Copyright (c) 2007-2018 THE THRASH METAL GUIDE

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


A 4-track demo of excellent direct classic thrash/crossover, fast and sharp, with really cool leads, and a great melodic edge on the guitars which doesn't dullen the riffage, but makes it sound even more compelling. Really cool stuff; such good thrashy crossover from Brazil hasn't been heard since the Ratos De Porao's early-90's works.

Apocalypse Now EP, 2006

My Space


Based on the debut: quite good classic thrash metal which will remind you of many bands from the 80's: Testament, Exodus, Heathen, etc. There's an attempt at a more complex song-writing: some of the tracks are longer with nice technical hooks. The pace is varied, but mostly stays in the mid-tempo except on the crossover joke "Special Olympics", and the intense headbanger "Hold Your Breath". The singer has a slightly indifferent punk-ish tember, and the bass performance is really impressive.
"Songs for the Ugly" actually deserves its "ugly" title being bland, repetitive groovy post-thrash with harsh hardcore-ish outbreaks, having nothing from the technical/progressive swagger of its predecessor.
The demo contains a really good material some of which found its way to the debut. "Another Perfect World" is an awesome Bay-Areasque shredder with dramatic progressive accumulations and bristling technical guitars, a one-of-a-kind experience with vortex-like rhythmic leaps and bounds not to mention the gorgeous lead section at the end. "Endangered" is a more immediate headbanger with a couple of smattering spiral-like technical decisions, and the title-track is a compellingly chaotic technicaller with a wide array of paces and cool bass support. "Ignorant Advice" is a jumpy thrasher with frenetic tempos and twisted riffy arangements which continue on "Political Dismay", a nice combination of melody and technicality with a frequent alternation of pace. This is another proof that this act were one of the finest practitioners of the more serious side of the genre in Canada, and also worldwide.

Generation Zero Demo, 1989
Taboo of the Western World Full-length, 1991
Songs for the Ugly Full-length, 1992


This is an intense retro/modern thrash blend with a sterile, mechanical guitar sound and crisp modern production. The guys know their thrash which also comes with appropriately inserted balladic passages (maybe a bit too many) and heavy proto-doomy moments which get overused near the end, where the album loses the speed from the beginning, settling for not very imaginative, repetitive heavy guitars. The singer has a deep clean voice, but ruins his delivery with rough semi-death metal growls. The lead guitar work is good, though, having this surreal spacey feel to it.

Tui Budesh Jit Full-Length, 2009

M.A.D. (UK)

Your "Thrash Grandads" are here, like the title of the opening song suggests, and they will overflow you with cool melodic thrash/crossover rhythms some of them played at the speed of light ("...In Space"; the 1-min of thrashing fury "Blutack Attack"), those numbers contrasting with the imposing progressive closer "Brainwashed By Common Sense" which is a curious blend of fast riffs and more laid-back spacey moments recalling late-80's/early-90's Voivod the resultant mixture lacking coherence and focus disfavouring this otherwise nice effort a bit at the end. The singer has a forceful throaty tember which suits the intense musical delivery despite its slightly unmelodic nature.

Going Nowhere Fast EP, 2011


Based on "Put Olindrali Avlijanera", these guys come up with cool energetic retro thrash/crossover suffering from the bad brutal death metal vocals. The music is not very aggressive graced also by a couple of catchy shouty choruses, and a few slow heavy passages plus a nice hardcore-ish cover of Venom's "Countess Bathory".

The Number of Beers Full-length, 2003
Put Olindrali Avlijanera Full-length, 2006
Cobi's Death / Wrum / M.A.D: Goya Split, 2007

Official Site


Based on "En Pie de Guerra", this band offer a cross between classic Bay Area-influenced thrash metal and the groovy aggro-style of Pantera. The sound resembles quite a lot the works of the Japanese band United who operate in the same area music-wise.
"Versos del Inframundo": the Peruvian heroes are here again, and their inspired antics sound as though the guys are just starting their career. Their delivery has shaken off the detrimental 90's elements and rips through with impetuous cuts like the opening title-track and "Morir de Pie". A few more restrained, semi-balladic pieces ("1985") are also offered carrying a certain power metal spirit with them, but this effort isn't about hard-hitting thrash the whole time, and one should also be able to enjoy more meditative doomy compositions like "La Oscuridad".

Sin Piedad Full-length, 1988
Demoledor Full-length, 2000
En Pie de Guerra Full-length, 2004
On The Warpath Full-length, 2006
Versos del Inframundo Full-Length, 2016


Based on the debut, this band offers very cool aggressive thrash along the lines of Devastation's "Idolatry" and Atomica's "Disturbing the Noise". This is fast hard-hitting music, with not many slower "interludes", lashing a bomb after bomb in a merciless fashion, with only "The Faces of the Crime" calming down a bit, but the riffs there are super heavy. The closing tune is a great lead-driven 1.5-min instrumental ("Distance"). The vocals are forceful semi-death metalish.
"Animal" is a heavy groovy affair sounding quite close to Exhorder's "Slaughter in the Vatican" and Pantera's "Vulgar Display of Power" matching those two in terms of intensity every bit of the way. Sadly, it come sat a time when this particular genre has been very well established on the scene, and the guys have nothing new to offer to the already oversatisfied post-thrash fanbase.

New Power Full-length, 1992
Animal Full-length, 1995


Semi-amateurish thrash with Bay-Areasque overtones; the sound quality is really bad making the guitars too fuzzy although the galloping sections on "Bloody States" aren't that bad at all; neither are the more atmospheric escapades on the speed metal winner "Day And Night". The vocalist is an unrehearsed semi-reciter who doesn't really sing recalling the early vocal exploits of Reinhard Kruse (F.B.I.... sorry, S.D.I.).

Demo Demo, 1988


A late comer on the classic thrash wagon served with a pinch of proto-death, so don't look for any sophistication ala their compatriots Lunacy: this is violent bash with touches of crossover, but this is more along the lines of Wehrmacht except for the title-track which is a nice eventful thrasher with almost progressive nuances the latter also audible on the longer and a bit clumsy "Hungry". "Questions" is a pure death metal outrage at some point, and the bass is fairly good all over, clearly the highlight on this interesting, but uneven, effort which also boasts a very clear sound. Some of the band members have recently started another classic thrash metal act, Casatron.

Shut Up! EP, 1993

M.O.D. (USA)

Billy Milano formed this band after the demise of S.O.D. The style is a direct continuation of the wild hardcore/thrash/punk mixture of the other band.
"Busted, Broke & American": Billy Milano and Co. are back after a decade of inactivity as the Co. part is completely new the man having surrounded himself with entirely new members the majority coming from the Canadian thrashers Mastery with whom Milano had a short spell. The entertainment factor is expectedly high as well as the energy as evident from the ripping title-rack and the speed/crossover delights "Shattered Dreams & Broken Glass" and "They". Fans of the band will be happy all over as the good old crossover will never perish with the veterans always reliant.

U.S.A. For M.O.D. Full-length, 1987
Surfin' M.O.D. Full-length, 1988
Gross Misconduct Full-length, 1989
Rhythm of Fear Full-length, 1992
Devolution Full-length, 1994
Dictated Aggression Full-length, 1996
Rebel You Love to Hate Full-length, 2003
Red, White, and Screwed Full-Length, 2007
Busted, Broke & American Full-length, 2017

My Space


Based on the full-length, this is optimistic carefree thrash/crossover which rolls on with sharp, but playful guitars which take more epic proportions on a couple of longer numbers in the middle ("Doom", the more moderate mid-pacer "Nightmare of Sound") where more serious thrashing is guaranteed. The band news is that the 2nd half is much less intense the band exploring their more tender emotions also including one overlong ballad, not to mention the 6.5-min closer "Feelings" which is another serene acoustic piece. A mixed affair as a whole having a lot to do before reaching the upper echelons of the genre, even in their homeland.

M.O.R.G EP, 2009
Nightmare of Sound Full-length, 2015



One of the bands who refused to follow the modern trends of mixing thrash and death metal which was so popular at the same time in France; this is excellent speed/thrash recalling the early efforts of ADX and Killers. There's a certain shade of thrash/crossover at times ala the thrashier Suicidal Tendencies' works ("How Will I Laugh...", "Lights...Camera...Revolution"). This is cool music, fast and energetic, with a huge headbanging potential, and very cool vocals, quite close to Mike Muir.
The Mini-LP is pretty much the same energetic thrash/crossover, but more melodic and simplistic. The tracks follow nicely being fast-paced, albeit a bit samey. The singer will remind you even more of Mike Muir here, as well as the music, which at times is very close to the Suicidals' "Join the Army".

P.U.C. Mini-LP, 1988
Regeneration Full-Length, 1991

M.S.W. (USA)

Thrash/crossover recalling Carnivore, both vocal and music-wise; heavy and mid-paced, with repetitive riffs and timid attempts at more interesting guitar lines which for some strange reason remind me of the Black Sabbath period with Ozzy ("Call to Arms/Nightmare War").

What's All This Then? Demo, 1987


Thrashcore heroes from Germany spicing their routine delivery with sudden blazing leads which nicely decorate some of the short (1-2min) blitzkrieg tracks. The singer shouts his lungs out trying to overcome the lashing guitars which come with a very abrasive noisy edge.

Stagnation Of Thinking EP, 1992

M-102 (USA)

Energetic modern post-thrash with elements of hardcore not far from Pro-Pain; the singer semi-shouts in a warm, friendly manner, and the music isn't that aggressive possessing this semi-hit, sing-along potential again typical for the early works of the Pro-Pains.

The Dividing Line Full-Length, 2015


This is aggressive bashing thrash/death played in a live surrounding which contributes to the awful sound quality and the messy delivery which completely lacks professionalism and could be played by anyone... literally. So don't expect to recognize the 2 cover versions thrown in the middle: Sodom's "Agent Orange" and Sepultura's "Inner Self", the latter done a bit more professionally. Anyway, this is purely amateursih music which should only interest fanatic collectors...

YEEEEE Demo, 2011


The full-length: varied modern/classic thrash with a pinch of hardcore which crosses the light-hearted aesthetics of early Pro-Pain with less bridled death metal sweeps creating plenty of dynamics along the way. The headbangers will by all means be happy for most of the time with the ripping guitars and the screamy leads topped by forceful shouty semi-death metal vocals which are quite comprehensive, and are definitely an asset rather than an impediment. The sound quality is crystal clear making each instrument clearly heard greatly favouring the more melodic escapades like the ones on "Disequilibrium" and the closing "School of Crime" where the leads are the stars of the show.
The demo is a very promising beginning for the band comprising ripping classic thrash/death in the vein of Invocator and Assorted Heap. The guys play with confidence unperturbed by the muddy production, and the final result is not very far from the better examples in the genre from their homeland from the 90's. The approach isn't overtly technical, but some hooks pack a punch with style: check out the vortex-like sections on "Crying Out". The lead guitarist acquits himself with a couple of good screamy leads, and the vocalist rends his throat in a forceful semi-shouty/semi-deathy manner even managing to capture a few melodic lines.

When a Promise Is Broken Demo, 1994
Mission: Destroy Full-Length, 2013

Official Site


These "m-survivors" from China specialize in modern metalcore-ish thrash which, apart from the polished sound, offers nothing really striking to impress the oversaturated modern listener. This is a washed-down copy (and one shouldn't be surprised coming from China) of the style presented by the hordes of metalcore acts "roaming" the Earth at the moment. It's by all means professionally done and all; it's just that there is no shade of emotion or attachment to the recording, just pre-programmed passionless shred over and over...

Cube Full-Length, 2009

M1-A1 (USA)

This demo offers a mixture or power and thrash ala Meliah Rage and Anvil. This is good stuff; the songs are mostly heavy, mid-tempo affairs with tight, melodic guitars. The singer has a very good mid-ranged clean voice.

Demo Demo, 1990


The putting together of all extreme metal styles into one album has become so fashionable that if the trend goes on for another while, we'll be just talking about extreme metal in the near future, without any further classifications. Mabus 666 do exactly that, although the black metal-tag here is given due to the vocals which are high-pitched shrieks and at times can be quite annoying. But the music saves the day being hard-hitting thrash/death metal which manages to sound both original and quite intense at the same time.

Profit Full-length, 2002

Official Site


3 songs of intense old school thrash in the vein of Sadus' debut and early Death. The guys play fast the whole time, and with the slightly buzzy guitar sound in the background the feeling created is for a violent bash of still the more intelligible kind with rending death metal vocals with certain shouty aesthetics.

Stench Of Death Tape EP, 2012


Based on the "Animalized" EP, this formation provides modern post-thrash with elements of funk and jazz, hitting hard at times with pure classic thrashy riffs ("Backyard"), but the super-heavy high-octane doom on "Animlized" can not possibly be ignored. The rest is a weird mix of moods and styles which brings Mordred's "In This Life" and Re-Animator's "Laughing" to mind.

Party on, Dudes EP, 1994
Animalized EP, 1996


This is an enjoyable band (if you don't take their lyrics too seriously, of course, which center around the "careers" of some of the most notorious serial killers in human history) mixing very contrasting styles on their works: death, thrash, grind, hardcore, punk and even jolly rock-ish numbers. This is far from a mish-mash; on the contrary: this is good fun with cool thrashy riffs and a generally aggressive attitude.
The "Human Monsters" EP is 4 songs offering the typical for the band wild blend of thrash, death metal and grindcore, again sounding listenable with the guys never crossing the border beyond the good taste. Nice jolly tunes can be caught on the crossover-tinged "The Big Bad Wolf", which in its turn is followed by the pretty faithful, and well done, cover of Venom's "Countess Bathory". The joke song is not missing, either, coming at the end ("The Bloody Benders") being pure merry punk, an unpretentious memorable track.
"Grim Scary Tales" is an eclectic larger-than-life affair which shows some striking musicianship, as well as an enormous sense of humour, both in the lyrics department and the song-structures. The overall approach is a capable mix of thrash and death metal starting with the surprisingly stylish technical "Locusta" which is mostly instrumental with jumpy hectic riffs and great leads. "Nero's Inferno" is an orchestral theatrical piece of a non-metal nature, but its left-hand-path approach is fascinating ably supported by clean operatic vocals. Then comes "The Black Knight", an appealing blend of crossover and death metal, with the clean vocals springing up again along with a short Cathedral-esque doomy moment. Follow the tracks from the EP, completely unchanged, and one very good ballad "Mary Ann", a tender romantic piece with good leads. "The Ripper Tramp from France" is the other more technical moment, a jumpy diverse piece with excellent leads which are highly entertaining on the whole album. "Bella the Butcher" is close in spirit, a weird frantic song with suddenly changing tempos, and death metal completely takes over on the aggressive lasher "The Kiss of Death", before another encompassing "cocktail" of thrash, crossover and a little bit of death metal says its final word on the closing "The Sweet Tender Meat Vendor". Traditionally, variety is the name of the game here, and this entertaining effort will again keep a wide gamut of fans happy although some may mourn the decrease of speed and brutality (the compulsive grindcore elements, the hyper-blasts, etc.) which were quite typical for the band's previous albums.

Grim Reality EP, 1987
Shitlist EP, 1988
Gloom Full-length, 1989
Sinister Slaughter Full-length, 1993
Behind the Wall of Sleep EP, 1994
Unabomber EP, 1999
Dahmer Full-length, 2000
Morbid Campfire Songs EP, 2002
Murder Metal Full-length, 2003
Human Monsters EP, 2010
Grim Scary Tales Full-length, 2011

Official Site


Based on "Gotteskrieger", these guys, who were previously known under the name Caiman, offer a decent mix of thrash and power metal, quite classic-sounding, the latter dominating the approach a bit. The music has also shades of epic and black ("Das Boot", "Golgatha") metal where the guitar work is better, emiting really catchy melodies. Otherwise this is mid-paced stuff, seldom going for all-out speed ("Hunde Wollt Ihr Ewig Leben") and also recalls another recent German act: Runamok.

"Wiedergonger" is a more aggressive offering the guys thrashing with more passion and gusto recalling the more recent Kreator "exploits" quite a bit by not forgetting about the frequent melodic hooks which make the album quite memorable in the long run. The beginning is fairly promising with the intense headbanging opener "Kamikaze", but the intensity and speed decrease with each passing number. The middle gets occupied by the heavier, slower material which comes with a solid epic "colouring" which gives nicer "fruit" on the more engaging progressiver "Stalingrad-Untergang". The 2 bonus tracks at the end are merry crossover pieces with more laid-back riffage which further increase the album's diverse nature.
"Imperium" is the next in line classic/modern thrash hybrid which has its positive headbanging ("Inferno") sides, but there's plenty of melody applied as well: check out the lead section on the heavy ballad "Verloren" as well as engaging epic thrashing on "Konig Der Henker", not to mention the not jocund nods towards the Russian national anthem on "Pawlows Haus". As a whole the band have become more officiant and epic-sounding another testimony for that being the final 8.5-min opus "Soweit Die Fafe Tragen", a doomy operatic composition at its most battle-rousing.

Macbeth Full-length, 2006
Gotteskrieger Full-length, 2009
Wiedergonger Full-Length, 2012
Imperium FullLength, 2015

Official Site


These Mexicans pull out noisy intense thrashcore which sadly wastes too much time staying in groovy mid-tempo waters and consequently misses the point of what this sub-genre has to offer. On top of that the singer shouts hysterically the whole time adding further to the album's noisy, intolerable nature. The nod to Pro-Pain with "Propane Pro-Pain" near the end is not very well deserved: the guys here are just noisemongers at this stage, and don't have the required skills to stand alongside their aforementioned peers.

Machete Full-Length, 2014


Crossover/thrash in the D.R.I. vein; the music sounds rougher and rawer than the one of their more renowned peers, but there is enough energy put in the recording, and some tracks are full-fledged intense thrashers: "Blue Beard", "Acid Rain", the less than 2-min explosion "Anormal System". There are stylish touches thrown in as well: the great combination of aggression and playful crossover "Mal Le9che9", packed in a little more than a min. Occasionally do the guys add pure hardcore to the proceedings ("Dumb Gang"), but most of the time they thrash with conviction and power.

Acid Rain Full-Length, 1987


These Brazilians offer energetic retro thrash with a less overt crossover vibe which gives the recording a carefree playful tone. "Cold 3rd War" and the closer "Tides of War" are nice dynamic speedsters, but there are quite a few mid-paced numbers present as well which make this a diverse, if not always very exciting, listen. The singer is an asset, though, with his attached clean mid-ranged tember who doesn't take too many risks, but manages to control the proceedings with panache. Some of the band members also take part in another thrash formation, Stupid Vision.
"Slave Nation" is quite close to more recent Kreator so expect a more modern sound along some vicious thrashing which takes a break on the slower and more diverse "Destiny", and on the power metal filler "My Monster", a leftover from Megadeth's "Youthanasia". In the 2nd half the gyus ruin it with longer, more power/thrash-fixated cuts and lose the inertia almost completely which is partly captured by the more dynamic "Rage Of God" and the closing roller-coaster "Machine/Age Of Darkness".

It Makes Us Hate Full-Length, 2011
Slave Nation Full-Length, 2016

Official Site


This "machinaria" delivers modern semi-groovy post-thrash which thrashes harder ("Act of Justice") on occasion, but ultimately this is calm peaceful stuff with stomping riffs and tasteful melodic leads the only "rude awakening" being the harsh faster "Shallow Grave" near the end. The vocals are semi-shouty/semi-deathy and angry, but their antics are always intelligible and authoritative.

Sacred Revolutions Profane Revelations Full-Length, 2014

Official Site


This Italian outfit play intense classic thrash which aims at a bigger complexity in a way similar to the French Witches' debut, and succeeds in intriguing the listener with the interesting time-changes on "Bloody Flesh" which is an eventful roller-coaster with catchy riffs galore. The band vary things by introducing the odd slower break, but some moments are on the edge of death metal (the dramatic accumulation at the end of "Too Sick, Too Old") and generally the aggression leads the pack also on the encompassing speedy closer "Torture and Pain" where the low-tuned brutal death metal singer tries something higher, but fails to convince anyone in his vocal abilities.

Living Bloody Flesh Demo, 2009

Official Site


Quite good power/thrash metal similar to early Overkill with nice lead guitar work and energetic, but not very fast, tempos.

Demo Demo, 1989


This band was founded by Norman Skinner, the Imagika singer, who here is helped by Paul G. Thuriot: the guitar player whose main band is the death metal monsters Jungle Rot. The music of this band bears resemblances to Imagika, but with no traces of the vicious death metal sound of Jungle Rot. It can be described as progressive power/thrash with nods to the retro style from the 80's: check out the beginning of "The Witch & The Whisperer" which is a total Flotsam & Jetsam worship (the title-track from their debut). This composition is a mighty progressive thrasher with great sharp riffs and galloping tempos. "A World Without Heroes" is a heavy stomping number with a more modern edge, and later on the sharpness gets lost for a while, on the semi-ballad "Pity Me" and the progressive power metal cut "Only Now..." which again refuses to add more energy to the proceedings. Well, this is done by the excellent "Pale Horse", another progressive metal delight. "To Live A Lie" slows down again clinging towards the balladic models, but the technical riffage at the end, accompanying the faster section there, is fairly satisfying. "Of Things To Come" is a heavy progressive thrasher which will remind you of the legends Sanctuary.

2.004 Full-length, 2005

Official Site


"Burn My Eyes" is a landmark album of modern 90's thrash metal, often considered the best work of the whole period. The follow-up is much heavier, with a dark groovy sound, but almost as effective. And that was it. The next two albums almost threw the band away from the thrash metal field acquiring a much more melodic sound. "Through the Ashes of Empires" shows attempts at a return to form, but it couldn't wash away the impression that the days of "Burn My Eyes" have been buried deep.
"The Blackening" almost completely restores the faith in this band showing that it's too early to cross them off the list. With a more elaborate and technical song-writing, Machine Head display a side never seen before on their previous efforts. With long, progressively-structured songs and a mighty riff-fest from beginning to end, which would probably take time before the listener gets into it, this album is a major contender for the top ten of 2007.
"Unto the Locust" preserves the ambitious undertakings from its predecessor, and the first cut "I Am Hell (Sonata In C#)" is already an engaging modern thrasher which is nicely played at high speed with a lot of furious thrashing to be heard during its more than 8-min. "Be Still And Know" is a calmer, slower composition with more melodic guitars and balladic overtones, and "Locust" is just a bit harder not bidding farewell to the heavy, stomping riffs. "This Is The End" starts thrashing on full-throttle once again by incorpotating good melodic leads and Swedish-styled melo-death arrangements. "Darkness Within" is another crushing piece, "flirting" with the ballad, leaving the more intense delivery for the next "Pearls Before The Swine" which still comprises tender, more peaceful moments. The closing "Who We Are" is a more dynamic number, still a pretty melodic affair, featuring a nice catchy chorus, among other laid-back tools (a violin tune at the end, etc.). This is hardly an improvement over the excellent "The Blackening" seeing the guys stretching over all their back catalogue dissipating the monolithic delivery so well established on the previous effort, consequently diminishing the new opus' appeal, making it sound like a retrospective, nostalgic offering rather than a statement of intent for better things to come.
"Bloodstone & Diamonds" sees the veterans alive and well for the production of another complex thrash/post-thrash opus which this time is perhaps a bit less elaborate and not as hard-hitting (the semi-balladic groovism "Ghosts Will Haunt My Bones"; the full-fledged 8.5-min ballad "Sail into the Black"). Still, heads will inevitably bang on "Night of Long Knives" which reaches almost deathy proportions with a few more intense passages in the second half. Unfortunatelly, in that same second half the album never manages to pick the speed back up, and the listener will be left quite bored listening to the repetitive riffage. His mood may lift up a bit on the more energetic "Game Over", but obviously the guys have decided to take it easy on the thrash, and the end is again more on the calm side the final "Take Me Through the Fire" acquitting itself with an exiting portion of more intense galloping guitars. The band have no reason to prove themselves any further so the fanbase shoudn't expect earth-shattering masterpieces from them at this stage: this offering is by no means a flop and stands relatively well in the band's sizeable discography, albeit being a sure step back from the previous two works.
"Catharsis" comes with friendly mellow vibes which are difficult to place in the context of the last couple of albums as this is not very impressive laid-back numetal with copious amounts of melody, the guys intent on bringing back the not very pleasant memories from "Supercharger" and "The Burning Red". Consequently there's no thrash or post-thrash to be come across under any form, making this opus another pretty undistinguished entry into the band's discography.

Burn My Eyes Full-length, 1994
Take My Scars EP, 1997
The More Things Change... Full-length, 1997
The Burning Red Full-length, 1999
Year of the Dragon EP, 2000
Supercharger Full-length, 2001
The Burning Red B-Sides EP, 2004
Through the Ashes of Empires Full-length, 2004
The Blackening Full-length, 2007
Unto the Locust Full-length, 2011
Bloodstone & Diamonds Full-Length, 2014
Catharsis Full-length, 2018

Official Site


Based on the "Last Bridge Burning" demo, these guys come up with typical groovy thrash ala Pantera ("Nonconsistency"), plus more energetic mid-paced thrash with cool sharp riffs ("Deliverance").

Conceptional Immortality Demo, 2004
MA_IN 05 Demo, 2005
Confrontation With Reality (deathbreed)-Upgrade 06 Single, 2006
Last Bridge Burning Demo, 2006

My Space


Typical modern death/thrash metal with hardcore/metalcore elements; the music isn't completely without merits, but often drops the energy for the sake of more melodic embellishments which severely mususe the angry overshouty vocals.

The Infinity Complex Full-length, 2006

Official Site


The debut: this is steam-roller modern industrial thrash which will overwhelm you with sterile robotic riffs from beginning to end, but still has its charm with its dispassionate atmosphere and sudden digressions into something truly melodic and offbeat (check out the angelic female vocals on "Godus") all this topped by scary low-tuned death metal vocals which are quite intelligible for most of the time. The established mechanical "idyll" goes out the window with the intense headbanger "Incendiario" which will rock your futuristic world big time although you will have no problems recapturing it with the final string of predictable moody industrial thrashers. This is not a bad tribute to the stagnant at the time industrial scene, and will remind of some legends from the past like Zoon, Swamp Terrorists, Fetish 69, Soulstorm, etc. The guys were active during the 90's under the name Imunity, and have four demos released of classic thrash/death metal.
The EP carries on in the same vein pouring dry sterile rhythms over the listener who will be spared on the nice energizer "Trapollution" which is a cool industrial thrasher unfortunately lasting for just over a minute. As a whole the approach is less serious with a somewhat hardcore aesthetics attached to it not only due to the short song length, but also because of the carefree riff-patterns and the loose drunken vocal delivery.
"Sounds Evolution" is a more aggressive offering a major statement of intent being the opening title-track which is a furious thrash/deathster which is followed by another "furia" right after, "Furia". Mercy is seldom shown here the "bombs" falling one after another industrial now barely covered on some of the more abrasive moments ("Venomith"). "Antagonista" is an excellent more technically-executed cut, and "Carne & Mal" & "Cada Falso" are sure-handed head-splitters, before "Waterwar" comes forward with great female vocals in the beginning, and with a portion of heavier volcanic mid-paced guitars. The exiting duo is more on the jolly carefree side with an overt hardcore edge, but is a welcome shift from the brutal delivery heard previously which is the guys' finest hour so far.

Rhythmotion Full-length, 2010
Rhythm Between Sounds EP, 2012
Sounds Evolution Full-Length, 2014

My Space


Machinery pull out cool dark technical power/thrash, not too far from Nevermore, or the French Kragens. The more technical parts recall another very good new technical act: Altered Aeon from Sweden. The music has a strong modern edge, and the guitars at times acquire a dry, mechanical sound, but are always sharp and hard. Like with the aforementioned bands, the music never gets too aggressive; the guys have the tendency to insert slower sections, where the harsh vocals take a more melodic edge, and deliver cool choruses, again in a way similar to Nevermore. It's not a bad approach, but it gets repeated on every song. The last three tracks are longer and more technical than the rest, and show the band in a more inspired form, managing to keep them interesting the whole time with really good riffage, except on the album closer "Satanic Hippie Cannibal" which, despite its horrifying title, is the most melodic number, being a heavy semi-ballad.
"The Passing" is a nice, albeit a lesser companion to the debut, which starts in a slow balladic way with "Gold", but comes "Reason Is The Truth", and the thrashing begins. "I Divine" shows once again that this album will not be about aggression, and is slower, but heavy with nice melodic lines and semi-clean vocal performance, quite good, compared to the mechanic shouts heard on the rest of the album. "Dead Man" follows in the same way, and here the vocals are purely clean and melodic, and here is where the listener will start frowning, simply because the music is edgeless and balladic once again. Very soon, however, he will have to adjust his senses for the crushing "Delirium In Vengeance": a fast and merciless headbanger, spiced with vicious, black-ish vocals. But this is more like an "oasis", because afterwards two mellower tracks come, before "The Passing" introduces more complex, progressive structures and harder riffs, all this nicely continued on the softer, but quite cool power/thrashing closer "Waiting For The Wave", which apart from the nice melodic vocals, offers a good keyboard-infused background and great galloping guitars; those both tracks will remind you of the Swedish progressive metallers Evergrey in many ways. This is by no means a better achievement than the debut, and it's obvious that the band try to move further away from the thrash stereotypes aiming more at the progressive metal crowd.
The EP sounds as though the guys are going to "war" with fiery lashing riffs and dramatic build-ups. "The Devil" is a more speedy cut with echoes of Nevermore and some commendable Oriental motifs. The rest of the material is more on the pounding mid-tempo side and is a nice hint at the band's bigger musical prowess which should find a fuller realisation soon.

Degeneration Full-length, 2006
The Passing Full-length, 2008
War EP, 2014

Official Site


Based on the demo, this act provide a cool mix of power, speed and thrash metal quite typical for the American scene at the time. "Fools Paradise" is an imposing heavy galloper with hard solid riffs, and the title-track is a shorter shredder in mid-pace. "Wolves" is a more dynamic piece ala Liege Lord, and "Bite The Hand" wraps it up nicely adding more aggressive thrashy riffage. The bass work is quite good, and the singer is another highlight with his dramatic clean tember with semi-high attempts at a more emotional delivery ala Bobby "Leather Lungs" Lucas (Attacker).
"Impulses of Aggression" doesn't really contain too many "impulses of aggression", but is a fairly acceptable slab of the good old American power/thrash which is more power metal-inclined, but shows its teeth at times: the hard-hitting headbanger "Kamikaze", the formidable galloping closer "The Machinery", etc. "Chaotic Bliss" is a curious progressive number with creepy doomy riffs, an interesting approach which could have been elaborated on although one never knows what the guys have cooked up on the EP which is a sign that they are alive and well, and are hopefully ready to pour more "impulses of aggression" over the fans.

Divide and Conquer Demo, 1988
Impulses of Aggression Full-length, 1994
Reconstruction Full-length, 1997
5499 EP, 2011



Based on "The DOS of War", this act offer intense industrialized modern thrash/death which can be wonderfully melodic ("Byte Supremacy") at times, at others being total electronic noise ("Chromosexuality"). Fans of Fear factory and Die Krupps will rejoice here, but the more linear thrash audience will most likely pass after the first two tracks.

EOF (29A) Full-Length, 2008
The DOS of War Full-Length, 2016


These are the guys from Wehrmacht who have shortened their name and have started playing nice technical thrash with quite a few interesting tempo changes, and not as frenetically fast as the guys' previous efforts. The music really packs a punch with really good guitar work, quite choppy and technical, but unfortunately it's only three actual songs: the last two are voices and noises put together, no music. This definitely could have served as a draft for something really cool, but the band disappeared without a trace after this release.

