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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 band has close connections with the premier metal act from Moldova, the death/thrashers Accident. Based on the debut demo, this is stuff not far removed from the works of the other outfit baing lashing thrash without too many death metal tenndencies, also accentuated by very good bass work. The sound quality is awful, though, and the good musicianship is obscured by it. The singer benefits from the situation with his expressive semi-shouty baritone which accompanies stylish, semi-technical numbers among which "The Valley Of Unrest" is a very good atmospheric instrumental, and "The Haunted Palace" is an intense basher thrashing hard for over 5-min.

Spirits of the Dead Demo, 1991
Seven Seconds to Terror Demo, 1992

L.S.N. (USA)

This band features George Robb, the bass player who later took part in other more renowned acts, like Agent Steel and Detente, and more recently has formed another band: Obscene Gesture, along with his other colleagues from Agent Steel. This early formation offers typical energetic power/speed/thrash in the vein of quite a few bands from the American 80's scene: Agent Steel, Blessed Death, Whiplash (the vicious vocals will also lead you in this band's direction), etc. This is good speedy music, but is only 3 songs (the 4th track ("Trapped") is a 7-sec brutal joke), and the members scattering all over the metal spectre shortly after that prevented the band from recording anything else.

Fall to the Reich! Demo, 1986

My Space


Based on the full-length, this band deliver quite cool modern technical thrash/death which gives a stylish groovy twist to the more direct passages which are not very long and also carry a certain technical charge distantly echoing more recent Meshuggah and the more restrained side of their compatriots Biomechanical. "Mistress of the Sun" is a doomy progressive cut which influences the following "Rise" before the latter indulges in a short speedy section. Mechanical brutality will one come across on "Army of Darkness" which mixes thick meaty grooves with more conventional Swedish melo-death moments. "Decevil" is another intense piece before the brooding closer "Skin" wraps it up in an enchanting atmospheric fashion with ethereal melodic hooks and great lead guitar work which was kind of missing on the previous material, but here the guy compensates with exemplary performance. This is an original release which gives a less ordinary spin to both the melo-death/thrash and the groovy movements by making this blend their own which by all means can be extended further on future efforts.

L Sol Tace Demo, 2010
The Carcass of Eternity Full-Length, 2013

Official Site


This respected band began as one of the many power metal acts which the US music scene was producing in heaps in the mid 80's. With "Know Your Enemy" the band made their claims to become one of the new thrash heroes although the sound on this one is still pretty much power metal with a few thrash headbangers thrown in for good measure. "Last Breath" is a truly impressive opener: a great power/thrasher that remains the finest song on this one. Later on the band exercise their abilities in playing speed metal and do a fine job until the last couple of tracks where the sound is a direct take on their heavy/power metal beginnings, and leaves a certain aftertaste.
However, on the next one power metal was a distant memory, and "Annihilation Principle" still remains one of the better achievements of the genre. "Fire In The Hole" thrashes uncompromisingly from the very beginning, leaving no room for any melodic deviations. "Chain Of Fools" is a mighty riff-fest followed by the great galloping speed/thrasher "Shadow Company". "Holiday In Cambodia" is a marvellous cover of Dead Kennedys, and will definitely help you develop a liking towards the original although there's hardly any shade of punk here. Later on every track is a masterpiece of razor-sharp thrash with very good guitar work: a headbanging feast at its finest. "The Omen" is a very well deserved break for the band from the intense thrashing: a nice ballad with a very good vocal performance (Michael Coons is one of the greatest singers on the whole metal field).

Things continued in the same vein on "Nothing'$ $acred": another smashing thrashterpiece, showing no signs of slowing down or compromises with the more aggressive sound. The album begins with intense up-tempo thrashing numbers until it reaches the raging "Curiosity Kills", a speed/thrash delight, but remains one of its kind on this effort. The next tracks take a slower, but quite hard-hitting turn, led by the excellent "The Enemy Within", laced with fine technical hooks. "Nobody's Child" is the obligatory ballad (the guys include similar songs on each of their works), this time shorter, but equally as cool. "Silence Is A Lie" tries to thrash in a faster manner once again and admirably succeeds, giving way to the graceful closer: the marvellous instrumental "Necropolis", which boasts a magnificent lead guitar performance which might make you listen to the preceding material again, just to check whether you will find traces of such guitar wizardry earlier (but no, and this is the mystery- why did the guy spared himself on most of the songs, but unleashing all his genius on just a single piece?!), and superb technical riffs.
Then the band split up, with some members later giving way to their infatuation with the 90's groovy sound with their other band Gack, which has almost nothing to do music-wise with the band's past.
"Left For Dead" is a very unexpected, unheralded comeback, but shows the band in a decent, if not very inspired form to produce pretty decent thrash metal once again. This work is not an exact continuation of "Nothing Sacred"; it sounds like a mix of not much classic thrash and Gack ("Delerium Void", "Erased", etc.), the continuation of Laaz Rockit during the 90's. The tempo is seldom fast, and there's one quite good heavy semi-ballad in the middle ("Ghost In The Mirror"). The guitars crush with pounding, heavy riffs, but apart from the more up-tempo opener ("Brain Wash"), there's not much material for headbanging. Fans of early and late period Laaz Rockit will not be very delighted, and this could hardly pass for one of the most impressive comeback releases of recent years.

City's Gonna Burn Full-length, 1984
No Stranger To Danger Full-length, 1985
Know Your Enemy Full-length, 1987
Annihilation Principle Full-length, 1989
Nothing'$ $acred Full-length, 1991
Left For Dead Full-length, 2008

Official Site


The EP: these Lithuanians with the interesting name play thrash/crossover which clings more on the playful, roller-coaster side recalling the softer nature of Lawnmower Deth and The Offspring when they relax completely ("Molly Chambers"). This is fun, unpretentious stuff which would hardly entertain the hard-core thrash metal fans a lot, but would be a cool backround for those who would like to jump around in a merry, carefree pogo.
"Salvation/Decay": the thrash/crossover roller-coaster is on full display here spiced with more aggressive death metal leanings ("Toll") with a fleeting shade of crust ("Inbred") also present to ensure the more brutal delivery which gives way to atmospheric blacky sweeps on the Bathory-sque "Vulva Control" and the excellent black/crossove rshredder "Perpetual Chaos", the highlight here. "Mr. Skinner" is an acceptable dissonant semi-headbanger, and "5 Jums 1 Man" is a cool turn to full-blooded thrash with dramatic accumulations. "Anvil and Hammer" is the band's tribute to Motorhead and Tank, and the cloding "†††" is again more on the black metal side with a sparse use of blast-beats. The delivery is decidedly more aggressive than the one on the EP and consequently more diverse, to these ears for the better.

Kaimietiskas Smaukalas EP, 2011
Salvation/Decay Full-Length, 2015


This is laid-back post-thrash with alternative overtones which has its edgier moments (the speedy shredders "Head on the Wall" and "Trickster"), as well as possessing a few echoes from the Black Album ("Vampire"). Still, those shifts are not enough to compensate for the less imaginative groovy sections which permeate the album, those not terribly bad, carrying a bit of dynamics. It's just that when listening to them for the thousandth time and beyond, one may as well pass most of it through his/her ears without paying too much attention.

Soul Possession Full-Length, 2012


This French formation provide modern "dystopic" thrash which straddles between industrial and hardcore, but intercepting these two approaches with copious amounts of melody at every opportunity including several playful crossover tunes ("Coma"). The singer doesn't occupy too much space his rending hardcore/deathy shouts assisting the diverse musical palette without any pretensions at vocal greatness.

Dystopie Full-Length, 2015


Based on the debut, this is a mix of the fashionable at the time thrash/crossover and brutal death metal with sparce adherences to grindcore. The singer acquires more brutal tones with a strong death metal shade to mix it up with his softer hardcore-ish tember on the more laid-back material. This is a laughable blend of two contrasting styles the band never too sure which path suits them better, consequently messing up both beyond repair with primal amateurish musicianship.

La Muerte - Un Compromiso De Todos Full-length, 1989
Las Nuevas Aventuras De...La Pestilencia Full-length, 1993
El Amarillista Full-length, 1997
Balistica Full-length, 2000
Productos Desaparecidos Full-length, 2005
Paranormal Full-length, 2011

Official Site


Based on "Kick the Bucket", these guys indulge in modern groovy post-thrash which will make many fans "kick the bucket" due to its derivative nature and rehashed riffage which at its best tries to reach the Gothenburg school with a few more energetic sections ("Ready to Kill"). On the other hand, we have full-blooded exercises in doom ("Doreen666", "Human") as well as several more noteworthy shredders ("Hate La Resistance") which should be more next time around.

No Other Days Full-length, 2005
Kick the Bucket Full-length, 2013

Official Site


Based on the demo: heavy pounding groovy post-thrash sitting comfortably between Pantera and more recent Pro-Pain; not a total waste, by the way: "Times of Treason" is a nice energetic headbanger, and the guitars are not stale moving around with the odd more melodic tune added.

Labeled Demo, 2009
Labeled Full-length, 2009

My Space


This not very known formation pull out modern power/thrash which mostly suffers from the not very fitting gruff death metal vocals. The delivery is strictly mid-tempo with atmospheric balladisms ("Human War") amply provided alongside very cool melodic leads andmore or less successful attempts at more progressive song-writing (the gothic hymn "Destiny of Love", the doomy chopper "The Beggar" which also features a short rock'n roll theme at the end).

Spacecake Full-Length, 1996


Based on the demo, these folks produce intense moshing thrash which has some, not very overt, technical tendencies on the longer material ("Satanic Dreams"), but the short ripper "Violence" seems to deliver the better with its impetuous galloping rhythms helped by the cool soaring, clean vocals, but obstructed by the mudy sound quality.

Demo Demo, 1989
Lace Dragon Full-length, 1990


This Chinese gang provides a hesitation between modern and classic thrash which main flaw is the hysterically rending vocalist whose antics are ultimately difficult to recognize. Otherwise the music delivers with sharp riffs, proficient leads, various tempos, although the guitar sound is too noisy mostly hampering the fast parts the latter playing a secondary role to the prevalent mid-paced passages, but bearing the album's finest cut: the prophetic headbanger "2012".

Return of the King Full-length, 2011

Official Site


Wow, this is probably a live recording so expect a very pristine sound quality with a muffled guitar sound, merging with the drums (the bass is barely heard). On top of that the singer is the ultimate shouter doing it in an expressive deathy manner, but nothing is understood from what he sings, so most of the time what one will hear is roars topping up the musical noise, which comes as a poor man's early Messiah; in other words, this is old school thrash/death, also sharing some of the primal brutality of the early Brazilian school.

Night of the Pain... Demo, 1993


Based on the "Realms Of The Unconscious" demo, this act offers classic thrash of the more aggressive type ala Devastation and Slayer. This is fast intense music with fine Chuck Schuldiner(R.I.P.)-sque vocals and good heavy breaks. The guys play more melodic thrash/crossover with It, and almost as furious retro thrash with Invection.

Demo Demo, 2008
Consuming Reality EP, 2009
Realms Of The Unconscious Demo, 2010

My Space


Based on the debut, these folks provide quite cool modern thrash/death with progressivve pretensions where sharp riffs and virtuous melodies cross the "duel" topped by not very impressive subdued death metal vocals. More drama pours from the slower stomping numbers ("Necronomy" which also comes with a great technical fast-paced section), but the real power lies in the more elaborate progressivers like "Mind Processor" which branches into wild technical death metal at some stage, to these ears for the better. "Slaughter Plan" could be considered another highlight with its impetuous melo-death intricacy ala Quo Vaids (Canada), with "Projection Of Pain" not too far behind with its mazey speedy crescendos. "Overseer Of Decay" closes the album in a more minimalistic, epic fashion with superb melodic tunes and engaging vortex-like configurations.
The self-titled follows the same diverse trajectory, but its adherence to more brutal death metal ways of expression may not be to the thrash metal fan's liking the whole time. Still, one has to acknowledge the visceral power of impressive technical shredders like "Hell To Pay" and the excellent more complex opus "Void Of Shadows". "Gargantua" richly deserves its title being a supreme take on the pounding technical death metal idea the band really outdoing themselves on it nearly reaching Necrophagist-esque virtuosity. "Molecular Residue" erases all vestiges of thrash with a more brutal death metal-ish aura which reaches operatic proportions at some point leaving the more immediate delivery for the hyper-active, hyper-blasting as well at some stage, closer "Ambiguous Forms". Although this second coming doesn't have much to do with thrash, it's undeniable that the guys are expert musicians who are yet to reveal their full potential.

Mind Processor Full-length, 2010
Lacerta Full-length, 2017

Official Site


The guys from the power metal stalwarts Steel Attack entertain themselves here in a quite different way pulling out heavy progressive power/thrash metal with shades of doom (on "Aeternus Caligatio") coming close to the music of their compatriots Memory Garden and Memento Mori. "Suffocate" is a seismic thundering opener which completely overshadows the short experiment in modern groove "I", but then comes the high-octane doom on "Nothing", and things look normal again. "Psychological Chaos" is more vigorous mixing the dark riffage with more dynamic thrashy sections, and "Immortal" brings in more modern atmosphere with a couple of proto-groovy hooks. "Tell Me" is another potent doomy opus, but "Mesmerize Me" starts riffing more aggressively, before "A World of Disorder" brings the winds of power metal with it. "The Pain Remains" is the definitive doom metal hymn offering heavy hammering riffs for about 8-min in the spirit of the Germans Doomshine, but things liven up again on the final "Enemy Within" which is a dark edgy power/thrasher. Ronny Hemlin leaves a very positive impression behind the mike, but he already honed his "weapon" in both Tad Morose and Steel Attack, here sounding more dramatic and emotional, and a bit higher-pitched. Actually the first attempt at metal the band had made in the distant 1994 under the name Major Arcane when they released a solitary 4-song demo.

Act of Perfection Full-length, 2000
Aeternus Caligatio Full-length, 2003


A mix of modern thrash and death metal with nice guitar work; there is groove involved, too, but the final result is not bad at all; this is heavy music with brutal death metal attacks and a frequent change of tempos with two vocal styles used simultaneously: one a deep death metal growl, the other a black-ish rasp.

Fault Of The Flesh Full-length, 2005

My Space


Based on the second demo, this is really unconventional stuff: technical/progressive death/thrash metal recalling Cynic, but Lacolper's music is heavier and less jazzy. The music is actually quite compelling if you manage to tolerate the slightly irritating lead guitar which is put too much in the front and is kind of screamy. The music is never fast and the rending death metal shouts might stretch your nerves a bit, but those of you who enjoy the less ordinary side of metal will definitely dig the mechanical dreamy "Aeonic War Machine", or the industrial cyber instrumental "Metroid-Lower Brinstar Area". Maybe their full-length would be the next big splash on the scene?

Day Of Deliverance Demo, 2005
Demo Demo, 2006

My Space


These Chilean newcomers play aggressive retro thrash/death ala the French Agressor and mid-period Messiah. There is a subtle technical fibre going through the numbers, but the guys never let the speed get lost death/thrashing in a sure-handed inspired manner. The leads are short and to-the-point playing a second fiddle to the fiery riffage which exudes a lot of aggression even on the longer material like "Pestilencia En Propagación" and the more complex closer "Cellado Con Sangre". The sound quality is a bit muddy with a hissing sound accompanying the guitars. The singer is a vicious death metal shouter.

Cruel Destino Full-length, 2014

Official Site


A 2-song demo of sloppy, semi-amateurish power/thrash the guys staggering within the mid-pace akin to the Germans Backwater, the only more interesting part being the more stylish screamy leads, and partially the inebriate vocals ala lemmy (R.I.P.).

Demo Demo, 1990


This is a transitional recording in a way that it tries to preserve the old school by also looking at the thinly carved groovy vogues. So expect thrash/crossover blended with a hefty portion of heavy proto-grooves. "Against Myself" introduced more intriguing riffage recalling mid-period Prong, before "Bison Of Doom" starts thrashing in an admirable Bay-Area fashion. The vocals are gruff and semi-shouty very close to the ones of Tommy Victor (Prong).

The Bison Demo, 1991


Based on the demo, this act plays vicious brutal black/thrash/death which gives a fair share to each style resulting in a diverse listen which exudes atmosphere and aggression in almost equal dozes by adding the odd more technical flavour (the stylish shredder "Perpetual Decay 233"). Near the end the ultra-brutal blasts take over and the delivery moves closer to black metal with the contrasting low-tuned death metal vocals constantly grunting over the impenetrable musical barrage. Some of the musicians were involved with the dark/gothic metal act Darklight with which they had one album released in 2003.

Perpetual Decay 233 Demo, 2005
Deafening Silence Full-length, 2007

Official Site


Based on "Circus of the Damned", this band plays cool dark progressive power/thrash metal with a more modern edge. The sound is crushingly heavy, but doesn't lack dynamics, like on the opening steam-roller "Circus Of The Damned". Still most of the time the music is hammering and mid-paced at best, but there are a couple of interesting numbers, like "Last Taste Of Innocence", for example, which combines tender progressive elements with the only up-tempo thrashy ones; or the more dynamic and direct "XXX-rated Dreams". "Wicked Divide" is quite a good exercise in technical thrash with very intriguing guitar work, and deviations of the kind should have been more as they offer a nice break from the otherwise pretty monotonous atmosphere.

Circus of the Damned Full-length, 1999
Terms of Estrangement Full-length, 2001


The debut: a very brutal super-furious mix of thrash/crossover, death metal and grindcore. The tracks are relatively short (1-2.5min) and are mostly played at the speed of light often falling over the edge of comprehension and human perception. In this aspect these guys beat even the Cryptic Slaughter debut; there is absolutely no mercy shown throughout and this is the reason why not many fans would be willing to go back to this effort again...

"Umení Strachu" is just way more moderate the guys still thrashing with a lot of passion, but with also more professionalism shown. The grind is almost completely gone now and the band concentrate on their thrash hearts almost exclusively if we exclude the few more brutal death metal passages ("Dva Hroby", "Nazdy Nepratele"). "Recko" is a nice reminder of Impaled Nazarene's more speedy past and this is where the band are at their best. Some of the musicians also take part in Radiolokátor where the style is also retro thrash, maybe a tad mellower.

Obeti Doby Full-length, 2008
Umení Strachu Full-Length, 2011

My Space


Apparently inspired by the Sam Raimi horror production "Drag Me to Hell", this Italian outfit attempt a darker gothic-flavoured take on the genre, and the final result is a pleasant melodic modern thrash/death of the more serious variety with several references well embedded (Moonspell, Gandalf, Sentenced, Dark Tranquillity, Cemetary, etc.) into the diverse picture. Don't expect any fast-paced temptations except on isolated occasions (check out the dramatic crescendos on "Strength From My Wounds"); this is still heavy, but also dreamy music which is accentuated by the melodic hooks and the deep semi-shouty death metal vocals.

Into the Abyss Full-length, 2012

Official Site


Based on "Solitary Ghostride", this band provides a mix of classic and modern thrash/death which tries to come up with its own face, but the leanings towards the Gothenburg school are too frequent for them to achieve this. The guttural main vocals are at times intercepted by much better clean ones which could do a very good job on some doom/gothic metal act. The generally speedy tone is "broken" in the middle on the romantic "Demon's Dance" which features a few beautiful balladic guitar lines. Later on the band explore this side of theirs the rest of the songs being slower and mellower, but at the same time the sense of melody gets increased producing the most memorable moments on the album.

Freakshow 666 Full-length, 2003
Bastards from Hell Full-length, 2006
Solitary Ghostride Full-length, 2008

Official Site


The debut: quite cool retro thrash attack by these young Czechs who have taken care of the production qualities giving the gutars a hard, ripping edge. The songs flow effortlessly all being sharp fast-pacers topped by very good attached vocals akin to Katon de Pena (Hirax). "Evil Imperialist" notches it up to more aggressive proto-deathy dimensions, and one will very seldom encounter a mid-paced passage on this relentless, competently done, tribute to the good old thrash.
"Mental Decay" is a mellower recording the band still moshing out with vigour, but sticking more to the purer speed metal side. The title-track is an excellent semi-technical frolic speed/thrasher which remains the highlight here accompanied by softer speed metal rockers ("The Breaking Wheel") and more complex shredding exercise like the closing "Collateral Damage" which is the other more aggressive piece.

Counterattack Full-Length, 2015
Mental Decay Full-length, 2017

Official Site


This band provide us with an interesting mixture of two contrasting styles: doom and thrash, and especially on their last album ("The Ultimate Destroyer") they do a fairly good job. Slow, stomping parts shake hands with some more up-tempo thrashy moments. The thrash metal presented here is not of the aggressive, fast type: think Celtic Frost or early Bathory's more quiet moments.
"War Metal Battle Master" is the band's most aggressive offering so far; the first two tracks show the guys at their thrashing best, with the opener "Horde of the Undead" coming with even some brutal death metal sections. The doomy side springs up, of course, with "When the Ice Giants Slayed All", but soon the band go back to the death/thrashy patterns ("Black Viper Barbarian Clan" is pure unadulterated death metal, mixed with a slower doomier ending). "Doomtrooper" is the other exercise in sheer doom: 10-min of classic, pounding doom in the Pentagram, Saint Vitus vein.
"Evil Power" is more laid-back than its predecessor, a not very aggressive mix of thrash and doom with the guys very seldom losing it, like on the horrifying grindy "Goatstorm". The rest is much softer with a solid doze of hardcore added on at least half of the tracks, even touching the classic hard'n heavy sound on the final "The Violent Iron Age of Man".

The "Godslayer" EP is just two songs, apparently a warm-up for the oncoming full-length the title-track being a heavy mix of sludge/doom and faster thrashy rhythms. "The Black Heart Of The Stygian Drakonas" notches it up in terms of aggression acquiring a more sinister death metal tone exiting with a nice macabre ambient/doomy outro.

Carnage Full-length, 2004
Cannibal Massacre EP, 2005
The Ultimate Destroyer Full-length, 2006
War Metal Battle Master Full-length, 2008
Evil Power Full-length, 2010
Godslayer EP, 2013

Official Site


A 3-song promo of excellent aggressive thrash metal with a sound firmly rooted in the 80's, recalling Sepultura's "Beneath The Remains".

Promo Demo, 1993

My Space


One of the most celebrated bands from the USA for the past few years, Lamb Of God offer a mixture of thrash and death metal of the modern type as both Pantera and The Haunted could be cited as an influence. There's no need to go into needless details about a band whom everyone out there knows quite well; one of the leaders of the contemporary metal scene.

"Resolution" is an edgy, abrasive affair, which captures some of the lost early Pantera flair mixing it with the band's more aggressive early approach. The riffs are traditionally squashing, but come with a certain amount of noise which kind of impedes the more directly thrashing numbers ("The Undertow"; the short thrashcorer "Cheated"). The closing "King Me" is a cool composition which mixes psychedelic doomy vibes with the guys' staple heavy riffage topped by a few quiet ambient breaks and a sparce use of keyboards here and there.

"Music from the Film "As the Palaces Burn"" is actually the soundtrack to the recently released film of the same title which revolves around the trial against the band singer Randy Blythe in the Czech Republic a few years back when he was accused of the murder of a young Czech fan. This catarthic effort is expectedly a combination of old and new compositions which mostly reflect the band's more recent career, and dramatic aggressors like "Desolation" should sprain a few neck muscles along the way. "The Faded Line" is a major shredder which marches forward with heavy sharp guitars; and "Purified" is another winner, a faster cut with some tasteful leads. After these niceties the album moves towards more expected moments, but things remain strictly on the positive side with the technical groovisms on "Ashes of the Wake", the volcanic semi-balladic doominess on "Remorse Is for the Dead", the stomping urgency of "Omerta", the progressive meanderings on the closing "Reclamation". The allusions towards the guys' album from 2003 made with the title are also reflected by a few tracks included from there, and their co-existence with the other material makes this album a really pleasant surprise for all metal circles. After all, it's a tribute to a very poignant, tragic and unforgettable moment from the band's career, and it's quite obvious that the guys have done their best to make it worthwhile.
"Sturm und Drang": the band are here again and their renewed interest in things more dynamic brings good results: the energetic jumper "Erase This"; the dramatic epicer "512"; the shredding proto-headbanger "Footprints"; the Oriental-infused progressiver "Overlord"; the semi-technical "excursion" "Anthropoid"; etc. The style isn't radically different from the guys' last two efforts, and should please their fans with their competent blend of hard-hitting and more laid-back ("Embers", "Torches") numbers.

New American Gospel Full-length, 2000
As The Palaces Burn Sampler EP, 2003
As The Palaces Burn Full-length, 2003
Pure American Metal EP, 2004
Ashes of the Wake Full-length, 2004
Killadelphia Sampler EP, 2005
Sacrament Full-length, 2006
Wrath Full-length, 2009
Resolution Full-length, 2012
Music from the Film "As the Palaces Burn" Full-Length, 2014
Sturm und Drang Full-Length, 2015

Official Site


Based on the full-length, this act plays predictable modern post-thrash which only strife for originality is the brutal death metal vocals which intercept the clean ones and will remind you of early Pyogenesis. This is melodic music which develops in a calm, often semi-balladic, fashion with good lyrical guitar interludes which are way more than the rougher hard-hitting sections (check out the groovy aggressor "Judgement") scattered around.

Apex EP, 2009
Mechanically Separated Full-length, 2012

Official Site


This is ripping old school thrash with which Italy is becoming more and more renowned recently. The tempos vary in a clever way and a few catchy melodic licks ("Code of Silence") will make your day as well as the primal thrashers like "The Fall of Titan" and "Layer" which are aptly supported by the cover version of Exodus' "Piranha". The vocals are attached and shouty and fit the intense musical picture which should be materialized on a wider, full-length scale.

To the Truth Demo, 2010

Official Site


A 4-track demo mixing doom/stoner with groovy post-thrash; this is heavy 10-ton mid-paced stuff which has its a bit faster moments ("Lost in the Night"), where the thrash metal fan may bang his head for a while. "Back to the Metal" is pure classic doom ala Saint Vitus and Pentagram, and is the best song here.

Demo Demo, 2008

Official Site


Based on "Neutralized Existence", this band plays intense classic thrash/death metal with direct riffs and brutal low-tuned growls. The sound becomes nicely chaotic and technical at times ("Minds Devourer"), but the rest is pretty straight-forward with short bombs like "From The Street" and "In The Hands Of Destruction" falling out of nowhere near the end. The closer "Extreme Violence" doesn't really deserve its "violent" title passing for most of the time in a heavy doomy tempo livened by the few blasting breaks thrown in.

Total Devastation EP, 2006
Neutralized Existence Full-length, 2009

Official Site


This is very brutal thrash/death metal which in terms of aggression could easily rival Hellwitch, but the guitars are not very technical, and the songs are quite short, some of them barely going over 2-min. Pieces like "White Widows" are pure death/grindcore, but there are moments where the guys (and a girl) slow down in a manner similar to the steam-roller sound of recent Bolt Thrower: "Muscles Crown". This is very fast and merciless music, and might startle the more traditionally-inclined thrash metal fans. The girl is the singer, and her voice is very harsh and shrieky, more along the lines of a more vicious version of Dawn Crosby (R.I.P.-Detente, Fear Of God), rather than the manly growls of Sabine Classen and Angela Kossoff.

"Rusted Eyes Awake" mixes the brutal thrash/death metal sound, already heard on the debut, with a solid doze of hardcore on the first two tracks, and consequently kind of misses the point. But then comes "Bled To Oblivion", which is a nice nod to the Swedish scene, and could pass for more aggressive At the Gates. "Xenocide" begins in a heavily-charged doom metal fashion, but later develops into a cool death/thrasher. "Heroin Swine" is furious high-speed thrash/death, and "Skin From Skull" adds more stylish guitar work without losing the intensity of the previous number. "Red Days" brings back the more hardcore-based sound from the beginning, influencing the closer "Rusted Eyes Awake", which slows down in a crushing pounding Obituary-sque manner.
"Sovereign Descent" is quite close sound-wise to its predecessor offering a fast, occasionally brutal, mix of death, thrash metal and a pinch of hardcore topped by hysterical screechy vocals which sometimes acquire a lower more tolerable tember still remaining in the "nomansland" between death and black metal. Death metal has the leading hand here, but leaves enough room for cool slower heavy moments to develop (check out the doomy closer "Rise With The Tide", or the 7-min death/sludgy fest "Steadfast Hate"). The thrash metal fan may not be too satisfied although the guitars lash with passion most of the time assisted by nice short melodic leads.
"Gallows" is a similar concoction of thrash, death and hardcore. Death metal is the prevalent style here, and is of a pretty decent quality, not really needing the sparce core breaks scattered throughout. "Dead Horses" is a forceful Bolt Thrower-esque steam-roller, but the majority of the songs are fast, recalling both Benediction and Brutality, with the battle spirit taking over once again on the excellent doomy closer "Morbidity".

Wounded Full-length, 2006
Rusted Eyes Awake Full-length, 2008
Sovereign Descent Full-length, 2010
Gallows Full-length, 2011

My Space


3 tracks of intense modern thrash with harsh death metal vocals; the guys mix faster, even classic-tinged, sections with heavy groovy ones; nothing unusual although there isn't a lack of dynamics reflected in a couple of more intense headbanging sections.

Burn EP, 2008

My Space


Based on the demo, this band offers good dynamic thrash coming as a cross between Mordred's "Fool's Game" and Onslaught's "In Search of Sanity", with sharp riffs and cool semi-technical decisions. The tempo is mid for most of the time although "Too Muchin'fuch" in the middle is a major headbanger. The singer is not bad with his semi-clean mid-ranged delivery. Reportedly on their full-length 6 years later the guys have shifted quite a bit from the retro thrash formula serving a milder brand of the 90's post-thrash with touches of stoner/doom.

Prejudiced Demo, 1989
Lankmar Full-length, 1995


There is one person involved here, the name (or alias) is Atuk, who on the self-titled debut offers simplistic old school black/thrash metal ala early Bathory spiced with the casual more carefree Motorhead-ish riff. The album develops in the same up-tempo without any "detours" topped by gruff semi-death/semi-black metal vocals with simple direct riffs with a strong noisy abrasive shade.

Lapida Full-length, 2007
Enemigos LapidaDos Full-length, 2009


The debut: a blend of modern and classic thrash with a pinch of hardcore is what's on offer here. The interesting thing is that the songs are lengthy, but there isn't much happening outside the standard formulas and riff-patterns which would inevitably start dragging at some stage ("Curse n' Death"). The fans will fall in love with the shorter cuts ("See You To Hell", "Violence Explosion") which are prime Slayer-esque headbangers starkly contrasting with the remaining, much more laid-back, material. The singer shouts his lungs out quarrelling throughout to a deafening effect.
"Ancient Evil Reborn" is another fairly intense roller-coaster reaching "Reign in Blood"-like aggression on quite a few of the cuts. "Slow and Painful", however, deserves its title being way more laid-back and slower, the only such song on this remorselsss thrash saga which this time comes with a more accentuated modern edge of the guitars.

