rage "Electric Monster". No mercy shown anywhere on this short explosive recording which is wrapped on by the more cleverly constructed but nearly as relentless title-track, the mean shrieky vocals racing with the hyper-active rhythms every bit of the way.

Money Illusion EP, 2018

Official Site

IRON FIST (USA)

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 timbre. 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

IRON LIGHTNING (AUSTRALIA)

Based on the debut demo, these folks provide quite cool classic thrash which major merit is the excellent emotional clean vocals. Music-wise this clings between cleverly-constructed semi-balladic progressivers ("Dead On Arrival") and more immediate shredders which still hold a few surprises along the way, mostly from a melodic point-of-view. "The Attic" is a nice atmospheric pounder, and the title-track is a creepy doom-laden walkabout with heavy hypnotic riffs, the lofty musicalities hampered to an extent by the muddy sound quality. .Some of the band members were also involved with two other thrash metal outfits from around the same time, Black Widow and Heresy.

Don't Fear... the Darkness Demo, 1989
The Winds of Change Demo, 1990

IRON PENIS (USA)

Based on the compilation, these lads pull out quite competent old school thrash; evil dark atmosphere emits out of "Sticky Night" also supported by the subdued mean semi-declamatory vocals, the speed metal winner "Penis Army Rise" another sure-handed entry, the dramatic pulverizing "Love Missile" pouring more intrigue into the appetizing melee. More niceties later with the steam-rolling urgency of "Blood on The Palm of My Fist" and the energetic brisk rhythms of "Chafed", the murky sound quality actually favouring the brooding riff-patterns.

Pumping Iron '89 EP, 2021
Total Penisography 1987-1991 Compilation, 2021
Scared of the Future EP, 2021

Official Site

IRON REAGAN (USA)

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

IRON SHEIKS (AUSTRALIA)

The good old Motorheads are channeled for the umpteenth 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

IRON VOLTAGE (INDONESIA)

This formation serve retro thrash/crossover that sends a certain portion of the time in moderate up-tempo ("Immortal Crush"), but the presence of a couple of energetic heavy mid-pacers ("Under the Lightning") brings bigger gravity to the approach, the latter also gaining from the circulation of several short hardcore-ish semi-explosions ("Explosion"). Tasteful proficient lead sections and steady semi-clean vocals also add to the fun from this pretty decent recording.

Devastation Full-length, 2022

Official Site

IRON WARRIOR (CANADA)

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 two tracks which betray her infatuation with the brooding/doom style of early Celtic Frost and Hellhammer, heavy doom 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 second song "Horror of the Zombies" starts with a beautiful acoustic passage, before the massacre begins...

Thy Deadly Illusion Demo, 1988

IRON WINGS (LATVIA)

The debut: modern power/post-thrash which successfully avoids the groovy traps along the way, either with more impetuous gallops ("Viss Mainijies") or with more heroic epic developments ("Tevi Dzirdet") the latter not very aptly assisted by throaty death metal vocals. The main singer acquits himself with a steady semi-clean timbre which fits the not very eventful mid-tempo delivery.
"Ritual of Rage" is a much more dynamic proposition, the guys moshing with a lot more verve and intensity, the fast ripping opener "Apathy" leading a string of hyper-active cuts, the catchy sing-alonger "Angel" creating more optimistic atmosphere, but watch out for "Necrophilic World", a restless technical speedster, the highlight here, the lively thrash/crossover anthem "Virus" another positive occurrence.

Dzejnieks Full-Length, 2020
Ritual of Rage Full-length, 2022

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IRON YOUTH (GREECE)

Based on "Respect/Defend/Create", this band pull out aggressive thrash/death which at its best comes close to masters like Slayer and Devastation, albeit with a slightly more modern edge, but their desire to leave room for death metal leads to very fast, almost blast-beating sections that 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'uck das Volk Full-length, 1998
Respect/Defend/Create Full-length, 2001
Faith Is Stronger Than Fire Full-length, 2005

Official Site

IRONBOUND (BRAZIL)

Four 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/thrash boogie which on this one comes mixed with longer slower passages.