Vice Grip Demo, 1990


The full-length: this is a strange band (check out the album/EP titles); the sound could only loosely be described as thrash metal; it's very abstract with monotonous dark wave-ish vocals and long sprawling songs in which the tempo doesn't change a lot. At times the guy doesn't really sing: he actually chants creating an almost black mass atmosphere. "Robotic"/industrial/progressive thrash": all these definitions could apply for this band, but one has to listen to it to get a good idea what goes on inside. One of the most avantgarde, and hardest to swallow, takes on metal in general.
The EP sees the guys in a brighter light as the delivery is more vivid and more dynamic. "I Can See Fear and Uncertainty in Her Eyes" is a potent sharp shredder with surreal psychedelic interruptions and haunting keyboard sweeps, still a fairly unorthodox layout also enhanced by the "clean vs. hypnotic semi-clean vs. occasional death metal" vocal interaction. The title-track is gigantic 12.5-min opus which covers a wide ground thrashing with conviction all over as the only mitigated annoyance would be the very mechanical drums, a not very necessary leftover from the debut.
The demo carries on in the same direction with more side additives like noises and industrial samples, and frequent balladic passages as the approach is almost all-instrumenal with sparse vocal participation. The continuous use of the keyboards creates an officiant operatic atmosphere even on the short numbers intended as headbangers ("Trendy like Robotic Minds", "Incomprehensible Unintelligent Behaviour but So Intelligent"). It remains a pretty characteristic delivery which must have found its audience among the modern thrash lovers as well.

The Contemporaneous Explosive Atmosphere Full-length, 1995
Her Soft Emotional Announcement EP, 1998
The Third Explosive Announcement Demo, 2000

Official Site


These Argentinian "insects" play a quirky funky brand of power/thrash which isn't radically far from Mordred's "In This Life" although the emphasis here is on melody ("D-Pression"). "King Of Ignorance" is a more hard-hitting piece with interesting progressive arrangements ably supported by the bouncy title-track, and by the energetic thrashing closer "Time For Living" which compensates for the relative lack of energy, the consistently good mid-ranged clean singer another positive occurrence.

Insects Demo, 1991


Fairly decent intense retro thrash with slightly death-ish vocals; the music packs a punch "Death In Life" being a short bursting headbanger, and "Nightmares" being a nice progressive thrasher with numerous time and tempo changes. "Pirate's Mansion" calms the ball down with a more moderate power metal-ish approach reminiscent of the Germans Tyrant, and "Breaking Bones" is a wild mosher with screamy leads and sharp cutting riffs.

Demo Demo, 1990


The debut: this band, who were earlier known as just Dragster with one demo released in 2002, play an enjoyable mixture of modern and classic thrash, not too far from Annihilator around the same time. "Love Us Or Hate Us" from "Strong Mind" isn't a Kreator cover.
"Master of Space and Time", arriving after a lifetime of absence, is a jolly feelgood affair the band speed/thrashing with a good sense of melody without going down on the speed a lot. There'll be a lot of jumping around on compulsive moshers like "Almighty" and the 5-min of non-stop hard thrashing "Megiddo", not to mention the "wind of speed" which is the short sweeper "Gehenna: The Second Death" check out the addictive melodic licks on this one). The delivery gets a bit more officiant in the middle thanks to the epicer "King of Kings", but on an album of whole 15 tracks variation can be expected the latter never dragging this cool effort down which also wins from the very good intense semi-clean vocals ala Charlie Steinhauer (Paradox).

Strong Mind Full-length, 2003
Killing The Devil Inside Full-length, 2006
Master of Space and Time FullLength, 2015

Official Site


Good Kreator-influenced thrash metal with the comparisons with their more renowned compatriots coming mostly from the vocals which are dead ringers for Mille Petrozza. The music bears resemblances to Kreator's more technical period "(Extreme Aggression", in particular), but is more varied, with cool slower atmospheric passages.

Violent World Demo, 1990


A 3-tracker of jumpy funky post-thrash which borders on crossover on the more energetic sections whbich aren't many at all. The singer is a punky clean throat who plainly slubbers at times trying to keep pace with the jolly umpretentious music which becomes seriosuly funky at times (check out "Civilization Of Pigs") with impressive Les Claypool-esque (Primus, Bling Illusion) bass support.

Mix-Up EP, 1993


Excellent power/thrash metal with great guitar performance which would make every Shrapnel guitar hero proud; the style is close to other Japanese bands like Volcano and Sex Machineguns (the first two albums) as well as the high-ranged vocals. "Get Over Time" is a slightly cheesy ballad, but the rest is top-notch razor sharp music (quite speedy at times, too) which would satisfy even the most skeptical fans. Hopefully these guys are still active and are "cooking" something new.

Mad Machine EP, 2004

Official Site


These Germans exercise in instrumental atmospheric gothic power/thrash, rich in atmosphere and orchestral arrangements. The lead guitar takes a considerable space from the album (check out the excellent "Esteeming the Beauty"), but never to the point of annoyance, and the pure riff-based sections are quite a few as well. The compositions are relatively long (6-7min, with a few longer exceptions) and complex with the keyboards being omnipresent, but on the other hand seldom is there a passage without guitar work. The tempos vary quite a bit within the songs' structures alternating fast and slow parts the whole time. Things get seriously thrashy on "Suicide Squad" to the point of headbanging, and some of the melodies on this one are quite catchy. "Hymn of the Dawn" is on the other extreme: gothic/doom at its purest. This is an interesting approach to the genre although in this case we have thrash more as a supporting style providing the hard base as a contrast to the expertly-constructed orchestral arrangements.

Vagary Of The Gods Full-Length, 2009

Official Site


Based on the full-length, this act offers fairly engaging retro thrash of the Bay-Area type possessing both intensity and technicality in a way not too different from Forbidden and early Testament. The guys try to split you at the seams with the opening trio of headbangers, before "Cursed Dreams" shows their mellower side which is clever pounding thrash with good leads gracefully followed by the excellent lead-driven instrumental "...Beyond". The assault comes more controlled afterwards the guys mixing the speedy numbers with more laid-back ones. The closing "Retribution" is a serious more progressive composition which thrashes with style until the end which is preserved for a nice flamenco outro. The singer semi-shouts in an attached manner, and overall the band leaves a positive impression paying tribute to the good old thrash helped by a crisp modern production. The band members try something more technical and more aggressive, on the death metal side, with their other project Unbirth.

No Time Left... EP, 2010
Frames of Alienation Full-length, 2012

Official Site


This is very energetic, but also amateurish thrash, mostly sustained in a slightly chaotic up-tempo. Certainly the guys were just having fun recording this EP without any serious intentions to last long on the metal scene.

Mad'n'Damn EP, 1989


This outfit indulge in heavy shredding, semi-technical thrash which is still firmly on the classic side albeit for just 2 songs where sharp guitars and cool emotional clean vocals ala Joey Belladonna will make your day. The pace is mid, but the riff-patterns are intriguing if not outrageously original, and could have served for the base of an eventual full-length.

Demo Demo, 1993


The EP: the "mad ripper" in this case has a name, and it's Norbert Langanay, who dedicates this all-instrumental affair to his namesake Jack the Ripper from the neighbours England. Music-wise this "ripping" symphony is strictly mid-paced played straight with very good bass support which is apparently the guy's main instrument, and can be heard clearly for most of the time. The man doesn't really excel in the other departments although there are a couple of intriguing semi-leads to be caught (the moody doomy opus "My Victim"), and invigorating galloping pieces like "Rituals" should have been more. Still, this isn't as tiring as it may seem having a strong classic edge bringing it close to the 80's American power/thrash metal patterns.
"Jack Is Back" comes with a very good sound quality which helps the all-instrumental histrionics just fine. Norbert carries on with his "ripping" old school power/thrashy rhythms speeding up here and there ("Blood on My Hands"), and generally doing a good job with the bass playing a more prominent role. The power metal rhythms seem to dominate at times ("Letters from Hell"), but the balance has been achieved handsomely thanks to the presence of more formidable pieces like the steam-rolling "The Red Terror" and the galloping Ritual", not to mention the excellent more technical closer "The Lodger".

A Night in Whitechapel EP, 2010
Jack Is Back Demo, 2011
Old Demon Full-Length, 2013

Official Site


Based on the demo: with no regards to the modern tendencies of the 90's, these guys offer quite good classic thrash. The music is not aggressive at all, and sometimes has shades of crossover, but is mostly mid-paced and semi-technical, resembling Accuser's late-80's/early-90's, more technical period, but not as heavy, and in the faster sections one would feel an early Metallica influence ("Little M.F."). The modern "updates" come in the form of the vocals which have a certain hardcore-ish rasp, not far from Tommy Victor (Prong).
"Mind Intensive X-Tract" is much less interesting having already acquired the modern tendencies, and this new approach is mixed with jolly crossover tunes to a not really impressive effect. This is boring stuff with alternative and funky elements added towards the end to make the final result even more confusing.

What We Know Demo, 1993
Mind Intensive X-Tract Full-length, 1994


A young Russian outfit who specialize in progressive power/thrash of the modern type. The guys are experts at good melodic hooks, and those are used profusively. Still, the riffs weigh a ton ("Winds of Fire") at times, and generally the energy is evident all over despite the relative lack of many faster passages. There's an ample use of keyboards, too, and the final semi-balladic opus "Borellia" could have been shortened: now these more than 8-min of melancholic proto-doomy riffs may bore the listener with their sombre, quiet tone.

Never Surrender EP, 2011


An excellent debut recalling another very good Russian band- Shah, but Mad V are more technical than this band's early efforts, and more aggressive than Shah's last album, and aren't afraid to experiment with playful, semi-thrash melodies. The guitar work is of a particularly high quality featuring great riffs and nice solos. The songs are mostly up-tempo with good memorable choruses.

War Is The Same Full-length, 2004

Official Site


Based on the full-length, this act serve intense, blitzkrieg classic thrash, and the listener won't be spared on moshing winners like "Virtues" and "Cult of Death" although "MadBrain" is on the other opposite with clever, serious elaborations, mellower rhythms, still thrashing hard on a couple of times, the tendency finely summed up on the closing "Thrash Massacre", a nice reminder of early Slayer.

Failed Resist EP, 2010
Retribution Full-Length, 2017

Official Site


Roughly produced fuzzy thrash which still sounds classic if we exclude the awful vocal death metal "duel" experienced for most of the time. The delivery gets tiring quickly since it's exlusively based on the mid-pace which gets sprawled to progressive proportions on several lengthy compositions ("Serenity", the doomy opus "Lies in Ruin"). "Vile" arrives towards the end to delight the fanbase with the only portion of fast lashing guitars, the closing "Blood Omen" trying to assist it with a couple of more aggressive death metal-based rhythms.

Lies in Ruin Full-Length, 2010

Official Site


Melodic thrash/death, by all means "made of hate", of the Gothenburg school with more cheesy moments close to Children of Bodom thrown in, but lacking energy and variety despite certain progressive "decorations" here and there; tracks like the more intense thrashing "Mirror Of Sins" and "Judgement" are more than welcome, but there aren't too many of them here. The concentration is clearly on melody which dominates over the riffs which, when given more room, pack a punch.

Bullet In Your Head Full-length, 2008

Official Site


These guys started under the name The Plague and managed to record 2 demos under that name. Here we have 4 songs of laid-back 90's post-thrash with angry overtones, nothing to do with the strictly classic sound of the The Plague demos. The music is mid-paced with calmer passages bordering on heavy/power metal. The singer has already managed to acquire the suitable proto-angry tember of Phil Anselmo, but also carries a lot of melody of the soulful type.

MadDog Demo, 1992


Modern thrash with a strong metalcore presence which jumps and turns without creating any positive impression simply because this approach has been overused recently by numerous Trivium or Chimaira wannabes.

Unleash the Mad God Demo, 2009

Official Site


The french answer to Suicidal Tendencies; both albums follow closely the Suicidal's more thrashy efforts. The second one actually takes a funnier turn with rap and funky moments ala Infectious Grooves. "Razzle Dazzle" would be a no-brainer for late-80's Suicidal Tendencies; it sounds very close to "Lights, Camera..." mixing fast and slower tracks with heavy slightly abrasive riffs which give the music a more thrashy edge than the one of the Suicidals, the reason for which is also the Mekong Delta leader Ralf Hubert who produced the album in his own studio. Songs like "Get Down On It" and the ball of fury "Felix the Cat" are pure unadulterated thrashers, but on "Control Myself" the guys really try to "control themselves" serving more laid-back jolly crossover. "Rooster Land" crushes in mid-pace, but is "obliterated" by the intense "What does that Mean (Love?)" and the speedfest "Chilian Beaches". More serious song-writing can be noticed on the longer and more diverse "Distressed" followed by the least serious track: the 1-min hardcore-ish closer "Beer-Skate-Fuck" with which the guys show that they are not only "possessed to skate", but also by... Half of the team here was also taking part in the similarly-styled M.S.T.

Razzle Dazzle Full-length, 1990
Get the Point? Full-length, 1993


This 4-track demo offers quite a few styles: "Tormentors" is vintage Slayer (not Kreator), fast and aggressive; "Shock" is a direct nod to early Helloween, a cool speed metal number; "Lose" is a pure classic heavy metal piece taken straight from the works of Scorpions or Accept; "Slow Death" is a typical American power/thrasher with cool melodic leads ala Wolf Hoffman.

T.F.O. Demo, 1989


The demo is a quirky thrash/crossover affair with long compositions where several styles shake hands, not necessarily related to thrash the whole time. This is music which by all means has some of the carefree, unpretentious nature of the Lawnmower Deth efforts, but what can one think about these folks who pull out a 9-min closer ("Fly Off/Drink It Up")?
The full-length holds onto the eccentric character of the demo, and "Bravo" is an ultimately twisted affair which may get on the nerves of the more level-headed fans. And when the aforementioned demo closer comes served in the middle, the listener may turn the player off... and this would be a mistake since he/she will miss another larger-than-life closer, "Fire Days", a surprisingly apt opus with a few hard-thrashing sections. And the vocalist as a finishing touch: not a bad punkish throat, but of the not very serious, unrehearsed type.

Insanity Road Demo, 1988
O.D.I.A.M.I. (One Day in a Mine) Full-Length, 1992

My Space


This is a good demo offering classic speed/thrash in mid to up-tempo with cool semi-clean mid-ranged vocals. "Living on the Edge" pulls all the stops thrashing madly almost reaching Slayer-like dimensions on the most intense moments. The rest is more restrained with "Suicidal Mosh" trying something more technical in the guitar department.

Mind your own Business Demo, 2008

My Space


Rough clumsy thrash of the retro type relying on heavy-handed riffage and bad unrehearsed semi-shouty vocals with both a drunken and a death metal pitch. This kind of music wears thin after just 5 tracks one of which is a sluggish version of Metallica's "For Whom the Bell Tolls" at the end done in a slower manner the only plus being the strong bass support; not very easy to recognize due to the pretty amateurish musicianship.

Shed of Metal Demo, 2011


Based on the self-titled debut, this is an interesting take on thrash/crossover with vocals similar to the ones used by Jello Biafra in Dead Kennedys and Lard. The music is the highlight here, though: never fast, mid-paced to slow, bordering on doom metal quite a few times featuring nice offbeat, progressive guitar work which will remind you of Voivod. It's good to have bands like this one around who try to bring something fresh to the scene.

Madman Mundt Full-length, 2003
For A Day Or A Lifetime Full-length, 2005

Official Site


This young outfit indulge in playful modern-ish thrash/crossover which still contains enough energy to form decent moshpits the latter inevitably featuring several punk rockers as well. "Freedom Call" would be a major surprise in the middle, a radio-friendly heavy metal cut ala Bonfire and Accept which influences a couple of pieces, before "Maniac" unleashes more aggressive guitars ably assisted by the very approprately-titled "Moshpit". This is cool fun, merry unpretentious music with a bunch of influences piled on top of each other to a jolly, sometimes even comical, effect.

Supersonic Brainfuck Overdrive Full-Length, 2013

Official Site


Based on the full-length, this band indulge in raw primal speed/thrash of the old school which sounds appealing both because of the fairly decent execution, and due to the appropriate retro sound production. The singer spits venom and fire in a way no worse than Darren Travis (Sadus) and Ingo (the first Necrodeath vocalist) and does the main damage leading this relentless barrage also adding a few fitting screams to the melee which strongly recalls early Kreator and Sodom. "Necrosis" is the laid-back thrash rocker which disappoint a bit near the end since it leads after it the epic melodic "hammer" "Under The Hammer" the excuse for those digressions coming in the form of the super-headbanging delight "Zombie Grinder" which will shatter your world for just over 3-min.
"Into the Aquatic Sector" is more aggressive and more polished now touching death metal (the opening shredder "From Beneath the Snow") also sounding twistedly technical on "eye openers" like the excellent "Operation: Xenomorphic Protocol", and the fast-pacers "Subterranean Nightmare" and the title-track which also boast the best lead guitar work on the album. The closing "Depravity" is pure death/thrash metal madness, a stylish bash with quite a few technical implements. This is quite a pleasant surprise showing an act with a fair amount of interesting ideas yet to be fully developed.
"The Essence of Time Matches No Flesh" goes deeper into progressive territory, but fast-paced energizers like "The Silence in Ruins" are still around to enliven the situation which reminds of later-period Death and even Theory in Practice on the exuberant diverse shredder "From Sand to Dust". "Abstractions" is another captivating speedster with intriguing rhythmic configurations, and "No Future" serves more orthodox classic thrash for a change, and "Scorned" is a brutal rager with superb technical embellishments some of them coming straight from the Anata and Martyr school. "Dimensions" closes the album in a more encompassing with myriads of tiem and tempo shifts the riff density becoming bigger with spacey psychedelic build-ups ala more recent Vektor. The guys have done a really good job here, and have finally come of age. Here's to more pleasant surprises of the kind in the future...

Infected Chaos EP, 2011
Maleficent Full-length, 2012
Into the Aquatic Sector Full-length, 2014
The Essence of Time Matches No Flesh Full-Length, 2017

Official Site


These Canadians play modern thrash with light-hearted crossover elements thrown in. The music is all over the place, actually, with "Vengeance & Closure" hardening the course to almost death metal proportions here and there during its more than 7-min. So expect not very focused, diverse stuff with decent guitar work and deep clean vocals with a soulful edge seldom intercepted by gruffer death-ish ones.

Prologue EP, 2012

Official Site


Based on the two demos, the band play 80's power metal mixed with thrash. The sound on "Fatal Forsight" is more simplistic sounding like a more thrashy Omen. "Into The Maelstrom" is clearly an improvement with a better production and occasionally very good guitar work.

Singing in the Rain/Waiting for my Woman Single, 1986
Fatal Forsight Demo, 1987
Into The Maelstrom Demo, 1989


The members of the Hungarian doomsters Mood were thrashers before anything else. Well, as thrashers they haven't managed very well as this is Germanic thrash ala Destruction, but with a buzzy guitar sound and a snarly, throaty singer who definitely makes an effort to stay put and could have done a better job in the more black metal-based acts from the same country like Tormentor, or Fantom. At times the guys come up with intriguing riffs and the tempo is energetic throughout, but the music scene knows much better works than this.

Maelstrom Demo, 1991


Modern-ish death/thrash which borrows a trick or two from the Gothenburg school, but thrash is more widely covered as evident from the epic rouser "Nuclear Heart", and the ambitious progressive opus "Awake" which mostly relies on atmosphere and heavy squashing riffs. The prevalent death metal throat is at time sinterrupted by better cleaner tirades, and is completely missing from the excellent closing operatic instrumental "Finale-De Abysso".

Maelstrom Full-Length, 2017


A rock-ish playful version of the 80's thrash/crossover, at times even going into more experimental fields akin to Death Angel's "Act III" and Mordred's "In This Life" with good expressive bass work and several funky additions. It loses the thrash metal idea on a few occasions, but tracks like "Let The Fury" and the smasher "Megamorphosis" are major Anthrax-like headbangers with razor-sharp riffs and a couple of more stylish semi-technical decisions. There's a derogatory reference to Metallica's "For Whom the Bell Tolls" turned into a country bluesy balladic joke lasting for a bit more than 1-min. The singer isn't bad capable of pulling out cool clean chords with a rough drunken shade.

Step One Full-Length, 1990


The debut demo: excellent thrash reminiscent of Kreator's "Extreme Aggression" and Necrodeath's "Fragments of Insanity"; this is quite fast and aggressive, but at the same time technical stuff with memorable songs differing from each other, and genuine atmospheric passages, created either by the use of an acoustic guitar, or by heavy, stomping riffs: both ways work just great. The guys never settle for one rhythm, but change it frequently with original ideas thrown in, the highlight being the marvellous "Childhunt", which after the numerous tunes throughout, at the end comes with a pure blasting (but controlled) fury. The bass work is particularly impressive, carrying on its shoulders quite a bit. The vocals are along the lines of Mille Petrozza, but more vicious, with an even black metal-ish blend.
The EP sees the guys ready to strike again, but the next time it should be with an official full-length release. This is three songs of standout technical thrash which partially abandons the examples followed previously, and comes up with a nice dramatic complex sound, close to Forbidden's "Twisted into Form" and the Dutch Paralysis. The compositions are lengthy with fast aggressive headbanging sections taking turns with elaborate less intense ones: the nice progressive opus "A Futile Crusade". "Arise" is another complex speed/thrasher with fine lead guitar work, not as frantic as the preceding number, also offering a cool keyboard background and sparce female vocals. "Predestined" thrashes with full force in the beginning, but the stylish lead decorations come up, and later on the complexity increases as well as the aggression which reaches almost proto-death/black metal heights near the end with dramatic "cosmic" dimensions ala Bal-Sagoth; this is the only track which partly lets loose from the thrash metal patterns and reminds of the more brutal nature of the band's past output. As a whole this is more than just a warm-up for the eventual full-length and shows the guys having grown considerably as musicians, well equipped to stand proud beside the more renowned practitioners of the progressive/technical side of the genre.
The 1991 demo, which title may be a reference to the UK heroes Sabbat, is four songs of expertly executed progressive power/thrash metal, quite an unexpected turn from the debut demo's primal aggression which also causes a change of vocals, the new ones being clean emotional with a high-pitch applied at the appropriate time. The complexity is so big that one would not be quite sure whether he listens to the same band, on the multi-faced "A Futile Crusade" which is an epic progressiver with sudden headbanging breaks resulting in a slightly hallucinogenic listen aggravated by the numerous melodic insertions and the stylish bassisms. This ultimately eventful saga continues unabated on the isntrumental "Lament Of The Fallen" which is a bit smoother in the transitions, but the virtuoso sections are quite a few with echoes of Watchtower's "Control & Resistance" and Deathrow's "Deception Ignored". "That Which Followed" is another super-technical shredder with razor-sharp riffs cutting you in half accompanied by very heavy doomy insertions, both sides mixed together to an overwhelming operatic effect. And this isn't even the highlight which comes at the end: "The Mirror Calls", the ultimate progressive thrash composition, fast and complex, with some of the most puzzling decisions around which carry a surreal, abstract shade not far from Coroner, and are a quite a contrast to the excellent, melodic Shrapnel-like leads; watch out also for the stomping ending ala "Orion" (Metallica). This is gorgeous stuff which fits perfectly into the technical "exploits" of the same year, and the guys could have been major rivals to Watchtower and Realm in the States back in the good old days if they had managed to rise above their underground status. Fortunately, they seem alive and well at present, and after a very promising EP the next step should finally be a full-length...

Demo Demo, 1989
This Battle to Make History, Yet History Never Comes Demo, 1991
It Was Predestined EP, 2008


This is only one song which is along the lines of early Venom and Celtic Frost: a mid-paced heavy number with awful early Tom G. Warrior-like vocals (remember his singing style on the Hellhammer efforts) and repetitive monotonous riffs.

Hierofante Em Chamas EP, 2009


This obscurity is filled with dark old school thrash which smells Kreator and Possessed in equal dozes, but there's a lot of atmosphere achieved through brooding riffage, low-tuned guitars, old fashioned "wa wa" solos, and last but not least, harsh semi-death metal vocals which can sing, actually. The guys had two other projects running at the time: the death/thrashers Megasin, and the progressive death metal formation Ciborium.

Promo/Tape Demo, 1994

Demo Download


Like many Russian thrash metal bands of the early-90's, Mafia also disappeared after only one album in the 90's; which is sad because the debut is fairly good retro thrash metal with no shades of 90's thrash whatsoever recalling their compatriots Shah, and especially early Master. This is mostly energetic fast-paced stuff with good sharp guitars which acquire a fine semi-technical edge ("Ukol v Mozg") on quite a few times. Although the music is speedy it's not aggressive and brutal, and the guitar hooks are catchy and memorable making every song stick out. "Black Rock-and-Roll" is a nice try to insert rock'n roll rhythms in an energetic thrash song structure, and "In Prison" is another fine deviation coming with slower stomping riffs and good leads.
"The Gun": the Russian "mafia" is back in action after a huge period of inactivity. Alas, they must have lost all their skills since this album is an abomination of music: it's bland ultimately dull alternative rock without an edge or emotion. Hopefully the band will go back to their underground status after this one... never to return again.
"Sun": well, they have returned for one more temptation, and at least this time they sound angrier and more intense, but hardly more inspired. Still, the music is nothing special clinging between post-thrash and more abrasive proto-hardcore ala Biohazard and Helmet. Quite a few tender romantic moments have been inserted, mostly of the balladic variety. It's only "Severnoe Sianie" near the end which would make some heads bang in unison, or rather in strong disagreement with this so promising in the past act's new face.

Magical Call Full-length, 1994
The Gun Full-Length, 2011
Sun Full-Length, 2013

Official Site


This outfit pull out quite cool technical modern thrash with numerous twists and turns which start with the opening hecticer "Liars" which also thrashes on full-throttle at some stage. "Brutal Morality" recalls early Meshuggah with its calculated, mathematical chugga-chugga riffs, and "Lunatic Soldier" is a maddening headbanger bordering on death metal, raging hard among virtuous leads and mind-scratching structures. The rage goes on on the short 2-min exploder "True Falseness", but the following "Dignity" is a more laid-back complex number the stop-and-go technique applied tastefully alongside twisting melodic tunes. "Blind Sheep" brings back the aggression and provides not very predictable technical dynamics for over 5-min. The closer "F.W.L." is the last fast-paced "nail in the coffin" with intricate overlapping riffs "duelling" with each other, challenging the speedy base to a pretty positive impression. The vocalist is a mean-ish semi-shouter remindng of Ron Royce (Coroner).

System Error Full-Length, 2012

Official Site


Modern thrash, but without too much groove, with interesting touches, like the use of deep gothic vocals, for example, which surprisingly don't sound ridiculous, but work quite well, and are way better than the computerized ones which spring up here and there and are utterly annoying. The tempo is quite energetic and the guitars are quite heavy and semi-technical, and are similar to the ones on Rosicrucain's "Silence", or Geisha Goner's "Catching Broadness".

Define the Menace Full-length, 1996


There's nothing too "magickal" about this offering which is good and all, but its take on classic power/speed/proto-thrash is too melodic to strike a cord and should been served with a bigger edge and less nods to the American scene the latter "spice" making the album sound too derivative except in the soulful deep clean vocal department, by far the main asset here. Shades of both early Fates Warning and Crimson Glory can be felt on the more inspired moments, but the guys are not constantly interested in the progressive side of things at this stage.

Stained Glass Full-Length, 2006

My Space


Based on "The Art of Changes", these folks serve pretty acceptable power/speed/thrash of the old school which looks at the German heritage for inspiration as evident from the opening "The Endless Path", an "eagly fly free" speedster ala Helloween, Warrant, and Scanner. Expect numerous soaring melodies and weird ambient instrumentals ("Close to the Secrets"). The title-track is a varied progressive piece wiith a big arsenal of tempos, and "Getaway" is an immediate speed/thrasher with several delectable melodic tunes. "Shadows of a Dream I. Cold Fever" is diverse progressiver with speed/thrashing rhythms alternating with less intense power metal arrangements. The attack carries on with "Unfolding Memories" and "Salvation Song" as the only stop from the righteous way is the tender ballad "Winding Star". The singer is a find with his emotional clean timbre leading the interesting show with panache and passion. Some of the musicians are also involved with the speed/thrashers Invisible Order, and the dark metal formation Of the Archaengel.

Magister Full-length, 2000
The Art of Changes Full-length, 2017

Official Site


A 4-track demo of technically-inclined classic thrash quite close to early Testament with excellent Alex Scholnik-like guitar work; "The Child" is an attempt at a more balladic song-writing and is the only mitigated failure here being quite soft without an edge, missing the obligatory thrashy riffs added by Testament on similar tracks.

Demo Demo, 1992


Reportedly the band's first demo is more on the grindcore side of the spectre, which is obvious on the second one, where the guys have moved towards thrash by mixing it with Swedish death metal, hardcore and punk: a wild, frenetic and frequently brutal, but enjoyable mix. "Fuck Hilversum" starts in a very promising manner with two retro thrash attacks paying tribute to the German masters of the style (Sodom, Kreator, etc.) with the vicious, Jeff Walker-like vocals giving the desirable sinister edge to the music, before the Dead Kennedys cover of "Insight" steps over, bringing the jolly punk atmosphere which remains for the 2-part joke song at the end: another not bad, but uneven effort. "Born Witless" is stripped-down merciless, fast-paced thrash, again "courting" the German side of the genre with a slightly more aggressive, death-ish attitude.
"A Measured Timeframe" shows the guys not having lost their penchant for wild, frenetic music and what we have here is a brutal mix of thrash, death and a bit of grindcore which is contained within short (2-3min) song-structures where there are moments of calmness those never lasting more than a few seconds. At the end the guys lose their nerve and start bashing with violence sticking to pure unbridled grind curiously spiced by excellent melodic leads ("A Bit Inconsiderate") all this finished by the fine technical speedster "Flashing of The Brain".

Off To LegoLegoLand Demo, 1996
Observing The Ridiculous Demo, 1997
Mirror Of Hypocrisy Demo, 1997
Fuck Hilversum Demo, 1998
Born Witless Demo, 2008
A Measured Timeframe Full-length, 2011

My Space


Another modern post-thrash offering, this time served with some of the noisiest guitars to grace these ears recently. This is pretty unexciting stuff which tries at times to sound intense and thrashy ("Deshuesador"; the short headbanger "Habla El Martillo"), and the leads aren't bad at all with the necessary melodic edge with echoes of Horcas and Hermetica (but of course!); but all this sounds forced and not very natural with a muddy sound quality and strained semi-shouty vocals.

Acto Estampida Full-Length, 2011


"Opus Nigrum Overture": a cool blend of black and thrash metal which finds its fuller realisation on the longer compositions ("Suicide's Monologue") where there is more time for thrash to take over on some moments. There are atmospheric interludes, which come a bit too much for an album of just 6 tracks, as well as one very good Shrapnel-like lead driven instrumental: "Spickatto Maestro In Am".
"Superior Entities" scores higher (there's something "superior" going on here indeed...) with the excellent guitar work more accentuated on this time although thrash is given even less space to develop. There are quite a few sections where the guys blast heads-down ala Cradle of Filth and Dimmu Borgir, but the guitar work saves the day, especially on the virtuoso compositions "Magnus Agliarethb4s Black Winds" and "A-Brno (The Exorcism of Lea Kyprova)". Oh, and there's one "Hidden Bonus Track" which is a melodic instrumental, more of a show-off for the talents of the guitar heroes who by the way richly deserve this tag.

