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


This very obscure act is a fine addition to the Russian metal scene. The demo is good retro thrash metal which starts in the most ambitious way with the 12-min instrumental "Death Of A Madman": a state-of-the-art affair seamlessly blending surreal abstract sections, twisted technical ones, and straight headbanging passages; a masterpiece which could well stand on Deathrow's "Deception Ignored", or End Amen's "Your Last Orison". "Waltz" would be a surprise being gloomy doom with nothing technical offered whatsoever. The surprises don't end here, though, as "Madness Celebration" provides very cool agressive technical thrash/death ala early Invocator; and "The Guide For The Fuckface Beginners" is a nice tribute to the Floridian school. More elaborate music comes on "Tanks" which is 12-min of extreme thrash/proto-death shred with a couple of more complex sections. "Risen By Death" is direct Bay-Area thrash metal with a certain technical twist, followed by the more intense proto-death laced "Breath Of A Gloom". "Having The Right" is a somewhat awkward doomy composition lasting for almost 9-min, cancelled by the much shorter explosive "Nomad". "Behind You ...Eternity" is a quiet peaceful ballad, with good clean vocal performance, as opposed to the brutal semi-death shouts accompanying the other material. The closing "Your Damned Name" is another slower clumsy number which doesn't really do the album justice which, despite the wide variety, has more than just a few cool moments to capture the listener's attention.
"Lost in the Atmosphere" arrives five years later and sees the guys having grown as musicians playing capable semi-technical thrash of the classic school. The opening "Who Wants To Live" is a creepy minimalistic technical thrasher clinging between Coroner's "Mental Vortex" and Mekong Delta's "Caleidoscope", and is the highlight. The creepiness and minimalism carry on taking a longer form, on "Rain", which is a twisting doomy number with a surreal edge. Then comes "Feeling" which will make you "feel" confused a bit since this is a very good dark wave-ish ballad with very cool clean Dave Gahan (Depeche Mode)-like vocals. "U.F.O. (G.D.S. in the air)" shares some of the avantgardism of early Depressive Age, but refuses to speed up lashing heavy meaty riffs for 2.5-min. "Abyss Awaits" brings back the more technical patterns from the beginning, but remains slow and doomy. The rest of the songs are very similar, and could cause some sleepiness although the other ballad, the heavier "And Rainbow Keeps Open its Gate", is not bad at all. As a whole this album can be considered the more consistent effort of the two although it lacks the speed, vigour, and spontaneity which the debut had aplenty.
"Hieroglyph of a Moment" is a spacey progressive effort not far removed from the mid-period Voivod "dabblings", but this one is probably too immersed in modern friendliness, and the songs just meander from one mild passage to another not making any lasting impression. The guys are obviously not interested in thrash at this stage, and hardly are there any signs that they will be in the short term.

Death Of A Madman Demo, 1992
Lost in the Atmosphere Full-length, 1997
Hieroglyph of a Moment Full-Length, 2007

Official Site

K.O.D. (USA)

This is the band where the ex-Rigor Mortis singer Bruce Corbitt continued his career. Based on the "Slaughterhouse" demo, which the band released under the name Slaughter House K.O.D., the style is good fast thrash/death metal, sounding like a further continuation of the Rigor Mortis debut, with the Corbitt vocals taking a harsher, more sinister tone. Apart from the short speedy assaults this demo also includes two much longer (8-9min) songs where you won't hear something more technical, it's just that the bashing goes for longer "decorated" with some stylish lead guitar work, and Corbitt takes a secondary role there, leaving more room for the others to perform.
The full-length is full-fledged death metal, well done, staying more on the brutal, Cannical Corpse-like side blasting out with passion on quite a few times, never attempting anything technical just bashing violently to the end. Logically, Corbitt has been replaced by a more aggressive singer, Greg Lewis> a former member of the obscure death/thrash outfit Slaughter House K.O.D. who released two demos in the late-80's.

Slaughterhouse Demo, 1989
Pig Funeral Demo, 1990
Kingdom of Dead Full-length, 1993

K.T.C.M. (USA)

Based on the self-titled EP, these guys pull out dynamic modern/classic thrash/crossover which is characterized by sharp lashing guitars and fast blitzkrieg tempos (the head splitter "Edouard") which will give you enough reasons to break all the furniture around the house. This is intense no-bars-held music which suffers a bit in the vocal department where the guy plainly shouts in a not very attached quarrelsome manner the whole time sometimes coming not very pleasantly synthesized.
The full-length is finally out, and the previoulsy epitomized mixture is presented here again the guys unleashing their staple abrasive rhythms unerringly to ensure plenty of headbanging moments for the listener. "Beneath Existence" is an inordinately brutal cut with strong shades of death metal, and generally the band now play with more aggression "Abiotic Warfare" being a relatively more peaceful thrasher, the tile-track at the end even attempting acouple of more intrigung, technical riffs.

Street Terror EP, 2011
KTCM EP, 2012
Cleansing The Blood Of The Heretic Full-Length, 2016

Official Site


Melodic thrash with some crossover tendencies; the music is feelgood reaching for heavy/power metal at times ("De La Onu A La Otan"), or at times for jolly punk (S.K.A."), also including one cool semi-ballad (El Camino"). The album definitely has its more edgy moments: the short headbanger "Odio", the heavy up-tempo thrasher "La Semilla Del Diablo", but it would have a wider appeal than other full-fledged thrash metal works.
The guys are back with "Planeta Violent" which shows them not having lost their style during these long years of absence, perhaps having become heavier and more modern. Some invigorating speed metal cuts ("Cruces De Madera"; the heavy crossover joy "Muerte Súbita") have been introduced as well as more hard-hitting thrashers ("La Puta Virgen"), but generally this is not a very big move away from the guys' staple approach which is assisted by attached semi-clean/semi-hardcore vocals.

Kondenados Full-length, 1999
Planeta Violento Full-length, 2012

My Space


Based on the full-length debut, this outfit specialize in headbanging old school thrash with a modern production which gives the guitars a dry buzzy edge. Still, the band thrash on unperturbed adding the requisite proto-death dramatism (Hori... Vatikan") which is also reflected in the mean sinister death metal vocals which make the effort at times sound a tad more melodic (to no success).
"Kaarokalypsa" is another sure-handed effort the band speed/thrashing with force greatly helped by the excellent production which gives the guitars a ripping cutting edge which carries on through the whole album (which is barely half an hour long) bearing quite a few tasty "fruit": the deadly moshers "Pekla Zár", "Pribitý Ke Kríži", among other furious cuts. This is a true "thrash attack", and one may be curious to check out the demo to see if the band have managed to epitomize their relentless approach at this early stage.

Kaarový Eso Demo, 2009
Thrash Attack Full-Length, 2010
Kaarokalypsa Full-Length, 2012

Official Site


Another fine example that there is something in the water in Finland: very cool retro thrash from the North sung in Finnish (a growing tendency with the bands out there) with both fast, technical songs and some heavier, slower ones.

Moraalin Vartijat Full-Length, 2005


Bssed on the debut, this is melodic thrash with classic heavy metal parts; might sound too soft for the more radical thrash metal fan (based on the debut). Despite the presence of some up-tempo speed/thrashers ("Nechte Me Bejt", "Fuck 'N' Roll", and especially the intense Bay-Area-sque "Ma Ji Motorovou"), the music will not hold water for long for the thrash metal fan. The last song "Pasik" is a sudden turn to slow, funereal doom, and is quite effective although the ending ruins it a bit being some punk-ish joke. Later the band moved to hard rock.

Má Ji Motorovou Full-length, 1991
Živì! Live album, 1991
Dìvky Ty To Znaj Full-length, 1993

My Space


This band remind me of Ghoul and Frightmare: thrash metal mixed with mid-period Carcass. These guys are less aggressive, and by all means more technical. The music is heavy with nice technical breaks, never speeds up a lot, and the bass work is simply brilliant at times (check out "Severed Skin"). "Byzantium" is the highlight of this cool debut featuring great twisted riffs and more intense sections ala Dark Tranquillity. The singer has a voice similar to Jeff Walker, maybe with a slight shade of Mikael Stanne (Dark Tranquillity again).
"Of Gods And Men" is less striking being pretty ordinary modern thrash metal, a much more melodic offering than the debut clinging towards gothic and the ballad, and despite several edgy headbanging sections thrown in this album will mostly satisfy fans of the more melodic side of the genre who will be particularly pleased with the very good emotional clean vocals. The band members do further damage in two other acts: the melodic death/metal act Irony of Christ, and the more classically-inclined thrash metallers Craniosacral.

Killing Inside Full-length, 2003
Of Gods And Men Full-length, 2009

My Space


Based on the full-length, this act provide melodic, progressive thrash/death which doesn't have the energy, but compensates with catchy hooks and tunes which become too playful and friendly ("Alexandria") at times "Paranoia" the only relative speedster in this "sea" of tranquillity and mood. The singer is a guttural death semi-shouter and doesn't take too much room leaving the music to do the talking.

Infidel EP, 2014
Essence Full-length, 2015

Official Site


Well done progressive instrumental power/thrash metal nicely alternating between intense riff-oriented sections and melodic lead guitar passages. The tempo is quite energetic, without crossing over the sound barrier, although the headbangers will find fine moments on "Auricle" to jump around. The guys are quite expert at mixing acoustic guitars with more aggressive riffage ("Degeneration", "Recalling"); another mixture worth mentioning is the progressive opus "Xenophobia", which constantly alternates quiet dreamy moments with faster more intense ones. "Fogyist" is a really fine exercise on meandering technical thrash, with a speed metal twist at the end. Another similar technical experience is "Hydra", which is slightly less dynamic and more jumpy. The closer "The Last Station" is a very cool instrumental ballad, which will make you cry (at least the more romantic souls), a quiet, but very appropriate ending for this fairly satisfying effort coming from one of the least likely places on the metal map.
"Virtual Existence" has a darker more brooding tone and is considerably slower now evolving around mid-paced heavy riffage with more complex song-structures clinging more towards the power/progressive metal field. "Cold Reflection" is a nice break in the middle speeding up quite a bit at some point also containing great technical melodic leads. Then the music becomes even more elaborate with more emphasis on lead guitar pyrotechnics supported by a strong keyboard background. The hard-hitting riffs are not developed fully, and even when they are given more space, they don't really strike a note being slightly monotonous and samey.

Exir Full-Length, 2005
Virtual Existence Full-length, 2009

Official Site


This is mostly evil black metal (based on the EP's) with sparce other influences among which is thrash of the early proto-black variety (think Venom, Bathory). The guys know no sophistication bashing vehemently for at least half the time losing it completely near the end where the sound gets too messy with all the instruments, along with the vicious raspy singer, forming an impenetrable wall of buzzy sounds which begins and ends in the same brutal mish-mashy way.
"Ilmutus Surm" is a really brutal affair which often shifts away from thrash into black and death metal, and this perennial ultra-fast downpour would just become tiring well before the end. Several calmer, epic mid-period Bathory-sque sections try to offer some respite towards the end, but the muddy lo-fi production doesn't give them a chance to shine.

Faux Dieu EP, 2011
Leinav EP, 2012
Ilmutus Surm Full-length, 2015

Official Site


Based on "Back to the Blind", this act provide dynamic groovy thrash with metalcore leanings. Despite the undeniable production qualitites, this effort is just too repetitive and familiar-sounding to impress the hardened fanbase who have heard this kind of music thousands of times before.

Puppets to the Parasites EP, 2009
False Idols and Pyrite Thrones Full-length, 2011
A Blissful Image of a Dystopian Vision Full-length, 2013
Back to the Blind Full-length, 2016

Official Site


Based on the "Everything Is Possible" EP: classic 80's thrash metal, reminiscent of Exodus and Vio-Lence. The band plays fast and intensely with cool melodic tunes thrown in. The closing song "Wargames" is slower, mid-paced and heavy (and too long as well: 7-min), and kind of underwhelming, betraying the cool headbanging pace of the rest.
"In Touch With Reality" has already embraced some of the modern tendencies ("Pride" "flirts" with the groovy sounds quite a bit), but the classic thrashiness hasn't disappeared completely, and what's on offer here is a more updated version of the Bay-Area sound still more retro-sounding than the early 90's efforts of the aforementioned acts. The speed, however, has been diminished to a certain extent, and now the pace is mid for most of the time touching the semi-ballad on the good edgy "Time for a Change".

Everything Is Possible EP, 1992
In Touch With Reality EP, 1994

Fan Site


Based on the full-length, this act specialize in melodic modern power/thrash which tries to keep a dark morose tone throughout, but the the whole effort kind of lacks style the guys thrashing at times more aggressively ("Waking Dead"), at others just passing through the motions creating pointless acoustic balladic instrumentals ("Reverence"). More stylish semi-technical guitar work springs up (the speedy engager "The Immortal"), and "Valnir" is a nice dramatic volcanic mid-pacer; although the"laurels" will go to the serious progressive thrasher "Storm Of The Devoted" which impact is considerably cancelled by the lacklustre closer "Witchfinder General" which is a less eventful power/thrasher contrasting with the gruff death metal-ish vocals. This album lacks the necessary focus, and the several original ideas scattered around may not impress as much. But surely the guys have a lot more up their sleeve, and should be able to proudly continue the legacy left by their former band, the thrash metal act White Thrash.

Kaine EP, 2010
Falling Through Freedom Full-length, 2012

Official Site


This act specializes in typical modern thrash/death which is not far from the early efforts of the guys' compatriots Mokoma. The band try to play both fast and melodic, but the execution is not as proficient, and at some point the sound gets messy with also the several semi-technical passages inserted, but never developed fully. The singer is a staple death metal growler of the low-pitched vareity, but not very intelligible.

Atlas Full-length, 2011

Official Site


Typical melodic thrash/death metal, fast and edgy, with ultra-fast passages interrupted by sharp thrashy breaks. Nothing revolutionary, although the excellent closing acoustic instrumental "Solace" may make you cry.

A Slow Descent Into Oblivion Demo, 2006
Kalakai EP, 2009

My Space


There is not much known about this obscure act, except the fact that two people are responsible for the music on the debut, which is pretty competent speed/thrash which surprisingly sounds close to the American standards (Sentinel Beast, Destructor, Blessed Death, Piledriver) topped by somewhat awkward deep clean declamatory vocals which never try to shout a bit higher which could have been beneficial. The album begins with "Devil's Yo Hero" which is vintage energetic American speed/thrash metal slightly ruined by the not very proficient leads. "The Haunted House" follows suit with plenty of sharp galloping riffs and a cool balladic intro, but the guys mess it up with the next "Rockin By The Grave Yard" which is a bland hard'n heavy rocker. "Kill Your Neighbor" improves things with more dynamic power/thrash guitars, but the real status quo is restored with "Chosen One", a really nice mixture of fast intense and heavy stomping passages. The instrumental "Demons Rebellion" is a cool slab of lead-driven speed/thrash which is hardly the best decision as the lead guitarsit is not a really big asset. "Video Monsters" is pure fierce thrash, but there is a flaw again, this time caused by the singer who this time for some reason tries to rule the show adding gruffer harsher tones plus a few laughable high-pitched thin screams, the former not a complete waste, as a matter of fact, making him sound quite close to Gord Kirchin (Piledriver, Dogs with Jobs, Convict); this number actually strongly recalls the Piledriver's "Stay Ugly" closer "The Executioner", in a good way. More edgy speed/thrash with "Hell's Runnin' Wild" again sustained in the best tradition of the aforementioned "Stay Ugly", before the vocal version of "Demons Rebellion" wraps it up; a much better track than the instrumental with the leads removed completely now replaced by excellent high-speed riffage, and the singer surprisingly sounding more potent compared to his previous performance.

The follow-up has nothing to do with these two guys since neither of them had been listed as taking part in it. Still it mysteriously features as their second official full-length containing an inferior brand of heavy and power metal, again with an American flavour, the only improvement having been made in the vocal department where the new guy comes up with a deeper more melodic tember.

The Torture Never Stops Full-length, 1988
Desert Storm Full-length, 1990


This young Italian outfit indulge in epic retro power/speed/thrash with echoes of Savage Grace, Iron Angel, and the more obscure German act Not Fragile. Thrash doesn't play first fiddle here although "Speed Of Killing" in the middle is a good reminder of the latter as well as the shorter shredder "War Paints". The vocals are passionate and attached with plenty of high-pitched antics to impress the power/speed metal fanbase, above all. Some of the band members also play in the classic heavy metal outfit Hells Crows.

Kalashnikov Full-Length, 2015

Official Site


Punk-ish thrash/crossover of the melodic jolly variety, with no big ties to thrash, except on a few more aggressive faster moments ("Peace is Dead").

Oh Yeah Motherfucker!!! Full-length, 2007

My Space


Based on the "Viha Petetyn Ei Haihdu Milloinkaan" EP: modern thrash/death metal of the more atmospheric kind; the riffs weigh assisted by cool melodic tunes, although vigorous up-tempo moments are not completely ignored topped by gruff death metal vocals.

II EP, 2009
Viha Petetyn Ei Haihdu Milloinkaan EP, 2010

Official Site


Based on the demo, this young Brazilian band pull out intriguing modern thrash with occasional shades coming from the classic school. The style is somewhat technical with choppy riffs, mixed with more straight-forward ones resulting in really good intense, complex numbers: "Take Away", "Corrosive". One song is featured in two forms: "Tired", which is also a cool track, maybe more groovy and standard. The last one "Shame" is 1.5-min of frantic, but again fairly interesting thrashing.
The full-length is hardly an improvement, sacrificing the more original approach for more conventional modern thrash one, which frequently adheres to groove, and frantic shredding with an industrial edge ala Strapping Young Lad. This amalgam doesn't work all the time, awkwardly switching from clumsy groovy to very fast hectic passages. The industrial atmosphere is too strong for one to grasp fully this act as a thrash metal one; fans of the Canadians Soulstorm, late period Meshuggah, and even Godflesh would find something to like here.
"Fractal" is a better effort with more frequent nods to thrash, still very modern-sounding, "flirting" with the Swedish melo-death scene as well, but the groove is firmly here, although not to an annoying extent. A nice more technical track appears ("In Others Mind") in the middle, but the clean alternative vocals ruin it big time. As a whole we have a varied industrialized take on the modern thrash idea which should be an entertaining listen to fans of the modern sound.
"The Seven Deadly Chakras" is another more aggressive affair sticking to abrasive riffs on a melo-death/thrash base with not too many post-gimmicks. Still, this is fairly pedestrian music without any surprises also relying on gothic ("Heart") and lyrical balladic instrumentals ("Sloth") to pull it through. "Sacral" is a curious, more ambitious, composition closing on 8.5-min trying to elaborate things in a pensive Opeth-esque manner with the obligatory sudden speedy outbursts. Attempts of the kind should have been more since now this album is just another run-of-the-mill Scandinavian-styled offering with the synthesized vocals the major annoyance.
"Eyes of Creation" bears no surprises the guys moshing in the familiar manner the staple mellower propositions ("Stay with Me") mingling with both more technical ("Open Door) and frolicer thrash/crossover ("Something to Learn") variations. "Purpose of Life" is a heavy squashing groover reducing the second half to trite modernisms, this effort again coming more as a missed opportunity than a convincing addition to the band's discography.

Corrosive Demo, 2005
Kamala Full-length, 2007
Fractal Full-length, 2009
The Seven Deadly Chakras Full-length, 2012
Mantra Full-length, 2015
Consequences of Our Past Vol I EP, 2017
Eyes of Creation Full-length, 2018

Official Site


Based on the "Riittämättö" demo, this all-female act pulls out quite ordinary modern post-thrash in mid-pace with groovy "decorations" and alternative vibes. The music recalls the one of Guano Apes with a more aggressive punk-ish attitude.
The full-length is finally a fact, and the ladies stick to their guns playing abrasive hard post-thrash which is "plagued" by grunge, groove, hardcore, and more. The girls at times reach the manic intensity of Guano Apes even ("Pakko"), but they are quick to calm down and carry on grooving to mixed results. This is also a product for the nu-metal and metalcore crowd who should be able to enjoy the several more melodic breaks.

Peto Demo, 2006
Päästä Irti Demo, 2007
Riittämättö Demo, 2008
Kamala Akka Full-Length, 2013

Official Site


A good mixture of classic and modern thrash with rough, death-ish and nice clean vocals, which at times come unpleasantly synthesized, and touches of the gothic/doom style adopted by their compatriots Amorphis on their more recent works. There is some Metallica-influence in the guitar work, coming from both their late-80's and their Black Album period. This is heavy, mostly mid-paced stuff with cool crushing riffs and memorable melodic guitar lines, but is kind of one-dimensional, with very few attempts at a more varied, up-tempo play: "Hauras Mielil", and the closing moments of "Riisuttu", which come with furious blast-beats.
"Tyrannia" is a faithful follow-up, thrashing in a sure-handed semi-classic/semi-modern fashion mixing faster up-tempo and slower mid-paced numbers, but it's the former which pull the album through: "Väen ja Vallan Valtias", the furious speedster "Tuhon Airut", etc. The end is kind of underwhelming, though, with "Syvempiin Varjoihin" which is dragging uneventful mid-paced modern thrash, and "Rauha" which is a quiet acoustic instrumental. Some of the musicians taking part here are also seen in the gothic metal act SaraLee.

Ämäkin Vielä EP, 2004
Synti, Tuomio, Katumus Full-length, 2005
Tyrannia Full-length, 2010

Official Site


Based on the "Vähitellen Vaikenee" EP, this band plays modern post-thrash with a dark gothic sound. Seldom can one hear very fast death metal outbreaks, but the dominant pace is mid at best.
"Henkiinjäämisharha" is a much more aggressive affair the band now touching death metal with ease on a couple of tracks, like on the opener "Puutteen Harna". Later on the groovy patterns get introduced again, but their character isn't that annoying with more dynamic rhythms incorporated. Some doom comes creeping in the middle before the semi-technical shreds on "Kaksi Hautaa" show some promise for future offerings.

Luojan Kiitos EP, 2002
Kaiken Jälkeen EP, 2003
Vähitellen Vaikenee EP, 2007
Sarkaimet EP, 2007
LeiKi Kuollutta Single, 2009
Tärkein Vähemmistö Full-length, 2009
Henkiinjäämisharha Full-Length, 2013

Official Site


A 3-songer providing heavy mid-paced power/thrash with the obligatory for the time groovy gimmicks although here they don't play the leading role. The guys have a good sense of melody, but the very poor sound quality is amajor detriment for them to show fully their skills. The songer seems to be the least affected by it since his powerful clean tember dominates the landscape with authority.

All Too Human Demo, 1995


This band offers a decent mix between classic and modern thrash of the less hard-hitting type with gruff death-ish vocals. The music is predominantly mid-paced with the occasional faster burst ("Divinites Paiennes", the nice speedster "Tempete Nordique"). There is a certain gothic atmosphere going through the album ("Pandemonium" and elsewhere), and "Les Chacals" is jolly crossover.
"Saga Guerriere" is a more aggressive affair now clinging towards the Swedish thrash/death metal camp quite a bit, spiced with slower epic passages, which don't give too much room for the faster parts to develop fully, the latter frequently interrupted: "Lepante 1571" is a cool speedster, but the rest are uneven mixtures of the two sides. Near the end the guys throw a cover of the hatecorers Blue Eued Devils' "Plus Fort".

Mythes Et Combats Pour L’europe Full-Length, 2008
Saga Guerriere Full-Length, 2011

My Space


This obscure Thai formation offers a mild, pleasant blend of classic heavy, power and a bit of thrash metal. The guys never speed up, but there are a couple of very heavy, pounding pieces, which owe a lot to the 80's American power/thrash metal scene. Unfortunately, the singer's clean tember inclines for a more balladic song-writing, and such are half of the tracks on this one.

Huqdib Full-Length, 1995


Modern thrash with throaty shouty death metal vocals; the delivery is generally melodic and atmospheric and the fan will hope in vain for some more intense guitars which eventually appear for a while on the brisk "Pobac z Vami". "Apakalipsis" is another more intense shredder, but the rest is mid-paced epic/pagan stuff coming a tad short of being on an Amon Amarth album.

Moj Sviet Full-Length, 2015

Official Site


Dark atmospheric black-ish thrash which prefers the suggestive sinister mid-pace although the overall tone is more optimistic than the one of Khold the darkness also dissipated by the odd sense of melody ("Made For Kings"). "Avoid The Anger" is a more energetic shredder, but expect sleepy doomsters, too ("Break My Will"), alongside more serious, progressive stompers ("The Silence Of The Dead"). The singer is a good husky death metal semi-shouter, and he does a good job leading the funereal proceedings.

We Are the Shadows Full-Length, 2016



This act waste 2.5-min to open this short effort with an intro ludicrously titled "Outbreak of Brutality" since it is nothing more than a very quiet acoustic passage (remember the opening one on "Coma of Souls", only that the one here is much longer). Then the "carnage" starts favouring the "holy three" of German thrash, above all, the workmanlike barrage assisted by better Schmier-like vocals. This is fast'n tight stuff, derivative and catchy.

Outbreak Of Brutality EP, 2012


Based on "Kaos Among Us", this band mixes classic and modern thrash, with Pantera and Slayer being the main influences. The guys try to play fast and tight, but when they slow down, they come up with intriguing heavy tracks ("Burning Scars", the semi-ballad "God As My Witness"), although their more aggressive side is also cool ("Live Forever", "Descend Into Madness"). As a result we have a moderately successful bridge between the old and the modern school. The band benefits from the presence of Kevin Albert: the guitarist who played in the not so distant past in both Ulysses Siren and Defiance.
The guys are not the most productive band in the world, and here comes "The Pits of Existence" to bring you a similar to the older works concoction of classic and modern thrash, and another mix of faster and slower numbers as the former should have been more since they elevate the mood big time. The problem is that they are only 3 in total, and although they open and close the album, they are not enough to make this effort a perennial delight for the old school thrash metal fan. The mid-tempo semi-groovers dominate, and are not bad at all, actually; it's just that the band were fonder of speed before, and sounded more appealing.
The EP is a more aggressive affair the band now thrashing with more passion on the first two tracks, still standing in the "nomansland" between the modern and the classic school. The aggression returns later on wirth the aptly made cover of Vio-Lence's "Kill On Command" from the band's legendary debut, but the guys seldom run away from their tested formula which would by all means please their fans.

Vision Beyond Full-length, 2000
Kaos Among Us Full-length, 2003
The Pits of Existence Full-length, 2010
Validated in Blood EP, 2012

Official Site


This band, which consists of just two guys, plays an interesting brand of thrash/death which comes with plenty of symphonic elemnts and an encompassing orchestral atmosphere. The music is quite diverse with echoes of Bal-Sagoth and Septic Flesh, plus a healthy shade of doom ("Antidisestablishment"; the melancholic, early Katatonia-sque, "Crush the Accuser") which bears the finest fruit. Thrash makes itself heard ("Armageddic") on the more ontense sections, where the guys shred with force adding a few stylish leads as well. Uncontrollable blasts are inevitable ("Indomitable Incursion"), neither are larger-than-life opuses ("Heresy: The Recalcitrant Incessant") where all the styles present mix in an admirable manner on a pompous orchestral background. The guys let their experimental spirit run even more astray with their other act Heritech, where the avantgardism is way bigger.

Tyranny: The Hysteria Manifesto Full-length, 2011

Official Site


Based on "Screaming for Salvation", this US trio chuggy modern thrash/post-thrash which touches the more progressive waters at times (the more ambitious opener "Kill The Messenger"), and the longer material is generally interesting including the diverse, not very predictable "Rejection Letter", and the jumpy "Paralyzed By Fear". "Screaming For Salvation" is a wilder headbanger, but moments of the kind a rarity the band content enough with their not very dynamic, but intriguing style.

Embrace the Fire Full-length, 2014
Screaming for Salvation Full-length, 2016

Official Site


6 tracks of modern industrialized, sometimes technical thrash, which strangely reminds of Front Line Assembly's only flirtation with the genre "Millenium". The music is jumpy, and some riffs may catch your attention, but seldom leaves the mid-range, except for isolated sections from separate songs. "Ja-Wohl" livens up the situation with some brisk riffage, but the rest is pretty much the same: heavy pounding guitars with industrial effects retouching the sharpness here and there.

Catch The Fear Full-length, 1993


Pretty decent classic power/thrash which aims at the more progressive territories with its more elaborate arrangements recalling the Danes Unleashed Power's debut. This is music more on the melodic side which seldom goes for the headbanging fun, but provides the necessary edge on almost every composition except for the overlong ballad with the "angelic" title "My Angel" which overflows with stylish leads. "Rage" comes after, and justifiably so, to pour some brutality into this mild affair with intense fast-paced rhythms, and is a fitting, albeit hardly very deserving, epitaph to this obvious warm-up for something bigger to come. The singer is good, though, with his warm passionate voice and he should try the higher tones from time to time which would definitely benefiit the musical delivery.

Kaosmos EP, 2012

Official Site


These Spaniards play stylish complex thrash/death metal which is more on the modern side, but the interesting guitars and the intriguing decisions guarantee you not a dull moment. The album starts with the progressive meandering "Shpere", but there is more to come with the more aggressive "Hypocritical" which thrashes with full force. "Strange Confusion" offers entertainment of the more elaborate progressive type again, but is too "out there", without any dynamic moments. They come aplenty on the next "Seven Times Seven": an impressive speed/thrashing opus with great Oriental hooks, and a few blasting moments thrown in. "A Raven In The Dark" breaks the alternation between slower, longer and faster, shorter songs, and is excellent technical thrash/death, quite a brutal piece, with great guitar performance. "Veif Of Shame" slows down, and is almost gothic/progressive containing mostly quiet, lead-driven passages. And another more intesne technical number as a finishing touch: "Arrows Of Time", which even includes a short groovy passage, among the steel hectic technical riffage. There's an interesting "duel" between the two vocals styles presented: one is in the brutal death metal camp, the other is clean with an avantgarde shade, quite cool recalling the ones of Vintersorg. Spain is not famous for its technical metal scene (Unreal Overflows come to mind from the more recent acts; and, of course, the instrumental technical death metal masters Continuo Renacer), but these guys look well equipped to compete with the best on a worldwide scale.
"Lights and Shadows" arrives after a gigantic 10-year hiatus, but the band have retained their mastery and the opening "The Flame" is a major puzzler of the quiet, pensive type. "High" introduces clean vocals and a more restrained progressive metal sound, but "Son Of Evil" hardens the course towards more aggressive death metal waters also introducing cool background female vocals. Death/thrash isn't the order of the day on the oblivious balladic "Belong" and generally the approach this time is not very hard-hitting the guys relying on melody more leaving behind their roots, a statement of softer progressive metal intent being the meditative semi-balladic closer 'Crisalida".

Order to Chaos Full-length, 2005
Lights and Shadows Full-Length, 2015

Official Site


Based on the full-length, this act specialize in heavy modern thrash with brutal death metal vocals. The guys rely on volcanic steam-roller riffage which seldom leaves the mid-tempo in the beginning, but is quite consistent, and even semi-technical at times (check out the faster clever shredder "Lobotomy"). In the 2nd half the band move things around with more speed added and the short "Bad Awakening" is already a full-blooded headbanger with death metal ala early Death and Massacre sneaking in. The squashing rhythms return near the end to take over the closer "Inbreeding" which is a total Bolt Thrower worship and a fitting epitaph to this interesting hammering effort. Some of the musicians can also be seen in the power metal formation Tales of Destiny.