Hate Leads Violence Full-Length, 2012
Ancient Evil Reborn Full-Length, 2016

Official Site


This band's line-up includes Eduardo Martinez: the bass player who was also a part of Panic and Leviaethan. His new band does a good job (based on the debut), by all means better than Panic, but not as impressive as Leviaethan. This is intense thrash which sounds close to mid-period Sepultura and the Exhorder debut, rather than any of the two aforementioned acts. The guys mix more aggressive up-tempo tracks ("The Life After Death") with heavy stomping ones ("The Wizard's Vision", the groovy closer "Faces"). The faster numbers dominate and some are really good headbanging riff-fests: "Domain", "Slavery", and especially the crushing Slayer-esque "Terrorism".
On "Over the Grave" the guys continue moshing out with full force, and "Cleaning The Congress" and "Prisoner Of The Past" are major headbangers thrashing with no mercy. "Human Hunt" serves as a break with its post-modern crunchy rhythm in the beginning, but later bashes out no worse than the preceding numbers. "Alone In The Crowd" may sound awkward with its doomy approach and melodic Oriental lead guitar work as well as "Home War Drug Rules" with its stoner/blue-sy riffs and nice melodic deviations. The final 3 songs are solid classic thrash with "Insane Society" again providing the odd slower breaks.

Infinite Life After Death Full-length, 2003
Over the Grave Full-length, 2008


Intense abrasive modern-ish thrash frequently bordering on crossover; not so bad also having its more retro side reflected in a couple of vigorous gallopers ("Raskas Maa"). The songs are too short for anything more serious to develop, but "Mikään Hyvä Ei Kestä Kauan" is a cool bouncy speed/thrasher, and "Mustaakin Mustempi" is a marginally more ambitious power/thrasher the scenery not greatly helped by the overshouty at times semi-hardcore vocals.

Lapin Helvetti Full-Length, 2017



The band's first demo is good classic thrash with nice clean vocals and cool guitar work, with a slight folk/pagan-flavour. Later their sound becomes heavier and acquires some modern elements (groove, etc.), and loses its appeal a bit.

Ouverture Demo, 2003
Brani Non Registrati Demo, 2003
Destino Circolare Demo, 2005
New Prologue Demo, 2006

Official Site


Intense roller-coaster old school thrash not far from the guys' compatriots Malicia; in other words, expect more complex variations ("En Guerra¡¡¡") on top of blistering speedsters like "Destruccion Masiva" and "Al Limite". The closer "Un Día Cualquiera" is a heavy pounding progressiver which loses the fast pace, but makes up with ineresting riff-patterns and a bigger sense of melody.

Traicion A La Verdad Full-Length, 2017


The self-titled demo: two Brazilian "satanists" are behind this misanthropic evilism which consists of two original tracks of relentless bashing thrash/death in a constant ultra-fast pace, and a cover of Sepultura's "Antichrist" from their debut split. This is tiring and merciless even for just a 3-piece work topped by wicked grunting death metal vocals.

Cursed God Demo, 2010
Laracna Demo, 2012



This act, whose line-up comprises just two people, indulges in right as rain retro thrash/crossover which is playful and uplifting in a way similar to Lawnmower Deth and early Broken Bones with a slightly more thrashy attitude. The singer is semi-clean and semi-angry at times, and his antics fit well into the unpretentious merry-go-round musical landscape.

Fi(r)st Fucking EP, 2012
Official Site


An interesting cross between modern and classic thrash sounding a bit like 90's Forbidden; the guys definitely have interesting ideas which would possibly develop further on a full-length release.

Insane Fiction EP, 2005

Official Site


Cool classic thrash/crossover sounding both laid-back and edgy on various occasions; the former tendency is more prevalent which is a pity since there is speed deficiency, especially in the 2nd part where the tracks get mellower and slower with sparce more modern hooks sneaking in. The singer suits the music with his hoarse semi-angry delivery even managing to sound emotional at times.

Sadistic Blessings Full-length, 2010

My Space


These Swiss underground heroes offer quite cool semi-technical classic thrash which cites both the Bay-Area and their compatriots Apocalypse excluding the several not very apt "excursions" ("Chosen One") into a more modern territory. "Walls Of Insanity" is a sure-handed complex shredder with very delectable lead sections, alternating the pace all the time; and "Day of Revenge" is an inspired galloper with more dramatic, intricate build-ups mid-way. "Outcast" is a furious headbanger which finds its match on the raging closer "Chains of War", another elaborate speedster with echoes of Paradox's "Heresy". The singer is a semi-clean shouter who doesn't sound very attractive due to the complete lack of any melodic timbre.

Last Adjustment Demo, 1992

Demo Download


One of the undisputable gems of the Canadian metal scene of the 90's; great technical/progressive thrash metal in the Anacrusis-vein (think "Manic Impressions", "Screams & Whispers"). The songs are pure gems all sounding different from each other, and memorable. So we have quite a variety here: heavy, haunting, slower tracks: "My Rebellion", magnificent speedy technical numbers: "The Answer", brilliant heavy stomping ones: "Frozen Memories", or a combination of everything: the album highlight "Messenger of Death". The guitar and bass work are outstanding: seldom can one hear such great interplay between bass and guitars. The singer may be a bit of an acquired taste with his unheralded switches between gruff sinister, also death-metalish, and nicer clean/semi-clean vocals (check out "Frozen Memories" again for a great example of the latter). Canada is famous for its classy technical metal bands and this band are probably one of the best examples of clever throught-out music from the thrash metal side.

Ashes to Ashes Full-length, 1994

Official Site


Based on the debut demo, these Irish lads offer atmospheric, less ordinary thrash with forceful death metal vocals. The approach is quite varied the guys spicing their main fast-paced delivery with the odd stomping Celtic Frost-like motif (“Trial By Fire”). Intelligent bashing can be heard on the title-track which comes close to being called technical, and “Eleventh Hour” would be quite a surprise being a full-fledged ballad for at least half the time. The closing “Aquatilis Bestia” is another milder semi-balladic cut seeing the band attempting several influences without messing it up.

Mind's Eye Demo, 1992
Tool Edit Tragic Circumstances Demo, 1992


This is modern technical thrash metal with several nods to metalcore; the approach is mid-paced descending at times to clumsy groovy patterns which contrast with the numerous melodic hooks scattered throughout.

Drowning Beneath The Sound Of Change Full-Length, 2010


This band serve passable retro power/speed/thrash ("Barrage"), but the guys don't come out with all the guns blazing although few would be those to sit still on the raging proto-deathster "Those Who Don't Fear Death" which replaces the cool clean vocals with brutal shouty death metal ones. "The Hitman" is another sure-handed headbanging "hit", and "Holodomor" is a nice quasi-progressive piece sustained in a more laid-back fashion the latter also fitting the closing semi-balladic epicer "Last Command". Some of the musicians are also busy with the heavy/thrashers Steamraiser.

Last Command Full-Length, 2017

Official Site


A modern thrash/death metal hybrid mixing fast-paced with stomping groovy parts; nothing exceptional, you've heard it all before thousands of times... although it would never be the "last day ever" for this kind of music.

The Worlds Fall Demo, 2004
Amicizia Famiglia Per Sempre Split album, 2005

Official Site


Modern thrash/death, well played, but hardly innovative or revolutionary; if you have heard the more recent works of Terror 2000 or Corporation 187, you know what to expect... When the music slows down, it comes close to mid-period Sentenced ("No Need to Believe"). "Celtic Pride" turns to more epic death metal ala Amon Amarth, and "Last Deception" is a cool semi-ballad again with a more epic shade.

A Nation Burning Fast Full-length, 2009

Official Site


Complex effective, semi-technical power/thrash; sometimes the arrangements on the longer tracks are a bit difficult to follow, but the musicianship on display is on a high level, especially the lead guitar work; will appeal to fans of Helstar, Liege Lord, Heathen. The pace nicely varies from elaborate heavy numbers, which are the longer ones (the opener "Not My World"), to impressive exercises on speed/thrash ("Traitor's Fate"). The middle song, on the other hand, belongs to neither of the aforementioned classifications being a straight power metal number: "POW 13", quite energetic and enjoyable.

One Nation Under God Full-length, 1988

Vibrations of Doom


Based on the debut demo, this band offers modern thrash/death metal rich in atmosphere and melody. The music kind of predates the more epic side of the style (Amon Amarth), but the guitars come with a bad buzz which is particularly annoying on the slower sections. The officiant epic tone is rudely interrupted with the aggressive piece "The Wisdom I Required", a cool nod to At the Gates and Dark Tranquillity done with taste. The guys later changed their name to The Quiescent, but the style remained the same. Some of the band members also practice similar stuff in Hollowtone, whereas others shift from the formula into depressive post-doom ala more recent Katatonia with P:407.
"The August Symphony" is badly marred again by the bad guitar buzz, but the tempo is faster without losing the atmosphere completely, and this time the overall approach is closer to early In Flames the main difference being the brutal low-tuned death metal vocals.

Last Funeral Demo, 1996
The August Symphony Demo, 1998
Burning Dreamworlds Demo, 2000


Playful post-thrash with an alternative edge helped by good attached clean vocals which deliver particularly well on the closing remake of Ozzy Osbourne's "No More Tears" which is well trimmed to match the laid-back proto-groovy character of the original material.

6 Feet Above The Ground Demo, 2011


The first demo is melodic power metal with slight technical tendencies with no relations to thrash whatsoever. "Grasp For Existance" hardens the course, and although the sound is not ultra-heavy, it contains enough sharp thrashy guitars to keep it floating. The music is much more technical than on the first effort, moving towards progressive power/thrash quite a bit; the tempos change all the time alternating between meaty heavy moments and complex twisted ones recalling even the Belgians Target. The lead guitar gives its fair contribution to make this work even more interesting. Although at times the music might come as too complicated for the regular thrash metal fan, and the power metal elements may dominate here and there, the good technical music played here will definitely win many in the end.

Demo Demo, 1991
Grasp For Existance Demo, 1992


Classy power/thrash metal made by the same guys who later were responsible for one of the finest old school thrash releases of the 90's: Havoc Mass' "Killing the Future", here also assisted by two future members of Chris Barnes' Six Feet Under. The music here is more melodic than the one on "Killing The Future", but is by no means less impressive; this is great stuff along the lines of early Helstar, Deadly Blessing, Liege Lord. The demo is divided into shorter faster tracks (3) and longer more technical ones (2). Both types work fine, but the longer songs offer more musicianship, as a special place has been given to the excellent leads. The singer is a find with his very powerful clean, a bit high-pitched voice, sounding like a mix between Ski (Deadly Blessing) and Michael Olivieri (Leatherwolf).

The Beginning of the End Demo, 1990


Last Rites play competent, if very typical for its time, modern thrash metal. There are attempts at a more technical play on the full-length, but not enough to make it really stand out. The pace is quite good, though, and the guitar work is frequently energetic reminiscent of Cyclone Temple and Xentirx.
The EP, despite only containing 5 songs, is a fair slab of good headbanging thrash which sounds more classic than the full-length and is overall better. It starts with the heavy semi-complex "Bleed" where the dominant riffs are from the 90's, but then the thrashing begins with the excellent "Backwards Reality" and goes on until the end with a fine string of 4 headbanging pieces.

Silverball Full-length, 1995
Bleed EP, 1997


Based on "Mind Prison", these Italians come up with an interesting blend of classic 80's thrash metal in the Metallica/Exodus-tradition and death metal. It works quite well, and it nicely stays closer to thrash with the more intense death metal parts helping the album to sound even better.
"Future World" concentrates on thrash more with death metal traced only in the vocal department. The music is a mix of speedy and heavier slower sections the latter coming quite close to doom metal ("The Last Rites") at times. The problem is that the classic appeal of the debut is replaced by more ordinary repetitive modern passages smelling groove quite a bit, and the final result is decidedly less impressive.
"Unholy Puppets" would be a pleasant surprise the band now epitomizing a more technical delivery with shades of Carcass' "Heartwork". The opener "Children Of War" is already intriguing enough to raise an eyebrow with its choppy, not very predictable, rhythms. "Humanburger" is a more technical, vivid intepretation of "Heartwork", and "Human Crashtest" is a prime brutal shredder with overt death metal tones. "The Walking Dead" is the next step up the technicality scale with the stop-and-go technique applied wisely; before "Infected Mind" reaches the top wth its immaculate display if mind-boggling technicality amidst addictive galloping riffs. "Realm Of Illusion" is a great blend of melody and technicality with a portion of blast-beats thrown in not very appropriately; and "Forgotten" is a marvellous surreal creeper with sudden more aggressive explosions. "Soul Reaper" thrashes in a more linear and more intense fashion, before the closer "God's Slave" adds another slab of hard-hitting, death metal-laced thrashing with bold echoes of Death not to mention the great melodic leads and the stylish outro. This is a very good effort which sees the guys embracing a new direction which should serve them well in the days to come.
"Nemesis" is a cool slab of metal although the stylish flourishes from the preceding opus haven't been elaborated on. The album begins with short immediate numbers some of which ("Architecture of Self-Destruction", the more melodic hyper-blaster "Ancient Spirit") go straight into death metal territory. "Fallen Brother-Glory to the Brave" complicates the environment with more complex decisions, but the more aggressive death metal-laced cannonade goes on unabated afterwards with thrash only reigning supreme on the final "Souls' Harvest" which is a nice melodic composition. A second effort in quick succession doesn't necessarily reap great results, and the guys may want to slow down a bit, and look around in order to recapture their better form.

Mind Prison Full-length, 2003
Hate EP, 2006
Future World Full-length, 2009
Unholy Puppets Full-Length, 2016
Nemesis Full-length, 2017

Official Site


Members of Bloodlust decide to form another band, and play some better music. The sound here is more aggressive, more technical, and the musicianship is definitely on a higher level. The songs are quite interesting with several tempo changes (quite fast at times) and nice technical guitars. This demo will remind you of some of the early technical acts on the American thrash metal scene: Have Mercy, Ulysses Siren, but with a more aggressive delivery.

Don't be Denied Demo, 1990


Based on "Cynic Verses", this band specializes in a melodic mixture of thrash and death metal, strictly modern, with several intriguing decisions which evolve around slower, almost doomy, patterns with creepy guitars at times reminding of later-period Death ("One Nation Under"). The lack of speed may be a detriment to some, but on the other hand those "landscapes" are very close to the ones of the Spanish technical/progressive death metal wizards Unreal Overflows ("The Plague That Never Rests"). "Teasing Of The Pigs" is a supreme technical thrash/deathster with creepy surreal riffs which get more dynamic on the dramatic jumper "Scorpio Descending". "Planet Vengeance" is an engaging progressive composition again refusing to speed up during its more than 8-min, influencing the shorter, but equally as interesting closer "Six Smiles Revolving". This is an unusual approach to the genre which is probably more death metal-based, but the proficient musicianship and the interesting ideas will grab anyone's attention.

Infect Full-length, 1995
Last Transgression Full-length, 1997
Perpetual State of Collapse Full-length, 2002
Cynic Verses Full-length, 2011

Official Site


Based on "Precision", these lads serve a more complex, nearly progressive blend of retro power and thrash which boasts a few quite admirable achievements in the epic thrash branch ("Anthem for Agony") ala Sabbat and Bifrost. The singer also contributes to the pathos-like atmosphere with his good steady clean baritone. Hard thrashing moments only come as appendages to some tracks ("Worlds Collide", "Murder Weapon") whereas the more officiant power metal ones grace the longer material ("Sect of the Unknown", "Voluntas Suprema") which still can't steal the thunder from vigorous speedsters like "Darkness Is Coming".

Incompletion Full-length, 2005
Precision Full-length, 2017

Official Site


Based on the full-length, this band play fast intense modern thrash/death ala Dew-Scented and Defleshed. Nothing revolutionary in the approach if we exclude isolated more stylish quirks ("Sub-Sequential Revelation"). The headbangers, however, will be thoroughly entertained thanks to primal ragers like "Eyes of Pestilence" and especially the 6-min of pure thrashing "madness" "Halls of Madness" which also "flirts" with the more technical for a bit near the end. Two quiet balladic instrumental occupy the middle, before "Eden Burns" the guys strike again with the Gothenburg school-worshipper "Eden Burns" and a few other more linear numbers of the fast-paced variety.

Towards Obliteration EP, 2012
Halls of Madness Full-length, 2016

Official Site


This Polish formation indulge in modern proto-thrash mixed with more dynamic hardcore-ish moments. The approach isn't very intense and some playful rhythms can be caught among the staple heavy riffage with echoes of both Biohazard and even Rage Against the Machine. The singer is cool with his dramatic semi-clean voice which is not a "stranger" to the odd melodic line. This is merry unpretentious music most likely intended as a pastime for the guys in-between their full-time jobs.

Too Late? Full-Length, 1999


Based on "In Decline", this act provide intense modern thrash/death which goes with the flow provided by acts like Carnal Forge and Corporation 1987; so expect several nods to the Gothenburg school in league with a few epic, more melodic "excursions" (the title-track). "Won't Be A Victim" and "We All Fall" lash fiery steel riffs from here to eternity, and this is what the listener will come across for most of the time.

Last 9 Days, EP 2014
In Decline Full-length, 2017

Official Site


Cool aggressive thrash metal in the vein of Slayer and the Brazilians Atomica (the similarities with this band are also in the vocal department); the production of both demos is very good, and could have easily secured these guys a several-album deal if having been released a few years earlier.

Skazani Na Zaglade Demo, 1990
Darkness in Eden Demo, 1992


The demo opens with the ambitious modern progressive thrasher "Misantropia", which is a compelling mixture of tempos and moods, before the guys concentrate on straight-ahead thrashing, more on the modern side on the following "Palido Como La Muerte" which also comes nicely technical ("Poisonus Dew") in a pleasant Quo Vadis (Canada)-like way. The only obstacle would be the not very audible hysterical screechy vocals which could be much more suitable for some extreme black metal act.

Misantropia Demo, 2008


Based on "Storm In Mind", this is dark doom-y thrash with a certain gothic shade. If you can imagine a more thrashy version of the Swedes Katatonia, but without the melancholic guitar tone of the latter, you would probably have a fairly good idea how these guys sound. There is also a ballad ("Down"), and a rock-ish joke song ("For Soulitary").

...In Unisono... Full-length, 1999
Storm In Mind Full-length, 2003

Official Site


This band is a kind of a continuation of Stone; it was formed by the latter's guitarist Roope Latvala. This is an instrumental album which is probably a tad heavier than the last Stone album, but on the other hand it doesn't contain many heavy, meaty riffs which were the band's trade mark on the earlier releases. The sound is melodic, but technical thrash with good riffs and solos. The tempo is calm, mid-paced with variations both in the slower and faster spectre; worth hearing, and not only by the Stone fanbase.

Latvala Bros Plays Wooden Eye Full-length, 1994

My Space


One of the finest Spanish thrash metal bands of the 90's (mostly citing the debut); fans of Paradox, Angel Dust and even early Helloween, beware! The guys play with conviction and force, with sharp riffs producing nice speedy killers ("Ze Ingo Xu?", the furious aggressor "Mezua Hil Aurretik", the brilliant up-tempo instrumental "Indarra"), but the slower heavy numbers are also quite good ("Torturaren Artea", which is graced by a fine Oriental tune; "Mamuak Baztertu"). "Laztana" is a good heavy ballad, where the melodic, clean vocals display their talents best.
The second album is a letdown: it has not much to do with the brisk thrashy style of its predecessor. It's much more melodic, modern-sounding and groovy, still containing more intense thrashy moments ("Mila Esker", "Ohituren Menpe", "Nola Azaldu"), but they come with more retouched guitars and groovy breaks. Another good semi-ballad comes near the end: "Gor".
The demo is a cool beginning for the band who speed/thrash with gusto and a lot of melody helped by the very good sound quality. At this early stage the style is more on the speed/power metal side, but the riffs cut more than now and then the guys mixing the tempos on each song creating a lot of dynamics. The songs are lengthy (5-7min) with the heavy rhythm-section providing the volcanic effect this effort may have due to the expressive boosted guitar sound which only disappoints on the lead sections where the guitars sound a bit thin.

Heriotzari Deika Demo, 1995
Kontzientzia ala Infernua Full-length, 1997
Ardi Larruz Full-length, 1998

My Space


This band was founded by members of Heathen and Defiance. Based on the 3-track demo, this is cool up-tempo thrash similar to 80's Metallica or Defiance, but with shorter songs, and more simplistic with catchy headbanging riffs. All the songs are in the same energetic pace; "Mad Man Clash" introduces more technical guitars, but there's no room for this to develop further.

Demo 1990 Demo, 1990
Walk On EP, 1996


Based on the first two albums: a good thrash/crossover band who sound like a mixture of D.R.I. and Tankard. This is good music, fast and intense, with a very catchy, playful character, but coming with sharp meaty riffs. It thrashes hard sounding closer to Tankard, rather than D.R.I. on a bigger number of the songs, but it has its light crossover spirit ("Manipulations") as well as the more aggressive, Slayer-esque moments ("Lies").

GLAsshouse Fools Full-length, 1989
To Protect And To Serve Full-length, 1992
Yes It Hurts Full-length, 1996


Based on the "Blood Soaked Earth" demo, these guys serve not bad modern/classic thrash with overexpressive shouty death-ish vocals. The music is varied without being too intricate even adding a few more brutal death metal ("Why?") touches. The raw energy from the beginning gets lost partially later on the volcanic seismic riffage taking over on at least half the tracks including on the closing trio which livens up here and there with the causal more intense guitar hook. The band would hardly reach the official release stage soon because of the band members' numerous other involvements: with the Tim "Ripper" Owens' project Beyond Fear, the death metallers Odious Sanction, the thrash/death metal outfit Stresslord, etc.

Through Hate's Eyes Demo, 2007
Blood Soaked Earth Demo, 2008

My Space


Quite cool all-instrumental modern thrashism with elements of djent and death metal which make the musical landscape pleasantly dynamic ("Devourment Of A Star"). The leads are great with a nice melodic touch, and the virtuosity at times reaches Shrapnel-like heights. There are times when the approach is a tad calmer ("Occam's Razor") and more elaborate, but expect wild hard-hitting shreds on short rippers like "Psychometry" and the dramatic proto-deathster "Galvanize". "Misery Locus" is progressive instrumental thrash brought to its most hallucinogenic with surreal riffage alternating with abstract meditative sweeps; and "Obliterate" blasts its way through with chaotic brutal sections taking turns with jazzy passages ala Spastik Ink. There's a really high level of musicianship to be enjoyed here, and the listener will never encounter a moment of boredom here with the constant change of rhythms and riff-patterns.

Tyrants Full-Length, 2011


This trio play modern semi-technical thrash/proto-death on a heavy crushing rhythm-section which is cleverly executed with a certain headbanging potential as evident on the dramatic shredder "Stone Prison". "Eyes Opened" is more on the abstract progressive side and is by all means an "eye opener" with its clever, twisted arrangements the latter serving doom metal more on the next "Woebegone". Then comes the most pleasant surprise: the 12-min closer "Snakebeard" which is a standout progressive thrasher never losing its dynamic character for a split second, a truly admirable achievement which alone makes this album well worth hearing. The singer has a shouty deathy voice which doesn't impede the proceedings too much.

Of Pure Energy and Light Full-Length, 2013

Official Site


A good crossover/thrash band, gifted with a huge doze of humour, expressed mostly in the lyrics; the music varies from hard-hitting thrash to uplifting punk, to other elements which are hard to pin down. There are loads of original ideas here, like the choice to make a cover version of Kim Wilde's hit "Kids In America"; an enjoyable band whose non-standard approach to song-writing will keep the listener entertained for most of the time.

The debut comes a bit late on the scene when the major thrash/crossover purveyors had moved on more or less successfully (Nuclear Assault messed it up on "Out of Order", D.R.I. and Suicidal Tendencies were getting thrashier, and Prong took the avantgarde path with "Beg to Differ"). The opening "Spook Perv Happenings In The Snooker Hall" may literally scare you with its furious super-fast riffs, and later on there's not much relief offered since the guys seldom let the speed go down with the shorter tracks blasting out in an uncontrolled grindcore fashion. Still, there will be no one unable to recognize the energetic cover of Motorhead's "Motorhead" near the end; but there will be hardly anyone to get the other cover version included: the fast crossover take on Kim Wilde's "Kids in America".

"The Return Of The Fabulous Metal Bozo Clowns" again starts unpredictably with the more serious, even technical hectic thrasher "The Return Of The Fabulous Metal Bozo Clown", but soon the staple playful atmosphere is established getting lost on the clumsy funky "Feetcleaner", the extreme thrasher "Urban Surfer 125", and the heavy doom-laden "King Of The Pharaohs".

"Billy" is merry unpretentious crossover with very few shades of thrash metal, uplifting soft punk-ish music which may have been an influence on the wave of proto-punk acts which sprung up very soon after this album's release (Green Day, Green Jelly, The Offspting, etc.). The band's "biggest" hit "Kids in America" is here again, a little updated although again it would be a difficult task for anyone to see the Kim Wilde song there. The new cover here is Jimmy Hendrix's "Purple Haze" which is delivered in a not very respectful manner lasting for a bit more than 1-min.

Ooh Crikey! It's Lawnmower Deth! Full-length, 1990
The Return Of The Fabulous Metal Bozo Clowns Full-length, 1992
Billy Full-length, 1993

Official Site


The band's debut is excellent thrash in the early Testament-vein. It starts thrashing from the very beginning with the fast "Go It Blind" which is the shortest and the most immediate number on the album. Later on the songs become longer and more technical; there isn't much speed anymore and the tracks are sometimes jumpy and choppy ("Faces"), sometimes even with a shade of power metal ("Dumb Millions"), sometimes with a more modern, groovy sound ("Lowbrow"), but always enjoyable.
"Spirits & Souls" has a heavier, thicker sound with a decidedly modern edge and although it isn't as good as the debut, it's not completely bad; there are still faster thrashers included, but most of the time the music doesn't leave the mid-paced range also featuring heavy-handed attempts at a more varied play: stoner/doom borrowings, funky sections, overlong atmospheric moments, etc. The band disappeared soon after.

Let Us Not Talk Falsely Full-length, 1991
Spirits & Souls Full-length, 1992


Based on the debut demo, this obscure Ukrainian trio offers heavy abrasive proto-90's thrash with still remaining touches of the 80's school present. The approach easily borders on doom on the more leaden passages ("Legion") the latter ably assisted by the brutal low-tuned vocals. "Satan Smile" is a nice attempt at technical pounding thrash, jumpy and dynamic.

The "Heaven and Hell" demo is in a similar vein sounding even noisier both in the vocal and the music department. This is strongly industrialized stuff which is still dynamic and thrashy, but clings more towards the works of acts like mid-period Front Line Assembly and Fetish 69. "Lazaret is Dead" is a nice catchy attempt at industrial thrash which succeeds thanks to its merry rhythms and edgy guitars. Some cool bassisms and funky tunes can be caught on "S.O.D.", and generally the band try to entertain themselves in a more carefree manner despite the heavy character of the music.

Heaven and Hell Demo, 1993
Satan Smile Demo, 1994


The debut: very good classic thrash metal with an "updated" modern production, close to the works of Exodus from the new millennium, the last Onslaught album and especially Nasty Savage's "Psycho, Psycho" in the heavier parts, as well as in the vocal department. More melodic power metal guitar lines could be caught ("Last Breath"), as well as the majority of the leads (which are great, by the way, with a Shrapnel flavour), but they offer a nice deviation from the otherwise hard-hitting pattern. This is a major headbanging stuff, although the band never speed too much, with the sole exception of a few blast-beats on "Forged in Blood"; an impressive debut which will definitely grace a few top tens for 2007. The band were previously known as just Lazarus, but added AD to avoid legal issues with acts using the same name before them.
"Black Rivers Flow" is an inferior offering now sounding pretty modern adding proto-hardcore/crossover touches here and there ("Casting Forward") where the Pro-Pain influence is more than evident. At their best the guys come close to more recent Annihilator ("Light a City (Up in Smoke)"), but expect "flirtations" with stoner/doom ("Beneath the Waves of Hatred"), and even death metal on the very cool closer "Eternal Vengeance" which is a fine steam-roller overshadowing everything at the end with its heavy crushing rhythm and the mighty doomy exit. Alas, it can hardly compensate for the bland unimaginative material offered earlier which could easily pass for one of the more disappointing releases of 2011.

The Onslaught Full-length, 2007
Black Rivers Flow Full-length, 2011

Official Site


Based on "Penetrator", this act specialize in choppy semi-progressive modern thrash/death which can be quite bursting at the seems the Death-worship "Last Dance"), and also virtuoso-influenced: the great lead pyrotechnics on "Don Benefactor (Death Is An Adviser)"; the brilliant instrumental ballad "Elegy", a one-of-a-kind musical experience. Stylish creepy technicality settles on the short "Useless", and on the other extreme we have the 13-min closer "Disangelist" which is by all means a good piece, it's just that one will be losing the plot more than just once, including on the nod to Death near the end taken from "Spiritual Healing", also wondering at the many influences displayed here without a coherent thought put behind them to stitch them together. Some of the musicians can also be seen in the death/thrash formation Izverg.

Iron Balls Full-length, 1992
Omen Full-length, 1995
For Thine Is the Kingdome Full-length, 1999
Penetrator Full-length, 2002

Official Site


One of the pioneers, but not leaders (one album only doesn't make you a leader, does it?), of the speed/thrash metal movement in Holland, along with Mandator and Pestilence. The album begins in a more controlled fashion with the mid to up-tempo "The Hunters", but the short "Fire" opens the "Pandora's box" of speed although some of it has been taken a bit, on the galloping "Eye Of Tomorrow" and "Wastelands". "Out Of Control" is mighty speed/thrash ala Angel Dust with clever semi-technical guitar hooks, followed by the less intense "Killer" which nicely continues the technical moments. "Ride On The Wind" races with the wind being very good speed metal ala early Helloween; check out the Oriental motif in the middle. Despite the "steely" title "Wings Of Steel" is the ballad here, quite a good one, cancelled by the shorter, but much faster speed/thrashing instrumental "Neckbreaker". "Shoot To Kill" is a worthy closer, quite fast and energetic, with nice leads (which are on a fairly high level the whole time) and a good chorus. Yes, indeed, the guys looked really well-equiped to become "leaders"... but that's all we heard from them.

Out In The Wasteland Full-length, 1988

Fan Site


3 songs of heavily "leaking" stoner-y post-thrash with nods to late-90's Metallica; heavy riffs aplenty will one find here as well as good semi-clean mid-ranged vocals, plus one surprising faster technical break on "Face the Day".