Opus Nigrum Overture Full-length, 2005
Superior Entities Full-length, 2006

Official Site


The band's debut mixes old-school death metal and thrash in a fairly good way. "Alcoholic Suicide" abandons the death metal elements and acquires a jolly thrash-y, Motorhead-ish sound which still delivers the goods, but lacks the visceral power of the debut.
"Scarlet Slaughter" collects the best from the band's demos from the late-80's/early-90's. It shows the band in a good form at those earlier stages of their career, offering fast, aggressive death/thrash recalling Slayer and early Death. The music varies from thrashier, Slayer-esque tracks ("Tank", "Scarlet Slaughter": here the singer tries to scream the way Tom Araya used to ("Black Magic"), to raging, grinding death metal attacks (Pharisee"). This compilation sounds even better than their debut with its more aggressive spontaineous approach.
Another old school veteran is back on the scene, and "Acceptance of Death" sees the guys sticking closer to death metal lashing in a pretty brutal manner, at least in the beginning, adding the odd dry mechanical hook to spice things up with more modern elements. There's not really much thrash to be heard except on a couple of slower tracks in the middle, and of course on the pen-ultimate "Mournful Song" which is a major vigorous retro thrasher, followed by the death metal assault "Just Like Life", and the brutal closer "There's No Use Lamenting" which is a twisted death metaller mixing fast grinding sections with creepy industrial ones to an apocalyptic effect. This isn't a bad comeback album, but the thrash metal fan won't find much to relate to here.

Scarlet Slaughter Best Of Compilation, 1992
I Was Watching My Death Full-length, 1992
Alcoholic Suicide Full-length, 1994
Acceptance of Death Full-length, 2010

Official Site


Choppy modern very technical, even a bit hard to follow at times, largely all-instrumental thrash which sounds like the more logical evolution of Coroner after "Mental Vortex" than "Grin" (the modern shape-shhifting masterpiece "Exile"). The songs structures are very labyrinthine with spiral-like riffs building into diverse rifforamas also recalling mid-period Obliveon and the obscure Germans Grin, amon gother modern visionaries. The musical adventures contained within may take time to grow on you since there are seldom any direct fast-paced passages to put you on track, neither are many the distractions from the very sparse shouty hardcore-ish vocals applied here and there without too much intrusion.

Magnus Full-Length, 2011

Official Site


This band play dark stomping old school thrash with a thundering bass bottom and gruff, amateurish death metal vocals. The doomy brooding atmosphere is broken at times ("Revolution"), but the guys are obviously more interested in the dark arts, and in the 2nd half the style becomes pure doom/gothic.

The Story ...Begins Full-Length, 2015


This is aggressive deathy thrash/crossover which suddenly jumps from brutal to mellow moments and vice versa the background being a bit noisy with hissing guitars and expressive shouty vocals. The guys are just having fun here bashing wildly without any certain focus and as such this short effort could be a frolic moshing fun.

Um Cruzado Na Orelha EP, 2011


When this album was released the band were still called Agressor, changing their name later after finding out that already there was a band (from Brazil) who have chosen this name first. The style is a potent blend of power metal in the Omen and Attacker-vein, and a healthy doze of thrash. The vocal performance is particularly strong: the singer has a powerful, clean, high voice. The guitars are sharp and heavy: check out the stomping intense thrashing opener "Magus Beast". The galloping power metal approach settles down with the next "Death Before Dishonor" and the excellent speedy "In Vain": a great song, with swirling guitars, kind of reminding me of Mercyful Fate (the song "Satan's Fall" from their "Melissa" album: the final speed metal part). "Devil's Advocate" is a slower, but very crushing piece, with very heavy guitars. "Born to Kill" is another fast-paced number, followed again by a heavier, pounding one ("Assault Attack"), more in the heavy/power metal mould. The closer "Nightfall" is a 10-min opus, which suddenly switches to a more complex, progressive song-writing (it could be two songs put together, as the two parts are starkingly different from each other; the first one is heavy, dark and slower, whereas the second one is faster).

Say Your Prayers Full-length, 1996

Official Site


Based on "Perseverance", this band play modern thrash metal spiced with brutal blast-beat sections. The vocals are angry, semi-death metal-ish. There are a few moments when the music loses its edge, and starts sounding pretty bland, like on the groovy "Having Hopes" and the slower, power metal-based "Stormrunner".
"The Endless Struggle Against Time" is more aggressive, and more consistent. The blast-beats are more frequent, but when the guys slow down, they produce better results: "Condemned Fury". The groove lovers will dig "Lock In", and there's something for the classic thrash fans thrown in as well: the nice energetic "Nothing To Take" and "Necrosis", which come near the end and create a nice headbanging atmosphere, partially ruined by the bland groovy closer "Monolith".

The Endless Struggle Against Time Full-length, 2005
Perseverance Full-length, 2007

Official Site


Chaotic and hectic thrash/crossover, quite stylish and original, with shades of early Voivod in the guitar department; the riffs are not very heavy, but the tempos change all the time, and one can't help but jump around and have a good time listening to this.

Maimed for Life EP, 1985


Thrash/death metal of the new generation with nice melodic tunes, but not a "stranger" to brutal blast-beating moments; the main vocals are brutal low-tuned, but expect clean ones from time to time as well. The music ranges from slow gothic-tinged numbers ("Grief") to long progressive ones ala Opeth ("Leave This Place"), to pure energetic thrash/death with a touch of Dark Tranquillity ("Encircled").

New World Prophecy Full-length, 2007

Official Site


"Misguided Faith" is a fine piece of technical, heavy thrash rubbing shoulders with Defiance's "Void Terra Firma", Heathen's "Victim Of Deception" and late-80's Metallica. Their exit from the metal scene (the EP) is almost as good, even heavier at times, but features some "updates" moving the sound towards the fashionable at the time modern tendencies ("We Cannot Lie").

Misguided Faith Full-length, 1992
Taken for Granted EP, 1994


This band features Oscar Garcia: one of the first members of the legendary grind-pioneers Terrorizer. If the production quality of these demos was at least decent, Majesty could have been mentioned along much more famous names from the scene. Unfortunately, their works remain one of the most badly produced these ears have ever come across. Behind this impenetrable wall of awful sound, one could distinguish raw black-ish thrash ala Bathory, Possessed and Slayer's debut. Later the band improved the production qualities a hundred times, but with that also came the change of sound into industrial death metal, and the name change into Nausea.

Bestial Vomit Demo, 1987
Demo II Demo, 1987


This band were founded by a member of Toranaga, Dark Murphy. The music is more aggressive and technical, slightly recalling Hydra Vein, and even Living Death's "World Neurosis" in the more technical riffage, and there's a certain touch of Slayer, but this band's more restrained, slower moments.

Demo Demo, 1989


This is an excellent debut of fast-paced classic speed/thrash metal, quite aggressive at times, but also graced by great melodic guitar lines and leads. The music never loses speed and intensity, and will keep you headbanging the whole time. "Kat" comes after the short quiet intro to sweep the listener with very fast intense riffage and very good clean high soaring vocals. "Tien Minulosti" thrashes with no mercy, supported by a great bass bottom. "Pe1d" is longer, but the speedy rhythms never stop. "V dadoled Ve8iel" is slower, more melodic, before the finishing explosion of blistering speedy guitars. Time for a break with the short, fine peaceful instrumental "Zae8iatok Konca", after which come the album highlights: the great technical, pounding, but also fast "Posledn Den", and the sheer lesson in lightning speed metal "Zape1hte ohne". Fans of old masterpieces like Angel Dust's "Into the Dark Past", Toxic Shock's "Change from Reality", and Paradox's "Heresy" will definitely find their new idols here. Those who like modern fast-playing acts like the Finns Solitaire, for example, will also be delighted.
"Memento...": the guys don't bother to release albums on a very regular basis, but the quality at display is undeniable; the speed/thrash anthems are here again, and one will have a very good time moshing around, especially when a more sophisticated technicality sneaks in ("Sudca a Kat"). Elsewhere "bombs" wull fall: the speedy "eagle fly free"-esque "Podle Slova"; the melodic more progressive thrasher "Zlo v Nas"; etc. "Smetisko Civilizacie" is a longer laid-back composition with a semi-balladic flavour contrasting with the merry optimistic speed/power metal hit at the end "Disko Oksid" which is another testimony that the band have softened down here spreading their wings wider consequently bonding with the power/speed metal legions of the 90's more this time which still at this stage is more on the positive side.

Svata Zvrhlost Full-length, 2007
Memento... Full-Length, 2014

Official Site


Based on "Anabiosis", Makina play modern 90's thrash ala Pantera mixed with death metal. The music ranges from slower, heavy numbers to quite brutal sections as well as semi-technical moments ("Ripe"). "Red" follows the same formula, smashing with very heavy riffage at times, at times blasting out in a very furious manner. The mixture by all means has energy, but at least 1/3rd of the tracks are bland exercises in groovy angry rhythms spiced with industrial, hardcore, and even rap.

Dilemma Full-length, 1991
Anabiosis Full-length, 1994
Red Full-length, 1996
Blood Of My Race Full-length, 1999

Official Site


Ths is an atmospheric blend of black, thrash and death metal coming with plenty of melody with black metal covered the widest. The songs are generally fast exercises in the mix, and the slower compositions sound too soft with epic elements ("Bevor Die Sonne Scheint"), but deliver with their laid-back riffage. There are orchestral keyboards present all over creating a lot of dramatism at times, but always playing a secondary role to the melody-infused guitar sound and the sinister shrieky vocals ala Dany Filth (Cradle of Filth).

Flucht Full-length, 2010

Official Site


Very cool power/thrash metal ranging from nice heavy thrashers ("Maladaptive") to straight classic heavy/power metal numbers ("Traitor").

Maladaptive Demo, 2005

Official Site


Based on "Doctrina De La Perpetua Violencia", this is a good classic blend of thrash and death metal with a style which will loosely remind you of a thrashy version of Death's "Spiritual Healing" although sometimes the band adhere to a more aggressive, faster play. There are good technical riffs, too, but generally the music is more on the conventional side.

Comedores de Cerebros Full-length, 1999
Metamorfosis Full-length, 2001
Doctrina de la Perpetua Violencia Full-length, 2003
El Increedble Ataque de los Moros Zombie Full-length, 2004

Official Site


Based on the full-length, this act indulges in the good old 90's post-thrash. Groove reigns supreme mixed with sparce more aggressive deathy sections ("Haddonfield") which don't help much except fitting better the brutal guttural vocals. The final "King of the Monsters" would be a total shock, though: a mellow bluesy ballad with country overtones the vocals taking a much more melodic clean approach (is that the same band?!).

Chasing Demons EP, 2005
Monday Full-length, 2011



This young act pulls out classic speed/thrash in the vein of early Deathrow and Toxic Shock, in other words, this is pure German worship, well done. The compositions are long (5-7min) so there is room for slower pounding breaks which usually come in the middle and are devoid of the vocals which are mean semi-declamatory.
The full-length is a more diverse continuation the band sounding more serious and elaborate "Warhawk" alone closing on just under 8-min being a stylish downpour of energetic riffs with a very sparce vocal participation the latter the furthest possible shift from the ones heard on the demo being very hysterical and shrieky with a high-pitched black metal tinge, clearly an acquired taste. The music delivers on all counts, though, despite the obvious reduction of speed in the 2nd half where the guys also become more melodic (check out the fine leads on "Flood of Flames") the settled "idyll" broken by the urgent speedy shreds on "Resonance Cascade" and the nice semi-technical hooks on the closing "Resonance Cascade". If only those vocals were a bit more suitable... but nothing/noone's perfect.

Zero Hour Demo, 2011
Human Resonance Full-Length, 2013

Official Site


The full-length debut is good intense thrash/death metal with Slayer being the main influence from the thrash metal side, and the Floridian school from the death metal one. The music very seldom goes into blasting extremes and sometimes comes with a less serious hardcore attitude: "Hostile Dominance", "Sacred Graves", or with a distant echo from early Venom: "Descent To Hell". The aggressive thrash/death metal insanity reigns supreme on "Legion Of Legions", the 1-min ball of fury "In Terror", or the lashing opener "Salvation", but there's enough variety here to offer a relief and entertainment. Some of the musicians also participated in the thrash/death metal formation Maldicion who released one demo in 1992.
"Path To Holocaust" is another heads-down retro affair the band providing cool death/thrash expressed in short bashing numbers, but when they feel like elaborating, things take a much more serious turn: the good eventful shredder "Violent Executioner". Those digressions aren't too many, but both sides work well showing a capable act mixing both styles in equal dozes producing a nice headbanging atmosphere with appeal for both classic and modern thrash lovers.

CD Sampler EP, 2004
Conquest Full-length, 2005
Chicago Metal Hell Split, 2007
Path To Holocaust Full-Length, 2013

Official Site


This is excellent technical thrash/death resurrecting Pestilence's and Invocator's dormant spirit with brilliant twisted riffs, clinging more towards death metal due to its more aggressive nature and the very brutal guttural vocals. "Chiapas" is a standout technical piece which loses the speed to an extent, but makes up with great mazey decisions. "Xenofobia" at the end is pure death metal madness, played at the speed of light with an admirable amount of technicality not far from early Gorguts and Suffocation.

Asphixia Demo, 1996


Four brave youngsters from Texas try their hands on twisted progressive/technical thrash which mixes the more direct Bay-Area aesthetics with drier more mechanized riff-patterns the ensuing "therapy" being fairly quirky, strictly on the modern side with a few puzzling passages which need some refinement: now this pile of riffs sounds a bit messy saved by the better-constructed straight-forward speedy sections ("Maldevera") and the expert leads which are the highlight oveshadowing the vocal performance the latter on the dry semi-clean dispassionate side recalling Mr. Al Jourgensen (Ministry).
The EP is more aggressive and more linear, to the fans' chagrin. Still, "Dregbeat" contains enough twisted riffs to fill in a whole full-length, and "Voyager Destroyer" and "Malvedera" are more orthodox energizers ala late period-Death with a more abrasive guitar edge.
"Incarceration Plague" starts with the dragging, boring "Guilty (Until Proven Innocent)" which is whole 8-min, but apart from rehashed chugga-chugga riffage it offers very little else. "Economic Hitman" is more interesting and also twice as short, and "Fuckalanche" is a mellow progressive instrumental which sees the band not quite sure which direction to follow, but the one carved here seems the least exciting one...

Maldevera Demo, 2012
All Eyez On Jeff EP, 2015
Incarceration Plague Demo, 2015

Official Site


A pretty cool demo of intense technically-minded thrash/death akin to mid-period Sadus and 90's Messiah. The vocals are brutal shouty death metal ones, but the music is more on the thrashy side. "Dead Emotions" is a brilliant speedster even recalling Death's later exploits in the mid/late-90's, and "Endless Descent" is a cool more moderate shredder with great melodic hooks and a few progressive twists. Later some of the musicians moved on with the classic thrash/death metal outfit Malas (see the reviews a few lines above) who already have two full-lengths released.

Demo Demo, 1992


Wild brutal thrash/death/black metal which is served on full-speed ahead for most of the time the main problem being the awful sound quality which takes away quite a bit from the musicians' efforts. The vocalist is a rending hysterical screamer, but it's probably good that he's not heard very well for most of the time. Worth of note is that the "Outro" is a really cool balladic instrumental, the best track here.

Stench of Death Demo, 2014


Merry-go-round power/speed/thrash of the old school, a style painfully traditional for Argentina. The guys are perhaps more aggressive than the lot (check out the ripping "Declaracion" and the sweeping closer with the very appropriate title "Ataque Thrashero") with a bigger emphasis on the thrashy side of things, but cool melodic leads can be heard on almost every song. The singer shouts in an attached authoritative fashion resembling Jello Biafra (Lard, Dead Kennedys) at times, and kind of doesn't quite suit the friendly melodic nature of the music.

Liberando Venganza Full-length, 2013



Modern abrasive post-thrash which nicely speeds up slightly in a carefree Hermetica-sque fashion the latter moments dissipating the groovy apocalyptic landscapes drawn over the listener for most of the time. The singer has a friendly warm drunken tember which emanates passion and authority despite its limited melodic range.

Tras El Mito De La Caverna Full-Length, 2009


Based on the "Relentless" EP, this band pulls out modern thrash/death metal mixing the heavy groovy 90's elements with more straight-forward riffage. Both trends take turns throughout with the slower groovy ones being a bit better with a dry mechanical, also a doomy sound, recalling mid-period Meshuggah and the American industrial doomsters Mindrot. "Losing Reason" mixes those heavy moments with alternative semi-balladic sections accompanied by weak clean vocals, the main ones being dry semi-hardcore ones.

Relentless EP, 2006
Entities Full-length, 2007
Dawn Of Reprisal Full-length, 2009

Official Site


This is cool retro power/thrash with appropriate epic arrangements sounding like a mix between Jag Panzer and mid-period Manilla Road with the odd pinch of doom ("Dead Horizon"). The faster parts come in a sure-handed galloping manner ("Promethean"), but generally the tone is officiant in the mid-paced parametres. The singer does a pretty decent job with his dramatic clean, mid-ranged tember.

Maleveller Full-Length, 2011


A blend of thrash and death metal, quite classic-sounding, staying closer to thrash, the way they used to play it in the late-80's/early-90's. There's a certain crossover element which runs through the album except on the closer "Sleepwalk" which is a brutal death metal-oriented piece (the only one here) featuring blast-beats as well.

Malevolence Full-length, 1994


Based on the "From The Wastelands To The Piss Stream" demo: thrash/crossover with a bad sound quality and weak levelled, declamatory vocals. The overall style might remind you of Broken Bones. The tempo is energetic and cool riffage is present here and there, but the constant buzz in the guitar sound ruins things a lot.

Creatures Of Rust Demo, 1986
From The Wastelands To The Piss Stream Demo, 1987


A capable new outfit who acquit themselves with a tribute to the early German school thrashing with power the vigorous musical delivery well supported by the crisp sound quality. "Call Of The Blades" is vintage early Destruction who seem to be the biggest influence on the band, and the spinning guitar hooks of the Germans are all over this effort. There's a nice nod to the speed metal school with the excellent virtuous shredder "Curse Of The Damned" which makes a good pair with the final "Terror Awaits", another prime speed/thrasher which exits with aplomb. The singer has a mean shouty tember quite reminiscent of early Mille.

Descent into the Abyss Full-length, 2015

Official Site


This is modern power/thrash which finds its more aggressive nature at times ("Bury The Fears"), and generally the very heavy rhythm-section seldom leaves the listener relaxed; the most melodic aspect actually remains the singer whose warm emotional tember is infrequently broken by more brutal angry interferences. The consistently punishing, mid-tempo hammering riffs will do the job although genuinely headbanging passages are hard to come by on this entertaining, uniquely heavy roller-coaster. Som eof the band members also play with the modern death metal groovers Xplicit.

Delusions Of Autonomy Full-Length, 2016

Official Site


A surprisingly refreshing entry into the more technical thrash/death metal catalogue of the 90's underground done by three masters of the serious music. The meandering technicaller "Indignation" inaugurates this short saga which turns to creepy, almost doomy, atmospherics on the sinister "Deliverance" which exits with a superb portion of stylish semi-leads. "(Walking On) Broken..." is a technical steam-roller with virtuoso passages galore recalling Atheist, Coroner, and Realm. The final "Phommeros" is a standout instrumental "flirting" with the ballad on an urgent bass base, another brilliant display of high musicianship which saldy remains the only legacy from these virtuosos.

Demo Demo, 1994


A really good 3-song demo of aggressive speedy thrash sounding like a smaller version of Kreator's "Pleasure to Kill", with some Slayer-esque riffs (the beginning of "Diabolic Execution") involved, and slightly more proto-death metal-oriented.

Demo Demo, 1987


The guys from Second Hell had moved on with this formation which sees them pulling out less aggressive, but more clever technical, all instrumental, stuff as evident from the varied opener "Astral Ways". The other tracks are shorter, but equally as diverse with cool hooks and tempo-changes. "On The Edge Of Change" is a prime technical number with plenty of hectic twisting riffs plus a fine melodic lead inclusion. Despite its undeniable qualities, the demo sounded more like a rehearsal for something bigger which, unfortunately, never materialized.

Into Strange Sphere Demo, 1993


Probably the most original, and best industrial thrash metal band who are actually the founders of death metal along with Death, their 1986 demo "Age of the Dark Renaissance" being a seminal work of the genre; "Shrine" is a strong debut with traces of industrial almost nowhere to be found at this stage yet, and with a more restrained sound compared to the aforementioned demo; this is an original mixture of thrash and proto-death metal with smashing stylish guitars, fast swirling leads and ever changing tempos; the pace is quite fast if we exclude the doomy, heavy "Dread", which also speeds up quite a bit near the end: a masterpiece which will startle you with its high level of musicianship displayed all over although it may disappoint those who thought that this would be the second full-blooded death metal full-length after Death's "Scream Bloody Gore": the approach is strictly more thrash-fixated.
"Punishments" and "The Release" spare no industrial elements, but thrash metal still leads the pack with a sharp guitar sound and original compositions which would stand well even on many classy progressive metal works: "Cruciform", "Second Image", "A Portrait of William Wilson", etc. Here the singer acquires an interesting, albeit synthesized way of delivering the lyrics: whispered, sinister vocals which might not be called singing, and are clearly an acquired taste. "Premeditated Murder" wades deeper into industrial waters, and the songs there are mostly not very easy to swallow exercises in industrial with thrash just slightly hinted at in the 1st half; the 2nd half is all-out thrash/death attack: it is a remastered version of several of the songs from the already mentioned demo, and will stun you with its aggressive, uncompromising delivery and the genuine technical edge of the guitars. The band continued their career adopting a much more melodic, electronic, non-metal sound after this one.

Shrine Full-length, 1988
Punishments EP, 1991
The Release Full-length, 1991
Premeditated Murder Full-length, 1992

Official Site


This band plays intense modern post-thrash with classic references and a few jumpier moments with an elusive technical flavour. The pace is mid, but things are not stale the guys using various nuances to spice the approach including a surprising fast-paced track ("My Bothers' Skeletons") with death metal aesthetics which also gives way to the closing crossover joke "Into Your Black". The singer semi-shouts in a more involved, attached manner, and takes quite a bit of space.

Beyond the Horizon EP, 2011

Official Site


Classic/modern thrash/crossover with ripping guitars and forceful shouty vocals. The guys thrash with speed sticking to short, direct numbers full of direct bashing riffs of the comprehensive variety.

Crooked Prayers Full-Length, 2011


The band's self titled debut was an impressive slab of classic thrash metal which raised the level high. "Mundo Mitomano" acquired a more power metal-based sound, and was consequently a disappointment. "Agresivo" was a return to form bringing the band back to the thrash metal realm with a clearly slower and somewhat more technical style. "Raices" pays tribute to the 80's Argentinian metal scene featuring covers of songs from famous Argentinian bands of the old days, most of them with no relations to thrash metal except for Hermetica.
"Conciencia" starts with the slow dramatic "Naturalismos" which doesn't really promise much, but the guys' adventurous spirit takes the upper hand quickly, on the complex "Verdugos Del Alma" which is a standout progressive thrasher showing the band in an inspired and not a really expected form. If the Argentinians were hinting at their technical potential on earlier releases, here they go head-over-heels into technical/progressive territory, nailing down one masterpiece after another: "Espiritus", "2 A.M." (one may find some of the intricate melodies breathtaking on this one), "Extincion Natural": the longest song on the album (close to 10-min), which slightly betrays the faster-paced sound on the preceding tracks, but compensates with heavy stomping riffage and fine lead guitar work. The majority of the compositions are quite long with just a couple of more immediate short thrashers in between, still sounding quite intriguing ("Ocultando Cultura"). If we have to talk about a setback, it would probably be the slow, doomy, and monotonous "La Ultima Semilla"; a situation greatly improved with the speed metal delight "Nunca Es Tarde" which excels in the lead department, citing the best from the Shrapnel catalogue, and going even beyond that. The closing "Se Escribe Con Sangre" tries to encompass all the sounds heard on the album, but kind of forgets about the faster aspect although it excuses itself at the end with a fine up-tempo riffy ending. Everyone who had any doubts that this act would not be the leaders of the modern Argentinian metal scene, should put them aside after hearing this album.
"El Fin de las Religiones" begins in a pretty stripped-down, immediate manner with "Rompe el Viento", but the band are quick to complicate the approach with the moody lyrical "Puertas del Infierno". The staple hard-hitting progressive tone, however, comes back with "Sed" which is 8-min of classy clever shred with several intriguing lead-driven sections. The lyricism takes over again on the milder "Islas de Cenizas", but "Misantropo" is a ball of fire, a speedy direct cut which is superseded by another more laid-back composition ("Incitacion") which suddenly switches to furious thrashing at the end. Still, this time the band are fonder of the less aggressive delivery, and here comes another string of mid-paced complex numbers among which only "Antes de Caer" strikes a cord with its virtuoso leads. This effort could hardly pass for the band's finest hour seeing the guys moving away from their more thrash-fixated style this transitional period still producing interesting moments for both the thrash and progressive metal fans with more concentration on the latter's preferences.
"Neuromuerte" starts in a similar manner to the one of its predecessor, with a ripping headacher "Me Cago En Tus Muertos", the hard thrashing alleviated by nice melodic leads. "÷ + x –" continues the assault with a couple of nice guitar duels present to make this cut a worthy Shrapnel follower. This time the guys know no mercy as "Matar Sin Que Mueras" is another fast-paced shredder the speed paying a prominent role the more technical quirks appearing later in the 2nd half. "Aura de Cristal" notches up the more progressive arrangements, but the fast-paced thrashing returns wtih "Rigidez Calavérica" which retains the complex twists the symbiosis creating a marvellous vortex of intense intricate thrashing. "El Bien Animal" is a steady mid-paced technicaller with a furious speedy mid-break; and "Ocultismos" carries on in the same direction, a bit more elaborate and faster. "Ensueños" is a dramatic composition with loads of infectious virtuous melodies, and "Murió Sonriendo" is consummate technical thrash with an expressive bass bottom, the highlight on this feast for the metal fans who will also have their fun on the closing "El Misero Encuentro Con Su Espejo", an epic progressive thrasher with impetuous speedy crescendos.

Malicia Full-length, 1999
Mundo Mitf3mano Full-length, 2001
Agresivo Full-length, 2004
Raices Full-length, 2007
Conciencia Full-length, 2008
El Fin de las Religiones Full-length, 2012
Neuromuerte Full-Length, 2016

Official Site


This is some evil "malicious" retro thrash with a death metal-ish "sting" incorporated at times, and diverse compositions where aggression and melody seamlessly co-exist. The overall approach recalls Rigor Mortis including several stylish leads in the vein of the master Mike Scaccia (R.I.P.) and early Invocator (check out the technical outburst "Subconscious"). "Caravana De Cobardes" is a surprisingly friendly power/thrash metal anthem, and generally the 2nd half is more laid-back if we exclude the 1.5-min of rage "Albert Fish".

Subconscious Insane Full-Length, 2014

Official Site


Based on the "Ripping Death" demo, this is intense fast-paced thrash ala Kreator's "Pleasure to Kill"; aggressive stuff with more gruff lower-tuned vocals and cool short screaming leads. The guys are very productive with 3 demos released within less than a year.

Global Destruction Test Demo Demo, 2006
Holy Slaughter Single, 2006
Ripping Death Demo, 2006

My Space


Based on the full-length debut, these guys offer good classic/modern thrash of the more aggressive, but not very fast type. "In the Shade of Deaths Shadow" is the only brutal number here, quite death-ish at that. The tracks are in the mid-tempo range, but the guys like it diverse, and here come ballads: "Crystal Clear", pure groovy pieces: "Discipline", and jolly thrash/crossover delights: "Blue Collar Outlaw".
The band actually started their career way earlier, back in 1988, and released a self-titled demo in 1990 before splitting up. They reformed in the mid-00's.

Scorched Earth Policy EP, 2005
Fallen Kingdom Full-length, 2006
Sickness Amongst The Pure Full-length, 2007

Official Site


Based on "War And Power", this is an old school thrash metal band with influences from both sides of the Atlantic ocean: Slayer, Kreator, Sacrifice, etc. The tracks range from short aggressive ("Mind Of Violence") to longer slower ones ("Legion Of Doom").
"Devilization" sounds like a more restrained version of "Pleasure to Kill", at least in the 1st half, which is certainly a good thing. There are heavy pounding rhythms involved as well, and some of the songs are lengthy mixing furious thrashing with slightly more elaborate less intense passages ("Rageous Souls"). On "Sacrifice" the guys deserve the break, offering a mellower American power metal sound. It kind of influences the next "Soldiers Of Blackblood" which is more of a mix between thrash and power metal. But don't worry since the aggression returns with "Malicious Death" which thrashes without mercy. Two shorter death-laced bombs follow suit ("Tormentor", "Antichrist") to recapture the partially lost edge in the 2nd half making this debut almost as entertaining as its follow-up.

"...From Above" is another sure-handed slab of intense old school thrash metal which opens with the aggressive Slayer-esque piece "Death by Dawn", before it moves onto speed/thrash ala early Destruction with the brisk "One by One" which may remind you of the Germans' hit "Mad Butcher". "Crooked Cross" is a heavy stomper, but doesn't really recall the Slayer song of the same title being more laid-back with a power metal feel. The variety gets bigger after the next number "No Justice" which is jolly crossover, but "Reign of Chaos" restores the more brutal status quo with sharp speedy riffs. "Blasphemy" is a fine short speedster with a sparce discordant sax background, an unusual surreal touch. Merciless speed/thrash metal comes pouring down with "Storm of the Metal" which richly deserves its audacious title again recalling Destruction. "Thrash till Death" will not exactly make you "thrash till death" being a more moderate thrash/crossover piece which influences the closing "...From Above". Despite the slightly underwhelming ending, this album is by no means a step back from the guys' previous efforts thrashing confidently in an enjoyable diverse way.
Whether this will be "Last Nail into the Coffin" for the band remains to be seen, but the truth is that the lads have come out with all the guns blazing, and the first couple of cuts will sprain your neck beyond recovery: those are some of the wildest headbangers one will encounter on the modern scene. Then comes "Street Violence" which is more on the "street"core side, but after this relative "idyll" the band continue to cause a major damage reaching death metal dimensions on the short "Krustensblud". More variety later on with the gallopisms on "Ready For War" although the end is strictly for the brutal thrash lovers, short explosive pieces the closing title-track calming down the situation with the exiting portion of heavy mid-paced riffs. This could be an exhausting listen for the unprepared who will get squashed by this wall of remorseless aggressive sounds.

Devilization Full-length, 2003
War and Power Full-length, 2005
...From Above Full-length, 2010
Last Nail into the Coffin Full-Length, 2014

Official Site


A wild frenetic mixture of hardcore, crossover and thrash, but not grind, mixing the furious approach of Wehrmacht with the tongue-in-cheek attitude of The Accused and Lawnmower Deth; generally short tracks, usually faithful to one of the aforementioned styles, with "Malicious Grind" being 5.5-min long, offering dissonant mid-paced instrumental thrash with heavy abrasive guitars.

