copyright (c) 2007-2024 the thrash metal guide 0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z K.G.B. (RUSSIA)
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 aggressive 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 doom 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.
death of a madman demo, 1992 official site K.I.N. (AUSTRALIA)
Based on the demo, this Aussie cohort specialize in heavy miasmic modern thrash/industrial, the thick muddy approach carved by really stylish lead sections, the gloomy/doom elegy “Tale of a Scarecrow” some kind of a highlight, largely due to its potent morose tones. Expect a similar development on the marginally more dynamic “A Theory on Life”, before “Worship Me” indulges in the lead guitarist’s dazzling pyrotechnics, the vocalist’s subdued, not very expressive, clean tirades not doing much to elevate this effort’s mere-average status. Some of the musicians are also busy with the classic thrashers Vanadium B.C.
Preface Demo, 1997 Youtube 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.
slaughterhouse demo, 1989 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.
street terror ep, 2011 official site K-0S (SPAIN)
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.
kondenados full-length, 1999 my space K-TION (ARGENTINA)
Classic power/thrash that rolls on with both bigger compositional gravity (“Arrebatadores de Suenos”) and a sniff of epic seriousness (“Miseria”), the not very expressive semi-clean signer pitching it higher on the sprightly energetic “Da Pelea”, the bass-guided progressive “Sed de Identidad” standing for the highlight with its more ambitious layout and a bigger array of riffs. Some of the band members are also engaged with another similar retro power/thrash formation, Criogenia.
Despierta Full-length, 2023 Official Site KAAR (CZECH)
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 drama (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).
kaarový eso demo, 2009 official site KAARMENAITELLY (FINLAND)
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 KABAT (CZECH)
Based 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 my space KACHANA (UK)
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).
killing inside full-length, 2003 my space KADABRA (BRAZIL)
Based on "Remains of the Past", these three Brazilian lads serve an outstanding modern mixture of power and thrash which is both intense and fairly complex ("Social Phobia") aided by a very characteristic crunchy choppy guitar sound which hits inordinate progressive heights on the contrived marvel "Tombstone" and the psychedelic, also twistedly melodic shredder "The Blackboard". The weirdness only goes deeper as the album progresses with "Seasons of Life" serving crooked epic bounces ala Slauter Xstroyes in an unpredictable all-instrumental fashion, with "Human Misery" adding more to the misery with a portion of thoughtful semi-gallops and more melodic eccentricity which goes away from then thrash realm, but this is too ingeniously woven for one to pay attention to any stylistic borders. "Tiranny" brings back the more aggressive thrashier vibe, but these are eclectic headbanging shenanigans which follow no strict pattern, the deathly growls simply another outlandish additive on top of the fairly cool clean mid-ranged main singer. The title-track closes the off-the-beaten-track proceedings with spacey hallucinogenic speed/thrashisms the ethereal 70's-styled melodic hooks adding more to the absolutely magical atmosphere. This is a sheer no-brainer, a must-listen for all fans of thought-out, less ordinary metal.
Devastation's Songs Full-length, 2017 Youtube KADAR (KAZAKHSTAN)
Based on the "Essence" EP, 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 Official Site KADAVRO (ARGENTINA)
Based on the full-length, this Argentine trio specialize in relentless classic thrash which takes no prisoners on violent cuts like "Crushing Heads" and "Rigor Mortis", the shadow of early Kreator rising with ease, perturbed a bit by the rending shouty death metal singer. "Motherfucker" is a short hardcore joke, and "Procession of Evil and Electric Chair" is on the opposite side of the spectre, an ambitious engaging saga with a pulverizing main engine, the militant steam-roller "Lord of the Flies" another not-for-the squeamish representation, "Fw35" wrapping it on with moshing virulence to spare.
Evil Entities from the Hidden Past EP, 2021 Official Site KAHTMAYAN (IRAN)
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.
Exir full-length, 2005 official site KAI FLOOD (MEXICO)
this is mostly evil black metal (based on the ep's) with sparse 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.
faux dieu ep, 2011 official site KAIDEKA (UK)
based on "back to the blind", this act provide dynamic groovy thrash with metalcore leanings. despite the undeniable production qualities, 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 official site KAIN (CROATIA)
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.
everything is possible ep, 1992 fan site KAINE (UK)
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 canceled 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 official site KAKSONEN (FINLAND)
Based on the debut, this act specializes in typical modern thrash/death which isn't far from the early efforts of the guys' compatriots Mokoma. the band try to play both fast and melodic, but the execution isn't 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 variety, but not very intelligible.