New Born Khaos EP, 2009
Starving Death Full-length, 2011

Official Site


Based on the full-length, this act play classic thrash/deah with heavy guitars and a few more intriguing melodies which are just on the verge of falling into the progressive realm ("Carnivorous Madness"). "Creature" is a pure death metal cut with nods to Benediction and Gorefest, and "Lobotomy" is a clever pounding thrasher. More impetuous death metal with "Bad Awakening" taking turns with the sharp thrashy pieces like "Starving Death", before the band hammer you into oblivion with the 10-ton steam-rollers at the end "Terror" and the closing "Inbreeding" with volcanic proto-doomy riffs. The singer is a subdued deathy semi-shouter quite reminiscent of Dave Ingram (Benediction again). Some of the band members are also active with the power metal outfit Tales of Destiny.

New Born Khaos EP, 2009
Starving Death Full-length, 2011

Official Site


Based on the debut demo, this act play abrasive modern-ish thrash which is mid-tempo and not really intense, with gruff death metal vocals. THe guitars cut with passion, but the approach is a bit too monotonous to impress the listener much except for the several more dynamic moments on the closing "Kill or Kiss".

Enola Gay Demo, 1997
Trepidation Demo, 2001

Official Site


Old school speed/thrash "blessed" by gruff subdued death metal vocals; the music is energetic and uplifting recalling the exploits of German acts like Vectom, Warrant and Not Fragile. A few more brutal moments can be heard (the blast-beats on "Knife, Candless, Wine And Slut") here and there, but generally this is jolly stuff which could grace numerous beer parties: "In Beer We Trust", like the tile of the closing headbanger says it so well.

Beer Metal Demo, 2012


Based on the "Kompisar" demo, this band play more serious, dark classic thrash/death with deep guttural death metal vocals. Slow, ponderous sections take turns with fast, blitzkrieg ones as the highlight seems to be the varied "Religion"which also carries some of the gothic flavour of the early Nightfall efforts. The sound quality is awful, though, and drastically ruins the musicians' intentions.

Beyond the Sun Demo, 1992
Kompisar Demo, 1992
Applicide Full-length, 1994



Based on the "Windigo" EP, these folks provide gloomy sombre black/thrash with doomy leanings. The funeral-like atmosphere permeates everything here even on the faster-paced moments ("The Shadow Out Ov Time") which come decorated with some really cool melodic leads. "Battles In The Frozen Kingdom" is an imposing piece with a battle-like delivery without losing its speedy aesthetics topped by the subdues semi-declamatory vocals which sound as though coming from somewhere deep underground, and produce a cumulative sinister effect. This is an intriguing effort which should be elaborated on with a full-length: fans of Barathrum, Khold, and Thorns will have a new favourite soon... Some of the musicians are also involved in the doom/stoner metal act Megaton.

Kingdom ov Plague EP, 2011
Windigo EP, 2012

Official Site


There is no information anywhere who is behind the music, but this is hardly important, as this is unimpressive noisy thrash/black metal with horrible synthesized vocals; at times the tempo is quite fast, but there are moments when clear stoner/doom passages sneak through as well as rock'n roll jokes: "When I Plug Your Sister's Holes". The overall sound is not far from the Japanese school in the genre: Barbatos above all, but also Abigail, etc.
"Hell. Fire. Sex." moves even further towards the rock'n roll side of the spectre now sounding quite close to the speedy boogie antics of Motorhead also including two covers: one of the punk star GG Allin ("Hard Candy Cock"), done in a faithful carefree way; and Guns'n Roses' "You Ain't The First", slightly changed with an added more energetic crossover colouring. Some of you may get scared on "Bloody Knucles & Broken Bones", though: a brutal grindy take on the band's rocky style, but that's the only truly "scary" moment.

Take It In The Ass Full-length, 2006
Hell. Fire. Sex. Full-length, 2010

My Space


Based on the full-length, this act play decent retro power/thrash with interesting melodic instrumentations bordering on Shrapnel-like execution, especially on the virtuous lead sections. "Descaso" is a more laid-back progressiver with power metal more strongly accentuated, and later on the sound acquires some modern tendenciesalongside the happy-go-lucky rhythms("Patrulha Social"). Still, there's room for some aggression as evident from the short ripping "Intolerancia" although the focus is more on tenderness a perfect example of the latter being the soulful bluesy closer "Barta Blues" and the passable dramatic semi-clean vocals.

Karburalcool EP, 2013
Defeitos Humanos EP, 2015
Kaos Full-length, 2016

Official Site


A wild frenetic mix of thrash, crossover, and grindcore; this is music played strictly for laughs with plenty of comic touches inserted. Cool sharp riffs can be heard, but at least half of the tracks are furious, less than 1-min, explosions in the vein of early Napalm Death and Electro Hippies.

Vse V Sad! Full-Length, 1995


This young act is in charge of modern groovy aggro-thrash which is stomping and actually uite dynamic (check out the perennial jumper "Solemn") and pleasantly Oriental ("Attempt 1") at times. Hard thrashing like the one encountered on "Arch Enemus" is a rare phenomenon, but the semi-technical swirls on "Self Preservation" will enchant as well as the noisy industrial landscapes on "Severance". What will be a pullback, though, would be the harsh quarrelsome deathy vocals which still suit the abrasive, but listenable environment.

Genericist Full-Length, 2015

Official Site


All instruments and the vocals are done by just one person, the alias Destroyer OW, who takes it easy here for the release of just two tracks of retro thrash/black metal which mixes early Sodom with more intense proto-deathy passages. The musicianship is pretty simplistic, and the vocals are on the minimalistic semi-declamatory side, delivered in a guttural, not very comprehensive, manner.

Torn Apart EP, 2011



This obscure Argentinian act pulls out a dry, sterile mix of thrash, death and a bit of hardcore. The guys try to give a fair share of each of those styles, but this blend is nothing exceptional staying mostly in the mid-paced sector, with a couple of moments where the riffs start jumping in all directions creating a chaotic feeling which doesn't quite live up to its technical pretensions. "Feel Your Truth (Betray The World)" is a surprisingly more complex exercise on modern thrash, quite long compared to the rest of the songs with clever heavy, almost doomy riffs, and brings a nice change from the otherwise monotonous picture. "Odio Song" and "Nuclear Epidemy" are also more than welcome near the end, with their raging guitars, and cool tempo changes. A bit of 90's Sepultura, a bit of early Meshuggah, a bit of Grope and Puncture have found room in this hectic, occasionally interesting, but not a really commendable release.
"Elevation Massacre" already sounds as a typical 90's aggro-effort, although the groovy "traps" are nicely avoided most of the time with more energetic almost classic-sounding riffs (the short explosive "Birth Killer Machine"; the dry mechanical, but energetic guitars on "Believe is Not Be Live"). "Scare Dreams" is a cool mix of groove and more dynamic riffage, even trying something semi-technical at some point ala early 90's Prong, but the other material doesn't stray too much from the established 90's laws, still offering songs which could be considered a better follow-up to "Chaos AD" even than Sepultura's own "Roots".

Fear Of Destiny Full-length, 1994
Elevation Massacre EP, 1996

My Space


The debut: this is a hesitation between the modern and the classic school which is boosted by modern production, but some of the riff-patterns also cling towards the modern side. Certainly, there are fast headbangers to move the spirit, and even some more technical riffage can be heard ("Tabletki Dlia Mozgov", and elsewhere); so this isn't a total waste the musicians knowing their craft with the bassist standing proud on the front row with his forceful insertions. The singer isn't bad singing in a detached semi-clean fashion semi-shouting cautiously on the more dramatic passages.
"Harmony Of Lies" retains the hesitant stance, but the riff-patterns are more technical as some cuts are really admirable exercises in complex vortex-like thrash, like the heavy serpentine "Patriot", or the more dramatic proto-deathy shredder "Show For The People". The title-track is another less ordinary proposition with intriguing mid-tempo twists, and "Outside Politics" attempts the same less predictable approach, only with faster, more dynamic rhythms.

SoCiym Full-Length, 2012
Harmony Of Lies Full-Length, 2017

Official Site


Above average modern thrash, not miles away from the first two The Haunted albums, but the singer here is a pure hardcore shouter, and both death metal and classic thrash sections can be caught, which makes the Italians' music more enjoyable, at least to these ears. The tempo is fast and energetic, producing genuine headbanging moments. The only drawback would perhaps be the closing "Lethal Weapon" which "flirts" with groove the whole time, and is hardly the most suitable exit from this otherwise enjoyable EP.

Karmian EP, 2007

My Space


Modern post-thrash which has both groove and melodic hooks including a few admirable headbanging moments on "Inner Ego" and, of course, "Brutality". "Rot Inside" is a nice more engaging speed/thrasher pairing well with the stomping seismer "Psychopath" and the heavy doomy closer "Plan 9". The singer shouts hysterically to the point of hysteria at times, and doesn't leave a very positive impression.

Self-Conception Full-length, 2016

Official Site


These guys play old school thrash metal with expressive shouty death metal vocals. The music is a decent mix of slow and fast rhythms with surprisingly cool quiet insertions (the fine balladic leads on "Armagniak"), but rest assured that there will be a lot moshing around on galloping roller-coasters like "Bebe mi Sangre".

Demo Demo, 2003


Based on the "Cosmic Fate" demo, these guys pull out melodic thrash/death metal with both classic and modern elements present. The music is kind of clumsy, though, being constantly mid-paced long on atmosphere the latter also achieved by a couple of more gloomy doom-laden passages. The singer is a scary death metal growler.

Cosmic Fate Demo, 2003
Karnak Seti Demo, 2004
Collateral Dreams Demo, 2005
Stranded by Existence Demo, 2008
Scars of Your Decay Full-length, 2009

Official Site


These lads pull out excellent brisk dynamic modern thrash/death which comes supported by interesting technical moments (the brilliant atonal tunes on "Killer Instinct"). "Denial Of The Death" is another less ordinary shredder with great progressive accumulations and nice melodic tunes. "Take Their Heads" is more on the stomping jumpy side, but the band still find time to unleash a portion of less ordinary rhythms; "Jinx" is a standout unpredictable technicaller with a pleiad of time and tempo shifts. "Hatred" moshes in a more conventional manner, but "Satanic Beliefs" is another elaborate composition with the complex riff-patterns and the sudden twists and turns. The vocals are not on par with the good music, though, being low-tuned guttural death metal ones, at times not heard very clearly.

Take Their Heads EP, 2017


Two folks are behind this old school thrash affair which comes with suitable subdued raspy vocals and an appropriate crossover attitude, the tracks developing in a carefree simplistic manner with the odd black-ish flavour ("Empire Of Death"), and the obligatory cover version (Sodom's "Outbreak of Evil", done faithfully, but with a worse, underground sound quality).

Empire Of Death Demo, 2006

Official Site


Don't expect this act to deviate too much from the Gothenburg school lessons; they stay true to their origins and as such would be of a bigger interest to the death metal cohorts who may be jumping with joy on intense shredders like "Omen", or will circle around the room with heavy steps on the early Bolt Thrower worship "Serenity". The good thing is that the band have a good sense of pace and change it whenever necessary occasonally providing slower moments which turn to gorgeous doom at the end of the closing "Far From Reality". The guys were earlier known as Karneywar under which name they relesed 3 demos.
"In the Halls of the Wicked" is a better offering although the Swedish laws of the thrash/death hybridization are more than obvious all over. Still, the guys play with gusto with cool riffs and a good sense of tempo changing touching Dissection and early Dark Tranquillity also complicating their approach with more ambitious progressive cuts ("An Era of Decay"). There aren't too many speedy moments, and the headbangers will have no choice but to adapt to this moderately complex translation of the modern thrash/death saga where raging brutalizers like the title-track near the end a rarity, albeit a positive addition to this otherwise not very eventful effort.

The Triumphant Khaoz Full-Length, 2012
In the Halls of the Wicked Full-Length, 2014

Official Site


Modern thrash/death metal with moments recalling Slayer's late 80's period; the music stays closer to thrash metal except on some furious sections where the blast-beats reign supreme for a while.

The Bright Side of Death Full-Length, 2007


Based on the "Free In Death" 3-track demo, Karrion blend aggressive Slayer-influenced thrash ("King's Exile") with slower heavy riffs ("Free in Death") in the Celtic Frost-vein, plus a combination of the two ("Forsaken World").

Karrion Demo, 1986
Free In Death Demo, 1987


This obscure Bulgarian band come up with a modern, angry brand of thrash, which shares some of the hardcore aesthetics of bands like Pro-Pain and Sick Of It All, but when they feel like it, thay can pull out good headbangers: "Let Me Die", "Bulgarian Reality" (this song could be a good starting point, from where you can begin learning something about the country, at least about its more recent history- kidding, of course). "Virtual Reality" tries to experiment with rap-styled vocals and offbeat melodies, but they simply sound ridiculous compared to the vicious, aggressive hardcore shouts of the singer.

Progress to Decay Full-Length, 2000


Based on the full-length, this act provide modern energetic thrash ala Corporation 187 and Maze of Torment with more aggressive lower-tuned vocals involved. There will be no surprises here if we exclude several isolated displays of technicality ("Without Wings"). Te energy stays around even for the couple of less intense slower cuts which occupy the middle, and influence the encompassing closer "Deathtoll" which is a more eventful 7-min number despite its adherence to metalcore and blasting death metal here and there.

War for Land EP, 2010
From the Depths Full-length, 2012

Official Site


Messy raw amateurish thrash/death, a not very pleasant surprise after the last couple of cool bands from the Philippines that have showed up recently, with very bad brutal low-tuned vocals which obviously try to imitate Chris Barnes. The music is not worth mentioning being rough direct bashing moving from very fast to very slow with abrasive distorted guitars.

Perpetual Pain EP, 2008

My Space


Two songs which show this young Turkish act preferring to stay closer to the classic school; both songs combine speedy riffs with heavy mid-paced sections accompanied by a dual vocal attack: one style is vicious black-ish rasp, the other gruff death metal one.

Cruel Killers Promo, 2007


This trio from the steppes of Mid-Asia serve modern, atmospheric thrash/death which morose doomy serenity is rudely broken at times by sudden speedy sections, both of the death and black metal variety which make cuts like "Scent Of Your Blood" and "Albarsty" major necksprainers. The more meditative side of the album is kind of more appealing ("Erlik") since it contains the more proficient execution the dark atmosphere suiting the gruff, subdued death metal vocals.

Kashgar Full-Length, 2016

Official Site


Based on the "Lost" demo, this band pulls out nice intense classic thrash metal of the hectic technical type akin to Dead & Bloated and Technocracy. The tempo is fast with frequent technical chops which don't kill the pace, but only nicely add to the songs' appeal. The guitar sound is very heavy, though, supported by the thundering bass, and yet the music is pretty fast with plenty of headbanging moments. The singer is a forceful semi-shouter, fairly intelligible, and will remind you of Rick Nemes, the first Infernal Majesty singer/drummer.

Demo Demo, 1991
Lost Demo, 1992


A band who did a lot to establish metal on the music scene in Poland; the first two efforts are more in the power/heavy metal realm recalling early ADX and Killers, but after that the band moved to thrash metal (the same year when another big Polish band: Turbo, did that) with "Oddech Wymarlych Swiatów": a fine fusion of power, speed and thrash, boasting really impressive speed/thrashing pieces: "Porwany Obledem", "Dziewczyna W Cierniowej Koron". The band hint at more complex things to come with the excellent "Mag-Sex" which begins as a ballad before it evolves into a smashing riff-fest. More mellow compositions are also around keeping the band's past alive including the cool ballad "Glos Z Ciemnosci".

"Bastard" wastes no time showing that the guys have grown musically, and the opening "W Bezkszta³tnej Bryle Uwiêzion" comes with a heavier, more technical sound. "Zawieszony Sznur" excels in the guitar department producing enchanting melodic hooks of the Oriental type; it even finds time for a speedy section near the end. When "Bastard" refuses to speed up, it becomes clear that there won't be much aggression involved here, and this is the reason why despite the high level of musicianship displayed all over, this album will leave fewer memories in the listener's head than the rawer, but more immediate predecessor. But the guitar performance alone will make you go back to it more than just now and then as well as the nice closing ballad "£za dla Cieniów Minionych", a tendency which the guys fully developed on the follow-up ("Ballady") which consisted of 9 very good ballads (some of which are a bit overlong) including the aforementioned one from "Bastard".
However, the band quickly gave up their romantic inclinations, and "Ró¿e Mi³oœci Najlepiej Przyjmuj¹ Siê Na Grobach" saw them speeding up once again. Unfortunately the fast-paced thrashing opener "Odi Profanum Vulgus" will cheat you big time since this album is not about heads-down thrash, and at least half of the songs are full-fledged ballads, with a more aggressive edge. There is a lot of groove involved as well and although "Strze¿ Siê Plucia Pod Wiatr" lifts the spirit up with its brisk thrashy guitars, it can hardly dissipate the morose atmosphere created by the two lengthy semi-balladic compositions which surround it.
The previous effort left a solid aftertaste in the mouth, but "Szydercze Zwierciad³o" does very little to dissipate it. The guys feel content playing ordinary, uneventful modern power/post-thrash. It was good that the band took a break after this one to do some rethinking, but this pause must have confused them even more, as "Mind Cannibals" is a direct follow-up to the last one containing another portion of blatant unimpressive modern metal.
"Bialo-Czarna" comes under the name "Kat & Roman Kostrzewski", the latter a former vocalist of the band having left in 2005, so I am not too sure whether this album should be included here although it's kind of a logical continuation of the last offering being laid-back modern post-thrash, nothing really special, with a lot of balladic leanings and shades of alternative.
"666" is a much better effort, not having much to do with the debut music-wise (don't worry, this isn't a remastered version) speed/thrashing in the good old classic fashion at the beginning before epitomizing a more moderate power/thrashy approach which is still not that bad if we exclude a couple of pieces in the middle which are pure heavy metal. Nothing black metal-ish here, though, so the album-title is pretty misleading...

Metal and Hell Full-length, 1985
666 Full-length, 1986
Oddech Wymarlych Swiatów Full-length, 1987
Bastard Full-length, 1991
Ballady Full-length, 1993
B¹d? Wariatem Zagraj z Katem EP, 1996
Ró¿e Mi³oœci Najlepiej Przyjmuj¹ Siê Na Grobach Full-length, 1996
Szydercze Zwierciad³o Full-length, 1997
Mind Cannibals Full-length, 2005
Bialo-Czarna Full-Length, 2011
666 Full-Length, 2015

Official Site


These young thrashers offer repentless... sorry, relentless old school thrash which shreds its way with fast ripping riffs which at times hold a good sense of melody ("Shock Combat"). "Speed Of Light" is not exactly served with the "speed of light", but is an invigorating piece which paves the way for the short explosive "Overdose". The final "Into The Katacomb" is a serious, elaborate composition with a wide gamut of riffs and moods rlling within for about 8.5-min including a cool quiet exit. The vocalist is a rending shouty throat who commands the proceedings without actually singing too much.

Unrelenting Power Full-Length, 2015

Official Site


Katafalk play modern thrash/death metal with brutal blast-beating moments and shades of black metal. The tempo very seldom goes to mid; this is quite fast and intense music.

Storm of the Horde Full-length, 2003
Death’s Contradiction EP, 2006

Official Site


Based on the "There Is A Secret, But You'll Never Know" demo, these folks provide quite good progressive, atmospheric thrash which is ruined by the sloppy production and the really bad growling death metal vocals. The music, however, is top-notch the guys weaving complex pictures on the opener "Words" the bass playing a dominant role on the more quiet passages. "Nothing Is Forever" is a more immediate shredder, but the riffs have style to spare turning it into another less ordinary achievement with a dark, potent sound. "Cold Wind Blows In the Dark" comprises intricate, mid-paced arrangements; and the final "Inferno da Existência" is a more controlled atmospheric thrasher with a pagan aura recalling the Brits Sabbbat and Bifrost.

Pós limiar do terminus... Demo, 1994
Better Men?... Demo, 1995
There Is A Secret, But You'll Never Know Demo, 1996


These "Katalepsyans"... sorry, Catalonians pull out modern-ish thrash which is served in various tempos with more focus on the mid. There's not much groove to be savoured, and the band do a decent job shredding with dynamics the riffy patterns partly overshadowed by the forceful angry deathy vocals. The sound quallity is quite clear giving a nice sharp edge to the guitars.

Sin Retorno Full-Length, 2011

Official Site


Good classic 80's thrash, hard-hitting and energetic, close to Anthrax and Slayer, maybe a bit more adventurous, with both more technical and modern 90's elements trying to sneak through here and there, but these are the moments where the music loses edge, and sounds kind of chaotic. It's in the faster and more immediate parts where the guys really know what they do, and also on the heavy, slower, but effective, Infernal Majesty-influenced number "Third Anti-Christ".

Demo Demo, 1993


This obscure Polish trio indulges in intense aggressive thrash/death metal which continues the tendencies from the Merciless debut maybe crossing the borders towards full-fledged death metal more (the ultra-ball of aggression "It's Only Dream"; the "maddening" "Madness"; the piece of fury "Forgotten God"), but on the other hand fine semi-technical melodic thrashers ("Katatonia") also roam around. The vocalist is a brutal death metal growler very similar to Alex Colin-Tocquaine (Agressor).

It's Only Dream Demo, 1993


Based on "Natus In Articulo Mortis", this is a pleasant surprise: standout progressive thrash metal which sounds wonderfully abstract and avantgarde in a way similar to Voivod's "Killing Technology", early Mekong Delta, and the other great progressive thrash metal act from the former Soviet Union: Valkyria. The music is graced by fabulous technical riffs, great leads, and superb surreal melodies. There are also more accessible sections where the guitars thrash more aggressively, creating a cool headbanging atmosphere. Even the gruff, Tom G. Warrior-like vocals fit the music quite well. Despite its complex nature, this masterpiece will grab you immediately, simply because you will get absorbed in the very engaging, but at the same time quite riffy music; by all means one of the Russian-related metal scene's finest hours.

"Mors Ultima Ratio" is a more melodic affair with quite a few semi-balladic and atmospheric elements, a mix of power and thrash metal (more power metal-based, actually), and is a much more immediate listen with the progressive tendencies only slightly hinted at. Still it's a worthy effort with, again, good melodic leads and fine speed metal numbers ("Smeklos").

"III" comes after a long 12-year break, and shows that the guys have apparently lost almost all interest in thrash metal; the sound is a mixture of more recent Fates Warning and modern progressive power metal, which packs a punch here and there ("Gele", "Kosmaro Vizija"), and the musicianship remains on a considerably high level, but most of the time it is just not a very impressive progressive metal album.
"Ugnikalnis" is a more aggressive affair a statement made immediately by the opening ripper "Kariai Pagonys", and although later on most of the numbers are on the modern post-thrashy side, the album packs a punch with its openly dynamic attitude also reflected in a few more intense pieces: the shocking death metal madness "Krachas", the excellent technical "Instrumentalas", the dramatic, again death metal-based, steam-roller "Naturali Atranka". This is not bad, but is too far from the high standars of the band's early recordings.

Mors Ultima Ratio Full-length, 1989
Natus In Articulo Mortis Full-length, 1992
III Full-length, 2006
Ugnikalnis Full-Length, 2008

Official Site


A curious mixture of industrialized black, thrash and death metal which comes served on an abrasive base with a frequent change of pace with a few obligatory blast-beating passages. The compositions are lengthy, but the band just bash on without any big thought the dirge-like guitar sound creating a somewhat depressing atmosphere. The singer semi-recites in a deep throaty deathy fashion recalling Tom G. Warrior.

Sublime Decay Full-Length, 2013

Official Site


This is retro thrash/death with echoes of early Death and early Sadus the bash at times going beyond the good taste ("Fools Die") including the occasional hysterical rendings of the singer. This is crealy more on the death metal side, and the exhausting headbanging is guaranteed all the way through. Some of the musicians also play in the black metal crusters .Nema.

We Are Anti Nazi, Anti National War EP, 1996

Official Site


Based on "In Bastards We Trust", this act pull out modern abrasive thrash with elements of both death and crossover. The album definitely serves its requisite doze of energy ("2x333", the brief hardcore outrage "B.Y.F.H."), but expect more melodic variations ("Hand over Fist") with very cool lead sections, and trippy bluesy "excursions" ("Black Collar") those partially ruined by the harsh, shouty inebriate vocals.

Kaustik Full-length, 2011
Forged in the Bones of Our Freedom EP, 2014
In Bastards We Trust Full-length, 2017

Official Site


The metal star Ramón López (Lethal, Serpentor) is on vocals and guitar here to lead his comrades on this pretty pedestrian modern thrash effort which offers not much more than abrasive mechanical riffs and playful passages which betray its post-thrashy origins from miles away. Lopez clearly annoys with his dry dispassionate voice which tries to adjust to the more melodic musical picture, but fails most of the time. Somewhere in the middle the band manage to find the right way to thrash with force, but those moments are not that many producing "Violencia es Poder", "Mutacion", and "Indigente" before stumbling over until it reaches the heavy-handed indiustrialized version of AC/DC's "Whole Lotta Rosie" at the end; needless to say, the biggest damage there is done by the singer who shouts even more annoyingly. Better try next time, Ramon...

Fundido Full-length, 2011

Official Site


4 songs of black/thrash metal big on atmosphere and dramatism; fast raging moments get mixed with epic thrashy ones all graced by haunting melodies mostly created by the guitars, with a very sparce use of keyboards. The prototypical raven-like vocals are here, too, recalling Abbath Doom Occulta (Immortal), the Norwegians also being the closest soundalike.

Toward The Lights Of The End Demo, 2003

Official Site


This is raw aggressive thrash metal with numerous proto-death moments which will bring you back to the days when bands like Messiah and Protector were making a hell of a noise in the metal underground with their first works. The production is awful with bad synthesized hysterical vocals put in the front during the mix. There are more interesting, almost technical, moments ("Calling Inner Self"), but the rest is mostly intense bashing with not a very high level of musicianship present.

Living Crusher Demo, 2004

Official Site


Competent dynamic classic thrash which loses from the very buzzy sound quality and the screamy synthesized vocals. The other musicians put their efforts into producing fast energetic rhythms with echoes from the early German movement (Destruction, Exumer, etc.). The songs are short and to-the-point, but the background noise is just too much to bear making this effort sound too amateurish and naive at times, mostly on the string of numbers in the middle which are really muddy sound-wise and with inferior musicianship.

Metal Mortal Full-Length, 2009


A cool new band from Sweden who play retro thrash metal with a thicker modern production. The band's influences are from the Bay Area scene, but one could catch shades of Slayer and even of some of the German thrash heroes. In other words, for fans of all walks of classic thrash this band would be a delight.
"Read Your Enemy": the guys lost the accumulated inertia, but this new offering shreds with passion mixing the old and the modern trends with taste if we exclude the several melodic pieces which come with a bitter power metal flavour (the catchy crowd pleaser "I'll Deny You"). Still, at least half of the songs are energetic slabs which are ably helped by the cool dramatic semi-shouty/semi-clean vocalist who leads the "parade" with competence and authority.
"IV: Beyond the Reef of Sanity": to those of you who can't count this is the fourth installment from the guys' career, and it stradles the same path of modern thrash/power metal as the earlier recordings. The up-tempo numbers this time aren't many at all as the band go through the motions in a relaxed, friendly manner "winking" more at the power metal heritage despite the presence of several more vigorous pieces ("One Man Army"). "The Silent Serenade" drags for whole 13-min, but is nothing more than then next semi-epic power metal anthem which this album has aplenty, generally to a not very positive effect.
Kaiserhof Full-length, 2005
Good Citizen EP, 2006
Frame The World...Hang On the Wall Full-length, 2006
Read Your Enemy Full-Length, 2014
IV: Beyond the Reef of Sanity Full-Length, 2016

Official Site


The full-length is a nice classic speed/thrash metal album. The guys play fast and intensely, like on the good opening "A Clockwork Out Of Order", which is not all-out speed, but comes with a heavy, doomy interlude in the middle. Actually, there are no many pure speedy tracks here: the merciless (no pun intended) "Merciless Insanity", the Slayer-esgue "Honesty The Right Excuse", the brutal hardcore-ish "Stagedive to Hell"; the longer compositions mix fast and slower moments all the time, resulting in a fairly interesting listen: check out the awesome, multi-layered "Echoes from the Past". Seldom can one hear something more complex ("Blind Illusions"). No fillers here, and as a bonus there is a cover version of Eric Clapton's "Cocaine", followed by the album closer "The Human Force": a heavy thrasher with a hardcore edge.
The "Messengers of Death" EP is 3 tracks of fast intense thrashcore with Slayer a close soundalike (2 songs); "Who Needs You" is a more engaging roller-coaster which lasts for more than 6-min, providing more serious thrash/crossover with cool leads and speedy tempos. At this stage the vocalist Bäsan Bergström is a pure hardcore shouter, very close to Tommy Victor (Prong).
The "Bodyslam" EP contains 4 covers: "We Gotta Know" (Cro-Mags), sustained in the same jolly carefree manner; "United Forces" (S.O.D.) done by-the-book; "Pay to Cum" (Bad Brains) made to sound a bit more thrashy; "Countess Bathory" (Venom) done quite fathfully to the morbid style of the legendary Brits, and possibly the best of the lot.
The "Toothcombing Reality's Surroundings" EP is another four tracks the guys sticking to less speedy tactics, producing the nice mid-paced stomper with clever technical leanings "Hallucinations"; the heavy doomster "The Unholy War (Word War I)"; and the fine semi-technical doom/thrasher "Deathcon 5". The last song is "Dance Tarantella" is the same title-track from the full-length, unchanged.

Messengers of Death EP, 1987
Dance Tarantella Full-length, 1990
Bodyslam EP, 1991
Toothcombing Reality's Surroundings EP, 1991


This Dutch outfit specialize in pedestrian modern power/thrash on the melodic, lyrical side with high-strung emotional clean vocals recalling Perzonal War and Horrorscope. This is mellow radio-friendly stuff which has its edgier moments ("Ashes", the galloping shredder "Extinct the Parasites"), but the guys kind of overdo it on the longer material among which the closing 10-min drama "Wield My Hate" works the best with the wide gamut of moods and paces covered including the best vocal performance on the album.

Shake the Earth Full-Length, 2008

Official Site


Based on "Mind No Mind", this band offers a capable blend of progressive power metal and a bit of speed/thrash which begins in a sure-handed stormy way with the fast'n furious opener "Back To The Wall". Although speed of the kind is nowhere encountered later on, the guys deliver the goods with sharp crunchy riffage, moderately complex song-structures, and very good mid-ranged clean vocal performance. There are two very good attempts at the ballad ("Timebell", a compelling heavy piece; the dark semi-ballad "Forever Calling"). The 2nd half is less striking, slower and a bit one-dimensional, livening up on the dynamic technical shredder "Expanding Virus" at the end.
The debut is another commendable effort, but the guys' infatuation with the ballad take quite a bit of space with half of the compositions being either full-fledged or semi-ballads. Still, the rest have enough edge to interest the metal fan, although from a thrash metal point-of-view it won't hold water for long.

Agony In Despair Full-length, 1993
Mind No Mind Full-length, 1995


One of the many roughly produced typical 80's thrash demos; the music is heavy, not very fast, with gruff vocals, recalling James Hetfield. The sound has a strong Bay-Area influence, but the bad sound quality is a big obstacle for one to appreciate this stuff. "Crematorium" is a nice track- aggressive and pounding at the same time, in the spirit of early Testament. "Sense of Destruction" is a cool closer, again picking more speed: a short, but enjoyable speed/thrasher.