Welcome To Life Full-length, 1988


Brutal thrash metal bordering on proto-death with a dark haunting atmosphere which prevails over the musicians' skills. If you can imagine a more aggressive version of early (yes, you guessed right from the band's name) Razor (the first three albums)...

Shades of Black Full-length, 1989

Vibrations of Doom


A cool demo of power/thrash metal in the American tradition similar to Attacker, Liege Lord, and Deadly Blessing; the music is energetic and picks up respectable speed at times.

Demo Demo, 1989


On the debut this band unleash competent technical thrash/death metal obviously influenced by Infernal Majesty's "None Shall Defy" and, partially, Pestilence's "Testimony of the Ancients". The shorter tracks (3-4min long) is where the guys play faster and more aggressively, whereas on the rest (7-8min long) the listener would be glad to hear good melodies and technical breaks, as well as frequent tempo changes. Worthy of note is the bass work which is truly the highlight, recalling the wizard Steve Digiorgio. The last song "Thrashed Black" opens with a magnificent Oriental melody which even bands like Orphaned Land and Melechesh are yet to surpass.

"Brutal Gore" is a vicious "brutal" take on death metal with no technical flair whatsoever, just extreme grinding bashing with very few musical merits, and one would find it hard to believe that this was made by the same musicians who less than two years ago came up with a really cool technical musical effort.

Rebellious Mayhem Full-length, 1992
Brutal Gore Full-length, 1994

Official Site


Based on the debut, this obscure Mexican band plays heavy dark thrash/death metal with brutal low-tuned vocals. The style interestingly reminds of the Greeks Nightfall with a similar alternation between slower and faster sections. The former kind of dominate, but this is hardly a complaint since they come highly atmospheric the latter carrying a certain technical edge ("Reducido A Cenizas") and also recall early Therion. At the end the guys switch onto more energetic headbanging music abandoning the atmosphere except for the excellent doomy ending of the closer "Muerte Lenta". It's a shame these guys were not better known before: they offered a desirable deviation from the generally fast aggressive music coming from Mexico at the time (Mortuary, Transmetal, etc.).
"Pensamientos, Sentimientos..." is more dreamy stuff clinging towards the gothic field quite a bit, and there's little thrash to be heard whereas the death metal is of the slower doomy kind again recalling Nightfall, but their post-death metal period (1999 and beyond). An overabundance of keyboards "kills" the sharpness of the guitars although the sparce female vocals are a nice addition to the richly atmospheric musical delivery.

Reducido A Cenizas Full-length, 1992
Pensamientos, Sentimientos... Full-length, 1996

My Space


This obscure outfit serve semi-technical thrash with very gruff shouty death metal vocals. "Death Barter" is an excellent short technical shredder whereas the rest isn't as exuberant, but delivers the goods with intelligent well-constructed riffs and a frequent change of pace. The sound quality isn't great although it doesn't really ruin the intentions.

Infected And Diseased Demo, 1991


Rough unrehearsed thrash/death with a very messy sound and very shouty death metal vocals; the band mix fast with slow sections, but the buzzy guitars and the noisy drums barely contain a few notes to make sense, mostly found on the closing title-track which crushes around with heavy Sacred Reich-esque guitars also suggesting at the future groovy metamorphosis of the scene which was already taking place.

An Empty Tomorrow Demo, 1991


The debut: ex-members of the death metallers Pathogen, including the omnipresent drum guru Louis Rando, have joined forces again for the release of this sombre brooding affair which is equal dozes doom, death, black and a tad of thrash the dark prevalent tone nicely broken by short outbursts of hectic technicality ("Psycho Prelude") which should definitely be more in the future. Otherwise this is a morbid listen reaching depressing heights on the final doomy cut "Killing For Company". The vocals don't participate too much and their tortured agonizing tones would make one even sadder.

The "Yours is Murder" EP is more oriented towards death metal with again the more technical moments being short and kind of undeveloped (the short twister "Until it Withers"). The atmospheric doominess also springs up on the creepy cut "Nothing Left" and on a few passages from the longer tracks, but generally this is a bit more dynamic affair the last two numbers being short exploders of the semi-technical death metal type.

Foul Play Full-length, 2005
Inferno Festival Promo EP, 2008
Prelude to Murder EP, 2012
Yours is Murder Full-Length, 2013

Official Site


Despite the horrifying black/death metal vocals, this is pure thrash, and quite well done at that if we exclude the slightly improvised leads in the Kerry King vein. The music is an intense fast attack coming as a blend of Vio-lence's "Eternal Nightmare" and Slayer's "Reign in Blood". The bass work is great, and technical riffs take the upper hand here and there ("Multiple Stab Wounds"), but sheer speed is pretty much the order of the day on this well executed demo.

Demo Demo, 1989


Based on "In Full Swing", this band play light-hearted speed/proto-thrash metal strongly influenced by Motorhead including in the vocal department where the guy tries hard to sound like Lemmy, and succeeds for most of the time. Shades of hardcore can be heard ("Bristroll") as well as soft hard'n heavy moments ("High Time To An End").

Dawn Of A New Age Full-length, 2003
Hammer And Anvil Split album, 2004
Burninhell Full-length, 2005
In Full Swing Full-length, 2008

Official Site


"The promise" here is for dark morose old school thrash with echoes of Celtic Frost and Slaughter. The dominant delivery is mid-paced, almost doomy, but more dynamic moments ("Metaphore", "Burn The Church") sneak in to dissipate the darkness which reaches operatic dimensions on more officiant tracks like "Frozen Body" and "Mirror of Time" where deep clean vocals with a dark wave flavour appear to oppose to the murky raven-like main ones.

The Promise Full-Length, 2014

Official Site


This is another vehicle for the tallents of the Sardonyx folks. Based on the "Mental Desert" demo, this outfit serve all-instrumental stuff with strong progressive elements ("Laughing with the Dead"), or with subdued death metal vocals suddenly popping up ("Witness for the Execution"). The title-track is a high-octane doomster ala early Cathedral and again features the afore-mentioned vocals which are by far the weakest link on this otherwise impressive slab of gloom.

Infecting Virulency Demo, 1991
Mental Desert Demo, 1992


Based on the full-length, this band play abrasive modern post-thrash which is more on the noisy side. The guys shred with passion and even come up with the casual more up-tempo rhythm ("The Worshipping Mass"; the mechanical headbanging on "I Suggest..."). The 2nd half is more stylish with attempts at progressive on the 2-part saga "Out Of Madness", and on the 9-min opus "Wolfpack" which ends in a downbeat balladic fashion. The vocalist shouts not very pleasantly adding more to the noisy environment.

November Ends EP, 2009
The Worshipping Mass Full-length, 2014

Official Site


These Italians specialize in modern thrash of the calmer variety which relies on mid-paced riffs with an abrasive edge with a few faster-paced exceptions ("Soul Cage") and the casual more technical hook ("Soul Cage" again). The singer is a passable hoarse semi-cleaner with a tendency to shout not very convincingly, and the bass work is quite good playing well more than just a supporting role here.

Malkavian Demo, 2008

My Space


This ferocious trio try to resurrect the early days of Bathory coupled with more stylish arrangements ala early Celtic Frost. The resultant "therapy" is better when it sticks to the less speedy, more controlled histrionics of the aforementioned Swiss as is the case on "Demonology I". Still, a few rigorous shorters ("The Wolf") manage to stir the blood a bit also fitting the rough old school production, the primal musical delivery topped by vicious witch-like vocals.

Storm of Witchcraft EP, 2016

Official Site


This is industrial post-thrash, more on the harsh side, without any tempting melodic distractions. The dancey moves are guaranteed with a couple of more electronic-based numbers, but there's a lot of aggression to be encountered as well: check out the deathy shredder "Ez Dakit". The singer expectedly shouts to the death assisted by numerous synthesized gimmicks which only make his vocal "exploits" more annoying.

Malm Full-Length, 1999


The band is a continuation of the Argentinian power/thrashers Hermetica. The style on the debut is pretty similar to the previous band being in the same power/thrash metal mould, a tad more aggressive than Hermetica's last release and, perhaps, better. The sophomore album takes turn towards aggressive modern thrash and is quite good, too.
"Nuevo Orden Mundial": the band are still alive, but the sound has been modernized also bringing more power/heavy metal with the boosted guitars. More intense cuts ("Recordar Para No Olvidar") haven't been entirely removed from the guys' repertoire, but now they sound too close to the style of the father band for the fans to consider them an individual act.

Espedritu Combativo Full-length, 1995
Justicia o Resistencia Full-length, 1996
El EP, 2002
Nuevo Orden Mundial Full-Length, 2015

Official Site


This is an obscure effort of cool technically-minded/progressive thrash/death metal which starts very ambitiously with the engaging 8-min opener "Dead Star" before taking a more direct, but equally as interesting, approach later on remaining within the more complex confines recalling later-period Death and the Australians Alarum the bass performance close to being the highlight with its thundering presence ala Steve DiGiorgio. The "Oblivion" trilogy in the middle is kind of underwhelming being too dreamy and not very hard-hitting, but after all speed isn't widely covered here at all. As a result we have a quiet album of the pensive variety which only harsh side would be the expressive deathy vocals ala Mathias Lodmalm (Cemetary).

Knowledge of Your Own Full-Length, 1998


"Clavi (Figendi Ritus)" is black/thrash metal of the classic type which walks all over this sub-genre: a brutal Impaled Nazarene-like sound ("Arcanum Mortis"), doomy gloom ala Khold and Barathrum ("La Fossa"), hypnotic dark rhythms in the spirit of early Celtic Frost ("Sinistro"), some variations on the mid-period Bathory theme ("Il Culto"), plus a really cool closing short acoustic instrumental ("Santissima Nientificazione"). The guys also have a side-project: Triumphator, where the style is pure black metal without any gimmicks.
"Memoriae Mali" is very close sound-wise to its follow-up with another soundalike added to the wide gamut of influences: early Burzum. The mid-period Bathory rhythms seem to work the best ("Viscerale Impurite0"), but watch out also for the atmospheric doomy masterpiece "Il Freddo Tormento".
"Oscuro Esperimento Contro Natura" is devoted to the black metal idea almost exclusively crossing ultra-fast with much more peaceful atmospheric landscapes in the best tradition of Burzum. "Ira" is a cool surprise being a heavy doomy thrasher ala more recent Satyricon and Thorns, but the following "Essenza" is pure ambient. There are only 6 compositions here, and the eerie soundtrack semi-musical nature of at least half of them will be a problem for a regular metal fan to fully appreciate this strange effort.

Memoriae Mali Full-length, 2005
Clavi (Figendi Ritus) Full-length, 2007
Oscuro Esperimento Contro Natura Full-length, 2010

Official Site


Based on the "Tulikomentoja" EP, these guys offer modern thrash/death metal ala their compatriots Mokoma's more recent period, with horrible shouty hardcore vocals. The music is nothing special, either, being generally up-tempo with a couple of groovy implements as well as a few more vigorous classic thrashy sections.
"Kuolonvietti" is decidedly more melodic the band now incorporating a vigorous crossover spirit which has plenty of speed, but the guitars are just merry accumulations without any edge or bite. Death metal is completely gone from the picture, but thrash is still present on the more aggressive material ("Turparauta", "Ruostenaulat") which is short and to-the-point, and is mostly placed in the 2nd half which is way more entertaining with party frolicers like "Viilto ja Kumarrus" and "Kuolonvietti" provided abundantly. This is a cool unpretentious effort and as such should ensure the fun of the fanbase.

Diagnoosit EP, 2006
Tulikomentoja EP, 2009
Kuolonvietti Full-Length, 2014

Official Site


Intense, quite technical thrash/death ala the guys' compatriots Assesor, the Chileans Torturer and early Sadus; the opening title-track is a major crowd rouser with its razor-sharp lashing riffs, and a very good beginning for this "carnage" which even becomes more puzzling and harder to predict on the excellent creeper "Zniceno Svet". "Hrobe" is a short stylish cacophony of technical thrash/death with a few quirky decisions which grow into the more thoughful "Rvacka v Hospode", a varied all-instrumental piece. "Zmetek" is a mid-paced twister with impressive guitar pyrotechnics, and "Obgd" is an encompassing thrash/death metal saga lasting for over 8-min not surprisingly containing a lot of original musical ideas including a couple of less restrained blast-beating passages. The closer "Death" is more on the speed/thrashy side, but is a satisfying finish to this inspired affair whcih only suffers from the very muddy sound quality. Some of the band members also played in the thrash metallers Shaark.

The Waterloo Demo, 1989


Hardcore-ish groovy thrash ala Pro-Pain, maybe more varied, with both faster and slower tracks, including one lyrical romantic deviation at the end: the semi-balladic "Undone" spoilt by the noisy shouty vocals.

Lock and Load Full-length, 2009

Official Site


This is interesting modern thrash with technical/progressive tendencies. The base is slightly industrialized with touches of alternative, but the guitar work is solid, staying mostly within the mid-paced parametres, with quite a few sharp riff-sections present. The album begins in a moderately complex, and even intense ("To Dream Of Wolves"), manner before the arrival of the monstrous 10-min "Cast Away Pt.1", a very diverse composition of contrasting styles, but quite engaging all the way. The accompanying "Cast Away Pt.2" is just 2-min of dreamy funky stuff, followed by the dramatic "The Mountain At Rest" which reaches death metal crescendos in the middle without speeding up at all. "Last Rite" is a great instrumental piece of thrash and proto-death metal alternating, setting the tone for the other "saga" on the album: the 11-min "Doing Battle" which is mostly epic thrash with balladic insertions and touches of pagan/viking. This is a not very usual take on the genre and would require several listens to be fully grasped, but it's definitely worth tracking down. The singer has an assured clean voice, but it comes heavily indstrialized at times which is hardly necessary.

On The Wings Of A Spider Full-Length, 2009


Mandator are the continuation of the more power/speed metal-inclined Mysto Dysto. On "Initial Velocity" the band's roots could clearly be heard as it's a combination of power, speed and thrash metal, quite convincing at times, but not enough to make the band stand out. It starts quite promisingly, though, with the explosive thrasher "Attila", but their past quickly comes up on the next number "Black Rose" which has almost no ties to thrash being quite good speed/power metal track. However, the guys show that they will not easily give up the thrash metal idea, and the following "Faces of Death" thrashes like there's no tomorrow again. Apparently the band have decided to alternate fast, aggressive songs with calmer ones since the next one ("Jack Boots and Leather Caps") is a pleasant hard'n heavy hymn with an epic atmosphere. This alternation goes on until the very end which is preserved for the short, but excellent acoustic ballad "I Will Be Your Last".
"Perfect Progeny" is a big improvement with a much better musicianship. This is actually the beginning of the long string of technical metal albums from Holland. From the very beginning we have a wall of razor-sharp riffs, technical guitar work and semi-complex song structures. There are no softer breaks if we exclude the short lead-driven instrumental "Surrealistic Maneuvers". The guitars literally cut like a knife (check out the awesome "A.I.D.S.", which starts with a great melodic hook; but there are not many of those here; or the bursting machine gun-like riffage on "Automatic Artillery", which will crush you, as well as every other song), and the pace is quite fast recalling another work from the same year: Paradox's "Heresy", but the Dutch care less about melody. The first real thrash metal act from Holland, Mandator set an example which was later followed by many other bands, and virtually started the more technical side of the Dutch metal scene.

The demo is not a very dignified epitaph seeing the guys trying to play not very exciting, but fashionable for the time, post-thrash which sits somewhere between Xentrix's "Scourge" and Forbidden's "Distortion". The songs are lengthy and aren't completely without merits avoiding the groovy "traps" for most of the time, but the ultra-heavy one-dimensional riffage wears thin the indifferent semi-shouty vocals another pullback despite their authoritative antics served with a semi-death metal shade on the more aggressive moments.

Initial Velocity Full-length, 1988
Perfect Progeny Full-length, 1989
Strangled Demo, 1993

Vibrations of Doom


Melodic modern progressive thrash (based on the full-length) metal offering pleasant melodic riffs, a dual vocal attack (the obligatory clean ones are here, of course), with a shade of gothic and Opeth-esque death metal. The lead guitar work is quite cool, and interesting Oriental motifs permeate the album which could have benefitted from more speed: now this colourful, but not very energetic, mid-paced effort will blend with the countless similar albums of recent times.

The "Cataclysm" EP is 4 tracks of mild pleasant modern thrash in mid to up-tempo which is easily forgotten minutes after one has stopped listening to it simply because this is stuff made and heard thousands of times before. Still, the guitar work is not bad with some very cool melodic leads, but the repetitive riff-patterns and the bad semi-shouty death metal vocals are not much to write about except maybe the dramatic accumulation of shattering riffs at the end of the closing "In Quiet Moments".
"Catharsis": the trite melo-thrash/death formula is applied unerringly here for the umpteenth time not bringing much fun except in the lyrical department where the cool ballad "Emperor" may melt the hearts of some more sensitive fans. The rest is only atad more intense the guys just having fun pulling out their more tender side with barely the galloping "Act III Purification" moving the head a bit.

Concept Of Chaos EP, 2007
Universus God Single, 2009
Carbon Black Full-length, 2009
Cataclysm EP, 2012
Catharsis Full-Length, 2014

Official Site


The album-title might mislead you, but rest assured that this isn't some cheesy power metal. This is actually one of the better classic thrash metal albums to come out of Canada in the new millennium. The overall sound is tight, fast and aggressive, but tracks like "The Clashing Of The Swords" and "The Rise Of The Fall" (which is a great instrumental, by the way) show the other, slower, more technical and arguably more melodic side of the band. The future of the Canadian metal scene looks bright with bands like this one around.

Clashing Of The Swords Full-length, 2004

Official Site


This is just one person, the name, or alias, is Mandibula, who is responsible for everything here. The music is old school underground black/thrash metal staying in the heavy parametres ala early Celtic Frost, also relying on funeral doom quite a bit on the longer compositions, among which there are two monstrous 11-12min delights ala early Cathedral ("Arauto da Dor"). As a whole this is not fast stuff at all also featuring one exercise in pure ambient/noise ("Rios de Sangue").

Sacrificial Metal of Death Demo, 2010

My Space


These Czechs offer pleasant modern thrash/death which is very close to the Swedish canons in the genre, only that the music presented here is more atmospheric, and also has a few shades of a more technical play (the puzzler "Belladonna"), apparently "leftovers" from their other act: the technical death/thrash outfit Absurd Conflict. There is a lush use of keyboards, and generally the guys rely on melody, maybe too much at times, and very seldom speed up beyond the mid-pace. There is also a feeling of gothic, and epic, in the air; in other words, an "inspirational" and "dreamy" stuff.

Inspirations And Dreams I. Full-length, 2009

Official Site


Based on the full-length, this band play run-of-the-mill retro/modern thrash/post-thrash with Bay-Area overtones crossing influences from Testament, Defiance, and the groovy movement of the 90's. The music lacks energy as a whole the latter brought by a couple of more aggressive shorters ("Fuck You"). The singer has a not very sober semi-declamatory baritone, and his dry dispassionate antics are hardly the album's main asset. Some of the band members also take part in the grindcore/crust doomsters Fosa Común.

Fuck You EP, 2013
Inner Demons Full-length, 2016

Official Site


A Swiss trio who specialize in quite interesting minimalistic sterile power/thrash which is both on the retro and modern side. The overall delivery recalls the obscure Belgian act Yosh (the sophomore effort) and another Swiss outfit skilful in the realm of the offbeat: Calhoun Conquer. The band try to be avantgarde in a weird Voivod-ish way, and succeed in serving a few eclectic spacey moments (the Killing Joke-sque "Hyperspace") including the brutal extravaganza "Black Immensities" which is a progressive grindy rager, pretty much one-of-a-kind. The 2-min instrumental "To The Next Planet" is another oddity, and "Chessboard Of Nothingness" is a dissonant spacey "odyssey" which could race any number on "Target Earth" (Voivod again) in terms of both originality and futuristic ingenuity. The progressive saga is finished with the appropriately-titled "Automaton" which is robotic mechanical shredding with a nice melodic motif. The singer doesn't show much emotion, of course, and his calm clean croons are the perfect companion to this interesting engaging listen.
"Hyperkaossmarket": the Swiss weirdos are back with this new opus which will quickly enchant with the spacey Voivod-ish opener "We Took the Road One Day" and the short abstract thrashing puzzler "Superluminal". The title-track is an avantgarde crossover cut, and "Golem" is a twisted ethereal progressive piece with a few hard thrashing passages; an appetizing "mess" as a whole. Weirdness reigns supreme on the spaced out "Alien Sisters" while "Secret Mirror" will remind you of the offbeat landscapes of mid-period Arcturus. Voivod and more direct thrash are seamlessly mixed together on "Animal Antimatter", but run for cover on the death metal spacer "Breach the Laws of the Devil Himself" the pain on it alleviated by a few laid-back inclusions. All the way to the closing "Mindless Heroes" which is a fitting epitaph to this larger-than-life mish-mash which sounds like Prong after a coffee break in Voivodland with an additional semi-industrial boost ala Devin Townsend. This is by all means an interesting effort which would take a bit more than a few listens in order to settle down.

Our Brilliant Embassies Full-Length, 2012
Angry Space Zombies EP, 2012
Hyperkaossmarket Full-length, 2015

Official Site


This band specialize in crunchy modern/classic thrash which varies the pace although its more preferrable side is the dirgy mid-pace: check out the formidable proto-doomster "Decepticon". The 2nd half is more diverse, but also more melodic the band abandoning the thrash metal idea until the more aggressive Bay-Areasque headbanger "No Way Back Home" which also provides the finest leads on the album. Then comes the short speed metal sweeper "Walking In Hell", and the varied shredding closer "Kill The Master", a worthy epitaph to this entertaining nod to both trends also boasting good dramatic semi-clean, high-strung vocals.

Aliens Of The Night Full-Length, 2015


These Yankees induldge in aggressive thrash/death which is pure hyper-speed madness for most of the time combining the ferocity of Defleshed with less attractive grinding aesthetics akin to early Suffocation, but without the technical merits of the latter. The singer is an ultra-brutal guttural growler, but suits the relentless musical approach which boasts a very clear sound quality. "Dead End" would be a total surprise near the "end" after a downpour of brutal riffage on the preceding numbers: stylish technical piece with a touch of Death's "Human". More surprises as a finishing touch, but not on the pleasant side: "Mortally Impaired" which will "impair" you "mortally" with its merciless grinding sections scatterred among a more complex technical play. This is a good start seeing a band ready to bash on a more official stage although to these ears it seems like the guys would choose the death metal path to follow.

Tales from Beneath the Street Vol.1 Demo, 2012

Official Site


This outfit serve frantic modern hyper-technical/progressive thrash with shades of hardcore and death metal all styles piled on top of each other in a somewhat chaotic disorganized manner with slow and fast passages racing each other to a dizzying effect. The technical merits of this small effort are without question, especially on more engaging shredders like "Innocent Ingestion" which could beat even numbers from the works of Biomechanical or Electro Quarterstaff easily on any day. There's no speed lost on the excellent Death-worship "Routes Of Determinism" which offers melodic tunes galore along with several appropriate blast-beats assisting them. Out of the blue comes "Cunning,Baffing,Powerful" which is a shocking doom/sludger with industrial overtones which tries to excuse itself with a portion of fast rhythms near the end. The real excuse here is the short explosive closer "Tread Of Drown" which shreds like demented again full of catchy infectious hooks all around to make this proposition more than just a rehearsal for an eventual very strong full-length.

Mangled By Mangulation EP, 2012


The unpleasant name hides merry optimistic thrash/crossover with an overt early speed metal edge the later bringing many of the early practitioners from the German scene (Living Death, Warrant, Vectom, etc.). To talk about full-fledged thrash here would be a bit farfetched the guys "flirting" with power and heavy metal at will creating a blend not too far removed from the Nasty Savage debut if we exclude the genuinely fast-paced moments which open and the close the demo. The singer semi-recites in a macabre authoritative fashion not straining his vocal cords too much.

Demo Demo, 1985


This is raw evil brutal black/thrash metal with a very primal sound quality the guys seeemingly having fun blasting out in a misanthropic Impaled Nazarene-sque fashion most of the time, the vocals another major damage with their utterly incomprehensive animalistic shouts.

The Wonder Years... Demo 2010


Another good addition to the growing legion of retro thrash bands from Italy; the overall style recalls the Canadians Sacrifice as the guys stick to fast-paced direct thrash with hoarse mean vocals. Clever semi-technical guitars can be heard on "M.A.D.", again in the Canadians' vein. "Quintessence" is a "pause" for a rest, although a 5-song EP hardly needs it being a good heavy ballad. "Dethronized" is the most aggressive number blasting out on a few times, but not in an annoying way.
The full-length is a cool atmospheric achievement with appropriately used keyboards as well as the sparce blast-beats which can't possibly be missing from "Blast the Sun Away". "Worldfire" gives the album a nice epic twist but it's the faster cuts like "Gates of Hell" which propel this effort forward, wiht a little help from a few more black metal-prone compositions like "Magdeburg" and "The Drones". As a whole the concentration is more on melody which works well in the end especially with the portion of cool melodic leads on the closing "Vendetta".

Fake EP, 2008
Experimental Human Cruelty EP, 2010
Manhunt Full-length, 2014

My Space


Four Germans are responsible for this sincere dedication to old Slayer which is both fast and pounding also relying on the very good sound quality. Brutal mosh will be caused worldwide by short blitzkrieg cuts like "Death Dealer" and "World Of Hate", and overall the concentration in the 2nd half is more on speed, this violent barrage finished with the exhausting headbanger "Meet Your Maker". The singer shouts in a vicious semi-death metal tember, but fits the aggressive musical approach which also scores in the proficient melodic lead department.

Unchained Wrath Full-length, 2012

Official Site


The demo shows an act pulling out aggressive old school black/thrash metal crossing early Bathory with Impaled Nazarene. The vocals are more in the death metal camp. The tempo is mostly very fast and there are very few leads to be heard which is good since they are really bad. Some of the band members try their hands on much softer stuff in the heavy metal band Skull Fist.
The full-length is quite a different animal now having moved towards the speed/thrash metal spectre along the lines of Vectom, Iron Angel and Warrant. This is cool simplistic stuff, constantly fast and energetic, topped by the gruff unmelodic vocals and a couple of short screaming leads.

Maniac Demo, 2005
Fast and Deadly Full-length, 2007

Official Site


Based on the EP: this Spanish trio pulls out decent retro speed/thrash which doesn't hide its fascination with the early German scene Angel Dust, Vectom, early Destruction). The tempos are up the whole time in an uplifting, roller-coaster way, and if it wasn't for the bad subdued death metal vocals, this demo would have had a bigger appeal.
The full-length is in a similar uplifting, roller-coaster vein which reaches the level of "high speed metal" on "High Speed Metal", and later on one will have a very good time jumping around on every track except for a whiule on the heavy brooding "Carrion Feast" which comes served with an early Bathory vibe. The closer "Horrid Grave" tries to run away from the established simplsitic formula with a portion of more complex, semi-technical riffs and is a cool ending to this fast blitzkrieg effort.

Maniac Demo, 2011
Black Legion EP, 2013
Vermin Hell Full-length, 2015

Official Site


This is the 1st attempt for the Wargams guys to play music, and some of the better tracks, as you can see, have found their way onto the Wargasm debut among which is one of the ten best thrash metal compositions of all times: the superb shredder "Revenge". From the unknown material "Suicide Squad" is a very cool flying speedster ala Attacker, and "The Hawk" is some serious stuff, an over 10-min instrumental with progressive overtones. The sound quality is unbearably bad the guitars hissing all around you to a fairly annoying effect including Bob Mayo's vocals which nasal tone is strongly accentuated making him barely heard at times. Still, as an early display of the vintage American 80's sound this demo is a true keeper.

Rainbows, Kittens, Flowers & Puppies Demo, 1985


3 songs of intense classic thrash which revolves around direct straight riffage without any gimmicks the overall barrage recalling early Tankard and Onslaught on the darker moments ("Mass Manipulation"). The singer shouts in an attached dramatic fashion and this is the perfect support for the rapidfire musical delivery.

Dead Planet EP, 2012

My Space


Intense classic power/thrash which pays its fair tribute to the 80's American scene, but the noisy background and the awful shouty synthesized vocals mar the picture beyond repair. Otherwise the delivery is energetic and some of the riffs are memorable, albeit pretty derivative, even coming with a slight semi-technical edge at times.

3... 2... 1... Surprise Demo, 2012

Official Site


Thrash metal acts from Austria are not a very common phenomenon, especially those which give credit to the 80's sound. Here come these guys who pull out heavy, classic thrash with a very small pinch of modern groove in the vein of 90's Flotsam & Jetsam. The music delivers the goods being semi-technical and non-standard with great melodic, but also twisted leads and choppy riffs. "Put Your Hands Together" is a stomping technical thrasher, but things get really interesting on the next "Whoever You Are" where the main melodic riff mixes greatly with the sharp technical riffage in the background, despite the somewhat annoying noise accompanying them (sounds like muffled voices talking). "Death Comes and Goes" is a doomy thrasher which leaves the technicality a bit behind. "Plastic People" is vintage 90's Flotsam & Jetsam circa the "Quatro" era with a good up-tempo ending. "Victims Of The Innocence" is a nice heavy ballad, a style which suits the melodic mid-ranged singer quite well, and having realized that at that later stage, the guys give him another chance to perform in the same vein with the good semi-balladic closer "Crazy Holy Ghost". As a whole the album leaves a certain aftertaste with the 1st part being superior to the slightly boring one-dimensional 2nd one.

The Maniac Within EP, 1995
Volume One Full-length, 1997


Based on the EP, these guys pull out thrash/death metal of the heavy semi-doomy variety with low-tuned vocals and heavy riffs; the overall approach recalls the Finns Ajattara.

King's Sight EP, 2002
Necropolis Full-length, 2005


Vivid dynamic thrash which crosses the modern and classic trends, favouring the former more probably. Still, the music is not stale at all and will make you jump around, both in a crushing heavy and a faster brisk manner. The faster and slower elements take turns throughout the tracks making them diverse interesting listens. "Feed the Darkness" is a wild out-of-control piece blasting in a brutal death metal manner, but the "bad taste" is nowhere displayed that rudely. The singer does a good job with his forceful angry Phil Anselmo-like vocals.
"Life Is A Dark Chain Of Events" is another convincing effort again crossing the two sides the guitars having a slightly more abrasive edge this time. The brutal deathy blasts are again introduced, but they never embrace a whole song and don't break the prevalent mid-paced character of the album although "Drive My Madness" is a really cool hectic semi-technicaller with more overt death metal flavours. The final "Life Is a Dark Chain Of Events" is another highlight thrashing on with super-heavy riffs and great melodies seeing the band yet to realise their potential which clearly shows up here and there.

Buried in Hell Full-length, 2010
Life Is A Dark Chain Of Events Full-Length, 2012

My Space


Thrash/crossover, mostly fast-paced, sounding like a mix between Lawnmower Death and Spazztic Blurr, maybe a bit more thrashy than both; some joke songs are thrown in for good measure ("Wiped Out").

Too Late For Apologies Demo, 1988
Apocalyptic Symmetry Demo, 1990


There's hardly any "maniacal rage" at display here the band power/thrashing in the good old American way with sweet memories of Metal Church, early Overkill, and Helstar their infatuations with the ballad may be a bit too often revealed for this slab of music to be a sure pick for the hard-boiled thrash metal fan. It's the odd joke song in the middle "So Damn Insane" which goes away with all the aggression being badly produced hard-hitting speed/thrash; the rest acquires a more friendly tone near the end which is fitting to the mellow clean tember of the vocalist.