Atlas full-length, 2011 official site KALAKAI (USA)
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.
"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 doom 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.
lost in the atmosphere full-length, 1997
hieroglyph of a moment full-length, 2007
Third Eye EP, 1999
Hail to the Freak EP, 2001
the full-length is full-fledged death metal, well done, staying more on the brutal, cannibal 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.
pig funeral demo, 1990
kingdom of dead full-length, 1993
the full-length is finally out, and the previously 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 a couple of more intriguing, technical riffs.
ktcm ep, 2012
cleansing the blood of the heretic full-length, 2016
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 isn't a very big move away from the guys' staple approach which is assisted by attached semi-clean/semi-hardcore vocals.
planeta violento full-length, 2012
"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.
thrash attack full-length, 2010
kaarokalypsa full-length, 2012
živì! live album, 1991
dìvky ty to znaj full-length, 1993
"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.
of gods and men full-length, 2009
The debut is another commendable effort, but is more linear and orthodox the band sticking to more predictable retro power/thrash patterns. The
hard-thrashing heroics of "Chosen Few" and "Pay the Price" are generally a rarity although "Death Penalty" exhibits a penchant for more speedy shenanigans, the title-track hinting at a more modern-ish way of expression. Elsewhere we have the more officiant epic veneer of "Pictures of War" and the rowdy proto-hardcore barrage on "You Are a Lie" those adding to the diverse character of this first spell which only ephemerally suggests at the loftier trajectories explored on the sophomore.
"Underground Resistance" isn't as striking as its predecessors, and offers a varied power/thrash/crossover blend which balances between energetic moshers ("Casa de Ferreiro") and more lyrical melodic escapades ("Faca o Que EuDigo"), the vociferous shouty vocalist presiding over the environment with confrontational panache, including on the quite cool semi-technical shredder "CadaMacaco no SeuGalho". More niceties served later like the epic pounder "Meu Brasil Brasileiro" and the complex deathly brutalizer "Opio do Povo", the guys keeping the listener at the tip of his/her toes with all kinds of stylistic switches. "Metralhadora de Bosta" is a steady mid-paced power/thrash offering with nice meandering leads, but the real winner in this department is called "Nao Passa Nem Agulha", the lead guitarist making circles around everything and everyone with his exuberant proficient licks.
Remains of the Past Full-length, 2019
Underground Resistance Full-Length, 2021
The full-length is a dark brooding affair which doesn't rely on speed at all; instead, the guys stick to heavy punishing rhythms which inevitably lead the approach towards the fields of doom ("Question"), with a pinch of groove also thrown in for good measure ("Overdose"). The thing is that such a monotonous delivery doesn't generate much enjoyment, and the sincere thrashing vigour of "Trigger of War" and the deathly unbridleness of "Reason to Kill" are more than welcome towards the end to save the album from sinking into sleep-inducing oblivion.
Essence EP, 2015
Same Old World Full-length, 2019
Procession of Evil Full-length, 2024
"virtual existence" has a darker more brooding tone and is considerably slower now evolving around mid-paced heavy riffs 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 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.
"Resurrection" is a resurrection indeed, the band missing from the field for whole 13 years. They return with two discs, with music amounting to about an hour and a half. The style hasn't changed radically from the preceding saga, the thrash now replaced by post-thrash for most of the time, the few more energetic moments ("Moon Slave") bringing more life into this still cool listen which swings between lyrical soulful ballads ("The Tree") and progressive quasi-doomsters ("The Wonderer", "Hijaz"), the second disc completely sold for the doom/semi-balladic/balladic idea, the guys calming down for an approach not far from the one of their neighbours Orphaned Land.
Virtual Existence full-length, 2009
Resurrection Full-Length, 2022
"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.
leinav ep, 2012
ilmutus surm full-length, 2015
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
"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".
in touch with reality ep, 1994
falling through freedom full-length, 2012
"Universumin Kuningas" is a more tamed affair, the band relying on both epically-executed pageants ("Jattilaisten Maa") and diverse progressive conglomerates ("Sielunsyojat"), the larger-than-life "Kuolema" at the end abandoning both the thrash and the death for a minimalistic epic/doom exposition.
Kivisydän EP, 2013
Universumin Kuningas Full-length, 2023