Hope Demo, 1990


There's certainly a potential here: the band play kind of original heavy doomy thrash with progressive overtones which isn't too far from Communic, or Nevermore in the faster parts; another act this band might remind you, are their compatriots Chaoswave, but the music here is slower and heavier (man, these riffs weigh). The guitar sound is very heavy and crushing, and the strong melodic, semi-high vocals nicely contrast to them. "Subject of Nothing" is a marvellous opener setting the gloomy, maybe a bit depressive tone for the whole demo. "The Kiss of Rationality" speeds up quite a bit, and all of a sudden the singer might remind you of Warrel Dane, as well as the music although the Italians stick to a more varied song-writing, spicing things with some stylish leads and cool melodic hooks. "When the Soul Cries" is another great number, slower with smashing riffs which jump from leaden doomy ones to some more dynamic technical ones. "Confession with Pain" starts as though the band have decided to play some aggressive death metal for a change; the fast tempo remains, "broken" by the doomy middle section, after which the speed from the beginning never fully returns, but the mighty, creepy riffage does the damage no worse. "A Friend of Mine" ends this demo with style being a great doomy ballad although you might not be able to dance with your girl/boy on this one, and not only because of the faster thrashy closing passage. This is an underground gem that will hopefully reach its goal, to arouse the labels' interest in signing the band.

Keeper of Darkness Demo, 2005

Official Site


Good technical thrash/death metal relying on melodic/technical mixtures to pull it through, and succeeds without going for the very fast parameters. The sound is not miles away from the one of later-period Death, but here the pace is mid to up-tempo at best. On the longer songs ("Human Depravity", "Cruel Instincts") near the end the music becomes more serious with progressive overtones, nicely alternating fast-paced with slower dreamy passages. The singer tries to not stray too far from Chuck Schuldiner (R.I.P>), but his tember is lower-pitched and more throaty.

Taste Smashed to Pieces Ful-length, 2009

My Space


Based on "Lonestar Transcend": modern instrumental post-thrash relying mostly on riffs of the mid-tempo type, mixing heavy groovy sections with dynamic technical ones. "Cetus" is dry mechanical technical thrash at its best, a frantic chaotic number which is far superior to the other songs which are a bit samey, heavy and reasonably complex.
"The Arrival" is in a similar vein, maybe a bit more dynamic, with more faster tempos, but at the same time with more melodic hooks as well ("Pillars of Creation"). Still, there is a lot of jumpiness in a way not too dissimilar from Meshuggah even, with a few numbers having a more consistent repetitive nature (the doomy "Nadir", and the groovy semi-balladic "The Arrival" at the end). "Abducted" is furious industrial groovy thrash/death ala Fear Factory with a nice technical twist, and could be viewed as an analogue to the aforementioned "Cetus" from the debut.

Lonestar Transcend Full-Length, 2009
The Arrival Full-Length, 2009


The debut: cool melodic power/post-thrash, energetic, mid to up-tempo with balladic moments ("Stealer's Prince", "Time of War", etc.) and good mid-ranged melodic vocals. The riffs are not very sharp and except on "Slow Trip To Destruction" you won't be able to hear many intense thrashy sections.
"When the Thumb Points Down": the musical delivery is also "down"; not that it was too high on the debut, but here the guys simply go through the motions producing friendly rock-ish post-thrash whcih has an attractive "colouring" thanks to the plentiful melodic hooks, the memorable sing-along choruses, and the warm attached clean vocals. Still, kudos should be paid the guys for producing 7.5-min of good mid-paced power/thrashing on "Slow Trip to Destruction" which sadly has no match elsewhere. This is mild feelgood stuff with no any thrashy pretensions.
"The Brotherhood" continues with the guys' mild infatuations now moving even closer to the groovy post-thrash field, with alternative non-senses scattered throughout, the band seldom making a genuine effort to sound inspired or motivated, pulling themselves together for the nice lyrical balald "Grotesque".

Slow Trip To Destruction Part II Full-length, 2007
When the Thumb Points Down Full-Length, 2013
Resilience EP, 2016
The Brotherhood Full-length, 2017

Official Site


Modern power/thrash which runs away from the country's stereotype thanks to more mechanical, drier riffs and a few more interesting stretches towards semi-progressive thrash ("Heroes del AtlAntico") where some really good melodic guitar work can be heard. The vocalist ruins a lot from the process, though, with his hardcore drunken, shouty tember.

Aoni Kosten (Viento Sur) Full-Length, 2015


Excellent classic speed/thrash metal packed in 4 blitzkrieg songs with vigorous sharp riffs and cool clean mid-levelled vocals; very good stuff also supported by short melodic leads and the occasional more technical hook ("Summon the Mortals"). "Death Command" is a brilliant galloping "horse" thrashing far and wide in the best spirit of the 80's swtiching onto full speed-ahead in the 2nd half. "Holy Slaughter" is a blistering piece of one-of-a-kind technical thrash, quite brutal as well, recalling Have Mercy and Wargasm at their best. This very cool demo shouldn't remain buried, and should by all means find its way to the labels soon...
As expected, the 4 tracks from the demo are the backbone for the full-length, which is a sure-handed entry into the retro thrash catalogue of recent years. "Sentenced To Death" is the 1st new song after the opening duo from the demo, delivering blistering old school speed/thrash ala early Whiplash. The fast pace is preserved all over gracing this effort with great melodic hooks (the galloping delight "Keller") at times, at others lashing more aggressivel;y in the best tradition of late-80's Kreator ("Follow My Lead", the relentless closer "In Hands Of Tornentor"), or blasting in a less controlled manner ("Beyond Recognition") with proto-deathy riffage. The good old thrash has been resurrected once again in a good, energetic way the guys looking well set on the top of the movement in their homeland, and why not on the whole Balkan Peninsula...

Awake The Forgotten Demo, 2008
Spreading Evil Full-length 2010

My Space


This band offers nice dark crunchy thrash with a cool vocal "duel" between clean mid-ranged female (the dominant ones) and very low-tuned death metal ones. The riffs crush with passion, and the bass is thunderous creating a very heavy atmosphere. Doomy moments are inevitable ("Mortal Coil", the stomping shredder "Death In Baghdad"), but on the other hand we have more dynamic technical decisions ("Terror Tactics") present, too. Near the end the guys 9and a girl) provide the odd more speedy passage ("Free At Last", the excellent vivid closer "Bleed Me Dry"), but the focus here is strictly on atmosphere of the gloomy, morose kind finely achieved through the macabre guitar tone and the really good female vocal performance which is not far from the one of her compatriot Lynda "Tam" Simpson (Sacrilege).
"Immaculate Perception" is another brooding dark affair the guys (and a girl) thrashing wilder, but also with a bigger sophistication the riff-patterns now more polished, and if we exclude the noisy drums the production is not bad at all, albeit giving more room to the instruments burying at the times the girl's voice. The heavy rhythms may become barely audible in the 2nd half due to the not very frequently-changing nature of the music which livens up on the lead sections (check out "Paradigm"). "Entropy" is a nice semi-ballad, and the closing "Serenity" is complex, but also messy at times, pounding which again recalls early Sacrilege, intentionally or not.

The End of Empires Full-length, 2010
Immaculate Perception Full-Length, 2012

Official Site


The demo: very good energetic retro thrash which offers a lot to entertain the thrash metal fan: fast-paced direct headbangers ("Social Disorder", the smashing blitzkrieg thrasher "Blood Removal Machines", and the closing ball of fury "Acceptable Carnage"), great mixtures of heavy stomping riffs and speedy semi-technical ones ("Profit Of Poison"), a marvellous galloping power/thrasher ("Deadlines") with lashing steel guitars; the nice mid-paced lead-driven instrumental "Gondolas On the Styx". There is not a single filler here: 8 tracks of unadulterated classic thrash; the main riff from "Already Dead" will remind you of Exodus' immortal "Piranha".
The EP is another four tracks of brisk old school thrash which this time is more temperate recalling the bridled "aggression" of "Fabulous Disaster" with the fast, but also melodic, cut "Social Disorder". "Brainrot" is longer and more technical, and acquits itself with heavy pounding riffs and clever stylish leads. "Pandemic" follows the same pattern, but is shorter and more simplistic. "Blood Removal Machines" is the ulltimate headbanger of recent times, a wild speedy number with an aggressive, even proto-deathy, attitude; an unexpected, but by all means heralded finish to this promising effort which should finally catapult the band to the full-length stage.
The self-titled debut is finally a fact, but one would be quite startled, and not in a very plesant, way to find out that the approach here is quite timid compared to the wilder more audacious shredding on the warm-up efforts. The band eventually wake up after a string of "sleepers" with the raging speedster "Free To Obey" after which things get back on track the guys pouring fire and steel for a while before softening down again near the end with another couple of less impressive dragging mid-pacers. As a whole they serve a hit-and-miss affair which is a serious step down from their more vigorous beginnings and leaves a path left unexplored for the band to tread on.
The "The Shard" EP is a very pleesant deviation towards stylish dissonant Voivod-ish thrash delighting a wide gamut of fans, from the speed lovers (the impetuous title-track) to the quirky progressive metal aficionados ("Time's Up"). "Dead Wagon" is crossover for the thinking, spacey generation, and "Great Minds Destroy" is an intricate portion of thrash with futuristic implements. This is a really great new beginning which should find a fuller shape on future recordings.
The "The Leaving" EP continues the glorious transformation from the preceding EP, and the fans will be delighted to hear "Prejudice", dissonant speed/thrash at its most oblivious, followed by the psychedelic speed/thrasher "Liquidators" which sets the tone for the remainder among which the closing title-track is melodic progressive thrash at its finest, a complex roller-coaster with uplifting melodic guitars; beautiful stuff all around seeing a rising star on the progressive thrash realm with a lot of potential to be revealed.

Gondolas On The Styx Demo, 2007
Blood Removal Machines EP, 2011
Kemakil Full-Length, 2013
The Shard EP, 2014
The Leaving EP, 2016

Official Site


Playful modern/classic thrash/post-thrash which even "flirts" with death metal ("Das letzte Mal" and elsewhere) to rather confusing results. A mish-mash as a whole with harsh shouty death metal vocals and melodic epic embellishments ("Mit Jedem Schlag") which often lose the thrash metal idea for the sake of peaceful mid-tempo power metal hymns. Some of the musicians were also involved with another similar hybrider, Taste Bitter Ashes.

Kemwer Full-length, 2017

Official Site


A multi-instrumentalist who (based on "In Vain") thrashes in an abrasive modern, all-instrumental fashion concnetrating on the riff quite a bit, but the sloppy production eats away from the guitars' edge. Otherwise Kenar spices up the process with tasteful melodic leads, but the dominant mid-tempo doesn't generate as much interest the pleasant exception being the moshing "Fall" which is a cool energetic shredder and by all means a trajectory to be further explored by the musician.

Afflicted Full-length, 2015
In Vain Full-length, 2015

Official Site


Based on "The Craving": these guys' music reminds of Invocator's "Through The Flesh To The Soul": progressively-laced modern thrash/death metal which is not bad at all. The band rely mostly on heavy, crushing riffs (the exception is "Teaben Rising" which is a speedy aggressive piece with a Dark Tranquillity touch), but it's the shorter faster numbers which stick out, and are the more technical: "Mutant Creation". On the longer songs the guys try to keep things interesting with Gothenburg-styled elements and slower gothic parts (think mid-period Sentenced, Cemetary: "Aries", Part II).

Rigor Mortis EP, 2002
Intersection Full-length, 2004
The Craving Full-length, 2007

Official Site


This is mostly speed metal in the vein of early Helloween (also the vocals which are very close to Kai Hansen except on the time when the guy screams his lungs out, which, fortunately, doesn't happen too often), but it has its quite a few thrashy moments as well. At the time when Helloween were repelling even their hard-core fans with the awful brand of metal they started to play around the same time, these guys have made a small gem of fast-paced metal which could have been quite an influence on the 90's power/speed metal scene, although this 4-track demo easily beats 90% of those bands. This is energetic music, full of nice melodic guitar leads, more aggressive headbangig riffs, catchy choruses and galloping rhythms.

A Pasarlo Bien Demo, 1990

Official Site


Old school death meets old school thrash metal; the tempo is mostly heavy, with some occasional fast outbursts ala Cannibal Corpse ("Sell Your Soul"), and shrieky vocals alternating with deep growls.

Invocation Demo, 2004

Official Site


Based on the demo, this is badly produced black/thrash metal mixed with pagan/folk elements; the pace varies from ultra-fast parts ala Cradle Of Filth to nice folk-ish thrashers which will remind you of the Dutch Bifrost. With a better production this kind of music would certainly have a bigger appeal.

War Of Black Fire Split, 2005
KerIferN Demo, 2005

Official Site


These Colombians play decent aggressive classic thrash with a few modern implements. There are some good ideas suggested, but the songs are too short for them to take a fuller shape distantlly recalling the longer tracks from the early works of Deathrow and Toxic Shock. The riffs rip, but the sound quality is a bit muddy providing an annoying fuzz the whole time and it's good that the concentration is on more speed, otherwise the mid-paced parts would have sounded too muffled. The leads are cool of the melodic variety, and the singer is expressive with an attached semi-clean tember with which he should experiment more in the future.

Mosh Zone EP, 2012


Based on the "Escape Or Kill" demo, this is thrash metal of the modern, groovy variety mixed with hardcore; the style is not too far from early Pro-Pain, but more melodic.

Demo Demo, 2002
Escape Or Kill Demo, 2005
Promo Demo, 2006

Official Site


A 4-track demo of aggressive thrash/death metal of the old school with an awful sound quality from which the guitars can be heard like a constant bee-like buzz, and the vocals are just unintelligible death shouts. The end is worth hearing being a death metal-laced cover of Metallica's "Master of Puppets", but the bad sound makes it not very recognizable.

No Room For The Deaf Demo, 2005

My Space


Black/thrash metal alternating between slower epic parts ala mid-period Bathory, more energetic ones with a power/speed metal flavour in the vein of the Swedes Bewitched, and fast raging ones akin to Impaled Nazarene. This mixture works quite all right most of the time as the guys try to give a fair share to all three styles often within one song making them interesting varied affairs with seldom a dull moment. The finishing trio of tracks is a pure tribute to retro thrash, and contains great headbanging riffs with almost no interference from other genres.
"Endzeit Metropolis" follows a similar pattern with an increased presence of the fast raging parts, but they blend nicely with the more officiant ones (check out the engaging "A Requiem For Beauty"). Heads will fall on intense thrashers like "The Fever's Tide" and "Collector Of Worlds", but great "aesthetic" melodies can be heard on "Aesthetics And Ecstasy" and on the closing opus "He Who Stands Behind The Rows" which is 9-min of soaring melodic tunes which are vintage mid-period Bathory with a more melodic twist, not much wild thrashing here. The vocalist is a good blacky rasper who aptly accompanies the fairly good music which this time is mostly focused on thrash and epic, leaving the other influences aside.
"Starless": there no "stars" here, obviously, but the band are determined to show their more proficient side, and this effort is an ambitious progressive opera which will prove too melodic and dreamy to the hard-boiled thrashers. This is a quiet meditative listen which is mostly in the rock/ heavymetal category, and its merits to thrash are almost non-existent.

Satan's Boundaries Unchained Full-length, 2009
Endzeit Metropolis Full-length, 2012
Starless Full-Length, 2016

Official Site


After the imposing orchestral intro, these guys hit you with furious black/thrash metal which is frequently quite brutal and fast, but rest assured that every song has a big doze of good thrashy riffs which alternate with the blast-beating moments. The band have a good sense of melody which reaches impressive heights at times ("Behold The Pentagram"), and is a nice contrast to the more aggressive passages.

Demonspeed Metalstorm Full-length, 2003

Official Site


A modern thrash/death metal blend which shuffles heavy imposing hymns ("Orphanage") with faster-paced outbreaks ("Incinerate") the former side more extensively covered, creating monolithic steady atmosphere akin to Amon Amarth save for the not very well balanced guttural vs. screechy vocal duel.

Chained Full-length, 2018

Official Site


Based on "Any Fear Calms Down", these folks provide modern thrash which is quite dynamic, even speeding up to melo-death proportions ("Hypnotic Black Box" which is a really good diverse mellodic composition) at times although those moments are rare the band relying on softer melodic riffs which also bite on the heavier, pounding sections ("Waves of Lamentations"). The final "And Any Fear Calms Down" is a nice semi-ballad with a more pensive atmosphere acquitting the singer, above all, who has a good wide clean range and may pass for the best performer here with his emotional dramatic delivery.

Breakin' the Fury Full-length, 2007
Any Fear Calms Down Full-length, 2011

Official Site


Melodic power/thrash of the more modern variety, mixing groove with more energetic Swedish-styled riffs. The longer tracks seem to drag a bit offering repetitive, not very edgy, moments with gothic overtones.

Basado En Odio Full-length, 2010

Official Site


Groovy modern thrash mixed with gothic/doom; there are cool thrashy headbanging riffs to be heard although the gothic shades ala To Die For and End Of Green are quite frequent, and the clean alternative vocals, which spring up also quite often, lessen the impact of the harder-hitting material. The basic vocals are of the angry hardcore type.
"Abstract Entity" elaborates on the sound offered on the EP, maybe concentrating on gothic more this time, ending up sounding quite close to recent Crematory. "Son of the Dawn" will wake you up in the middle with more aggressive riffage, and things stay on thrash ground for the following "Psychotic Drama", which is a pounding mid-paced dark thrasher. The second half is more hard-hitting and faster, reducing the gothic influences, albeit leaving the not very good assisting clean vocals.

Reflections EP, 2006
Abstract Entity Full-Length, 2009

Official Site


Based on the split with their compatriots Matahero, this band plays old school thrash of the more energetic variety, sitting somewhere between Slayer and the Bay-Area scene. The tracks mix fast aggressive moments with heavy late 80's Metallica-esque ones as those aggressive moments sometimes go beyond Slayer and end up somewhere on the edge between thrash and death metal.
The full-length is a major contender for South American greatness with its excellent production values, ripping volcanic riffs, and appropriately inserted semi-technical implements. The singer is nothing more than a forceful semi-reciter, but the inspired music largely compensates for this shortcoming. The band play with furious tempos, blazing leads, with a nice penchant for the more elaborate ("Desepción de la Fe ") displayed for good measure, which gets abandoned on the closing ball of fury "Fondo Oscuro", a short ripping thrasher which closes the album with dignity. It's a pity that with this silly name the band may not be able to find a wide exposure... there's a lot of good music to be savoured here.

Asesino Demo, 2001
El Poder Implacable Split, 2005
El Poder del Caos Demo, 2005
Caos Total Full-Length, 2010

Official Site


Based on the full-length, these Cypriots provide excellent all-instrumental technical speed/thrash which pleasantly relies on the riffage and creates plenty of intense, headbanging moments for the fans. "World of Despair" is a rousing opener with vivid intricate guitars which start speed/thrashing with the best out there on "Remnants of Existence" in the best tradition of acts like Paradox and Artillery. "The Rise and Fall of Man" introduces a singer whose not very impressive semi-clean croon doesn't really enrich the potent musical delivery. Brutal death metal grunts come to ruin the otherswise excellent technical shredder "Invite the Dead", but when "Awakening" hits with all the instrumental guns blazing, things get back to normal this short cut a shining example of shredding technical thrash. More singers arive later, on the death metal-ish brutalizer "Starve out the Enemy", and on the dramatic jumper "A Bloody Rite". "Indefinable Concept" reaches Shrapnel-like proportions with its virtuoso pyrotechnics, and "Diluted Atmosphere" is an exception from the hard-hitting melee concentrating on the lead guitar work influencing the funky closing title-track. This is an original, enthusiastic work of thrash metal art which would make one look with more care into the Cypriot music underground.
The EP is another commendable achievement starting with shredding headbanger "King Of Darkness" before the galloping progressiveness of the following "Thor's Might" takes over. "Death Of Allegiance" is the next in line impetuous thrasher the guys moshing with reckless abandon reaching towards death metal at times. "Thrashing Power" is by all means hard-hitting thrash to the bone leaving the more intricate leanings to the closing title-track which is modern progressive thrash with virtuous melodic leads. The actual closer is a tribute to the legend Dimebag Durrell (R.I.P.) called "Getcha Pull!", and is another standout display of muscular shredding metal.

Ascension EP, 2014
Salvation Full-Length, 2016


90's groovy post-thrash sounding like a cross between Sepultura's "Roots" and Machine Head's "Burn My Eyes"; "Nothing to Play For" could pass for the better effort sustained in a more playful attitude with jumpy vivid riffs which even take a nice headbanging shape on "Y (Chromosome)". Nothing extraordinary, but those whose hearts have stayed in the 90's, should have no problems liking this stuff.
"Ignite The Revolt" is a wild effort thrashing, even deathing, in a less controlled manner on quite a few times in the beginning. But just before reaching a Fear Factory-like appeal the guys return to the safer groovy patterns as the faster breaks metamorphose into pure bashing hardcore. There is a lot of energy present here, for better or worse, but more courage is needed for the guys to really rise above the legions of acts treading the same path...
The debut is an energetic, but still pretty groovy, affair the guys thrashing like demented ("Tag Your Bones...", "I Don't Tolerate Who's Not Tolerant") at the beginning before settling down for the expected jumpy groovy base so well heard on the band's subsequent albums. Still, this work isn't completely without merits, and its weird alternative tone ("Bean") at times makes it a less ordinary representative of the 90's trends. And let's not forget the brutal, almost death metal-esque, closer "Born Aborted" which would be a rude awakening to those who may have drifted away by the calmer post-thrashy rhythms played earlier.

Nothing to Play For Full-length, 2002
Demo(N)cracy Full-length, 2005
Ignite The Revolt Full-length, 2011

Official Site


Despite the demo name, the band have nothing to do with Metallica. Their style is similar to the first two Overkill albums and SA Slayer plus the thrashy riffs which are not too many. Touches of early Savatage could also be found.

Rode the Lightning Demo, 1986


Latecomers on the scene who specialize in heavy classic power/thrash which doesn't speed up a lot, but delivers the goods with consistent sharp riffs and versatile musicianship reflected on the more thought-out "You" which is a semi-ballad several harder moments. The singer is not bad with his attached hoarse semi-clean voice which doesn't have a lot of depth, but follows the musical proceedings unerringly.

Underlying Pressure Demo, 1992

My Space


These Colombians indulge in decent retro thrash which mixes the pace the whole time, but hardly offers anything too refreshing touching Slayer on the aggressive "Global Extinction" which ironically also contains the most melodic motif on the album. "Signs Of The Rebel" is another major ripper, and the following "Let Your Inner God Rise" is a short crossover piece, after which the closing "Soy Un Thrasher" is some kind of a Colombian "thrasher" since this breed is not known outside the country being a fast raging cut also giving the good singer more room to perform his authoritative shouty antics tearing the Amazonian jungles days on end. Som eof the band members also play with the heavy/thrash hybriders Deliria.

Involution Full-length, 2014

Official Site


Based on the "Just For the Hell of It" demo, this band plays proto-modern thrash of the heavy mid-tempo type, with Bay-Area echoes (the cool speedster "New Revelations"), good expressive clean vocals, and decent more lyrical attempts at the ballad ("Through The Night"). "One last mosh" comes at the end with "One Last Mosh", a seismic track lasting for just over 2-min of violent blitzkrieg thrash.

Till The End Demo, 1991
Just For the Hell of It Demo, 1992


Based on "Codex", this band play modern thrash/death in the vein of Dew-Scented and Maze of Torment. This is fast ripping music which lacks in variety, and should have kept away from long elaborate compositions like "Codex Gigas" which are way more one-dimensional and less exciting than the shorter material. "Roar of Death" is the more preferrable digression, a cool mild number with an atmospheric flair which can also be felt at the end of "Gates of Hell" and in the middle of the cool diverse progressiver "Ripping Flesh". The vocals are shouty and death metal-inclined, another staple element for the style.

Inappropriate Full-length, 2010
Codex Full-length, 2016

Official Site


A 3-song demo of heavy groovy thrash metal with less immediate post-thrashy sections which border on Pantera at their angriest.

Urge to Annihilation Demo, 2006

My Space


Heavy riffy power/thrash with doomy tendencies; the guys shred with a lot of sharpness although there is seldom any attempt beyond the mid-pace. The bigger dynamics from the beginning gives room for pure doom on the 10-tonner "Dripping with Blood" and the cool semi-ballad "Tears of Pain" in the middle, which finishes in the fastest possible way, with hard thrashing riffs. The problem is that the sound never recaptures any faster grounds later on, but remains within the doomy/balladic confines. The singer is a cool mid-ranger, who possesses the necessary dramatism without changing the pitch too much.

The Playground Full-length, 1994


This is another act where Richard Ebisch (Occult, Legion of the Damned) is involved. He has teamed with members of other Dutch formations (Inhume, God Dethroned), mostly on the death metal side of the spectre, to produce this again more death metal-oriented whcih has all the aggression necessary to satisfy the fanbase although from a thrash-metal-point-of-view it holds a few surprises coming close to the works of their compatriots Thanatos rather than those associated with Ebisch's main acts.

Destructive Force Full-Length, 2013

Official Site


The debut: black/thrash metal with brutal black-ish attacks taking turns with more controlled thrashy riffs: "Hammers Of Hell" is a very nice example of the latter. At the end there is a good cover of the death metal legends Armoured Angel ("Madam Guillotine").
"The Final Conflict" is an intense thrash/death attack along the lines of later-period Protector and early Kreator. The band's black metal roots are also well covered, mostly on the slower moments: the sinister doomy "Litany of the Wretched" which is a formidable dramatic piece with echoes of early Celtic Frost. The speedy melee is seldom interrupted, though, reaching the very extremes on the Impaled Nazarene worship "Immaculate Deception" and the hyper-blasting madness "Iconoclast". The stomping, more officiant "Origins of Iniquity" is a cool deviation also providing cool stylish leads, a kind of a precursor for the more serious closer "Thy Kingdom Undone", a diverse eventful composition with a good sense of melody. The singer is a gruff death metal growler of the mid-ranged type.

Thy Kingdom Undone... Full-length, 2004
The Final Conflict Full-length, 2012

My Space


This is a super group comprising members of Winters Bane, Seven Witches, Pessimist, Shatter Messiah, etc. The guys don't exert themselves here producing not really striking modern-ish power/thrash which chugs along in one-dimensional mid-pace sounding like less inspired mid-period Vicious Rumours. "Mask of the Villain" is a cool speedier proposition with merry melodic leads, but the rest doesn't bother with any more dynamic histrionics the closing "All the Pain" surrendering to the balladic territories. The singer is all right with a not very emotional, but steady clean mid-ranged baritone.

Brink of Destruction Full-length, 2017



The debut: ex-members of Imagika along with some musicians from Dark Angel and the Italians Eldritch have teamed up to give their fair tribute to the old school. The band do a job no worse than the last few Imagika albums and actually produce more compact music with less influences from here and there. So this is classic power/thrash which is not too far from "Devil on Both Sides" thrashing hard on occasion (the emblematic "Old School Thrasher"), but generally this is melodic mid-tempo stuff with good attached clean vocals delivered by the only newcomer Josh Gibson who hasn't taken part in any act previously. Almost progressive heights are reached on the intricate "Coat Of Blood" and the shorter material isn't far behind moshing with brains on the dramatic Oriental-decorated stomper "The Day The World Dies" and the elaborate speed/thrasher "Prisoner Of The Flesh" which exits the scene with a nice balladic lead-driven outro. The closer is "My Neighborhood" which is mostly an instrumental jam shredding session with the lead guitarist the main performer. This is a cool offering which should have no problems gripping the hearts of the classic power/thrash metal fans around the world.
"The Eyes of Medusa": the all-star show is here again, and they pull our another decent, albeit hardly very inspired, performance on this roller-coaster of the good old power/thrash which this time is a bit on the laid-back side "courting" the power metal scene more ("Never Get Me", "Ride into the Night"), especially in the second half where the fan may lose his/her patience waiting for the next hard-hitting riff to occur. Instead he/she'll get a hefty portion of balladisms ("Writing on the Wall") as well as some quasi-progressive rockers ("Just Another Sin") which may make him turn the player off. The closer "Agenda" is a bit confused about the guys' "agenda" trying to thrash again with more force, but it only adds to the mish-mash to which one would hardly want to go back again.
"Karma Machine" additionally creates a portion of mixed feelings about the guys' repertoire which again hesitates among too many styles to be a satisfying listen for the thrash metal fan. "The Enemy Inside" is a cool dynamic speedster, but the remainig material is too soft to capture the attention with the obligatory introduction of the ballads/semi-ballads, etc.
"All Men Shall Fall" is a similar to its predecessor mixed bag, the band relaxing with soaring epic power metal hymns (the title-track, "Megalomaniac"), with soporific ballads ("Save Yourself", "Dead Man on the Water", "Kage") and other radio-friendly gimmicks provided at every opportunity, speeding up for a spice with "Lies" and then mroe progressive "Sins". Needless to add, thrash doesn't exist under any form here, the guys not interested in this genre anymore.

The Serpentine Ritual Full-Length, 2012
The Eyes of Medusa Full-Length, 2014
Karma Machine Full-Length, 2015
All Men Shall Fall Full-length, 2018

Official Site


Old school speed/thrash serves with a pristine sound quality emulating quite well the shabby production of the early works from the 80's. The music packs a pounch as well as the arousing moanings of various women scattered around the album: old school speed metal ala Exciter and early Living Death meets spasmodic short thrash/proto-deathy outbursts ("Birth Control") meets more moderate power/heavy metal hymns ("Rape Fantasy") meets appropriate faithful covers (Covens' "6669"). The mood is high, and the singer shouts in a vicious blacky fashion screaming quite high on occasion.

Take... Eat... This Is My Body Full-Length, 1998


Thrash/crossover purveyors who have another project, Gnargoyles, with which they serve a bit more varied music from the jolly energetic mosh of the more melodic kind served here sustained in a consistent up-tempo with expressive shouty hardcore/punk vocals. Short rehearsal-type songs will one come across here with the casual flourish of seriousness (the longer closer "Jaws of Wife").

Dead Inspection Full-Length, 2010



A decent mixture of death and thrash metal, closer to the classic 80's-early 90's sound; not very brutal, but quite energetic and fast with the vocals being deep death metal growls.

Killaman Full-length, 2003

My Space


This is modern, melodic thrash/death which is pretty intense and fast, but offers very little outside the trite Gothenburg formula, despite the proficient execution and the soaring melodies implemented. The guys have 2 other projects: the thrash/black outfit Nuclear Decay, and the pure classic thrash metal formation Trioxin.

The Drowning Current EP, 2010

Official Site


A rougher take on the death'n roll started by Entombed in the mid-90's with a more impetuous thrashy edge. There's quite a bit of dynamics at play the guys only slouching on the dirgy doomster "Won't Break Me & Death Illusion". On the other material the band mosh on with a crusty vibe served as well loosenig up a bit near the end on the abrasive heavy rockers "Cloud Nine" and "Wutbürger", before the closer "Heaven For Demons" provides the final portion of hard-hitting thrash with a hardcore flair.

Discrimi-Nation Ful-Length, 2016


This obscure release is your average groovy post-thrash with expressive high-strung vocals, quite reminiscent of the ones of Dan McCafferty from the Scottish hard rockers Nazareth, only more screamy. The music is fairly heavy with echoes of stoner/doom, but its repetitive nature would hardly make one stay with the album till "to the gory end". The guys were previously known under the name White Ray, having released 4 demos in the late-80's of radio-friendly hard'n heavy rock.