Maquina Da Morte EP, 2011

IRONCHRIST (USA)

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

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IRONCLAD (COLOMBIA)

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 what rains, nicely paving the way for the arrival of the closing "Claim of Steel" which is glorious speed/thrash summing 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 rising star on the South American metal horizon.

Iconoclast Full-Length, 2015

Official Site

IRONFIST (JAPAN)

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

IRONHEART (UK)

This is not very pretentious modern heavy/post-thrash that moves along friendly welcoming lines, the melodic licks of "Fear the Man… Fear the Call" shaking hands with the cover of Motorhead's "The Hammer", the singer vintage Lemmy (R.I.P.) for most of the time, the steady mid-tempo trot of "Stand or Fall" erased by the decent rendition of Metallica's "Whiplash".

We Came In Through the Roof… Cause We Don't Know Where the Door Is Demo, 2022

Official Site

IRONKLAD (USA)

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

IRONWITCH (AUSTRALIA)

Corrosive abrasive retro thrash/death, the hardcore intensity of the opening “Releasing The Butcherous” pairing well with the burgeoning fervor of “Crushing Faith” and the hyper-active optimism of “Spitfire”. Everything here is played at very high speed, the several stop—and-go moments on “Beater of Gods” not really a sign of anything too intricate, the shouty death metal vocals complementing the maddening musical canvas with venom and spite to spare. Some of the band members are also involved with the retro thrashers Malakyte and the death/doom hybriders Malignant Aura.

Ironwitch Full-length, 2024

Official Site

IRONY CRITICISM AND JOKES (JAPAN)

The debut: intense lashing retro thrash/crossover which is accompanied by very shrieky black metal vocals. The approach is accentuated by short bursting pieces ("Z Monkey", "Fuck Deer"), with the causal slide towards the mid-paced trajectories (the playful joker "Back to the 80's"). A harsher death metal-ish throat occupies the place behind the mike later, bringing bigger aggression with it (the proto-death outrage "Monkey Business") at times.
"Anal Smiles" is another unhinged affair, the guys lashing fiery fast-paced riffs to no end, the wild unbridled "Political Sex" complemented well by both the sprightly "Anti-Onanist" and the stylish semi-technical outburst "Let Me Do What I Want". The intense hardcore "Not My Cup of Tea" is another tiring occurrence, but be careful about "State of Emergency", a really nice intricate round-about with a pleiad of quirky decision, the more orthodox delivery coming back with "Shut Up and Obey", stripped down to another unpretentious thrashcore fiesta on the closing title-track.

Monkey Business Full-Length, 2023
Anal Smiles Full-length, 2024

Official Site

IRRADIATION (CANADA)

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 unbridled 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

IRREVERENCE (ITALY)

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 doom 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 second 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".
"Still Burns" shreds in a similar to the past few efforts manner; in other words, expect another hyper-active downpour the balladic introduction of "Blind Times" totally misleading as such respites are simply non-existent here, the mid-paced chugs on "Know Who I Am" an unmitigated stopover. The shorter material ("Groomed Wall Skip") boldly borders on hardcore, the few melodic tricks served on the final "6.01" a pleasant deviation from the relentless bashing approach.
“Forsaken” rushes onward with very little remorse, the fiery riffs of “Black Hearts” spearheading the very energetic fiesta, the slow-burning semi-headbanger “Bleeding Anymore” humbled by the exuberant melodic progressive “Buried Alive”. “To Us to Blame” will leave a sea of sprained necks behind it, as will the short semi-technical chopper “Faceless”.

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
Still Burns Full-Length, 2018
Forsaken Full-length, 2024

Official Site

IRRITATION (HOLLAND)

Modern thrash which shares traits from both the straight-ahead speedy Dew-Scented school ("Honest Mistake" and most of the material) and the more stylish crooked leanings of Darkane ("I.T.T."). Intense no-bars-held on occasion stuff which hospitably falls into the casual groovy trap ("Modern Nation"), admirably retaining the energy for most of the time.