No Thanks To You Demo, 1992

Official Site


Old school black/thrash sounding like a better version of early Sodom (before "Persecution Mania"). The music flows in an up-tempo, but sudden black metal "outbreaks of evil" can be caught ("Conspiracy of Faith") as well as sparce aggressive proto-death ones ("Headbangers of Steel"). If we exclude those rare moments, the sound is typical thrash although the fuzzy guitars and the evil black-ish vocals may throw you into other directions. Some of the band members also take part in the pure evil black metal act Korihor.

Black Thrashing Genocide Full-length, 2009

Official Site


Based on the full-length, this act, who is just two guys, pull out abrasive modern thrash which acquires melo-death tendencies on "El Meca" and the aggressive exploder "Pequefo Demonio Alcoholico". "Carroero" is a brisk thrasher, and "Rock Mercenario" is an acceptable friendly galloper. Towards the end the guys harden the course again with shorter, edgier cuts bordering on hardcore, but the main flaws remain which are the sloppy production and the not very rehearsed, horse semi-clean vocals.

Morgue Hotel EP, 2010
La Maldicion De Tu Karma Full-Length, 2015

Official Site


Graced by the presence of one of the veterans of the Russian metal scene Max "S Boltom" Layko (Korrozia Metalla, D.I.V.), this band plays a good mix of modern and classic thrash. Recent D.I.V.-influences (their early 90's works) could be heard at least on half of the album ("Who Deals the Pain"), but it's the other, more classically-inclined, half which delivers the goods in a better way. The album has an uneven structure with the groovy numbers placed in the second half. The vocals are a bit of a drawback sounding close to the ones used by Peter Steele on the Carnivore albums. The guys have the interesting and original tendency to insert semi-balladic sections where one could hear semi-whispered voices as well.
"You'll Be With Us Again" is quite a mixed bag and doesn't really do the band justice. At least the guys don't waste the intro, like many other acts, but start thrashing from there, in a more laid-back fashion, preparing the listener for the coming of the intense thrashing "No Future". But after it comes the bland dull heavy rock piece "You'll Be With Us Again", followed by the slightly better groovy "Cold Hard Reality". The good speedy cover of Twisted Sister's immortal "Come out and Play" restores the faith a bit, and "Chilling Eternity" isn't too bad mixing romantic balladic moments with intense semi-technical thrash. But then we have another awful hard'n heavy number ("Hymn to Freedom") which seriously pulls this release towards the negative side where it actually belongs.
The "Lost in Time" single is three tracks of decent modern thrash, a huge improvement over the lacklustre EP, one of them being a brisk headbanger ("Afterlife") with a more classic vibe, the other two being cool mid-pacers with nice melodic hooks and a pinch of power/gothic metal.
"Impending Collapse" features the three songs from the single which come all together after the imposing headbanging opener "Nightmareality", a straight-ahead retro thrasher. After them comes another all-out headbanging delight: "Global Collapse" which puts the spirits high although the next two numbers do little to keep it on the same level being calmer slower modern thrashers. "Buried Alive" is another "shot in the target" thrashing fast and tight, but its impact could have been bigger if it wasn't for the bland groovy filler "Phobia" following it. Still, this effort won't leave you cold especially with brisk moshing closers like "Mutual Hate" which exits the album with dignity bringing slight technical implements as well as a great speed metal mid-section. The band are obviously much better when sticking to the full-length format where there are always enough cool "metal thrashing mad" numbers to compensate for the obligatory fillers.
The "Uncertainty" single comprises three songs which are decent modern thrashers "Suicide on the Battlefield" being fast and crossover-ish, whereas "Fell so Low" is a mid-paced proto-groover. The title-track is a ripping more classic-sounding piece with lashing guitars providing cool headbanging opportunities.
"Technocracy" feartures all the three tracks from the earlier released single; the rest is the expected from the band modern thrashisms spiced by less (the radio-friendly rocker "Divided Nation") or more (the excellent technical Annihilator-esque riff-fest "Ghetto") desirable "distractions". The second half becomes too mild livened up by the cool cover of the veterans Kruiz's "In Flames" which precedes the awful rocky closer "Premonition". A weak effort as a whole not making the guys a very hot proposition from the Russian metal scene where they will always remain unsung underdogs, more or less deservedly.
"11 Pristupov Depresii" notches up the modern flair by expanding on the palette from relaxed hardcorers ("Suicid na Pole Boia", "Tehnosumashestvie") to blitzkrieg classic-prone thrashers ("Vsemirnuj Haos"), to the staple for the band more ambitious proto-groovers ("Sudba Atlantida"). "Razdelennui Narod" is a friendly heavy rocker, but homogenity has never been the name of the game in this band's camp.

Who Deals the Pain Full-length, 2003
Planned Spiritual Decay Full-length, 2005
You'll Be With Us Again EP, 2007
Lost in Time Single, 2009
Impending Collapse Full-length, 2010
Uncertainty Single, 2014
Technocracy Full-length, 2015
11 Pristupov Depresii Full-Length, 2017

Official Site


The good old Germanic thrash is given another spin here by these Yankees who thrash on with inspiration following the paths carved by acts like Assassin, Tankard, and Necronomicon. More engaging thrashing arrives with Warstorm, but the simplistic barrage is seldom interrupted the fast blitzkrieg delivery helped by the very clear sound quality and the very capable bass presence (check out The Instigator ). A few points, though, should be taken away because of the hysterical over-shouty singer.

Manic Outburst Full-Length, 2014

Official Site


This is heavy clumsy post-thrash, the type of music on which one wonders what the possible need for it could be being trite and utterly boring for most of the time repeating rehashed groovy rhythms for the thousandth time and beyond. Enough said...

Hate Loaded Full-Length, 2002


Interesting, somewhat progressive, power/thrash metal which sounds like a better version of the Americans Aftermath; the band effortlessly switches from complex technical song-structures with very cool pagan guitar melodies (here one could hear Sabbat-like moments) to speedy outbursts (a great example of both styles mixed together is "Excetra"). A similar balance could be heard in the guitar department as well: sharp thrashy riffs take turns with nice melodic lines which sound quite appealing, and are never repetitive. Two of the songs are really elaborate, going over the 6-min range, and are quite engaging musical experiences where one can hear smashing intense thrashy parts alternating with beautiful pagan/folk flute melodies, and slow doomy passages. The only disappointment would be the undeveloped, emotionless, one-dimensional vocals which are a stark contrast to the better music. This is another good example (Pixie Killers, Rigid Domain, Desexult, etc.) that once upon a time there was more thrash than just Artillery and Invocator in Denmark.

Opressed by Heirachy Demo, 1987


Based on "Written In Blood", these guys offer decent modern thrash metal which hesitates between heavy groovy sections and intense headbanging ones ("The Worst is Yet to Come", which can fit into any of the last couple of Annihilator releases; the excellent short "bomb" "Lullaby (Bedtime for Bastards)"). The lead guitar work makes a lot of sense, though, and this guy can really hit it big if moving to a more technical, and more classic-sounding, band. "Pitch Black Inside" is a nice atmospheric doomster, and "Letter from the Grave" is a very surprising unexpected exercise in quiet semi-acoustic ballad with deep gruff semi-clean vocals which amazingly fit the music. The musicians also play in the classic heavy metal outfit Griffin, and the thrash/death metal formation Exeloume.
"And for This We Should Be Damned?" is another cool recording the band losing it a bit on the shorter numbers ("Stretched & Strung") where the approach becomes too brutal with shades of death/grind. Generally the tempo is quite vivid and makeS a good use of all the modern gimmicks (groove, industrial, dent, etc.) creating chaotic hallucinogenic landscapes ("Sancta V\\'e9nere") of sterile robotic intensity. Things take a nice avantgarde direction on the elaborate mind-scratcher "The Cadaver On Your Mental Doorstep"; but 2 immediate hardcore-ish rippers follow suit to put the situation back on track the 2nd one ("Immune") not without a weird riffy portion. Catchy Oriental motifs permeate "Burning Brimstones", but "v" is nothing like being a brutal deathster with dissonant guitars. So far so very good, but comes the closer "Olympia Cathrin", and almost ruins everything with its meditative balladic/doomy histrionics, another eclectic affair, but of an entirely different kind. Still, this effort would be an engaging listen for quite a few fans who would be perplexed more than just now and then trying to swallow the quirkiness at play.

Lifelong, Painful Co-Existence EP, 2001
Half Past Violence Full-length, 2005
Hedonism Full-length, 2007
Written In Blood Full-length, 2010
And for This We Should Be Damned? Full-Length, 2015

Official Site


A mix of Testament (the early works) and Pantera; the first two releases are really worthy Bay Area-influenced thrash efforts with touches of modern 90's thrash, whereas "Within" is the other way around: modern thrash takes a bigger part from the sound, but the hard-hitting classic riffage is also there, and the overall music reminds of Sacred Reich's swansong "Heal" quite a bit, maybe a little heavier, or Testament's "Low". The music is never too aggressive and fast; the focus is on heavy meaty riffs which work well most of the time. There are even exercises in doom: "Lost Again", but with a thrashy edge. There is also one completely non-metal, but very cool ballad: "As I Am", as well as one excellent lead guitar-driven short instrumental: "Broken". The singer does a fine job with his voice coming as a mix between John Bush (Anthrax, Armored Saint) and Phil Anselmo.
It's really sad that the band's career never took off due to tragic circumstances (the untimely passing of two of the band members: the vocalist Steve Bryant and the guitar player Brent Wheatley), something which they truly deserved, although the "Your World has Died" EP could hardly be considered their finest hour. The sound is more on the heavy modern side the dramatic seismic riffage pretty consistent throughout, albeit quite samey and predictable. The singer tries to imitate Phil Anselmo and at times forces his throat to seemingly damaging proportions. "Within" was a good step forward, but with Wheatley (R.I.P.) passing away at a close to the time of the EP's release, the band's progress would obviously slow down again.

All Life, All Minds Full-length, 1996
What you fear Full-length, 1997
Bury The Living / The One EP, 1999
Within Full-length, 2001
Your World has Died EP, 2007

Official Site


A primal primitive sound quality detracts from this intense, but unrehearsed, tribute to the early black/thrash school which is sustained in a speedy Possessed-like manner with the post-thrashy approach of early Venom ("G.O.D.") springing up in the middle. To distinguish more would be quite hard since everything comes as a wall of sound with the rough vocals on top. The end is a mixed cover of Bathory's "Sacrifice" and the Japanese Sabbat's "Darkness and Evil", the Bathory cover a bit easier to recognize, still remaining on a pretty amateurish level. Some of the band mmebers are also busy with the black metal project Plecto Aliquem Capite.

Doom Over Live Demo, 2012


The classic speed/thrash of Argentina (Horcas, Hermetica, Lethal) comes up almost intact here except for the rough shouty vocals. The sound is a bit harder with heavier guitars reminiscent of their compatriots Serpentor as well, but the same classic aesthetics is shared all over with the frequent adherence to speed, the obligatory slower breaks, the melodic leads, the galloping rhythms, etc. "Mira A Los Ojos" is more epic, more melodic power/thrash, and "Solo Una Vez Mas" is a happier power/speedster in the spirit of the 90's, but the rest is firmly on the harder side. The singer of the aforementioned act Serpentor Guillermo Temo Romero guests on two tracks.

Insano Full-length, 2006

My Space


This highly respected band have also given their fair share of thrash metal to the music scene. These four albums included here are the ones where thrash metal could be heard- just hints on the first two, and quite a few moments from the last two. "The Deluge" only slightly suggested that the guys were considering stepping on a thrash metal ground, and "Mystification" served well to check whether the band would be welcome in the thrash fraternity. "Children Of The Night" opens nicely with mighty speedy riffs, quite close to the previous year's Helstar effort ("Remnants of War"), and "Death By The Hammer" carries on in the same vein, showing no signs of compromise. It's on the third song: "DragonStar", when the sound recalls the band's early works, being a fine progressive ballad. Then "Haunted Palace" speeds up again, but doesn't go over the mid-pace, and remains crushing and heavy. "Masque Of The Red Death" is a fine mid-paced power/thrasher, followed by the softer, but very cool power metal winner "Mystification". "Spirits Of The Dead" is a typical heavy Manilla Road composition, before the closer "Valley Of Unrest" comes up with a great fast-paced rhythm, which could even rival some tracks from the Agent Steel debut.

"Out Of The Abyss" had by all means been a surprise to the band's fans switching onto heads-down thrash metal, quite fierce and aggressive at times, like on the opening "Whitechapel", which will satisfy even fans of Slayer and Dark Angel with its brutal riffage. "Rites of Blood" will take away some of the shock, experienced with the opener, being a heavy traditional for the band composition, before "Out of the Abyss" thrashes intensely once again, but in a more controlled manner, not as frantic, and with a genuine technical edge. "Return of the Old Ones" is the epic metal with which we all know the band, but "Black Cauldron" is another feast for the headbangers- a fine galloping speed/thrasher, the way Attacker used to do them around the same time, but this one thrashes its soul out. The alternation between the two styles on the album finishes here, as the guys choose to proceed with the thrash metal attack, with "Midnight Meat Train", which is another delight for the thrash fans. "War in Heaven" is mid-paced and heavy, still carrying a slight thrashy charge, and the next "Slaughterhouse" returns to the speed/thrashy patterns once again: a short masterpiece of tight sharp riffage, graced by effective short leads. The last "Helicon" is epic and progressive (one of the band's finest achievements), but after all this is a Manilla Road album, and has to have an appeal to their hard-core fans as well; watch out for the final minutes where the guitars turn to intense speed/thrash; hardly can one think of a better finale to this marvellous song. With this great effort the band have "sold their souls" to thrash metal, but it remained to be seen how long they would stay within the confines of the genre.
"The Courts of Chaos" promises more thrash entertainment with the opener "(Vlad) The Impaler" which sounds like a leftover from the previous album with its speedy hard-hitting riffs. "A Touch Of Madness" is a very cool heavy thrasher with intriguing aggressive, slow guitars, coming like a fine amalgam of thrash and doom. "D.O.A.", which is a cover of a song of one very unknown underground act: Bloodrock, develops as a not very impressive ballad, but one cann't help but admire the stylish switch onto lead-driven speed/thrash in the final part which elevates this song almost to the level of the preceding two. "Dig Me No Grave" is high-octane pounding thrash with a more technical edge with another whirlwind of leads, and up to this point this effort sounds even more appealing than "Out of the Abyss". "From Beyond" provides more first-class heavy technical thrash with a hectic speedy section: a unique one-of-a-kind approach which unfortunately the band left unrealised. The high level of the material would hardly make one look for the typical Manilla Road composition here, but here it comes, the title-track, an excellent sprawling epic doomy track, with the lead performance being the highlight, along with the great melodic vocals, which are some of the best Shelton ever produced. "Road To Chaos" is an odd offbeat instrumental which features ambient noises, atmospheric gimmicks, and some guitars near the end. "The Books Of Skelos" begins in a traditional epic fashion, but the band rage on very soon after with some of the most furious guitar play ever heard on their works, turning this number into one of the best long achievements (8-min) of the whole genre although the technical decorations heard previously here are missing as the concentration is on hard-hitting thrash for most of the time. "The Prophecy" is the other representative of the band's staple style with Shelton in fine form again. Overall this recording may not be more satisfying from a thrash metal point of view than "Out of the Abyss" although it's not too far behind, but in terms of musicianship it's by all means the band's finest hour, logically closing the first period of their career.
The band resurrected in 2001, with "Atlantis Rising", a strong comeback, which contained some of the sharp thrashy riffage, but has also added a clear progressive edge to the songs, making them compelling listens all the way. Their thrash metal period can be clearly felt on each of their albums from the new millennium which along with the more complex structures of the new material makes Manilla Road once again one of the leaders of the metal underground.

The Deluge Full-length, 1986
Mystification Full-length, 1987
Out Of The Abyss Full-length, 1988
The Courts of Chaos Full-length, 1990

Official Site


Based on "Succube", this band pulls out frantic, chaotic, but quite listenable mix of thrash and a little bit of death metal which borrows some of the avantgardism of early Misanthrope, but embodies it in a more modern atmosphere, all this topped by a couple of vocal varieties, and a constant change of rhythms and tempos to a hallucinogenic effect. The sudden switches from very fast ripping passages to much slower, peaceful ones are at times not very well thought-out, at least to these ears (some may find this a sheer display of genius). There is funk involved ("Straw Dogs") as well, even direct hard-hitting thrash ("La Melodie Du Bonheur"- well, this is subjective, since this song could be quite hard to swallow to some). The quiet, semi-balladic moments, however, are well embedded in the overall picture ("Le Choix Des Armes"), and these are the times when intriguing clean singing can be heard. Certainly the tag "technical" can by all means be attached to the band, especially after one hears noteworthy Voivod-esque abstract compositions like "Night Must Fall", or "Biomechanical-meets-Darkane" "mad hatters" like "Angel Heart", which is anything but an "angel heart". The band's technical genius finds a more controlled expression on the excellent, still quite wild "Cadavres Exquis" which at least never leaves the mid-tempo parameters. "Buffet Froid" starts in a tender balladic manner, but later on turns into one of the more unbridled frenetic exercises on technical thrash on the album, spiced with occasional peaceful interludes. "Tous Les Matins Du Monde" closes the album in a wonderful fashion, lashing steel complex riffs from all sides in a manner no worse than Altered Aeon and late period Coroner. Some of you may throw this away after the very first listen which would be a mistake since this album is a grower, and it would reveal itself to the listener little by little with each subsequent listen, but only to those who have time to spare, and like the really complex, extreme side of the genre.
"Multiplicity" features 9 songs each titled after a name, but the guys have lost their technical touch and now all the numbers are ordinary modern thrashers with shades of metalcore those making this effort even more annoying. The harsh shouty vocals intercept with better emotional clean ones which are the only saving grace here the latter taking over completely on the soulful closing ballad "Edmond".

Eros & Thanatos Full-length, 2004
Succube Full-length, 2006
Multiplicity Full-Length, 2012

Official Site


The full-length is a light-hearted speed metal affair the band not hiding their fascination with the early examples from the German school: think Warrant, Vectom, Atlain. There's not much real thrash to be savoured except on very isolated moments; that's why the material from compilation would come as a complete shock to the unsuspected listener who will encounter some really aggressive thrash with lashing macabre riffs: just check out the opening sinister rifforama "Incubus". "Tribal Warfare" is incessant speed/thrashy barrage, and "Traveller In Time" is perhaps the sole reminder of the mellow character of the full-length being a mid-paced power metal hymn. "Bounty Hunter Eyes" is speed/thrash at its rawest and most primal, and "Discipline Of Speed" is the speed metal anthem Helloween never released. The last two pieces are moderate power metal, but still deliver with their consistent heavy riffage and cool melodic tunes. The vocals are on the weaker side with their dispassionate semi-declamatory tember, and it would be quite hard for one to see any vestiges of more technical performance having in mind that the technical thrash heroes Hexenhaus rose from the ashes of that band. By the way, most of the band members are alive and well at present playing modern power/thrash with shades of metalcore under the name Slowgate.

Merchants in Metal Full-Length, 1986
A Demonic Mistress from the Past Compilation, 2001



Power/thrash metal with gruff death metal vocals; there are epic tendencies in their music and melodic cheesy passages (with female vocals and all the rest), but the thrashy pieces manage to save the day in each of their albums. Their debut is their most aggressive, but not best, offering, boasting really hard-hitting pieces: the opener "Obey the Moon", "Come Down From the Skies", even one brutal 1-min death metal explosion: "Damnation's Edge". Moments from the groovy 90's scene are also present: "Greed", as well as those on which there will be a bigger concentration on the future efforts, the power/epic metal opuses ("Halfway to Heaven").
"The Legendary Blackjade" may be considered by some the band's finest hour, not as aggressive, but faster and more varied, filled with pure speed/thrashing metal delights: "The Way of the Emperor", "The Broken Chain", "Capital Punishment", in the best tradition of Paradox and the Polish Hellfire. The odd death metal track is here again, this time coming with more tasteful, melodic guitar work, and longer, but equally as fast and relentless, even bordering on black metal: "Assault on the Enemy". Even the more epic numbers ("Bearing the Final Pain") come with fast, more aggressive sections.
"Oath in Black Tears" shows the band keeping to the already established formula of classic speed/power metal with the odd more intense thrash/death metal element. Despite not offering anything new, the album has quite a few worthy moments: the cool galloping "Lost Memory", which also boasts a fine female vocal presence; the classic speed metal delight "Escape"; the progressive speed metal killer "The Reason To Die". "My Grave Post" is a Motorhead-ish merry heavy/speed metal with a nice melodic lead guitar edge. The full thrashers come in the form of two short intense pieces: "Man of Work" and "All Over Foe" (this one really bursts out), but watch out for the speed/thrash smasher "To the Wilderness" which, despite the cheesy melodic hooks, is a fairly satisfying finishing touch to this effort. And I'm not mentioning the three fine short acoustic instrumentals at which the band gets better and better...
"Back From The Damnation" is an almost full-fledged speed/thrash metal effort of the modern variety crossing Swedish influences with soaring speed/power metal melodies. "Believe" is the awkward hard'n heavy "cheese", but the rest is full of enegry and vigour the main flaw being the brutal death metal vocals, albeit interrupted by more melodic ones from time to time, plus nice female inclusions. Watch out for the closing "Follow the Sign" (not many relations to the Kai Hansen instrumental music or text-wise): a 14-min progressive opus with a wide gamut of moods and melodies covered, finished with a glorious melodic epic/doom passage.
"Love & Death" is the expected from the band melodic speed/thrash offering with the catchy speed/power metal tunes again a penchant mark. The songs sound more epic and pompous now and the middle is occupied by slower, almost balladic, tracks which are abundant on melody, but there's no edge to the guitars and at some stage the album turns to a full-blooded 90's speed/power metal affair. The vocal delivery is also more restrained now more on the cleaner side with the casual more aggressive deathy shout coming up more or less expectedly.

Burst Into Blue Flames Full-length, 2000
The Legendary Blackjade Full-length, 2001
Over The Black Ocean Full-length, 2004
Oath in Black Tears Full-length, 2006
Back From The Damnation Full-length, 2009
Love & Death Full-Length, 2012

Official Site


Based on "Circling Buzzards", this act pulls out modern thrash/death metal of the quirky, even progressive type. The music is very jumpy and frantic switching from one style to the other abruptly stylishly adding the mechanical technical riff ala Meshuggah and Baghead here and there. The tempo goes up quite a bit at times, but there is a certain amount of groove present as well. Still, this less ordinary take on the modern trends has its appeal also introducing weird funky/jazzy passages not too far from Cynic even, only without any sense of melody relying on the mechanized industrial-tinged guitar sound the whole time. The chaotic, starting out of nowhere, leads are also another interesting addition although the synthesized hardcore shouty vocals are hardly another one.

Circling Buzzards Full-length, 2006
European Cowards Full-length, 2007

Official Site


Based on the EP, this band provide crunchy classic power/thrash which develops in consistent mid-tempo without too many deviations from the norm except for the more intense passages on "No More Pain". Later they hit the doomy buttons with the cool "Father in Darkness" which is vintage early Cathedral in the beginning before it starts thrashing with more force in the 2nd half with dark formidable guitars and apocalyptic proto-deathy vocals which suprisingly sound quite suitable to the seismic musical delivery.

Mannix Demo, 1992
Suffer EP, 1995

Official Site


This album is a wild mix of death, grind and thrash metal; most of the time this is brutal relentless stuff, but has its more controlled moments, where the approach recalls Motorhead and Tank ("Mirror Of Truth"), or is heads-down classic heavy metal ("Execution"). "Rage After Death" is a frenetic blend of grindcore and punk, and "Teacher's Pants" is slow ponderous doom.

At Mania of Death Full-Length, 1998


An interesting avantgarde blend of thrash, death and black metal; the guys change the pace and the mood quite often, but never speed up a lot and create a slightly disorienting feeling since they never pull out the stops technicality-wise, but frequently mix things up with more direct passages. The overall approach is close to Cadaver's "In Pains" and early Therion, only that the guitar delivery here is more on the thrash side. There is a use of keyboards at times, and the leads are paricularly good, both melodic and technical with a very characteristic surreal feel to them. In the middle the sound gets a bit more aggressive (the faster-paced "Mediality"; the short pleasant proto-blaster "Foretell the Past"), and in the 2nd half the songs are shorter seldom going over the 3-min mark except for the closing "Lies" which is a nice diverse shredder with great melodic leanings. The singer is a scary subdued black metal rasper with a more hoarse deathy blend at times.
"Earthborn Daemon" is another cool effort the band not sacrificing their original delivery the stylish semi-technical riffs and the orchestral arrangements all packed within 3-4min compositions where a lot of things happen within a short span of time. The expectations shouldn't be on the fast-paced side, the abrasive semi-technical headbanger "A Tale of Pessimism" is one such exception, and partially the short technical puzzler "Brilliant Annihilation". Operatic black metal comes to help on "Chaosonomy", and morose doomy sections grace "Declaration". "The Negation" raises the technical level up at the end with a portion of stop-and-go movements before the final title-track wraps it up with a cavalcade of moods and diverse musical decisions covering black, thrash, death, and more. This is a sure step towards greatness, and one more album of the same level would surely place the band on the very top of the Polish scene.

Prelude to Sonic Destruction Full-length, 2010
Earthborn Daemon Full-Length, 2013

Official Site


Modern abrasive thrash/death which marches forward in a very heavy, volcanic fashion wishout changing the pace a lot consequently starting to drag a bit towards the end since the only respite from the monotonous seismic delivery is the more technical section on "Inside My Head". The vocals are gruff guttural death metal ones which generally merge with the squashing musical landscape.

Through The Tombstones Full-Length, 2016


This act were previously known as Ninthour where the style was pretty much the same intense thrash/death metal blend of the semi-technical variety. The guys shred with vision at times ("...Some Kind Of Revolution") which comes close to Merciless and Invocator, and even goes into a more weird territory with the jumpy, almost funky, "Sarx Thusia". The singer is a major spoiler, though, with his rending shouty throat which he doesn't spare, but should have.

Demo Demo, 1993


Based on the "The Eastern Desekratorz" split, these stalwarts of the black metal idea in the Far East come up with vicious brutal black/thrash metal reminiscent of several heroes from the scene: Impaled Nazarene, the Italians Vexed, early Bathory, Dimmu Borgir, early Cradle of Filth, etc. The music is mostly black metal topped by the ultra-shrieky unholy vocals drawing comparisons with Burzum. The thrash comes wrapped in an epic "shroud" in the vein of mid-period Bathory ("Blood, Fire, Death"): "Thy Paranormal Feminine", or in the form of cover versions of thrash metal veterans: Sodom's "Blasphemer", done in a very aggressive vicious manner.
The "666" EP mixes a brutal blasting track ("Antichrist 666") with a slower epic-tinged one ("Hellfernal Blasphemies"), before the covers start pouring out: Black Sabbath's "Electric Funeral", done in a fast energetic black-ish way, pretty interesting; and Tankard's "Alcohol", done in a faithful jolly crossover fashion.
The "Evilust Nekrolust" EP is a brutal back metal attack ala Impaled Nazarene and the Australians Berserker, so consequently there is not much room for thrash except on the blitzkrieg Bathory cover of "Armageddon" where the guitar sound remains buzzy and fast, but is more controlled and audible. "Ov Semen And Blood" at the end is a more atmospheric cut ala early Burzum and could pass for the best and most digestible song on this ultra-extreme sonic downpour.

Dark Borneo Art EP, 2000
Eye Of Deviant Full-length, 2002
Polymorphous Perversion Full-length, 2004
Eastern Sexxxrigalust EP, 2005
Raping God's Law Split, 2006
Nekrosimon - The Art Ov Blasphemies Split, 2007
Sabahell's Blasphemer Full-length, 2007
The Eastern Desekratorz Split, 2008
Baptized By Beers Split, 2008
666 EP, 2009
Diabolical Psycholust Full-length, 2009
Amput Rogol & Sodomi EP, 2009
Evilust Nekrolust EP, 2012

Official Site


Based on the quite long, 8-song "Born To Hate" EP, this young Chilean band offer a good fast and intense old school mixture of thrash and death metal recalling Death's early days, Possessed's "Seven Churches", and the German veterans Sodom and Kreator.
"Outbreak the Terror" contains 3 songs of very good intense Bay-Area thrash ala Vio-Lence with a pinch of Slayer showing the guys equally capable handling various influences from the thrash metal spectre. This is good headbanging stuff which is not a "stranger" to stylish guitar work, especially in the lead section.

When The Evil Rises Demo, 2003
Born To Hate EP, 2005
Rehearsal 2006 Demo, 2006
Outbreak the Terror Demo, 2008

My Space


This is the same band known previously as Meltdown. Here the guys have just re-recorded the last Meltdown album, without any added bonus tracks or alterations; those of you who already have the album under the Meltdown name need not bother.

Executioner Full-length, 2009

Official Site


Manticora's style has often been defined as "progressive power metal", which is not a very accurate description. Thrash and speed metal take a considerable place on almost every album. "Roots of Eternity" is a strong debut, more in the speed metal camp, obviously influenced by early Blind Guardian, especially in the vocal department and the catchy choruses; the thrashy, progressively-laced masterpiece "Intoxication", and the shorter, nice little speed/thrasher "Private Hell", are the highlights here as well as the epic 12-min long "Roots Of Eternity".

"Darkness With Tales to Tell" embraces both the progressive and the speed metal idea even tighter, but the 2nd part enters the thrash metal arena with full force. "Lost Souls" is a great speed/thrasher: a non-stop riff-fest from beginning to end, followed by "The Twilight Shadow" which is a fine galloping power/speed/thrash metal piece. The album closer "Shadows With Tales To Tell" is a fine progressive speed/thrashterpiece. This is a great album with amazing guitar work and brilliant songs which will satisfy all metal fans.
"Hyperion" starts thrashing from the very beginning and pretty much remains in the speed/thrash metal camp for most of the time. The songs are again long, even more complex, but the brilliant musicianship keeps them compelling and interesting with not a single dull moment.
"8 Deadly Sins" is a fine mixture of progressive, speed, thrash, and power metal; it is quite contrasting, though, consisting of some of the most quiet and most aggressive compositions written by the band.
"The Black Circus" Part 1 begins with the sweeping speed/thrash metal delight "The Black Circus" which carries the title of the whole saga, and is indeed a glorious beginning with its mighty riffs and haunting melodies. Actually, the actual start is the 2-min intro "Enter the Carnival", followed by numerous others which serve as pauses between the songs, and are annoyingly many without being any valuable addition to the overall idea. Unfortunately, the magnitude of the opener is nowhere reached the guys settling for a more moderate power metal sound with hints at thrash, more obvious on the dynamic semi-speedster "Forever Carousel" and the intense speed/thrashing "Gypsies' Dance Part 1". As a whole this effort is a slight step down from the band's earlier output the band apparently sparing themselves for the 2nd part.