Killed By Cain Full-length, 1993


One of the highest hopes for Spanish thrash metal of recent years: really good technical thrash, with Megadeth being the main target for worship. The demo shows the infatuation with their more renowned American colleagues pretty clearly, especially in the vocal department, where the singer on quite a few moments is a dead ringer for Dave Mustaine. The music is not too far behind, but comes as a mix of Megadeth, the Bay Area sound, and 90's Annihilator; it is quite straight-forward on many parts, but delivers the goods all the time.
"Muted" is a masterpiece of technical thrash which even beats the last two Megadeth efforts. It opens with the excellent "Cancer" which sets the tone for the rest of the album with its sharp up-tempo technical riffs. The music has a lot in common with early Megadeth, but the more technical moments bring to mind the Dutch Usurper, the Belgians Target, among others. "Faithless Priest" is a glorious closer to this album, a technical thrash opus which deserves a place even on Coroner's "Mental Vortex"; in its more than 7-min it contains numerous tempo changes and mighty, twisting and turning in all directions riffs. The guitar work as a whole is on a very high level all the time; despite the quality of the material offered here, I kind of feel that the best from these guys is yet to come.
"Reflections of Decline" is another fairly decent slab of technical thrash this time offering a more individual and a much more modern face, well expressed on the opener "Spiral" which is indeed a spiral-like number with winding guitars and a couple of brutal speedy passages bordering on death metal. "Dawn" is much less intense offering abstract dreamy sections with a semi-industrial colouring recalling Voivod's 90's period (both their early and later efforts), and "Ephemeral" is a big relief with its aggressive shred, despite another calm balladic digression near the end. "Facade" follows the same path, but is slower and kind of dragging. "The Abyss" is a heavy hectic labyrinthine composition with dramatic escalations losing the speed almost completely. The bad news is that this approach gets repeated on every other song until the end lessening its initial impact, making the 2nd part inferior to the 1st one. The technical riffage comes aplenty near the end, but similar patterns of jumpy twisted guitars without any more dynamic moments wear thin way before long. As a whole the guys this time have decided to follow the Swedish side of technical metal: Altered Aeon, Darkane, Agretator, in particular, mixing it with the cyber-thrash style of mid-90's Voivod, but despite the initial promise this mix, in the long run, lacks a "heart" sounding kind of artificial and less spontaneous than the debut.

Void Demo, 2003
Muted Full-length, 2006
Reflections of Decline Full-length, 2010

My Space


"Into The Ancient Moon": two people are behind this project who acquit themselves with a potent crisp sharp semi-technical guitar sound. The approach is heavy and mid-paced staying between thrash and death metal. The stomping heaviness is broken on the shorter "Lord of Whores", which is a cool intense piece slightly influencing the next "My Intention" which partially brings back the pounding rhythm section if we exclude, of course, the maddening grinding exit. "Everlasting Egypt" is an excellent semi-galloping number, a lashing riff-fest with nice technical hooks, and another merciless super-fast ending. "Black Miracle" is top-notch technical death metal ala Suffocation and Morbid Angel, but without any brutal moments, with a great atmospheric doomy closure. The final "Blasphemous Priest" is an attempt at the more headbangig side of the genre, and a cool one at that with steam-rolling riffs and more energetic tempos. The singer is suitable to the music with his hellish guttural delivery reminiscent of Glenn Benton (Deicide).
The debut is a more contrasting, and inferior for that matter, affair mixing gloomy doomy numbers ("Even Death Flow") with raging death/thrashers ("Funeral Fuck"). The former are given more space, and outrageous bombs like "Transcendual Consciousness" are very few. Technical play is almost nowhere to be heard, except on the hectic Atheist-ish "Luciferic Leviathan", and the singer is worse with his very low-tuned growly tone.

Transcendual Consciousness Full-length, 1996
Into The Ancient Moon Full-length, 1998


Dynamic modern-ish thrashcore which resembles the works of the all-star show Voodoocult both in the speedy and the slower, squashing sector. Flashes of better musicianship ("Snakes Of Jehova", the excellent semi-technical headbanger "I.E.D.") appear at times, but overall this is generic rehashed stuff with a boosted industrial "sting" which does some intense Ministry-like damage with "Save The Robots" and the creepy atmospherer "Twelve Labors". Wow, and another half thumb up for the very cool doomy closer "Forbidden Fire" where the otherwise gruff semi-clean singer manages a more soulful performance.

Killer Be Killed Full-Length, 2014


Speed/thrash metal calling to mind Hallows Eve and Destructor with a raw bass-dominated sound and quite chaotic song-structures mixing very aggressive riffs suddenly interrupted by a slower heavier section, which doesn't work that well. "Night Stalker" is a cool opener featuring the aforementioned mix, but taking the best out of it, resulting in a really cool thrash assault. The rest of the material is less impressive, despite the guys' efforts to come up with decent energetic music. The bass player is considerably better than the guitarists, and his insertions are superior. Wild speedy hardcore-ish pieces are thrown in ("Spastik March"), and their frenetic nature is more on the positive side. At the end the guys apparently get tired playing such frantic stuff, and the last two pieces are just noises non-related to music. The singer has a rough mid-ranged voice which suits the music; even his high-pitched attempts aren't too bad.

Mad As Hell Full-length, 1988

Official Site


Based on the full-length, this act specialize in modern energetic thrash with sparce adherence to groove. This is cool headbanging stuff which is at times on the mellow crossover side ("Blunt Force Trauma", the hardcore outrage "The Dead Are Coming"). "You Have Been Warned" is a nice more technical shredder which lifts the musicianship up despite the presence of another few more relaxed crossoverers and the Slayer-esque brutalizer "Bloodlust". The singer is also an asset with his emotional intense semi-shouty tember.

Toxic Bloodbath EP, 2008
Killer Hurts Full-length, 2014

Official Site


This Chilean act pull out roughly-sounding old school speed/thrash in the vein of Hallows Eve and Destructor with shouty hardcore-ish vocals which at times try to scare away the listener with the casual more brutal deathy growl. The guys put their hearts into the proceedings regardless of the really bad guitar sound which fuzzes and buzzes left and right like a chainsaw, and the noisy hollowly-sounding drums. Still, the listener will have fun with his jolly speedy barrage which occasionally acquires looser crossover shades ("O! Justin") not far from early Nuclear Assault.

Killer Necro EP, 2011


The debut: the guys' obsession with refrigerators leads to fast blitzkrieg thrash/proto-death more on the classic side spiced by a few offbeat avantgarde decisions (the quirky jumper "Appliance Vio-Lence", the twisted semi-deathster "Bed Bath & Beheaded"). "Remote Slayer" is a heavy stomper, and "Freezerburn" and "Dueling Blenders" are cool semi-technical headbangers. "Fuck You, It's Fridgemas" is seemingly more serious and longer than the rest adding more to the eclectic nature of this recording which also features eccentric mean screechy vocals.
"The Fridge and the Power It Holds": the fridge saga carries on on full-throttle here, and although the opening "Slaystation" is a pretty straight-forward piece the guys' more technical side quickly shows up, first with the hectic shredder "Slaystation", then with the noodly proto-deathster "Slave to the Easy-Bake". Again, it's a diverse affair lasting for nearly half an hour the guys obviously not very tempted to pul out all their technical arsenal into one effort.
"Refrigeration Plague" is a wild diverse affair which stretches into several directions of which the more technical pieces like "Night of the Living Bed" and "Dryers Eve" are by far the more onteresting side. And their number is not very small at all as they come in draws later: the jarring chaotic technicaller "The Revenge of Frankenstove", the varied progressive thrash/death metal opus "De Maytagus Dom Samsungus", the bumpy not very predictable "ride" "A Salad Named Elizabeth", etc. There's an exhibition of talent aplenty here, it's just that it may take a bit more coherent execution next time around for it to be fully savoured...

When Fridges Rule This World Full-Length, 2014
The Fridge and the Power It Holds Full-Length, 2015
Refrigeration Plague Full-length, 2016

Official Site


A cool energetic take on the early speed/thrash sound; the music clings more towards the American scene, recalling Blessed Death and Liege Lord. The guitar player Paul Kennedy later founded Moral Crusade with whom he released one full-length in 1990.

Death E.P. EP, 1986


The UK scene is rising fast, and here is another representative of the thrash resurgence movement there who specialize in laid-back modern choppy thrash with both technical and progressive shades which are not really helped by the inexpressive gruff death metal vocals. Still, some fo the melodies are quite catchy (check out "Someone Else to Blame"), and generally the sense of melody is quite big also achieved through the presence of several dreamy balladic sections (check out the interesting, albeit too soft, closer "Deaf Nation"). The obligatory deviations from the established formula come in the form of the heavy doomster "My Kingdom" where the singer amazingly sounds very close to Karl Willets (Bolt Thrower) accompanied by the next stylish lead passage.

Bridge Of Disorder Full-length, 2011

Official Site


Killers were one of the premier French metal acts of the 80's, and were basically the main rivals of ADX for the metal crown in France at that time (did someone else also say: "Sortilege"?). They played high-octane power/speed metal during those times with just hints at thrash, but lost the inertia near the end of the decade, unlike ADX who switched on full-throttle speed/thrash on the excellent "Weird Visions". Killers went into the other extreme: during the 90's they took a more melodic direction going down to hard rock even on "Cités Interdites" and "Contre Courant". "Fort Intérieur" was a partial return to the high-speed antics of the past, but wasn't convincing enough to make it superior to the shaky ADX comeback album "Resurrection" the same year.
"109" showed a lot of promise with the news of the original 80's line-up coming back together, but was more on the heavy metal side with a couple of more speedy pieces scattered among the not very impressive rest. However, less than a year later the guys hit unexpectedly with the marvellous "Mauvaises Graines": the definitive speed metal album of both the new and the old decade seeing the band producing some of the finest classic tunes and riffs around. Although in terms of thrash there wasn't much happening, except for the furious opener "Attaque", which is by all means an "attack" on the senses with its brutal fast guitars, this sincere slab of speed surpasses all created in the field around that time, including the Stormwarrior debut and the Not Fragile efforts; the Finns Solitaire "rose to the challenge" two years later with "Rising to the Challenge", but their debut was also buried deep by the habemus... sorry, fabulous, "Habemus Metal": exquisite speed/thrash metal played with maximum intensity, their only complete contribution to the genre up to that point, and one of the best works the French metal scene has ever produced of the new millennium. The guys also managed to find time between the new material to re-record their 1989 classic "Mise aux Poings" in 2001.
"A L'ombre Des Vautours" shows the band in fine form once again mixing power, speed and thrash metal ("Malgre Tout", "S.O.S." and other tracks reach even a death metal intensity on the fastest sections) with fabulous guitar work (especially the leads are superb) to provide us with another standout, high-octane entertainment; by all means one of the top ten picks of 2007.
The band are here again after another 5-year hiatus (apparently this break is going to turn into a tendency which would be a real pity), and it was high time since their main rivals from the 80's ADX are back in the game and already have two strong full-lengths released since Killers' last offering. But, if the other act were the more commercially successful unit in the past thanks to their more aggressive and closer to thrash metal style, the new millennium offers a different picture. Killers have accumulated enough inertia to not be afraid of any competition, and at present they are way more hard-hitting and heavier than their competitors with the bombastic brand of speed/thrash they've been serving consistently ever since the new millennium started.
Patiently waiting for a lengthy period of time to see what other forces would appear on the scene, the band are rising to the challenge and "10:10" doesn't disappoint; on the contrary. What the ratio in the title reflects would be to anyone's guess since the guys are way beyond the 10-album mark at this stage, but one would hardly care about that listening to this spontaneous outburst of rage which begins with the explosive speedster "10:10" the leads offering some addictive melodies. The following "Au Nom Des Morts" shows a bit of mercy with its moderate power metal riffage, but "Tricheurs" is raging thrash to the death its fury partially translated onto the next "Manipules" which starts as a ballad turning into another brutal thrasher in the 2nd half. This composition almost reaches the impossible for the band 8-min mark, but comes "La Guerre" and things are back to the more accessible speed/thrash "front" where belong the next trio of songs. But this isn't all since "Insupportable" lashes with an almost hardcore intensity, and the final "Vivons Caches" is more controlled power/thrash in a shattering heavy mid-tempo ending this very good album with the style it richly deserves. There will be wide smiles on the fans' faces after this compulsive offering ends which sees the veterans still thrashing with the best, both new and old, and any competition from anywhere is more than welcome: they would have no problems dealing with it...
"Imido": our favourite speed/thrash mongers are back in action, and they race with ADX as to who will release more albums in the new millennium. At this stage the Killers are ahead of the race both in terms of quality and quantity, and this new "beast" doesn't betray their staple highly energetic approach, and rigorous headbangers like "Hors Jeu" and "Txoria Txori" will make you mosh around to oblivion, while other more complex cuts like "Victorieux" and "L'Insaisissable" will make you listen with more care both approaches alternating throughout except for the exiting trio which pulls all the stops with the great melodies, blazing leads, and the classical crescendos which take a merry, optimistic, almost crossover-like, air on the closing "Sans Interdit". Yes, indeed, there's nothing better than the good old speed metal served the French way, with a pinch of thrash.
"Le Baiser De La Mort": the guys are on fire again with three full-lengths released in four years. Their invigorating speed metal aesthetics are intact on this album the riffs bursting at the seams even on the gigantic 14-min opus "L'autre Coti" which is something entirely new in the band's discography, an engaging progressive, mostly instrumental, rifforama which is followed by the short bursting speed/thrashing title-track which boasts mind-blowing lead sections. "Aimer" brings classical operas played at the speed of light, again a fairly new approach to song-writing which traces can also be found on the next "Etorkizun Bidea" with brilliant classical, virtuoso leads the latter also widely covered on the closing "L'ordre des Choses" which even blast-beats for a while to ensure the huge headbanging appeal this effort already has aplenty.

...Fils de la Haine Full-length, 1985
Danger de Vie Full-length, 1986
Mise aux Poings Full-length, 1987
Résistances Full-length, 1989
Cités Interdites Full-length, 1992
Contre Courant Full-length, 1995
Fort Intérieur Full-length, 1998
109 Full-length, 1999
Mauvaises Graines Full-length, 2000
Mise aux Poings 2001 Full-length, 2001
Habemus Metal Full-length, 2002
À L'ombre des Vautours Full-length, 2007
10:10 Full-Length, 2012
Imido Full-Length, 2013
Le Baiser De La Mort Full-Length, 2015

Official Site


Based on the 2nd demo, these guys play modern thrash/death metal with an abrasive guitar sound and rending death metal vocals. The music is not all-out speed, and is not short on atmosphere, the guys throwing a couple of peaceful balladic passages as well as a few gothic sections ala Sentenced and mid-period Dark Tranquillity.

Promo Demo, 2007
KillHim! Demo, 2008

Official Site


This is some good stuff: quite cool technical speed/thrash which precedes the saturated exuberant style of Helstar's "Nosferatu" with a whole year relying on similar complicated guitar patterns which can suddenly get entwined with quiet balladic passages ("Second Sight") to which the very good attached melodic mid-ranged vocals fit very well. "Shadows Of Darkness" is a dramatic mid-paced shredder followed by the final puzzler "Ultra-Violent" which is not exactly "ultra-violent", but will "bury" you under a wall of mazey rhythm and time-changes also providing a great balladic lead-driven section. This is not the end, though: the end is a brilliant balladic, lead-driven again, instrumental called "Before The Dark" which is musical supremacy at its best seeing an act in a class of their own sadly remaining just another underground phenomenon.

Demo Demo, 1988


Angry, groovy post-thrash which readily borrows from Pantera to the point indifference on the side of the listener who may be mildly oved around on the more intense shredder "Shamed", but that'll be about it.

Killing 4 Full-Length, 1999


Stomping modern thrash/post-thrash which is quite dynamic without being constantly fast-paced. Groove gets mixed with more flexible arrangements the musical approach topped by expressive angry death metal vocals. There's no variety or any show-offy musicianship at display here: this is music for the "jilted" 90's generation...

The Black One Demo, 2008

Official Site


A very good debut of classic Slayer-influenced thrash with an "updated" modern production, and a truly aggressive delivery, smelling death metal on the most intense parts. The band's influences are betrayed by the Slayer cover at the end of "Dead Skin Mask", although the sound here is closer to the more aggressive Slayer period, but the real surprise comes with Cannibal Corpse's "Shredded Humans" which is a kind of an awkward choice since the guys' music has nothing to do with that of the Floridian death/grind monsters; the cover is actually quite well done with the double vocals and the crushing rhythm (to those of you who are not familiar with this song, it is one of the less speedy, but one of the heaviest songs of Cannibal Corpse).

High on Homicide Full-length, 2007

My Space


The band's style throughout the demos varies from some Gothenburg-influenced death metal ("Havoc"), to gothic/death ala Sentenced's "Amok" and Cemetary's "Godless Beauty" ("Demo") to heavy, groovy thrash/death ("Menticide").

Havoc Demo, 2001
Demo Demo, 2004
Menticide Demo, 2006

Official Site


Produced by Scott Ian and featuring Scott Sargeant who had done service in renowned thrash metal acts like Laaz Rockit and Wrekking Machine, it would be no surprise that the expectations were high. The bad news is that this is nothing more than just another one-dimensional modern groovy post-thrash with no impressive moments whatsoever.

KillingCulture Full-length, 1997


This is intense thrash/death metal of the old school, frequently blast-beating in the beginning, but not annoyingly, with slower moments as well, which mostly take the end where the sound loses its intensity, but becomes strangely technical (the intriguing closer "The World"). The guitar work is not bad, albeit a bit noisy, but the vocals are simply awful, shouty and hysterical with a mean black metal pitch.

Extermination by Human Full-length, 2009

Official Site


This act specializes in run-of-the-mill modern thrash "graced" by really low-tuned death metal grunts, also not hiding its fascination with the Gothenburg school. The band play on seldom shifting from the chosen formula which is pedestrian mid-paced stuff with the casual more speedy hook. The overall approach clings somewhere between One Man Army and the Undead Quartet and Witchery, maybe not as interesting, the uplifting riffage darkened by the really brutal vocal delivery.

Death Of A Traitor Demo, 2011


This is intense bashing modern thrash/post-thrash which is full of energy and dynamics still not missing in the lyrical department: check out the excellent ballad "Amnesty" which is quite reminiscent of the Testament exploits in the genre excluding the harsh groovy break in the middle. Elsewhere the guys bash with vigour producing quite a few headbanging moments the latter ably supported by cool, moderately angry semi-clean vocals.

Killing Season Full-Length, 2014

Official Site


Based on the EP, this is jolly thrash metal with a classic flavour sounding close to the Americans Panic (their 1st album) with some crossover tendencies. The full-length is a passable entry containing decent old school speed/thrash played with gusto and inspiration. The opening "King Of Sand" will nail you to the wall with its rapidfire approach before the guys tone it down a bit for a sting of tracks befvore the arrival of the short blitzkrieg "Devilution". "Power of Hate" is the mid-paced oddity which drags after it another filler: the groovy non-sense "Dsigrace" which is a "disgrace" indeed. The 2nd part disappoints having nothing to do with the awesome beginning comprising mellow proto-groovers mixed with some insipid heavy metal. No wonder the guys are still silent: they should think harder before coming up with something else at those very demanding times...

Motive EP, 2003
Deception Betrayal Revenge Full-length, 2005

Official Site


The full-length: this band were initially called Mystic Side, but the change of name didn't bring any changes in the style, which remains modern thrash which is both intense (the prime shredder "Snake Whisperer") and lyrical (the more elaborate semi-balladic "Question", "Change Me"). There are several references to the post-thrash movement ("Mercy's Crime" with a strong shade of The Black Album), as well as cool Swedish hooks ("Mystify My Soul"). The singer accompanies the varied musical picture with an attached semi-clean tember which nicely captures the mood without changing his pitch too much.
The EP would be a total waste of time with its rehashed mild doom/heavy/post-thrashy approach which lacks the slightest tinge of intensity reminiscent of the Metallica "Load" & "Reload" experiments, only much worse.

Back to the Past EP, 2004
Enemigo Full-length, 2006

Official Site


A side project for the man who achieved a huge cult status with his other band Necrophagia. The music on this one is lighter and faster, but fairly enjoyable, without the depressing proto-death moments of his other band, and even with some clever semi-technical guitar work at times ("Compelled by Fear"). It is more straight-forward thrash with a Bay-Area flavour, and Killjoy does a pretty decent job on the vocals; he actually sings here, coming up with some really cool semi-clean vocals. He has also found a perfect balance between speedy numbers and heavier, slower ones (they actually alternate throughout the album). Too bad this album remained his only solitary venture into more conventional thrash (as well as the other one-album wonder with his participation: Cabal).

Compelled By Fear Full-length, 1990


This Finnish trio indulges (based on the full-length) in right as rain modern thrash spiced with several heavier, groovier sections. Few will the indifferent on primal headbangers like "Perkunas" although the prevalent tone is friendlier with not that many faster-paced escapades, the only other one being the cool speedster "Reborn" which is also the most technical cut. There's a curious vocal "duel" running throughout, between a deep guttural death metal and a dramatic high-strung clean one, a very contrasting one for sure, but ensuring additional dramatism to this otherwise not very original roller-coaster.

Killpoint I EP, 2012
Killpoint II EP, 2013
Let's Fuckin' Die! Full-length, 2016

Official Site


The "Catalyptic World" demo is a nice combination of Slayer, Infernal Majesty and Incubus. In other words, this is thrash/death metal, quite intense, but not always fast and brutal, with stylish slower breaks. "Vivasected" is a full-blooded death metal number showing clearly the band's direction of development. "Howling Legions" is a vicious blend of thrash and death metal, quite well-played, with a nice variation from very fast numbers to slower, almost technical ones. The band looked well-equipped to join the death metal camp, but disappeared after this one.

Blood Will Bring Blood Demo, 1988
Catalyptic World Demo, 1989
Howling Legions Demo, 1990


The debut: another addition to the classic thrash metal resurrection movement, of the more extreme death metal-laced kind; the guys play fast and tight, seldom using blasts, as well as slower atmospheric sections which come assisted by nice melodic licks even growing into whole compositions towards the middle ("Mausoleum"). Slayer (all their periods) come as the closest soundalike on at least half of the songs, but watch out for the cool epic thrasher "The Walk of Lucifer", and the cover version of Judas Priest's "Between the Hammer and the Anvil" at the end, which infortunately is ultimately ruined by the bad indifferent semi-shouty vocals.
"Corrosive Legion" is another "corrosive" display of retro thrash worship again spiced with a pinch of death metal (the cool atmospheric cut "Self-Destructive Race" which ends up being the highlight here)) with the rough shouty vocals again being the main pullback. The dominant adherence to Slayer is now dissipated with the inclusion of more stylish solos and slower pieces which try to enhance the atmospheric effect ("Enter the Mist"; the serious, almost progressive "Corrosive Legion") by inserting a more modern influence, which slides down to pure hardcore on the final 1.5-min explosion "Die". The bigger diversity this time has served the band well, but it will take a bit of time for this more demanding approach to be perfected.

Corrosive Birth Full-Length, 2010
Corrosive Legion Full-length, 2011

Official Site


Kiloton are actually only two people, but this is not a problem for them to pull out cool lashing thrashy riffs. Their style mixes modern and classic thrash, but the guitars have a very computerized sound at times, bringing the music more to the modern side. This is a minor complaint, though, as the guys really know what they are doing, albeit with a more industrialized touch. The music is actually close to Annihilator ("King of the Kill", in particular), but is more classically-inclined, and the guitar work resembles the one of Jeff Waters. The tempo is not very fast except on a few occasions (parts of songs, but never a whole song). The vocals are quite melodic, strangely recalling Bobby Liebling from the American doomsters Pentagram at times.

The Seeds of Genocide Full-length, 1998
Knock the Box Full-length, 1999

Official Site


Basede on the Split with the black metallers Endstille, this band provides generic modern thrash/death metal of the melodic energetic variety. Fast sharp riffs, soaring melodies, gruff vocals (no clean ones), everything is here; but...

The Art of Selfdestruction Full-length, 2004
MMVII EP, 2007
Endstille/Kilt Split, 2010

Official Site


This is potent modern thrash metal in a consistent hammering mid-tempo, but suddenly the guys branch out into brutal blasting death metal ("Mir Zazerkalia"), or add the odd stylish technical riff ("Bog Vivit Vse"). Still, this is heavy monolithic stuff with aptly chosen brutal intelligible death metal vocals.

Mir Zazerkalia EP, 2010


The demo: this band is the new incarnation of the modern thrashers Downfall. The style isn't as metalcore-ish here, but is still a fairly modern offering, more on the pounding side trying to introduce the odd more stylish riff ala Meshuggah ("Mechanical Rapture"), and manage to raise the spirits with the vivid jumpy shredder "Regenesis" and the hard-thrashing semi-technicaller at the end "Mimicry, Ambivalence and Hybridity". The singer is a shouty semi-deathster getting hysterical at times.
The full-length is another mixed bag thrashing with intricacy ("Ersatz") at times, but the sterile mechanical riffage, dominating the landscape, impedes any bolder ventures into a more stylish play. "Jauhar" is a choppy proggressiver, and "Mechanical Rapture" is indeed a mechanical shredder with some tasteful arrangements, but overall this is too dispassionate and robotic to stir the mood a lot.
The "Pariah" EP doesn't change the formula containing the same modern semi-technical thrashisms from the previous instalments "Black Dog" betraying the lively atmosphere with a more alternative, groovier layout. "Incipient" recalls the polyrhythmic jumps and jolts of Meshuggah, and can pass for the most stylish tribute to all things modern here.

Demo Demo, 2010
Divine Self Invention Full-Length, 2015
Pariah EP, 2017

Official Site


This band is just a one-time project for the members of the doom/death metal formation Godcrucifier. You won't be fascinated too much with this pedestrian 90's post-thrash which is too toothless mixing its timid approach wth industrial and grunge elements to again very incoherent results. "Kind of unexpected", and well deservedly forgotten...

Alien Sun Demo, 1995


This band feature the bass player and the singer of the progressive death/thrashers Acid Death Savvas Betinis. Based on "The Chains That Bind Us", this new act follows closely on the steps of the other band, and more particularly their debut, although here the complexity is not that big. This is first-class technical thrash with shades of death metal coming mostly from some really good, but sparcely used, Gothenburg-influenced guitars. There is not much complexity involved, the songs are not overlong, and there are enough sharp riffs to headbang to, as well as more technical moments, also bringing to mind Chemical Breath and the Swedes Agretator. The tempo is mostly in the mid-range, speeding up a bit here and there, but never ventures into very aggressive waters.
“” is 6 songs (apparently the obsession with this number has taken a full grip on the guys), and at least on the opening track there is nothing technical to be heard, just straight thrashing without any gimmicks, and not really appealing. The clumsy slow follower “Holy Instinct” slows down, refusing again to offer anything more interesting. “Never Ending Winter” is an almost identical copy to the opener, and at this point the listener knows that this would be an animal of a different kind, and an inferior one for that matter. The only difference which “Venturing High And Low” offers, is the nice female vocals, which remain for the less impressive modern-sounding “Dreams For Nothing”. The girl is also featured on the closer “Faces Far From Reality”, which is the only more original offering mixing tecnical riffage, gothic, and a more aggressive death metal-laced play, and as a result the fan finally has something to relate this album to “The Chains That Bind Us”, although this composition is probably closer to the works of the Swedes The Project Hate. But seriously, the girl is really good, and for the future she should be given the mike completely, if the guys decide to continue in the same thrash/gothic direction.

The Chains That Bind Us Full-length, 2004
Corrosion Full-length, 2007 EP, 2008

Official Site


Very cool progressive power/thrash metal; there are some jokes along the way ("Melanin"), but the rest is pretty hard-hitting. Imagine Heir Apparent or Lethal mixed with a good doze of thrash, and you'll get the picture. On the longer songs ("Reworked") the guys get carried away, introducing a lot of influences, and create the impression that they would never end the song; but these moments are not too many, and the rest is quite enjoyable, still with the presence of various influences, sometimes outside the metal spectre.
The "The Fall of Individualism" demo is an appetizing mixture of power, speed and thrash churning out epic headbangers like "Reflected Fear" and excellent more progressive compositions ("Dark Inside the Light") where the riff turnaround is quite big recalling Paradox and Helstar without completely losing the epic flair which is particularly prominent on the varied melo-speedster "Driven to Insanity", another handsome display of musical craftmanship. "Hollow Corporation" gallops with the finest horses out there being a cool short rager, and "The Price of Defense (M.A.D.)" complicates the environment again with a pleiad of labyrinthine riff-knots and breath-taking atmospheric balladisms, not to mention the intense speedy accumulations. This was a really awesome beginning for then band who now had a solid base on which to build their subsequent repertoire.
The "Controlled Reaction" is a marvellous collection of tracks, four altogether, which shows the guys moving up the technical/progressive scale "Choose Your Fate" being a choppy hectic thrasher in the best tradition of Blind Illusion and Realm, a compelling roller-coaster with myriads of time signatures and a few tasteful melodic hooks. "Cultured Logic" is a most tantalizing speed/thrasher also touching Toxik's "World Circus" with fast staccato guitars and more aggressive, also dramatic accumulations. "Angry Man" is a nice combination of addictive melodies, intense moshing riffs and a few mazey technical decisions. "Faces of the Fallen" is amor elinear power/thrasher recalling the style on the debut demo and mid-period Fates Warning with a couple of more brutal crescendos, not to mention the superb melodic licks again. Another fine showing from these masters who could have done a better job on the cool, but hardly exceptional full-length.

The Fall of Individualism Demo, 1987
Controlled Reaction Demo, 1988
I Will Fight No More Forever Full-length, 1991

My Space


This band play heavy groovy post-thrash with elements of doom/sludge. The dellivery is pretty dynamic the riffs all weighing a ton, but always able to surprise with more stylish insertions (the semi-technicality of "Trap"). Some pieces ("Kool Aid" the briliant twister "Smooth",) belong entirely to the fields of doom, but others like "Blackest" stir the mood with their more vivid rhythms. The vocals are expectedly shouty and angry with a more expressive death metal flavour.

II Full-Length, 2015

Official Site


A nice classic thrash "present" from the gloomy 90's; a very good production boosts this inspired dedication to the old school which offers dynamics and and energy aplenty as well as very good melodic leads which are just brilliant elevating this obscure effort to the level of the Shrapnel practitioners. The guys tear it loose technicality-wise on "44" which is a major shredder with imposing riffage, but the lead guitarist again steals the show there with just a few stylish licks thrown in. The closer "A Mimic Extreme" comes with a worse sound quality and shades of power metal; could have been recorded earlier. The singer is by all means on par with the very good music providing a clean mid-ranged emotional tember with sparce semi-shouty tendencies.

Demo Demo, 1993


Based on "Paean Heretica", this outfit offer modern thrash/death which acquires mellower progressive parametres ("Sanctification") at times, but those moments stand no chances to the vitriolic speedsters like "Kingdom" and "Doomsayer". "Harrowing Eyes" is a cool atmospheric shredder with great melodic leads, the highlight here, the final Bal-Sagoth-esque epic progressiver "The Grand Congregation" a close second. The vocals are harsh deathy ones, often interrupted by much better cleaner, more emotional ones.

King Leviathan EP, 2014
The Shrine EP, 2015
Milo's Revenge EP, 2016
Paean Heretica Full-length, 2017

Official Site


"Ice cold" modern post-thrashcore which acquires more classic "decorations" on the shorter material, and the merry atmosphere is guaranteed all over also helped by the cool optimistic clean vocals ala Qualcast Mutilator (Lawnmower Deth).

Ice Cold Milk Full-Length, 1997


This line-up includes the most exploited drummer in Australian music history: Matt "Skitz" Sanders (Hobbs' Angel of Death, Destroyer 666, Blood Duster, Abramelin, Atomizer, Hellspawn, among many other bands). Based on the full-length, the man performs on a height easily reached by his comrades here who bash with no remorse serving classic thrash/death metal with constant grindy outbreaks and a lot of stylish melodies on the longer material which is clearly a rarity. This is brutal in-your-face music which still offers some relief with a couple of more moderate mid-paced cuts towards the end. The singer is an over-strung shouter whose high qurrelsome antics are strangely fitting to the relentless musical barrage. Some of the musicians are also involved in the more classically-sounding thrash metal act Watchdog Discipline.
“Dead Set” is in a similar remorseless vein the band moshing out now incorporating hardcore more fully into the recordings with death metal reigning supreme on the more brutal material (“Home Is Where The Gutter Is”). Thrash is covered on a couple of shorter pieces (“Punisher”, “Sick In The Head”) to give its contribution to the next in line highly energetic chapter from the band’s discography.
"Ugly Produce" is not exactly "ugly", but it's another fairly wild proposition with all the three previous styles enmeshed more or less appropriately the blend having a somewhat unfinished feel due to the songs' short length. "Scattered" is a remorseless headbanger epitomizing well what the rest of the material serves except for the several more stylish moments like "Now It Stokes Frenzy", a cool technical thrash/deathster, and "Die Before You Die" which is a notable Slayer-esque thrasher with a couple of less restrained grindy breaks.