Irritation Full-Length, 2019

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IRRITATOR (UKRAINE)

This act indulge in really classy technical retro thrash which is spearheaded by an expressive bass bottom and the excellent semi-ballad "Tower of Death" this one a distinct rival to "Sanitarium" and Flotsam & Jetsam's "Escape from Within", the otherwise not very impressive hardcore-ish vocalist adding a cleaner, more attached contribution. Elsewhere we have short clever shredders (the really cool Mekong Delta-sque walkabouts "Deathorganic" and "Exist"), and the very good takeovers from an older demo at the end like the volatile Heathen-esque "Metallic City" and the outstanding technical/progressive thrash-fest "Spider of Fear".

Highly Toxic Irritant Demo, 1993

IRRTUM (GERMANY)

This is a real nice dark cavernous classic black/thrash formation who also enchant with a frequent application of memorable melodic hooks ("Infernal Incarnation") the sinister atmosphere dissipated by those benevolent symphonic/operatic ingredients but the latter are so aptly applied that one really has to think seriously before coming with another band name that can pull this melo-stuff so well. Purer black metal comes to rule for a bit on "Apocalypsis Laocoontis", but again these addictive melodic tunes overwrite all other stylistic shifts" just listen to the gorgeous lead-esque lines on "Surreal Existence", and forget about Dimmu Borgir's entire repertoire. The vocals hesitate between a death metal growl and a blacky semi-rasp, and perfectly fit the very cool musical setting.

Infernal Incarnation Full-length, 2020

Official Site

ISAIA (RUSSIA)

Based on the debut, these guys play heavy doom/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-esque 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
Istina Temnogo Cheloveka Full-length, 2003

Official Site

ISAW (AUSTRALIA)

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 place right next to Pantera and Machine Head's highest achievements from that period.

The Identity Full-Length, 2011

Official Site

ISCARIOT (USA)

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

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ISCARIOTA (POLAND)

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/thrash 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-ballad "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 their 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 effort 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.
"Legenda" is another pretty decent affair, the band speed/thrashing with force, reaching Paradox-esque heights ("Nie Jestem Nikim Szczegolnym"), the title-track being a particularly fine progressive piece, mixing various tempos at will;; and "Jestem Bogiem" is a heavy pounder with a slightly modern edge. Tender romantic vocals appear on the semi-balladic pageant "Nie Pytaj Mnie" as well as a few melodic hooks on the otherwise impetuous shredder "Zachlanny Jak Waz".

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
Legenda Full-length, 2020

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ISKALD (NORWAY)

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 thrashier 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

ISMIRILATION (BRAZIL)

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.

Ismirilation Demo, 2007

Official Site

ISOLATE (BRAZIL)

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

ISOLATED (MEXICO)

Based on "Ungodly Abomination", these folks deliver classic thrash/death metal which can be quite intense and bashing ("Nuns of Evil") on occasion, but sometimes do the guys attempt something less aggressive and slower ("Tumba Tenebrosa"). The shadow of early Entombed ("Cry of The Banshee") can be felt more tangibly including in the gruff shouty vocals.
"Hell Denied" is another old school thrash/death affair, the band raging with little remorse, the Death-esque "Insane Mortification" bringing a more intricate flair to the proceedings, with death metal taking over completely at some stage, with brutal polishers like "Ladron de Cadaveres" and "Discipulo de Satanas" ravaging the landscape, the cool faithful cover of the Swedes Carnage of "Dark Recollections" wrapping on this hyper-active recording.

Demonical Conspiracy Full-length, 2012
Absolute Obscurity Full-length, 2014
Silent Rage Full-length, 2018
Ungodly Abomination Full-length, 2020
Hell Denied Full-Length, 2022

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ISOLAYDEAD (USA)

Three 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

IT LIVES (USA)

Based on the full-length, this band play modern post-thrash with both power metal and progressive showing up at various stages, with doom ("13", "Wolfmoon") also showing up irregularly, the guys obviously infatuated with the Nevermore sound, and nearly nailing it on occasion, although "Blairsville Witch" is a dragging balladic dirge. Still "Communion" is a brisk thrashing proposition, and "Sycophants Demise" is deftly composed dramatic shredder. Please welcome the brief soulful balladic respite "Crucifixion Crown", and the slightly abrasive but passable cover of Skid Row's "Slave to the Grind" at the end, the singer only distantly resembling Sebastian Bach's steady mid-ranged timbre.