L.S.D. Demo, 2007

My Space


Based on the "The Midnight Comedy" demo: this band offer a diverse mix of classic thrash (the short intro "Killing Charm" and the intense headbanger at the end "To Oppose"), the groovy modern 90's sound ("Razor Of God"), and one very tender acoustic ballad ("Emerald").

The Midnight Comedy Demo, 2007
Creeping Death Demo, 2007
Garden of Evil EP, 2008

My Space


This EP shows a band who tread the path of classic power/thrash providing both more energetic and more sleepy tracks along the way the guitars being of a characteristic choppy, crunchy nature which works well on both approaches. More proficient execution can be noticed on the longer "Leatherhead" which is an entertaining speed/thrasher with nice catchy tunes. The same delivery gets repeated on the final "Without Hope" which is a wilder thrasher with a nice balladic interlude. The singer shouts in an attached manner recalling Dan Beehler (Exciter), maybe a tad lower-pitched.

Leatherfaces EP, 2011

My Space


Based on "Chains of Redemption", this act pull out modernly-laced retro thrash which pours sharp riffs galore recalling the more recent exploits of both Kreator and Destruction including the former's recent penchant for more atmospheric laid-back cuts ("Chains"). Still, when the guys thrash they hold no prisoners: check out "The New Great Game" and "Devil's Room", headbanging "bombs" of nuclear proportions. The vocals are moderately shouty with a convincing semi-clean blend recalling Charlie Steinhauer (Paradox).
"The Arrival" is decidedly the better effort; it has a more urgent headbanging feel and the paradox influence is way more evident resulting in effective progressive thrashers. "Reason To Kill" and "The Son" are examples of more immediate less elaborate shredding, but "Unit 731" is a ripping display of more engaging, still pretty vigorous, performance. "Plague" is a sudden switch to more brutal proto-deathy bash, but this also leads to more technical riffs: check out "World Betrayer" and the closing title-track.

The Arrival Full-length, 2013
Chains of Redemption Full-length, 2015



These lads were previously known as Macabre with one demo released ("Masquerade in Darkness") in 1988. The style here is similar, intense semi-technical thrash with choppy heavy riffs as illustrated on the title-track. There's no reliance on speed too much, and "Diseased" is a moderately edgy stomper with nice dynamic guitars, stylish leads and a great semi-gallopng exit. "A New Dimension" reverts back to the seismic steam-roller approach the more technical riffage aptly supplementing the more melodic configurations before "Journey of Fears" notches up the drama with the final portion of intricate heavy guitarisms nearly reaching progressive dimensions towards the end. The vocals are rough death metal-ish, and work well with the dark brooding musical scenery.

The Terminal Suffer Demo, 1992


The demo: this is first-rate technical thrash/death metal; the singer uses a very deep death metal growl, but the music is top-notch sounding like a cross between later-period Death and the Swedes Agretator (and also their more famous continuation Darkane). At times the band adhere to a more brutal playing ala Suffocation ("Exceed The Feeling Of Nothing"), but these moments aren't that frequent. Traditionally Holland has always been a hot place for technical metal acts, and Led Astray seem perfectly acceptable to lead the scene through the new millennium. Some of the band members are also involved with the progressive black/death metal outfit Deleterious (which was initially started as a two-man project called INRI with a style more deeply rooted in black metal).
The full-length: it was high time for something new since surely the majority of those who were pleasantly surprised by the high quality of the music on the demo, must have forgotten about the band. Fortunately, in "ways unforeseen", the full-length is finally a fact. The style is a faithful continuation of the one already heard on the demo, but the concentration is clearly on death metal. Still the musicianship is top-notch, so noone will be left indifferent although the constant super-fast sections might get on the nerves a bit. The songs are technical, mostly up-tempo with the aforementioned very fast moments present on every one of them. The shorter tracks seem to work better being tightly performed technical affairs with a wide gamut of riffs and changes covered within a short time ("Re-Connect", "Moral Perception"). The overall approach here is even closer to Suffocation with the same brutal low-tuned vocal delivery. Near the end the guys cut themselves some slack switching onto more direct melodic Swedish death metal ("Earth Tones"), but make themselves sure that the closer is a less ordinary affair: "Time For All To See", a technical melodic death metal feast at its best. The thrash metal fans may feel betrayed here considering that the demo was more thrash-fixated, but the swirling complex nature of the songs will keep them hooked, or at least those who prefer to deepen in their music.

Denying The Inevitable Demo, 2005
In Ways Unforeseen Full-Length, 2009

My Space


Based on the debut: an ordinary modern thrash metal offering with the obligatory alternation between faster and slower tracks the former not bad, actually, often moshing with fury ala At the Gates and early The Haunted ("Portrait of Evil"); the vigorous speedster "Speed Junkie" which reaches a hardcore intensity. Still, the slower material dominates which combined with the unimaginative shouty vocals will hardly make many heads turn nowadays, and even back in the 90's.
The "Sent To Burn" EP provides very similar music with several more impressive entries: the energetic headbanger "American Marquis De Sade", the steam-rolling "avalanche" "Architect Of Doom", the crossover mosher at the end "Bloodrott".
"Bane of Existence" bears no surprises the band now adding a healthy doze of Gothenburg-styled melo-death, the final result having an bigger generic feel than before as the more monolithic thrash-clad nature of the debut isn't as prominently featured, dissipated by too many melodic embellishments, those on the shorter more laid-back material ("Better off Dead", "Epic") having a cool epic Amon Amarth-esque flavour.

Led to the Grave Full-length, 2008
Sent To Burn EP, 2010
Bane of Existence Full-length, 2017

Official Site


Quite good intense technical thrash, all instrumental, with strong riffs and a few meandering sections. "The Raging Demon" is appropriately "raging" and wild with razor-sharp guitars which become quite dramatic and jumpy on the following "Demon Armageddon" the latter also graced by some interesting twisted leads. "Ashura Senku" is a brutal chaotic shredder which grows into the excellent virrtuoso piece "Ansatsuken" where some doom-laden groove tears the silence in the middle. The remaining tracks are a vehicle for the guy to show his expert pyrotechnics comprising quite a bit of twiddling without too many aggressive cuts, but as a whole this recording should please the fans with its never-ending supply of hard-hitting spiral-like decisions without too many musical exaggerations.

Messatsu EP, 2014


This is so old school-sounding that one may want to double check the year of release. The modern production betrays it, though, as well as the musicians' skills all of them having done service in good thrash metal acts past and present (Rosicrucian/Slapdash, Carnal Forge, Inrage, Lost Souls, etc.). Don't expect any technical moments along the lines of the Rosicrucian efforts, neither any more aggressive death-laced shreds ala Carnal Forge; but at the same time don't shrink expecting to hear some bland uninspired post-thrash akin to Slapdash or Lost Souls. This is speed/thrash right as rain with a Bay-Area flavour, but also having something from the more recent Squealer works alternating fast and slow songs on a cutting riff background supported by inspired lead guitar work which really shines on the shorter numbers near the end. This is a decent entry into the voluminous thrash metal catalogue of recent years, but not much more can be said about it; it seems as though the guys have more up their sleeves which should materialize later in a more appetizing form.

Cyanide Christ Full-Length, 2013

Official Site


Based on a few songs (from the debut) this could be considered speed/thrash metal of the old school which is played by just two people; there is a touch of crossover in the approach, but at the same time some compositions are quite interesting offering stylish balladic decorations ("I Am The Raptor"); the problem is that the rest of the music comes too simplistic and straight for such attempts. "Cenozoic Death Waltz" is a nice ballad influenced by the preceding song, but the speed/thrash metal assault returns with full force on "Pig Scrapings". Unfortunately, later the guys completely drop the ball experimenting to the bone with light crossover tracks and very long boring ballads with no traces of thrash at all (the 10-min frustration "Leeches Of Lore", which very undeservedly carries the band name (or maybe deservedly?). Near the end things get much worse with some country involved, too, among the other crap. As a whole this is a big mish-mash which will mislead you in the beginning that this would be a full-on thrash affair, but the illusion doesn't last for long. Skip it if you can...

"Attack the Future" is another frustrating effort, pretty clumsy stuff with long boring compositions clinging more towards the ballad and doom with a couple of shorter tracks carrying the more immediate crossover spirit, with only the closer "Mountain Candy Rape" switching onto more intense headbanging thrash for a while. This is quite an embarrassment, from a thrash-metal-point-of-view, apparently seeing the guys looking at other music genres for inspiration, for better or worse.

Leeches of Lore EP, 2008
Leeches Of Lore Full-length, 2009
Attack the Future Full-Length, 2011

My Space


This is the only Leeway album which is of interest to the thrash metal fans. The band play heads-down classic thrash here with very few crossover/hardcore elements. The singer has a very clean style which distinguishes Leeway from the pack of shouted hardcore vocals typical for the NYHC (New York Hard Core) scene where the band come from. The opener "Rise and Fall" comes with a great energetic pace which remains for the rest of the time. Shades of crossover spring up, of course, in the form of shorter tracks near the end ("Marathon", "Self-defense"), and a really cool moment is the smashing galloping speed/thrasher in the Attacker/Helstar vein "Tools of War" which at some stage goes straight for the throat with direct headbanging riffs for a while. This is a very good album compared to their later ventures which "flirt" with many different styles away from the thrash metal spectre.
"Desperate Measures" still holds on to some thrashy patterns, but the band have obviously moved on although "All About Dope" tells a different story with its sprightly speedy "skirmishes" which get nicely translated on the short lively headbanger "Soft Way Out". "Stand For" is a fascinating combination of melodic progressive and hard-hitting riffs, a frolic optimistic cut "infecting" a string of pieces after it which lose the thrash metal idea until the arival of the explosive "Ball Hugger", the guys also preserving some energy for the diverse clsoer "The Future (Ain't What It Used to Be)", a somewhat downbeat, atmospheric finale to this entertaining roller-coaster.

Born to Expire Full-length, 1987
Desperate Measures Full-Length, 1991

My Space


Based on "Last Breath", this act indulges in heavy modern thrash which gets nicely brutal ("Ain't Part Of It") on occasion producing the wonderful melo-death/thrasher "263". The rest is more conventional sitting somewhere between early The Haunted and Maze of Torment, with a more frequent adherence to the thundering mid-paced rhythm-section.
"Oath" is more moderate the mid-tempo riffage dominating the scene to the poin tof annoyance since there's no temptation at a faster play excluding the slightly more urgent shreds on "Minds Of Horror". The rest is dark brooding stuff with repetitive, not very exciting riffage which leads nowhere but tro the doomy abrasive closer "Virus".

Frente Al Fin Full-length, 2008
Last Breath Full-length, 2011
Unbalance EP, 2014
Oath Full-length, 2015

Official Site


This is indeed a "metallic assault", a pure speed metal attack in the best tradition of early Angel Dust, Warrant (Germany), and Pile Driver's "Stay Ugly", often going beyond those acts in terms of speed. The guys mosh on full-throttle from the get-go mixing sharp and melodic riffs topped up by shrieky, but suitable, melodic vocals. This is an impressive dedication to speed also bringing them closer to other veterans from the German scene: Not Fragile, as well as the Finns Solitaire. The fast pace reaches its climax on the raging thrashing madness "Witchhammer" which also has a shade of black, and the speed/thrashing fury "Seek, Destroy" which has very little to do with the Metallica hit of the same title. Finally something slower, mid-tempo comes on the nod to the 90's power/speed metal scene "Sentence of Death", before the final "Thrashing Fast and Loud" smashes everything with its steel fast riffage, "thrashing fast and loud". This is a promising debut of classic metal which will bang a lot of heads in the days to come, and puts them head and shoulders before their compatriots Revenge who operate in the same field music-wise, maybe more power/speed metal-based.
"Full Scale Invasion" is indeed a "full scale invasion" with the speed/thrash metal raised sky high with a bigger adherence to purer speed metal this time "courting" along the way old-timers like Exciter, Helloween, Not Fragile again, Warrant, etc. The final "Evil Will Return" is a hyper-speed rocket which will catapult you to another dimension with ease: truly one of the fastest cuts to grace these ears recently. The singer now sounds a bit thin and more screamy almost to the point of hysteria at times which is still fitting to the very speedy musical delivery, in a way not too far removed form Dan Beehler (Exciter).

Metallic Assault Full-length, 2009
Full Scale Invasion Full-Length, 2013

My Space


This is cool retro power/thrash which is rich in soaring melodies the latter not exactly matched by the good, but not exceptional mid-ranged, clean vocals. "Embers Fall" is an intense speedster which stirs the blood in a major way, but the band's infatuation with the longer progressive structures increases the dramatism, and lessens the speed on the subsequent material leading the the semi-ballad "Empty Tears" and the complex mid-paced closer "The Howling".

Legacy Full-Length, 2014

Official Site


Based on "Last Man Standing", this band play catchy playful post-thrash with references to early/mid-period Pro-Pain only that the approach here is strictly mid-paced (excluding the fast break on the title-track), but still would be by all means appealing to the modern crowd. The guitars have enough edge, and the memorable nature of the riff-patterns and the choruses would make this effort stick in your mind easily, but without the throaty angry semi-death metal vocals which, albeit suitable for the style, are hardly the most attractive asset.

The self-titled debut is a more aggressive offering the guys shredding with more passion although the more radio-friendly character of the following album is already here, albeit just hinted at. The riff-section is quite heavy and hard the guys steam-rolling forward on full-throttle in a steady mid-tempo adding the odd faster cut ("Pay the Price") for flavour as well as the casual shade of melody ("Damage Control"). The rough deathy vocal delivery is interrupted on "Lucid Screams" and elsewhere with not bad cleaner vocals which also spring up on the final "Beginning" (no, this is actually "the end") which is longer and slower with semi-balladic touches and more intriguing screamy lead sections.

Legacy of Disorder Full-length, 2008
Last Man Standing Full-length, 2012

Official Site


Based on the full-length, this outfit indulge in varied modern thrash which mixes heavy grooves with energetic headbanging rhythms, occasionally touching the Gothenburg school ("Tudo a Perder") on the more aggressive material which nicely supports the purer thrashers like "Frieza no Olhar" and "Vozes". The singer is a harsh shouty death metaller who occupies quite a bit of space, also creating quite a bit of noise when in action.

Greta EP, 2016
I.N.V.E.R.S.O Full-length, 2017

Official Site


The demo: decently produced classic thrash/crossover with lashing riffs and a bit low semi-death metal vocals. The band "flirt" with modern proto-groove at times ("Believe In Me"), but joys like the hardcore-ish shorter "Chainsaw Disciple" and two covers at the end: Nuclear Assault's "Critical Mass" done quite well preserving the angry mid-paced dramatism of the original; and Slayer's "Postmortem" done a bit slower with more expressive and heavier guitar work, would by all means satisfy the thrash metal fanbase who will also appreciate the fairly clear sound quality.
The full-length is in a similar to the demo vein the guys relying on the more friendly thrash/crossover tunes to pull it through although blasting ragers like "Chemtrails" tell a different story for a while, and even some more serious musicianship ("The Coven"; the heavy marcher "Fate For Us All") springs up at times. "FistFuck The Police" near the end is a pure punk joy, and the closing "Art Of War" is a very cool galloper with some tasteful leads which is actually a re-recorded version of an old song of theirs.

To Kill Or Not To Kill Demo, 2012
The Murder Diaries Full-Length, 2014

Official Site


Along with Killem and Angelus Apatrida, Legen Beltza put Spanish thrash metal back on the metal map with a full force. The debut is not bad, but the thin production chokes the guitar work considerably. It offers mid to up-tempo thrash of the more melodic type, with ballads and power/speed metal numbers present, sounding very close to some Argentinian acts- Hermetica, Horcas. A mixed bag as a whole, showing the band not certain which path to follow.

"Insanity" is a much better effort providing good technical thrash with all the previous influences swept away leaving room for great sharp riffs. More speed metal-based tracks are still around ("Insanity"), but they sound much more convincing than before. "Dying" is another non-thrashy number being slower with a shade of gothic. The rest is non-stop thrash fest with some striking technical thrash pieces (Klaustrofobia", "Only Human") present.

"Dimension Of Pain" is somewhat disappointing, abandoning the short technical aggressive song-structures, going into the other direction with long, elaborate numbers bordering on progressive metal. Fortunately, several tracks of the old style are still present to save the day ("Cannibalistic Revolution, "Fucking Dawn of the Dead"). Some very awkward, heavy-handed attempts at mixing melodic heavy/power metal passages with brutal death metal blast-beats, make things even worse ("Calling the Black Storm", "When the Moon Falls"). Their ambition goes over the top with the 2-part "War Of Wars"- one 7.5, the other 9.5 min. which are an even bigger mish-mash. Apparently the guys wanted to impress the fans with this wild mixture of many contrasting styles, but when sticking to a more simplistic musical approach they have done a much much better job.

"Need To Suffer" is a true revelation, after the unfocused scattered predecessor wasting no time to prove its worth with the excellent, both technical and intense, opener "Vaporized", sharing some of the calm flamboyance of late-period Death. "Deathpidemic" is another no-brainer bringing the Bay-Area to Europe with a more technical twist, and "Midnight Meat Train" follows the same path being both longer and more technical. "Adan’s Children" is a standout vigorous technical thrasher, a symphony of steel precise riffs, also holding a lot of melodic surprises along the way. "Suicide" is an outburst of speed, a short brutal piece with contrasting melodic leads. "Church Burning" is the most conventional song here, direct up-tempo thrash without any gimmicks, but "Death Control" is already more intricate thrashing hard as well. Then comes a final string of 3 slower mid-paced stompers which abandon the speedy patterns, replacing it with a fine mixture of heavy and melodic guitars. Well, the guys are back on track with a vengeance, and hopefully this status quo will stay around for a while...

Istorio Triste Bat Full-length, 2001
Insanity Full-length, 2003
Dimension Of Pain Full-length, 2006
Need To Suffer Full-length, 2010

My Space


Fierce intense thrash/death metal which wins more points from the intense shouty render behind the mike; quite a few paced are covered within one song structure, and the guys even attempt something stylish and more technical ("Alteration"), not to mention the imposing baroque symphonic, doom-laden piece "Embedded".

Embedded in Darkness EP, 1999


Based on "Black Underground", this band pulls out an uneven blend of classic and modern thrash metal which has its moments, but is often a hit-and-miss affair with the modern elements suddenly interrupting a cool classic one. At one point the classic ones stop trying to take the upper hand, and towards the middle the sound becomes firmly modern mixing more aggressive sections ala Pantera with jumpier softer ones in the vein of Helmet and Biohazard.

Legion Live Live album, 1997
Marfa Full-length, 1999
Black Underground Full-length, 2009

Official Site


The Russian veterans had really spaced out on their first official release to come up with one of the most original tributes to the progressive metal fodder to ever come out of Russia. The delivery is decidedly more aggressive than the one from their early exploits staying quite close to thrash for a large portion of the time, the band weaving something worthy of Mekong Delta, Coroner and Target. The title-track alone is a sure masterpiece of twisted doomy rhythms recalling none other than Demilich's "Nespithe". "Hold On" is a bizarre contrasting blend of fast-paced and quiet serene passages, and "Keep Yur faih" is another doom-laden thrasher with lashing technical guitars which is followed from letfovers from the guys' previous feats: the short lyrical instrumental "Hot Blood", and the epic banner "waver" "Banners Higher". "Mistery" is a standout progressive thrasher ala Mekong Delta with surreal funky/jazzy stretches the avant-garde atmosphere greatly enhanced by the very high-strung, thin clean vocals which to some may sound plain unrehearsed, but to these ears they are a really fine addition to the outlandish atmosphere. "Fire" is an amalgam of styles and influences, a concoction on which acts like Unexpect, Ram-Zet, and Maudlin of the Well later built entire discographies; and "Stay Alone" brings back the thrash with harder, more aggressive riffs, authoritative quirky bass implements, and mote brutal death metal-ish strokes. The final "Priority in Battle" is a supreme psychedelic, spacey progressive thrashterpiece crossing Voivod with Mekong Delta again, a speedy lively composition with an even more intense weird finale.
A great job done seeing the pioneers of all things metal on Russian soil equally as able in pulling off every nuance of the metal field, putting to shame half the pleiad of practitioners at the time. And not only but the 4-track demo that followed the same year contained a material of the same high, much less ordinary quality, probably unreleased cuts from the recording sessions of the full-length. "Looks Strangely Different" isn't different at all from the other songs being a superb progressive thrash number with illogical time-signatures galore and sudden time and tempo shifts creating dizziness. The vocal performance is better, and the guitar work is more hectic and a tad more aggressive as evident from "In Fire", awesome technical thrash/death ala Atheist which is also flawlessly exercised by the following "Gods Direct Us", another more death metal-ish piece. "So Die" is a jumpy nervy semi-ballad with innovative technical arrangements with echoes of Confessor, a more than worthy epitaph to this brilliant short effort.
Unfortunately, the band never managed to achieve the same level of creativity reverting back to their familiar heavy/power metal style which they have been exercising for over 30 years now. The period from their career reviewed here remains the highest point of their endeavours, and one of the peaks of the whole Russian metal arena.

Knights of Cross Full-length, 1994
Second Creation Demo, 1994

Official Site


Often viewed as the finest Spanish thrash metal band, Legion enjoyed a short, but impressive career. Their first two works are fine pieces of semi-technical thrash close to the Germans Accuser, touching even Toxik's "World Circus" on the faster, and better material (mostly the debut) including a funny cover of Queen's "We Will Rock You". The guys had the penchant for inserting some jolly, punk-ish joke songs ("Mili KK" from the debut), but this was a popular trend among the thrash metal bands from those times. "Labyrinth Of Problems" is a bit more melodic with a slightly modernized sound, but is another commendable release.

Lethal Liberty Full-length, 1989
Por la Cara EP, 1990
Mind Training Full-length, 1990
Labyrinth of Problems Full-length, 1992

Vibrations of Doom


A good demo of speed/thrash metal which surprisingly sounds very close to early Destruction, especially in the guitar department. The music is fast with good catchy semi-technical riffs, and slightly undeveloped hardcore-ish vocals which at times try to scream the way Tom Araya used to do it in the beginning (remember "Black Magic"). The bad sound quality can't conceal the fact that these guys definitely possessed the necessary talent to compete with the biggest names on the scene if fate had given them a chance.

Jump Into The Slampit Demo, 1985


Based on the full-length, this act offer pretty cool retro thrash which is fairly intense sharing some of the ferocity of works like Vio-lence's "Eternal Nightmare" and Devastation's "Idolatry". When the guys get tired lashing with force, they serve more moderate numbers ("Mkultra"), but don't rely on those too much since they're just a momentary break from the stylish invigorating bash heard for most of the time. This is all done with style and understanding, but after a few listens one may start recalling the old works on which it's based and may just revert back to the old stuff at some stage.

At the Altar EP, 2011
State of Decay Full-length, 2013

Official Site


A fast aggressive mixture of thrash metal and hardcore not too far from Wehrmacht with occasional slower numbers ala Celtic Frost ("Malicious Hatred").

Legion Of Death Full-length, 1988


This band is actually the black/thrash metal legends Occult who for some reason decided to change their name. The style is a direct follow-up to Occult's last album "Elegy For The Weak"- very good retro thrash metal mixing influences from many sides, but managing to sound convincing and even a bit original.
Really eager to confirm their reputation as a prime thrash metal act on the modern metal scene, the guys strike some 7 months after their sophomore album has been released, but "Feel the Blade" offers only 3 new tracks; the rest is Occult's last work "Elegy of the Weak" reissued.
A 2nd album for one year should be no surprise nowadays, especially when in this case the 1st one was a re-release of an old work. One can't possibly go wrong with these guys who have already proven their worth under the name Occult. "Cult of the Dead" is heads-down retro thrash which will literally split your skull; there's no mercy here, pure aggressive attack with the obligatory for the band style mid-paced Slayer-esque breaks. Some of the finest headbangers roam around: "Black Templar", "House Of Possession", "Black Wings Of Yog-Sothoth". The casual mid-paced hammer is also present: "Cult Of The Dead", "Enslaver Of Souls", the excellent dark sinister closer "The Final Godsend". Although barely offering anything new compared to the band's more recent output, this album is a refreshing addition to both their catalogue and the very strong for thrash metal 2008.

"Descent Into Chaos" wouldn't be a surprise to those acquainted with the band's previous output so they should prepare for the next portion of heads-down classic thrash metal mixing fast blitzkrieg with heavy stomping numbers. Both sides alternate throughout the album almost track-by-track the latter given a bit more room, although "Lord Of The Flies" is very close to being the highlgiht: a sinister doomy take on thrash metal with solid crushing riffs. Run for cover on the final "Repossessed" which will "possess" and "repossess" you big time with its furious cutting guitars, raging retro thrash at its finest. There is nothing wrong with this album, and it delivers what is expected of it; it's just that the formula sounds too familiar now although it still may be a better choice than risky air-headed experiments outside the band's scope... Some of the band members also take part in the brutal death/grindcore "monstrosity" Inhume.
The Dutch destroyers are back with "Ravenous Plague" which shows that they haven't lost any of their venomous rapidfire approach which is at full display for most of the time the staple steam-rollers also roaming around ("Mountain Wolves Under a Crescent Moon") to a fairly squashing effect. "Ravenous Abominations" is a sweeping thrash/deathster, and don't expect exactly doom metal to befall you on "Doom Priest" which still remains the slowest song on the album. The balance between the two sides of the guys' repertoire is well achieved as there are no major pitfalls along the way except for the very familiar formula which sees the band still shredding in the shadow of their former act Occult.

Malevolent Rapture Full-length, 2006
Sons Of The Jackal Full-length, 2007
Feel the Blade Full-length, 2008
Cult of the Dead Full-length, 2008
Descent Into Chaos Full-length, 2011
Ravenous Plague Full-Length, 2014

Official Site


A voluminous 6-song EP of playful modern power/thrash metal which is quite dynamic and energetic ruined by the very unsuitable brutal death metal vocals. Otherwise the guitarists lash their way with fast tight riffs sometimes branching out in more stripped-down hardcore ("Disaster of Mankind"), sometimes relaxing with laid-back 90's groove ("Dr. Hannibal Lekter", finished with the final phone conversation from the cult film), sometimes mixing the two deviations into one ("God of War").

The EP EP, 2010


Based on the debut: very cool thrash metal with shades of melodic Swedish death metal; the music is quite dynamic with more frequent nods to the classic school with the great speed/thrasher "Dark Is The Shade" clearly being the highlight of the album; on the other hand we have some slower atmospheric numbers: "The Sword Of Anagathon". This is truly an impressive debut, worth checking out.

Odes of Sanity Full-length, 2003
Tears In Darkness Full-length, 2007

Official Site


This new formation plays intense thrash/death topped by ultimately brutal low-tuned death metal vocals. The tempos vary and the band know their craft never settling down for boring repetitive rhythms also adding nice melodic leads and more stylish semi-technical hooks. Both styles intercept each other thrash being a bit more widely covered both sides delivered in an accessible melodic manner. The 2nd half is more elaborate the songs becoming longer and more complex which in this case means a loss of speed for the sake of a more officiant epic tone with echoes of Amon Amarth ("Awakening Reprisal", "Embracing Trauma"). The brutality takes over on the blitzkrieg "Genetic Legacy" before the engaging closer "Arcane Divisions" wraps it all up with a large gamut of nuances the most striking one being the great melodic leads near the end on a doomy epic background.
The "Path of Tyranny" EP carries on in the same uncompromising vein with lashing guitars and spasmodic blast-beats the casual more technical flair ("Government-Media Complex") a more desirable addition. The shadow of the Gothenburg school is more clearly felt this time, but the high energy throughout gives this short effort a more individual face at times.

Arcane Divisions Full-length, 2012
Path of Tyranny EP, 2013
Once and for All EP, 2014

Official Site


Based on the EP, this act pull out dark thrash/death/doom which can be quite energetic at times (the dramatic jumper "Kuru") the guitars constantly shredding in a heavy crunchy fashion. The closing "Dominate" features a nice lyrical balladic break, but soporific sections of the kind are not many at all, the brutal low-tuned vocals not offering much relief from this short, but intense listening experience.
"Fruition" has finally come to "fruition" although the approach hasn't changed drastically remaining doom-laden thrash/death with echoes of Bolt Thrower this time, spiced with not very frequent energizers ("Breed the Insanity"), but the more officiant tone fits just fine on more serious cuts like "Enslaved" and the final roller-coaster "Shipwreck".

Burial Content Full-length, 2009
The Great Beast Evolved EP, 2012
Fruition Full-Length, 2016

Official Site


Modern black/thrash metal which is constantly fast in the 1st half, but not annoying spiced with a couple of much slower epic moments. The 2nd half starts with the much more melodic gothic number "Proclamation of War", a nice peaceful touch. More edge comes on the following "Reflections From the Past - A Soldier's Departure Pt. 1" although this one is still for the gothic lovers. They have to run for cover, though, on the raging "Dead Man Walking-A Soldier's Departure Pt. 2", and the speed remains until the end without reaching any extremes "decorated" with a few atmospheric keyboard arrangements recalling Bal-Sagoth.

Towards Death Full-length, 2009

Official Site


These guys follow their peers and compatriots Ratos de Porao so close that at one stage one may not be sure if he/she is not listening to an old Ratos de Porao album ("Anarkophobia" & "Brasil", in particular). The songs are short lashing bullets played with precision and a lot of speed the cool shouty, melodic vocals being a fitting addition to the carefree optimistic thrash/crossover barrage which should have no problems finding a place under the sun, and not only in Brazil.

Possuído Pelo Tubarão Demo, 2008


Based on "Food for Powder", this band offers a diverse mix of all-out classic headbanging thrash, stomping meaty riffs ala early Celtic Frost, a couple of blasting death metal passages, balladic moments, and more. There are occasional shades of the 90's groovy scene, and generally there are no two songs which sound alike, which is worth giving credit for, considering that the album is whole 15 tracks long although the last four are experimentations on both a more melodic heavy/power metal play and a very brutal grinding one.

"The Wheel of History" offers cool classic thrash metal which starts in a bright Bay-Area fashion with the intense "Stalingrad" and "Besieged Leningrad". But things only get more aggressive from there with the raging thrash/deathfest "Submarine", and it's good that the quiet balladic interlude "Memory (Price of Victory)" comes right after. Heavy mid-tempo thrash arrives with "The Fear", but the agression from the beginning returns with "Red Terror", another merciless thrash/death affair with a stylish atmospheric doomy mid-section. The album loses steam a bit later on with the remaining songs being slower "flirting" with doom and ballad also adding a certain modern flavour here and there (the exception is the intense thrashing fury "Borodino"). Still, those numbers can't ruin the positive impression left by the early ones, and one may be intrigued to track down the rest of the guys' catalogue who on this effort have used legendary battles taken place on Russian ground (concentrating mostly on the ones from World War II) throughout different stages of history as a base for the lyrics.
"Diktatura" is a cool effort concentrating on sharp, headbanging thrash in the beginning, in a way similar to the previous album. It begins in the best possible way with the blazing duo "Krovavie Idoli" & "Karpatui", and later on more pleasant surprises come up: the more laid-back, but pretty stylish and technical, "Brestkaia Krepost"; the atmospheric, semi-baladic "Srajenie za Harkov". Actually, quite a few of the songs in the middle start as ballads the epic cut "Sevastopol" leading the pack, a really cool melodic, sing-along piece. The 2nd half offers mostly mid-paced thrash, with "Forsirovanie Dnepra" being a more intense number, as well as the short technical speedster "Zemlianka". A kind of uneven, again slacking it a bit in the 2nd half, but still delivering the goods, release which continues the saga with the war-related lyrics, this time exclusively concentrated on Ukraine.