"The Black Circus" Part 2 is the better achievement, again containing the interludes, this time fewer due to the decreased number of the compositions; and also beginning with a vigorous potent speed/thrasher "Beauty Will Fade". "Gypsies' Dance Part 2" is slower than the 1st part, but is edgy and aggressive as well as longer with clear progressive aspirations. "Haita Di Lupi" is an excellent speedy instrumental with great leads and fine bass performance with Oriental leanings. "When The Soulreapers Cry" is standout progressive speed/thrash metal with memorable melodic sections followed by the more direct speedster "All That Remain" boasting brilliant lead guitars, the song Blind Guardian never wrote. The closer "Of Madness In Its Purity" is another oustanding speed/thrasher finishing the whole saga with style compensating for the more laid-back approach on the 1st part.
On "Safe" the guys don't play it "safe", but jump heads-down into thrash metal, still decorated with shades of speed, to produce one of the most exciting albums of 2010. "In The Abyss Of Desperation" is the traditional for the band strong opener, speed/thrashing with passion graced by equally as compelling heavy stomping passages. "Silence The Freedom" is steam-rolling speed/thrash of the galloping variety with a great quiet atmospheric break in the middle, followed by a crushing riff-section which also comes up for the heavy doomy ending. "Complete" is direct blitzkrieg speed/thrash metal in the vein of early Angel Dust. "From The Pain Of Loss (I Learned About The Truth)" is gorgeous technical thrash mixing fast and slow passages on a razor-sharp riff-base; one of the band's finest achievements. "A Lake That Drained" is brisk thrash with Bay-Area overtones, again of the more technical type, with a fine memorable chorus recalling Blind Guardian. "Carrion Eaters" starts misleadingly with heavy pounding riffs, but soon after the guys start lashing with force, although later on slower rhythms spring up again, and the composition ends up being an ambitious diverse progressive offering with excellent vocal performance and a couple of really intense, almost proto-death sounding, moments. The final "Safe" wraps it up in a larger-than-life encompassing manner lasting for 14-min featuring heavy semi-doomy sections alternating with fiery speedy ones; there is a short balladic break and swirling leads all over. This effort can easily pass for the band's finest hour with its top-notch musicianship, immaculate song-writing, both aggressive and technical guitar play, and deep emotional vocals. Everything is just perfect here even overshadowing their compatriots Artillery's last year's "When Death Comes".

Dead End Solution EP, 1997
Roots of Eternity Full-length, 1999
Darkness With Tales to Tell Full-length, 2001
Hyperion Full-length, 2002
8 Deadly Sins Full-length, 2004
The Black Circus Part 1 - Letters Full-length, 2006
The Black Circus Part 2 - Disclosure Full-length, 2007
Safe Full-length, 2010

Official Site


Based on the debut, these islanders offer energetic, albeit flawed, classic thrash/proto-death which is marred by the fuzzy guitar sound. The overall tone is dark and brooding and has a somewhat computerized aura around it which may get annoying by the end especially on the several blast-beating moments. The singer shouts in an authoritative manner and his attached death metal rendings may pass for the finest aspect of this recording.

From a Decadent World Full-length, 1996
Desde un Mundo Decadente Full-length, 1998
Planeta Odio Full-length, 1998
Autone9mesis Full-length, 2000
Creature Full-length, 2004
Building:Hell Full-Length, 2010

Official Site


Post-thrash mixed with more complex, progressive arrangements; this is heavy, atmospheric stuff with changing rhythms, never fast though, also relying on slower balladic sections which have enough time to develop the compositions being 5-7min long. The vocal "duel" between subdued gothic-like and clean ones is well achieved the latter lacking the depth and emotion of the former.

Toward The Light EP, 2012


This obscure outfit play fairly cool intense thrash in various tempos and very highly-strung clean vocals which scream in a way no worse than Rob Halford on "Painkiller" and beyond. So expect high dramatism here and razor-sharp guitars the whole time, plus a few wild untamed moments: the brutal proto-deathy shred on "Heartfailure". "We Attack At Dawn" is aggressive thrash to-the-bone, a precursor to the Sadus debut. "Pit Viper" is a more controlled shredder sustained in mid-pace except for the chaotic lead sections. This is an effort full of energy and vigour, and although the characteristic vocals would take some time to adjust to, the music is very well executed aggressive thrash with a wise look into the future (death metal, that is).

Lord of the Dead Demo, 1987


An obscure 3-tracker of edgy power/thrash, still on the classic side, with uplifting mid-tempo guitars and good attached clean vocals. "Shadow Of Tears" is somewhat of a spoiler being a nice, but overlong, ballad/semi-ballad with good lead guitar work.

Demo Demo, 1993


Based on the Split with the Japanese "samurai" warriors Abigail, this act delivers the goods in a retro speedy thrash/black metal fashion, not far style-wise from the one of Abigail, with shrieky witch-like vocals. All the three musicians are taking part in numerous other black/thrash/death metal bands around France, Japan, Greece, and elsewhere.
The live album comes with an ultra-awful sound quality so to review it would be a really big challenge. After several repeated, very concentrated, listens these ears managed to discover, under the fuzzy noise, raw primitive black-ish speed/thrash metal crossing early Venom with Sabbat/Abigail. 4 covers are included, neither of them easy to recognize: Mercyful Fate's "Come To The Sabbath" where the mid-levelled singer tries to reach the King Diamond's falcetto to a very laughable effect; Abigail's "Attack With Spell" which merges so much with the original tracks that one would find it very hard to distinguish it; Venom's "Acid Queen", impossible to recognize even after 10 listens; Motorhead's "Ace of Spades" (how can this recording pass without a cover of this immortal hit?!), the easiest to get of the 4, although it will also require a more careful listen since the drums deafen the guitars quie a bit. One may find it hard to believe that Shaxul, the drummer of Deathspell Omega and the Japanese Sabbat, takes part here...

The 2011 split with the Turkish black metal purveyors Godslaying Hellblast, features two songs which are awkward mixes of blasting black metal sections and more restrained crossover ones alternating the whole time in almost equal dozes with the singer this time sounding more comprehensive even acquiring slight hardcore tones at times.

The "Orgy and Profanity" EP offers 4 songs of black/thrash, this time staying more on the thrash side with vigorous riffs and cool melodic hooks showing the guys at their more melodic except for the singer who brings back his more vicious blacky style.
The full-length debut is finally here and it doesn't disappoint producing evil ultra-active retro black/thrash the guys lashing with inspiration and a great sense of melody (check out "Terroir Squad", and especially the fascinating title-trak) which makes their otherwise misanthropic delivery way more tolerable. Dramatic epic thrashing takes over on "Pictavia", and "Le Boufe-Churai" is a cool "wink" at the early speed metal days. "Primeval Instincts" is a battle-like hymn putting the 2nd half into more moderate waters the closer "Manzer" another more peaceful number, a melodic speed/thrasher boasting cool wa-wa leads which give the album a strange archaic (think the 1970's) colouring, something not very commonly heard nowadays.
"Beyond the Iron Portal" is a happy bashing roller-coaster the alleviation coming in the form or more relaxed epic passages ("Veisalgia Damnation") and infectious melodic hooks, like the ones on "Prepare Your Soul To Die". "890" is also affluent on melodies which are superseded by the more simplistic Motorhead-ish approach on "Maetre E Cunpagnun" and the rousing battle-causing joy of the closing "Hard Metal Jackhammer".

Pictavian Bastards Demo, 2010
Pictavian Invasion in Paris Live album, 2010
Pictavian Samurais Split, 2010
Pictavian Kara Metal Split, 2011
Orgy and Profanity EP, 2011
Light of the Wreckers Full-Length, 2013
Beyond the Iron Portal Full-Length, 2016

Official Site


Based on the "Order to Slaughter" demo, this act plays classic speed/thrash metal ala early/mid-period Sodom with direct riffs, fast pace and raspy black metal vocals.

Live Rehearsal 2006 Demo, 2006
Order to Slaughter Demo, 2007

My Space


Maple Cross are the longest running thrash metal band in Finland though they only have three official releases up to this point; their demos date back from the mid-80's where their style has been classic 80's thrash. On "The Eighth Day of Creation" the guys let all their avantgarde spirit loose producing a fairly eclectic affair which hits the mark most of the time combined with the more straight-forward delivery. "True or False" opens the album in a jazzy/funky fashion, but later on one will catch quite a few hard-hitting riffs even bordering on proto-death; the jazzy experiments never return, but the song remains pretty jumpy and technical. "Recoming" is a nice lashing technical/progressive thrasher with steel riffs, and "Never Ending Dance" follows the same path being a bit more spacey with the funky tunes coming back for a while in the middle. "The Force of an Eagle" is a superb complex technical affair, a mad piece of fast-changing tempos and illogical time-signatures packed in just under 3-min. "Creo Tempus" is a wild slab of technical brutality with frantic aggressive shred all over. "Sacrificed Humanity" is relatively direct recalling the Bay-Area moshing out fast and tight. "Something to Believe in" is another frenetic track mixing intense speedy riffs with a couple of jazzy hooks the latter a bit overused stretching into whole passages in the middle. "The First Last Town" is more controlled technical thrash with excellent melodic lead guitar work, and "The New Picture of the Universe" is another weird combination of lashing thrash metal and pure sincere jazz which works pretty well preceding the similar attempts made by Atheist and Pestilence a few years later. The closer "Going Around" is heavy, almost doomy, thrash with very heavy guitars and great leads again, a satisfying sure-handed epitaph to one of the most original efforts to come out of Finland, and one of the last great releases before the genre's demise.
The band members split after their only full-length and some of them were later seen in various other projects: the black metal act Sethery, the gothic/doom metallers Embraze, etc. The time of action is 2003 and the guys are back together for the release of the "next chapter" from their history. Their old fans will hardly be happy seeing their idols playing ordinary modern thrash with just a few more intense classic headbanging moments, the rest being all over the place including groove, grunge, alternative, punk, ballads, etc. The fresh innovative spirit of the debut is nowhere to be felt the guys sounding like hundreds of other bands around at the time.
"Heimo" is obviously an improvement over the lacklustre comeback effort now thrashing pretty hard the sound often approaching the classic standards. The promising fast-paced beginning, unfortunately, finds no match later on the music becoming slower and more modern although it doesn't lose its appeal completely and still holds a few surprises for the headbangers, albeit of the heavier pounding variety.
The debut demo is a cool start although from a production point-of-view it leaves a lot to be desired. Still, the guys thrash with precision their brave experimental spirit at a very spawning stage. The approach is fairly intense bordering on proto-death with some brilliant melodic distractions ("And Then...") which are simply a wonder to listen to surrounded by a couple of morose dark cuts ("Day In The Grave").
The "Cool Maggots" demo is quite a departure from their intricate, aggressive beginnings the guys shredding in a mild modern-ish post-thrashy manner still complicating the environment with the surreal jarring riffage on "So Cruel". "Till the Dawn Comes" is nice melodic semi-ballad, and the title-track is a frolic rocker partly ruined by the very shouty deathy vocals.
The "5th for Us" demo is an eclectic, avantgarde follow-up to the smattering full-length with death metal completely erased from the memory. "Darkside" is a hectic serpentine piece with great twisted riffs and sudden speedy passages the latter in their turn intercepted by jazzy/funky breaks; a most surreal concoction of influences and moods. "Top fo the Clouds" jumps even higher and lower turning into a cannonade of oddball riffs and orthodox shredding sections those reaching a dramatic pitch in the second half. "Ten Miles With Tinga Joe Shoes" is a catchy, carefree speedy rocker, the obvious joke here; and "Outlook on World" is a progressive extravaganza recalling KIling Joke's 1990 opus "Extremities, Dirt and Various Repressed Emotions", and the early Treponem Pal exploits. The final "Guns'n'Cats" is close to beign another joke with its serene funky layout and an unexpected harder exit. The guys have spaced out quite a bit here, kind of paving their way towards more modern fields by retaining their original, out-of-the-box thinking.

Thirteen Witches... but One of Them Demo, 1988
5th for Us Demo, 1992
Cool Maggots Demo, 1994
The Eighth Day of Creation Full-length, 1991
Next Chapter Full-length, 2003
Heimo Full-length, 2007

Official Site


Based on the "Raid the Streets" demo, this is vintage old school speed/thrash metal recalling Exumer's "Possessed by Fire" and Toxic Shock's "Change from Reality"; fast-paced and very well executed music.

The Countdown Begins Demo, 2006
Raid the Streets Demo, 2006

My Space


Based on "Human Waste", this act offer classic power/thrash with overshouty thrashy vocals. The guys mix the two genres as the slower compositions ("King Of A Dying World", "Consumed By Demons") tend to drag a bit due to the lack of any more interesting moments. The faster and shorter cuts ("The Serpent Has Spoken", "Terror With Terror") by all means deliver the better the guitar sstifled a bit by the hissy sound quality.

Dying World EP, 2013
Deathinfection EP, 2013
Human Waste Full-length, 2016

Official Site


These Ukrainians pull out intense speedy thrash/crossover which is not far from the expressive angry antics of early S.O.D., the delivery becoming a bit more serious on the melodic speedster "Machinist" and on the excellent speed/thrasher "Ritual Dances" which boasts a fine guitar "duel". The end is kind of ruined with a lame cover of Anthrax's 'N.F.L." which mostly suffers from the buzzy guitar department and the dispassionate declamatory vocals, also lacking some of the energy of this great anthem.

Machinist EP, 2012

Official Site


Another skilful shredder has come up on the scene, and it was high time since most of the more aggressive instrumentalists have disappeared. Marc Rizzo is a regular assistant of the Cavalera Brothers, having done time in Soulfly, and now is a full-time member of their new formation The Cavalera Conspiracy. The man's style is a nice mix of speed, thrash, power metal and flamenco; it's purely instrumental except for the last two tracks on "The Ultimate Devotion" album, which are major intense technical thrashers with a more brutal death-metal edge. There are a few entire acoustic flamenco instrumentals, but the majority is aggressive thrashy shredding which does not sound exactly like any of the previous heroes; it's not as brutal and chaotic as the music peformed by early Toby Knapp, although at times it's not that far; it's not as technical and complex as the one of Tony Fredianelli; the approach is probably closest to Jason Becker's "Perpetual Burn" with a more thrashy edge; the guy definitely possesses some of the Yngwie Malmsteen speed, but he doesn't rely on it all the time. There are plenty of cool headbanging moments as well as more intricate and furious sections; this is by far one of the most talented musucians on the metal scene nowadays.

"Legionaire" would be of little interest to the thrash metal fan except for two tracks: the heavy technical pounder " Great Odins Beard" which is indeed a great slab of instrumental power/thrash with cool more quiet insertions; and the more aggressive proto-thrashy shred "Victim In Shred". The number of the more peceful flamenco-oriented compositions has been increased the latter now occupying more than half the space. Still, it remains a good work of all-instrumental music with Rizzo taking it easy giving more freedom to his more classically-inclined nature.

Colossal Myopia Full-length, 2005
The Ultimate Devotion Full-length, 2007
Legionaire Full-length, 2010

My Space


Thrash/death metal, more on the classic side, "courting" both styles in equal dozes, sticking to fast tempos assisted by rough low-tuned death metal vocals. When the band slow down ("Masacre"), they kind of lose it, sounding clumsy and dragging, descending to power/doom metal. Fortunately, the speedy approach is well sustained throughout (check out the very cool death/speedsters "Venganza" & "Fetos Muertos"). The other time when the guys lose it to an extent is on the closing "Automutilacion-Quiero Muerte" which goes to the other extreme grinding/blasting wildly at some point.

Nuestra Ira Full-Length, 2000


Modern death/thrash with death metal vocals which come dual: one very guttural, the other screechy and hysterial. The music is frequently intense and bashing, citing the Gothenburg school as an influence at times like on the excellent melodic shredder "Immortals", the highlight here. A marginally more technical delivery ("Necromancer's Tower") sneaks in here and there, and "Ultra Vanquishing" is a stylish more hectic thrasher, but those moments should have been more as they give a cool, more attractive aura to the album.

Warforged Full-length, 2017

Official Site


Based on the full-length, this band provides an uneven mixture of fast modern thrash/death metal and doom-laden groove. The speedy sections are not bad except for the times when they become too fast for their own sake bordering on grindcore, but the slower ones are simply bad, drony and clumsy, completely losing the inertia.

Promo EP, 2006
Atitudes Massacrantes Full-length, 2007

Official Site


Based on the "Vida Derramada", this is nothing like the blasting black metal of the much better known Norwegian cohort of the same name. This is a roller-coaster blend of power, speed and thrash which suffers a lot from the very muddy sound quality the latter boosting the bass to the point of absurdity making the solos sound too thin. "Vida Derramada" is an imposing dramatic thrasher, and "12 de Octubre de 1492" is a heroic speedster wth echoes of Paradox. Later the guys continued their career under the name Votan, but only survived for one demo in 1996 (the style pretty much the same) before disappearing.

Bel-Marduk Demo, 1990
Vida Derramada Demo, 1992
El Militar Demo, 1994


Based on the debut, this formation play boring dragging, modern post-thrash which crosses insipid balladic moments with the everpresent groove to a muddling effect. The singer merges with the bland picture with his semi-clean/semi-shouty tember which still contains more life than the lifetaking music. Some of the musicians do a juch better job with the death metal outfit Pyopoesy.

Hashrock Full-length, 1996
Bullshit Full-length, 1999
Me9auge Full-length, 2002
Eridani Full-length, 2006
Mendax Illusio Full-length, 2012

Official Site


Swedish death/thrash metal with orchestral implements, groovy sections, good clean vocals, and more; still all these additions don't help lift this music on a higher, more original level, and despite the energy and professionalism put into the makings, it will hardly leave a more lasting trace in your mind.
"Enemies" is very close sound-wise to the debut, the keyboards are here again, even more accentuated on, and they kind of retouch the sharpness of the guitars, bringing the music close to Children of Bodom. The change comes in the form of slower groovy passages which were not that many at all before and kill the good pace accumulated previously on the other material.

Spite Full-length, 2008
Enemies Full-length, 2009

Official Site


This guy specializes in fast intense modern thrash with a touch of hardcore which ranges from short brutal spitters ("M.A.D.") to some serious creepy thrashers ("The Morning After"). Mark sings in a synthesized shouty manner seldom revealing his more lyrical bravado which should be given more room in the future.

Turn The Screws Full-Length, 2016


Based on the demo: a cool fusion of thrash and death metal of the old school with the singer possessing some very deep, not very intelligible, growls, and music which is very heavy with seismic, crushing qualities, but also with nice melodic, also semi-technical on occasion, guitar work present.
"Programmed Decimation" is a big step forward the guys pulling out astounding technical thrash/death, fully justifying their origins. "Code: Eradicate" is a hyper-active super-technical deathy shredder the guys constantly switching the pace, the resultant highly-stylized melee carrying on on the even less predictable "Hate Incarnate" which stays more on the thrash side of the spectre with some of the most spell-binding time-signatures of recent years. "Rotting the Cradle" is a more atmospheric pacifier, but expect no intricacy lost on this creepy roller-coaster. "Containment Failed" is a feast for the ears with melody and technicality seamlessly blended together, with gorgeous staccato Coroner-esque riffs invading the aether alongside less patient blast-beating escapades. "Epic Grindcore Ballad" is a short bouncy joke relief, and "Robbot Jeff" is a masterpiece of sheer spastic, shape-shifting metal putting together Nomicon, Mekong Delta, and Coroner for a most mesmerizing showdown with angular, atonal riffage piling in quick succession, leaving the listener absolutely stupefied as to what he/she should expect to come next. "Among the Corpses" "winks" at he guys' compatriots, Martyr, a thrilling ride through challenging labyrinthine riff-formulas and brief flashy lead explosions. "Mechanical Infestation" shreds with more brutality and a more jarring rhythm-section those gimmicks amplified on the technical death metal winner "You Put the Mental in Fundamental" whic calms down later to insert the next in line super-mazey stroke. "Born in the Network" is a surreal piece of brilliance ala Nomicon with impetuous dashes crossing "swords" with with more abstract psychedelic motifs, "the tussle" ended, or rather aggravated by "In the Name of Vengeance", another anomalous riff-fest with supreme technical riffs rushing onward, but without speeding up unnecessarily, a total no-brainer of musical dexterity that the Canadian scene is yet to surpass. "Divine Intervention" can only be an afterthought after such an exemplary showdown, but the band can't possibly leave the closer hanging awkwardly at the end, and load it with innovative decisions one of which is the more pronounced participation of the lead guitarist again.
This is a magnanimous achievement in the annals of technical/progressive metal, arguably the finest one to ever come out of Canada, and that says a lot.
"End of Man" would be a disappointment the guys optign for a more sterile, more mechanical, less technical sound, still intriguing enough, but of a fairly different nature. "Fed Through the Teeth" captures some of the manic complexity of the preceding magnum opus with an increased presence of the dissonant additives, but watch out for the superb melodic leads which here play an overall bigger role. "Caveman vs. Robots" isn't too far behind the guys moshing in a less bridled, but still pretty intelligent, manner the latter captured by a string of short (1-2min) explosive cuts where even some grindcore can be detected with echoes of the Czech avantgardists T.O.O.H. "Ecophagy" is a more conventional death metal number, and "Staring into Dead Eyes" is another twisted more intricate mosher bringing to mind Martyr, Gorguts, and Necrophagist save for the several stomping abstract breakdowns. Musicians of the kind can't produce anything unworthy, and this album still delivers, albeit in a less exuberant, less audacious way. The band members continued creating music for the serious, more adventurous metal fans after this band's split-up, with Akakor and Okazaki Fragments, both technical death metal cohorts, with a lot of pleasant surprises for those who would like the music on offer here.

Traumatizing Demo, 2005
Only Dead Fish Swim With The Stream/The Art Of Revenge Split, 2007
Programmed Decimation Full-length, 2009
End of Man Full-length, 2012

Official Site


Based on the debut demo, this act offers speed/thrash metal influenced by Vector and Tyrant. The sound quality is rough, but the guys pull it out with fast riffage, a strong bass-bottom and a dynamic speedy delivery. The singer semi-shouts in a raw semi-clean manner and doesn't really sing. Compared to the early efforts of Turbo and Kat, this short work sounds way more aggressive and could easily pass for the first genuine more successful attempt at speed/thrash metal from the Polish scene. Some of the musicians try their hands on more aggressive music in the death metal formation Effect Murder.
"Sen Schizofrenika" is a hit-and-miss affair featuring the already heard 15 years ago old school speed/thrash metal with groovy modern post-thrashisms and is quite disappointing with its below average musical approach and inexpressive semi-death metal vocals. "Sen Schizofrenika" is a revelation at the end coming with brisk speedy guitars and great melodic leads, but is hardly enough to make anyone's brows raise.

Promenada Club Session Demo, 1985
Zdeptani Demo, 2009
Sen Schizofrenika Full-length, 2010

My Space


Based on "Endorsed By Hate", Maroon play modern thrash metal with a certain Slayer-vibe (their heavier, late-80's period); the problem is that the music too frequently steps on a metalcore ground.

Captive in the Room of the Conspirator EP, 2000
Antagonist Full-length, 2002
Endorsed by Hate Full-length, 2004
When Worlds Collide Full-length, 2006

My Space


Based on the full-length, this band play old school thrash sustained in various tempos ranging from heavy stompers ("Early Checkout") to fast-paced moshers ("Vile") as the former side dominates also reflected in the nice atmospheric semi-ballad "The Shredder" which is nothing like a shredder. The singer provides a deep semi-clean baritone which leads the show without shining too much.

Marrano EP, 2015
Nuclear Death Full-length, 2017

Official Site


This new Portuguese act pulls out sludgy black/thrash metal not far from early Celtic Frost spiced with the more intense deathy hook ala eary Six Feet Under. The funereal hypnotic mid-pace of the legendary Swiss is well captured, leaving brutal death metal outbursts like "Winds of Carrion" hanging awkward in the balance. The singer is the ultimate scary low-tuned growler, but interestingly suits the minimalistic musical approach which at its most morbid (tales) also echoes Khold and Beherit. The guys are all over the music scene in Portugal taking part in numerous other acts: the death/drind purveyors Namek and Systematic Collision; the symphonic death metallers Rise of Ophiuchus; but above all the talented technical death metal outfit Neoplasmah.

Sortilegio dos Mortos Full-length, 2011

My Space


Based on the demo, this act plays heavy groovy post-thrash in a sleepy doomy pace which at its best shares some of the sludgy charm of Crowbar ("Leao d' Judah"), the more energetic "relief" offered at the end by the title-track which mixes fast aggressive riffs with the staple groovy ones.

Sentenciado Demo, 2007
Sobrevivendo ao Caos EP, 2008
Instinto Assassino EP, 2009

Official Site


On the first demo this band offer surprisingly vicious and brutal death/thrash metal which could easily pass for the most aggressive recording over there of the 80's. This is fast merciless stuff recalling the early works of the Swiss Messiah and Death- no kidding...
"Brutal Legions of the Apocalypse" is apparently a more "brutal" elaboration of their full-length debut, and indeed, this is an aggressive, brutal assault on the senses which relentless bashing for most of the time, still of the more intelligible variety, with not much thrash present: it comes as a black/death metal blend for most of the time. The majority of the songs are short and to-the-point, without any unnecessary deviations; there will be no mercy here. The band, by the way, us run by two legends from the Australian underground: The Great Righteous Destroyer and The Serpent Inquisitor who are responsible for numerous other acts including the black/death metal formation Cauldron Black Ram; the power/speed metal outfit Johnny Touch; the death metallers Lord of the Command; and are also former members of the technical death metal "psychos" Portal.

Demo 1 Demo, 1988
Demo Demo, 1990
Martire EP, 1991
Demo Demo, 1992
'88-'92 Best of/Compilation, 1993
Promo 1995 Demo, 1995
Lucifer EP, 1998
Winds of Desecration Split, 1999
United in Hell Split, 2004
Legions of the Apocalypse Full-length, 2007
Brutal Legions of the Apocalypse Full-length, 2012

Official Site


Based on the "Bloodpath" EP: this is atmospheric stuff mixing haunting doom/deathy sections with more intense thrashy ones producing as a result a cool "duel" between the guitars and the keyboards on almost every song with a very good support from the melodic leads. The pace jumps from mid to up the whole time "Blood Path" being the only less controled composition blasting with passion at some point. The singer is a brutal low-tuned growler of the more intelligible type.

Marttyrium EP, 2007
Bloodpath EP, 2011

My Space


Retro thrash metal of the calmer darker variety with decent melodic hooks which starkly contrast to the harsh death-y vocals. The guys' infatuation with melody give a cool gothic "decoration" to the proceedings, and with a better sound quality, from which mostly suffer the good melodic leads, this band can strike more cords. More speed added for the future would also be desirable, and would make the slower gothic overtones more appealing.

Grobishte Za Dushi Demo, 2007

My Space


The album is divided into two parts: the first one is brutal death-ish thrash metal recalling Devastation with a nice instrumental piece in the middle ("If You Like This"); the other one is much more melodic crossover thrash. Apparently this was a compilation of demos reflecting different periods of the band's development.

Wickenstraut Full-length, 1993


These New Yorkers provide a pretty decent mix between the classic and modern school which boasts a very clear sound quality and a good sense of melody. The albums starts in a sweeping manner with the brisk headbanger "Blue & Black", but there are more clever, less immediate moments to be heard later (the more technical approach on "Seeds Of Vengeance"; the dramatic speed/thrasher "Trapped Within"). The attack carries on with "Pressure" which raises the bar to death metal heights, and the classic thrash delight "Soldier Of Fortune" (which is, of course, not a Deep Purple cover). "Six" is the balladic relief offered in the middle, after which the guys find time for some more mosh with "Betrayal", but "Mask" is a different story: more serious semi-technical thrash with heavy stomping riffs. The Bay-Area is nicely touched on the energizing "Maniac", which is vintage early Metallica, but "Bombs Away" will rock your world big time, thrashing wildly in a similar classic fashion, pouring quite a bit of melody as well, in the lead guitar department. The final "Casualties" is another thrashing "Bomb away", finishing this promising debut with aplomb. The singer is not bad, either, singing with an attached mid-ranged clean tone.
The guys are back in business, but the lengthy 4-year hiatus has taken its toll, and now the band don't sound as inspired and original. They have even incorporated power metal into the proceedings considerably softening their approach, and one should be by all means thankful for the short speedster "Sinner" which arrives after a string of mellow unimpressive cuts. "Be Forever", which follows, is possibly the worst continuation imagined: a tender ballad with a few more intense guitar histrionics. Then comes the loner, progressive material which is passable, albeit hardly extraordinary, pulling all the stops once only, with the aggressive shredder "Avarice" which comes right before the closing trilogy "This Mortal Coil" the latter nothing too striking piling up conventional mid-paced riffs on top of each other to no effect. The good vocals remain now the man being the star of the show considering the not very convincing musical delivery.

Maniac Full-length 2008
The Mortal Coil Full-Length, 2012

Official Site


Based on the "Sodomy and Crush" demo, this is a pure Venom worship, their early, arguably most interesting, period. Everything is well imitated, even the Cronos-like vocals which sound a bit strained as though the guy has really made an effort to follow on the steps of the Venom vocalist. And as expected, there is a cover version of Venom: "Lady Lust". The music has almost no relations to Sodom music-wise, despite the demo title.

Blackstench Demo, 1994
Sodomy And Crush Demo, 1995

Official Site


4 songs of quite good classic speed/thrash with a very cool sharp guitar sound, which moves from pure speed metal ala early Helloween and Warrant ("Age Of Destruction") to really intense Slayer-esque thrash ("Fucking Dictator"), without forgetting about the crossover aesthetics ala Nuclear Assault (parts of "Years Of Tension"). An encompassing effort which in just 4 numbers tries to review, and fairly successfully, the best from the 80's thrash metal scene.

Violent Showcase EP, 2008


Old school thrash/death brought by ex-members of Mortification and an actual continuation of the short-lived death metal formation Cybergrind who released one album in 2000. The style her eis more on the thrash meal side the band relying on heavy moody riffs sprawled into long (6-8min) numbers their monotonous character partly dissipated by sudden fast-paced explosions and sparce flashes of technicality (the stylish shredder "Valley Of Darkness"). The title-track is another highlight with its dramatic build-ups, but the final "Apparition" is a catchy gothic doomster ala later-period Lacrimas Profundere with a hit potential if the guys are willing to carry on with this project which doesn't seem very likely based on the latest news from their camp.

Martyrs Shrine Full-Length, 2007


Based on the demo, these Italians play cool diverse speed/power/thrash which "flirts" with both the modern and classic trends softening down to heavy metal formulas at times, but sounding catchy and attractive all the time in a merry light-hearted manner the feeldoog atmosphere helped by the clean soulful vocals, lost only on the brooding proto-doomster "Sodom & Gomorrah" (but run for cover on the furious outro) which is followed by the 1st ever cover of Motorhead's "Ace of Spades" (finally someone thought of covering this immortal hymn!) done in the expected frolic speedy fashion the singer not sacrificing his soft warm voice giving the number a more individual "colouring". Some of the musicians (certainly not the singer!) are also involved in the death metal project All in Vain.
The full-length doesn't stray too much from the already chosen path, and as such should satisfy fans of all things classic: power, speed, thrash, and even beyond those. The tone is quite friendly, though, the band now preferring the more lyrical side of the mixture which takes a nicer shape on the longer progressively-laced compositions in the middle ("Insane Asylum", "Sodom & Gomorrah"). "...We'll Be Alone" is a prime lasher which woould be a "rude awakening" near the end, ably supported by the dynamic galloping closer "Army Of Terror" which is an epic epitaph to this diverse merry-go-round affair.

Pay for Your Sins Demo, 2009
Regression Of Human Existence Full-Length, 2013

Official Site


Groovy djenty post-thrash/post-death with industrial elements ala Pitchshifter and Godflesh; this is heavy abrasive minimalism which clings more towards the doomy side with sparse faster-paced escapades ("Darkness Beneath Us", the hectic semi-technical shredder "Serenity") the vocal support being on the dual side with hysterical shrieks alternating with very deep guttural reverberations.