The Stench of Hardcore Pub Trash EP, 2011
Bite Your Head Off Full-length, 2012
Dead Set Full-Length, 2015
Ugly Produce Full-length, 2017

Official Site


A death/thrash metal band featuring the former Rigor Mortis singer Bruce Corbitt: a mixture of Slayer and death metal; intense hard-hitting old school stuff, staying closer to death metal most of the time. The opener "The Unholy Ghost" will startle you with its brutal sincere death approach, and the following "Decay of Life" shows even less mercy. After "Blackened by Hatred" comes with furious blast-beats, some of you out there might curse me for listing this act as thrash metal, but those who have more patience, will find out that thrash is just a song away, served again with a huge doze of death metal, and compositions seldom longer than 2-min, except for the closing "Flesheating Zombies" which is a slower thrasher with a long orchestral intro.

Kingdom Of Dead Full-Length, 1993


The Necrosis guys re-release their debut under another name, that same name taken from the last song from that same debut. No surprises here, the tracks come pretty unchanged, so those who already have the Necrosis debut, need not bother... So shall we expect the re-release of "Enslaved to the Machine" to come any time soon?

The Search Full-length, 2009

Official Site


The debut: melodic death/thrash metal reminiscent of At the Gates with cool melodic lead guitar work and sharp thrashy riffs also recalling a modern-day Kreator. The approach is generally simplistic and aboveboard except for the nicely complicated title-track which is a calm sprawling mid-pacer with a few nice melodic touches. Some speed inevitably sneaks in the middle on "Replacing the Damned" before more epic rhythms come forward in the second half ("Exit Human - Enter the Machine", "Tyrant of Terror") echoing Amon Amarth. The vocalist is the staple subdued growler who rends onward in a more attached authoritative tone.
"Into the Black Horizon" is another fitting slab into their modern Swedish thrash/death repertoire although their delivery hardly needs huge progressive extravaganzas like the 10-min behemoth "The Glorius Humanity" which stomps forward in a tedious doomy manner. The considerable reduction of speed will tire the listener who will hardly stay all the way on the closing 14-min funeral doomster "Into the Black Horizon" which is not bad, but if it doesn't hint at a future metamorphosis, what's the point in wasting so much time and space...

Lost in Chaos Full-length, 2006
Into the Black Horizon Full-Length, 2012

Official Site


Light-hearted, melodic thrash which kind of precedes what Anthrax would start playing later in the 90's. The music also has shades of punk, hardcore and doom. This isn't bad, but the melodic nature of the band's style might come as too soft for some thrash metal heads.

Kinghorse Full-length, 1990

My Space


A band involving Ritual Carnage members; the music isn't a very distant departure from the other band, but is a tad more aggressive and faster, sounding like a mixture of late 80's Kreator and Necrodeath. This is intense, relentless attack on the ears, which offers some breaks from the fast riffing with two slower and more melodic numbers put in the middle, with great sharp guitar work, and vocals which sound like a more death-ish version of Mille Petrozza; a strong album and hopefully not the last one from these guys.
The Ritual Carnage guys are gone, and the band now is a trio although this could hardly be an excuse for this very long 10-year break. What will be a good excuse, though, would be the quality displayed all over this no-brainer of intense old school thrash seeing the guys not having lost their energy, not a single bit. The album begins on high-speed, and remains in those parametres, easily reaching towards the less controlled, proto-death ornated delivery of their compatriots Fastkill, or the Brazilians Torture Squad ("Bind Torture Kill"). "Retaliation for the Wretch" and "Gaze into the Brain" are cool attempts at something more technical, and a tad slower, with excellent lead guitar work. "Leviathan" is the odd more modern-sounding break, slow with mellower riffs with swedish melo-death qualities. The rest is a relentless thrash assault turning for inspiration towards speed metal on the enjoyable roller-coaster bonus track "Hollow the Pledge". The singer retains his vicious Mille-like pitch, maybe sounding a bit more screamy this time.

Deletion of Humanoise Full-length, 2001
Sacrosanct Full-Length, 2011

Official Site


This new formation pull out a classic blend of power, speed, and thrash which is characterized by generally pumping shreddy epics ("From the Ashes", "The Crimson Stone", etc.) where the three styles "cross swords" with a bunch of shorter "stingers" roaming around to lift the spirit higher. This is largely pleasant feelgood stuff with numerous melodic "decorations" and cool clean dramatic vocals which take quite a bit of space to a positive impression.

The Crimson Stone Full-Length, 2015

Official Site


This is hyper-active modern death/thrash which doesn't break any new boundaries, but moshes with a lot of vigour also evident from the frequent blast-beats incorporated. The more melodic quirks are left for the excellent epicer "Salvation" although the actual lyrical deviation is the semi-balladic "A Far Cry For Freedom" excluding the brutal ending; and the nice short lead-driven instrumental "Death". The rest is raging stuff leaning towards death metal for most of the time.

The Coming of Age Full-Length, 2016

Official Site


Based on "Introversion from Insane Scenaries", this band play an avantgarde, progressive form of black/thrash which plays wiuth numerous influences without messing it up for most of the time (maybe because this is a really short offdering?). The delivery is rarely predictable stretching from chaotic fast sections ("Your Fears through Me") to calm industrial-tinged ballads ("Damned Blessings"). The arrangements are still not very focused the different nuances not very well blended together; neither are the vocals which range from hellish whispered rasps to clean alternative ones both sides changing suddenly and not always appropriately.

Catrala Full-length, 2002
Introversion from Insane Scenaries Full-length, 2003

Official Site


Based on the self-titled demo, this Spanish act indulge in deeply underground, pristine thrash which is raw bash not far from the first two Onslaught efforts. "El Jorobado" changes the trajectory towards more sensible bash, but the guys' eyes are more on the fast-paced barrage and this is where most of the tracks belong. The sound quality is just awful makig this effort a not very pleasant listen. Later the band changed their name to Aspid and had a much more lasting career as a modern groovy post-thrash act with several full-lengths released in the 90's and beyond.

Espiritu de Metal Demo, 1988
Kirlian Demo, 1989



This is cleverly-constructed progressive thrash, all-instrumental stuff which changes the pace without being too speedy residing on modern grounds more often, but the stylish surreal riff-patterns will intrigue the listener although a more adventurous song-writing woule be better; probably those more technical ideas are kept for the full-length?

Demo Demo, 2013


This is melodic speed/thrash with crossover elements, more classic-sounding, at times switching onto full-fledged thrash: "New Horse Men", "The One Within". The singer spoils the picture considerably with his shouty hardcore delivery which fits some of the more crossover-based numbers among which "Dude" is a cool jolly punkcore joke.

I Full-Length, 2007


Based on "Stronger Than Before": modern thrash which hesitates between a more energetic hard-hitting sound with a classic edge ("Stronger Than Before", "E.F.E.T.F.T.") and a less impressive groovy one ("Uncontrolled Reaction", "Mind-Fucker"). Apart from these two trends one can find more ambitious compositions with a progressive edge and a bigger sense of melody: "Twisted Personality" which, despite its more mellow nature, is a very satisfying number. The closer "Rising Fear" is a very good heavy semi-ballad.
"Inferno Inc." is a strictly modern affair thrashing with an abrasive noisy guitar sound, which may be intentional, since it gives the music a boosted industrial sound. The bad news is that the speed is gone for the most part making the album sound quite samey and repetitive. Worth of note are the husky semi-whispered vocals which at times find it hard to go over the noisy guitars, but deliver in a sinister hellish way.

Stronger Than Before Full-length, 2000
Inferno Inc. Full-length, 2004

Official Site


This is your average groovy post-thrash made in Spain for a change. The band are a bit more exciting than the hordes of Pantera imitators swarming the scene at the time, including the odd more energetic section ("Ritual. Belial"), and in this train of thought caould be placed next to the better practitioners of the style: their compatriots Ktulu and the Portuguese Ramp. The vocals are of the expected shouty type coming with a more aggressive death metal shade.

Suicida EP, 1998


4 tracks of blitzkrieg retro thrash metal, fast direct music with sharp lashing guitars and rough semi-death metal vocals, and cool more laid-back thrash/crossover leanings on the final "Thrashers".

Street, Rotten, Thrash Derby EP, 2010

My Space


This obscure formation deliver industrial post-thrash which combines the dancey aesthetics of early KMFDM with the harsher unorthodox riffng of mid-period Prong. The resultant amalgam is not that bad, actually, and has its both laid-back and hard-hitting moments although everything develops in a mid-pace with the industrial samples thrown in at every available opportunity. "Leave" is a more dramatic brutalizer, but the rest tries to keep the electronic music lovers happy, too, and may pull back the hardened metal fans.

Still Suffering Full-length, 1996


Modern thrash/death with hysterical rending death metal vocals; the prevalent fast-paced approach gets its mellower "decoration" ("Bleed Your Eyes"), but it's speedy lashers like "Draining Evil from Its Source" and "A Feeling of Life" that carry this album which is also marred by the very thin production which make the guitars hissing and the drums sound hollow.

No..Metal..No..Life Full-Length, 2017


Modern post-thrash of the more intense thrashy type; the guitars lash with heaviness, but quite a few melodic tunes can be caught as well bringing the sound close to the Germans Perzonal War and the Swedes Lyzanxia ("Black Covers White"). The sound nicely keeps away from the groove for most of the time resulting in more atmospheric music with an expressive guitar tone which is better than the semi-shouty hoarse vocals which take quite a space as well.

Black Covers White Full-length 2011

Official Site


One man is involved in this project so far, the name Mike Robitaille, and the man so far specializes in noisy raw black/thrash with minimalistic atmospheric aesthetics which aren't very well translated everywhere due to the pristine sound quality and the muddy guitar sound. Early Bathory is an obvious influence, especially on the faster-paced material ("Pointless War", "Brain Rot"), and generally the evil mood of the early black metal recordings has been captured well for which one doesn't need any great musical skills or too many colleagues.

Ruled by Thieves Demo, 2012

Official Site


A mix betwen the old school thrash/crossover remnants and the oncoming groovy post-thrashisms; this is abrasive noisy stuff severely hampered by the noisy production which only lets the nuce semi-ballad "Dark Paradise" slip through, not without the help of the better cleaner vocals as opposed to the main hardcore-ish semi-shouts. "Something More" is a semi-successful attempt at more intense thrashing which can pass for the highlight on this fashionable for the time, but not very professionally executed, effort.

Dark Paradise EP, 1993


This 4-tracker sees an act intent on introducign the easier-to-swallow side of the modern technical/progressive thrash as practiced by Meshuggah and their clones. So expect numerous sterile, robotic shredding served in more melodic environment the latter thanks to the great lead sections. "The Hunt" displays the more dynamic aspect of the band's repertoire whereas "You Think You Know" is a heavy pounder with crushing rhythms and intricate quirks bordering on djent. The singer is a tortured shouter with a still intelligible vibe despite his rending delivery.

Burn Particularly EP, 2016


Based on the full-length, this act provides laid-back peaceful power/thrash metal which shares something from both the classic and modern school. The guys march forward with steady meaty mid-paced riffs intensifying things a bit on the semi-technical shredder "Blasphemy", also saddling the horses for the odd galloping moment ("Mordor"). At their best the band manage to capture the epic atmosphere of the Swiss Drifter (the cool melodic closer "Bloodlust" which speeds up nicely at the end), but generally this more power metal-inclined stuff with good clean emotional semi-high vocals.

Huan EP, 2008
Bloodlust Full-length, 2011

My Space


Based on "Faustbreaker", this band pull out diverse modern power/thrash with interesting sing-along choruses and more epic arrangements ("Thrashotron") without missing on the faster-paced anthems (the uplifting speedster "Operation Enmarteration"). "Deadly Prey" is a short more immediate thrasher, but watch out for the more serious side like the progressive opus "Allegiance of Wolves" whic overfloes in infectious melodies. The singer is a rough semi-cleaner who kind of doesn't fit into the merry picture, but is sometimes helped by a more emotional throat.

Epic as Fuck EP EP, 2011
Of Klynt and Man Full-length, 2012
Faustbreaker Full-length, 2017

Official Site


Fast intense retro thrash with a bad sound quality; raw semi-amateurish musicianship provides simplistic direct guitars which bash in an intelligble, but pretty one-dimensional, manner topped by hoarse drunken vocals which are of the declamatory inexpressive variety seldom livening up with the casual spasmodic shout.

Galeras Thrash Assault Split, 2006

My Space


Modern groovy post-thrash meets thrash/crossover of the old school; this is melodic stuff , mostly in the mid-tempo, and more on the modern side with even some hard rock, semi-doom tunes involved. The classic thrash metal fans will not be very pleased.

Babylon Full-length, 1995


Jolly crossover with the occasional thrashy break ("Chosen Few"); there is Motorhead, punk, rock'n roll, and one more serious attempt at song-writing: "Desert Hopes, Desert Dreams", which is a strange ballad lasting for more than 9-min, and the very unemotional indifferent tember of the singer makes it even stranger and oddly listenable.

Wolf Hour Full-Length, 1989


A cool mix of the power/speed metal scene and a little bit of thrash; maybe the thrashy moments are not too many to make this a truly satisfying listen for the regular thrash metal fan, especially with the dual melodic leads ala Iron Maiden, the sing-along choruses, and the soft attempts at ballads ("Blood of the Gods").
The full-length is a more diverse offering, with not may ties to pure thrasH, even introducing the odd blast-beat on the encompassing opener "Cazador De Hombres" which is a nice shredder with clever arrangements and a few more aggressive interludes. Things become even more epic with the 10-min progressive saga "Granted Death" which is not anything too thrashy; neither is the 9-min follower "False Prophets" which is just a bit edgier. "Apocalypse" pleasantly blends officiant doomy and fast blitzkrieg passages with the blasts springing up again. The ambitious approach takes the upper hand once more on another engaging 9-min opus: "Unity Through Chaos", but at least this one offers some brutal riffage for the hungry thrash metal hearts. The final "Judgment" reaches the 11-min mark, but is quite eventful with teh sudden faster break providing the necessary amount of aggresion. As a whole this is epic progressive metal with casual references to thrash and as such could only be approached out of curiosity from the diehard fanbase.

Unholy EP, 2008
In Death's Shadow Full-Length, 2012

Official Site


A good mixture of power and thrash metal, simplistic with semi-balladic moments; this is not aggressive music; will remind you of Griffin, Jag Panzer, early Laaz Rockit.

Demo Demo, 1989

Official Site


These obscure "knights" specialize in well palyed intense thrash intercepted by nice melodic lead guitar work and a bit unrehearsed, but effective clean mid-ranged vocals. "Holocaust" is a particularly violent basher, but generally the tone is more friendly even served with a pinch of technicality on the closing crossover thrasher "D.I.E. (Death Is Everywhere)".

Taste the Blade Demo, 1988

My Space


Classic power/thrash metal with a slightly raw sound quality constantly hesitating between straight-out thrashers ala mid-period Sepultura ("The Lord of Aches"; the intense shredder "Anathema"; the short speedster "Moan"; the brutal 1.5-min annihilation "Devil Child") and moderate semi-balladic power metal pieces ("Life (Something Real)"; the excellent dramatic "Sunrise"). The former predominate, and the ones which come with a nice dry technical edge ("New World") are arguably the highlight. "Satan Evil" is a cool power/thrash metal hymn in laid-back mid-pace which transfers later on the atmospheric doomy closer "Shadows Dig the Soil" which shreds in a heavy pace spicing the proceedings with nice acoustic stretches. The singer is not bad, but his gruff semi-clean tember is not very attached except for his very surprising outstanding emotional performance on the aforementioned "Sunrise".

Nonentity Full-length, 1995

Official Site


A not very known Polist trio who specialzie in heavy stomping thrash/death, still quite classic-sounding, which adds clever technical hooks to the dark, brooding music which never goes beyond the mid-pace, but is strangely effective with its depressing atmosphere. A few more dynamic galloping rhythms ("Buried Alive") are inevitably included to a pretty positive effect, as well as stylish hectic guitars on the more laid-back "Rot In Hell". The singer is an expressive death metal semi-shouter distantly recaling John Tardy.

Buried Alive Demo, 1993


Classic thrash metal with a buzzy guitar sound, noisy drums, and cool clean mid-ranged vocals; the guys thrash with gusto speeding in an energetic up-tempo recalling the Bay-Area quite a bit, and the slower moments are a bit clumsy sounding like intentional deviations/breaks which the band are apparently not very expert handling, and the pure thrashing suits them much better.

Rus Demo, 2010


Based on "Sangre Primitiva", this Argentinian trio indulge in modern abrasive thrash/post-thrash which is heavy and mid-paced all the way through logically ending somewhere on the way to the semi-ballad and doom on at least half the tracks. "Paren La Locura" is a very surprising fast-paced cut, and "Alimenta El Dolor" near the end tries to capture its less bridled spirit alongside the Fight cover of "Nailed To The Gun" which isn't bad except in the vocal department, of course, where the guy has a lot of rehearsals to udnergo before he reaches even one hundredth of Halford's vocal abilities.

Conviviendo Con El Desastre Full-length, 1992
Infierno Social EP, 2014
Sangre Primitiva Full-length, 2015

Official Site


Based on the full-length, this act serve melodic old school speed/thrash with cool high-strung clean vocals. Their colleagues from Nadimac help here and there with guest musicianship although the delivery here isn't as speed-prone, and cool melodic mid-pacers ("I, Icarus") aren't such a rarity. Still, it's vigorous cuts like "When the Eyes Turn Inwards" which keep the ball rolling, and with more of the kind in the future this act may as well find a more prominent place on the thrash parade.

Madman's Overture EP, 2015
Death Parade Full-length, 2017

Official Site


Both albums offer a very avantgarde, left-hand path approach to thrash, based around the fashionable at the time groovy base, and although there are quite a few deviations from the thrash metal path, as a whole the music delivers, but one has to have a wild imagination to fully appreciate it. So you can imagine that this is hardly the headbanger's paradise since the guys seldom offer direct fast-paced moments. The music constantly meanders from one time change to another, suddenly jumping on something more intense for a while, but it gets quickly "clouded" by the next quirky element. At best the approach could be likened to mid-90's Voivod, or the early efforts of the French Treponem Pal, but here you will come across jazzy, funky, alternative passages, and more. The songs are not very long, seldom crossing the 4-min line, but still this modern industrialized avantgardism may come as too much for even the more modern-inclined fans.

Kogong Full-Length, 1996
Chmury Nie Bylo Full-Length, 1997


An ambitious, but flawed attempt at more complex power/thrash metal; at times the riffs are wild recalling Terrahsphere, but these guys like it long (all the tracks, except one, are in the 6-8 min range) and elaborate, and as a result their music leaves the thrash metal field quite a bit. The pace varies: from fast playing, to mid-paced to doomy. There was certainly a potential here, but they called it quits too soon after that.

Scarred for Life EP, 1990


Based on "What Will Become?", this is groovy post-thrash featuring nice up-tempo thrashers ("The Only Justice"), but most of the time the music is mid-paced to slow with numerous melodic alternative passages ala more aggressive Alice In Chains. Semi-hardcore-ish vocals alternate with clean ones. This is not heavy stuff, but there are not too many bands these days who try their hands on such style.

Koka Full-length, 2002
What Will Become? Full-length, 2003


This is a side-project for the Hatesphere guys, who are also helped by the Artillery bass player Mikael Ehlert Hansen. Based on the EP, this band walk in the Hatesphere shoes pretty closely, offering a slightly more brutal version of that band's modern thrash/death metal mix. The music is constantly fast with certain adherence to blast-beats and sparse technical "decorations".

First Enslavement Full-length, 2002
The Devil of All Deals EP, 2005
The Uncanny Valley Full-length, 2006

My Space


A mix of thrash, death metal and hardcore with a strong modern edge; the band deliver the goods when they play fast and tight, like on the good opener "Parricidio", the cool short death/thrasher "Insumisión", and the furious grinding "Raza Humana". At least half of the songs are explosive hardcore outbursts, which are not bad, as opposed to a couple of slower, much softer, somewhat pointless tracks ("Aceleración"). There is one number which offers all the three styles put together ("Tu Cruz"), which is the highlight of the album. "Kalinka" is a very cool take on the popular Russian folk song "Kalinka Maia", mixing raging thrashy guitars with the main theme from the song. The closer "Kolisión Frontal" is another light-hearted, but intense thrash/crossover, again blending melody and aggression in an impressive way.

Raza Humana Full-length, 1993


Modern abrasive thrash which breaks the modern canons with the casual more melodic hook ("We are The Last of Us", the excellent lead section on "The Ghost of Sparta"). The second half is kind of more attractive with the technical jumper "Pink Demon" also boasting a great bass bottom; and the aggressive fast-paced shredder "[R] City". The vocals are angry and shouty with a not very overt deathy edge.

The Stage Of Death Full-Length, 2015


Based on "Era Pravoj Ruki", this act deliver rowdy thrashcore which sits between the old and the new school, the guys having fun with these upltifting, merry-go-round tunes some of which border on speed metal ("Liberal") while others ("Nenavist. Zloba, Nasilie.") are belligerent mid-paced epicers. "Geroi R.O.A." is a poignant lyrical ballad pulled quite well by the singer whose otherwise hoarse semi-clean baritone suits well the unpretentious musical delivery. "Radical Voice" is a bit more aggressive the guys sounding more pissed and angrier, with short exploders like "Lions and Jackals" banging the head easily. A more serious, progressive song-writing can be detected on "Political Soldiers" as well as epic, symphonic ornaments on "Heirs of Europe" where some keyboard tunes assist in the creation of fitting battle-like atmosphere. "Call of Ancient Glory"comes the closest to their staple thrashcore shenannigans of old, but the diversity here is bigger to these ears for the better.

Era Pravoj Ruki Full-Length, 2002
Radical Voice Full-length, 2008


Based on "Rising", these folks provide modern sterile thrash which cold mechanical feel is also aggravated by the certain amount of groove incorporated although pieces like "Bad Blood" bring nice melodic subtleties to the approach. The shouty deathy vocals aren'"call of ancient glory"t much to talk about, but their staccato recitals make agrro groovy numbers like "Tread Lightly" more dramatic and arguably more interesting.

Truth Becomes Full-length, 2011
Rising Full-length, 2017

Official Site


The band's debut is one of the better examples of how aggressive and more complex thrash could co-exist; the music is mostly fast with a strong bass-bottom and heavy semi-technical riffs. The songs aren't long with a very few exceptions, and the riffs come easy and naturally without too many progressive arrangements or a musical show-off. The most aggressive tracks perhaps carry a shade of death metal ("Shabash", "Psy Ada"), but the highlight is the more laidback twisting ones ("Sled V Sled") or the atmospheric mid-paced "Anarhiya".
The debut was followed by "Born To Be Great" two years later that saw the guys hardening the course, now sounding like a well-equipped thrash/death metal act. The title-track delivers exactly that, aggressive straight death/thrash metal with a mellower chorus and a couple of more technical leanings; still, this is extreme stuff with not much to relate it to the more sophisticated debut. "Happy Childhood" is a curious number starting in a soft power/thrashing manner before switching onto something harder; it never reaches the aggressive heights of the opener, though. "A Pilot's Ruin" is brutal thrash/death sounding like a very faithful follow-up to the first song. Another deviation is offered in the face of "Suicide Song" which is much slower and could easily pass for doom metal, and quite good one at that. Finally something more stylish and technical on "At The House Of Sorrow" which twists and turns in a cool way, not forgetting about the straight-ahead moshing near the end where also a few nice technical leads can be heard. "March Of The Mutants" moshes in a hard direct fashion with heavy slightly dry riffs, a satisfying slab of hard-hitting semi-mechanical thrash. "Victory Or Shame", which is the last song, preserves some of the dryness, but mixes it with melodic semi-balladic passages, and all of a sudden starts a furious thrash/deathy moment, all this alternating the whole time to an awkward, not very convincing effect. As a whole this effort leaves something to be desired without being too bad stretching into many directions, abandoning the consistent monolithic delivery of its predecessor, spreading wider than what the abilities of the band members can handle.
After a lenghty 6-year break the band re-appeared on the scene, but "Awakening of Wax Figures" was a pale shadow of the first two albums, featuring a few high quality progressive thrashers immersed in the majority of mediocre, unimpressive progressive pop-metal numbers. "Star's Sliver" follows the same pattern reducing the thrash metal elements even more opting for a radio-friendly material with a touch of a more complex semi-progressive song-writing.
"ß Âèäåë (I Saw)" is a better effort returning to the more aggressive thrashy patterns from the past, but it does it in a more modern manner with dry industrialized guitars and a bit repetitive rhythms in mid-tempo except for the short extreme death metal digression on "Ia Videl". That same track, along with "Oda Smerti", are re-worked at the end turned into instrumentals-only, and are kind of more appealing "deprived" of the strained dispassionate semi-clean vocals.
"Remission" is a varied effort containing some admirable fast-paced modern thrashers ("Black Flag"), but the majority of the material clings towards the groovy post-thrashy side. Still, one can't remain indifferent on compulsive progressive-ornated pieces like the not very predictable "Electicomatose", or the fine modern melo-thrasher "Oboroten". As a whole this album is not bad at all staying true to the band's newly epitomized modern leanings.

Cepi Full-length, 1992
Born To Be Great Full-length, 1994
Awakening of Wax Figures Full-length, 2000
Îñêîëîê Çâåçäû (Star's Sliver) Full-length, 2004
Ýòî Áûëî... [Eto Bilo...] EP, 2007
ß Âèäåë (I Saw) EP, 2009
Remission Full-Length, 2015

My Space


One of the better practitioners of the 90's groovy post-thrash in Europe; there is not much variety between the albums; this is heads-down 90's thrash which sounds quite interesting, because the guys mix the heavy base with more melodic heavy metal tunes; the overall sound will remind you of Machine Head's more melodic period (1999-2004). The positive thing from such a mix is that the songs often are quite memorable, and do not stick to each other like it happens on many more generic efforts.
"La Maldición Divina" is the staple for the band effort, and doesn't run away from the well established formula. So this is laid-back pleasant post-thrash with strong doom/stoner shades this time; feelgood stuff with occasional more technical decisions ("Blancos De Los Nervios"), catchy choruses, and merry optimistic riffs.

Koma Full-length, 1996
El Infarto Full-length, 1997
El Catador de Vinagre Full-length, 1999
Criminal Full-length, 2000
Molestando a los vecinos (Promo) EP, 2001
Larga vida al... Volumen Brutal Full-length, 2002
Sinónimo de Ofender Full-length, 2004
Sakeo Full-length, 2007
La Maldición Divina Full-length 2011

My Space


Calm modern post-thrash with sincere progressive aspirations; this is too tender to impress the hard-boiled thrash fanbase, but it has its intriguing moments ("Ancient Lore"; the overlong sterile shredder "Spirits in the Temple"; the sophisticated puzzler "Early Years") trying at times to capture the magic of their compatriots Eldritch, mostly to no success. The singer is suitable for the mellow nature of the music with his emotional attached clean delivery although he very seldom tries something more adventurous.

Ghost and the Wiseman Full-Length, 2006

Official Site


This young act indulge in typical for the 90's modern thrashcore with the staple steam-rolling rhythms and the overshouty aggro-vocals. "Buried" lifts the mood with its more aggressive sections and the more audible semi-technical edge, and "Earthquake" is a curious jumper near the end which thrashes harder trying indeed to cause "an earthquake" on the otherwise solid Belgian ground.

Flashing Nightmare Full-Length, 2015


Based on the debut: energetic playful thrash/crossover offering good headbanging moments ("Sick Society", "Thirst of Power", etc.) for most of the time as well as a few mid-paced smashing pounders ("Time To Go"). The punk-ish side is not forgotten, either: the jolly carefree "Drunkards", and the drunken blues at the end "Unfucked Society".

No Hope For Tomorrow Full-length, 1994
Slow EP, 1996
Rhytmo Fantastico Full-length, 1999


Quite good take on the classic German sound, with Kreator's "Extreme Aggression" paid special attention; so expect lashing steel riffs the whole time, constantly fast-tempos, cool more melodic leanings ("Death Creation", the speed/thrash explosion "Soul Reaper") with interesting semi-technical "decorations". Shorter more direct tracks go straight into a "Pleasure to Kill" territory, others go even beyond that, spicing things with more brutal proto-death riffage ("Descent Of Hell"). Expect the least mercy from the shortest numbers, which are simply bullets shot with the utmost precision: the 2-min ball of fury "Kombat". The lead guitar work is sparce, but the riff-fest more than compensates for this shortcoming.

Kombat / Promo Demo, 2008

My Space


Based on the 3-song "Iron Hands on Scandinavia" demo, this formation pulls out an intense brutal mix of death, thrash and black metal which very seldom develops outside the super-fast bashing pace, and as such will be of primal interest for the black metal fans who may not be very amused by the low-tuned death metal vocals akin to Jan-Chris De Koeijer (Gorefest).
"The Draconian Archetype" is another ultimately brutal affair now almost exclusively concentrating on black metal the guys bashing like demented occasionally including the slower atmospheric doomy cut ("Hate is Strength"). For the black metal fans this effort would by all means be a no-brainer with its hyper-blasting aesthetics and symphonic arrangements ala Cradle of Filth and early Emperor.

Iron Hands on Scandinavia Demo, 2006
Stormlegion Full-length, 2008
Kontakt EP, 2010
The Draconian Archetype Full-length, 2012

Official Site


Energetic brisk old school thrash comes served here the guys shredding with gusto playing in the faster parametres, above all, never too serious thanks to merry speedsters like "The Iceman" flying around. "Malapane Valley Thrashers" is strictly for the "malapane valley thrashers", of course, but it should appeal to others outside this valley... sorry, area due to its rapid-fire aesthetics. Else where the guys follow the canons of the genre step-by-step producing the desirable headbanging atmosphere which is also boosted by the very good sound quality and by the expressive semi-shouty vocals. Some of the band members also play in the black/death metal outfit Lilla Veneda.

Mental Sadism Full-Length, 2013

Official Site


based on the full-length, this outfit lash out unbridled wild thrashcore which is both modern and classic-sounding, supported by both crust and death metal; especially the latter is quite impressive giving a big boost to the short tracks. The singer shouts in an angry aggro-manner with a characteristic higher-pitched voice which borders on the hysterics at times. Some of the musicians also keep themselves busy with the death metal formation Encancrate.

Terror TV EP, 2011
Café Beirute Full-length, 2012

Official Site


Based on the "Método de Equilíbrio" EP, this is good modern thrash with nice melodic semi-technical guitar work, mid-tempo for most of the time. The guitar line has a specific unique sound, but it goes on all the songs, and creates a slightly one-dimensional atmosphere.
The "Lírica Apocalíptica - Ira" EP, which is whole 10 songs long, and it's a mystery why it is listed as an EP in the band's discography, is again cool modern thrash, this time elaborating things a bit with longer compositions, spiced with balladic quiet moments, very melodic vocals, aiming at the progressive sector, but losing speed and sharpness in the process. Still the guitars preserve this interesting characteristic melodic blend, and the shorter more immediate songs are way better and more appealing to the thrash metal ears: "Victima", "2359". Some of the band members also take part in the black metal act Byleth.