Plastivoina Full-length, 2005
Food for Powder Full-length, 2007
The Wheel of History Full-length, 2009
Diktatura Full-Length, 2011

Official Site


Leo Biollo is the name of this multi-instrumentalist who acquits himself here with cool modern/classic thrash metal with semi-progressive tendencies. The album begins with the mid-tempo hammer "Demonic Abduction" which sets the dominant tone although the next "Desire to Rise" nicely breaks the formula adding short acoustic guitar sections and a few faster ones; it goes up the technicality scale as well with several spiral-like riffs in the 2nd half. "Killing the Demon" will blow you away: aggressive thrash shred breaking the "idyll" also scoring high in the lead department. "Return of Will" starts in a calm balladic tone, but later on transforms into a much more intense mid-paced thrash with again excellent lead guitar work. "The Depths of Hell" is a nice technical speedster which tries to break the speed of light with a couple of blasting sections. The final "The Gates of Heaven" justifies the progressive pretensions of the album lasting for more than 12-min although one will hardly be left very impressed by it since it contains standard thrashing in mid-pace with a fine, albeit overlong, balladic lead-driven interlude in the middle. The man has gotten carried away at the end, but having in mind that he has composed and performed all the music on the album, one can only give him the thumbs up for the good job and wish him the best of luck in his future endeavours.

From the Depths of Hell to the Gates of Heaven Full-length, 2009

Official Site


Based on the first demo, this band deserve to be as well known as Annihilator and Razor; awesome thrash with technical tendencies sounding like a mixture between Toxik and a more aggressive Agent Steel.

Brutal Occupation Demo, 1988
Leprocy Demo, 1988
Phase II Demo, 1991


Based on the debut, Leprosy play first-rate classic thrash metal reminiscent of Sepultura's "Arise' and Slayer's late 80's period in the heavier parts. The vocals are not too far from Max Cavalera's, perhaps a bit lower-pitched and more throaty. "Nocturnal Tormentor" is a nice heavy stomping number which will also remind you of Celtic Frost in the beginning. This is great music with heavy, meaty riffs which speeds up a bit at times, but never really goes into a death metal territory, like the other very good Mexican thrash metal act from the same time: Mortuary.
Three years after the debut "Reino Maldito" shows that the band haven't lost their magical touch to produce standout (Slayer meets Sepultura) thrash metal untouched by the modern 90's tendencies (this inevitably puts forward the question "Until when?"). The fast songs have disappeared, replaced by mid to up-tempo ones and, maybe, to improve things, some steam-roller riffs in the Bolt Thrower-vein have been added. With its more controlled and improved musicianship, this album sounds even better than the debut.
"Llora Chíapas" comes after another long, this time 4-year break, and brings the winds of change with it. The sound has acquired modern tendencies, and has become more melodic, featuring a couple of atmospheric gothic parts (including the use of female vocals on "Cuba Libre") and an overall guitar tone similar to mid-90's Sodom. There are a few songs which carry the spirit of their early works ("Monumento a los Caidos": a great aggressive thrasher) , and this is by no means a minor achievement; it just clearly shows that the band have moved on.

"Devorando Sueños" is a full-fledged product of the modern 90's although at that time that period was already gone; so this is heavy semi-groovy modern post-thrash with dark doomy shades which livens up here and there with the odd faster riff. The leads remain pretty good, but now they can hardly save the rest which is supported by a few live tracks from older recordings at the end.
"Llueve Sangre" turns to hardcore for inspiration and its light-hearted crossover nature may actually be appealing to some since all the tracks are energetic and direct. "Buitres De La Ciudad" is a more aggressive mosher with purer thrashy pretensions which lifts the level of musicianship a bit giving a push to the 2nd half which is more hard-hitting even acquiring Slayer-esque headbanging tendencies near the end (check out "Crucificas Tus Sentidos" and the dark closer "Procesión De Malditos").

Wicked Reich Full-length, 1991
Reino Maldito Full-length, 1994
Llora Chíapas Full-length, 1998
Rey de las Bestias EP, 1999
Devorando Sueños Full-length, 2002
La Maldicion Full-length, 2003
Tambores de Fuego! Full-length, 2006
Tributo a Death Full-length, 2010
Llueve Sangre Full-length, 2013

Official Site


Based on the "Full of Hate" demo, these Swedes play decent thrash/death with cool melodies which intercept with the furious tempos those particularly accentuated on vigorous cuts like "Environment" and "Insanity". "Annihilation/Nuclear Mayhem" is another raging thrash/deathster, and the final "Pedophile" is a surprisingly diverse song lasting for nearly 9-min providing interesting semi-technical death metal. The vocals are forceful deathy shouts which at times get lost amidst the intense riffage.

Death to This World Demo, 1988
Full of Hate Demo, 1990
Rehearsal Demo, 1990

My Space


Based on the "Trapped in Rage" 3-song demo, these guys pull out quite good energetic classic thrash in the vein of early Slayer and early Metallica with very cool melodic clean vocals. Later they changed their name to Caustic Strike, but retained their potent style.

Trapped in Rage Demo, 2005
Straight Down the Drain Demo, 2005

Official Site


This band are one of the first extreme acts in Spain, having been formed in the distant 1986, but it was 10 long years later, when they were able to record something. Based on the live album, which comes served with a very bad sound quality, these guys offer aggressive Slayer-esque thrash, bordering on death metal with brutal, death-ish vocals which shout to the point of sounding husky and hoarse most of the time. There are a lot of covers made, but neither being really good: Kreator's "Phobia" (from "Outcast"), Motorhead's "Orgasmatron"; the band's idols Slayer are "honoured" with two covers: "Skeletons of Society" and "Angel of Death".
The full-length "boasts" a very muddy, buzzy sound quality continuing the trend from the previous live recording. The approach is pretty much the same, aggressive thrash with casual references to death metal. The album isn't completely without merits, and a few frolic pieces in the 2nd half lift the mood up before "Warzone" introduces a more officiant, stomping sound. Only if the sound quality was a bit better... now this chainsaw-like noise coming from the guitars wouldn't be that pleasant even for the carpenters.

The Faces Of Terror EP, 1996
Pestilence-Live in Palafolls Live Album, 2004
Leprosy Terror Full-Length, 2015

Official Site


Based on the debut demo, this not very known formation provide furious, but very badly-construcred, thrash/proto-death which is pure senseless bash for most of the time with very buzzy guitars and very shouty unrehearsed vocals which carry an audible deathy blend when more clearly heard. "Welcome to future"... not quite since at that time death metal had already taken a much more coherent shape.

Welcome to Future Demo, 1989
My Internal Hell Demo, 2010

Official Site


Jolly uplifting thrash/crossover with speed metal tendencies which puts it right beside the early works of their compatriots ADX and Killers. You will get 23 tracks of some of the most entertaining retro stuff to come out of the 90's, energetic and catchy.

Same Full-Length, 1994


"Dem RedWrn": an obscure effort of standout eccentric quirky semi-technical retro thrash with crossover overtones ably supported by meanish semi-clean vocals. Apart from the direct bashers in the beginning one will come across more clever semi-technical work in the spirit of Voivod ("Loch Lomon", a nice little abstract thrasher), as well as interesting jumpy rhythms ("Dem Redwrn (Ar Dem Mab Cindy)"). Things, however, only become more interesting with another surreal spacey composition ("Ker-Ys, Meine Ker") which will also remind you of the Japanese Doom, apart from Voivod again; and the little exercise in technical thrash "Triades" which boasts a marvellous lead section. "Arrang'Art" is straight-ahead mosh with a few more offbeat chops, and "Gigai" is a surreal thrash/crossover masterpiece with a maddening closing section. "Gnomes Attack" is a moody shredder again exiting with a portion of more brutal rhythms, and "Kwatar" pulls all the stops avantgarde-wise with its eclectic offbeat riffage the latter acquiring a more technical flavour on the following "Fassy Neil Shön" which thrashes with reckless abandon near the end. Hats down for the original closer "Glismortzeuh" which shreds with vision jumping up and down the leads screaming on the side. This is a brilliant exercise in inventive, out-of-the-box thrash which sadly didnt have a follow-up the band splitting shortly after leaving a memorable trace on the barren at the time French metal scene.
"Histoire de Glumz" is weird avantgarde thrash/crossover which shows an eccentric act willing to pull the canons of this rigid sub-genre to the maximum. Still, most of the clever intriguing decisions remain kind of unfinished due to the dominant up-tempo and the relative short length of the songs.
The debut is stripped-down hardcore/punk, merry optimistic stuff still with a few offbeat surreal moments which get dissipated by the direct lashing guitars which haven't acquired a more aggressive thrashy edge yet.

Les Gnomes Full-Length, 1985
Histoire de Glumz Full-Length, 1988
Dem RedWrn Full-Length, 1991


Classic thrash/crossover with the obligatory for the time heavier groovy breaks; still, the delivery is quite intense the guys playing fast touching later-period D.R.I. quite a bit, the singer being a typical hardcore shouter of the forceful proto-deathy type.

Deblateration EP 1994


Raw undeveloped thrash metal along the lines of early Razor with a surprisingly good melodic instrumental ("Dead Sea") thrown in the middle.

Surviving Full-length, 1988

Vibrations of Doom


These guys pull out retro thrash/crossover with a stronger hardcore edge not too far from Madball. The music is expectedly fast and energetic accompanied by forceful hardcore shouts; cool unpretentious stuff with sparce female vocal participation ("Fuck Your Trends", or am I mistaken?).

The Green Rage Full-length, 2010

Official Site


The full-length: another one offering standard 90's post-thrash; these guys here mix all the trends, very often into one song: the aggro-thrash of Pantera, the laid-back post-thrash of the Metallica Black Album, the playful attitude of the Anthrax 90's style, the pounding riffage of Flotsam & Jetsam's "Quatro", etc. The singer is probably the best asset with his gruff, but effective voice, coming as a mix of Chris Holmes (Paradise Lost) and James Hetfield. Surely the band find time for some straight headbangers ("Mega Fool", the thrashing delight "More or Less Human"), but they are not too many to make this album a less ordinary product of the 90's scene.
The EP is a heavier affair now concentrating on the steam-roller approach of Pantera almost exclusively, the resulting "therapy" being hard for the faint-hearted with the constant downpour of ultra-heavy riffs and shouty aggro-vocals. Those who still live in the 90's will have no reasons to complain; the others will not be very amused, even by the few more melodic leanings ("Burning Id").

To Breed True Full-length, 1999
More Than Evil EP, 2001


Based on the demo, this band specializes in intense thrash/proto-death of the direct, rougher variety. Apart from the obligatory speedsters, there is a certain number of heavy chugga-chugga numbers ("Peggy Thieves") which are more thought-out and would remind of Anthrax and Forced Entry. The singer is rough with a semi-shouty tember which is clearly understood for most of the time.
The full-length is the expected for the time groovy post-thrash here served with a strong playful edge ala Helmet and not bad deep clean vocals. There are funk elements involved, too, as well as a bit of grunge, stoner/doom and alternative; a varied, of the "don't bother" type, effort.

Demo Demo, 1991
Inner Beast Full-length, 1998
Circle The Drain EP, 2001


Based on the 4-song EP, this band offers groovy post-thrash with good deep clean vocals and good consistent riffs of the melodic type. The pace is mid with a more lively thrash/crossover attitude on the closing "Brainbomb".

Whenever The Rain EP, 1999
Cows, Pitbulls and Spacecake Full-length, 2000

Official Site


Decent energetic modern death/thrash metal of the Gothenburg school; fast intense music with plenty of melodic hooks, too, and throaty low-tuned death metal vocals; but hardly anything that the fan hasn't heard hundreds of times before...

We Will Judge the Angels EP, 2008

Official Site


This band is a side-project for the Hallows Eve guys, who here even manage to surpass the father band quite a bit. Based on the first demo, the guys have concentrated on aggressive thrash similar to Slayer and Possessed, but often spiced up with more brutal death metal moments as well as heavier, Celtic Frost-like ones. The guitar work is simply brilliant and one might start to wonder why these guys hadn't played with the same intensity and level of musicianship on the Hallows Eve albums. The highlight of the demo is the monstrous 12-min epic "When There is no Room in Heaven" which is a great and varied track despite the lack of any more intricate play. It could have been great if the musicians had focused on this formation more than on the other one.

Demo Demo, 1988
In the Realms of Evil Thrive Demo, 1992
Blood Feast of the Damned Demo, 1994
Oh Come All Ye Faithful... Tonight We Feast Demo, 1995


The best Argentinian thrash metal band whose first two works are some of the peaks of the whole South American thrash metal scene. The debut is the heaviest and most thrashy work- a very good example of hard-hitting, intense thrash. "Warriors" is another worthy effort, but the sharp guitar sound has been retouched a bit, and some songs are not as immediate (the 7-min long "Warriors in the Night"). Some tracks are clearly more speed metal-based, although they are the more appealing side of this album: the mighty, Agent Steel-like "Fight" and "Transylvania". The vocals have always been the weakest side of the band, being levelled, semi-hardcore-ish. Later the band adopted a more modern sound, and despite the undeniable qualities of their 90's albums, they don't sound too different from the majority of the other modern thrash metal acts.
"Inyeccion Lethal": the Argentinian legends can not possibly just sit around not taking part in the thriving metal scene of the new millennium, and another comeback release is a fact. Don't prepare for bombastic speed/thrash metal of the old school all the way through, though: the guys have no intentions to go so far back in their catalogue, at least not on a full-time basis, and this new effort is a capable mix of their modern days and their very roots. So expect not very impressive proto-groovy post-thrash in the beginning with the "sparkles" of retro brilliance ("Algo Podremos Hacer", the energetic speedster with a crossover vibe "Un Rayo En La Oscuridad", the pounding Bay-Area thrasher "Rompiendo El Silencio") coming up in the 2nd half. The closer is a remake of their classic hit from "Warriors" ("Warriors In The Night"), and if all the songs follow this very good example on later works, things may pretty much hit the top. But for now...
"Hasta La Muerte" starts with the title-track which is an ordinary abrasive power/thrasher. But later on this is a covers-only album which are all very well executed, mind you, celebrating the history of American thrash, above all, with covers of Testament ("Over the Wall"), Megadeth ("Holy Wars"), Metallica ("Blackened"), Slayer ("Angel of Death"), Anthrax ("Only"), Exodus ("War is My Shepherd"), and Pantera ("Fuckin' Hostile"); what's left as playing time goes to Sepultura ("Dead Embryonic Cells") and Kreator ("Enemy of God"). Again, it's all professionally done and all, but there's always the question who exactly needs these cover versions?!

Bienvenidos ami Reino Full-length, 1990
Warriors Full-length, 1992
Maza Full-length, 1993
Efecto Tequila Full-length, 1996
Lethal 5.0 Full-length, 1999
Inyeccion Lethal Full-length, 2010
Hasta La Muerte Full-Length, 2015

Official Site


On the demo, the band play very decent classic thrash metal with a wide variety of influences: Kreator, Destruction, Slayer, etc. The sound on the EP changes into a more aggressive, death-tinged one, but remains an enjoyable listen.
"Annihilation Agenda" is a cool full-length debut, in a fast headbanging tempo for most of the time, again "courting" the German heroes, staying quite close to early Destruction, and the Brazilians By War. The guitar work is razor-sharp with the only complaint coming from the vocal department where the singer's delivery strictly belongs to the death metal field. Mentioning this genre, there is almost nothing to connect this album to it music-wise if we exclude some scattered blast-beating parts ("Ceremonial Death") here and there. As a whole this work is a fine addition to the growing Euro retro thrash metal scene.

Demolition Demo, 2004
Deliverance EP, 2006
Annihilation Agenda Full-length, 2007

Official Site


Based on "Ad Nauseum", these guys, who started their career in the distant 1985, and thus are one of the very 1st thrash/crossover bands, pull out cool intense fast thrash/crossover, which is often pure speedy thrash served in a direct stripped-down manner. The speed tumbles towards hard/grindcore at times ("Corproganda", "Free Is A 4 Letter Word"), but the joy and satisfaction remain. The album is not "deprived" of nice more melodic hooks ("Blindmen") which work quite well combined with the hard-hitting guitars. "Spiders" is probably the highlight, providing both really aggressive thrash/proto-death and stylish more technical decisions; and "Crossover Crossdresser" is as jolly and speedy as crossover can get. The music takes a harder course after it for a while, thrashing far & wide on "Project X", but the final "Drunk With Murder" is melodic laid-back crossover although numbers of the kind are very few here.
The debut is more hardcore-oriented and way more brutal with not many ties to thrash; this is fast merciless stuff with more than a few grinding bursts this time, with the more laid-back material placed safely near the end where the music takes a turn towards more listenable less intense thrash/crossover.

We Just Killed Rock 'N' Roll EP, 1987
Life Is Hard-But That's No Excuse Full-length, 1989
Subliminal Erosion EP, 1990
Ad Nauseum Full-length, 2009

My Space


Not much is known about this band, but the music is heads-down retro thrash. The tempo is energetic, quite fast at times: "Kamikaze", but "Black Earth" works almost as well with its heavy stomping riffage. "War Inside" features a really impressive lead performance finished with a nice take on a famous opera which I have problems recalling; a great, albeit a more melodic track. The vocals are snarly, black-ish, but quite cool.

War Inside Demo, 2007


This project involves two ex-members of Possessed. The demo contains only two tracks: both are of the fast aggressive type with surprisingly good guitar lines and awful undeveloped vocals of the hardcore variety which will make you run head-over-heals when they try to scream a bit higher.

Demo Demo, 1988


Based on the "Deathfest" demo, this band pulls out raw amateurish early Razor-esque speed/thrash, mixing very fast sections with clumsy slower ones. The lead guitarist makes some sense, but his screaming pyrotechnics are too stark a contrast to the pretty pedestrian, below average, rest. The guys had reportedly started playing better in their other formation Forced Psychosis with which they released one more demo in 1989.

The Demo Demo, 1985
Deathfeast Demo, 1987


Based on the demo, this formation serve fast ripping retro thrash/death reflected in two lengthy ragers of which "Infamous Creation" features an imposing doomy passage which remains the highlight on this rough, sloppily produced recording with brutal shouty death metal vocals. The guys were also involved with the dark metal outfit Of the Archaengel.

Return To Obscurity Demo, 1994
Rape the Innocence Full-length, 1997



This band specialize in ultra-heavy steam-roller post-thrash which is quite dynamic as well although nothing beyond the mid-pace occurs. The seismic groovisms are intercepted at times by more melodic insertions, and by spasmodic deathy outbursts the latter leaving their traces on other, less intense pieces. The guys really slow down on the pensive "Matter of Honor", and their approach becomes way more elaborate on the last string of pieces the top hit with the almost 10-min "Sleep" which would hardly offer you a "sleeping" tune among the pounding guitars and the hammering groovy twists.

Consume Full-Length, 2014

Official Site


Melodic power/thrash reminding of early Laaz Rockit and Hexx's "Under The Spell"; it's good, but some of you out there might find it too soft and probably cheesy at times. The vocals are quite cool, though, being of the clean, high-pitched type, and the leads have this unique Kai Hansen-touch, arguably the best moments from this album.

Lethal Dose Full-length, 1988

Vibrations of Doom


Based on the self-titled demo, these guys pull out classic speed/thrash metal in the vein of early Whiplash, Destructor, Blessed Death, and other 80's American heroes. The tempo is constantly fast, reaching out for Slayer-esque intensity at times (think Slayer's first two albums): "Hadephobia". "Prisoner Of War" is an intriguing combination of heavy late-80's Slayer sound and faster, even semi-technical moments. "Ravage" is the other highlight, thrashing aggressively, again reminiscent of Slayer with a pinch of 80's American speed metal. The singer sounds very close to Cronos, maybe more aggressive.

The 2007 demo is 3 tracks of early Slayer-esque thrash in fast tempo, with screaming leads, a slightly fuzzy guitar sound, and the staple Cronos-like vocals which here take a more aggressive blend also "courting" Tom Araya.

Lethal Dossage Demo, 2006
Demo Demo, 2007

My Space


Based on the full-length debut, these guys play good semi-technical classic thrash metal with slightly buzzy guitars, which may have been applied intentionally, because it gives the music a distinctive edge, and very strong bass performance. "Rain Of Fire" is a cool, ambitious opener: pounding, but energetic semi-technical instrumental, accompanied by a speech sample, probably taken from some film. The energy remains for the rest of the album as well as the technicality which at times gets lost for a while. Still, the final result is not bad at all, with intense speed/thrashers scattered around: the furious "Time To Kill", the longer more complex "Suicidal Acts" which is actually a fine exercise on a more technical, elaborate play. "Ghost Song" offers more intriguing moments, changing tempos and moods throughout, also coming with some of the finest guitar hooks on the album. "Children Of The War" is shorter and faster, and only a bit more immediate, still scoring high in the more technical department without forgetting completely about the more aggressive riffage. "Existencia Prohibida" thrashes with full force from the get-go, with mighty galloping riffs; later on the guitars bend for more technical performance, but the intensity remains. "Invadidos" follows the same more aggressive thrashy model, and is the least technical composition of the lot. The same can be said about the cover of the Skid Row's "Slave To The Grind" which is very faithfully done ruined by the low-tuned death metal growls which are the main flaw, and one could hardly think of a more unsuitable choice on this cool debut.
"Master of Extermination" is an inferior effort this time less intense and not as speedy with borrowings from both the power and epic metal scenes. Consequently the approach isn't as hard-hitting and the buzzy sound of the guitars remains which is less detrimental on the faster-paced numbers ("Passport To Beyond") that aren't many at all buried among the power/thrash/epic amalgams which seriously suffer from the throaty low-tuned death metal vocals. Finally some energy can be heard on the last three tracks which are bonuses taken from the band's earlier demo recordings sounding way more aggressive and thrashier. This album will leave a solid aftertaste after the promising debut and would hardly make anyone view these guys as the new hopefuls of South American thrash like it was the case five years ago.

Vengeance is Mine! EP, 2005
Rain Of Fire Full-length, 2007
Master of Extermination Full-Length, 2012

Official Site


Based on the "Crionic State" demo, this is melodic speed/thrash which reminds of the Brits Blood Money, but less memorable, and Motorhead.

Crionic State Demo, 1990
The Right to Remain Violent Demo, 1992


The singer with his brutal, growling delivery might scare you, but the music is more on the thrash metal side with the obligatory for such singing death metal parts. There are clean vocals used, too, but they sound so bad that it's a good thing that the band don't use them too often. The music hesitates between the classic and the modern school, and ends up sounding cool most of the time. On top of the cake... guess what? There is a cover version of Deep Purple's "Highway Star": this is how the British would sound if they decide to play some death/thrash metal for a change.

Suicide By The Other Side Full-length, 2006

Official Site


Based on the debut demo, this outfit specialize in intense Slayer-esque thrash with shades of proto-death and a bit of less bridled hardcore bash. The vocals are shouty and semi-declamatory suiting the inccesant barrage which surprisingly features several tasteful lead sections. "Beyond Religion" is a wild death metal madness, and "Dreaded Existence" even reaches grinding dimensions during its 1.5-min.

Penetrate the Skin Demo, 1988
Lethal Injection Demo, 1992
Lethal Injection EP, 1993

My Space


It seems as though the modern 90's trends had conquered Belgium last since the early 90's bore hordes of acts like this one from there who tried to keep the flame of 80's thrash metal still burning. This band are surely one of the better ones playing good aggressive thrash akin to Slayer, Vio-lence, and the most famous band from the Belgian horde: Channel Zero. The sound quality is crystal clear and the riffs are razor-sharp; a sheer lesson in classic thrashing rage.

Introducing The Madness Demo, 1992


Based on the "Recreational Violence" demo, this band play brutal thrash metal strongly influenced by Dark Angel's "Darkness Descends". This is relentless attack which at times goes beyond the realms of thrash and takes a distinctive proto-death character ("Sexual Slaughter"). The guys play fast without any slower and quiet breaks, or technical "decorations". Despite quite well conformed with the tastes of the time, and well more vicious than 90% of their contemporaries, this band undeservedly remained only an underground phenomenon.
The "Hyper Aggression" demo doesn't exactly offer "hyper aggression", and actually the approach has become way more serious with clever technical decisions with echoes of Hellwitch and even Atheist. A lot of drama welcomes the listener on the opening "Hyper Aggression" which is jumpy and hectic to the point of exhaustion. Then comes "Atmospheric Catastrophe" which is a consummate technical shredder with numerous puzzling moments. "Approaching Darkness" is a bit more immediate and slower, but "Killing The Innocent" is another exercise in technical brutality with more overt deathy pretensions. "Transgressor" closes this stylish effort with fast technical guitars which lash forward topped by the not very rehearsed, but aggressive shouty death metal vocals. This was a fairly good exit for the guys from the scene, and the technical side of death metal may truly feel sorry for not having them around longer at this very right time.

Recreational Violence Demo, 1987
Hyper Aggression Demo, 1989

My Space


Based on "Divide & Rule": the "outcome" of this effort is quite good technical speed/thrash which has both a classic and modern vibe. After the direct title-track opening the album the guys start pouring more style, and "Ripping From Within Your Guts" is already the technical speedster expected leading the show which stop for a bit on the more moderate "The Herd". "URAGun" richly deserves its title ("hurricane" in Russian) sweeping everything in its way with its frenetic spastic rhythms. "The Teeth Breaker" tries to "break your teeth" with a portion of less controlled death-laced proto-blasts; before "Food For Powder" shoots you into the technical stratosphere where acts like Hellwitch and Expulsion reside. "Zombie Priest" slows down again, but with menacing hammering guitars; and the final "The Last Bullet" follows a similar more restrained pattern being an all-instrumental epitaph to this fairly entertaining opus which "merries" technicality and speed in an admirable way.
The debut is a truly impressive achievement beating the sophomore effort in both terms of execution and ideas. It overflows with style from the very beginning with the perennially tempo-shifting opener "Burn Alive to Dust". Then the title-track starts lashing with some of the most intricate arrangements around also moshing hard among the technical "carnage". "Nuclear Holocaust" almost reaches Coroner heights with its amorphous, overlapping rhythms, a consummate piece later on reaching a more brutal proto-death boost. "Agressive Impact" is a fast-paced puzzler with great memorable riffs and another more aggressive deathy section. "Killers in White" is a relatively more straight-forward composition before "Slaves of Hell" enslaves the listener with the next portion of super-stylized, technical decisions, the latter partially abandoned for the following "Brainwashing Machine", another more vigorous, less elaborate, shredder. The closing "Searching for the New Blood" is an all-instrumental saga which pours loads of technical riff-patterns those ably supported by the thunderous bass the latter taking quite a bit of space on the quiet mid-section. This is a no-brainer, and hopefully the guys will continue their ascension since their full potential is yet to be revealed.
The demo is still on a much more basic level the guys trying to rehearse for their bigger exploits. The music has no technicality on offer being decent classic thrash with two covers at the end: Sepultura's "Arise" and Metallica's "To Live is to Die", both very faithfully executed without any technical flourishes.

Reciprocal Hate Demo, 2009
Generation of Apocalypse Full-Length, 2014
Divide & Rule Full-Length, 2015

Official Site


Another band who were unjustly left buried in the underground; around 1987 few were the bands who were playing as brutal thrash as these guys. The music recalls Torture's "Storm Alert" or Devastation's "Idolatry" (this band could have been an influence on both bands?). This is really agressive, but also quite technical at times, music.

Raging Death Split album, 1987
Unholy Alliance Demo, 1987


The demo: cool intense modern thrash/death which is also graced by a couple of classic riffs of the steam-roller volcanic variety which are missing from the shorter numbers ("Words of Mankind") the latter being fast-paced and arguably the more attractive side on this short effort which is mostly sustained in mid-tempo supported by brutal low-tuned guttural vocals and a thundering bass bottom.
The full-length is a continuation of the demo's sound; in other words, expect a polished modern thrash/death metal "assault" which occasionally becomes more technical ("Psychopath"), but it's aggression what the band are intent on generating as evident from purer death metal ragers like "Mass Anihilation" and "Disorder".

Lethal Storm We Are Demo, 2012
Manipulated Mind Full-Length, 2017



The sound is so old school that one may find it hard to believe that it was released just recently. What we have here is a blend of power, speed and thrash metal boasting fine sharp and heavy riffage ("Pull The Trigger"), speed metal joys ("Lethal Vice", "Kill'Em All!!") with an echo from the 90's, a power/thrash metal ala Liege Lord and early Helstar ("Evil Inside"), and two covers: Judas Priest's "Breaking the Law" and... well, can an effort possibly exist without it: Motorhead's "Ace of Spades", this time done quite well and edgy.

"Thrash Converters" will "convert" any music fan into a raving thrasher with its fast impetuous guitars and carefully-crafted songs. "Psycho Surgery" is a bit off-context with its modern-ish Pantera-sque riffage which still turns into a merry roller-coaster at the end. The "thrash conversion" carries on in a more laid-back speed metal fashion in the 2nd half led by "Godless World" which boasts the finest leads on the album. More hard-hitting thrash comes served on the Paradox-worship "Operation Warehouse", before the final "Lethal Thrashing Madness" wraps it up with intense "lethal" moshing riffs also finding the time for the insertion of a cool short frolic tune. The "conversion" is done, and the Spaniards should be pleased with their new offering which should keep them afloat till their next "exploit".

Here Comes The Reaper Demo, 2008
Thrash Converters Full-Length, 2014

Official Site


2 intense numbers of a death/black/thrash metal hybrid which comes with cool catchy choruses and several pretty nice epic melodies which will definitely remind you of Dissection and early In Flames ("Lethal Voltage"). "Seeds Of Evil" is more on the thrash/proto-deathy side offering raging speedy riffs very close to the pioneering spirit of Possessed's "Seven Churches".

Demo Demo, 2011


The " black metal vocals shouldn't mislead you: this is thrash metal all the way through. The music is sharp, but not very fast, and is similar to Raise Hell with the difference that Lethargy are a tad more technical. Another band who have a similar sound, are Criminal Justice from Germany who might have been an influence on the Finns. In other words, we have another worthy addition to the legions of Finnish thrash metal purveyors.