Visceral Anathema Full-length, 2017

Official Site


This obscure Russian formation pulls out retro thrash, mid-paced and sharp ("Evil God"), or faster and more intense ("Fucking World"), or laid-back with a pinch of power/heavy metal ("Solitary Mad"). There is also one cool cover of Cryptic Slaughter's "United Forces".

666 & 777 Demo


Energetic modern thrash with a pinch of classic-ness; the guys know their craft, and if they manage to deepen those more interesting technical decisions ("My Hope is War"), they would call for more "thrash ambulances" in the future, like the title of the closing track says.
The full-length is another professional offering and there is plenty of energy involved the riffs lashing with force and a bit of technicality (check out the interesting headbanger "Straight to") which again hasn't been covered fully. The aproach is now more classic-sounding and the shadow of more recent Exodus looms over this effort. As a whole this outfit shows quite a bit of promise and the obvious enthusiasm behind the proceedings clearly shows and would inevitably win the band fans for their cause.

Lost Generation EP, 2011
Hell Arouses Full-Length, 2012


This obscure act has a fairly interesting approach to metal mixing acoustic parts with more aggressive thrashy ones. There are times when the acoustic nature of the music takes the upper hand ("The Feeling", "Dying Season"), and these are probably the ones which would not be too appealing to the thrash metal fans, and some songs excel in complexity, staying firmly on progressive metal grounds ("Way Out"), recalling Psychotic Waltz. "Fences" is a curious number, which combines heavy doomy riffage with jumpy funky sections. "My House Is Green" is a nice intense progressive thrasher, which beginning will remind you of Flotsam & Jetsam's "No Place for Disgrace", although later on it never speeds up too much, but remains quite good. This is by no means a full-blooded thrash offering, but it has its more aggressive moments, and the musicianship all over is quite high.

Choose to see more Full-length, 1993

Official Site


An obscure British trio who specialize in heavy, proto-doomy post-thrash which sometimes stretches the clumsy delivery into long opuses ("The Means, The Motive") to a pretty boring effect. The riffs are tedious and mid-paced at best, and the singer doesn't improve the situation a lot with his husky semi-clean tone. "Sufferings End" is a cool quirky piece with jumpy Voivod-esque decisions, but the rest is much more ordinary, except for isolated moments from the Roxette cover... ha ha, joking!, "Joy Ride" which is a pensive doomy affair with more interesting lively passages.

Virtually Real... Full-length, 1994


Based on the "Til Death" demo, this band play quite cool aggressive thrash with short, 1.5-2 min tracks recalling Sodom's "Persecution Mania", and good mean vocals sounding like a mix between Mille Petrozza and Quorthon (R.I.P.).

Til Death Demo, 1987
Witness This Genocide Demo, 1989


Modern groovy post-thrash with echoes of early Pro-Pain; so expect some memorable melodic hooks (check out the catchy closer "Corrupt Flesh" for some of those) among the prevalent mid-paced semi-thrashing riffage which will make a few heads turn on the more aggressive shredder "Killing Machines" and on the ripping steam-roller "Control". This is rehashed themes done with style and inspiration, and as such this effort could pass for one of the better productions from the groovy side of the style.

Mascara Full-Length, 2013


3 songs of minimalistic classic thrash with not very pleasant semi-shouty hardcore vocals. The delivery is mid-tempo the guys producing something genuinely faster and more technical on the final "Gun Makes Law" which recalls their compatriots Shah with its original, less predictable style. The sound is a bit muffled making the guitars not very clearly heard.

Demo Demo, 2010


This new act offer fairly inspired, and very competently done, technical thrash/death which is on the creepy suggestive side without any speedy outbursts. This is very intriguing stuff which even reminds of the legends Theory in Practice due to the several mazey serpentine-like passages which appear out of nowhere, and disappear out of somewhere. The shredding is more on the modern side the sterile edge of the guitars at times betraying it, and some great lead sections bring the requisite doze of melody into the complex picture. "Ngen" is just under 3-min of musical virtuosity also reverberating later-period Death and Atheist, and leaves its shadow on the remaining material among which "Blood Is Shed" is a more dynamic number with a few intense up-tempo passages. The complexity never falters even for a split second, and the abstract proto-blasts on "Fractal On The Fourth Dimension" are just another stylish insertion into this appetizing "cocktail" which will be a sure top-ten pick for many metal fans around the world for 2014.

The Unconsciousness Acts Full-Length, 2014

Official Site


Pedestrian post-thrashy affair in a boring mid-tempo with sparce faster passages ("Muerte Eterna") and not bad attached clean vocals.

Loser Demo, 2010



This is intense modern thrash which is both fast and slower alternating the groovy sections with more intense riffage the resultant "therapy" staying more on the predictable side the guys obviously possessing all the requisite "tools of the trade" (soaring melodies, pounding breaks, attached semi-shouty vocals, etc.), but delivering in a kind of mechanized, not very inspired manner. The more surprising moments come towards the end: the short brutal "Klon", and the closing 6.5-min ballad "Despierto Otra Vez", the latter a bit overlong, but engaging and well-executed especially the enchanting acoustic passage which is simply brilliant.

Caracas Full-Length, 2012

Official Site


One of the better thrash metal albums to come out of Italy; very good technical thrash similar to Koma's "Cepi" and Terrahsphere's "Third in Order of the Sun". There are also straight aggressive thrashers: "Lethal Solution", but it's technical opuses like "House on Trial" which elevate this album to a higher level. Even the ballad "Wise Man Never Stalls" is a nice "calm before the storm", followed by the furious smasher "The Xperiment". The vocalist is a find with a style which is a mix between Mark Osegueda (Death Angel) and Warrel Dane (Nevermore) with the slightly annoying tendency to high-pitch scream which could be scary at times. This is another fine example of how aggression and technicality could co-exist so well.

Maskim Full-length, 1992


Based on the full-length, this act specialize in sharp crunchy modern thrash which mixes classic and modern influences to produce an energetic affair which seldom slouches, and even finds time for several catchy melodic tunes ("Product of Hate"). The middle is occupied by intense mid-paced shredders which also work well surrounded by more aggressive pieces like "Ways of the Weak" which is vintage more recent Annihilator the shadow of the Jeff Waters' act also obvious on the last few songs which flirt with more technical hooks. The singer is a gruff semi-cleaner who can sing, but prefers to semi-shout with a forceful authoritative tember still leaving a generally positive impression.
"Impervious" offers more "impervious" modern thrash which impresses more with flying stylish shredders like "Tears Of Tragedy" and the nice technical diverser "The Afterlife". The title-track shares a few moments with the Gothenburh movement, and "Cross This Path" and "Sacrificed" are cool impetuous speedsters which will keep the headbanging going all over, including on the short roller-coaster "Hellbent On Chaos" and the more varied, more complex closer "Created To Kill" which blends fast furious riffs with intriguing melodic configurations ala later-period Death.

Mason EP, 2011
Warhead Full-length, 2013
Unmerciful EP, 2016
Impervious Full-Length, 2017

Official Site


A small gem of power/thrash, more along the lines of the works from the American scene at the time; the guys rely more on the galloping up-tempo ("Back With a Vengeance", "No Light to Die By"), switching onto more intense speed/thrash on "Confined Insanity". "The Dead of Night" is a very good heavy ballad, fitting perfectly the melodic high-pitched voice of the singer.

The Dead Of The Night EP, 1988

Fan Site


Standard modern melo-thrash/death affair which is pleasantly melodic and progressive-tinged; lengthy meandering compositions where alot of things happen as more coherence bears better "fruit" like the excellent energetic vivid "Masquerade of Society". The singer is the staple for the genre aggressive shouter. The band members are involved with many other acts, like the progressive metallers Stream of Consciousness, the technical death metal formation Taste of Tears, etc.

Soul Deception Full-length, 2017



This band play decent fast-paced old school thrash the songs richly deserving their bombastic titles ("Thrasher Commandos", "Atomic Funeral") with the loads of rapidfire riffs flowing out of them. There's seldom mercy shown here the band thrashing onwards adding the odd more stylish technical hook ("S. A. T. A. N.") whenever needed. The singer is a deadringer for Schmier, maybe a bit more dramatic and higher-pitched, and the sound quality is crystal clear making the guitars cut like a knife the intense rhythm-section topped by good short, proficient melodic leads.
The full-length is a very good progressive/technical thrash affair which outlandish nature is marvellously expressed on the mazey opener "Fast Forward Genesis" which also features a spacey balladic break. "Second Guessing" makes no "second guesses" as to what direction it's going to take being another unorthodox cut of the more quiet, balladic variety. "Anonymous Existence" is a modern jumper, the most normal composition here, but comes "Rehabilitation Sequence" and the quirkiness reaches new heights with headbanging passages intertwining with strange, illogical laid-back ones, the madness even bigger on "Exit Wound" due to its more aggressive character. "A Minute Past Midnight" is an unnerving contrasting combination of balad and blasting extremes, the delivery moving towards Voivod on the surreal shredder "Incompatible Override", a consummate amalgam of fast-paced and sterile riffs. "System Overload" is an eclectic headbanger calming down near the middle, before "Dream Escape" unexpectedly offers 7.5-min of tender acoustic balladisms. Not to worry since the closing "Rabbit Hole Singularity" takes care of business with another much less ordinary portion of wierd fast-paced decisions on top of imposing stomping quasi-doomy undercurrents emerging in the middle. The guys have done their best to produce one of the most impressive recordings from the Far East in recent years, and it seems as though they have more up their sleeves to be displayed on future exploits.

Masquerader EP, 2011
Singular Point EP, 2013
Vortex Day Zero Full-length, 2016

Official Site


This obscure act is the brainchild of Phil Gresik, the guitarist who previously took part in the thrashers Hobbs' Angel of Death, and is at present a member of both Bestial Warlust and Destroyer 666. The music of this band is a direct take on early Nuclear Assault, both in the music and the vocal department. At times the guys are quite merciless and fast (the opener "Mangler"), but later on the songs lose the intensity and settle for a mid-paced, but still cool, sound until the coming of "Look Back In Anger" which brings back the fury and speed which in their turn produce the raging thrasher "Out Of" straight after. A couple of short 1-1.5min joke songs are thrown in with a jazzy/funky feel. Fans of the more aggressive side of thrash/crossover need to dig this band out.

Confusion Intrusion Full-length, 1990


Good old school thrash with crisp guitar work, raspy semi-shouty death metal vocals, and a few stylish semi-technical quirks; the band keep the energy high as seldom the tempo goes below the up the short frolicer "They Live" relaxing for a bit with a portion of more moderate mid-paced riffs also providing the finest leads on the album. "Architects Of Control" elaborates the approach towards progressive dimensions with spacey, oblivious semi-leads; and "Ancient Of Days" calms down the situation being a quiet acoustic instrumental. The thrashing "carnage" continues in the 2nd half "Unslaved" being another more intricate composition with interesting time and tempo-changes on a dramatic, pounding base. All the way to the cool cover of Slayer's "Criminally Insane" rendered faothfully with a more polished guitar sound.

Revelations Full-Length, 2016


The band's style nicely clings between the classic and the modern 90's sound. The mixture works well, being heavy and mid-paced most of the time, and will remind you of Cyclone Temple's "My friend Lonely", Sacred Reich's "The American Way", and Accuser's "Reflections".

No Trial Runs Demo, 1994


"D.B.A.T." is quite good classic thrash, which will remind you of old heroes like Exodus, Slayer, Vio-lence, among others. The opener "Nuclear Dawn" is a smashing thrasher in the best tradition of Slayer's "Reign in Blood"; "Bound in Flesh" carries on in the same headbaning fashion, but it's the last track "Harbinger of Torment" which shines the brightest with its crushing semi-technical mid-tempo riffs.
"Creation's Undoing" is something more of the same: "The-Bay-Area-Meets-Slayer" style for the production of another 3 songs of good headbanging retro thrash with one pure Slayer-worship done with style: "Global Assassin".

D.B.A.T. Demo, 2005
Creation's Undoing Demo, 2007

Official Site


Thrash/crossover, having its both more melodic (early Suicidal Tendencies), and more aggressive moments (early Prong); everything is early here... which is good.

Demo Demo, 1987


Based on "Screams of Underground" split with Infinite Translation, this act pulls out modern thrash/death metal with both fast and slow parts taking turns topped by brutal low-tuned death metal vocals. The guitars hold a melodic edge which doesn't get lost even on the most extreme sections which are close to grindcore.

Mass Grave Demo, 2005
Mass Grave / Dunkelnacht Split, 2007
Screams of Underground Split, 2008
Live Split Tape w/ Zebarges Split album, 2009
Becoming The Horror EP, 2009

Official Site


A capable trio specializing in a modern/classic thrash metal mixture which knows how to mosh with vigour with sharp cutting riffs and mean Schmier-like vocals, may be a tad more vicious and a bit death-like. The guys' penchant for aggression goes at times towards the death mmetal camp ("Traumatic Violence"), but the big sense of melody permeates those sections getting bigger with each passing song until it rules supreme in the 2nd half reaching almost later-period Death proportions with the proficient leads leading the pack. Thise logically leads to the closing track which is a Death cover of "Denial Of Life" from the Americans' legendary debut, quite faithfully rendered the fury preserved all over even notched up a bit.

Attempt to Assassinate Full-Length, 2010


AlexFromBeyond, also from the thrash/death metal outift From Beyond, is responsible for everything here which clings towards the classic thrash arena with covert elements of death metal including in the vocal department where Alex pulls it off with impressive agonizing shouts. The tempo is fairly fast with casual softer crossover shades ("Tragic Fate"). The aggression escalates at the end with "Zombie Generation" and "Schizophrenia", both raging headbangers which lift the mood and make the future seem brighter for Alex if he plans to focus more on this project.

Waiting for the End Full-Length, 2016

Official Site


Pretty acceptable retro thrash metal of the energetic intense type with shades of crossover; there are a couple of heavy mid-paced tracks, but they are cool detours with an aggro-touch. The annoyance comes from the brutal death metal vocals which are not a match to the better, and much more melodic, music.
"Rise Again" sees the guys "rising again" with more hysterical, higher-pitched vocals which still create quite a bit of noise in the background. The music is right as rain classic thrash with both proto-death and crossover implements scattered around. There's not so much speed to be savoured, though, and the steam-rolling style of Cerebral Fix can be heard as well, especially on major squashers like "Facing Death" and "Blind Faith". The closer "Murder Song" turns to purer hardcore to bang the fans' heads, and succeeds with its vitriolic attitude.

Mass Madness Full-Length, 2010
The Cage EP, 2013
Rise Again Full-length, 2014

Official Site


Industrial thrash which is both dancey and aggressive; strange, but true. So imagine a concoction of mid-period Front Line Assembly, Die Krupps and Rammstein's "Mutter", a blend which is chokefull of raging guitars, haunting keyboards, choppy rhythms, and shouty distorted vocals topping this wild show which boasts some fine headbangers: "Man Kill Man", "Becoming God", etc. The atmospheric cuts deliver no worse: "Drawing Flies", and if we add the crushing dramatism of "Ad Nauseam" and the maddening mechanical shred of the closer "Piece Of Shit" one could hardly wait until he/she gets a hold of this diverse, and fairly listenable, saga.

Bring The Violence Full-Length, 2012


An excellent demo of classic Slayer-inspired thrash metal; the music is up-tempo and aggressive, and although there is a little more than Slayer-worship shown here, such music done with dedication and gusto will definitely appeal to all thrash fans.
The EP is more aggressive, bordering on proto-death at times, but there are a couple of smashing heavy mid-paced tracks as well with a certain late-80's Slayer vibe. Still the majority is fast headbanging thrash this time recalling early Pestilence. The vocals are throaty death-tinged ones, again more vicious than the vocal style of the demos.

Receive Your Death Demo, 2003
Good Day to Die Demo, 2008
Becoming The Horror EP, 2009

Official Site


2 tracks of classic death/thrash metal, offering one crunchy mid-paced ("Descent") and one faster ("The White Light") number. The guitar sound is fairly noisy, thinning the leads quite a bit; and the singer is a gruff mid-ranged death metaller who mostly recites in a scary, devilish manner.
The EP is another offering of slow and faster songs mixed this time twice as long also served with a much better sound quality and heavier, thunderous riffs which carry a light doomy edge akin to Asphyx and Beyond Belief. "Pile The Dead" is a surprising more technical piece, a dynamic cut with lashing guitars and more dramatic developments.

Mass Murder Phenomena Demo, 2011
Necrotrophic Demo, EP, 2011
Drones Full-Length, 2013

Official Site


This is really "punishing" stuff the guys squashing the listener with tons of heavy seismic riffs which arrive from all sides to create a claustrophobic feeling which seldom gets dissipated the sole exception being the very cool ballad "The Desert Rogue". The songs are all lengthy without any particular deviations from the super-heavy formula topped by very angry quarrelsome vocals which are especially tender on the aforementioned ballad, and show the guy's more proficient side. Out of the blue comes "Your Nightmare" to thrash your horizons with a short portion of brutal speedy guitars, but such escapades are not to be encountered later the final "Line of Departure" still banging the head with a slice of more dynamic riffage.

Proving Grounds, Vol.1 Full-Length, 2014

Official Site


A very late entry into the American power/thrash metal scene, this demo boasts a very good sound quality and cool mid to up-tempo music akin to Meliah Rage, Heretic and mid-period Metal Church (the one with Mike Howe). "Death Charmer" is a more intense take on thrash also recalling early Whiplash. The singer will pull you back with his gruff hardcore tember, though.

B.L.A.C.K. Demo, 1991


Massacra's early demos from the late 80's were one of the first really brutal mixtures of thrash and death metal which, despite the muddy sound quality, displayed a band ready to change the face of metal into more extreme dimensions, and easily rivalled the much more polished offerings of Messiah and Protector on the European underground in the mid/late-80's. "Final Holocaust" might have been a big surprise to those who have heard the aforementioned demos providing a fairly accomplished, forceful thrash/death metal blend which is a full-on death metal madness on the opening "fury" "Apocalyptic Warriors". Things get really brutal on the next "Researchers Of Tortures" which is a blasting piece, and before "War Of Attrition" in the middle one would not come across too much thrash: the latter number is clever mid-paced thrash, but the following "Trained To Kill" cancels that approach bringing the delivery back to the much more speedy patterns by notching up the technicality in a nice Hellwitch-esque manner (please, note that the Americans' debut was released a few months later). Fierce Slayer-like thrash will one encounter on "Final Holocaust", and more variety comes right after with "Eternal Hate" which is a gloomy mid-pacer with doom/deathy overtones. No more digressions of the kind, the last two songs being forceful thrash/deathsters with more stylish semi-technical leanings. This strong debut quickly established the band on the top of the metal movement in France.
"Enjoy the Violence" continues the thrash/death metal saga on full-throttle, again death metal being prevalent, the singer Fred "Death" Duval (R.I.P.) being a great asset with his forceful brutal, but fairly comprehensive, tember. Two fast blitzkriegers open the album before "Gods of Hate" introduces heavy stomping riffs, pretty much in the vein of Slayer's "South of Heaven" (read the overall mood on the album, not the actual song of the same title). The stompiness remains for the excellent technical piece "Atrocious Crimes", and again becomes the dominant tone on the following "Revealing Cruelty" for a while. As a whole the speed hasn't been so much emphasized on this time with "Full of Hatred" hitting with doomy gloominess in the beginning before turning into a virtuous fast-paced opus with nice technical decisions, not far from Death's same year's "Human". Tne technicality reaches heights on the small hectic numbers "Seas of Blood" and "Sublime Extermination", an approach which later Suffocation perfected by giving it a more brutal flavour. The final "Agonizing World" is another masterpiece of brutal technicality exiting this equally as strong effort in the best possible way.
"Signs of the Decline" shows no mercy from the get-go with the ultimately brutal opener "Evidence Of Abominations". Later the guys insert slower sections and things get more tolerable with "Mortify Their Flesh" "flirting" again with the stomping late-80's Slayer-esque thrash at some point. But that's all the listener will encounter from a thrash-metal-point-of-view since the rest is pretty aggressive death metal with a touch of technicality, but by all means not as satisfying as the previous much better album.
"Sick" is a stylish exit from the death metal scene offering pretty cool post-death ranking among the best attempts in the genre alongside Entombed's "Wolverine Blues" and Six Feet Under's "Haunted". There is no fast play at all the band settling for pounding, fairly heavy, riffage without too much variation, but engaging nonetheless, well conformed with the trends of the time and way better constructed than the bland offerings which came from France, in particular, around the same time (remember Mercyless, No Return, etc.).
"Humanize Human" is a straight-ahead post-thrash effort with touches of industrial which again worked well, but soon after the band folded with Duval and the other guitarist Jean-Marc Trisani later forming Zero Tolerance for the recording of one more album of industrialized post-thrash.

Final Holocaust Full-length, 1990
Enjoy the Violence Full-length, 1991
Signs of the Decline Full-length, 1992
Sick Full-length, 1994
Humanize Human Full-length, 1995

My Space


The demo: noisy raw retro thrash metal, energetic and fast, but the bad sound quality and the shrieky hysterical black-ish vocals are detrimental to the guys' efforts. Still, the band thrashes on without mercy slowing down only for the creepy dark instrumental "Madness" at the end. Some of the musicians can also be seen in another old school thrash metal act, Toxic Rain.
The full-length comes with a much better sound quality and much sharper guitars. As a result the band sound quite confident unleashing fast lashing riffs to no end the slower moments not many at all "Lord of Terror" being a relatively moderate stomper. The rest is intense mosh done the good old school way.

A Massacrator Has Been Unleashed Demo, 2008
Everlasting Nightmare Full-Length, 2016

Official Site


Based on the debut demo, this is vicious aggressive thrash/speed/crossover the guys just bashing violently with not a big professionalism present, just naive fast-paced riffs topped by unrehearsed screamy vocals. The sound quality is simply awful ruining the efforts of the musicians beyond repair. This could have passed for the South American version of "Pleasure to Kill" if the guys had managed to produce a full-length of such seismic proportions.

Donzela Maldita Demo, 1986
Scream for Your Life EP, 2011

Official Site


This is noisy semi-amateurish bash which is somewhere between death and thrash, and is indeed a brutal affair with very expressive semi-declamatory vocals. A particularly interesting touch are the heavy, Celtic Frost-esque moments which are by far the more proficient side, but are surprisingly missing from the two lengthy compositions at the end which are overfull of stylish melodic leads, and can even pass for semi-progressive thrash/proto-death despite their unpolished, chaotic nature, and the more or less appropriate classical applications (the main motif from Edward Grieg's "The Hall of the Montain King" is present done in a way not far from Savatage themselves... kidding, of course!).

Altazor Demo, 1986


This ultimately raw recording could pass for intense thrash/proto-death which tries to channel the extreme aesthetics of Possessed's "Seven Churches", but the very bad sound quality makes this one big mish-mash played in up-tempo with horrifying death'/blacky vocals topping the musical barrage from which a few screamy piercing lead sections could be distinguished.

Demo Demo, 1985


A very good demo of German-influenced thrash: think Exumer's "Possesssed by Fire", Necronomicon's "Escalation", Toxic Shock's "Change from Reality"; fast tempo, sharp riffs, and screaming leads.

Mortal Remains Demo, 1989

My Space


Modern melodic thrash metal with shades of doom ("Rumsfeld's Unspoken Fourth Epistemological Insight"), something pretty common on the scene nowadays, mid-paced with balladic references and unpleasant gruff shouty vocals.

MOTM Ep, 2010


The "first attack" (and only so far) from these Brazilians is in the form of sharp "attacking" retro thrash along the lines of early Whiplash. This is good fast-paced music with a pinch of the Bay-Area: Exodus' "Bonded by Blood", in particular ("Toxic Violence"), and slightly hysterical screechy vocals.

First Attack Demo, 2009


Based on the debut demo, this is simplistic fast hardcore-tinged thrash reminiscent of Rigor Mortis, on the better and more intense moments. This is good headbanging stuff, by the way, fairly fast at times, if we exclude stupid hardcore numbers like "You're a Slut", for example.
The EP is a step forward for the band sounding way more complex and more ambitious. "Darkly; the Turn" is a dark power/thrasher with heavy technical riffs kind of predating the sound later heard on the Nevermore albums. "Of All That Is Seen" is a twisting roller-coaster with dark potent guitars with a doomy vibe and a faster-paced ending. "The Storyteller" is a progressive opus starting with a sprawling balladic intro before the guys start thrashing with more control staying within the mid-tempo with a few more dynamic gallops provided. "Triskaidekaphobia" is a crisp all-instrumental cut with steady steam-roller riffage and great technical sections, something like a precursor to the more progressive, elaborate style the guys would epitomize for their next project, Surrealist.

Demo Demo, 1989
Plagues of the Mind Demo, 1989
Of All that is Seen...And Unseen EP, 1991


On "Crematorium" this band specializes in aggresive thrash akin to Devastation and Slayer; a really good work. "Psychotic Redemption" is another worthy release, albeit with a more modern sound, but the tempo is still fast, despite a certain presence of groovy parts thrown in here and there. The debut is much slower and quite an umpromising start with heavy, semi-technical guitar work, and awkward gothic/doom numbers ("Temblor del Cielo" and "Y al Final la Guerra Terminal") that simply have no place on an album like this, as well as jolly rock hymns, which sound even worse ("Todos Juntos"), which is actually a cover version of a song from one of the best known Chilean rock bands Los Jaivas. Even the thrashy songs have this gothic atmosphere around them, created mostly by haunting keyboard implements.

Massacre Full-length, 1989
Psychotic Redemption Full-length, 2001
Crematorium Full-length, 2005

Official Site


Based on the "Nobody Likes A Thinker" EP, this is a thrash/crossover band who sound close to early Prong and Beyond Possession; the music is fast and quite aggressive, without any attempts at a more varied play. "Nommo Anagonno" shows a shift towards an awful, and not very listenable mish-mash of hardcore, post-thrash, grunge and funky/jazzy perversions. This is nothing more than the next ill-fated attempt at offering something more unusual to the point of a total display of bad taste...

Nobody Likes A Thinker EP, 1986
Bar Of Life EP, 1987
Jazz Full-length, 1989
The Mechanic Full-length, 1992
The Zesty Charismatic Personality Chamber EP, 1994
Nommo Anagonno Full-length, 1994

My Space


The demo: classic thrash metal with technical pretensions clinging towards the Bay-Area at times; the delivery strangely reminds of the old school technical thrash metal act Forced Entry: heavy swirling riffs take turns with more dynamic ones the former having this individual stomping quality not very often heard on the scene. The guys play with competence also unleashing stylish melodic leads, and "Sudden Deaf" is a cool all-out headbanger, immediately followed by the short blitzkrieg thrasher "Death Row". There are only 7 songs here, and despite the good quality of the music, it has a somewhat unfinished feeling to it; some improvement in the vocal department would be beneficial as well: the shaky semi-death/semi-black/semi-clean delivery of the singer hardly suits the more stylish music.
Half of the songs on "Follow the Rats" are familiar from the demo so we're left with just 4 new tracks to savour. Those numbers don't disappoint being in the same brisk classic vein the latter getting lost a bit "thanks" to the very modern production. The singer has also moved up the proficiency scale now sounding way more attached and expressive with not annoying semi-shouty tendencies."Walking the Earth" is a particularly interesting composition being slower than the rest, but very well structured with some twists and turns which are not hard to follow due to the less dynamic delivery. "Diluted" is another puzzler with clever insertions again not the fastest number in the world, but satisfying enough with its less predictable approach. "Sane" clings towards the semi-ballad, but is another technical exploit which contains the necessary amount of hard-hitting riffage too keep the mosh going. The closing "Master Manipulator" is more ordinary and not as exciting also smelling modern thrash emitting a lot of melody as well, but can hardly diminish the impact from this assured entry into the thrash metal circle which would make the fans follow both the band and "the rats".
"Your Time": an imposing lead-driven "Overture" welcomes the listener who will otherwise be a bit disappointed since the delivery this time is more orthodox without any technical flourishes and with too many uneventful mid-paced tracks ("Deliverance") which are partly excused by more dynamic pieces like "Thou Shalt Not Kill" and "Self Preservation".

Succubus Demo, 2010
Follow the Rats Full-Length, 2012
Your Time Full-Length, 2016

My Space


This is simplistic, but enjoyable thrash, if we exclude the explicit sexual lyrics (which shouldn't be a distraction, and are not meant to be taken seriously). The music nicely varies from jolly thrash/crossover numbers ("War Zone") to cool speed/thrashers in the Tankard vein ("A.N.A.L.", "What's Happening to the World"), to excellent longer, more thoughtful pieces with a slight power metal edge ("Massive Appendage"). All songs are graced by superb lead guitars, which are so good that easily overshadow the rest including the sharp, but a little thin, riffs.

The Severed Erection Full-length, 1988


Based on the full-length, this band play choppy modern post-thrash of the calmer variety with nice female vocals interrupting the main throat who is a semi-clean mid-ranger not holding a lot of melody. "Mystical River" is a surprising more dynamic cut, and "The Other Truth" is the other more aggressive shredder the tender ballad "Fortress". The end is occupied by two overlong opuses among which the closer "You Must Kill Me" is the better one with its more intense guitars and the few quirky attempts at a more progressive play.

Out of the Garage EP, 2012
One Good Reason to Kill Full-length, 2015

Official Site


Classic thrash with a slightly boosted modern production; the guys play with speed touching 80's Slayer on the more aggressive moments, but the abrasive guitar sound gives the music a kind of a dissipated quality. Still, the band thrash on with screaming leads and shouty proto-hardcore vocals, producing a decent slab of metal which may also remind you of several other veterans who have also given a more modern boost to their new efforts (Exodus, Onslaught, Mortal Sin).

Demo Demo, 2012


These guys have the potential to become one of the leading thrash metal bands on the South American scene. The tracks from the "Breaking Your Head" demo are forceful speed/thrash with an excellent production bringing Paradox's "Heresy" to mind. They were actually mastered versions of songs from their "Rehearsal" demo where the production qualities are a bit muddy. Their last demo features some good thrash, too, but the sound is a bit dirtier sounding like something which had been released a long time ago during the band's spawning stages.
The full-length is finally a fact, and is a major ripper from beginning to end comprising energetic shredders with a genuine semi-technical potential. The style is a delightful blend of the Bay-Area and the German school which even goes outside the "head banging zone" on the really aggressive "Head Banging Zone". "March of Destruction" is a "march" of everything which can be called classic thrash, an exemplary composition which influences the next "Moshing Rage" which more than deserves its title with some of the most "raging" riffs around. Time for more brutal thrashing later with "Fight" and the short outburst "Deception and Death", before the closing "Massive Power" wraps it up with its close to 9-min of impetuous swirling speed/thrash in the best tradition of Paradox's "Heresy" and early Deathrow. This album is a winner on all counts, and indeed sees the band one of the main purveyors on the South American scene at present.

Rehearsal Demo, 2003
Breaking Your Head Demo, 2004
Possessed by Alcohol Demo, 2005
Massive Power Full-Length, 2013

Official Site


A very good sound quality welcomes the listener who will come across cleverly-constructed power/thrashy compositions where the hard-hitting moments intercept milder power metal-ish touches the established symbiosis working well for most of the time although apart from the short ripper "Thinking" there's not much intensity to be encountered, some of the really short (1-2min) joke tracks scattered around probably containing some of it, too. The vocalist does a really good job impersonating James Hetfield, and manages to capture the American's dramatism for most of the time.