Condena Demo, 2001
Génesis Demo, 2004
Método de Equilíbrio EP, 2005
Lírica Apocalíptica-Ira EP, 2008


This is all-instrumental modern thrash metal of the more technical type. The album starts promisingly with the aggressive mid-paced riffage on "Grasp", quite reminding of the Canadian masters in the instrumental genre Electroquarter Staff, but later on the music takes turn towards the works of more recent Annihilator, by adding the odd blasting death metal passage ("Silence the Masses"). Some songs are reworkings of each other: hardly necessary since the difference between them is very small. The lead work is particularly good, and is the strongest asset. The music remains mid-paced until the end with timid attempts at a more intense delivery ("Tabula Rasa", and especially the death metal delight "Lumbering Giants"). On the closing "Optical Illusion" there are finally vocals to be heard, courtesy of Ville from the Finnish death metallers Mors Principium Est, although the music on this one has nothing to do with death metal, but is a cool modern Annihilator-esque thrasher.

Art in Aggression Full-Length, 2009


This prominent Danish act started "small" as a conventional thrash metal unit before switching onto their characteristic semi-technical brand of modern death metal. The music at display here is more on the darker, proto-death side the band playing fast in a way not far removed from the early Pestilence efforts, only less death metal polished. The vocals are a bit lower-pitched than on the offical releases, but have already acquired the vicious deathy tone.

The Vicious Circle Demo, 1990

Official Site


These islanders pull out war-like modern thrash which stomps its way with affirmative steam-rolling riffs, but their Vviking heritage can't possible be stifled, and here comes the pagan epicer "Worn-Out Loyalty" to arouse the warriors. Later on one will encounter the eclectic quasi-indistrial oddity "Embrace the Abyss" and several imposing battle hymns all of them close rto doom/death than to anything else. The singer rends his throat in a manner quite close to Lars G. Petrov (Entombed), and is inferior to the better music.

Embrace the Abyss Full-Length, 2014



Heavy 90's post-thrash meets hardcore: this is angry, but not brutal music, which speeds up at times ("1000 Watt"), but the dominant pace is mid-tempo, leaving the thrash field on a few occasions ("Barbarzynski Klan", "Our Bond", and the very cool closing ballad "In The Heart Of Alaba").

Break the Chains Full-Length, 2002


A decent entry into the Australian retro thrash catalogue of recent times, offering energetic riffs with a hard edge, "courting" both the Bay-Area and Slayer in equal dozes. The guys even add a cool technical edge to the proceedings (the intriguing twister "The Bag"), which should take more room on future recordings. It's all "thrash or fuck off" here, like the title of the closer suggests, spitted out by the venomous gruff vocals, which are forceful and comprehensive reminiscent of early Peter Steele (R.I.P.): think his performance on Carnivore.

EP?(?MS) EP, 2011

Official Site


These Mexicans offer fast intense retro thrash with Rigot Mortis a close reference with the one-albu wonder Exorcist a close second call. The guys bash with gusto the musicians' efforts somewhat marred by the bad shouty death metal vocals which starkly contrast with the good melodic leads which are on a really on high level and would definitely catch the listener's attention.

Autodesctruccion Demo, 2010



Based on the "I've Got a Waterhead" demo, this obscure band play diverse speed/power/thrash with cool soaring melodies the able musicianship displayed all over ultimately ruined by the awful sound quality. The band mix longer, more thought-out pieces with faster thrash/crossover outbreaks resulting in a slightly uneven, but by all means ambitious listen which could have gone somewhere if it wasn't for the influx of the detrimental modern trends.

Hotch-Potch & Threadmeat Demo, 1987
I've Got a Waterhead Demo, 1989
The Toilet Area Demo, 1991


This act indulges in carefree thrash/crossover consequently belomnging to a niche occupied by compatriots of theirs like Storbais and Soziedad Alkoholika. The guys here share the same uplifting mentality although their approach is a bit more complicated and not as intense. The mid-pace is more often applied and as a whole the band don't adhere to all-out speed a lot inevitably producing the odd merry heavy rocker (the closing "We're Not Angels"). The singer is the typical hardcore semi-shouter with the knack of providing the more "romantic" note wnen necessary.

Accio Directa Full-Length, 2010


Modern thrash/post-thrash; a not very imaginative affair as a whole with all the trite tools of the trade the latter at times replaced either by atmospheric balladic toouches ("HateGod"), or by all-out moshers ("Patrie"). The rest, as they say, is history...

Addiction Full-Length, 2015

Official Site


This is a 4-track demo of dark brooding thrash which can get nicely dynamic (the crossover-laced "Show of Feelings") at times, but as a whole the band stick to heavy mid to up-paced rhythms the main damage done by the shouty death metal vocals which take two styles (growling and shrieky) alternating them to a not very positive effect. Some of the musicians also take part in the brutal death/grindcore act Obispo Fornicado.

Maqueta Demo, 2005


Reportedly on their early demos the guys have played some cool speed/thrash metal; those were also the times when the legendary Csihar Attila was a member of the band for a while. Based on their debut, they offer modern post-thrash with quite a few technical complex deviations. There's a lot of groove involved so fans of the old school, stay away from this as you won't come across many headbanging sections if any at all. Otherwise the music is really worth checking out recalling Prong's mid-period quite a bit and the Voivod works with Eric Forrest although the Hungarians are more complex than both being quite jumpy, mostly mid-paced, with some really original decisions and very cool sudden melodic leads; this is diverse multi-layered stuff which will keep you listening the whole time. The more avantgarde passages will remind you of Gorguts' "Obscura" even; a really original take on modern post-thrash that shouldn't pass unnoticed.
"Próbáld Újra" is just a decent follow-up. The sound is much more melodic although some songs are fairly complex and interesting, especially the longer ones which are impressive progressive modern post-thrashers ("Halott Lany", "Egy Nap es Ma"). There's some not very desirable industrial/electronic experimentalism, brought with two short instrumentals in the middle, and remaining until the end, marring badly the rest of the material. As a result we have a band who clearly aim at the semi-electronic undustrial metal scene where acts like KMFDM, Oooomph and Die Krupps belong.
"Korog" surprisingly puts the electronic elements aside, and brings back the more guitar-driven sound. The complexity has been reduced, and now the guys sound not too far from the many modern post-thrash metal bands roaming the scene these days. If the album-title suggests at some new beginning, or self-retrospection, the music doesn't give too much ground for this.

"Mumus" is a very good offering from the avantgarde non-conventional side of the genre seeing the band in fine form again, after having dropped the ball on more recent offerings. The very proficient leads would be the first improvement one may notice, but the riffs are quite sharp and clear, without many industrial/noise interferences. The gruff low-tuned growls which "quarrel" with the raspy black-ish ones throughout, may not be the most fitting choice in the vocal department, but the interesting multi-faced music will keep you entertained. Actually, the complexity isn't so big and on many parts the riffs flow nicely and straight, but all of a sudden one comes across a more elaborate section where the riffs start to twist and turn ("Harm Mass"), blended with the nice melodic leads. Somewhere those leads are missing, and then nothing offers relief from the labyrinthine picture ("Serpent Of The Abyss"), which stops just on the edge of becoming unlistenable. The end is preserved for the most thrashy, but also more complex songs with both sides admirably shaking hands on the twisted, but entertaining closer "Trance War".

Álmodj Makkal Full-length, 1999
Próbáld Újra Full-length, 2001
Live In Studio EP, 2002
Korog Full-length, 2004
Mumus Full-length, 2008


Based on the debut, this is heavy groovy post-thrash, mostly mid-tempo, suddenly bursting into faster thrash/proto-death ("ATM") for a while. The music bears no other surprises, being quite predictable and one-dimensional, with the good prototypical Phil Anselmo-like vocals being the main asset.
"God Less America" is a more interesting affair, now acquiring more stylish dimensions with creepy, mid-period Sepultura-sque, rhythms mixed with more playful riffs in the early Six Fee Under vein. The result is not bad heavy stuff which produces the fine dramatic doomy piece "This Bleeding Earth", echoes of which one will find later on the closing crushing section of the closing "Bigger Than God". "Organized Hypocrisy" is the obligatory faster track, and "We The Enslaved" is another more pleasant surprise with its more speedy, Slayer-esque insertions. The vocals are now of the mixed type: apart from the staple aggro-shouts a more guttural deathy tone can also be heard. Previously some of the musicians had also tried to play softer classic heavy metal with Divine Burning Angels.

Age of Rebellion Full-length, 2009
God Less America Full-length, 2010

My Space


This act specialize in simplistic direct retro thrash/croosver with semi-declamatory punky vocals and a cool bass bottom; so the album-title is quite revealing. The music is not very intense leaving enough space to casual melodic sweeps, so the "assault" is not that "total" if we exclude several unbridled ragers like "Bienvenido a mi Pais". The rest has the necessary speed, but the riffage is too mild to make too many heads bang with passion.

Total Thrashpunk Assault Full-Length, 2013


Based on the "Haunted Cries" demo, this act deliver dark hypnotic thrash of the old school which sounds quite quirky and jumpy on "Psycho Bitch", and more power/thrashy on "Evil Has Become of Me". "Ride the Death Angel" is a nice more progressive-sounding piece with melodic guitars and impetuous speedy passages. The speed metal aesthetics is even stronger on the final "She's in Pain" which will remind of you of the early days of Razor including in the vocal department where the guy semi-recites with pathos adding the odd more brutal semi-deathy growl on occasion.
The Promotion demo is an eccentric affair sitting somewhere between the post-thrash and the industrial fields producing atmospheric orchestral music with a lot of keyboards which suddenly jumps to aggressive technical thrashisms the latter appearing once more on "Guilty" which is an intense pounding shredder. This is good stuff, quite diverse, which could have found a place under the 90's sun with its fashionable gimmicks.

Haunted Cries Demo, 1994
Promotional CD of Upcoming Album Amber Waves of Pain Demo, 1998

Official Site


The EP: melodic thrash/death metal of the modern variety, dynamic and varied, at times fast, at times with gothic overtones and a few cool melodic decorations. The singer has a very angry, shouty delivery which overtakes the whole space at times. This is not bad, but similar stuff has been heard a lot through the years.

Testigos Del Miedo Full-length, 2009
Sistemas EP, 2011

My Space


The debut: an intelligent young act who specializes in well-executed "creepy" modern progressive thrash which starts in an openly aggressive manner with the headbanging "Zodiac", the dry mechanical guitars strongly recalling their compatriots E-Force. The real "weirdness" begins with "Greed" which is a strange mix of direct and eclectic parts, the latter not very aptly translated on the soft semi-balladic "Venom", which is the only drawback, actually. "G.A.D. (Generalized Anxiety Disorder)" is a very good technical atmospheric thrasher, an energetic piece of music with interesting surreal decisions. "Casus Belli" is another moshing track with a couple of more stylish insertions, and "Liquidators" follows the same path "relieved" by the stomping lead-driven exit. "Lonely Thoughts" is a cool quiet instrumental with very cool lead guitar work, but "Dreading" comes thrashing right after with another portion of fast raging riffs with a dry sterile shade akin to Darkane. "From Hell" is more ambitious relying on more technical dramatic structures which reach an almost death metal-like crescendo at some point although the song never goes beyond the mid-tempo. The closer "N.D.E. (Near Death Experience)" is a seamess blend of sharp speedy riffs and more moderate calmer ones again recalling E-Force, as well as another French act: Kragens; it creates a positive progressive impression covering a wide range of moods alternating between the two sides the whole time ending in an imposing semi-orchestral manner with the leads again leading the pack there. As a whole we have another fine addition to the modern French metal scene offering a nice more sophisticated alternative to the heavier more industrialized sound of acts like Gojira and their counterparts.
"The Specter" would be a disappointment for the band fans since they have chosen the easier, less progressive, path to follow the song-structures much more orthodox and linear clinging quite a bit towards the Swedish melo-death canons. "Overcome" tries to "overcome" the standard with a few more flexible arrangements, including semi-balladic digressions, but the real eye-opener is the short technicaller "The Specter" which partially influences the following numbers all the way to the epic, battle-like closer "Iron Will", a not very interesting, but perhaps wrthy, epitaph to this shaky, unconvincing effort.

Creepy Feelings Full-length, 2010
The Specter Full-Length, 2016

Official Site


This band have roamed the metal fields throughout their career, flirting with almost every possible genre they came across. Their thrashy days are from 1988 to 1992; the style is at times melodic reminding of Venom and Motorhead, at times pretty brutal with proto-death, and even grindcore elements; not groundbreaking, but cool.
The guys' desite to thrash again has woken up on "Voina Mirov" although it comes accompanied by a solid doze of death metal which was the prevalent tendency in the band's more recent output. There's quite a diversity here ranging from extreme raging tracks to slower almost doomy ones, to short grinding outbreaks all based on a simple direct approach mixing the classic with the modern trends. It's unpretentious and pretty basic, but it's good fun, and after all the guys have never been the most ambitious musicians in the first place.
"666 Like": after the lyrical, female-vocalized, introduction called "The Mermaid's Song" the guys start thrashing like demented with frequent interference from death metal and grindcore the wild brutald elivery at times spiced by the more stylish hook ("Poluin Zvezda", where also some good female vocals can be heard). Later on hardcore, groove, and pure speed metal (the uplifting hymn "Diavolskii Blednuie Koni") can be caught with two live cuts from older works ending this not very organized, but listenable effort which doesn't betray the band's staple larger-than-life delivery.

Orden Satani Full-length, 1988
Russian Vodka Full-length, 1989
Cannibal Full-length, 1990
Sadism Full-length, 1992
Voina Mirov Full-length, 2010
666 Like Full-Length, 2013

Official Site


This is crusty thrashcore which branches out into less bridled hardcore/punk ("Hellions"), anthemic heavy metal ("Revolt"), and other more or less expected deviations, but for most of the time the listener will come across the good old thrashcore reflected in short to-the-point cuts and hysterical overshouty vocals.

Preachers And Creatures Full-Length, 2017


The style on "Hangover Heroes" is aggressive thrash/death close to Pestilence's first two albums with shades of Death's "Leprosy". The pace is dominantly fast, and the vocals are gruff, brutal death shouts lacking the more comprehensive barking shade of Martin Van Drunen. "Korsakov" is a nice up-tempo instrumental which for some reason reminds of Iron Maiden's "Loss for Words". One might wonder how these guys never got signed with the high quality of the material on offer here, and the fashionable for that time sound...
On the next two demos the band changed the course towards full-blooded death metal, but the music lost its more intricate flair resulting in a more immediate bashing delivery.

Hangover Heroes Demo, 1989
Radiation Exposure Demo, 1991
Prolong The Agony Demo, 1994


Energetic fast-paced thrash/death metal which could have been better, if it wasn't for the awful duel between the very brutal low death metal growls and the hysterical hoarse semi-hardcore vocals. Otherwise the music packs a punch, staying closer to the old school pulling out really aggressive explosions: "Destructor", "Bells Of Warning", which contains a nice short lead section; "This Is My Boomstick" is an awesome melodic technical track with great guitar lines, mighty bass performance, and sharp riffs; it's a pity that numbers of the kind are not that many here.

The Book of Time Full-length, 2008

My Space


A cool thrash metal band with a style which is not too far from Sepultura and Slayer; their first three works are good examples of their potent, forceful sound; "Sonho Maníaco" is a brutal slab of thrash, vicious and relentless, but sounding considerably better than the majority of their compatriots at that time; really cool deviations from the aggressive pattern could be found as well: the smashing mid-paced "Suicido", the dark doomy "Guerra Nuclear". "Pay For Your Lies" is another good effort, combining direct headbanging thrash in the Slayer-vein with stylish guitars, which slow down in a way no worse than "South Of Heaven", creating a gloomy, dark atmosphere ("Born To Kill", "Under The Sun"). "Mass Illusion" is the band's finest hour: intense thrash assault, a nice companion piece to same year's Sepultura's "Arise". Later the band adopted more modern tendencies on "K.Z.S.", but on "Ties Of Blood" their classic sound has returned, and despite the presence of the modern groove there, is another solid release.
"Discipline of Hate" is quick to add more fire into the thrash metal resurrection of recent years pulling out good Slayer-esque thrash with a slight presence of more modern trends. The guys crush with no mercy, but things get really serious on the explosive thrasher "2012" the latter followed by the slower, but equally as intense "Raise Your Soul". Then all of a sudden comes "My Enemy", a nice deviation into jumpy more technical thrash, but "exploits" of the kind are a rarity later on the 2nd half being a potent blend of aggression and stomping heaviness in the best tradition of late-80's Slayer.
"Legion" keeps the faith alive providing another doze of brisk classic thrash opening with the maddening headbanger "Lifeline" which is prime Slayer. This song sets the tome for the remaining ones which rip and lash with the utmost precision adding more flavour, sometimes in the form of cool blistering leads ("Six Seconds"), sometimes as stomping heavy sections ("Broken"). This is sure-handed stuff the band not shying away from the casual more technical inclusion ("Die Alone", the excellent short instrumental "Apparatus Belli"). "Time Has Come" is a nice more thought-out composition wiht more laid-back rhythms, but they are hardly an example to follow except on the closing title-track which is way more friendly adding a surprising flair of power metal and plenty of melody, and to some may be an underwhelming finish to this otherwise quite cool nod to the old school.

Sonho Maníaco Full-length, 1987
Pay For Your Lies Full-length, 1989
Mass Illusion Full-length, 1991
K.Z.S. Full-length, 1995
Ties of Blood Full-length, 2004
Discipline of Hate Full-length, 2010
Legion Full-Length, 2014

Official Site


Based on "Esparciendo El Veneno", this band play modern post-thrash with a touch of crossover. The mixture works all right, although nothing really aggressive happens here, and despite the presence of more energetic numbers (the interesting diverse "Amnesia" and "Ironfull") the music as a whole is soft and melodic.

Esparciendo El Veneno Full-length, 2004
A.D.I.C.T.O.M.I.A Full-length, 2008

Official Site


Based on the "Pekelny Koèar", which begins with an imposing operatic intro play capable black/thrash of the atmospheric, symphonic type infused with a lot of melody and dramatic gothic twists. The operatic aesthetics from the beginning are preserved all over creating a curious mixture of thrash and Cradle of Filth and later-period Emperor. Thrash is more audible on the shorter pieces and generally plays a "second fiddle" here althouggh the riffs are by all means thrash-generated despite the frequent melodic "excursions" and the orchestral sweeps the latter never overdone, by the way, fittingly assisted by the sinister black metal vocals.

R.L.S. Demo, 2006
Obhajoba Smrti Demo, 2008
Pekelny Koèar Demo, 2011

Official Site


A fairly worth hearing effort of intense bashing thrash ala Possessed and Torture the guys knowing their craft unleashing quite a bit of aggression with clear elements of death metal (check out the never-ending brutal shred on "False Messiah") sitting well next to Death's full-length debut that same year. The guys slow down a bit on the epic-tinged "Consumed Within The Sin", but heads will fall on the final "Infectious MInd" which exits this underground gem with a lot of promise which, alas, never materialized. The leads are quite cool as well, the bass is thundering and always clearly heard, and the singer has a very assured semi-declamatory tone quite reminiscent of the one of Jon Van Doorn (Deathwish), maybe a tad more aggressive and having the unique tendency to scream like a banshee to quite a scary effect.

False Messiah Demo, 1987


The debut: this is a curious gathering of French metal luminaries who centre around energetic modern death/thrash which frequently borders on the technical and the progressive resembling Misanthrope except on the heroic power metal epicer "13-11-2015". "Contorted" is graced by Eric Forrest's (Voivod, E-Force) presence the man shrieking his lungs out on a pretty busy symphonic death metal background. From the other quest appearances the one of Arno Strobl (Carnival in Coal) is worth mentioning on "The Night", another relatively peaceful number although there aren't too many of the kind here as the focus is strictly on the more aggressive side of the hybrid.
"Memories" serves a more varied "cocktail" with death metal featured more prominently ("Pseudomonarchia Daemonium") at the beginning although merrier, more optimistic crossover cuts like "Life on the Rope" will definitely keep the mood high. There are also lyrical atmospheric ballads ("Narcosis"), and even a few interesting semi-technical thrahsers ("Your God") among the wide variety of influences which also include a tribute to the French speed metal school (Killers, ADX) with "Page Blanche".

Kozh Dall Division Full-Length, 2017
Memories Full-length, 2018

Official Site


This obscure 3-song EP shows a band who capably combine the aggressive more stripped-down approach of the French school (Massacra, Agressor, Loudblast) with the atmospheric progressive-sounding one of acts like early Therion and Nocturnus. The music clings more towards the death metal side, nicely mixing aggressive fast sections with haunting atmospheric keyboard-driven ones; on the latter fine female vocals are added to a quite positive effect. There's not much thrash to be heard, but fans of the more sprawling atmospheric tendencies (including the ones of Septic Flesh and The Project Hate) in extreme metal will find more than a few moments to enjoy.

Mutant EP, 1998


Based on the "Total Destruction" demo, these purveyors of Czech death metal have managed to come up with really aggressive, but badly constructed thrash/proto-death, which most of the time is just plain bashing in the beginning, in a very fast and unintelligible manner, with a very thin buzzy guitar sound. The brutality gets under control, though, at some stage in the 2nd half, and this produces the edgy dark thrasher "Divny Cisar" and the mid-paced stomper "Tajemnstvi Hrbitova". Later on one can hear early Metallica influences ("Posmrtna Vina") as well as one brutal grinding attack ("In Memoriam") as a finishing touch. At this stage Petr "Christopher" Krystof's (also Master (USA) vocals are too screechy and undeveloped, clinging more towards black metal. Later the band made a slight correction in their name, becoming Krabathor, and with this came the full metamorphosis into a full-fledged death metal act.

Breath of Death Demo, 1988
Total Destruction Demo, 1988
Brutal Death Demo, 1988


The debut: a good progressive power/thrash metal band; their sound is similar to Nevermore, Scariot and Eidolon. The band incorporate a few vocal styles, some of them having more in common with death, or even black metal, but they help in the creating of more atmosphere and dramatism, on which their music has no shortage. "Dying In A Desert" is a cool debut, albeit following the patterns created by the aforementioned acts pretty closely, with heavy dark, sharp guitar work, in mid-tempo most of the time, offering cool melodic breaks (the melodic power metal number "Fear" ala early Queensryche). Doomy ovetones grace the excellent heavy "Lords Of Chaos" and the slightly faster "Satan The Killer", compensated by the two nice speed metal pieces "Road Warrior" and "World Made Of Heroes" which, despite the certain amount of cheesiness, are not bad at all.

"Seeds Of Pain" begins in a really aggressive manner with the title track, with vicious, almost death-ish vocals, and cutting, intense guitars. "The Last" goes even further adding a death metal-like intensity, but also coming with great contrasting melodic leads. The other songs are slower, but not much energy has been lost except maybe on the technical, choppy "I Choose". "Over The Deadline" is a superb exercise in technical thrash with a nice atmospheric, more quiet section near the end.

"In Fight" doesn't betray the band's basic style, but is even more aggressive, with clear shades of death metal here and there, and it could be viewed as the guys' finest hour by the more aggressively-inclined thrash metal fans although highlights, like the ones on the previous two releases, are not offered.

Dying In A Desert Full-length, 2004
Seeds Of Pain Full-length, 2005
In Fight Full-Length, 2007

My Space


This band features Maxel Black: the singer who was to sing in the Mastery works, before the time they decided they wanted to be purely instrumental. They have definitely made a mistake to lose him, since he is really a find with his emotional versatile voice capable to cover every possible pitch, and gives the three tracks here a genuine haunting atmosphere. "Infidels" is an awesome dark progressive thrasher in the Nevermore vein, mid-paced, with crushing riffage. "The Beast" speeds up, and is a great headbanging number with Black showing his more brutal death metal side at times. "Be Silenced" returns to the more complex formula being more aggressive than "Infidelis" with great leads, slower, even doomy on some parts, with a more smashing riffage, and again, outstanding vocal performance. Hopefully the next thing we hear from this talented outfit will be their full-length.

Infidels Demo, 2007

My Space


Based on the "Drowned In Own Tears" demo, this act serve laid-back weird progressive which only marginally can pass for 90's post-thrash, "Flame Inside" being the flagman of this effort with its surreal spacey rhyhms. The vocals are mellow melancholic clean croons which are too blase to really make an impact. Reportedly on earlier efforts the guys had played much more aggressive retro thrash.

In the Sign of Death Demo, 1990
Against All Demo, 1992
Revision Demo, 1996
Drowned In Own Tears Demo, 1998

Official Site


The EP: this is the first musical attempt of the Misanthrope (the greatest French death metal band ever) members. The style has nothing to do with death metal- it's pure retro thrash, quite technical and interesting. The vocals are in the death metal department, and the music is quite energetic, frequently intense with really original guitar work, but with no shades of death metal. Some more twisted sections will even remind you of Coroner, or Mekong Delta although they are kind of undeveloped as the guys also like to insert more straight-forward passages to keep the headbanging going. The progressive tendencies acquired by Misanthrope are obvious, but the music is much more straight-forward than the one on their first two very eclectic albums. Judging by this EP, Misanthrope could have done a great job, too, if they had stayed within the confines of thrash metal.

The demo incorporates elements of death metal and is much more aggressive and faster. The technical leanings have disappeared, and the singer has gone up the shouty throaty scale now sounding like a slightly higher-pitched death metal growler. A few stylish balladic insertions can be heard on "Dead of Me" and "The Mourning", intercepting the aggressive riffage, later further developed on the Misanthrope albums.

Innercut EP, 1993
Mindself Demo, 1993

My Space


This is aggressive, but not fast thrash/death metal of the old school; the band nicely mix very heavy crushing songs with more up-tempo ones on the full-length, not too far from the first two Six Feet Under efforts. The concentration, however, is on the slower side, and the style smells doom/death ala the Dutch Beyond Belief, but this "accusation" is quickly thrown away after the fast, brutal "Matadero De Humanos". The vocals are pretty brutal, too, emulating Chris Barnes quite well.

Demo 1 Demo, 2001
Demo 2 Demo, 2004
Uno Fuerte Full-Length, 2007

My Space


A not very convincing blend of the classic and modern trends crossing energetic speedsters with bland groovers neither suitable to the brutal death metal vocals, except for the closing "Trance Libre De Cocaina", which is a bonus, and is an aggressive proto-death metal number containing sparce furious blasts. The middle is awkwardly occupied by 4 silent very short (8-sec) tracks making this effort barely 7 songs long.

Humanidad Sin Salvacion Full-length, 2008

My Space


Based on "Sounds of Death", thise band play crusty death/thrash which clings more towards death metal. The band make up for the simplistic riffage with tasteful proficient lead sections, and a few nice galloping rhythms on the closing title-track which is vintage old school power/thrash slightly ruined by the shouty mean death metal vocals.
"Bad Moon" is a noisier and crustier affair now moving towards the hardcore spectre although the pace is mixed again the guys shredding with passion ("Replacer") at times, at others thrashing with more brains and restraint ("Fall Of Dove"). "Life Howls Back" is a raging thrash/deathster, the highlight of the album with a few soaring meloides also added to ensure its less ordinary appeal.

Onward, Desolation... EP, 2009
The Bog of Eternal Stenchcore EP, 2010
Sounds of Death Full-length, 2011
Broken Waves EP, 2013
Bad Moon Full-length, 2014
Final Bell EP, 2015

Official Site


The "Musak for Schizophrenics" demo: an interesting obscurity which sees an act intent on breaking some sound barriers in the thrash/crossover genre with a fast impetuous play which borders at times on hardcore ("The Somnabulist"), but comes "The Doorway" and offers 7.5-min of varied semi-technical thrash which gives a push to the remaining cuts among which one can find other less ordinary gems: the excellent headbanger "Schizophrenic", the mid-tempo creeper "Mento Kathy", the 1-min closing brutalizer "Colostomy Bag", etc. The singer shouts, or rather semi-recites in a punky dispassionate fashion, but this is just the right choice for this kind if music.
The debut demo is another fairly intriguing compilation of tracks and influences at times going with the winds of proto-death ("Addiction"), at others relying on hardcore ("Babies With Knives") more, at others hitting the doom button ("The Dark Room") to positive results. The closer "The Winds Of Death" is a nice atmospheric piece with ethereal gothic overtones, a really masterful minimalistic epitaph to an otherwise pretty intense recording.

Demo Demo, 1988
Musak for Schizophrenics Demo, 1988

My Space


Based on "Evilution", this act offers modern power/thrash metal in a nice dynamic pace frequently changing from mid to up, with both balladic and groovy tendencies. When the guys keep it short, things are not bad, but when they go the extra mile (the 9-min long "All In Me") things start to drag a bit with repetitive clumsy riffs with a touch of stoner/doom, and don't get any further than the "Loads" and "Reloads" of the mid/late-90's. Towards the end the dynamics is brought back, but again Metallica seems the most obvious influence, this time The Black Album, maybe with a more playful attitude involved. "My Darkened Soul" is a cool headbanger "killed" completely by the following 9-min ballad "Futures End", and the very awkward ambient outro "Prometheus", which has nothing to do with the Greek hero it cites in the title, but contains Martin Luther King's (R.I.P.) speech "I Have A Dream" played on an ambient background.

What I Am EP, 1999
Turned to Stone Full-length, 2000
Evilution Full-length, 2005

Official Site


The band's debut is classic heavy metal, opposed to the thrash metal wave of the time. Then, when thrash metal had fallen from grace, they decided to resurrect it and have done a fairly good job. Their second release is a smashing piece of thrash along the lines of Forte (both their more classic and more modern efforts) and Viking's "Man Of Straw". At times the music gets more aggressive and fast ("Iron Curtain", "Krush Kill Destroy") smelling Rigor Mortis, at times has this genuine heavy, technical edge ("Trance of Madness", "Insult II Injury"), at times acquires this playful, crossover feeling ("Sabataged"); there's even one beautiful semi-ballad ("Those Eyes"), probably a leftover from their debut. "Invisible Death" is the highlight of the album: 7-min of smashing, heavy, dark riffs topped up by great semi-clean powerful vocals. This is an engaging diverse listen with hardly a single dull moment.

One Foot In The Grave Full-length, 1990
Krankenstein Full-length, 1993
Theozoology Full-length, 1997
Dirt Nap Full-length, 2000

Official Site


Based on the debut, this band plays retro heavy/power/speed/thrash with both a melodic and technical edge. "Za Vsjo" starts the album in a brisk headbanging fashion, but "Provokaciya" is a masterpiece of jumpy technical thrash. And that's all: the effort totally loses steam on "Ehrotika", which is an ordinary heavy metal anthem, and the rest is not far, mixing heavy, power metal and ballads in an entertaining, but very non-thrashy manner, until the final "Alisa", which offers heavier more aggressive riffs. The follow-up takes a strong hardcore edge.

Vsem Full-length, 1996
Ne Vlezay! Full-length, 1999


Cool retro thrash metal in a vigorous up-tempo which turns into a more "violent mosh" on "Violent Mosh" (which is not a Violator cover), but the rest is more along the lines of early Whiplash and mid-80's Destruction with a few more stylish lead insertions.
The full-length is entirely "woven" of new songs which lift the tempo quite above the one on the EP turning into something more than "violent mosh" with the stylish more technical licks and the very good bass support. The aggression now is a leading factor and the guys sound close to Morbid Saint and early Sadus the calmer moments not many at all (the stomping "Barbara's Undead Chronicles" comes to mind, but that's about it) if we exclude the several short samples inserted between the songs. This is a true dedication to speed and aggression packed in just above half an hour to rock your world in a seismic volcanic fashion.

Fucking Liar EP, 2011
Night of the Living Dead Full-Length, 2012

Official Site


This band look well-equipped to carry the groovy legacy of Machine Head and Pantera through the new millennium. These guys are actually heavier; the sound frequently shakes hands with sludge/doom and only rarely does the music move into more up-tempo levels ("Serial Killer", "Demon Bitch"). It will appeal to fans of heavy 90's thrash.