Decapitation Method Demo, 2004
Immoral Justice Demo, 2006

Official Site


This is the band who later went into bigger glories under the name Dead Head. The unholy, shrieky vocals are already here, a bit more restrained though, but the music is a mix of aggressive thrash, quite close to the early works of Kreator ("Pleasure to Kill", "Terrible Certainty") and some doomy riffs, courtesy of Ronnie Van der Wey who had also taken part in heavier, doomy acts like Asphyx and Beyond Belief.

Anaestetic Sleep Demo, 1988


This outfit provide abrasive modern thrash which is a tad more diverse than the hordes of the Gothenburg sound worshippers also introducing numerous stomping sections which suit better the noise coming from the guitars. There is a slight progressive "sting" running through the album and some melodic lines (check out the atmospheric closer "Fighting for Freedom") are really cool those also helped by unobtrusive keyboard implements which give the album a cool surreal aura.

Forbidden Chapters Full-Length, 2012


Pleasant, unpretentious classic power/proto-thrash which can be both abrasive and melodic on demand, includign surprisingly speedy ("No Por Madrugar") and even frolically thrashy ("Los Ignorados"). The vocals are cool clean, mid-ranged croons and perfectly suit the merry character of the music.

Levantamuerto Full-Length, 2016


Members of the industrial death metal act Dååth have teamed up with Sean Reinert (Autopsy, Death, C-187) for the recording of this nice hallucinogenic instrumental-only progressive metal affair with harsher thrash touches. There is a lot of pure shred which leaves the sharp lashing riffage aside, which is a pity since the latter will make quite a few heads bang, although the pace seldom goes above the mid. Several short instrumental variations are thrown in the middle "flirting" with jazz, flamenco, etc. The style actually comes as a more aggressive version of another band Reinert was involved with not long ago: Gordian Knot.

Avalanche of Worms Full-length, 2010

My Space


Based on the full-length debut, this act specializes in feelgood classic speed/thrash with catchy tunes and edgy riffs which grow in a couple of really cool speedsters (the tributes to the speed metal movement "In my Dreams", "End of Reason", etc.) those spiced with the more lyrical moments (the pleasant ballad "Wait For You") and the odd proto-groovy jumper ("Sinking"). The singer is a gruff semi-cleaner, but his tember carries some emotion and could be considered the right choice for this unpretentious, uplifting stuff.
"Chimera" is sustained in the same uplifting tempo the delivery being a tad more relaxed despite the presence of a few harder-biting cuts like "Una Razon". Regardless, the guys aren't interested in hammering the listener mercilessly, and the latter will have to jump around merrily for most of the time carried by these pleasant heavy rockers (including the cool closing ballad "Why?") which dominate the landscape having realized way too early that thrash has been left in the studio at this stage, under lock and key.

Hell in Heaven EP, 2009
Rebirth Full-Length, 2012
Chimera Full-length, 2015

Official Site


Based on "Del Lado Del Rock": these guys offer heavy/power metal, with only two more aggressive thrashy tracks present. Often considered the substitutes for Hermetica on the Argentinian metal scene (they have no ties to that band member-wise), these guys have a long way to go to reach at least close to them, from a thrash metal aspect, because the music they make will definitely find more of its fans from the classic heavy metal crowd.

Leviathan Full-length, 1996
Rito Bicefalo Full-length, 1999
Del Lado Del Rock Full-length, 2001


Based on the "C'est La Vie" demo, this band provide noisy unrehearsed thrash/death which is barely heard for most of the time the guys shredding amateurishly all the way through making one wonder what crap the preceding demos would be since this one is plain awful, to put it mildly... a major contender for "the worst demo from the European underground" award.

Lewiatan Demo, 1989
Memento Mori Demo, 1990
C'est La Vie Demo, 1992


This badly-sounding demo is otherwise a cool addition to the American underground thrash metal scene of the 80's bringing the "Pleasure to Kill" aggression to the States: this is relentless speedy thrash akin to the aforementioned Kreator classic album with vicious Mille-sque vocals which could have been more appealing if it wasn't for the awful guitar sound quality which makes the leads too screamy and the riffs not very clearly heard at times.

Rehearsal Demo, 1987


One of the more original thrash metal bands from Brazil; instead of following the trends established by Sepultura and Sarcofago, the band go into a more non-standard, technical direction not doo dissimilar from Acid Storm. "Smile" is a commendable debut, and at least the beginning promises energetic, fast headbanging fun ("The Last Supper"). "Live Free Or Die" already sounds more non-conventional with a more jumpy tempo and cool melodic hooks. "AIDS" and "Bred To Die" sound like sheer Bay-Area thrash pieces before "Echoes From The Past" introduces more laid-back, calmer riffage. "Pilgrimage To Insanity" is an awesome more aggressive thrasher followed by the 1-min hardcore joke "Pimponetta". "Spanish Blood" is a brilliant closer with great smashing riffs and nice acoustic, flamenco-styled passages.

"Disturbed Mind" is a more satisfying listen with tighter and harder guitar sound, and an overall style closer to the Bay-Area scene (early Testament, in particular) spiced by sparce crossover tracks ("Drinking' Death", "My Cat"). Half of the songs are mostly mid to up-tempo interrupted by cool switches onto more energetic thrash ("Visions of a Distorted Path", and especially the speedy, aggressive killers "Disturbed Mind" and " Endless Lie"). "The Evil Within" is the only song which reminds of the time of release with its stomping, semi-groovy approach; whether this was just a casual nod to the scene, or a small testing of the soil for a future metamorphosis, remained unclear.

Smile Full-length, 1989
Disturbed Mind Full-length, 1992

Official Site


The first demo: 80's Anthrax-worship in the first part, quite well done; the 2nd half, however, starts to drag quite a bit with two ballads and a more modern sound; a very uneven affair.
The full-length already jumps wth the best groovers out there, and as such hardly deserves any attention on the side of the regular thrash metal fan being strictly for the 90's lovers, with a few relaxed hard'n heavy hymns which relate this album to the 80's. The end is served in the form of a cover version od AC/DC's "Let There Be Rock" which is not a total waste, but completely lacks the bite of the same cover made by Onslaught. Hopefully "the aggression" has really "returned" on the following demo... The guys tried to "sodomize the industry" as Scumbags a few years later with more aggressive power/speed metal on their only demo under the "sodomizing" title.

Onward Thru The Fog Full-length, 1993
The Aggression Returns Demo, 1995

Official Site


Modern power/thrash with more classic elanings; the vocals are a cross between mid-ranged clean and harsh semi-death ones both sides alternating the whole time to mixed impressions. The riffage is meaty and heavy without too many fast-paced surprises, and this doom-laden cavalcade may wear thin before the end. "Life Is Calling" is a short energizer with a nice technical mid-break, and the final "Question Reality" is a decent dramatic progressiver with very good leads.

Lost Nation Full-Length, 2016


Based on the "Memento Mori" demo, these Poles indulge in fast aggressive thrash/death which is good and all, but the very noisy background and the very thin guitar sound are a major detraction. Otherwise the guys do their best to overcome these obstacles and bash with passion the hard riff patterns at time spiced with the odd short screamy lead section. The vocals are vicious shouty death metal ones, but needless to say they are barely heard at times. This is a total underground recording which will find its most avid fans among the mid-period Sepultura and early Sadus fans.

Lewiatan Demo, 1989
Memento Mori Demo, 1990
C'est La Vie Demo, 1992


Based on the EP, this band pulls out laid-back bluesy modern power/post-thrash with the Black Album an obvious influence.

Organized Chaos EP, 1994
Massive Full-length, 1996


Modern thrash/death metal of the Swedish type: expect fast and melodic, even occasionally brutal ("Gore Orgasmo"), music.

Beffect EP, 2008

My Space


Based on the demo, these guys pull out excellent classic thrash metal showing an obvious fascination with the early stages of the genre (the debuts of Dark Angel, Whiplash, Slayer, Metallica), and the music will be a delight to the ears of the thrash metal fans who at this stage have started to gradually lose hope that the glorious days of the genre would return. The compositions are longer and some of them nicely mix sharp speedy riffs with slower pounding sections: "Under A Fallen Sky". "Iceman Cometh" is a fine power/thrasher also recalling the works of Laaz Rockit, Omen, Liege Lord, Helstar; the balladic interlude is a bit overlong probably. "Beneath The Boards" is a marvellous speed/thrasher which keeps the tempo up for the whole 9-min; there are no technical variations or any unnecessary gimmicks, just 9-min of classic heads-down speed/thrash. "A Living Grey" slows down at times to produce another high-octane piece of thrash which picks up some technicality not far from early Megadeth ("Peace Sells, ..."); even some blast-beats reign supreme for a moment accompanied by fabulous bass performance (the bass player is probably the best musician of the lot). "Maximum Capacity" is raging speed/thrash in the best tradition of the Forbidden debut and again scores low in the technical sector. The singer unleashes his melodic, mid-levelled emotional voice, and gives the desirable dramatic decoration to the music. This impressive demo has apparently served as the basis for the full-length as evident from the album-title.

Crippling Elements Demo Demo, 1991
Crippling Elements Full-length, 1992


A decent power/speed/proto-thrash metal band; their music isn't very heavy, more on the melodic side, with cool catchy tracks with a hit-potential (now, are we talking thrash?). The debut is the better effort with more powerful and faster songs (the excellent opener "D.C.W.", "It Hurts"); still, it's a mixed bag with naive hard'n heavy numbers ("Lonely Boy") present, which would inevitably make you smile for their silly cheesiness.

"Cheatin' Games" will try hard to "cheat" you that this is thrash you're listening to, at least with the first two more energetic songs, but the illusion won't last long; the increased presence of keyboards (which were only slightly hinted at on the debut), the retouched guitars, the more radio-friendly approach, and the sweet choruses ala Quiet Riot and Ratt, might make the more hard-boiled thrash metal fans turn the player off long before the end, and they will make a mistake, as the best track comes at the end: the cool up-tempo instrumental "B.4.R.". Well, you shouldn't be angry at anyone; the band name is already a warning...

It Hurts EP, 1989
Nothing but the Truth Full-length, 1989
Cheatin' Games Full-length, 1991


Modern groovy thrash/post-thrash which is expectedly developed in a not very energetic mid-tempo mode the speedier moements ("Conquer and Control") also coming heavily decorated. Variety isn't the order of the day, but longer, more carefully executed tracks like "Mindless Majority" bring some less ordinary flair to this otherwise pretty pedestrian recording the shouty hardcore-ish vocals another generic appendage.

Threat of Intellect Full-length, 2017

Official Site


Based on the "Heart Shape" EP, these Japanese offer a modern energetic blend of thrash and death metal which follows closely the patterns established by The Haunted and the likes. The music is more aggressive, at times acquiring blast-beating tendencies ("Don't Kill Mind to Strikes"), but at the same time slides down to groove ("Undermined Satisfaction", "Pride"), and these parts are "graced" with mean clean vocals. The last track is a very faithful cover version of At The Gates' most famous song "Blinded by Fear".

Liberated Stain Demo, 2000
Bloody Life Demo, 2001
Demo #3 Demo, 2002
Heart Shape EP, 2005

Official Site


Modern hardcore-ish proto-thrash which suffers a lot from the noisy guitar department which created unintentional industrial atmosphere the latter hampering the more melodic histrionics on the epic title-track. It boosts the closer "Venomous Hate", though, which is an intense cut with sharp guitars. The vocalist is a gruff semi-cleaner who doesn't really make any attempts at real singing feeling content enough to semi-recite.

Slaughter Field Full-Length, 2016


A cool debut of classic Bay-Area thrash; fans of Exodus, Forbidden, Vio-lence will be delighted. The singer is kind of annoying, with his shouted hardcore-ish voice, but the music delivers on all counts, fast-paced most of the time, with a big head-banging potential. "Bleeding and Screaming" is probably the highlight here: a magnificent 2.5-min instrumental which will make you listen to it over and over again. At the end the guys have prepared for you two cover versions of two of their major influences: Exodus' "Lesson in Violence", and Vio-lence's "Bodies on Bodies".
"Toxic Zombie Onslaught" serves another portion of classic Bay-Area thrash, starting with the Forbidden debut-worshipper with the extremely long senseless title "Attack Of The Wrath Of The War Of The Death Of The Strike Of The Sword Of The Blood Of The Beast". "Toxic Zombie Onslaught" follows suit, increasing the speed close to the lightning parameters, smashing everything in its way. "Black Metal Sucks" is a more controlled slower thrasher, making itself clear about its feelings towards a rival sub-genre, title and lyric-wise. "Thrash Resurgence" continues the onslaught, followed by the equally as intense instrumental "I Destroy", whereas "Predator" is a nice combination of speed and thrash, even finding time for slower sections. "Cold Steel Machine" is the only song which develops in mid-tempo, and is a good pounding number. "Office Politics" quickly makes up for the lost inertia, being a blitzkrieg crusher, the last one of the kind, since the closer "Lich King" is considerably slower, making claims at the epic thrash field. With two strong consecutive efforts, the band is apparently quite willing to take an active part in the thrash metal resurgence of the past few years, which the song of the same title here sums up so well.

"World Gone Dead" would be no surprise to those who already have the previous two offerings; it's probably slower with a couple of heavy pounding moshers ("A Storm of Swords") present, although an almost immediate compensation is offered after it: "Waste" leaves no "waste" with its aggressive fast riffs which slow down a bit for "Terror Consumes" which carries a slight hardcore-ish edge ala Pro-Pain on the slower moments. "Grindwheel" is a steam-rolling proto-doom/thrasher with a heavy bass-bottom, but "Behaver" is quick to catch up with another portion of super-fast raging guitars. Expect a cool faithful cover of Slayer's "Aggressive Perfector", which is not the final track: it's "Lich King III (World Gone Dead)", an entertaining, albeit kind of uneven, mix of playful thrash/crossover and slower heavier passages.
"Born of the Bomb": the guys shoot a "bomb" after "bomb" and as such have become one of the most productive retro thrash resurrectors ever since the new millennium started. This new "bomb" sees them acquiring a drier more sterile approach the guitars being more abrasive although one will have no problems recognizing the band after explosive hits like "Wage Slave" and the early Hirax-worship "In The End, Devastation" which comes with a pinch of hardcore. Those familiar with the band's catalogue should be happy with this recording if we exclude the odd dragging "Agnosticism" which is a dragger with its monotonous mid-paced riffs, somehow out-of-context. The end comes in the form of a cool cover version of Agent Stteel's "Agents of Steel" played well with an added doze of speedy fuel only the hoarse shouty vocals having nothing to do with the inimitable siren of John Cyriis except for the final shout/scream at the end of the chorus which is pulled quite well. Actually, the actual finish is an 8-min thrashing fury titled "Lich King IV (Born of the Bomb)", arguably the best number the guys have come up with so far: total thrashing mosh with seldom a calm moment to spare, elevating the album above the field of mediocrity to where it was heading at some point.
"The Omniclasm" arrives after the biggest break the guys have taken between albums since their inception, but the short instrumental opener "Weapons Hot" shows handsomely that they haven't lost the knack to thrash with passion, and this is pretty much what awaits the listener here from beginning to end. The heads-down mosh comes with a more stripped-down crossover aura ("Preschool Cesspool"), at others it comes wiith a certain semi-technical "decoration" ("Our Time to Riot") without losing the speed. "Civilization" is a surprisingly melodic progressiver which is teken down to balladic parametres which stay around the whole time assisted by laughable to these ears 70's keyboards. "Offense" is more than welcome after such a pastoral elegy with its rapidfire riffs, and the closing the title-track is a more elaborate, less predictable thrasher which rages hard for over 6-min, finishing this album with the requisite amount of aggression.

Necromantic Maelstrom Full-length, 2007
Toxic Zombie Onslaught Full-length, 2008
World Gone Dead Full-length, 2010
Super Retro Thrash Full-length, 2011
Born of the Bomb Full-length, 2012
The Omniclasm Full-Length, 2017

Official Site


This great band were a major force on the American power metal field with their debut being a milestone in the genre. "Burn To My Touch" introduced some thrash in the proceedings, resulting in a more potent, and an overall better sound. Still most of the time the album develops in a speed/power metal manner, but the intense opener "Transgressor" will make your day. "Birds Of Prey" is another sure-handed pick, with its heavy galloping riffs. "Cast Out" is a more light-hearted speedster, whereas "Portrait Of Despair" is a steam-roller of power/thrash with a punishing rhythm section. "Black Lit Knights" switches onto intense speed/thrash ala Helstar from around the same time, a tendency continued on the fine up-tempo number "The Manic's Mask", and the excellent energetic semi-technical instrumental "Walking Fire" where the leads also make a claim at greatness. The closing "Speed Of Sound" doesn't quite reach the speed of sound, but is a worthy finishing touch with its power/speed metal approach, sounding like a leftover from the band's debut.

"Master Control" is another worthy, albeit not a better, effort despite the presence of a couple of fillers. "Fear Itself" is the link with the band's previous output: a cool up-tempo power/speed metal opener. "Eye Of The Storm" is a nice combination of the three styles, but it's the title-track which comes with the more aggressive riffage, the excellent short leads, and the infectious chorus. "Kill The King" is a good, albeit an unnecessary cover of Rainbow, after which the album carries on in the same speed metal pace with "Soldiers Of Fortune" (which, fortunately, is not a Deep Purple cover). "Feel The Blade" is a toothless heavy metal anthem, which influences the following "Broken Wastedland" which in its turn tries hard to sound edgy, but the melodic chorus and the even more melodic leads are a major hindrance. "Rapture" finally gets rid of the spell adding more intensity, but "Suspicion" returns to the softer models before the last "Fallout" offers heavy pounding riffage from the power/thrash metal realm. Having obviously reached the summit of their career, and having no more to offer, the band left the metal scene.

Freedom's Rise Full-length, 1985
Burn To My Touch Full-length, 1987
Master Control Full-length, 1988

My Space


Based on "Death Of The American Dream", this angry US outfit pulls out trademark groovy post-thrash with more energetic metalcore passages. There's some more serious musicianship present on the longer compositions ("The Scorn") as well as cool attempts at steam-rolling doom ("Acirema").
The "Rites of Reconstruction" EP is a 3-tracker which sees the band moshing harder producing hard-hitting pieces like the title-track for a change, also carving a few razor-sharp riffs on the other two tracks as well, includign a few intriguing technical insertions on "Go Bomb A Country". Who knows, maybe this is the rehearsal for a full-blooded modern thrash record...

Lies Beneath EP, 2007
The Eidolon Full-length, 2007
Death Of The American Dream Full-length, 2011
Rites of Reconstruction EP, 2014

Official Site


From the Black Sea Coast comes this modern technical/progressive riff-fest which shows the Bulgarian metal scene in a light last sparkling from the works of the now extinct Ira Deum. There's a lot of variety here: fast moshing sections, slow meditative ones, but it's above all about professional execution which at times leads in a more hectic, technical direction ("The One"), at others is melodic and crossover-ish ("A Point Of View"), at others semi-classic and headbanging ("Torpid") with some very impressive lead guitar work. "Terror Eyes" at the end brutalizes the environment beyond redemption almost, all in a good way, but this effort is too diverse to be "ruined" in any way if we exclude the very hysterical shouty vocals which could be toned down on future efforts since they deafen the good musicianship.
"Automaton" is less interesting the band now relying on more conventional, orthodox rhythms and time-shifts. "Demagogue" is a curious meandering technicaller, and "First Light" is a dramatic, diverse deathster, but the 2nd half doeesn't offer too much for one to really listen with more care except for the closing jumpy mechanizer "Painful Dividend" which finishes this effort with more style than it actually deserves.

Instigator Full-length, 2014
Automaton Full-Length, 2016

Official Site


This is modern post-thrash which isn't groove-ridden, and even manages to create propitious headbanging atmosphere (the clever semi-technicaller "Spirit Of The Ruins") A sure asset is the vocal "duel" which crosses more intense semi-shouty with cleaner vocals both serving their purpose to produce the requisite dramatism. "Suffering Souls" is an excellent dynamic pounder recalling later-period Testament and Defiance. "Life In Black" is a nice galloping progressiver with a memorable chorus; and the final "Walking" is a heavy semi-ballad with echoes of Iced Earth. Some of the musicians are also involved with the heavy metal outfits Hate for Revenge and Poseidon.

Broken Ego Full-Length, 2016

Official Site


Angry post-thrashy hardcore which blends early Pro-Pain with EyeHateGod consequently creating both ultra-heavy and merry-go-round moments for the listener to savour, and generally lovers of the modern 90's side of the genre should be satisfied: this is a major aggro-groove entertainment with shouty quarrelsome vocals.

Abomination Full-Length, 2011

My Space


Modern thrash/death metal, closer to the latter, fast but also melodic stuff; the guys break the formula with slower Amon Amarth-esque numbers ("Beyond the Threshold Of Death", although this one exits with an exteme blasting passage), and a few more complex decisions (the closer "In the End"), but sheer speed and aggression is what one will get here most of the time.

Beyond the Threshold of Death Full-length, 2008

My Space


The compilation contains prime takes on the classic thrash metal idea; this is energetic fast-paced stuff with a touch of crossover reminiscent of the contemporary Swedish heroes F.K.U. and, of course, Municipal Waste, and Ratos de Porao and Leeway, from the old practitioners. Lashing ripping riffs galore will one find here, packed into not very long (2-3min) song-structures, topped by expressive semi-clean vocals which stay in the semi-shouty registers for most of the time in a way not too far from Tommy Christ (Ludichrist).

The debut EP is another enegretic affair, but there are traces of the 90's groovy heritage here and there ("The Ripper") although few will be those just sitting around in compulsive headbangers like "Full Chill" and "Party For Your Right To Fight". More melodic insertions can be noticed on the longer "Lifeless", but expect to lose half your fillings on the explosive closer "Deathrow".
The self-titled debut is a winner, a prime slice of in-your-face retro thrash/crossover, the guys lashing like demented throughout with sharp cutting riffs producing brutal, seismic pieces along the way: "Altered State"; the pretty long (4-min) aggressive closer "Born Dead"; the Slayer-tributes "Slaughter (Of The Innocent)" & "Nuclear Bore". "Harder They Fall" is an interesting cut, offering heavy pounding riffs for about 2-min, and this remains the only stop from this remorseless moshing attack which sees another young act fighting for a place under the British thrash metal sun which is surely shining on them at the moment.

Full Chill EP, 2009
Judgement Day Compilation, 2011
Lifeless Full-length, 2011

My Space


Noisy one-dimensional thrashcore, a bashing crusty affair, with raw hardcore vocals recalling Lemmy on steroids. The tracks are short 1-2min listens with simple direct riffs which very seldom change throughout.

A Non-Nuclear Nightmare Full-Length, 2010


This is obscure uplifting speed/power/thrash with relaxed guitars and a few speedy outbursts ("Find"), and with a good bass bottom. The overall sound has an airheaded punky feel to it, and the singer tries to suit it with his indifferent clean tember. "Tradition" at the end tries to bring something more serious with a portion of heavier, more thought-out guitars, and almost succeeds to engage the listener in a more careful listen.

Demo Demo, 1991


This band boasts the presence of Andreas "Andi" Gutjahr, the guitarist who is also a member of the German thrashers Tankard, and the drummer Gerd Lucking, who takes part in the fine progressive power/thrashers Courageous. Gutjahr is in fine form here, and on "Certain Death" he pulls out outstanding performance which has very little to do with his much more ordinary play on the Tankard albums. The guys' debut is quite good power/thrash of the up-tempo variety, not miles away from their compatriots Mystic Prophecy and early Iced Earth. The guitar work, again, is particularly good: check out the opening "Despair", although something more could be desired from the singer whose levelled performance, seldom livened by the occasional high-pitched scream, falls behind the better music. "Black Mess" is a great number, starting as a ballad, later turned into a blistering speed/thrasher with sharp riffs and fine leads. "Grave" begins in a similar fashion, but the heavy up-tempo riffage takes over, and this song has a nice dark atmosphere. "Certain Death" is a more melodic power/speed metal track graced by a cool keyboard background. After clinging towards the ballad a few times, here comes a full-fledged one: "Fade Away", before the closing "Fearless Soldiers" enters the arena with mighty thrashy tempos and galloping rhythms. This is a promising debut, but on "The Fool" the band have surrendered to the modern, much less impressive power metal trends, and that effort sounds much less edgy and uninspired.

Certain Death Full-length, 1993
Vampires EP, 1995
The Fool Full-length, 1997

My Space


These folks specialize in heavy steam-roller, modern thrash which is a bit on the noisy side with a settled mid-pace which wears thin before the end. The volcanic riffage will pound you into oblivion, and the singer may also get on your nerves with his very shouty intense, deathy antics.

Shatter The Darkness Full-Length, 2016


The debut: a more modern-sounding mixture of black and thrash metal which at times gets quite aggressive, going into Dimmu Borgir-territory. On the other hand, songs like "Let This Knife Lead You to Us" and "Shores of Twilight" will take you back to the days of Bathory (R.I.P.)'s "Blood, Fire, Death" and his more thrashy efforts of the mid 90's.

"The Extra Dimensional Wound" shows the band moving more towards the fields of death metal of the more standard retro Floridian type with the casual more technical break ala Morbid Angel inserted here and there. So expect more aggressive and faster music with not much thrash involved plus a few more atmospheric doomy passages ("Damnation Pentastrike"). It seems as though the sound of the band in which some of the musicians take part, the death metal act The Cauterized, is gradually taking over here...

"Baphometic Chaosium" is a better constructed effort although death metal remains the dominant force. The title-track opens the album in a sinister steam-rolling fashion, but later on the style goes all over the place even introducing black metal blasts on "Acidgate" which are even increased on a few shorter numbers later on making black metal a full-time "occupant" here. The moments of "serenity" (the excellent doomy creeper "Chained To Decay") seem to work the better among the metamorphing black metallisms which reach Bal-Sagothesque proportions on the longest compositions ("Epicyclarium"). The guys have spread their wings quite widely here, but apparently they have lost their interest in thrash almost completely.

The Golden Plague Full-length, 2007
The Extra Dimensional Wound Full-length, 2010
Baphometic Chaosium Full-Length, 2013

My Space


This is true "miasma metal", and otherwise it's an energetic modern thrashy/post-thrashy affair which tickles the listener with the odd more intriguing hook (the eccentric semi-ballad "Black Milk"), but oftentimes is it mild straight-forward power/semi-thrash ("Remain") the uplifting delivery not matching the harsh death metal vocals. The instrumental piece "Nights of Thunder" shows bigger ambition relying on a more frequent riff altenation, but overall this is neither very energetic nor a very eventful recording.

Grown From Scorn Full-Length, 2017

Official Site


This young act serve mild modern power/post-thrash with cool gothic tendencies and a few more complex progressive arrangements. The bass plays a prominent role as well as the good emotional clean mid-ranged vocalist. Surprisingly this diverse mixture works, at least in the beginning, thanks to the good ideas incorporated and their clever execution among which the melodic leads are a particular highlight. The middle is occupied by not very exciting balladic/semi-balladic compositions which lead onto the second half where the sound has more in common with more recent Katatonia.

Nether Regions Full-Length, 2013

Official Site


Based on the full-length, this band plays more moderate retro thrash metal with rough death metal vocals. The music is mixed with speed metal in a way not too far from the Portuguese Alastor on at least half of the tracks, but these Canadians lose the intensity with playful rock-ish tunes ("Trainwreck (Ballad)" which is not exactly a ballad, but is an optimistic roller-coaster ala Motorhead) from time to time.

Death. Famine. Plague. Full-length, 2007
Dismemberment EP, 2008

My Space


An excellent melodic doomy intro ("Critical Mass") doesn't have a very graceful continuation as this is pedestrian retro thrash/death with the pace alternations, the shouty death metal vocals, and the melodic additives. The production is too noisy disfavouring the guitar players, above all, as they can't be heard very well, especially on the faster-paced parts. "Fear Disease" is a cool epic melodic mid-pacer, and the closing "Trinity" is an atmospheric doomy epitaph, not fitting the more energetic approach encountered earlier.

Harbinger of Tempest Full-length, 2017



This is brisk invigorating retro thrash with crisp modern production which gives the guitars a clear, expressive edge. The tempo is mostly mid with some cool catchy melodic tunes scattered around. The damage is left for the final "Can’t Take It" which thrashes more wildly creating good headbanging opportunities as a finishing touch. The singer may be a pullback, though, his guttural deathy growls not quite fitting to the mellower musical delivery.

Run Away Full-length, 2014



Groovy modern thrash/post-thrash of the catchier type with sudden headbanging explosions, like the ones featured on the opening "Feel an Abscence Every Day". The band thrash on with conviction ("Cut the Ties") combining dramatism with intense groovisms, a symbiosis which works for most of the time also helped by the good shouty angry vocals which rend the aether adding a more tender baritone from time to time.

Outburst Full-Length, 2014


This young Slovenian outfit serve quite cool classic speed/thrash along the lines of early Deathrow and Paradox "ornating" their direct formula with some genuine technical touches: check out the engaging opener "Int(r)oxication". The guys start massacring after that with shorter ripping cuts still throwing something less usual to their approach (the quiet section on "Kopkiller"; the dramatic mid-paced shreds on "Unholy Vatican"; etc.). The more ambitious thrash comes back in the 2nd half with "Twilight Zone" and "Junkie" which lash stylish sharp riffs with passion never losing their sweeping speedy character. A short speed metal/crossover closer is served at the end to lift the mood high ably assisted by the decent mid-ranged, semi-clean vocals which are nothing special, but accompany the good music without any pretensions to be the highlight.
"Distorted Perception" will "distort" your "perception" big time with its blitzkrieg delivery and more elaborate touches like those on the jumpy, not very predictable "Disputes....New Recruits", and the excellent melodic shredder "Dark Skies". "Venom Resistant" is a more immediate headbanger, but "World Funeral" is a complex galloper in the best tradition of the Poles Hellfire. The positive impression goes up after "Punish the Light", another prime lashing number, and "Trapped Inside" which is a consistent mid-tempo stomper preceding the closing "C.I.A." which thrashes with more dynamics as a finishing touch.

Snakebite Full-Length, 2013
Distorted Perception Full-Length, 2016

Official Site


This band play heavy mid-paced power/thrash with a strong modern flavour and a more careless crossover attitude (the title-track) applied at times. The seismic riffage disappears from the overlong funky ballad "Utopia in Regalia", but diversity is the name of the game here so few will be surprised to hear this quirky extravaganza near the end. The singer isn't bad for this kind of music, and his levelled, not very adventurous, mid-ranged clean voice seems like a good match.