It Lives EP, 2019
It Lives Full-length, 2022

Official Site

IT'S ALL RED (SWEDEN)

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 second 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 handkerchiefs for the final lyrical ballad "I'm Your Super Hero".

Lead by the Blind Full-Length, 2016

ITALICUS CARNIFEX (ITALY)

The debut: modern post-thrash of the more dynamic, not as stale type; in other words, expect a few energetic headbangers ("Throatless") to rock your world alongside carefree rock-ish grungers ("Sonreaper) and more officiant proto-doomsters (the title-track). The singer is a forceful shouter with a pronounced hardcore-ish baritone, not excessively noisy but authoritative enough to pass as one of the main ingredients here.
“Eternal Sickness”, this band play modern thrashcore that either rushes through the speakers (“Shape of the Herd”) in a less bridled mode, or attempts something more complex and pensive (“Kill the Judge”), the shouty hardcore vocalist perturbing the environment with his quarrelsome tirades, the catchy energizer “Life is a Bitch” infecting the lively roller-coaster “Hall of the Corpses”.

Incide Your Mind Full-length, 2020
Eternal Sickness Full-Length, 2024

Official Site

ITSARI (SWEDEN)

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 aren't 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 indistrial noise.

Imperial Full-Length, 2007

ITSELF (BRAZIL)

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 four 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

IUKARUGA (MEXICO)

This is a minimalistic black/folk/doom/post-thrash compendium which comes alive to an extent on the rowdier march "Desde el Abismo", but for most of the time this is anti-climactic stuff with both intimidating deathly and clean attached vocals tussling throughout, the epic battle-like "Cazador" the other genuinely lively moment here, the guys betting on the friendly welcoming side of the music spectre.

Desde El Abismo Full-Length, 2023

Official Site

IV DIMENSION (COLOMBIA)

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 three 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

IVORYGOD (BELARUS)

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

IVORY TOWER (GERMANY)

Fans of these progressive metallers would be quite surprised to hear their new offering (not their "IV"th, but 5th one), which hardens 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 album 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

IXIII (RUSSIA)

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 doom ballad, and another much more tender one; those two tracks diminish the very positive impression from the beginning, but fortunately there is more intense 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

IXION (FRANCE)

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 Vinces Demo, 1986

IXION (USA)

Based on "Strategy and Violence": abrasive modern-ish thrash with mean vicious witch-like vocals; the band like 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.
"Escalation of Arrogance" follows a similar to its predecessor path, only that the approach has now been enriched with power metal gimmicks as well. Nostalgic semi-ballads ("Burnt and Scattered") add more to the diversity the latter lost to an extent in the cumbersome less eventful second half, the dramatic closer "Reaper's Dawn" even throwing some epic death metal into the foray.

Temple of Failure Full-length, 2010
Strategy and Violence Full-Length, 2014
Escalation of Arrogance Full-length, 2022

Official Site

IXION LUX (USA)

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

IXKAL (HONDURAS)

The full-length sees an act who don't stray too much from the melo-death/thrash canons of the Swedish school. The delivery isn't completely 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.
"The End of the Wicked" slows down quite a bit and is now closer to the epic shenanigans of Amon Amarth for at least half the time. The heavy stomping rhythms permeate this album from beginning to end, leaving little room for any speedy escapades, but more complex walkabouts have been introduced like the dreamy "The Mirror" which features very cool female vocals.

Desde Las Cenizas EP, 2014
6to Dia Full-length, 2017
The End of the Wicked Full-length, 2020

Official Site

IXXI (SWEDEN)

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 doom 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

IZEGRIM (HOLLAND)

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-doom 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 drama 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 more 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 mosher "Lost In Tranquility".
The "Beheaded By Trust" EP emphasizes on heavy seismic developments, and as such doesn't offer entertainment for the headbangers. In fact, some cuts ("Stain in the Bloodline") boldly venture into doom metal territory with only "Warmonger II" dissipating the gloom with a couple of more lively rhythms.

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
Beheaded By Trust EP, 2018

Official Site

IZJOGA (RUSSIA)

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

IZVERG (RUSSIA)

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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