You Got This? Full-length, 2001

Official Site


A not very known entry from Holland which shows a band interested in the darker, more atmospheric side of the genre, something quite typical for the Dutch scene. The long pieces are quite eventful and inevitably contain more dynamic thrashy passages "Released From Life" even serving a portion or more interesting technical riffs. Make sure not to miss the final "Hitting Concrete" which will show you how aggressive bashing thrash can take most of the 7.5-min space provided without sounding boring and repetitive.

World of Suffering Demo, 1993


Based on the only song on the "Kamni POmniat" demo, this act plays modern power/thrash metal of the dark variety, mid-paced with doomy overtones and heavy crunchy guitars.

Idi i Smotri Demo, 2000
Kamni POmniat Demo, 2010

My Space


Based on the full-length, which actually consists of all the four demos released by the band in the mid-late 80's, offers quite cool pure classic American speed/power/thrash metal in the best tradition of Liege Lord, Savage Grace and early Overkill. There are whole 13 tracks here so don't expect only high-speed antics like the opening "Devil In Disguise", which can easily rival any number from the first two Helloween efforts, and at least 1/3rd of the songs are sustained in a furious speedy tempo also touching the Metallica debut ("Self Infliction"). The other equally as attractive side are the mid-paced pounders ("M.A.D.D.") which lash with heaviness and the occasional fast outbreak. Certainly one will come across a couple of softer, but not bad at all, galloping power metal anthems ("Death Row", "Liar"), but the other two sides alternate throughout the album, leaving them a little space for maximum effect. The guys drop the ball on the last two pieces which are typical radio-friendly hard'n heavy pleasers ala Quiet Riot and Ratt, but having in mind that this effort encompasses the band's whole career, its versatile nature should come as no surprise.

4th Demo EP, 1990
Devil In Disguise Full-length, 2002


Based on the last Split (the guys apparently are too fond of this format, so don't expect a full-length any time soon, folks) with the black/death metal outfit Imposture, this act serves classic black/thrash metal of the more energetic variety with noisy fuzzy guitars and husky synthesized vocals. The approach has its ties to Motorhead on the mellower sections, but expect also raging Impaled Nazarene-sque "outbreaks": "Trash Metal Militia", which is more of a "Black/Thrash Metal Militia", a fast & furious composition where the singer unleashes a few hellish Tom Araya-styled screams. Some of the musicians also play brutal death metal in Suffereign.

Krazumpath / Necrofurya / Zarach 'Baal' Tharagh Split, 2003
Krazumpath / Zarach 'Baal' Tharagh Split, 2003
The Lothringian Conspiracy Split, 2010


Reportedly Slayer and Kreator have been the two most frequently imitated thrash metal bands throughout the years. "Eternal Pain" was slightly unfocused, at this early stage the guys staggering in various directions, including timidly trying something beyond the boundaries of thrash (proto-death, that is), in a way not too dissimilar to Possessed's "Seven Churches" the same year. "Pleasure To Kill", like its counterparts from the other side of the ocean: "Reign In Blood" and "Darkness Descends", wrote new laws for the thrash metal practitioners with its brutal, relentless sound, bordering on something new (death metal, that is, now even without the "proto" tag). Later the band became more technical, but equally as compelling, "Extreme Aggression" polishing the "extreme", "aggressive" approach of the band up to this point, giving it a more controlled, more accessible, and consequently a better look. But not even the best moments on this effort could even hint at what a masterpiece of an album the guys would "kreate" less than a year later: "Coma Of Souls" is one of the finest albums ever to represent the thrash metal movement; with the Sodom guitarist Frank Blackfire added to the line-up, the relentless rifforama here reaches heights seldom equalled on a thrash metal release.
The 90's were a very troublesome time for Kreator who tried to put their music on a new modern level with "Renewal"(the title says it all), but it was such a distant departure from their earlier works that it was universally rejected by the metal fanbase. With "Cause For Conflict" Mille Petrozza (being the real face of the band and the only permanent member) tried to combine the new sound with elements of the past, but only partially succeeded. With the recruitment of Tommy Vetterli from the great Coroner, a light in the tunnel appeared, especially after the strong "Outcast", which was not exactly thrash metal, but was way better than the last few experimental works. But the worst was yet to come with "Endorama" seeing the band taking a break from thrash (even from metal on certain parts from the album); a frustrating effort which closed the 90's page from the band's history in a very unimpressive manner. The coming of the new millennium saw a new, much better Kreator, ready to compete again with the best of the genre, with 2 strong new releases so far; the music on those two nicely combines the intense classic riffage of the band's early works with some modern "updates".
"Hordes of Chaos" shows Mille and Co. hungry for more quality thrash, and this effort could well deservedly be considered the band's finest achievement of the new millennium. There would hardly be a single fan who would be left unmoved by the controlled (not extreme) aggression of the opening "Hordes Of Chaos" and the mighty smashing follower "Warcurse". "Escalation" is the traditional for the band calmer slower piece: a good number, with a faster section later on and addictive steam-rolling riffs. "Amok Run" begins as a ballad, but before one starts frowning (Kreator and ballads: this is a bigger sacrilege than metal mixed with disco!), it explodes into a nice speed/thrash killer. "Destroy What Destroys You" calms down the tempo once again, before "Radical Resistance" scatters you into various parts of the room, with its sharp speedy guitars. The moshing continues to the very end, slightly interrupted on the more melodic longer "To the Afterborn" which even has progressive pretensions (what are you talking about again?!), but does nothing to spoil the picture. Overall Kreator have done a good job enriching their sound with much more melody (almost every track, but pay special attention to the closer "Demoon Prince" and the aforementioned "To the Afterborn"), sometimes smelling Gothenburg, compared to the abrasive guitar tone of the last two releases. As a result the music has more appeal, and at times goes heads-down into pure speed metal ala early Angel Dust and early Helloween. It's always nice to hear some of the old veterans trying something slightly different without messing it up, and even moving up the scale.
It's kind of sad to see the "holy three" of German thrash not rising to the challenge as expected during the genre resurgence of the new millennium producing good, but hardly exceptional, albums. Sodom and Destruction had their early peaks ("The Antichrist", "M16") before falling into mediocrity, and it was Kreator who managed to keep the level up consistently showing a new, and by all means acceptable, face with their dedication to speed on "Hordes of Chaos". Hopes for "Extreme Aggression 2" or "Coma of Souls 2" raised? No, no: surely the naive and gullible fans have disappeared completely by now...

"Phantom Antichrist" would still keep the band on the top of the wave although it's hardly their best work from their post-"Endorama" period. The albums starts like a faithful copy of the preceding one with the title-track and "Death To The World" being inspired speedsters with great melodies. One would hardly mind if the situation doesn't change too much, but comes "From Flood Into Fire" and introduces slower, softer rhythms inaugurated by an acoustic balladic beginning and a catchy chorus, plus clean vocals in the 2nd half; fortunately, there are a few speedy sections later on to diminish the shock from this unexpected shift. Then comes the impressive "Civilisation Collapse" which reaches the top of the guys' speedy infatuations. Then the headbanging fun abruptly stops in the middle for the introduction of "The Few, The Proud, The Broken", an epic, almost power metal-sounding cut with a keyboard (what?!) background which may have passed unnoticed if it wasn't followed by another peaceful composition: "Your Heaven, My Hell"; the ballad/semi-ballad is well covered on those two to mixed impressions. Fortunately, the remainnig two songs cross the fast and slow sections and leave a more positive impression the final "Until Our Paths Cross Again" concentrating on the more laid-back, again balladic, side of the album.

The band are obviously intent on keeping a good balance between the more intense and softer material with the melodic tunes being the focus even on the fastest tracks, again "shirking" from thrash a bit (what!?). They by all means achieve that balance, but it's another story whether the fans will take this tendency to heart. Whereas the speedy side of the album delivers as good as any of those on the previous 3 efforts, the melodic one contains some cheese which may be a bit hard to swallow even by their diehard fans. And it certainly raises the question as to how far the guys would be willing to explore this aspect of theirs in the future...
"Gods of Violence" arrives after five years to continue the diverse, more recent repertoire of the legends. "World War Now" is the staple hard-hitting opener, but don't expect two in a row as the following "Satan Is Real" is a more melodic mid-pacer touching epic power metal with ease. Two fast-paced "skirmishes" come after one of which is the excellent title-track which is very close to the hyper-active approach on "Hordes of Chaos". "Army Of Storms" is not far behind "courting" the Swedish school with its covert melo-death "coating", and "Hail To The Hordes" is the next in line laid-back epicness which even touches folk. Near the end the compositions are abundant in melodic tunes as the closer "Death Becomes My Light" at some stage becomes a full-fledged ballad to a poignant effect. Fans of the widely covered ground on "Phantom Antichrist" will by all means enjoy this effort; the old fandom will frown quite a bit along the way not sure exactly what direction the band may take with the next opus.

Endless Pain Full-length, 1985
rd-hitting openerFlag of Hate EP, 1986
Pleasure to Kill Full-length, 1986
Terrible Certainty Full-length, 1987
Out of the Dark...into the Light EP, 1988
Extreme Aggression Full-length, 1989
Coma of Souls Full-length, 1990
Renewal Full-length, 1992
Cause For Conflict Full-length, 1995
Outcast Full-length, 1997
Endorama Full-length, 1999
Violent Revolution Full-length, 2001
Enemy of God Full-length, 2005
Hordes of Chaos Full-Length, 2009
Phantom Antichrist Full-Length, 2012
Gods of Violence Full-Length, 2017

Official Site


Modern sterile poat-thrash with elements of djent; this is dry dispassionate music which manages to exude some force on dramatic "robots" like "Triumph In Terror" which also speeds up with cool death metal-laced guitars. Melodic ornamentations ("Stay Away (From Me)") sneak in here and there, but they are not enough to make this monotonous recording the most exciting listen in the world, not to mention the very shouty death metal vocals gracing it on every song.

The Venomous Mind Full-Length, 2016


The debut: this is good 80's Metallica-influenced thrash metal. The band nicely cross Metallica's early, speedy period ("The Killing Toys") with their more technical works of the late 80's ("Watch the End"), but the concentration is more on the early efforts. The singer doesn't try to hide his fascination with James Hetfield.

"The Greatest Joke" is a good fest of classic semi-technical thrash; "The Unlucky Winner" is an explosive opener with lashing riffs bordering on proto-death. The thrashing attack becomes heavier and less intense on "Cruel Mercy" and the atmospheric melodic mid-pacer "Face to Face", and remains within the more moderate confines for most of the album, the exceptions being the excellent technical shredder "Out of Society", the aggressive tribute to the Bay-Area "To Destroy", and the short bombastic closer "A Drunk with Blood". The opening cut has no match later on, which is a pity, but generally this new offering is a worthy follow-up to the good debut, again just hinting at a bigger potential yet to be realised.

Death: In the Name Of Full-length, 2005
The Greatest Joke Full-length, 2011

Official Site


Based on "Three Minute Warning", this outfit indulge in fast intense speed/thrash which blends the impetuous heroic riffs of early Angel Dust with the bashing aesthetics of acts like Atomica and early Devastation. The guyr relax in the middle with the crossover joy "Metal Anarchy" which brings more aggressive hardcore-ish moments later in the 2nd half reaching almost death metal heights on the closing "Pushed too Far". The singer is an aggressive deathster with a more intelligible reverberation with echoes of Tom G. Warrior.
The EP is already an aggressive "beast" with lashing guitars and sparce crossover reliefs ("I've Had Enough"). The friendly tone is preserved for a few other numbers later on ("Bastards", to give one example), but the closing "Thrash Ain't Dead" says it all so well at the end with both the title and the vigorous delivery. Yes, indeed, it isn't...

Total Warfare EP, 2012
Three Minute Warning Full-length, 2014

Official Site


These thrashers from Panama acquit themselves with an energetic and occasionally brutal thrash/death hybrid which is ripping and fast in a way not far from Torture Squad and Deathwitch. Some lyricism has been allowed on the calmer "ballad" "A Ballad For The Eternity" which is a pounding composition with volcanic dramatic guitars. Thrash without mercy is what one will experience from then on till the end tracks like "Commercial Empire Of Religion" and "Witness Of God" being some of the ultimate headbangers around "touched" by more technical death on occasion. Shades of groove and stoner can be heard on the frolic stomper "Lament Of Ours Innocents", and the end is kind of underwhelming the band abandoning the fast delivery to an extent on the remaining material sticking to more moderate rhythms without too much bite. The singer is a dramatic death metal growler who emits authority and even passion on occasion.

New Wave of Latinamerican Metal Full-length, 2012

Official Site


Based on "Sacred Land", this band pull out modern hardcore-ish thrash with a cool bass bottom and interesting female vocal inclusions. The music is suitably heavy, but it seldom moves towards the faster parametres in the end losing the initial energy it evokes the latter being sunk in repetitive mid-tempo formulas with a little deviation if we exclude the curious melodic hymn "Kremator" which playful rhythms may make you jump around. The main singer is a death metal semi-shouter, but his rendings are intelligible.

A Replay of the Final Solution Full-length, 2004
Sacred Land Full-length, 2009


The demo: decent old school speed/thrash metal with optimistic carefree tones; the guys stick to speed topped by screamy high-strung vocals which could tone it down a bit for the future. Otherwise the music delivers sometimes becoming a bit more complex ("soldier's Task") in a way similar to Paradox's "Heresy", although it's ripping numbers like "Twisted Mind" which will make your day in a better way probably. Make sure not to miss the cool faithful cover of Metallica's immortal "Seek & Destroy" which is ruined by the indifferent gruff vocals which lose the high pitch, but come up with a pretty unemotional detached tember, the furthest one possible from the inspired hysterical "barking" of James Hetfield on the Metallica debut.
The full-length is a vast improvement over the demo the band coming up with cleverly executed progressive-ish thrash which becomes a bit emotional (the semi-balladic "Elections") on occasion, but watch out for short "furious" "bombs" like "Fury". The longer numbers start dragging at some stage due to their not very eventful character, and the rigorous gallops on "Judge and Oppressor", for example, are more than welcome alongside the swirling crescendos on "Silent Death". The closer "Theodore R. Bundy" is an "eulogy" to the infamous serial killer Ted Bundy, and music-wise it's a varied speedster with cool Paradox-esque arrangements.

Evil Is Released Demo, 2011
Body Bags Full-Length, 2015

Official Site


This band play a decent mix of thrash, speed and classic heavy metal. This is laid-back melodic stuff with gruff low-tuned death metal vocals. It has its cool headbanging moments ("Killer", "Chlastam V Praci"), but as a whole this is not aggressive music, and will also appeal to gothic fans with its dark atmosphere and nice melodic guitar lines.

Masakr na Kolejích Demo, 2005

Official Site


This is one and the same album featured here. In 2003 their debut was re-released with a better sound; and rightfully, because this is some fine speed/thrash metal akin to Paradox and Forbidden. This is good stuff, with nice sharp riffs and a generally fast tempo. The singer has a cool melodic, high tember, which makes the choruses very catchy; his higher tones are particularly good. Even the 8-min "Przenaczenie" doesn't slow down, and comes with speedy, smashing guitars the whole time. "Schizopata" is the most aggressive track, increasing the aggression to death metal in the beginning. Hopefully these guys will stop re-releasing albums and will provide us with something new soon.
"Adamowe Plemie": 9 years after the reissue of the debut the band are finally ready with a new material. Unfortunately, this album will leave all of the band's fans stone cold since this is some of the blandest heavy/proto-thrash to be heard in the new millennium with some of the noisiest, most unpleasant, production around. Actually, to call this thrash would be an offence to the genre; this is laid-back unpretentious music about which one would really wonder what the point was in the first place for something like this to be released.

Zdrada. prawo. kara... i co jeszcze czeka nas? Full-length, 1988
Zdrada, prawo, kara... i co jeszcze czeka nas? Full-length, 2003
Adamowe Plemie Full-length, 2012

Official Site


This is modern thrash/death which is on the heavy progressive side with lengthy, but hardly very eventful, compositions which change tempos and all, but it's the less controlled blast-beats ("Sharpen The Blade") which make this effort come alive as well as the several shorter thrashers ("Erroneous") sparsely provided. The singer is a dramatic death metal shouter whose rendings are comprehensive, albeit not exactly sing-along. Some of the band members also play in the black/death metal formation Hammerdrone.

Eyes of the Soulless Full-Length, 2016

Official Site


Based on the demo, these Czechs play badly produced retro thrash which borders on speed metal at times and is played with energy showing its more lyrical side on the softer "Peklo" which is a dark brooding number. The rest is generally faster although the slower sections are present on almost every track. The vocal support is in the form of a gruff semi-deathy tone of the declamatory type the singer rending his lungs to a scary, but forced effect. Some of the band members managed to reach the official release stage with their other formation, Four Seats for Invalides, where the style is much more brutal death/grind.

The "Zdechlina" EP is built around clever semi-technical arrangements which echo mid-period Death at times until things become more complex and progressive in the second half where the band start thrashing with more death also elongating the numbers quite a bit the culmination reached on the 8-min shredder "Styx" which is superseded by the shorter explosive "Cerv", a constant chaotic bash with no remorse. The sound quality is quite muddy, but the singer manages to tone down his rendings this time sounding more expressive and intelligible.

Alchymie Bolesti Demo, 1990
Zdechlina EP, 1991
Krevel EP, 1994

Official Site


This is an avantgarde effort, mixing thrash/crossover, groove, funk and alternative; heavy and crushing at times, but at others too "out there" "courting" too much along the way to be fully appreciated by even the regular metal fan.

Krevel Full-Length, 2008


Based on the debut, this Italian band play varied modern thrash which stretches from the more friendly post-thrashy landscapes of "Skin Seller" to the more intense jumpy industrialisms on "Divination". Needless to say, there's a lot of groove to be savoured, too, but the music is strangely wrapped in dark atmospheric undercurrents with a sinister doomy flavour (check out "Dark Art"). The closing "Cult" is a sudden speedster which brings more diversity into this not bad effort which will mostly enamorate the listener with its macabre overtones.

Dead Sound Walking Full-length, 2010
Humans Need War Full-length, 2013

Official Site


These Canadians are obviously "thrash mental" as evident from their crusty thrash which develops in a pounding manner with less concentration on speed (the cool Motorhead-ish speedster "Beer Thrash And Brothers"). "Hell's War" is a doomy sleeper with radio-friendly overtones, and "Agent-K" is a tribute to early Venom with its hypnotic, never-changing main riff. The singer is a drunken death metaller who's a serious detriment to the not very demanding proceedings and should focus more on the "thrash", and less on the "beer".

Thrash Mental EP, 2012

Official Site


Jumpy, groovy alternative post-thrash which comes as a less busy, and also more brutal, Tool "crashed" with early Helmet. "In Anesthesiana" is an intriguing twister, but the rest is just too groovy to capture the fans' imagination, especially when there's not much actual thrash involved.

Cur Full-Length, 2015


The debut: raging ripping, retro thrash with a nice technical edge which will blow your socks off with its uncompromising nature; the guys thrash on unperturbed for close to half an hour stirring a few melodis whirlwinds ("Tombworld") along the way. "Supper for the Dead" is a jolly speed/thrasher in the vein of Metallica's debut, and the closing "Lethal Surge" is a more pensive shredder the overall delivery reminiscent of their compatriots Hypnosia quite a bit excluding the harsh semi-declamatory, deathy vocals.
"Bestial Force" is a more intriguing effort with stylish semi-technical embellishments hitting the listener from the very opener "Forbidden Realm". "Emancipated from Life" moves towards the death metal arena the guys bashing with no mercy, but "Hybrid Spawn" is a more moderate, also more technical offering reminiscent of Sadus with great galloping developments. "Horror from the Past" thrashes with bite the downpour becoming barely tolerable at some stage reaching blast-beating proportions. "Militia of Blood" is pretty much in the same vein, a remorseless headbanger with a less expressive this time deathy "sting" and curious more melodic configurations. "Children of Doom" slows down a bit, but the final "Senile Overture-The Years of Undeath" brings back all the rage and brutality as a finishing touch, to gracefully end this fairly entertaining roller-coaster.
"Total Disgust" can't charm anyone with the title, but music-wise it's a totally worthy thrash/deathster spitting fire and venom with direct ripping cuts like "Slave of Death" and the title-track. There's very little sophistication on display if any at all, and one can easily detect nods to early Bathory ("Carrion Mask") even although the all-instrumental piece "Icetrap" is a major ultra-speedy shredder with nice technical overtones which can't be felt elsewhere, but at least draw a line to be explored on the follow-up.

Terminal Vision Full-Length, 2015
Total Disgust Full-length, 2016
Bestial Force Full-length, 2017

Official Site


Modern thrash/death with expressive semi-shouty death metal vocals; some groove ("Birthing In The Pit") sneaks into the monolithic dynamic facade, and later on the approach is built around heavy stomping cuts like "Dance Of The King" and "Evolution". Less restrained headbangers like "Frontlines" should have been more, though, as they give a needed boost to this somewhat stiff recording.

Perception Destruction Full-Length, 2018

Official Site


Based on the "The Last Attack" demo, these folks deliver rough, pristine speed/thrash modelled after the early German exploits (Destruction, Necronomicon, etc.). "Wait To Death" is an enthusiastic anthem with distorted guitars and a thundering bass bottom exemplifying the dominant mood here. The vocalist is a gruff shouty semi-death metaller who sometimes gets lost in the wild thrashing melee.

Fatal Destiny Demo, 1988
The Last Attack Demo, 1989
Walking to Decay Demo, 1990


Based on "Inferno", these guys offer a cool fusion of thrash and death metal, which is more melodic than the one of their compatriots who started the trend some 10 years ago. The album has its aggressive moments ("Extermination", although later on it moves towards atmospheric semi-gothic; "Black Death"), but at least half of the songs are slower with a clear gothic/doom edge ("Your Faith", "Fatalitée") and are quite appealing. "In Gods Name" is a pointless groovy industrialized track and is the only one which doesn't really fit here.

Operator Dead...Post Abandon Full-length, 1999
From Within Full-length, 2000
Inferno Full-length, 2002
Awakening the Chaos Full-length, 2005

Official Site


This unknown formation specialize in decent energetic speed/thrash of the old school which is both uplifting ("Don't Wait") and soaring, and thrashing with more might ("One Of Those...", the rigorous speedster "Majority"), seldom disappointing ("Hunters") with laid-back rockish rhythms. The closing "Being In Mourning" is a cool longer, more progressive-oriented cut giving penty of room to the good clean singer to show his talents.

Kriticka Situace Full-Length, 1993


Modern mid-paced thrash mixed with several more intense death metal sections; nothing too special wearing thin after awhile, although "Story For The Damned" livens up the situation in the middle producing a couple of more vivid riffs, and the closing "Violence On Display" may "display" some "violence" for you with another portion of more intense proto-death riffage.

Dead Angels Full-length, 2010

My Space


Based on the self-titled debut, this band plays pretty cool retro thrash with a Bay-Area flavour, also recalling Nuclear Assault's previous year's "Something Wicked". It develops in a solid mid-tempo with crushing riffage, cool proficient leads, and great bass support, the singer being another asset with his intelligent authoritative clean tember. The sound gets quite elaborate, but not to progressive proportions, on the 11-min saga "Rest In Peace Agony" which lacks any faster temptations, but boasts clever arrangements as well as a few melodic sections, one of which is an interesting faster take on the Funeral March. "Coma" is a good semi-ballad, and "Hypo-Critical" is a very heavy, almost doomy, take on the genre. "Where Are The Children" is a more relaxed power metal cut, but "Meaning Of Life" breaks in right after to insert the most aggressive riffs on the album. The final "Premonition" elaborates on the headbanging idea with pretty fast Slayer-esque passages among the staple heavy delivery. It must have been refreshing for the fans to hear a more classic-inspired act at those times, who were not afraid to follow the old school cause by even managing to sound characteristic, not mere copiers.
The "Violent Connection" EP is just 3 tracks, but could be by all mens skipped by the band fans showing them in a very demeaning light grooving toothlessly on the first 2 songs before unleashing a few more aggressive old school Bay-Area riffs on the closing "Burnt Offerings" which is a distant echo from their earlier "exploits".

Krom Full-length, 1994
Violent Connection EP, 1995
Enough Rage Full-length, 1998


A mixed bag of retro thrash, hardcore, classic heavy metal, grindcore, stoner/doom, of which the best moment is the cool energetic cover of Celtic Frost's "Into The Crypts Of Rays" which splits the album into two, and definitely arises the interest of the fan to stay put for the 2nd part to hear something interesting; but no... the mish-mash carries on unabated assisted by bland gruff semi-death metal vocals.

Chaotic Evil Full-length, 2009

My Space


Based on "Endless War", the band mix some cool energetic thrashers with some very insipid, tasteless pop-metal numbers, leaving the album clinging towards the dull side. The Turkish metal scene knows much better bands.

Endless War Full-length, 1992
Kavga Full-length, 2004

Official Site


The first demo is up-tempo thrash influenced by Metallica's "Kill'Em All"; the second one is a much better effort featuring some really well executed heavy, technical thrash quite similar to Forced Entry and the Swiss Apocalypse, maybe a bit faster. The speed has been diminished a bit compared to the first demo, replaced by stylish swirling technical riffs. The singer has an assured original voice: hoarse, but at the same time semi-clean, recalling Phil Rind (Sacred Reich) and Jon Van Doorn (Deathwish).
The full-length has already moved towards the 90's fashion so don't expect any elaboration on the technical rhythms heard previously: this is not very impressive modern post-thrash which is solely elevated to past heights on the faster more eventful cut "Let Us Grey"; and on the more aggressive less predictable shredder "Goodnight, Sweet Prince". The singer retains his effective semi-clean tember and is still convincing on the not very worthy musical background.

The Final Assault Demo, 1989
Peace Bomb Demo, 1990
How Do You Start This Thing? Full-length, 1993


A 3-song demo of excellent Bay Area-influenced thrash which combines technique and aggression in quite an impressive way. The music will remind you of a heavier and more aggressive version of the Testament and Forbidden debuts. This is really hard-hitting stuff, quite fast as well, and although the technicality plays a secondary role here, there are enough intriguing stylish guitars at play, especially the leads which are simply brilliant, with a great melodic blend.

Demo Demo, 1991


This is the new band of Kevin T. Idso: the man who was once a member of the 80's thrashers Kublai Khan, and is the only constant member here. Based on the full-lengthdebut, he does a good job here as well mixing several styles, death and thrash metal being the basic ones. This mixture has a very technical edge, almost progressive one (check out the album closer "Waking Up" which will by all means wake you up (no pun intended) with its huge amalgam of styles and influences graced also by furious blast-beats and unexpected time changes). Those same blast-beats actually take a considerable place here present on almost every track and partially ruin the impression made by the dominating thrashy guitars. But the sudden and numerous tempo changes and the raging guitars would surely win the listener who's also offered stylish breaks from this intense music, in the form of one nice acoustic ballad: "Impossible Dream", and one even better acoustic instrumental, "Roop Bear".

"Spill Your Guts" shows the band alive and well although Idso released a new demo with Kublai Khan, and reportedly more new things are expected from them in the near future. This effort continues the complex technical music from the debut and is actually better with better constructed numbers and excellent guitar work. "You're Not Me" starts the album in an open headbanging fashion with a couple of quirky riffs present, but "Rats" is already a pretty technical affair, a very cool abstract modern thrasher played in a very hectic fashion. This song is followed by two variations on hardcore and the ballad, before "Shadow of the Guillotine (Dawn of Death)" comes forward thrashing hard with sharp headbanging riffs. "Slaughtering Sheep" is another wild track, again more straight-forward bordering on proto-death. The guys calm things down big time on the nice avantgarde ballad "Long Dead" which is followed by another direct thrashing duo which forebodes nothing like the monstrous progressive 11-min opus "The Spurious Messiah": mid-paced ponderous modern thrash which is a bit repetitive, but delivers with consistent heavy riffage. And that's it since the remaining four songs are hardcore/grunge/alternative/nu-metal jokes. Idso apparently entertains himself here giving freedom to both his more serious and more carefree nature.

The 1993 demo would be a no-brainer for the technical metal lovers, not as eclectic as their full-length achievements, and consequently more enjoyable. The guys thrash with gusto on the eventful choppy "Blame It On Yourself", before they speed it up on the more immediate "Road Rash". "A Conversation With The Entity" is a state-of-the art technicaller with numerous twists and turns, quite intense as well; and "Sign Up To Die" is the guys' tribute to the doom metal scene. The final "Instant Death" is a curious progressive number with ingenious quirky rhythms and several dynamic fast-paced sections; a forerunner to the ensuing efforts with intelligent, elaborate riff-patterns applied at every opportunity. The singer is another asset with his very cool high-strung clean tone.

The 1994 demo is the first sign that the band is preparing to branch out into the unexpected although it starts in exactly the same ripping manner as the debut demo with two blitzkriegers. "Live To Tell" is a curiosity with dirgy riffs and an industrial flavour; but "Personall Explosives" is just that, an "explosive" track lashing for just over a min. The more officiant atmosphere comes back for "Waking Up (GTM)" which is a modern progressiver with hard-hitting passages. It stays around for the remaining songs except for the nice semi-balladic closer "Judgement Day". This was the dress rehearsal before the band struck with their much less ordinary full-length debut.

Demo Demo, 1993
Demo Demo, 1994
Kronik Dreams Full-Length, 1998
"Spill Your Guts" etc... Full-length, 2007

My Space


Based on "Razdvoenie Lichnosti", this act offers decent modern power/thrash metal ruined by very brutal low-tuned death metal vocals, a situation further worsened by the inclusion of hysterical black-ish ones. The music otherwise isn't bad acquiring nice technical tendencies also "flirting" with popular themes from time to time as well. There's a lot of melody involved carried by both the guitars and the sparce keyboard insertions which give the sound a cool gothic "colouring". There are moments of black and death metal, again of the melodic variety, but they are thrown near the end and don't ruin the cool energetic music delivered for most of the time.
The EP has the same flaw in the vocal department which again spoils the good impression from the much more stylish music which features the bombastic operatic death/thrasher "Pod Otkos", the jumpy semi-technical "Iuda", and 2 more tracks in the more conventional speed/thrash metal camp.

Territotia Voinui Full-Length, 2008
Razdvoenie Lichnosti Full-Length, 2010
Oskolki Realnosti EP, 2011

Official Site


Only two people are behind this project, which is your average melodic modern thrash/death metal, not very fast, often descending to mid-tempo parts, also nicely acquiring more technical tendencies at times: "Liars Aren't Worth Listening To".

Guilty Behaviors Demo, 2006

My Space


The EP: heavy groovy post-thrash with long-ish tracks without any technical moments with more energetic outbursts thrown in ("Means To An End", which brings forward more classic riffage, and is an overall solid thrasher).
The full-length continues the same pattern, a bit more complex form of the good (now old) post-thrash reflected in elongated, more or less necessarily, numbers where some more hard-hitting riffs are guaranteed (the brutal deathy shredder "Silver Lining"), but there's a lot of boredom to be "savoured" as well the trite repetitive moments quite a few sometimes never ending, stretching for several minutes. At least the vocalist does some decent job with his forceful dramatic semi-clean/semi-shouty tone.
"Peaceful Majority" thrashes with more power, and the opening title-track and "This Is Mine" will quickly set any stage on fire including the raging "When I Lose It" and the heavy stomper "Embrace This". "Breathe" is a cool more technical shredder, and "Sweet Revenge" is a more diverse semi-progressiver followed by the equally as interesting "Downward Spiral" which serves more brutal death metal-ish rhythms. "Where the Blood Runs" provides more more serious entertainment with sharp lashing riffs and more intriguing arrangements. The guys have done a really good job, and it seems as though they may be heading towards their magnum opus.