Holiday In Dystopia Full-Length, 2012


This outfit specialize in energetic modern power/speed/thrash which is more on the friendly, mellow side with not much hard thrashing to be savoured. Doom/stoner comes settled on a couple of tracks as well as a few groovy implements, and the party atmosphere is further cemented by the inclusion of several intense passages on the closing roller-coaster "Countdown". The singer is a cool semi-shouter who isn't very angry and even manages to hold a few melodic tunes at times.

Chronicles Of Aggression Full-Length, 2014


Based on "Deliver Us From Evil", Lipid play cool thrash metal ala The Haunted, but with a more classic edge. This is a work from the better, more attractive side of modern thrash, boasting really fine fast-paced thrashers ("He Who Hates All", "He Who Hates All", and most of the songs). Inevitably will one encounter heavy, groovy tracks ("Silence Of Death"), but only rarely. Some cool Bay-Area riffs can be heard near the end ("Desecrator Of God", "A Trail of Death"), but the very end is preserved for the atmospheric "Beauty Dies": a cool slower, gothic number, with a shade of the Germans Crematory.

Lipid EP, 1998
God We Have Slain EP, 1999
Hagridden EP, 2001
Hagridden Full-length, 2003
Deliver Us From Evil Full-length, 2006

My Space


Based on the debut demo, which is only 2 tracks, this act plays an uneven, albeit dynamic and edgy, mixture of the classic sound and the up-and-coming groovy patterns. On the 2nd song the guys give up the latter, and start thrashing with full force at some stage reaching an almost hardcore-like intensity which is a perfect match to the gruff semi-shouty singer.

Una Oracion Demo, 1994
Thrash Symphony Demo, 1996


Modern power/thrash metal which clings between the angrier sound of Pantera and Machine Head, and the more moderate one heard on the 90's Chastain albums; actually Chastain wanted to sign these guys on his label Leviathan Records, but the "brotherhood" fell apart shortly after the contract offer was made. This is nothing you could lose your sleep over: there are a couple of cool groovy riffs, but the approach is quite samey, livened up by the epic power/thrash number "Warrior" near the end, and the even better crushing sharp riff-fest on the closing "Omegaland"; it's a pity that the guys started pulling their aces too late.

Liquid Nation Full-length, 1996


Only one person is behind this project, the name Kosti Aho; the style is modern technical/progressive industrialized thrash metal which starts in a hectic energetic manner with the headbanging modernizer "Worms" accompanied by fine dramatic melodic leads. If this had been the dominating sound, we would have talked a masterpiece here, but the intensity of this number is nowhere reached later. A trilogy of complex dry mechanical thrash pieces follows suit, with all the three compositions being of the hectic jumpy variety. With "Corporate Whore" things get back on the more dynamic wagon again with dark brooding riffage recalling Nefilim's "Zoon". "Vomit" is a good technical thrasher which preserves the energy despite the quiet balladic interlude. "Nerve Damage" is a slower semi-doomy instrumental with great lead guitars and a solid speedy section at the end. "Liquor Dreams pt. 3" (where are the other 2 parts?!) closes the album in a calm semi-balladic, all-instrumental again, fashion with nice orchestral implements scoring high in the atmospheric department, and to some the closing pieces may be the highlight sparing the listener the subdued semi-whispered vocals which are actually not very audible on quite a few times, and will remind you of Front Line Assembly.
The "Moist Computer" EP is 3 tracks of instrumentals-only which provide laid-back relaxed progressive post-thrash without too many intense moments. The compositions are expectedly jumpy with good melodic leads and other interesting gimmicks, but the computerized mechanized approach makes them sound a bit artificial.

Sinus Full-length, 2009
Nonsense Full-length, 2010
Moist Computer EP, 2011

Official Site


Based on "A Closer Look At The Ground", this band offer your average 90's groovy post-thrash. This is mostly mid-paced stuff which borrows from both the Metallica Black Album and 90's Flotsam & Jetsam by also adding some doomy numbers ("Hypocrazy", "Blind Disease") where the album totally loses the little pace it has.

The debut is the expected playful 90's post-thrash which is too mellow to really strike a chord and is consequently the inferior offering in the band's discography. There are allusions to the ballad, stoner/desert rock, grunge, and other more or less attractive influences.

Give the Iron Full-length, 1993
A Closer Look At The Ground Full-length, 1995


The debut demo: a furious, brutal mix of thrash and black metal which is much truer to the latter including in the vocal department although these unholy raspy shrieks one should really have a very vivid imagination to call singing. Raw, primitive and far from mandatory for the thrash metal fan.

The "Maithuna Sadhana" demo is much more proficient music-wise offering good black metal of the aggressive semi-blasting type with a very sparse participation of thrash. The demo has its slower epic side as well which is really good making it sound close to Dimmu Borgir's "Enthrone Darkness Trimphant" at times, especially on the long majestic title-track. The guys also have another band: Akallabêth with whom they play much mellower folk metal.

Sementes do Eterno Ódio Demo, 2006
Maithuna Sadhana Demo, 2008

Official Site


This outfit pull out fairly energetic retro speed/thrash the band embedding the more intense melee into more complex structures ("Conspiracy") still leaving plenty of room for the more direct ragers ("Imprisoned") to develop. "Watchtowers Of The South" embraks on a more engaging, technical "journey", a model later followed by the more officiant stomper "Down Deep", and the superb diverse shredfest "Freezing War". "Black Metal Slut" is a relaxed crossover joke "infecting" a string of short numbers before the arrival of the final "Dying Planet's Revenge", an ambitious 10.5-min saga

LIV Full-Length, 2017

Official Site


The full-length debut: fast aggressive thrashcore with short ripping tracks with one sure highlight, "Twelve Steps", a very cool albeit lyrical speed/thrasher lasting for whole (!) 2.5-min. The other exercise in longer playing, the nearly 4-min "The Last Of The Pack", is a fast ripping headbanger merging with the melee which also offers a raspy, semi-shouty baritone well suiting this random tribute to "Reign in Blood" and other pillars of old school brutality.
"Words of Wisdom" comes with a softer, more laid-back delivery the more aggressive cuts ("Rum Ritual", "Twelve Steps") completely overshadowed by the other material which also comprises several clever semi-technical headbangers ("Words Of Wisdom", the goofy jumper "Puke") plus more serious exercises in elaborate thrash/crossover ("Time To Drink").

Bar Fight EP, 2016
Bar Fight Full-Length, 2016
Words of Wisdom Full-length, 2017

Official Site


Based on "Perfect Gift", this band play a modern mixture of power, post-thrash and thrash which is enjoyable and all, but doesn't have enough bite to capture the hard-boiled thrash metal fan's imagination. The title-track speeds up with bouncy, dynamic riffs, but elsewhere this doesn't happen as there are quite a few balladic/semi-balladic stretches which starkly contrast with the harsh death metal-ish vocals.

Liver of a Duck Full-length, 2014
Perfect Gift Full-length, 2017

Official Site


Based on the full-length, this band indulge in modern melo-thrash/death which is rich in both melody and progressive nuances the latter well embedded into the long compositions. "void" is an impressive creepy modern shredder despite the sleepy pace; and the closer "Dark Mirror Neurons" is a 9-min industrial, doomy miasma again with a few intriguing arrangements.

EP EP, 2013
Dark Mirror Neurons Full-length, 2015

Official Site


Modern thrash metal of the dynamic variety with fast lashing riffs and annoying shouty hardcore vocals; nothing groundbreaking although it will keep the headbangers happy.

Metaphysical Collapse Full-length, 2009

Official Site


This great band, founded by two brothers (Dieter and Reiner Kelch), began in a very humble manner with their debut, being energetic, but quite undeveloped heavy/speed metal. Just a year later the band sounded much tighter and more proficient on "Metal Revolution": pretty well done speed/thrash metal of a more straight nature considering the band's future works, aided by the highly distinctive, banshee-like vocals of Torsten Bergmann. They took a more ambitious, technical approach on the 4-track EP "Back to the Weapons", which coincided with the band being picked up by the Aargg label, which owner Ralph Hubert was the sponsor and guardian of the technical metal acts in Europe in the 80's, and also used the services of the two Living Death guitar players for his own band Mekong Delta. "Protected From Reality" was quite good progressive thrash, where the guys sounded like an almost entirely new band, compared with their previous output. "World Neurosis" was still a fairly cool technical affair, but the songs have become simpler and more catchy, and Bergmann's vocals have changed into more ordinary, less screechy, but far less impressive ones. The band members, who were taking part in Mekong Delta, preferred to concentrate on that band, as it was growing in popularity, which led to the band's demise.

Bergmann was determined to carry on the Living Death flame further on, along with the drummer Atomic Steif, but since he had no rights over the band name, which belonged to the Kelch brothers, had to think of another name, and took it from a song from the "World Neuroses" album: Sacred Chao; the music on that band's only EP would not be the Living Death fan's paradise, though, offering a soft calm, slightly progressive, brand of power and just a bit of thrash metal. Musical differences led to the two guitarists being sacked from Mekong Delta, and they returned to the scene in 1991 for one more temptation: "Killing in Action", which was a fine combination between the more direct speedy style of "Metal Revolution" and the more technical one of "World Neuroses". Unlike other veterans from the 80's (Deathrow, Mekong Delta) who fitted very well into the progressive/technical thrash metal wave which appeared in Germany at about the same time, the band got lost once again, this time for good.

Vengeance of Hell Full-length, 1984
Watch Out EP, 1985
Metal Revolution Full-length, 1985
Back to the Weapons EP, 1986
Protected from Reality Full-length, 1987
Live EP, 1988
Worlds Neuroses Full-length, 1989
Killing In Action Full-length, 1991

Official Site


Based on "World Keeps Spinning", this act isn't very easy to categorize: half of the album is a direct classic mixture of thrash and death metal akin to the Floridian school, the other half is weird avantgarde progressive stuff with twisted meandering guitars sounding like deathy Voivod, not also too far from the quirkiness of Gorguts' "Obscura", plus the addition of a few frantic post-core moments ala Blood from the Soul. The singer doesn't change, though, singing in a gruff semi-death/semi-hardcore tember the whole time. The mixture doesn't quite work since both sides aren't very aptly mixed, alternating throughout, the preferences probably going towards the more complex side of things with its abstract surreal atmosphere.

No Future/ Perpetual Motion Man EP, 1995
World Keeps Spinning Full-length, 1996
Blossom And Decay Full-length, 1998


This Christian metal band have changed their style quite a few times through the years, with their debut remaining their most thrashy affair. It will definitely delight fans of old school thrash, which at that time didn't have a very big choice. This effort comes as a nice, albeit less intense, companion piece to same year's Devastation's "Idolatry", and the 1st song "Violence" will throw you directly into Slayer territory with its fast sharp riffs. "Internal Unrest" is on the opposite side of the pole, being heavy and mid-paced, with Slayer again being the closest soundalike. "Second Death" continues the fast intense thrashing from the opener, whereas "Obstruction" serves the next poriton of slower pounding rhythms. The alternation, however, is broken on the following 2 songs, which are heads-down headbangers, but "No Grave Concern" compensates with the heaviest and slowest riffs on the album, a moody doomy thrasher. No speed lost then, on the 5-min thrash monster "Dealing With Ignorance", the more laid-back but memorable "The Prodigal", and on the final speedster "Anorexia Spiritual", which puts an end to this excellent Slayer-worship seldom surpassed before or after.

"Nonexistent" was the band's movement to death metal, and from a thrash-metal-point-of-view it has not much to offer. Still, it is a fairly satisfying listen, moshing hard with a sense of technicality, this time sounding quite close to mid-period Death and Pestilence. The high speed throughout is again "broken" nicely, by a couple of more thrash-fixated numbers ("Haven Of Blasphemy"), and more quiet stylish sections are thrown in, recalling Pestilence's "Testimony of the Ancients ("...To Nothing"). "Void Expression" is a great progressive composition, with nice lead guitar work and a haunting balladic passage. "Atonement" offers another balladic intro, but very little mercy is shown later on, this track being the fastest one on the album. "Distorted" is the odd slow slightly pointless number with doomy spacey riffs, but all is corrected on "Chemical Straightjacket", a fast-paced technical deathster.

Then the guys literally wrote the rules of metalcore with "Inhabit", adding more and more aggression until "Conceived in Fire" entered the deathcore circuit where the band can easily be viewed as one of the finest practitiotners, with their music remaining interesting and entertaining. The guys also have another project: the melodic death metal act Soul Embraced with whom they have one EP and 4 full-lengths released.

The guys are still alive, as "The Infinite Order" indicates although they kept a really low profile for more than 8 years. Death metal still dominates, but is of the dark gothic-tinged variety, and thrash can be heard more than now and then ("Nietzsche's Madness", "Organized Lie") on the more headbanging parts as well as brilliant doom Bolt Thrower-like melodies (the excellent "Unfit to Live"), a resemblnace with the Brits further strenghtened by the nice forceful Karl Willets-influenced vocals. The core leanings have almost completely disappeared, and most of the time the album develops in a straight modern death/thrash metal manner offering tracks in mid to up-tempo sitting somewhere between more recent Arch Enemy and Final Breath.
The band carry on with "Ghost Thief" as the epitomized on the previous album melo-death/thrash sound still leads the proceedings serving plenty of catchy melodic hooks to be savoured by the fan. The sound gets stuck in somewhat repetitive mid-tempo formulas at some point which may make the listener lose focus, but those who have more patience will be rewarded with the intense "American Made" which lashes riffs with passion the very good leads hitting the top here; some great melodies provided as well. More patience, and here comes the closing "Despair" which apart from "despair", will offer some really cool abstract mechanical technical shreds as a finishing touch. This is far from a masterpiece, but should please the band fans who at this stage would have left their high criteria behind.

Living Sacrifice Full-length, 1991
Nonexistent Full-length, 1992
Inhabit Full-length, 1994
Reborn Full-length, 1997
The Hammering Process Full-length, 2000
Conceived in Fire Full-length, 2002
The Infinite Order Full-length, 2010
Ghost Thief Full-Length, 2013

Official Site


Cool classic thrash metal trying to follow the 80's Kreator models, but adhering to too much melody which also brings more recent "echoes" of the Swedish scene. When the guys hit the more technical parametres ("Fe Ciega"), things get really interesting although the gruff screamy singer does his best to spoil the situation. "Apatrida" and "Amnesia" are on the opposite pole, fast brutal pieces with proto-death tendencies, sounding like a leftover from "Pleasure to Kill". "Maquina De Matar" at the end tones down the aggression to bring forward a more controlled semi-technical sound also reminiscent of Destruction's more technical days. The sound quality is really clear; hopefully it stays around for the eventual full-length...

Stalingrado Demo, 2005

My Space


Excellent dark gothic classic thrash with gruff death metal vocals; the guys play with conviction and competence, and never lose the dynamics. "Under The Fallen Sun" starts the album in an energetic galloping fashion, before "Fear" offers both a doomy and an Oriental twist which in the 2nd half leave the fast thrashy guitars to do the final damage. "Dying Alive" is intense thrash with spiral-like riffs, great leads and a nice technical twist; without speeding up this track sounds scarily aggressive with a touch of proto-death. "Despertar Sin Salida" is a mid-paced crusher with the leads being the highlight, saving this song from being a filler with its ordinary not very eventful riffage. But the guys hit the top with the fine diverse shredder "To Other Side The Walls Of Death" which provides great both direct and more technical riffs. "Colapso y te Aborresco" is a speedy thrash/crossover joy which gets wonderfully serious (and also faster) in the 2nd half with nice melodic more thought-out hooks. "Dark Reflections" is a very pleasant surprise: a faithful take on the Candlemass heavy thrasher from "Tales of Creation" sustained in the same galloping up-tempo; certainly the singer is nowhere near the operatic flamboyance of Messiah Marcolin, but his rough tone suits the dark brooding music just fine. "Buried Time" is a marvellous tribute to Coroner as the guys were wise enough to concentrate on the more straight-forward side of the Swiss' music, starting with the superb opening machine-gun riffs from "Semtex Revolution" from "Mental Vortex" before moving onto the abstract dry tone of "Grin" with a few nuances from several tracks from there, which in its turn gives way to the nice headbanging section from "Divine Step" from "Mental Vortex" again and vice versa, back to the way it started. And that's all from the cover department: "Touch of Evil" is not a Judas Priest cover, but is a less impressive mid-tempo power/thrasher which influences the even mellower closing heavy metal anthem "El Ultimo Lamento". Despite the underwhelming ending this effort is a fairly original slab of retro thrash metal which comes with its own face being a more than just a promising beginning for these Chileans for whom hopefully the best is yet to come.

La Opción Final Full-length, 2009

My Space


A 2-song demo of cool heavy thrash, with a very good bass bottom, change of tempos (the predominant one is mid-paced), but never very fast or aggressive, and an overall dark sound characteristic of the Infernal Majesty debut.

Lluvia Negra Single, 1991


This act play wild untamed thrash/death metal which can be quite choppy and technical at times ("Horror 404"), but those moments are clearly in-between as the guys are by all means more enamored with the bashing side of the blend. In oher words, expect a lot of hyper-blasts including on the excellent hecticer "Dias de la Dependencia", technical thrash/death at its finest akin to Atheist and Terrahsphere. "Terminales" is another wild piece the brutality nicely crossed with enchanting melodic leads; and "Retrocoprofagia" is another technical highlight, a spastic composition with wild time and tempo-changes plus some really insane shredding. "Eslabon Podrido" calms down and switches onto full-fledged thrash before the closing "El Texto se Vuelve Ilegible" wraps it up with a complex, multifaceted delivery including a portion of surreal, dissonant riffs. The band are a hot proposition with their appetizing approach, but they have to improve the sound quality: it's quite muddy and sloppy at times. Some of the band members also play with the death/thrashers Demon's Flesh, and the groove metal outfit Num.

Podrifonia Full-Length, 2016

Official Site


3 guys and one girl with plenty of experience in the US underground (mostly death metal acts) have joined forces for the making of this oddity which sounds like the bastard child of Godflesh and Meshuggah with Treponem Pal and Mindrot watching (and probably masturbating- ha ha!) on the side. Insert a godawful amount of side noise (oh, my god!), remove all speed possible, and you'll get the picture. Only for those "born from rot", of course...

Born from Rot Full-Length, 2012

My Space


Good minimalistic industrial semi-technical post-thrash combining the best from Coroner's "Grin" and early Treponem Pal, kind of predating the style Voivod took up in the mid-90's. So don't expect headbanging stuff here: this is mid-paced to slow industrialized music, jumpy and abstract, with cold listless vocals quite close to the ones of Treponem Pal. But on the other hand one shouldn't expect a big variety since apart from some saxophone inclusions and Oriental motives, there isn't much happening: the heavy robotic riffage is all over the place. "Rage" tries to justify its title coming in the middle, and is a good creepy modern thrasher. After it the sound gets quite doomy and depressive with not much occurring in the thrashy sector. This is a fairly weird listen, and may have found quite a few fans back during the industrial mid-90's.

Just Human Full-length, 1993


Lobotomia share members with another Brazilian band: Ratos De Porao. The style is similar to Ratos: crossover/thrash, well done. Lobotomia stick to the mixture, unlike Ratos who released some straight thrash metal albums in the late 80's/early 90's.
"Desastre" sees the band willing to play a more prominent role in the thrash metal resurrectiion, and here they are with this highly energetic slab of the good old thrash served in an impetuous, rigorous fashion without too many leanings towards the crossover spectre. The headbangers will have a lot of fun jumping around on moshers like "Ferida Aberta" and "Terra Sagrada", while the more serious listeners may find something to like on the last duo from which "Voodoo" "flirts" with some power metal hooks; and the final "Quem Vai Ganhar" introduces more lashing, hardcore-prone riffage.

Lobotomia Full-length, 1986
Nada É Como Parece Full-length, 1989
Extinção Full-Length, 2008
Desastre Full-Length, 2016

My Space


This Czech trio specializes in an interesting, albeit quite flawed, mixture of death, thrash and black metal, more on the melodic atmospheric side. The delivery is marred by the fuzzy guitar sound and the overuse of keyboards which at times completely stifle the other instruments. At their best the guys reach the epic flamboyancy of Bal-Sagoth, but they aren't very apt at handling longer more sprawling compositions like the latter, accumulating one atmospheric section after another without any harder, more immediate, "relief", a flaw which is very obvious on the 12-min title-track. The shorter numbers are much better and are the ones which will hold the attention of the thrash metal fan for longer.

Lobotomicon Demo, 2005

Official Site


The bad sound quality leaves a lot to be desired; otherwise the guys try hard to produce intense Hallows Eve-like thrash which mixes fast with slow passages on a very abrasive buzzy base. Further damage is done by the awful unrehearsed proto-death metal vocals this mess leaving the impression that there's only one person behind it.

Legions of the Dark Realms Demo, 1994


This is by all means the ultimate "companion" to any "satanic speed metal ritual", and not only performed in Malaysia. Otherwise this is a fairly faithful tribute to the early Germanic tradition in the genre with a more accentuated sinister edge ala the early black metal acts (think Bathory, above all). The guitars are not very sharp, and the melodic hooks are about to take over on a few times in the middle where the tone gets more friendly for a bit with echoes of Motorhead and early Exciter. "Powerthrash" tries to convince the listener that some power metal could have been inserted here, but this piece is just another merry-go-round speedster the blacky raven-ish singer the only more scary addition to this unpretentious laid-back effort.

Satanic Speed Metal Ritual Full-Length, 2012

Official Site


Three cute girls are involved here, but their skills are not very high and they merely have fun pulling out merry unpretentious speed/thrash/crossover which is quite messy for most of the time mixing slow and fast paces to a not very positive effect, the main asset being the vocalist who possesses a nice high-strung clean tember who definitely deserved a better exposure back at the time. The musical delivery consistently sticks to short intense blitzkriegers ("Zdur Pero Kur") which don't shy away from death metal even, and this is where the girl (if that's the same one) starts singing with more aggression and much less melody at times merely spitting the lyrics with venom and spite.

Strašidlo z Canterville Demo, 1989


The debut: industrialized modern thrash/death metal with Fear Factory an obvious influence although the Brazilians are able to come up with vigorous semi-classical riffs at times, and the music as a whole is quite dynamic and speedy seldom reaching for the deathy blasts ("End of an Era"). The vocals are vintage Phil Anselmo, and certain sections carry this staple Pantera-sque aggro-sound (F.U.D.").
"Inside" is a pretty faithful copy of the debut decreasing the speed a bit settling for more moderate slower, somewhat mechanical, numbers richer in atmosphere this approach now bringing the album closer to the works of the Swedish death/gothic/industrial metal act The Project Hate. "Re-Involution" comes with a splash near the end to thrash you big time, but the rest is much more restrained still delivering in a more peaceful abstract manner.

Death in a Second Full-Length, 2009
Inside Full-Length, 2010


This obscure effort doesn't quite "taste like candy" since this is quite energetic thrash with a rough abrasive edge which is aptly transformed into something more serious on the long 8-min engager "Mastery Deceiver" its more stylish aesthetics well translated for the following shredder "Psycho Mushrooms" which is a carefree track deserving its optimistic hippie title. The sound quality isn't very good, but the singer is a cool attached mid-ranger with an expressive clean voice.

A Taste of Candy Demo, 1990


The EP: a modern mixture of thrash and hardcore, mid-paced, with a playful attitude, recalling Machine Head's mid-period; "Spiel Mit Mir" is not a Rammstein cover. This is not aggressive music, although "Si Hombre" livens up a bit with more intense riffage, and "Auf Messers Schneide" is a cool heavy number which will remind you of the German industrial wizards Ooomph.
"Seelenreiter" takes the hard course, and is much more satisfying, thrashing hard with a strong modern edge letting go of the groove most of the time, managing to stay in a good dynamic pace on most tracks. The guitars are quite sharp recalling this time their colleagues from Rammstein on the more playful passages, but in a heavier, more aggressive way.

Clown EP, 2005
Seelenreiter Full-length, 2008

My Space


The debut: modern mid-paced death/thrash metal; "Nejsme Nic" is a not very impressive take on later-period Massacra adding some more obvious grooves ala early Machine Head. By all means the more interesting moments are those coming with faster guitars ("Homo Sapiens", "Stres"), but their number is far from enough, especially when stoner/doom numbers like "Iluze", or the semi-balladic "Vnitrni Bolest", roam around as well. There are heavy riffs aplenty, but at that time there were many other acts offering the same kind of music.

"Malleus Carnalis": the music is pretty much the same this time offering more dynamic deviations ala Pro-Pain ("Pali Se Knot", "Sedum"), and generally the sound is faster (check out the cool moshers "Outsider" and "Zabij Strach"), but once the guys step the pedal on the groove, they forget to let it go and consequently the music loses its appeal and spontaneity.

Locomotive I. Full-length, 1997
Homo Sapiens EP, 1998
Nejsme Nic Full-length, 2000
Ornament z Pijavic Full-length, 2003
Malleus Carnalis Full-Length, 2008

My Space


This band play modern crunchy thrash which relies both on groove and melody in almost equal dozes the resultant blend still clinging more towards the melo-death canons introduced by the Gothenburg school. "Auto Abortion" near the end starts thrashing with a healthy doze of technicality translating some of it on the more energetic closer "Public Mediasturbator" which is a prime mechanical headbanger with a virtuoso lead section as a finishing touch.

Blinded by the Glory Hole Full-Length, 2011

Official Site


Two lads from Genoa have joined forces for the release of this evil, unholy black/thrash cacophony with the opening "Spaghetti Westerns"... sorry, "Thrashers" clearly the flagship of the whole Italian thrash metal movement. The approach is quite diverse with frequently changing tempos as the slower side ("Dementor") is somewhat more appealing recalling Barathrum. "Jeckill & Hide" offers something more complex and avantgarde, again with doomy overtones, and the closer "Nightmare" is a cover of the Brazilian legends Sarcofago from their mythical debut rendered faithfully without any excesses.

Escape from Melody Full-length, 2009
Star Thrash Full-length, 2012



A capable slab of semi-technical thrash/death metal with a slightly abrasive guitar sound and very brutal low-tuned death growls. The guys play fast and tight with frequent more technical breaks recalling Suffocation more than now and then, and sonsequently the music is much closer to death metal blasting wildly on almost every song although those breaks never last for too long.

Necrogenesis Full-length, 2010

Official Site


This is dynamic, slightly death metal-ornated, thrash which is played in constant up-tempo and cool melodic implements with a rousing epic flavour. The compositions all have Roman numbers as titles among which number VII is a particularly cool progressive thrasher leaving the shorter material clinging more towards the much more immediate, bashing side. The singer is a shouty deathster whose tember reaches the point of hysteria at times.

Crann Full-Length, 2015

Official Site


This band started in the late 80's as a punk outfit (reportedly their debut is still pretty much a punk release), but during the late 90's decided to add a considerable doze of metal, and on "Expand The Hive" they unleash hell with their furious brutal mixture of thrash, grind and, of course, a still present shade of punk. The music is not all-out aggression, though, as there are slower mid-paced parts where the guitars will crush your skull; very intense and enjoyable stuff which would also appeal to hardcore and death metal fans.

Deadtime Full-length, 1993
Expand The Hive Full-length, 1997
Soul Pollution Full-length, 1998

My Space


Modern progressive post-thrash with a strong shade of math and djent. The delivery is abrasive and hard-hitting, but it often falls into the dreamy "traps" characteristic of the progressive metal opuses. Those "traps" are more prevalent in the 1st half, the more aggressive delivery left for the 2nd one started by the jumpy "Ashes of Fate", and gracefully continued by the more energetic "The Long Descent". The singer has a warm emotional, clean tember and rises above the harsh, not very melodic riffing providing the requisite contrast to it.

Ashes Of Fate Full-Length, 2016


Based on the debut demo, this outfit indulge in standard old school thrash without any particular highlights. The execution is passable mixing fast and slow passages as some cool melodic hooks can be heard, but the really bad sound quality doesn't give too many chances to the musicians to stand out although some good attempts at bass can be caught as well. The vocals are of the semi-shouty hardcore type being the most amateursih part of the line-up sounding fairly unrehearsed and raw.

Against the Grain Demo, 1991
Fragments of a Future to Come Demo, 1992

My Space


Based on the full-length, this act produces modern thrashcore of the heavier type which still has its faster side, but the majority of the songs are squashing steam-rollers of the aggro-category assisted by brutal semi-shouty death metal vocals.

"The Time to Do Better" is way more energetic the guys moshing hard on pieces like the opening "Beyond the Pain" or the dramatic "Last Resort". Certainly there are plenty of heavy groovers to fill a tank, but generally the diversity is bigger including a short acoustic piece ("From 10 Pm to 1 Am") thrown in the middle. "Bleed" is an Edge of Sanity cover, well chosen sharing the core-ish feeling of the album which acquires a more serious shape near the end where the songs become longer and slower finished with the dreamy balladic "Drive Me Blind".

Lokurah EP, 2005
When The End Comes Full-Length, 2008
The Time to Do Better Full-Length, 2012

Official Site


There is only one guy behind these 2 songs, the pseudonim Evil Lolikon, who indulges in a rough primitive mix of thrash, hardcore, and punk to a not very positive effect. This is stuff on the noisy side of the spectre with the faster and slower passages awkwardly mixed with clumsy insertions of melodic guitars on the least appropriate places. The guy also provides very agonizing rending vocals not too far from the early Tom G. Warrior's attempts at singing on the Hellhammer efforts.

Pain/Punishment Single, 2010


This unknown act deliver classic semi-progressive thrash/death with a frequent change of tempos often within one song. The slower more officiant approach is covered more extensively making aggressive outbursts like "Punished" more than welcome. "Animal Kingdom" is an attempt at something more technical and less predictable which is elaborated on the following "Marginal", a less ordinary cut with nice melodic leads. The singer is a gruff shouty death metal throat ala Jan-Chris de Koeijer (Gorefest).

Reugnance Full-Length, 1997


This band were formed by two members of the black/thrashers Vexed. Based on the debut, this is good fast, aggressive thrash reminiscent of 80's Sodom and Kreator (the later, better works) which comes close to death metal at times, and overall sounds more appealing than the Vexed music. You will hear interesting covers of Motorhead's "Ace of Spades" (again!), Kreator's "Pleasure to Kill", and W.A.S.P.'s "I Wanna Be Somebody" sung in Italian, as well as live versions of tracks from that same album.

Ki le Dür Full-length, 2005
Polenta Violenta Full-length, 2007

My Space


Based on the debut EP, these folks provide energetic crossover-ish thrash metal of the old school with soulful semi-clean vocals mixing direct fast happiness-es ("Subsistence") with more thought-out, almost progressive, compositions ("Black"). The overall approach recalls later-period Sacred Reich ("Independent", "Heal") with a more classic spirit. Some of the band members also released one demo of similar stuff under the name Abigail.