Carved in stone EP, 2008
3 Cheers for the Misery Full-Length, 2010
The Art of Suffering Full-Length, 2013
Peaceful Majority Full-length, 2017

Official Site


These folks serve modern quasi-progressive post-thrash led by mid-ranged death metal vocals which reign over the not very eventful mid-tempo musical approach. The delivery is somewhat mechanical recalling early Meshuggah, but melodic deviations ("False Friends") are timely provided as well as several more dynamic, semi-headbanging passages ("Go!"). The title-track is an imposing heavy squasher, and "Calling to the Saver" is a more relaxed rosk-ish closer with echoes of Gandalf and mid-period In Flames.

Reign of Nothing Demo, 2000

Official Site


Based on the full-length debut, this act pulls out a brutal fast mix of thrash and death metal which stays closer to death crossing the more extreme aesthetics of Morbid Angel with the more sophisticated approach of mid-period Death. So the music is technical at times, at others mercilessly bashing with loads of compulsive blast-beats scattered throughout which may make this effort a tiring experience the exhaustion further aggravated by the very brutal death metal vocals.

"Traces of the Trade" continues the merciless delivery from its predecessor lashing fast riffs to no end, again spicing the situation with the more technical hook (the short puzzler "Traces of the Trade"), but generally there's little sophistication on offer the band intent on bringing the listener down to his/her knees with the utmost intensity with numerous blast-beats pouring from all sides, leaving a very little space for thrash to show up.

Contempt for You EP, 2006
Before the Ashes Full-length, 2009
Traces of the Trade Full-length, 2012

Official Site


A 4-song demo containing two tracks of heavy mid-tempo retro thrash with Bay-Area pretensions (think Defiance), one more vivid Motorhead-esque speedster ("Crosseyed"), and one awful jazz/blues/funk joke at the end ("Jolan is a Bullerman").

Demo-Nstration Demo, 2003


Heavy ten-ton modern post-thrash with dry mechanical riffs and better for the style warmer semi-shouty vocals; the delivery stays close to mid-period Sepultura ("Chaos AD", "Roots"), but watch out for more pleasant surprises like the more dynamic shredder "Acceptance", and interesting robotic jumper "Alter the Image". There's variety on offer here, not everything is stale and trite, and this album can pass for one of the better achievements from the 90's aggro-worship South American roster.

Inhuman Nature Full-Length, 2017



Based on the debut, this band offers laid-back thrash/crossover with 90's post-thrash borrowings. The problem is that there are no many fast moments, and this mid-paced soft stuff may tire you quite quickly, especially after listening to whole 15 songs. There's some experimentation inside ala the Japanese Gargoyle, but there isn't any more aggressive contrast offered to it, and here it sounds just dull.

Ratata Full-length, 1993
Cirkus dneska nebude Full-length, 1996
Bigada bigada bejby Full-length, 1998
~4~ Full-length, 2001
10 Years Best of/Compilation, 2002
Druide! Full-length, 2004
Ahoj Full-length, 2007

Official Site


The "Chemistry" demo: another one of the bands who refused to live according to the modern laws of metal; their music is excellent energetic thrash along the lines of Forbidden's "Forbidden Evil" and Wargasm's "Why Play Around". The music is mid to up-tempo with a cool technical edge also reminding of Forbidden's sophomore effort "Twisted Into Form". The leads are a find here, both melodic and technical, as well as the vocals which are semi-clean and deep, fitting the music quite well.

The debut demo is another ripper of intense retro speed/thrash and the opening title-track will warm up the listener big time for the ensuing "massacre" moshing hard for nearly 7-min. The remaining pieces are shorter, but the aggression there's even bigger also touching Vio-Lence's "Eternal Nightmare" on the more brutal material ("Systematic Deception"). This is a no-brainer at a time when even the most renowned practitioners were shying away from thrash, and it's a pity that these folks' status has remained so obscure all these years.

Era Of Violence Demo, 1991
Say What You Will Demo, 1992
Chemistry Demo, 1993


Based on "Demencial", this band indulges in modern post-thrash with more clever arrangements which still don't have enough style to make the music stand out. More energetic moments are blended with the prototypical groove and their frequent alternation creates the impression that something more thought-out is going on, but the illusion won't last for very long since the musicians sometimes forget to get out of the groovy "traps" taking the delivery towards the duller side. The sparce lead guitar work is quite good, though, as well as the unobtrusive bass background.

Protegido Demo, 2003
Demencial Full-Length, 2012

Official Site


This band was founded by the Front member Seva Khodosevich, and he's the only known member from the line-up. The style is miles away from the aggressive thrash/death which Front started playing at a later stage, but isn't too far from the softer heavy/thrash metal sound of that band's debut most of the time, this "idyll" broken twice by one much more aggressive fast number which is actually vicious thrash/proto-death. There are a couple of ballads and a few songs which could pass for an average 90's power/speed metal act.

Pamjati Druga Full-length, 1991


Modern thrash/death with not very overt jumpy semi-technical overtones; the title-track is a fairly cool melodic technicaller, but the other numbers are mostly orthodox bashers topped by husky semi-shouty death metal vocals.

Dying Mechanisms EP, 2015


Kruiz were one of the first rock bands in Russia, and they have hardly heard about metal, let alone thrash, in the early stages of their career, not until 1986 when their guitarist Valerii Gaina decided to shift the band's sound into a metallic direction to respond to the demands of the times (there is more to this formation's saga, but it's a pretty long story; plenty of resources on the net for those who are interested). "Kruiz-1" is a striking debut which features speed (mostly: "The Last Dawn" is probably one of the fastest songs ever recorded; in the demo version, recorded a bit earlier, it was played at 318 bpm, but the band slowed it down for the official release to make it more acceptable), power, heavy metal and finally a little bit of thrash all that topped by the amazing guitar pyrotechnics of Gaina (one of the ten best guitar players of all times). The band's debut was a phenomenal success, selling the shattering 12 million copies in Russia alone (that immediately makes it one of the best selling metal albums of all times). Their second effort again titled "Kruiz" (the guys do not have a very big imagination when it comes to album-titles, do they?), but without the 1, is triumphant speed/thrash metal: a lesson in the genre for all past, present and future practitioners. Every song is a gem in the speed/thrash metal crown, with the album closer "Possessed" being one of the 10 finest thrashers to ever grace these ears. The only flaw is Gaina's awful accent when singing on the English version of the album. Alas, this remained the last effort from this great band, with Gaina moving to the USA where he became a producer, and formed another band under his own name which has nothing to do with thrash.
"Culture Shock A.L.S." was released as a demo in 1989, and was intended as the band's third offical full-length to be released later that same year, but the guys didn't last long enough to see its fruition. Well, here it is, nearly 20 years later, but don't expect any new stuff: this is a posthumous release the band having no intentions of getting back together for another "temptation". If we exclude the muddy sound quality and the bad pronunciation of Gaina (the album is sung entirely in English), everything else seems to be relatively in place here although it's miles away from the quality of the full-lengths. "Radiation Victims" is an energetic speed/thrashing opener, but "Killer Logic" is all-out vicious thrash, the band's most brutal song which definitely has echoes of the mythical "Possessed", but half as short. Then the guys "get serious" with "Get Serious!" which is a light-hearted speedster. "Child Of Pride" is a heavy ballad which, unlike "The Avenger" from "Kruiz", never speeds up but drags for almost 8-min, remaining the only full-fledged ballad in the band's catalogue. The speed/thrashing mania carries on after that with the merry-go-round title-track, but not for long, since the following "Still Waiting For Armistice" is a radio-friendly heavy metal cut, something which would suit better their compatriots Aria, or Black Coffee. "Hit For MTV", despite its cheesy title, is an edgy power/thrasher shredding in mid-pace, flowing into the closing "Illusions Never Last" which is another 8-min of peaceful, semi-balladic riffs, a bit more dynamic, but hardly the most fitting closer. There's a bonus track at the end which the fans will by all means recognize, albeit with a bit of an effort: this is the original version of "Come On With Us Pilgrim Man", the number from the debut, here sounding softer, but with better lead guitar work. And, mentioning the leads: Gaina is very subdued here, almost to the point of indifference, only sparsely unleashing his flashy style, feeling content enough to offer short effective solos which here are mere "assistants" rather than leading the pack as was the case before. Not bad at all, after such a long wait, but clearly the band's least impressive achievement.

Kruiz-1 Full-length, 1986
Kruiz Full-length, 1988
Culture Shock A.L.S. Full-Length, 2008

Official Site


These guys have the unique skill to combine aggressive and technical play in a way very few bands have managed. The music is fast and intense with slower heavier breaks suddenly interrupted by speedy technical outbursts. When the band tones down the technical guitars they sound quite close to Slayer although this happens on only one of the six tracks on this demo. The rest is a relentless assault which will remind you of Atheist, Hellwitch, Necrodeath and Terrahsphere all at the same time. There are moments when the intensity jumps over the thrash metal fence and crosses into death metal territory. Another good point are the vocals which are a nice mix between Jeff Walker (Carcass) and Kelly Shaefer (Atheist).

Enormity Demo, 1990


Based on the "Ashta" demo, this band sit nicely between the two Sepultura albums "Arise" and "Chaos AD". The mighty sharp riffs of the Brazilians' best album are mixed with the modern tendencies from "Chaos AD". The music stays closer to "Arise" most of the time (fortunately), and in the fast parts one could also hear shades of Slayer ("Enter Your Own", a nice headbanger).

Krushya Demo, 2002
Ashta Demo, 2005


Modern industrial thrash/proto-death metal similar to Fear Factory (especially in the vocal department) and Puncture; the music is crushigly heavy, but there is little that hasn't been done before.

Enigmatic Existence Full-length, 2005

Official Site


Heavy-handed thrash which combines the more stomping nature of Paul Speckman's Abomination with more aggressive riffage ala Slayer. The final result isn't very appealing, the musicianship is pretty basic and simplistic, ably "supported" by rough death metal vocals. The lead guitar work sometimes tries to raise hopes that this wouldn't be a total waste of time, but it should have tried harder.

Demo Demo, 1989

Official Site


This not very known formation pull out capable thrash with nice dramatic deep semi-clean vocals. The music is served in various paces as "Succubus" is a primal headbanger with proto-death qualitites whereas the closing "Wake The Dead" is a good example of more serious, progressive song-writing. The sound quality is very clear helping a lot the inspired guitar work which also acquits itself with a portion of stylish lead sections.

Kromonics Demo, 1988


One of the most famous and better thrash metal bands from the Czech Republic; they play aggressive thrash with some occasional intense, proto-death parts on their earlier albums, acquiring a more modern and lighter approach on the last two releases. I would go for "Greedpeace" as their finest hour, aggressive thrash bordering on death. The opening "Euthanasia" is a furious thrasher in the Sepultura ("Beneath The Remains") vein which offers some nice melodic leads, along with the bashing riffs. Later the album is a combination of slower, more laidback, almost non-thrash pieces ("Struggle For Humanity", "Greedpeace") and intense, death-tinged ones ("Psycho"). The more controlled side of the band is the better one, albeit much less speedy: the pounding dark "From Gehenna To Here", the crushing up-tempo closer "Mills Of Justice Slowly Grind".

Septical Anaesthesia Full-length, 1990
Time 4 Crime Full-length, 1991
Greedpeace Full-length, 1993
United Full-length, 1994
Na Východní Frontì Boj! Full-length, 1997

Official Site


Based on "The Ark of Gemini": one of the leading Indian metal acts provides a decent mix of thrash, power and speed metal, more on the modern side. The guys thrash with conviction and melody on sure-handed speed/thrashing hits like "Order of the D.N.A." and "Heretic Supreme"; but this isn't all as right after comes the power/doom metal masterpiece "Tower of Illusions". Thrash metal returns with "The Reverant", but of the more melodic, less edgy type. Then the album descends into power metal territories in the 2nd half and stays there until the end which is preserved for the nice acoustic instrumental "In the Presence of Eternity".

"The Coils of Apollyon" is not as exciting the guys having already found their niche and not willing to experiment outside it. This is a predictable affair with all the "tools of the trade" expected from a modern thrash effort nowadays. The cross between thrash, power and speed metal has been achieved seamlessly again especially on the longer material ("Serpent Mage", "Eternal Crimson Spires") which comes with a touch of progressive, and could turn into something more impressive in the future. At this stage the band sound as one proficient, but mechanic and not very inspired, unit.
"Burn Up the Night" continues the obligatory 4-year gap between releases; otherwise this is a much mmilder affair with power metal settling in more comfortably than the other two styles. Still, the melody lovers will have the time of their lives as the album is abundant in catchy, memorable hooks the friendly mid-tempo delivery not offering too many surprises for the thrash metal fanbase. I doubt if anyone would "burn up the night" with this recording; he would rather prepare romantic dinner for his/her beloved listening to it.

Spiral Ascent Full-length, 2004
The Ark of Gemini Full-length, 2008
The Coils of Apollyon Full-Length, 2012
Burn Up the Night Full-Length, 2016

Official Site


Based on the full-length, this act specialize in modern thrash which marches forward in a squashing mid-pace rarely breaking the mould with the casual disperse of energy ("Subliminal Prophecies"). The riffs are fairly sharp and the singer shouts in an attached forceful manner, but this is all too painfully familiar to make one fall in love with this album.
"Finis Dierum" is another not very exciting release relying on heavy volcanic riffs which lead nowhere except to pound the indifferent listener to desirable oblivion who may be mildly entertained towards the end where the sound becomes a tad more dynamic the final "Saint Evil" even comprising edgy up-tempo rhythms.

This Is Resurrection EP, 2009
Lay Down Forever Full-length, 2012
Finis Dierum Full-length, 2015

Official Site


Sterile, mechanized riffs overwhelm you from the get-go bringing to mind Meshuggah and Fear Factory in equal dozes. This isn't all futiristic dirge, though, as tracks like "H+" are more clever semi-technicallers, albeit of the dispassionate robotic variety. Inevitably some cuts border on djent and math to accompany the prevalent modern thrash chugging around, the latter also welcoming more aggressive hints at the death metal field (the closing "An Ancient Hope").

A War Of Souls And Desires Full-Length, 2015


This new act play more complex than the norm power/thrash which is more on the classic side, but the longer compositions don't seem to work as well as, say, the short crunchy instrumental "Locust Scourge" where the leads are simply stunning. More dynamic speed/thrash arrives with "Spirit Agony", but it's another short lead-driven instrumental ("Sails of Acheron") which goes away with all the "laurels". The guys eventually get it right on the longer material with "Crimson River" which is a nice galloper sustained in a vivid dynamic pace except for the lyrical balladic ending. But they are quick to lose it on a few more complicated tracks near the end, a nice compensation provided by the final "Falsifier" which speed/thrashes with passion reaching fairly aggressive proportions in the middle. The singer doesn't shine a lot, but his assured clean mid-ranged tirades deliver recalling Matt Barlow (ex-Iced Earth).

Walk Through the Inferno Full-Length, 2010

Official Site


Groovy, modern thrash, which spices things up a bit with more energetic numbers ("Unlock the Gates"), but the rest is no more than what we have heard many times before from the hordes of the Pantera and Machine Head clones.

Control Full-length, 2007

My Space


Based on "The Spunion Field", the band play heavy thrash similar to Defiance ("Void Terra Firma"). The sound is firmly classic, and the guys keep the tempo energetic coming with really heavy smashing riffs. The heaviness comes a bit too much, probably, on some tracks, which border on doom: "Asylum", but all this is nicely made up on the faster material which clearly dominates, but is never of the very aggressive variety although some tracks are not that far from there: the very good intense thrasher "Shattered Worlds". The vocals are good, close to Phil Rind (Sacred Reich). This is a fine classic thrash album showing total disregard to the fashions of the day.

"Within the Asylum" is a fine debut, not far from the sound heard on the follow-up although "Shattered Worlds" starts it in a fast-paced pounding Bay-Area fashion. "Asylum", despite its short length, is crushing heaviness all the way, not bothering to speed up at all. This tendency continues on the 10-ton hammer "Internal Subversion" which will crush your skull, and "Kruppt" comes as a relief beginning with a blistering speedy section, but later on quite a few punishing rhythms can be heard during its close to 9-min duration. "Nocturnal Nomad" is another headbanger before "Evolution and Creation" takes over hammering down a nail after nail. "Forsaken Race" is a full-on speed/thrash attack, the last one here, since after it come "Protect and Serve" which is a cool atmospheric doomy track, and the closer "Womb of Decay" which livens up with more dynamic riffage and a nice fast ending. If there ever was a "pounding classic thrash" tag to be attached to any act, this should have been the one: this is what happens when Sacred Reich's "The American Way" "marries" the Bay-Area with both sides willing to tolerate the other half without any attempts at domination.

Within the Asylum Full-length, 1994
The Spunion Field Full-length, 1996
Chapter 2 Full-length, 2003

Official Site


Based on the debut, these veterans are one of the first acts from Russia to introduce death metal although this album is still a thrash/death mixture quite close to the Swedes Merciless' debut, so expect fast "merciless" music with very good bass support. The guys lash in a furious manner keeping the tempo constantly fast on the first 3 tracks, before "9 Rings Of Ordruin" comes with its more sophisticated technical approach, recalling their compatriots Koma's debut by still remaining quite a fast offering. Speed is the order of the day on the next "Durby Mc. Row", but the riffs are much more melodic with clear speed metal pretensions, this time reminiscent of another Russian debut: the one of Kruiz. This song is like a precursor to a softer direction continued on the jolly power/speedster "Harley Davidson". Fortunately "M.O.R.G." is a different "animal" bringing the sound back to the death/thrashy patterns, and is the most extreme number also providing a few technical twists with again the bass playing a major role. "Farewater Of Death" is excellent fast thrash with more melodic implements, and the closer "Satan's Embryo" sees no reasons why it should change the course, moshing in the same entertaining way. The follow-up kept the hard course, but after the 6-year break the band have adopted a much more melodic sound following the 90's speed/power metal models.

"Ordamor" is a much milder affair than the debut, and a much more diverse one as such. It's mostly speed/power metal of the classic type with a few modern proto-groovy throw-ins, cool energetic stuff, but without any thrash metal merits.

Satan's Embryo Full-length, 1991
Rozhdenniy Mrakom Full-length, 1992
Deti Vrazhdi Full-length, 1998
Faith and Religion Full-length, 2002
Mi - Rock Full-length, 2002
No Compromise Full-length, 2004
Äóøà Èçóâåðà (Fiend's Sou Full-length, 2005
Rocks And Steel Full-length, 2007
9th Messiah Full-length, 2009
Shipy i Rozy Full-length, 2009
Ordamor Full-length, 2010

Official Site


A blend of power and thrash which has already acquired slight modern 90's tendencies; the music at its best and more thrashy moments recalls the last two Laaz Rockit albums, and one could hear cool choppy rifs and fast leads. There are more quiet balladic moments, but they're tastefully done, and "Time Slips Away" is one of the better ballads from the metal field. Some rap-styled vocals sneak in ("Shut the Fuck Up"), but, again, they're not irritating and fit the hard-hitting riffs well. The guys try a more ambitious song-writing where the songs get quite long (7-9min), but they're filled with awkward offbeat non-metal elements and are far less impressive than the shorter stuff. Despite its mixed nature, this album has its cool thrashy moments which at times move into quite aggressive territories ("New York City Echo").

American Steel Full-length, 1991


One of the second wave of Spanish thrash metal bands, and arguably the best from that same wave. "Involucion" is a good debut of classic 80's thrash. Despite the slightly raw guitar sound, it's clear that these guys are here to thrash with no mercy, and this is exactly the case on the opener "Involucion": a nice pounding piece, coming as a more catchy Slayer. The band vary things later introducing some very good melodic hooks ("El Chino"), and a slower mid-paced rhythm ("Error Clinico"), but the intense Slayer-esque delivery remains the dominant one, sometimes accompanied by a pleasant shade of crossover: "Uno Mas", and even punk: "Mi Granja".
Things get really serious three years later on "Orden Genético" which offers very cool technical thrash boasting good modern production and heavy meaty riffs. Despite some modern metal elements the music is still rooted in 80's thrash, and some songs are fairly cool exercises in more complex technical thrash: "Auto-Destrucción", "Sin Treguas", which haven't also forgotten to be dynamic and intense. Some songs still thrash in a smashing way: "Utilizados", "Deja De Joder", whereas others combine the modern sound with cool technical riffage: "El Ultimo Pajaro". This was a really striking effort and wasn't very likely that the band would be able to surpass it. And indeed, the past was buried on their future efforts which are nothing more than aggressive modern thrash ala Pantera.
The groovy saga carries on unabated on "Makinal" which by all means deserves its title ("machine" in Spanish) delivering cold machine-like riffage from beginning to no end producing a boring, one-dimensional listen without any interesting moments. Those who expected "Orden Genético 2" should bury their hopes really deep...

Involución Full-length, 1991
Orden Genético Full-length, 1994
Confrontación Full-length, 1997
Ktulu Full-length, 1999
2078'' EP, 2000
Makinal Full-Length, 2012

Official Site


This South American trio don'take any prisoners with their intense Kreator-esque approach (think "Extreme Aggression") to the genre shredding with no remorse providing energetic crisp riffs with a very good sense of melody (check out the addictive tunes on "My Life is My Own"). There's a moderate amount of complexity (the long more serious "Alkatraz") present, and generally the sound isn't stale the lead guitarist in particular doing a great job with his virtuoso performance. "The Light of Damnation" is a more aggressive number his more brutal aesthetics cancelled by the slower closer "20 Days in Hell" which is a diverse piece in different paces and again standout lead sections. This is a talented act who have a style of their own and should be able to capitalize on their skills in the future.

Wrath of God Full-Length, 2009

Official Site


Retro thrash/death metal, not far from Defleshed and the Australians Dark Order, so expect quite a few fast brutal sections spiced with heavier ones, the latter offered with a slight touch of modern groove. This is headbanging music with good, surprisingly melodic for the style, leads and forceful aggresive death metal vocals.

Six Sex Six Full-length, 2008

Official Site


This band are famous for including a former Megadeth (Greg Handevidt is the name) guitarist in their line-up, who also handles the vocals here. As a matter of fact, the style is close to early Megadeth and mid-period Exciter, being melodic speed/thrash metal, but without the technical pretentions of Handevidt's previous band. The concentration is more on heavy rhythms and faster melodies, which nicely mix together. "Down to the Inferno" is an exercise in monotonous, doomy thrash, and works almost as well as the faster material. The production quality is not very high, and it clearly shows its age, but the album definitely has its moments.
Kevin Idso may have been setting the scene for a comeback album with the new 2-song demo, but his occupation with his other project Kronk keep the veterans at bay. And it's probably for the better as the two songs here are not very impressive noisy modern thrash with touches of industrial having very little to do with the band's old style.

Annihilation Full-length, 1987
Demo Demo, 2003

My Space


Based on "Shah Mat", these guys offer an alternative groovy form of post-thrash which will hardly make even a few thrash metal fans' eye-brows raise, but lovers of the 90's trends will like the jumpy guitars, the semi-angry vocals, and the numerous melodic alternative, and also balladic, breaks, especially those coming with a nice Oriental shade ("Shah Mat").
"Hutsa" is more dynamic and faster, and the riffs crush more creating a few intense headbanging moments along the way: the excellent more classic-sounding speed/thrasher "Fobia"; the very cool power/thrash instrumental "Kudai v1.0". The deviations from the more hard-hitting formula are not that many mostly coming in the form of atmospheric lead-driven passages.
"Harezko Dorreak" is served in a more playful, radio-friendly manner with the use of keyboards and overall more retouched rhythms where thrash is sadly missing for most of the time. The abrasive guitar edge creates the illusion that there's something heavy going on around, but this illusion won't last for long, especially in the 2nd half where the approach becomes too balladic/semi-balladic the good soaring clean vocals the only asset of this bland recording.

Hutsa Full-length, 2004
Arima Eroslea Full-length, 2006
Shah Mat Full-length, 2009
Harezko Dorreak Full-Length, 2013

Official Site


The demo: this is a live recording, like you've guessed from the demo-title, but this is not a hindrance for the listener to enjoy this energetic retro take on thrash since the sound is clear and the guys play with gusto and competence. The music is fast with the German school being the closest reference, at times sharing the speed and aggression of "Pleasure to Kill" ("Japanska"), at others the sound is more Destruction-inclined ("Najcrnje Noci"). This is an exercise in sheer speed and as such guarantees plenty of headbanging moments.
The full-length contains all the 6 tracks from the demo, adding 4 new, and one cover version of the Serbian speed/thrash legends Bombarder ("Princeza") at the end, the latter a bit of an awkward choice, being one of the softest songs of the aforementioned band, having nothing to do with the blitzkrieg approach of the rest. The new material is pretty much in the same speedy vein, some of the songs easily reaching a Slayer-like aggression ("Ljudski Ološ", "Vecni Rat") which in its turn is compensated by mellow speed/power metal cuts ("Rising Death"). The singer assists the music with a mid-ranged clean tember, never taking any risks with his voice, but suiting the style well.

Live Danguba Demo Demo, 2006
Najcrnje Noci Full-length, 2011

My Space


The demo provides modern-ish power/thrash in mid-tempo with gruff death-ish vocals which are two types, both quite gruff, spiced with occasional clean ones. The riffs are more on the melodic side slowing down for the doomy piece "Insane".
"Amusement of the Gods" is centred around milder, progressive arrangements which make the more speedy passages ("The Game") a not very necessary afterthought. Still, the band deliver with thought-out compositions like the dramatic "Sometimes" and the atmospheric operatic progressiver "Time of Revenge". As a whole thrash metal hasn't been given a very big chance to shine as the band have moved on towards more oblivious, more ethereal styles.

Like A Virus Demo, 2003
On The Edge Full-length, 2006
Amusement of the Gods Full-Length, 2016

Official Site


Based on The EP, this band is another representative of the hyper-active speed/thrash metal style which is particularly strong in Japan: think Volcano, Sex Machineguns, Cocobat, and partly Gargoyle. This is mellower perhaps the band trying to also please the power metal fanbase, but rest assured that there are more than enough fast, ripping riffs here to satisfy the headbangers' hunger, "Black Arts" a very cool example of the guys' soaring speed/thrashing spirit. The closing "Close" is a curious semi-technicaller which preserves the hard thrashing, but introduces more quirky rhythms plus a nice acoustic mid-break.

???? EP, 1995
???? Full-length, 1995
Capriccio Full-length, 1997


Based on "Alkaliod", thid band plays thrash/crossover mixing fast aggressive pieces with more laid-back ones. The latter predominate, and one may be left disappointed a bit that the speedy numbers were not more since they really make the head bang. There are allusions to Russian folk songs as well, and the melodic hooks as a whole deliver no worse than the sharp riffage.
The "Blut" single is two songs of dry sterile thrash metal which this time sits between the classic and the modern school. The leads are pretty good, though, with a nice hard'n heavy edge, but the singer may spoil the picture a bit with his angry semi-shouty delivery.

Delikatesy Full-length, 2001
Rescue And Keep Full-length, 2004
Alkonoid Full-length, 2009
Blud Single, 2011

Official Site


This outfit were previously as Skromt where they performed a black/thrash blend the latter also featured here, but immersed more deeply into the black metal ideathe guys leaving little room for thrash to breathe, at least in the beginning. At its most interesting the delivery touches the atonal, dissonant brilliance of Thorns ("Demonic Summoning Ritual"), and the few raging thrashers ("Dark Presence", "Pestilent Virulence") scattered around would stir anyone's blood. "The Warlock" is an epic saga which calls to mind mid-period Bathory, and "Sadistic Goat Regime" is nearly 6-min of intense, vitriolic black/thrash which pust the final impression more on the positve side. The vocals are semi-shouty/semi-death metal ones with a not very overt raven-like rasp.

Human Scum EP, 2015
Ibex Arrival Full-length, 2016



Based on the EP, this band offers roller-coaster thrash/death metal ala mid-perimid-period Entombed in up-tempo which seldom goes into more extreme territories ("Violent Death"). Some of the guys played in the early death metal act Vomit who had close ties to the legendary Mayhem.

Gamlem EP, 1997
Krieg Full-length, 1997

My Space


Based on the first EP, this is an awkward mix of thrash/crossover (which is the basic style), rock'n roll metal ala Motorhead or Tank, and on top of that Children Of Bodom-like guitar work. You might ask yourself what exactly these guys want to be; more concentration on the thrash/crossover side for the future could at least take them somewhere.

Keisarinleikkaus EP, 2004
Turpa Täynnä Full-length, 2005
Lisää Persettä Rättipäille EP, 2007

My Space


This band indulge in modern steam-roller thrash which relies on the groove too much for it to be an engaging listen. So the expectations are for squashing repetitive riffage topped by angry shouty vocals the latter at times assisted by a guttural death metaller. The music moves towards more interesting dimensions in the 2nd half with more vivid rhythms, including a nice acoustic guitar passage. "Rust" is a curious dramatic number with death metal qualities, and "End" (which is not exactly the "end") is an energetic, almost galloping, track. The rest is easily forgettable...

Stillborn Full-Length, 2011


Although having taken their name from the Voivod song from the "Rrröööaaarrr" album, this band offers nothing like the Canadians. This is raw simplistic black/thrash metal owing a lot to early Bathory and another Canadian act: Megiddo; the Spaniards' approach is probably more aggressive moving completely into the fields of black ("The Dark Riders") metal. "Dogs of War" increases the speed and the aggression, but early Bathory again remains the closest reference point, with Burzum being a close second although on a few moments the sound is pure bashing thrash/proto-death: "Berserkers", which is sheer extreme madness topped by the ultra vicious Burzum-like shrieks; the speed/thrash metal fury "Dogs of War". Some calmer moments are compulsory ("For the Glory of Tyr" in the middle) for both the listener and the musicians, but after that the show goes on in the same brutal fashion turning into Burzum-like black metal on "Kingdome of Darkness".
"War of the Voivodes" is a merciless assault on the senses the album-title another nod to he Canadian legends with early Bathory now turned into a vicious downpour not far from Impaled Nazarene and Necrodeath's faster material, but the music never loses the plot sounding listenable and compelling all over. "War Machine" is a cool up-tempo thrasher with a raging exit, and "Doom Song" is a nice faithful cover of The Plasmatics with even the vicious raspy vocals taking a more comprehensive cleaner tone. "Road Killer" is another more controlled thrashing surprise before the black metal madness takes over once again holding its grasp till the end which comes in the form of the complex progressve opus "Kingdom of Darkness II": a nice blend of fast aggressive riffs and epic/doomy passages ala mid-period Bathory. The guys have three other black metal projects: Harridan, Akerbeltz, and Beheaded Lamb.

"Metal Fist Destroyer" is another faithful addition to the band's catalogue combining wild unbridled black metal passages with more polished thrashy sections ala the early German school (the explosive title-track). "Battle Beast" deserves its title with its epic war-like approach, but speedy madness is pretty much the order of the day here with ragers like "Possessed by Steel" and "Time to Die" "roaming" around. "Kill the Bastard" is a more relaxed nod to early Venom, but the next "Obliteration" is indeed an "obliteration" of thrash/blacky madness brought to its extreme. This is a retro winner in every aspect, but may not win every thrash metal fan's heart due its openly brutal at times nature.
"Reborn from the Ashes" is a fairly more brutal offering the band now fully epitomizing their unbridled black metal spirit and as such this album would be of little interest to the thrash metal fan the classic headbanger "The Stalker" the sole exception. "Warriors Of The Night" is a cool more technical bombaster, but there's not much thrash here isolated sections from "Hellish Onslaught" offering the next short stop from this blasting, hyper-active cannonade.

Körgull The Exterminator / Morbid Yell Split, 2008
Dogs of War Full-Length, 2009
War of the Voivodes Full-length, 2010
Metal Fist Destroyer Full-Length, 2013
Reborn from the Ashes Full-Length, 2015

My Space

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