Sufferscorn EP, 1994
Bark'N'Bite EP, 1995
Here Come the King Full-length, 1997
Loonatikk vs. Blackend Split, 1999
Roll All Over You Full-length, 1999
Devildance the Killerokk Full-length, 2000
Gorilla Beat Full-length, 2002
Ocean Pearls Full-length, 2005
What Now, What Next? EP, 2008

Official Site


Based on the "Black Moon Preacher" EP, this act plays good intense black/thrash metal close to the Portuguese Alastor, and respectively the early German school, mostly in the guitar department where the riffs twist and turn in a way no worse than Destruction's "Infernal Overkill": "Black Moon Preacher", resemblance also helped by the vicious Schmier-like vocals. A few blasting moments ala Absu can be caught as well.

Behind the Curtains of Darkness Full-length, 1998
Hell's Fucking Metal Full-length, 2003
Black Moon Preacher EP, 2005

Official Site


The style displayed on the band's only album is hectic ambitious thrash with numerous tempo-changes which hits the mark on quite a few times, but there are also moments where the music sounds slightly unfocused (no pun intended), without a certain direction. "Earthquake" starts the album in a very hectic, even chaotic, but intriguing manner, and manages to find the right way to thrash with force and conviction later. It was interesting to see whether the guys would choose the more technical, or the more standard way for the remaining material, but the mixture carries on although it gives more preference to the more direct delivery (the aggressive "Dope" which still contains a fairly unconventional, quirky break). The title-track doesn't really go anywhere being slow and ordinary, quite misplaced (and not really "focused"), but that's one of the few awkward moments here. "Skullfucked" brings back the chaotic mix and the rest follows the pattern pretty closely reaching surprising technical heights on the fine frenetic jumpy instrumental "A Weird Guest". "Mind of Child Murderer" is more uncontrolled chaos blending almost mindless proto-death bashing with truly chaotic, but listenable, sections. The guys' approach to song-writing is by all means out of the ordinary and might take several listens before one learns to enjoy this stuff, but the pluses in the long run are way more than the minuses. The band were previously known as Haze when they only managed a solitary demo in 1986.
The demo continues the unusual, original stream from the full-length with all the four tracks being stylish complex exercises in old school thrash. "Mind's Eye" is a nice combination of stomping volcanic sections and sweeping fast-paced ones, both sides taking turns the whole time to a frenetic, dizzying effect. "Thy Neighbour" is a superb take on the technical thrash idea, a hallucinogenic diverse shredder with a lengthy chaotic lead section. The isntrumental "Objective: Lusitania" attempts a more orthodox bash for a change, but the vortex-like accumulations in the middle would make anyone disoriented those moments not far from the not very decipherable Deathrow histrionics even. "Wholesale Death Trader" has an imposing doomy intro before twisted bizarre riff-salads start gettign stirred with a bizarre main motif somehow stitching them together, the intricate arrangements staying around till the end when a relatively more linear passage wraps on this most compelling effort, another testimony for the genius running rampant in the Italian underground.

The Focus Of Life Full-length, 1988
Who Do You Trust? Demo, 1989

Vibrations of Doom


This band offer modern thrash/post-thrash which isn't very diverse sticking to mid-paced formulas, but has a consistent dark atmosphere which never gets dissipated, and may even become a bit boring towards the end, especially on the dragging doomy closer "What Is Not... Is". The singer is a semi-shouty death metaller who fails to generate any excitement along the way due to his very pedestrian mechanical delivery.

Summon The Faithless Full-Length, 2013


This is early speed/proto-thrash ala Exciter, Anvil and the Belgians Acid which also imitates the pristine production of those acts quite well. There are a few slower cuts ("Cemetery Blaze") with a sweet heavy metal feel, but most of the pieces are fast-paced and vivid assisted by hoarse semi-clean vocals.

Grave Desecrator Full-Length, 2015

Official Site


Classic heavy/power metal meets thrash somewhere on the way to the epic heights reached by acts like Manilla Road and Manowar. Even a brutal deathy blast can be encountered on the progressive opus "Genome Brother". The approach is mid-paced to slow with the odd galloping rhythm, and the vocals sing in a mid-levelled clean manner from beginning to end echoing Ragne Wahlquist from the Swedes Heavy Load.

Event Horizon EP, 2010

Official Site


Based on the "Tales from the Abyss" demo, this act provide dark potent thrash which crosses the more thought-out histrionics of Sabbat and early Skyclad with the more urgent brooding shreds of Deathwish. The husky semi-clean vocals are a good assistant to the stylish music which rolls around with sharp, but also melodic guitars speeding up on "Malevolent Warrior", but generally not leaving the mid-paced confines too much. "Silent Sun of the Seer" is a potent galloper, an awesome speed/thrasher with good melodic leads. The closing "World of Shadows" is an underwhelming ballad which simply doesn't fit the band's musical skills despite the again tasteful lead guitar work which saves this number from being a total waste of 5-min.

Seventh Sabbat Demo, 1991
Tales from the Abyss Demo, 1993
Twilight in Another Dimension Demo, 1994


A band featuring Ben Meyer, the Nasty Savage axeman; based on the debut, the style isn't as technical as the one of his previous band, it's more aggressive thrash bordering on death metal sometimes with some nice hooks and good guitar work like the frenetic fretwork on the opening "Earthen Lake". "The Lordes Werre" is a more moderate heavy stomper, and "Disguised Seduction (Chant of Making II)" is an alluring Oriental instrumental opposing to "aggressors" like the short bursting "Welcome to Your Death" and the closing "Nightmare".

"Canticles of Armageddon" is clearly the better achievement with more technical guitar work, still quite aggressive, bringing to mind mid-period Sadus ("Swallowed in Black", "Visions of Misery") with vicious high snarls vocals ala Fred "Death" Duval (R.I.P.) from Massacra. "Stellar Gateway" tones down the aggression (except on a small part in the middle) and introduces heavy doomy riffs creating haunting surreal atmosphere.

Canticles of Armageddon EP, 1996
Demon Crusades Full-length, 1999

My Space


This short-lived project was formed by the vocal guru Scott Huffman (Mindwarp Chamber, Syris, Twelfth Gate, Spirit Web, etc.) who here tries his hands on more complex semi-progressive power/thrash metal which relies on virtuoso guitar work (check out the best track "A Mind A World Away") and the American power/thrash metal heritage of the 80's. The delivery works better when it's more speedy (the brisk speedster "Meat Hook"), but when the guys slow down things get a bit messy ("The Flame's Eternal Light") providing uneven bland mixtures of ballad and heavy metal. The guitarists' skills are higher than the approach's demand, and consequently at some point they just start riffing in a conventional carefree manner to better suit the less engaging approach.

A Mind a World Away Demo, 1995


Modern thrash metal with metalcore leanings and heavy groovy sections; just when the listener starts banging his head a bit ("Implosion"), comes a very boring dragging alternative ballad ("Nube De Oort") which has the "audacity" to last for whole 7-min fortunately finishing the album not giving the guys any other opportunities to mess it up even more.

El Dia Del Tentaculo Full-Length, 2010


These guys offer cover versions of popular latino hits throughout the years ("Macarena", "The Ketchup Song", "Vamos a La Playa", "Hasta La Vista", etc.). Some of the versions are impossible to recognize, since the band take a very minimalistic approach, based on groovy industrial post-thrash, in slow to mid-tempo; quite intriguing, by the way, if you manage to adjust your senses to this offbeat, but at times hard-hitting delivery which owes a lot to acts like Die Krupps, Front Line Assembly, and late period Skrew.

Viva Los Los Full-Length, 2005


Classic thrash/crossover, but badly produced, and with amateurish musicianship; the tempo is quite energetic, but the fuzzy guitar sound leaves a lot to be desired. "La Idea (Entera)" tries to jump on the grindcore arena at some point, and almost succeeds. Near the end there's a not very convincing cover version of Metallica's "Metal Milita".

Ensayo al Peo! Demo, 2006

Fan Site


Look no further than the typical for Sweden modern thrash/death metal with early In Flames being the prime influence; this is energetic stuff despite the frequent slower atmospheric breaks where semi-clean vocals interrupt the very common shouty ones. Those breaks stretch into whole tracks in the middle providing a few balladic sections. Near the end the album loses steam with the guys abandoning the hard thrashing for the sake of more moderate melodic compositions.

Blind Leading Blind Full-length, 2009

Official Site


Based on the "Lélekfagy" demo: these guys come up with heavy semi-technical thrash, clearly old school, recalling Metallica's late-80's period and Heathen's "Victims of Deception". The guitar work is quite good with stomping sharp riffage and a couple of bolder ventures into full-blooded technical thrash ("Ikerlelkek") which could have been more.

...Good Day to Die Demo, 1994
11. Parancsolat Split, 1996
Lélekfagy Demo, 1997


Modern, somewhat progressive, power/thrash metal which clings between a more aggressive version of Tool and late-period Psychotic Waltz. The music is heavy and mid-paced, and there are interesting twists and turns, but there's also a strong alternative vibe going through the album, and insipid groovy non-thrashy tracks like "Closure" pull it towards the really dull side. "Shimmer" is pure industrial which would put even acts like Front Line Assembly to shame, but this isn't the point here. The impassionate robotic clean vocals which show no emotion at all, are just another flaw. Apparently the guys still look for their real face, but they're too far from the patterns they try to follow.

Inertia Full-length, 2005
Losing Sun EP, 2005

My Space


Two girls (remember Volkana, although they have no relations to this band) assisted by a male drummer are responsible for this cool slab of intense retro thrash/crossover. The music is fast and aggressive ("Grotesque Life") at times, at times is crushing and mid-paced ("To Be A Vulture"), even with technical tendencies. "Cloacina" is an intriguing technical number, quite a complex affair by the crossover standards, reaching early Coroner heights easily, seamlessly blending straight moshing moments with twisted jumpy riffs. Certainly, the technical lovers will expect something similar to follow, but "Subliming Of Hatred" is straight-in-your-face thrash: a good dynamic song, but nothing technical here. "Slowness" is not exactly slow, but is quite an intricate smashing take on the slower mid-tempo side of the genre. "Never Told Me" follows the same pattern: a nice crushing instrumental with great bass support. "Black Precipice" speeds up, stepping the pedal on the technicality as well, but it's "Venomous Rain" which goes away with all the points for moshing; it also reminds of the crossover tag, attached to the band, something for which the listener would not find many reasons on the last couple of tracks. "The Evil Eye" is a very cool dark brooding thrasher reminding of Holy Moses; a constant reminder of the Germans, by the way, is the singer, who closely follows the gruff low-tuned delivery of Sabina Classen most of the time.

"Distilling Spirits" is a bid gisappointment slowing down quite a bit also trying to insert the previous more stylish decisions, but the abrasive guitar sound is an obstacle in this vein. The more direct numbers are straight hardcorers ("Get Out", "Room 55"), compensated by heavy-handed stoner/doomsters ("Lycantrophy and Wheels"). The end is occupied by clumsy bland proto-groovy/quasi-bluesy songs which damage this inferior effort beyond repair. It looks as though the girls (and a guy) may offer something pretty distant from thrash metal on their next album...

Wild Hallucinations Full-length, 2007
Distilling Spirits Full-length, 2011

Official Site


Fast/intense thrash metal with touches of hardcore and short tracks, influenced by Slayer's "Reign In Blood" and Wehrmacht.

Prey Full-length, 1989


Laid-back proto-thrash/crossover which hesitates between loose soft tracks and more aggressive speedsters, the former clearly dominating assisted by numerous melodic hooks and bland unemotional punk-ish vocals.

Traveller Through Time Full-length, 1990


The demo: fast aggressive thrash/crossover with surprisingly good leads for the style and awful rending vocals. The EP would be quite a surprise with its much mellower sound crossing thrash/crossover with merry punk melodies the effort being a precursor to the new punk otuburst started by The Offspring and the likes a few years later. The last two tracks are all-out headbangers and recall the more aggressive roots of the guys also showing a nice sense of melody: check out the licks on the closing "Kill Or Be Killed".

Lost Cause Full-length, 1987
Demo Demo, 1988
Chicks Go Wild EP, 1989


Just by reading the titles of their official releases, one would easily guess the name of the game here. This is a progressive thrash metal band, one of those who appeared in the early/mid 90's and gave an enormous breath of fresh air to the dying metal scene in Germany and worldwide. "Complex Microcosm" is a fine debut, mixing furious technical riffs with beautiful acoustic passages. The good, deep, emotional vocals are another fine addition, and further aggravate the great atmosphere this labum has aplenty. The music stays quite close to the Depressive Age debut, especially on the first couple of tracks. The guitar work of this band is heavier with less adherence to fast sections, and the quiet moments are more sometimes stretching into a whole song: the marvellous acoustic ballad "Fallen Star", the album closer "Complex Microcosm" which is supported by heavier riffs as well. Still, some quite intense thrashers could be found: "Second Coming", as well as a few fine exercises in pure technical thrash: "Traverse the Veil".

"Poetic Atmosphere Of Seasons" will definitely surprise you with the opener "Sea of Thorns" which is a gothic atmospheric number, more fitting for mid-period Paradise Lost, for example. After it things get back on track, but the compositions are more melodic, slower, with a certain romantic shade (after all, it's the "poetic atmosphere of seasons" we are talking about...). The guitars have acquired a more modern, even industrial at times edge, and the acoustic peaceful sections have been increased which was hardly necessary as the rest is not really aggressive to create a contrast to them, the way it was on the debut. Some tracks might annoy you with their badly disguised, open alternative, grungy edge. Apparently the guys have tried to bid farewell to the thrash metal genre in a manner similar to Depressive Age's "Symbols for the Blue Times", but here thrash metal is more strongly present, for better, and worse. Good technical thrashers like "Summer's Dishonest Apologies" and "Search" are not too many; most of the time the songs are mixtures of this alternative style, and thrash, but this combination lacks a punch and appeal. If there ever was an album to deserve the definition "alternative thrash metal", this is the one. Some of the band members tried to continue the band's legacy with the short-lived Zyklon X, under which name they managed to release one album in 1997 ("Tod und Leben"); and later were seen into numerous other acts, covering a wide range of the metal spectre: the thrash/death metallers 21st Century Killing Machine; the progressive metal outfit Thought Sphere; the modern thrash formation Purge; etc.

The "Natural Process Of Progression" EP is a small gem of progressive/technical thrash metal which shouldn't remain buried. After the excellent peaceful balladic intro "The End" the guys switch onto complex thrash with hectic riffs and galloping headbanging riffs on "Submit To Stagnation". The carnage continues on "Cling To The Unreal" which is a standout aggressive piece without being fast with ultra-heavy smashing riffs, cool leads, a mighty speedy section near the end combined with puzzling technical riffs also featuring a great nod to Destruction with the main riff from "Curse the Gods" here turned into a whirlwind-like dramatic crescendo; a masterpiece of intense, but also thoughtful, music. "Delivering The Sentence, Part I: Birth, Part II: Murder, Part III: Conviction And Death" is, as you can guess from the long title, an engaging progressive opus blending aggressive technical thrash with atmospheric balladic passages with a great "pause" for the speed lovers in the middle followed by a moody doomy section at the end accompanied by gruff death metal growls as opposed to the characteristic mid-ranged clean vocals. Then comes "Trivial (Towards Destination)", another swirl of fast and technical music alternating between the two sides with a very nice chorus added in the middle, another balladic interlude and plenty of energetic headbanging moments. This great small effort was more than just a rehearsal for the upcoming full-length, and although the references to Depressive Age are quite obvious, the guys still pull their own thing with more concentration on technical and sharper riffage rather than atmosphere.

Natural Process Of Progression EP, 1993
Complex Microcosm Full-length, 1994
Poetic Atmosphere Of Seasons Full-length, 1995


This one-album-wonder presents to us progressive power/thrash metal of the old school in the American vein (think Helstar, Liege Lord, early Iced Earth, Sanctuary) with good mid-levelled James Rivera-like vocals mixed with a certain Warrel Dane-pitch at times. The music is mid-paced for most of the time offering complex song arrangements: check out the labyrinthine opener "The Way to Temptation", an eventful dramatic composition with heavy crushing riffage. Then comes the shorter more technical and much faster "Endemic Nature" which is quite a cool atmospheric thrasher of a less ordinary nature. "Deliverance in Doubt" is a nice mid-tempo smasher with hypnotic steam-rolling riffs. "Sadness/Reclaiming My Soul" is a combination of two songs lasting for more than 12-min which evolves from a dreamy balladic beginning to cool heavy moody power/thrash. "Day of Infamy" is exemplary dry technical thrash with shades of late-80's Metallica and early Meshuggah with strong bass support. "Blades of Honor" is the "sleeper" here, dark semi-balladic power/thrash ala Sanctuary's "Into the Mirror Black" which gives way to a real "monster": the 23-min (!) closer "The Wrath of the Lamb" which clearly aims at the way Iced Earth used to end their early albums and surprisingly succeeds containing between the operatic officiant intro and outro a wide amalgam of moods and music ranging from heavy doomy sections to energetic headbanging ones, plus the obligatory very sprawling dreamy balladic interlude in the middle and the more technical swirling riffs. This act can be viewed as the continuation of Majester who released one album and one demo in the early/mid 90's of good heavy Bay-Area-oriented thrash.

Hidden Reflections Full-length, 2001


This band's line-up includes former members of Dresden who released one album 4 years ago. The style here is more hardcore-based, not miles away from early Prong, but slower and less energetic.

Midnight Meat Train Full-length, 1990


A 3-track demo of power/speed/thrash sounding like an edgier version of the 90's power/speed metal movement; the singer is a girl, and her mid-levelled tember kind of misses the passion and dramatism of some of her colleagues (Elisa C. Martín (Dark Moor), Johanna DePierre (Amaran), Magali Luyten (Over Us Eden) who sing in a similar manner. The music is the traditional for the style mixture of fast-paced and slower heavy moments with a bigger emphasis on melody.

Demo Demo, 2009

My Space


Based on "Plague Inc.", this is decent modern power/thrash which should do the job of waking up the dormant spirits of thrash in Luxembourg. The band don't speed up too much, but prefer to do the damage in mid-tempo until the promising beginning reaches The Black Album-like dimensions towards the middle and never leaves it till the clumsy monotonous end. Well, the initial positive impression has been spoiled to a large extent: the sleeping spirits of thrash over there may only be annoyed by the noise featured here...

Lost in Pain Full-length, 2011
Plague Inc. Full-length, 2015

Official Site


Based on the "Grains Of Dust" demo, this act pull out first-class virtuoso (check out the closing piece of progressive lead-driven brilliance "My Funeral") progressive power/thrash which may as well be the best kept secret from the Italian underground. The style is energetic power/thrash with stylish progressive flourishes which sides with late-80's Helstar and Liege Lord's "Master Control" if we exclude the several moments where the Italians tend to move forward in a more dynamic thrashy manner ("Humanity In Error", "Ancient Sin"). The singer is the weakling here his bland unrehearsed tember making him shout in a gruff deathy fashion at times, and he's seldom able to hold a melody for more than a few seconds.

The full-length is the expected masterpiece the band polishing the production to a large extent also incorporating a heavier, more officiant sound as evident from the imposing opener "Eternal Land" which is a twisting complex affair predating the similar elaborate landscapes of acts like Zero Hour, Andromeda, and Scariot. "The Fifth Season" is a volcanic pounder with a short balladic relief, after which the title-track takes over, a massive 15-min exploit which summarizes the progressive metal scene of both the 80's and the 90's with the large gamut of nuances including a few intense galloping passages among the labyrinthine escapades. "The Last Ceremony" shreds again in a more seismic fashion its semi-balladic hints immediately elaborated on the full-fledged ballad "The Voice Of A Siren". "I Just Called To Say I Love You" would be the huge surprise here: a thrash/crossovery version of the Stevie Wonder hit, barely recognizable due to the high-speed nature of the guitars and of course the vocals: the guy has improved dramatically since the debut demo singing in a more dramatic cleaner manner, still a notch behind the better music. "The Opening On The Boundary" is another brooder with a balladic flavour, but the ship-sinking riffage should satisfy anyone including the fast-paced thrashy exit. "Aliens" is an abstract shredder, a surreal composition which blends intense thrashing with spacey ethereal sections; a touch possibly suggested by "aliens". The orchestral outro "When The Sun Sleeps" is a nice epitaph to this less ordinary affair which unfortunately remains the last legacy from this talented outfit.

Grains Of Dust Demo, 1990
Eternal Land Demo, 1991
Obsessions (When The Sun Sleeps) Demo, 1992
A Tale Never Told Full-Length, 1996

Official Site


These Brits offer power/thrash metal with epic elements coming as a more aggressive Falconer; other bands the music may remind you of, are Core Device and the Swedes Damnatory. The music is not very edgy, but the singer compensates for that with his very cool emotional semi-high voice. For the thrashers of interest would be the short melodic speed/thrasher "Blademaster", the longer Manticora-sque "Gellan’s Lament", and a couple of more intense moments from the long numbers. Those long numbers (4 altogether) are sprawling progressive/epic compositions, with frequently changing tempos, balladic breaks, heavy doomy riffs, etc. Some tracks are pure heavy metal, but the guys' target is hardly the average thrash metal fan, so they shouldn't be a surprise, and this effort will easily please the regular metal fan without problems.

Glory or Death Full-length, 2008

My Space


The debut: this "lost" Finnish "society" try to find themselves in the sea of classic thrash metal purveyors nowadays. They pour "Thrash All Over You" like the title of the song suggests and do it well with gusto and devotion greatly helped by the very crystal sound quality. They relax at times with the casual crossover "breezer" ("Kill (Those Who Oppose Me)"), but don't really lose the plot also nicely recalling the Anthrax mosh aesthetics on shredders like "Bitch, Out' My Way" before turning the table towards early Metallica with the frolic title-track. "Diary Of A Thrashman" would surely find a place in many thrash metal fans' diaries being a short blitzkrieger with a less serious attitude which is apparently infectious since till the end the songs are on the hardcore-ish side with shouty choruses and less biting riffs. The singer provides both intensity and emotion changing his antics from cleaner and more dramatic to pure hardcore shouts.
"Terror Hungry" sees the guys "terror hungry" the opening "Game Over" a total nod to the Metallica debut, but later things become a bit more varied although "Lethal Pleasure" is the long sought leftover from "Hit the Lights", finally found. Then come the short semi-technical shredding title-track, and the shattering piece of aggression "Snowroad Blowout", before the album takes a more stylish turn for a string of numbers in the middle. "Thrashed Reality" will "thrash" your "reality" big time, but "Brewtal Awakening" will be a reliever with its merry-go-round rockish rhythms. Fillings will fall on "Mosh It Up" and the sweeping closer "Wasted After Midnight" which exit this effort with aplomb showing the emergence of a potential leader of the Finnish thrash metal scene in the near future.
"Braindead" begins with two bland heavy groovy post-thrashers and it takes quite some time for the band to start lashing with passion which happens on "Mad Torture" and after that the guys have no problems capturing the less bridled spirit of the predecessors although to talk about some really hard-hitting thrash would be too farfetched; the guys have slowed down considerably degrading themselves beyond redemption with the awful ballad "Terror Hungry (Californian Easy Listening Version)". By no means is this a good beginning for the thrash metal arena for 2016...

Fast Loud Death Full-Length, 2013
Terror Hungry Full-Length, 2014
Braindead Full-Length, 2016

Official Site


Based on "Fracture": this band, who feature the same mucicians also operating at the same time in Misey Loves Co., and a few years back in Midas Touch, play run-of-the-mill modern groovy post-thrash, not miles away from the later Misery Loves Co. releases, but this one here is much more boring and uneventful, with just one "spark in the dark" (but this one carries no hope): the short aggressive bomb "2 Piece". Don't waste your time to track this down: this review here gives you the very essence... Later the guys manage to somehow pull themselves together, and produced one more, much better effort, under the name Inrage.

Never Promised You A Rosegarden Full-length, 1994
Closeyoureyesanditwonthurt Full-length, 1996
Fracture Full-length, 1998


These guys were formerly known as Spectre Dragon. "Marauder" is a direct continuation of the death-tinged thrash of the other band with lesser participation of death metal maybe providing dynamic mostly fast-paced thrash of the classic school ala No Return and Deathchain (if we exclude those two's more technical albums). The aggression stops for the last two songs which are nice laid-back variations on balladic themes, "Vulture Society" being a vocal semi-ballad, the final "Killing Spree" purely instrumental with excellent melodic leads. The guys also have another project: the misanthropic black metal outfit Geist.
"Tyrants" is a fast thrashing roller-coaster steam-rolling forward with also offering both more melodic and more technical tendencies (the title-track). "Mutual Hypocrisy" slows down to show a more serious, atmospheric attitude, and "Wall of Glass" consolidates this impression despite its more sleepy doomy undercurrents. The other numbers are way more energetic moshing with gusto with the odd shade of melody.

This Apparatus Must Be Earthed! Full-length, 2008
Marauder Full-length, 2009
Parasites Full-length, 2012
Tyrants Full-length, 2016

Official Site


Based on the full-length debut, this Italian formation specialize in edgy crunchy power/speed/thrash of the old school which is more on the friendly side with melodic hooks aplenty those not very speedy although some more intense pieces ("The Last Choice") can be come across including the particularly aggressive closer "2012" which is a shredder of a higher quality with a nice long lead section displaying a bigger potential that should be fully realised later. The singer isn't bad with his attached mid-ranged semi-clean tone.
"Ad Jubilaeum" is a more aggressive proposition the formidable thrashing opener "At the Hands of Black Inquisition" telling a different story with its squashing razor-sharp riffs and the intense semi-deathy vocals. The guys calm down later, but the energy remains on nervy bouncy shredders like "Where the Angels Die" and diverse dramatic progressivers like "Vaticanum" the latter acquiring more pompous operatic arrangements. "The Fall of Any Gods" brings back the speed/thrashy cannonade from the beginning, but it's the academic oficiancy of power metal anthems like the closing "Finis Dierum" that matter more here.

Perfect Dark EP, 2007
Anguane Full-length, 2012
Ad Jubilaeum Full-Length, 2017

Official Site


Modern thrash mixed with hardcore; energetic and dynamic, with gruff death metal vocals ala Karl Willets (Bolt Thrower). If you're a fan of the mixture and acts like Sick of It All and Pro-Pain, there's no way you won't like this.

Lostbone Full-length, 2008

Official Site


Based on "Allegiance", this guy, who does everything here, plays unimaginative trite modern post-thrash which repeats one groovy section after another to an ultmately dull effect. Lou sings in a more attached manner giving a more emotional "colouring" to the not very deserving it listless musical approach.
"Deaf Sentence": Lou elaborates his otherwise pretty stale approach with longer compositions, but the noisy abrasive guitar sound ruins the proceedings the latter seldom going over the predictable mid-paced stomp. Lou doesn't sing here so this is an all-instrumental affair which doesn't offer too much thrash the dominant tone being heavy/power metal with an alternative vibe and edgier "excursions" into post-thrash.

Visionary Full-length, 2008
Elements EP, 2008
Progressive Aesthetics Full-length, 2011
Benevolence EP, 2011
Allegiance Full-length, 2013
Cynosure Full-length, 2014
Deaf Sentence Full-length, 2016

Official Site


Based on "From the Ashes...", this band deliver intense old school thrash which is played at high speed for most of the time "Awaken In Fury... Reborn In Hate!" offering some respite from the incessant barrage. "Loud'n'Proud" is a short stylish headbanger, and "In the Name of Lies" is an aggressive death-laced shredder with a covert more ambitious flavour. More progressive configurations with "Time to Live... Time to Die" which is an otherwise consistent heavy mid-pacer, and with the closing "The Struggle Goes On" which tries to balance between heavy doomy moments and fast brutal rhythms. The vocalist is a not very rehearsed semi-declamaroty semi-shouter, but at least is not an impediment to the vigorous musical approach.

The Stand Full-length, 2017
From the Ashes... Full-length, 2017

Official Site


This band appeared along with a few other bands (Massacra, No Return, Agressor; they shared musicians with this band) and occupy the same niche, crossing old school thrash with the coming-of-age death metal. Their debut is the only album where thrash metal slightly dominates being of the furious, aggressive variety close to Agressor. Their approach is perhaps a bit more aggressive than the one of Agressor, and often is pure brutal, albeit meaningful bashing, accompanied by forceful death metal vocals. Some more stylish riffage can be heard on the longer material ("Agony"), and after a more careful listen one may recognize that those were the same guys who 4 years later came up with the technical death metal gem "Sublime Dementia" (check also the short blasting Hellwitch-esque "Trepanning") although the high-speed stifles the more interesting riffs. "Rebirth" is pure death metal, sounding quite close to Death. On future works the band shied further away from thrash producing death metal of varying qualities with their crowning achievement remaining the aforementioned "Sublime Dementia".

"Frozen Moments Between Life and Death" sticks to a predictable modern mix of thrash and death metal which is both fast and slow topped up by really good leads. This is straight-forward music without any technical "temptations" which can be "bitterly" aggressive ("The Bitter Seed") at times, but the more sprawling atmospheric composition (the good progressive semi-ballad "Nosce te Ipsum"; the industrialized doomster "Hazardous Magic") is just around the corner the latter occupying the end which comes in the form of the mild spacey instrumental "To Bury An Empire" with dreamy airy riffs.

"Burial Ground" is more on the death metal side, but the hopes for "Sublime Dementia 2" go out the window the moment the opening "A Bloody Oath" enters the scene with its hypnotic doomy riffage. Things certainly get more dynamic later, and there's a certain amount of dissonant weirdness ("Darkness Will Abide") to be encountered, those more stylish sections recalling Morbid Angel, above all. "Ascending Straight In Circles" is a cool progressiver, and "Soothing Torments" is an epic hymn of the darker, pensive variety. So expect quite a diversiy here, for better or worse, including a few headbanging moments ("The Void", the closing "The Path") of the semi-technical kind, among the prevalent doomy vibe which permeates at least half of the material here.

Sensorial Treatment Full-length, 1989
Disincarnate Full-length, 1991
Cross the Threshold EP, 1993
Sublime Dementia Full-length, 1993
Fragments Full-length, 1998
Planet Pandemonium Full-length, 2004
Frozen Moments Between Life and Death Full-length, 2011
Burial Ground Full-Length, 2014

Official Site


Cool retro power/speed/thrash with boosted sharp guitars; "Chory Gniew" nicely exemplifies the highly energetic approach which also knows its more porogressive, epic side in the face of the varied piece "Bezsennoscc". The other material is shorter and more immediate, full of melodic hooks and catchy rhythmic patterns. The vocals are a bit gruff, but still can pass for at least semi-clean, at times interupted by more brutal deathy shouts.

Ciernie Full-length, 2017

Official Site


These Hungarians provide laid-back power/post-thrash which is too calm to produce the necessary thrashy tension. All the compositions are calm, one-dimensional listens with retouched mid-tempo riffs, and frequent nods to the ballad. There are a couple of really long (7-8min) tracks near the end, which really pull the album down, comprising heavy quasi-doomy rhythms with hypnotic, but also quite sleepy, qualities. The singer has a clean soulful voice, but never changes it throughout, eventually merging with the listless musical landscape.

Lélek-Gyilkos Full-Length, 2011


Jumpy, groovy post-thrash with sharp guitars and curt, angry vocals which acquire a more brutal death metal shade at times. The music wears thin very quickly since it lacks everything which would make it exciting: just repetitive riffs to no end spiced with the odd more lyrical deviation. It's hard to believe that some of the musicians here were once members of the technical thrash outfit Geisha Goner.

Demo Demo, 1995


Abrasive guitars on an aggro-background start attacking you from the get-go, but the buzz won't be a problem for one to appreciate this stuff since the guys have inserted the obligatory speedy tracks ("Messiah X"), and even the groovy material isn't clumsy at all jumping up and down assisted by the casual hardcore break. Dynamic music as a whole accompanied by predictable angry semi-shouty vocals.

Low Divine Demo, 2010


Fast aggressive thrash/hardcore similar to Wehrmacht which, when it slows down, sounds quite appealing, producing the nice little thrashing fury "Killed With Fire".

Deadly Corrosive Crossover Demo, 2007

Official Site


Based on "Restore the Order", this US trio indulge in modern thrash/post-thrash which relies more on very good dramatic clean vocals which don't need the brutal deathy insertions at all. The hard thrashing from the beginning doesn't find any support later on as the guys are content playing in mid-tempo not stepping on the pedal speed-wise also calling the ballad/semi-ballad for help ("The Banished", "Words Of Gentle Violence") at times.

Rabid Full-length, 2010
Reach an End Full-length, 2014
Restore the Order Full-length, 2016

Official Site


A talented new British outfit aiming at the more ambitious progressive heights, and managing to reach the very top with their fairly appetizing old school brand of technical thrash spiced by the odd flair of death metal dramatism ("The Omniscient Awakening") and the abundance of tasteful melodic leads which are clearly the highlight (check the ones on "Hidden Victims"). "Heroes Masquerade" is a more immediate shredder, and "Victims In Shroud" is a jumpy technicaller, still furious and restless. "Arubadous" is a nice reminder of Megadeth's heydays, and "Serpent Son" continues the intelligent "carnage" with great Oriental melodies recalling Artillery, a consummate technical thrasher. "Dark Veils Name" rages hard and will bang the heads of even those who are not listening to it, all the way to the closing "Scabbed Wings Of Delusion", a marvellous way to finish this grand effort with hard lashing riffs and a more brutal deathy addition in the middle finally matching the harsh death metal-ish vocals which may be the only pullback here. A major newcomer is rising from Northern Ireland, and will by all means give Gama Bomg a run for their money.

Lucid Nightmare Full-Length, 2016

Official Site


Based on the first demo, these guys offer a mix of black and thrash, at times catchy and thrashy, at times vicious and brutal. Early Bathory is an obvious influence as well as Hellhammer and early Celtic Frost ("Evil Has Landed") on the heavier material.

Demo Demo, 2005
Demo 2 Demo, 2007


This outfit indulge in retro melodic thrash/death/black metal which is sustained in a decent up-tempo for most of the time with cutting guitars and rising moshing sections. "Scream of Icarus" is a sweeping speedster which sets the scene for the more aggressive death-laced "Can of Worms", and for a couple of raging pieces towards the middle, among which the short ripping rager "Invasion" seems to be the highlight, the closing Paradox-worshipper "Head of the Locust" a very close second (check out the leads on this one: magical stuff!).

Desensitized to Oppression Full-Length, 2014

Official Site


Based on the full-length debut, this outfit serve intense old school Germanic thrash: think Sodom, Kreator, and the likes. Needless to add, the delivery is speedy and simplistic the guys not breaking any new grounds with their blitzkrieg repertoire adding witch-like mean "ravens" as vocals. "Magia Negra" is a more interesting, varied composition with melodic rhythms, and the end is preserved for the cover of the Colombian veterans Acutor's "Dios Ha Muerto", nicely done in a live environment still with an audible sharp edge.

"Sed de Venganza & Legiones de Metal" provides a more carefree sound in the first half, closer to the boogies of Motorhead than to the actual speed/thrashisms of the German cohorts. "Miserables Esclavos" is a more brutal offering the guys coming with all the guns blazing on it; and later on "Guerra Infernal" tries to match it in terms of aggression with raging, less tamed guitars. The ending is a display of a bad taste, first with the senseless bash on "Hijas de la Oscuridad", then with the one-dimnesional riffage on the nearly 12-min instrumental "Rituales de Odio".
"Preludio Del Mal" is a speed/thrashhing roller-coaster which returns to the more aggressive formulas from the debut. The delivery is way more thought-out, though, and some interesting progressive motifs ("Alianzas De Acero Y Metal") can be detected reminiscent of Paradox when they don't come death metal-laced. "Culto Ancestral" is an optimistic power/speed metal anthem, and "A Través De La Muerte" is a more intriguing technicaller giving a more colourful boost to the remaining tracks.

Legiones De Metal EP, 2010
Después De La Muerte Full-length, 2015
Sed de Venganza & Legiones de Metal Full-Length, 2016
Preludio Del Mal Full-Length, 2017

Official Site


Based on the debut, this band play decent classic power/thrash which only suffers from the very fuzzy sound quality. Otherwise the guys play with competence balancing between the two styles thrashing hard on occasion ("Fatal Decision"), but most of the time this is more on the mid-paced power/thrashy side with quite a few lyrical, balladic moments the singer doing a good job with his levelled clean tember.

Calm Before the Storm Full-length, 1993
Prisoner Full-length, 1994
No Way Out Full-length, 1995
Láska a Nenávist Full-length, 1996
Love & Hate EP, 2015

Official Site


The full-length: after the overambitious classical intro the band fail to impress with any exquisite mucisianship settling for standard modern melodic thrash with just sparkles of guitar virtuosity. Predictable riff-patterns intertwine in much better melodic tunes ("Karma" is a very good example for that), but the rest is kind of rough-around-the-edges. "Hitam" is another cool take on the Shrapnel catalogue also offering a few more intense passages the latter also staying around for the following "Serial Killer". There's a potential here and it will be realised in the future; a word of note for the singer as well who doesn't fit the very melodic delivery with his gruff semi-shouty deathy tone, and amendments in this sector would only be beneficial.

EP EP, 2010
Lucretia Full-Length, 2012

Official Site


Based on "Stotis", this band play a dark sombre blend of thrash and black metal which is reflected in relatively lengthy cuts which cover all tempos and moods the black metal sweeps being the prevalent tendency sometimes to the point of hyper-blasting. Thrash comes crusty and hardcore-ish, but is well covered on the shorter numbers. The vocals are of the subdued growly death metal variety and take quite a bit of space. The band members have numerous other engagements: the doom/death purveyors Angis, the gothic metal formation Liunuosna, the industrial gothic act Xess, etc.
"Rysys" is even blacker the band not "courting" too many other metal genres along the way. The compositions are longer (the mid-period Bathorysque "Bedvasiai") with viking/epic decorations, but some of them are pure blasting madnesses ("Jie") all the way through.

The Dawn ov the Eclipsed Desperation EP, 2003
Ad Arma! EP, 2004
Jauciant Pabaiga Arti Full-Length, 2009
Stotis Full-Length, 2013
Rysys Full-Length, 2015

Official Site


Crossover/thrash legends who on "Powertrip" made some claims at thrash metal greatness; the opening title-track welcomes you with some intense riffage, still crossover "decorated", but a lot more aggressive. The fast-paced tempo carries on for another couple of songs among which "The Tip Of My Mind" is a particularly stylish piece with nice technical hooks. The technicality remains for the following "Damage Done", which is of a more furious nature. What comes next is really worth hearing: a great classical instrumental ("T.B.O.S.") with magnificent guitar performance, not often heard even on the works of the finest guitar virtuosos. Still enchanted by this piece, be careful not to miss another technical track: "Johnypump", softer than the rest. After it the album takes a more direct, even brutal ("And So It Goes") direction, until the closing number: "The Well Dressed Man Disguise", which nicely reminds of the band's crossover past.

Immaculate Deception Full-length, 1986
Powertrip Full-length, 1988

My Space


Based on the "Kill Je Moj" demo, this band offers intense fast thrash with a buzzy guitar sound and gruff semi-death metal vocals close to Jeff Becerra (Possessed). "Hardcore" is expectedly a pure hardcore happiness, but the other two songs are more aggressive with more proficient riffage.

Kill Je Moj Demo, 1989
Idi Bez Traga Demo, 1990


Based on "Wartorn", these guys deliver all-instrumental quasi-industrial thrash which is strictly on the modern side. The guitars are blended with synthesized sounds and keyboards, plus a few enchanting quiet moments all this having a strong dynamic base without going into too many up-tempo sections. The lead guitar work is not very widely covered, but when in action (check out "Adrenalin") it pulls all the stops with aplomb. The groove hasn't been forgotten although its presence is by all mean supportive and never of the annoying omnipresent type. The closing "Remains" is a cool moderate headbanger with some cheesy tendencies and a virtuoso lead section and is the highlight on this pleasant feelgood effort.

"N.E.A.R.": the sound here is more thrashy and more intense the computerized "decorations" not as annoying although the more laid-back breaks are still present. The tempos vary from song to song the lead guitar work here more accentuated on to the point of a show-off at times. The numbers are shorter with an unfinished feel to them although one can't deny the visceral power of prime shredders like "Grinding" (which isn't exactly grind) and "Sirens". The only longer piece "Epica" is indeed an epic exercise in meditative balladic passages accompanied by heavy doomy guitars. "Walkabout" is another cool smasher with headshaking paces and sudden tempo-changes, an exemplary take on more technical modern thrash, influencing the following "Recreated" which "recreates" the intense modern atmosphere of efforts like "Skrew's "Dusted" and Swamp Terrorists. "Scrapping" is a fitting epitaph with its seamless blend of balladic and hard-hitting passages accompanied by cool melodic riffage. This isn't a very common style on the scene, and it's good that the guys manage to stay away from the lead-driven tracks which are so typical for the solo efforts of some guitarists, concentrating on the riff and its more brutal applications.

Wartorn Full-Length, 2010
N.E.A.R. Full-Length, 2010


This not very known trio pull out raw underdeveloped thrash with expressive shouty death metal vocals. The delivery is heavy and mid-paced with overt doomy overtones and the awful sound quality "kills" the musicians' efforts creating the impression that all this had been done in a live setting.

Dismembryo Demo, 1994

My Space Tribute Page


"Admission" is quite good speed/thrash resembling Paradox and later-period Necronomicon spiced with crossover elements and genuine technical riffs. The lead guitar is a bit chaotic, but quite fast. "Killing Giants" is not a very distant departure from the first effort, but the sound is somewhat darker, and the technical tendencies are increased for the sake of the speed staying this time closer to late-80's Metallica. The guys have a penchant for longer 6-7min tracks which they manage to make sound interesting with various tempos and melodies taking turns within.

Admission Demo, 1988
Killing Giants Demo, 1991


An unknown, but excellent band who play thrash/crossover of a less conventional more technical nature; the debut has a more straight-forward sound, but is an enjoyable, energetic listen with genuine more stylish touches in the guitar department already thrown in ("Play Your Game", the original Voivod-ish "Inexcusable Misdeed"). Some hardcore pieces are present (" P.M.R.C.", "Up in Smoke"), but the concentration is clearly on thrash, and most of the songs are major headbanging entertainments: the aggressive smasher "Front Page News", the fine instrumental "Brontofröhn" (which is a reworking of a song from their debut EP), the awesome technical thrasher with the "shitty" title "Shithead".

"Believe?" is a masterpiece of technically-minded thrash/crossover, never overdone with short songs, and sharp, but also melodic guitars. The abstract Voivod-ish flair which was noticed on the debut, here finds a fuller realisation in the form of great pieces, like the almost surreal "Shame", the more aggressive exercise in technicality "Scum", etc. Certainly more straight-forward tracks are also here, but even there the guitar work is less ordinary. The guys make fun of Michael Jackson (R.I.P.), parodying his hit "Black or White" referring to his colour transformations; the track is pure thrash/crossover occasionally switching onto the main theme from that song.
Their debut EP, which is whole 6 tracks long, is an auspicious start: pure classic thrash, energetic and fast-paced for most of the time, with a slightly thin guitar sound, but enjoyable all the way. "Control" is the only song which carries the crossover spirit that would later become the dominant one in the band's sound.
"Fairytales of a New Breed" will be quite a shock to the band's old fans with its industrialized, modern, Rammstein-like sound, and numerous jolly rock-ish tunes. Thrash would be a very loose description except based on a very few heavier moments ("Once"), but on the other hand it is full with quite a few interesting melodic guitars which go close to progressive metal ("Once" once again, and the excellent Rush-influenced "A New Breed"). "Fairytales From Roswell" is a nice technical post-thrasher with fine atmospheric elements (the use of a piano, etc.) and cool jumpy riffs. This little offering set the scene for the coming of the guys' third full-length which has little to do with their old style being dark progressive power/thrash, quite modernized and groovy at times, but also of a good quality.

"Grey Silence" comes after a lengthy 4-year break, and shows the guys still on a high technical level, mixing more melodic crossover tracks ("Virtually Yours") with impressive intense headbangers ("Tough Guys"). The band's technical flair is displayed on the excellent thrashing "Occupied", and on the multi-layered, more laid-back "Don't Worry".

"N.I.N.E." is an animal of a different breed showing the band taking on a more progressive thought-out style. Thrash metal has stepped back, and what we have here is a cool blend of progressive power metal and modern post-thrash which starts interestingly with the long very diverse "Walk", which will keep you guessing what direction the music might take. "Injuries" follows the same model being a more complex heavy stomper. With "Bat Country" the sound starts staggering towards the heavy, not very impressive ballad, but picks up speed on the industrial, Die Krupps-like "Virulent Virtuality". Sadly, another ballad follows suit: "Darkness", and it's good that the best track comes after it to repair things: "N.I.N.E.", dark brooding stomping progressive power/thrash, again with a more industrial edge recalling Zoon. The keyboards take over on some songs near the end, and create a nice orchestral atmosphere: "Scream", "Looter Of Corpses", which are not too far from the works of The Project Hate even. There is little here which will remind you of the old band's style, but there are not too many albums released in the new millennium to offer such a listenable cross over several modern genres.

Sickness EP, 1990
Face No More Full-length, 1992
Believe? Full-length, 1993
Grey Silence EP, 1997
Fairytales of a New Breed EP, 2000
N.I.N.E. Full-length, 2004

Official Site


These folks provide intense thrash/proto-death which suffers from the awful sound quality and the unrehearsed semi-declamatory deathy vocals which come as a very sloppy version of early Killjoy. The approach is quite diverse including a less serious hardcore-ish attitude on the shorter material, the band changing the pace the whole time the main asset being the cool bass bottom.

Demo Demo, 1989

My Space


This unknown act try to blend the ruling post-thrashy trends with the remnants from the good old 80's the final result clinging more towards the former althoguh "Drastic Measures" is a nice dramatic progressiver with interesting atmospheric, balladic digressions, and "Isolation" is an excellent more dynamic semi-technical piece. "Be Damned" is anoher winner near the end the band having found the way to thrash in a more convincing classic manner. The vocalist is by no means the finest performer here his angry death metal-sih shouts being more of an obstacle rather than capable assistance.

Uncontrollable Hatred Full-length, 1996


Based on the "Piktojo Amžiaus Rauda" demo, this obscure act provides atmospheric dark thrash/death metal which clings towards the progressive at times in a way not too different from the Greeks Nightfall, although here the attempts at speed are not that many, and the sense of melody is better felt (check the melancholic gothic thrasher "Sauksmas", superceded by a great violin outro). The vocalist is the ultimate low-tuned death metal growler sounding like a more apocalyptic, and angrier, Martin Van Drunen.

Demo Demo 1993
Piktojo Amžiaus Rauda Demo, 1994


Based on the "The Reason of All" demo, this German trio offer moody groovy post-thrash/death which is too monotonous and doomy to fully delight the thrash metal fanbase. "Sickness" is a more dynamic jumper, but the rest of the songs tend to drag quite a bit if we exclude an isolated fast-paced passage from the closing " Learn To Survive". The vocals are rough semi-shouty death metal ones and overall create a lot of noise.

Pain and Pleasure Demo, 1990
Morbid Mind Demo, 1992
The Reason of All Demo, 1994


Apart from the interesting name, this band offer something else to be remembered with: this is excellent speedy thrash metal without too many variations, but fairly enjoyable, on the debut. The intense delivery might remind you of Rigor Mortis, but the vocals here are more melodic. The album loses no time to thrash with aggression, and "Crystal Lake" is a relentless fast-paced opener. "L.W.S. Inc." thrashes in the same merciless spirit, followed by the intense speed/thrashing madness "Die A Violent Death". At this point the headbanger will have gotten his dosage of great riffs, but the guys are obviously not tired with this non-stop moshing, and "1428 Elmstreet" is equally as fast and energetic, albeit longer with more intriguing guitar implements. The remaining songs are also long-ish, compared to the first ones, with a more proficient, even semi-technical at times, guitar work, recalling Mike Scaccia (Rigor Mortis again). The last two tracks return to the more direct shorter approach, although the marvellous little closer "Chop 'Till Death" still sounds quite intriguing. The band apparently share interest in horror films, judging by the song-titles, which would be easily recognized by the horror afficionados.

"Reality" stays clear for most of the time from the modern groovy tendencies of the 90's, but the speed and intensity of the debut are sacrificed for the sake of longer, slower, even progressively-sounding tracks, with a mellower sound. There are hard-hitting thrashers (one song in the middle with the appropriate title "Aggression" comes to mind, and the brisk closer "Crossroads"), of course, but the concentration is definitely on more thought-out music which hits the mark on a few times ("For Nature", "Livin' With The System", which might remind you of Heathen's "Victims of Deception" with their heavy semi-technical riffs).

Welcome to the Asylum Full-length, 1989
Reality Full-length, 1996

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3 songs of buzzy dishevelled thrash/crossover sustained in a heavy steam-roller tempo which is obviously just a rehearsal for the guys' other vehicles: the better constructed thrash metal outfit M.S.W. who were active around the same time, and the post-thrash groovers World Gone Mad with whom they managed one full-length released in 1997. The singer has a powerful semi-death metal-ish voice resembling early Peter Steele (R.I.P.).

Lunattick Fringe Demo, 1988


A very interesting underground effort containing inspired progressive thrash with numerous intriguing decisions. "Sopra La Tua Tomba" starts the show with an attractive blend of power, speed, progressive, and thrash metal the amalgam reaching operatic proportions on the dramatic jumper "Fuori". The title-track is a great minimalistic technical thrasher with a ripping fast-paced ending, and "Questa Sera" is a great unpredictable progressive cut with impetuous galloping passages. "Quale Pace" is a more linear hard-hitting speed/thrasher with cool melodic leads, and "Omicidio Legale" is another elaborate progressive thrash masterpiece with dramatic vocal duels between the male and female singers both of whom do a very good job all over the female one sounding a bit subdued and manly at times. The closer "Chiesa" is a stomping track losing the speed, but making up with stop-and-go rhythms and an outstanding performance of the girl behind the mike. This is a real find, another great addition to the always full of wonders Italian metal scene.

Mostro Full-Length, 1995


Based on the "Lashing Out" demo, this is excellent speed/thrash metal which surprisingly sounds closer to the German school- think Angel Dust and Iron Angel. This band are more technical, with vocals sounding like Paul Speckman (Abomination, Deathstrike). "Lashing Out" is an exemplary speed/thrash number which will make you headbang for days. How ironic: with this great music these guys should have been mentioned right along all the big names of the scene; the sad fact is that there is barely a handful of fans out there who have heard about them.

Lurch Killz Demo, 1988
Lashing Out Demo, 1989


The full-length debut: good classic thrash, quite speedy, along the lines of early Whiplash, Paradox and early Angel Dust; there are some heavier sections where the sound moves close to Slayer's late 80's period for a while ("Twisted Obsession"), but they aren't that many, and the rest is energetic thrashing with very good, albeit slightly thin guitars. The other complaint comes from the distorted, synthesized vocals which might annoy you quite a bit.

The EP is another worthy effort which boasts some very vicious black-ish snarls, "accompanied" by brutal death metal growls at times as well as very cool speedy riffs; the music is generally faster than the one on the full-length and more hard-hitting, but there's only one number which crosses the border towards death metal: the excellent At The Gates-influenced "Mortal Disguise". The rest is well executed speed/thrash.
"Maldita Maldicion" won't disappoint the band fans who will jump around on optimistic thrash/crossover numbers like "Venganza" and "Espectro Fantasmal", and generally the delivery is more laid-back without too many hard thrashing excursions. There's a more or less overt shade of hardcore on pieces like "Alma De Metal", but all should bow before the excellent melodic shredder "Ritos Nocturnos", the guys' finest achievement so far, a rigorous speed/thrasher with addictive melodic hooks. "Secretos En La Oscuridad" is a more aggressive thrasher preceding the more restrained histrionics on the closing title-track which brings back the more simplistic hardcore-ish formulas.

In the Name of Pleasure...In the Name of Lust EP, 2001
Possessed Full-Length, 2007
Maldita Maldicion Full-Length, 2016

Official Site


Based on the demo: black, thrash and death metal join efforts here to produce a pretty brutal gruff affair reminiscent of the Americans Acheron, only faster and more blasting. The guitars bash for most of the time in a more comprehensive manner, and the singer is an unholy declamator who chants in an authoritative evocative fashion. Some of the guys are also busy with the retro thrash metal formation Shrapnel.
"Psymbolik" is another, even less polished, effort with black and thrash crossing "swords" on a raw primal background for a "battle" which doesn't really swing in any way, but finds its perfect setting in the early Celtic Frost dirges when it doesn't blast with passion. The macabre atmosphere reaches heights on creepers like "Algolrythem" and the short "psycho" "Fall of the Rebel Angel" which remind of Khold and early Barathrum. Short brutal cuts are inevitable, but watch out for the serious brooding tone on "He Ru Ha Ra on the Horizon". Some of the band members also take part in the death metal formation Vilifier.

Goetic Invokator Demo, 2009
Psymbolik Full-Length, 2012

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Based on "The Rise of Abbadon", this band are one of the rising stars on the Australian metal horizon. Their style is quite impressive progressive/technical power/thrash which doesn't shy away from masterpieces like Fates Warning's "Awaken the Guardian" and Cauldron Born's "Born of the Cauldron". The approach of the Aussies is more epic-flavoured, but the stylish, chaotic urgency of the opening "Strange New World" is simply a wonder to listen to. Later on the band don't quite reach the dizzying heights of this perennial roller-coaster, but manage to raise the flag of the old school high, first with the heroic anthem "Flying Fortress", which still holds a few stylish quirks; and then with the pounding volcanic rhythms of "The Death Of Time". "Legacy Of Hate" is a menacng shredder with a great chorus, and "Medusa" is a marvellous short speedster with great technical riffs. "Lullaby" is expectedly the ballad, but in the 2nd half expect surprises, like the short speedy exit. "The Rise Of Abaddon" is speed/thrash at its most impetuous, but also intriguing; a busy technical piece with an atmospheric quiet mid-break. "Miss Dreadful" is a formidable galloper seamlessly flowing into the closing "Janissary" which continues with the speed/thrashing melee all the way to the glorious lead-driven end. The vocalist is truly a find with his emotional, dramatic tember siinging in the high registers for most of the time, but never breaking the neighbours' windows with piercing shrieks
"The Devils Road" is epic power metal sounding quite close to Manilla Road and Warlord, coompletely lacking the original sweep displayed on its successor; and the debut is quite good 80's American power metal with shades of more aggressive thrashing.

Circles End Full-length, 2008
A Thorn in the Flesh Full-length, 2012
A Shadow Out of Time EP, 2012
The Devils Road Full-length, 2013
The Rise of Abbadon Full-length, 2016

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Intense fast-paced retro thrash metal with very screamy vocals which deafen the instruments when they try to scream really high; the sound quality isn't good at all, and often do the guitars merge into a bee-like buzz. The energy can definitely be felt, and references to albums like Devastation's "Idolatry" or Attomica's "Disturbing the Noise" won't be ungrounded, and if it wasn't for the vocalist's constant quarreling with the mike the listener could have gotten more enjoyment from this one-dimensional, but sincerely aggressive, effort.

Epidemia de Moral Demo, 2009

My Space


A young enthusiastic Brazilian trio pulls out capable tight old school thrash/death metal reminiscent of the Swedes Defleshed and Deathwitch. The delivery is fast and energetic coming with a dark guitar sound, and the casual more technical hook ("Beware"). The singer has a subdued semi-whispered tember with a black-ish shade.

Beware EP, 2011

Official Site


Based on the "The Edge Within" demo, this outfit provide varied, eventful thrash along the lines of their compatriots Mandator. The opening "Lycanthropie" is a cool atmospheric cut alternating fast-paced passages with slower, melodic ones the latter missing from the following "Alien Syndrome" which is a first-class all-instrumental piece. "No Instant Death" brings back the vocals, but retains all the niceties from the preceding numbers being a virtuous speedy shredder, a semi-technical precursor to what Death would evolve later. The final "Last of the Cries " closes this very cool effort with fast raging guitars with a proto-death flavour retaining the stylish, intricate hooks to turn into an appetizing epitaph to this major underground rival to the Pestilence debut at the time. The musicians also took part in the technical thrashers Mindlink, and the death metal cohort Burial.
The first demo is another worthy offering the band thrashing like demented on the opening "G.I.G.O." before they reveal a more serious, also more melodic face on "Avalon", an eventful combination between fast ripping riffs and choppier, semi-technical ones. "Theme of the Full Moon" is a great speed/thrashing galloper, an all-instrumental piece with furious thrashing rhythms unleashed near the end. "Beyond" will mislead with its tender balladic beginning, but later on it starts thrashing, albeit with less bite and with more laid-back mid-tempo guitars. "Dark Queen" is another intense composition, ripping thrash to the end preceded by reworked moments from songs from the demo.

G.I.G.O. Demo, 1986
Theme of the Full Moon Demo, 1987
The Edge Within Demo, 1988


This band was formed by ex-members of the Finnish thrashers A.R.G. Based on the "Sickness Revealed" demo, these guys play Germanic thrash not miles away from the other band, maybe more towards Destruction, rather than Kreator. This is actually well executed music, fast and even technical with great both sharp and technical riffs the latter brilliantly displayed on the highlight "Dismemberment of Sanity": a speedy technical riff-fest at its best.

No Sorrow, No Pain Demo, 1988
Sickness Revealed Demo, 1989
Sleepwalker Demo, 1990
Thrashing Relics Volume 1 Split, 2006

Official Site


This sounds so much old school that you might find it hard to believe that this is a recording made in the new millennium. Since this is a live performance, don't expect a very high sound quality; it's actually quite bad which is a pity because the music is worth hearing being classic power/thrash/speed reminiscent of Blessed Death, Sentinel Beast, Anvil Bitch, among others. The vocals are the downpoint being from the screaming type, to the point of hysteria sometimes. There is a faithful cover of Motorhead's immortal hit "Ace Of Spades" which is not hard to recognize.

Live Insanity Demo, 2002

My Space


This obscure band specialize in rough power/thrash with classic pretensions suffering from a bad muddy production. The compositions are lengthy with melodies and various tempos mingling to a not very positive effect the faster shredding passages ("Far Beyond Death") working way better the others marred by the fuzzy guitar sound and the softer power metal rhythms. The singer is another detriment with his hoarse unrehearsed tember reciting rather than singing for most of the time.

Struggle To Survive EP, 2001


This is still classic-sounding for the time power/thrash with slight progressive tendencies which hit the top on the multi-levelled "Antartica", a diverse composition ranging from balaldic "idylls" to brisk invigorating gallops. Sinc ethis is a live recroding, the soudn quality isn't brilliant, and hampers the guys' efforts, especially the not very convincing semi-clean vocalist who plainly semi-recites at times, and ruins the final progressive saga "Freedom" which is an otherwise decent complex piece.

Live in Sepolcrum Full-Length, 1993


3 tracks of crunchy retro thrash, mid-paced and heavy with not very regular temptations at speed the final "Soul Filled With Sorrow"). The vocals are gruff, semi-shouty and with a slight death metal flavour.

The Nightbreed Demo, 1992


Lyzanxia's debut is first-class technical thrash metal ala Megadeth with a striking similarity with the aforementioned band in the vocal department where you might start thinking that Dave Mustaine had guested on this album during one of his breaks from the recordings with Megadeth. The album starts thrashing from the get-go with the opening "Trepan", which is a nice up-tempo number, followed by the more moderate "Hurricane", which despite its title, doesn't offer hurricane-like riffage, but is a very cool semi-technical thrasher with a great melodic theme, and this is where actually the references to Megadeth begin, since this song is vintage early 90's Megadeth, and could be on any of the band's first 3 efforts from the decade. "You Don't Deserve A Name" follows very closely the Megadeth patterns: a standout piece which could have been a highlight even on "Rust in Piece". "Loving Fear" slows down, but remains quite good and edgy. "Manhunt" is an energetic speed/thrasher with great melodic hooks and technical riffs. "Rip My Skin" is a creepy dark mid-tempo piece which thrashes its soul out near the end. "Totem" is a marvellous heavy semi-ballad with a haunting chorus and standout vocal performance: one of the highest achievements in the field, and arguably the best composition the band ever produced. "The Slave Cross" is fast to pour more aggression into the proceedings thrashing both with force and technicality. "My Prisoner" is fine straight-ahead speed/thrash metal which doesn't completely forget about the technical side of things. "Lucrece Borgia" is excellent heavy doomy thrash, but watch out for the intense shredding which starts some time near the end. "Resurrection" finishes this great work in the best possible way offering mighty stomping riffage with brutal low-tuned death metal growls, and the heaviest guitars around. Every song here stands out differing from the rest, and the whole album will stay in your head for a long time. This is a really pleasant, and utterly unexpected, underground surprise from the French metal scene.

After such an impressive debut one could ask "where to next?", and the answer comes in the form of very ordinary modern thrash/death metal on the following "Eden". What made these guys take such a turn is beyond me. A big letdown after such a promising debut...

"Locust" follows exactly the same direction being workmanlike modern thrash, this time more melodic exiting the genre a bit sliding down towards the post-styles. The energy is partly lost which at least managed to save the previous efforts from sinking, and the faster numbers are not that many ("The Clamp") leaving the rest in the calm mid-pace without any particular highlights. Some of the band members can also be seen in the progressive black/thrashers Phaze I.

Lullaby Full-length, 1998
Eden Full-length, 2001
Mindcrimes Full-length, 2003
UNSU Full-length, 2006
Locust Full-length, 2010

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