Massive Roar Demo, 1992

Official Site


These Czechs pull out decent classic thrash with more playful qualities descending to heavy/power metal at times, coming with all the guns blazing on the closing "Deportace", which is an intense headbanger. The rest is mid to up-tempo; feelgood stuff as a whole topped by a bit dispassionate mid-levelled clean vocals.

Signum Diabolicum Full-Length, 2009


Dark atmospheric modern thrash which is content enough to tread in mid-pace for most of the time with occasional moments of "violence" ("Wind Of Delusion"). The doom and the ballad easily settle in later on, and it's up to aggressive outbursts like "No other Way" to make the sleepy heads move around. The singer is a hoarse semi-shouter whose antics are too listless to match the atmospheric musical delivery.

Mastemey Full-Length, 2016

Official Site


One of the first Russian speed/thrash metal bands; the self-titled debut is a really impressive blend of speed and thrash, more on the speed metal side containing some of the definitive speed metal hymns of the Russian metal scene; on "With the Noose Around the Neck" the band unleash a merciless thrash attack, which still remains their finest hour; hard aggressive riffs and fast tempos aplenty; one-dimensional compared to the previous and next efforts, but a great headbanging delight all the way with a nice ballad at the end. "Talk of the Devil" is not too far from its predecessor, but includes some slower songs with more technical guitar work; the end is preserved for one very cool speedy version of Black Sabbath's "Paranoid".
"Maniac Party" has only slightly accepted the modern trends; the classic sound is still present, and the technical edge of the guitars has been increased; some songs are longer, and the bass work is much better. As a result we have a nice technical thrash album crossing the heavy pounding sound of mid-period Metallica with the lighter, but equally as effective, one of Living Death's "World Neurosis". "Songs Of The Dead" has little to do with the band's early works: it shares some of the pounding energy of the last album, but the sound is a lot more modern and groovy; a lot of speed has been sacrificed, and there is hardly a couple of more up-tempo songs. The band's releases of the new millennium have no ties to thrash metal, still good, but in the power/heavy metal mould.

Master Full-length, 1987
With the Noose Around the Neck Full-length, 1989
Talk of the Devil Full-length, 1991
Maniac Party Full-length, 1994
Songs Of The Dead Full-length, 1996

Official Site


Paul Speckmann's contribution to the development of the more extreme music genres is undeniable, and Master is his longest-running and most enduring project. The band's debut album, which remained unreleased until 2003, could have been considered the most brutal recording out there surpassing both "Seven Churches" and "Hell Awaits" in terms of extremity and rawness although in terms of musicianship it was way behind. It was a primal take on proto-death metal with no bars held with a very cacophonous at times delivery which could have taken a nicer shape if Speckman hadn't chosen to found a new act (Abomination, that is) and tone down the aggression. Still, Master was not meant to stay buried, and the guys re-surfaced 4 years later with their official self-titled debut which was a nice addition to the already well-shaped US death metal scene. Another effort followed a few months later along with several other new projects founded by the man with Master remaining his most brutal "child".
Well-fitted into the death metal picture during the early 90's, the band suddenly took a shift into pure old school thrash with "Collection of Souls" showing very little concern with that genre's tragic state at that time. The music on offer is varied starting with the energetic hardcore-ish "Constant Reminders" only to slow down to doomy dimensions on the next two gloomy heavy numbers "Taste of Insanity" and "Hidden Stories". "Glorify the Dead" is jolly thrash/crossover in a good headbanging pace, and "Blinded Faith" is a full-blooded thrash bomb followed by the ultra-speedster "Justice or Fate". Compensation is offered on the following two much slower Abomination-esque tracks, before the closer "Silver Spoon" brings forward more dynamic speedy riffage as a finishing touch.
Then Speckman left his main band to rest for a few years concentrating on the other ones, to re-appear in 1998 with "Faith Is in Season". The music remains within the thrash metal confines, and is not a very distant departure from the last offering again mixing slow and fast songs, but with a more simplistic stripped-down sound often close to pure hardcore, probably more speed-oriented with a few modern elements added including the cool balladic instrumental outro "Previously Commited".

"Let's Start a War" sees the guys returning to their death metal roots, although thrash metal is still present (the speedy opener "Cast One Vote" and "Disturbed", the hectic thrasher "Command Your Fate"; the Slayer-sque closer "Disturbed") making this mix much better than the last album. The approach is pretty fast-paced and vigorous making some groovy variations ("Every Dog Has It's Day", the bluesy instrumental joke "Purchase A New Handgun" which is almost 6-min (!) long; quite a joke, if you ask me) quite inappropriate; still, the guys should be praised for the cool, albeit a bit rough, version of the Nazareth hit "Miss Misery" which gives the album a nice rock-ish edge for a while. On the next "The Spirit of the West" the transition to full-fledged death metal was complete and the band haven't looked back since with 4 solid albums released so far.
Master failed to join the "old elite" in the good "old" days, but here they are among "The New Elite". Their passion for thrash has returned, and this offering sees them thrashing with passion in the good old school manner and will inevitably leave numerous sprained necks along the way. Their darker, death metal, side springs up, of course, and "Remove The Knife" will nail you down to the floor with its ultra-brutal rhythm. Actually, the band seldom let the pace down, and stomping steam-rollers like the formidable "Redirect The Evil" and the dark late-80's Slayer-esque "Guide Yourself" are certainly a rarity. Speckman doesn't betray his forceful venomous vocal approach, neither has he forgotten to put the odd surprise in the album, which this time comes in the form of the clever technical semi-instrumental "Souls Of Dissuade" which even "flirts" with funk at some point. The final "Twist Of Fate" closes the album in an assured thrash/deathy manner in the spirit of early Death confirming further the positive impression from this fresh rendition of the old genre canons.
"The Witchhunt" is another fairly enjoyable release the band thrash/deathing with gusto without re-inventing the wheel. Imposing stompers ("Another Suicide") take turns with wild headbangers ("The Parable") to a generally positive impression as the signs of rude behaviour (the brutal hyper-blasts on "Remove the Clowns") have been minimized quite a bit making thrash the dominant genre for most of the time.
"An Epiphany of Hate" is the next in line thrash/deathy roller-coaster the guys entertaining themselves with direct, straight-forward tracks sustained in the expected up-pace clinging more towards death metal this time with signs of the early Swedish school (the Unleashed-esque "The People of the Damned") and casual sparkles of jumpy semi-technicality ("Senses All Will Be Controlled").

Unreleased Full-Length, 1985
Collection of Souls Full-length, 1993
Faith Is in Season Full-length, 1998
Let's Start a War Full-length, 2002
The New Elite Full-length, 2012
The Witchhunt Full-Length, 2013
An Epiphany of Hate Full-Length, 2016

Official Site


This is dark atmospheric modern power/thrash which has its moments, but the noisy production takes away considerably from the guys' efforts who have adkirably tried to capture post-thrashy aesthetics of both The Black Album and the Flotsams' "Quatro" the lack of true dynamics another not so overt downside ably compensated by the well performed ballads ("Life" is a particularly good one). When one least expects it the guys will strat thrashing wiht force ("Hate") leaving quite a positive impression the latter gimmicks never applied later on; on the contrary, the guys get more and more fascinated with the balladic forms producing another two in quick succession near the end inevitably avoking frowns of the fans' faces. The singer is not bad at all with his gruff semi-clean tone recalling James Hetfield and early Nick Holmes (Paradise Lost), maybe less melodic than the former and by no means as espressive and aggressive as the latter.

So Blind Full-Length, 1996


M.D. from Fueled by Fire is involved her with two guys from the classic thrashers Detonator, and this 43-song effort shows another cold school thrash purveyor which begs to differ from the father bands with a more compex sound and long effective compositions ("Master Destructor") where quite a few things occur the dominant tone being quite intense and fast-paced. The more immediate material ("Contra Atack") is pure speed metal delights with added sing-along choruses and some infectious hooks. The singer is appropriately hoarse semi-clean with a few melodic tones present to ake him more relevant to the fast, but also melodic, musical delivery.

Evil Rising Demo, 2009

Official Site


Based on the debut, this band offer quite good speed/thrash metal which starts with the excellent energetic instrumental title-track with great, Russian folk tune-influenced guitars; the rage continues unabated with "Crash": a total early Angel Dust and Iron Angel worship, another great number. The demo carries on in the same merciless vein (it's 8 songs long, and there is another marvellous instrumental later on: "Semper Furious"), until it reaches the last song: "Riot", which despite its name is the most melodic piece here, still energetic, but more along the lines of early Exciter and Savage Grace. This is a gem which is worth the long time invested to track it down, and immediately makes their full-length a highly sought-out item.
"Circles Of Hate" is a no-brainer, well worth the time invested to track it down offering 8 brand new songs of furious speed/thrash metal now coming Slayer-decorated. "Die in Your Sleep" is a raging opener thrashing far and wide spraining a lot of necks along the way. "Lies" is even more aggressive, a brutally sincere headbanging piece, and when "Circus of Hate" nails you down in the same way, you may start worrying whether there'll be any mercy shown here. Well, your prayers will be answered almost immediately, with "Son of Man" which is a heavy stomper in the 1st half, but the 2nd one wants your neck again; badly. The aggression carries on with an almost hardcore-like intensity with "Corporate War", but "The Way" will show you "the way" to some peace and (relative) quiet finally, offering a surprisingly restrained more complex, almost progressive, approach; a very nice shift showing the band's other, more serious, side. But that's all since the remaining songs are raging thrashers to the bone leaving you shattered all over the floor. This obscure effort is more than a worthy companion piece to same year's Evildead's "Annihilation of Civilization" and Devastation's "Signs of Life" being more direct and uncompromising, still remaining within the confines of the thrash metal genre despite the obvious efforts put by the guys to remain there.

Hell Party Full-Length, 1988
Circles Of Hate Full-length, 1989


Based on the full-length, this outfit specialize in a classic blend of thrash and death metal where brutal blasting rhythms intertwine with more controlled stomping passages the resultant "therapy" quite close to the early examples from the Floridian scene with not much thrash incorporated in the 2nd half where a few sincere hardcore moments can be encountered as well among other "helping hands". The vocalist growls in an authoritative semi-shouty manner and albeit quite brutal, leaves a generally positive impression assisting this ultimately aggressive musical downpour.

Spit on the Holy Grail Full-length, 2012
Depths of a Cold Abyss EP, 2012

My Space


These young Irishmen provide intricate progressive modern thrash which starts shreding with admirable complexity from the very opener "Eternity". "The Arms Of An Empire" is a bit more linear, and "Extinction Praefinitum" is another headbanging winner without too many complicated riff-patterns. Comes "Waning Heaven", however, and the situation becomes a bit harder to swallow with choppier riffage, but with also a few cool melodic tunes and a sing-along chorus. "End Of Days" serves hard sterile thrashing with wild blasting passage, before "The March To War" notches it up in the melodic department with a portion of brilliant virtuoso lead passages. The guys take themselves too seriously in the 2nd half offering three gigantic compositions easily going over the 9-min mark, and despite their undisputable merits, especially the 10.5-min saga "Red Sun Rises", they throw too much music at the listener for them to be truly impressive achievements. A major pullback would be the constantly hissing sound quality which particularly mars the vocals the latter not very clearly heard for most of the time.

Vendetta Unaccounted Full-Length, 2016


The demo: South America is the most widely awoken for classic thrash place in the past 10 years so acts like this one shouldn't surprise anymore. The guys play melodic retro power/thrash with a few addictve melodic lines recalling both Iron Maiden and 90's Megadeth. "Strange aggression" will overwhelm you on the long elaborate shredder "Strange Aggression" which is nothing aggressive really, but is a captivating exercise in virtuous guitar performance containing some really engaging passages, and is quite an achievement in the all-instrumental sector with the plenty of moods and riff-patterns intertwined within. "Violence anfd Force" is not an Exciter cover, but is a really cool speedster with lashing expressive guitars. The final "Tripod Attack" is the only oddity here being a calmer bass-driven instrumental which still displays the guys' skills in producing clever, but also quite dynamic, music which should find a fuller realisation not far from now.
The full-length is a fact and it comes served with the support from the demo including the aforementioned "Srange Aggression" which is the "godfather" of the album. The approach is quite energetic with plenty of headbanging opportunities: check out the speed metal hymn "The Triple Alliance", or the intense semi-technical shredder "The Nightcomers". "Terrible World" is a formidable galloper with lashing hard riffs, and "Victims of Faith" is a short rager with some fine leads. "Violence & Force" near the end is not an Exciter cover, but is an acceptable mosher with good fast-paced rhythms. The final "In Memory of a Soldier" is a more melancholic mid-pacer with a cool progressive edge, a slightly awkward epitaph to this really cool energetic old school affair.
"Unstoppable Drunks" is another full-on attack on the senses the guys relaxing a bit with mellower rhythms although the speed has been by all means retained; still, "A Lesson of Thrash" could have been made more aggressive to be a really meaningful "lesson in thrash"... The 2nd half is more melodic with crossover taking over ("Wish You Were A Beer") as well as the fixation on beer, before the cover of Venom's "Black Metal" arrives towards the end to show the band in their brightest light producing a prime speedster putting even their British peers to shame with their inspired, invigorating rendition of this immortal hit.

Under Fire Demo, 2011
Strange Aggression Full-Length, 2013
Unstoppable Drunks Full-Length, 2015

Official Site


This Brazilian outfit should try harder in order to come up with a "masterpiece": now this competent, but pretty generic, slab of modern post-thrash spiced with more relaxed heavy/power metal passages won't hold water for very long. The riffage is heavy, though, but the melodic leads (check out "Hecatombe") are also here, and they surpass everything else heard on the album. "For Their Heirs Of Freedom" is a nice mix between the ballad and thrash, but rest assured that slower, doomy excursions ("Lane") are also presented the latter recalling the spirit of The Black Album quite a bit which is actually the closest soundalike. The singer is a detriment, though, with his gruff deathy tone, although he surprisingly finds the way to a more stylish singing on the more quiet parts (the aforementioned "Lane").

Heirs of Freedom Full-length, 2012

Official Site


While the world is waiting for the next chapter of the Agent Steel saga, here come a new formation comprising the exactly the same line-up. Why the name change (could be another friction with Cyriis?) few would know, but the truth is that the guys haven't lost the knack of speed/thrashing hard, and the fans will get plenty of hard-hitting riffs, some enchanting melodies, and very good attached clean vocals courtesy of the guitarsit Bernie Versailles who should have discovered his vocal talents earlier since he is really cool. The expected approach only stumbles lightly on the modern proto-groover "M K Ultra (Mind Kontrol)" which is just a filler to contrast with the rest. The final "Lunacy" is a power/speed metal winner with great guitar "duels", and with James Rivera lending his vocal abilities as well. The future looks bright, but shall we forget about Agent Steel... lest we forget...
"From Worlds Beyond": the opening "Supremacy" is vintage early Agent Steel, and the more sentimental will have no choice but to shed a tear or two listening to those gorgeous speedy guitars and those angelic soaring John Cyriis-like vocals; it's not him, but it's one of the Agent Steel founders Bernie Versailles, and one can be prennially mystified as to why he doesn't handle the vocal duties on his main band exploits. The genuine impetuousness of the opener isn't quite captured later, but the fans will have their fun on the pounding headbanger "Third Eye", also graced by a cool memorable chorus, and the aggressive lasher "Tomb of Ra". More modern rhythms sneak on "Eclipse", but "The Mindless" thrashes with no remorse right after, a tendency sadly abandoned on a string of numbers which cling more towards the power metal side. The end is by all means worthy, though, first due to the crushing speedster "Evolution of Being", and then thanks to the closing sweeper "Vengeance & Might" which sees none othe rthan Mr. James Rivera taking over the mike. As a whole there's nothing wrong with this uplifting opus which sees the band trying to stay comfortably away from the shadow of their main occupation by not trying to run away too far from the speed/thrash metal spectre.

Masters of Metal EP, 2013
From Worlds Beyond Full-Length, 2015

Official Site


This is pretty good old school speed/thrash with echoes of Angel Dust, Exumer's debut and Paradox. There's not much "silence" to be encountered here: the band thrash on with confidence by producing longer, more thought-out numbers also rubbing shoulders with Manticora and Hellfire. There are only 7 songs here, though, and they end quickly with just a few "last tries" at a more moderate play (the peaceful heavy/power metal cut "Last Try"), the rest racing with the speed of light ("Lord of Life"). The closer "Kill 'em All" is an encompassing speed/thrasher thrashing with passion incessantly for over 7-min: not much Metallica here, neither vocal not music-wise. Mentioning the singer, he does a good job with his high-strung, clean voice covering several gamuts. Some of the band members have done (and still do) service in the power metal veterans Domine.

Silence Full-length, 2011


A cool mixture of power, speed and thrash metal obviously influenced by early Metallica, but the music is not thrashy all the time, featuring more restrained power and traditional metal sections ("Penitention Sermon" goes down to doom metal even, and is quite an achievement in itself), where the good clean vocals fit a bit better.

Bad Power / Penitential Sermon EP, 1990


Excellent instrumental thrash; the music in not overtly technical like the one of Electro Quarterstaff or Vomitron; it's pure classic shredding, intense and frequently fast. The music is not original, but this is a good idea, especially since noone has thought about paying a similar tribute to classic thrash metal before.
It took the guys a lifetime to record a full-length after the excellent start, but better late than never, like they used to say... Well, in their case the wait was not really worth it: the band having made the worst possible choice to sign none other than Mr. Billy Milano (yeah, that same one) to take over the mike and the man's characteristic hardcore barks don't do justice to the music. That same music is not much to talk about, either, the guitars having a thin synthetic edge lacking power and energy their only saving grace being the very good proficient leads which are the highlight here by a long shot if we exclude the very good sound quality. There is no imagination, not even enthusiasm to be felt: this is as workmanlike as thrash metal can possibly be nowadays with all the technological advances available not requiring a very big effort to "spit" a few notes out. And that's really sad since the EP was a really promising slab of music 7 years ago...

Lethal Legacy EP, 2005
In the Key of Kill Full-Length, 2012

Official Site


Based on "Desde Las Tinieblas", this is a blend of classically-tinged thrash and Swedish-styled death metal ala At the Gates and Dark Tranquillity. The thrashy riffs lose the battle, and the overall sound is closer to death metal, more brutal than the one of their Swedish counterparts, with a more frequent inclusion of blast-beats.
The debut "Holocausto Mental" is the better achievement, at least from a thrash metal point of view. It offers cool energetic, up-tempo thrash with simplistic, but enjoyable riffs, and short, but nice melodic leads. The style follows closely on the steps of the band's renowned compatriots Horcas and Hermetica. Shades of death metal could be heard: the intense blast-beat section on "Cuando el Sol Crucifique Mi Nombre", but on the other hand we have sheer power metal tracks: "Fabricia de Monos", reminding of the American power metal scene of the 80's.
"Carnivora" isn't miles away from its predecessor offering a similar furious blend of thrash and death, this time with fewer blast-beats, and with some pure thrashing headbanging delights ("Mas Alla de la Razon") plus softer power metal numbers ("Hacia Ningun Lugar").
"Cultura Brutal" deserves its "brutal" title to an extent although the band slow down creating a couple of admirable heavy stompers ("El Disparo", "Fuego A Las Carceles"). The blast-beats have beed reduced considerably and now the approach has a somewhat playful tone having somethig to do with the 90's groovy post-thrash scene ("Cabeza De Trueno", the closing "Corazon De Adrenalina").

Holocausto Mental Full-length, 2000
Desde Las Tinieblas Full-length, 2003
Carnivora Full-length, 2005
Intermundia Full-length, 2010
Rock Podrido Full-length, 2013
Cultura Brutal Full-length, 2015

Official Site


Mastodon are not a real thrash metal band, but in their diverse sound one could easily pick influences from Metallica, Voivod, Slayer and other 80's veterans; a very original band who would definitely appeal to thrash metal fans, especially their early period.

Slick Leg EP, 2001
Lifesblood EP, 2001
Remission Full-length, 2002
Leviathan Full-length, 2004
Call of the Mastodon EP, 2006
Blood Mountain Full-length, 2006
Crack the Skye Full-Length, 2009

Official Site


Based on "Teplo Domova Vyche1zed Z Pochvy": this is a mix of thrash and death metal which at times sounds vicious and aggressive, at times slows down, acquiring groovy tendencies, at times leaves the aforementioned styles going into other directions (crossover, alternative, etc.). This diverse work resembles quite a bit the later efforts of the Polish Quo Vadis.

"Nablinke1no, Nakake1no, Spape1no" is quite underwhelming concentrating on groovy post-thrash with not very frequent faster insertions. Consequently the music lacks dynamics although a few stylish melodic jazzy/foxtrot passages break the monotony albeit sounding a bit awkward on the uneventful base.

The Labyrinth Of The Round Square Full-length, 1994
Komplet Full-length, 1999
Teplo Domova Vyche1zed Z Pochvy Full-length, 2005
Nablinke1no, Nakake1no, Spape1no Full-length, 2010

Official Site


Brutal and raw thrash/death metal similar to early Messiah and Protector, amateurish and badly produced; Messiah are "honoured" with an awful cover version of "Space Invaders" from their debut "Hymn to Abramelin".

Blood of Vanity Demo, 1991


3 songs of gruff raw modern thrashcore which is both speedy and groovy, but is ultimately ruined by the buzzy sound quality and the awful synthesized vocals.

Masturbation Over Nation EP, 2009


This is playful power/post-thrash with too many balladic distractions to keep the thrash metal fan's attention for long. This is stuff for parties but only used as a background since there is not much to make the listener sit down and listen with care.

Apocolapsis Full-Length, 2011


Based on the Split, these guys pull out aggressive fast thrash/crossover, not far from the early efforts of Cryptic Slaughter and even Wehrmacht. Short blitzkrieg tracks, stripped-down attitude and vicious declamatory vocals: mosh till death!
The full-length is the modern answer to Cryptic Slaughter's classic "Convicted". Expect 13 lightning speed bullets, maybe a tad more moderate than the ones from "Convicted", but pure rage and fury most of the time, and definitely longer (half of them easily cross over the non-desirable 2-min line).

El Poder Implacable Split, 2005
Implacable Demo, 2005
Matahero Full-length, 2008

My Space


This trio serve abrasive modern thrash/post-thrash which is too repetitive and slow to really strike a chord. The guys dirge on in a tedious mid-tempo not making the listener very happy with this seemingly never-ending supply of rehashed proto-doomy riffs topped by hysterical, very shouty death metal vocals. In the 2nd half the approach becomes more melodic and thrash almost completely disappears.

Ellos Deben Morir Full-Length, 2015

Official Site


Sterile, mechanical industrial thrash/death/post-thrash which at least has a good sense of rhythm ("Whole World Hush") as well as the dramatic urgency of the early Fear Factory works. "A Sea of Skin" is a curious variation on the industrial semi-ballad, but the rest is just plain noise for most of the time with all the expected industrial gimmmicks lined up at the band's service.

[.compendium machinery vibrates.] Full-Length, 2004

My Space


Heavy mid-paced death/thrash metal with gothic/doomy overtones sounding like a thrashy Bolt Thrower; the singer is a really brutal death metal growler shouting ungodly at times in the way Chris Barnes used to do it. The sparce lead guitar work is really good, and some faster sections can be heard ("Brutale Evidenza Dell' Esistenza": this one is really "brutale") as well as intriguing deep female vocals on "Vecchia Sentenza".

Dammi una Vita Demo, 1998


These Russians provide wild frenetic modern thrash/death metal with chaotic riffs and several allusions to Beherit-like black metal, plus a few puzzling technical decisions which may turn into something more special with time. Even the brutal bashing on the shorter tracks sounds intriguing assisted by the dry sterile guitar sound. A sense of melody sneaks on the creepy "Viju ne Viju", including stylish backward playing ala Morbid Angel on the final "Skoro Stemneet". The singer semi-declamates in a scary chanting manner fitting well the minimalistic sinister musical approach.

Lai Na Lunu EP, 2011


Cool, albeit very pristinely produced, demo of intense thrash ala Rigor Mortis with some finely atmospheric moments (the macabre bells on the instrumental opener "Warrior of the 7th Domain"). This is actually the "brainchild" of John Ortega, a future member of Morbid Angel. Virtuoso guitar work ala Mike Scaccia (R.I.P.) can be heard coming from the man on each track, and it's quite striking despite the very raw sound. The guy pulls it out really well on the short extremer "Shadows Beyond the Unseen Realm" and on the closing saga "Evil Dead" which is another violent basher with the lead reliefs leading the pack all over. Ortega is a subdued semi-shouter/semi-declamator behind the mike with a deep death metal baritone.

Mother's Day Demo, 1987
Elysium Demo, 1988


This band features many names from the Texan underground metal scene: two future members of Assalant, the singer Jon Deplachett who later joined the death metal pioneers Necrovore, and one of the early American guitar wizards Phillip Patterson, who, unfortunately, never managed to make a career despite his great talent, also displayed on the Militia demos. The music here is excellent power/thrash metal, mid to up-tempo, but is much more technical than the one of Assalant and Militia, with fabulous complex riffage which at its best reminds of Juggernaut's finest moments, and even Watchtower ("Traveller", "Fortress"): Matrix have actually opened a few shows for Watchtower back in the days when the prospectives looked good, and it seemed as though this very gifted outfit could make it easily to the first division.

The Matrix Demo, 1985

Fan Site


Based on "Age of the Monolith", this one-man-show delivers a decent semi-technical blend of power and thrash, at least at the beginning, which sounds comfortably meandering and jumpy on the opening "Age Of The Monolith Pt. I". Matt notches up the aggression on the following "Age Of The Monolith Pt. II" by retaining the intricate moments, also providing a wide vocal palette ranging from angry quarrelsome deathy growls to shrieky blacky "ravens". The approach becomes more serious and more progressive on "Age Of The Monolith Pt. III", but the harder thrashing is brought back with "The Fermi Paradox", labeit for just this islated track. The second half is very experimental the guy throwing in too many influences to make it a pleasing listen for the thrash metal fandom, including a lot of balladic tenderness on top more acceptable rock hymns (the closing "Run To You").

Enceladus Full-length, 2016
Age of the Monolith Full-Length, 2017

Official Site


Based on the debut, this guy and his comrades provide a fine slab of classic power/thrash metal. This is mid-tempo heavy stuff with nice semi-technical guitars and very good clean high vocals. The compositions are long, within the 5-8min range, and the overall style takes the seat between later-period Helstar and early Iced Earth. The first half is truly a revelation containing the best and the most aggressive tracks among which are the great technical thrash instrumental "Warriors Anthem", and the galloping headbanger "Father Has Risen", topped by truly striking soaring, high-pitched vocals. The second half softens a bit with more power metal-based songs, not as fast and intense, but still intriguing and technical. Just when one starts thinking that the guys would not thrash again, comes another heavy thrash opus: "Tribunal", and the marvellous speed/thrashing closer "Beyond Stygian Creek". The guitar sound is crystal clear, and slightly stifles the bass which, when clearly heard, is quite impressive. Although the two genres covered here are not mixed very well together, with a kind of a borderline between them, this is definitely worth your attention.
"Revelation" arrives after a gigantic 16-year pause to show the guy alive and well, but the listener will hardly be fascinated by this new offering which completely lacks the technical flair of the debut settling for not very eventful classic power metal with almost no shades of thrash, adhering to doom ("Spyders In The Sky") at times, and generally very seldom speeding above the mid-pace. Ridiculous sleezy hard rockers ("Yer-N-Love") are also around to frustrate the fan even further. After having been absent for so long, the man could have put more effort into this record to at least partially match the much more stylish approach on the debut instead of providing this pedestrian uninspired affair.
"Question of Divinity": the thrash metal fan is advised not to bother with this recording which is simply another step down towards the very bottom. This is some careless, very relaxed old shool heavy/power metal with no merits whatosever with references to stoner/doom and other styles. It's a real pity that once a very promising beginning will most likely be left without any, even decent, follow-up...

Haunting Tales Of A Warrior's Past Full-length, 1991
Demo Demo, 2007
Resurrection Full-length, 2007
Question of Divinity Full-Length, 2016

My Space


This guy provides 4 songs of modern doomy power/thrash metal, all-instrumental stuff, except on "Endangered Species" where the man pulls out pretty effective deep clean performance, with good leads and solid mid-paced to slow riffs. "Rock Blues Baby" is a very melodic deviation delivering what the title promises: rock, blues; but, hey, where is the "baby"!?

Apocalypse EP, 2010


This guy specializes in modern, all-instrumental, technical/progressive thrash with heavy, abrasive riffs and sudden switches onto more aggressive, headbanging rhythms. The riffs are choppy and hectic, but the more melodic, progressive "reliefs" ornate almost every track, and co-exist well with the harder sections. "Evolutionary Infancy" is a stylish cut: meandering music with a surreal atmosphere akin to both Canvas Solaris and Electro Quarterstaff with a good spacey lead guitar work. "Mental Constructs" is a brutal-ish shredder with a shade of death metal which lifts the mood up a notch, which in its turns "bears" the speedy technical thrasher "Out of Place". Time for high-octane progressive thrash with the 8-min saga "Ecdysis" which is a great blend of hard-hitting passages, brilliant melodic abstract lead guitar work, and sudden deathy insertions. Another bow to the man for the final "[N]ever Present" which is another hit with its twisting patterns with a pinch of mid-period Meshuggah and again, very surreal leads. The guitar maestros are not a rarity nowadays, but this one should have no problems finding his fanbase with his versatile compositional approach and the more accessible, still "for the thinking generations", style.

Will To Exist Full-Length, 2012


An obscure power trio who released two really good albums of classic Americanized power/thrash metal. The debut is a heavy stomping affair starting the squashing from the very intro "Coming Alive" which is just a heap of chaotic steam-rolling doomy riffs, the latter well translated on the opener "God Is Watching", a cool doom-laden piece. "Psychotic Repair" is hectic and jumpy, a bit faster, and despite its semi-technical merits pales before the excellent "Bid Your Farewell": an exemplary 80's American power/thrasher with great heavy riffs, fine vocal performance, and a memorable chorus. "Overcome" is not far behind, but is more thrashy and more dynamic. That same dynamics gets lost a bit on "Lightning In Your Eyes" which again prefers to jump up and down to still a good effect. "Lost In The Change" is a formidable thrasher in a crushing mid-pace, but "Answer Man" beats it all: excellent technical power/thrash with dramatic complex riffage and dark doomy overtones. "Fire Of Rage" is a very fitting closer with its faster galloping riffage and hard lashing thrashy riffs also offering nice melodic leads which lack something in the proficient department, but nicely take away from the intensity.
"Caught In The Storm" starts in a mellower epic manner with "Hallowed Be Thy Father" which doesn't promise much thrash, neither does the next "Never Said Goodbye", which is a tender ballad. But then "Rain" comes "pouring down", and will literally shatter you with its brutal aggressive riffs and much faster tempos sounding like a full-blooded thrasher, and a very "angry" one at that. The aggression goes down immediately on "Tornados and Trailer Parks", which is an otherwise pretty acceptable piece of heavy semi-technical power/thrash metal with great lead performance which was kind of missing a year earlier. "I Still Remember" is power/doom at its very best, with the Swedes Memory Garden a very close soundalike, with standout vocal performance which is consistently good on both albums, by the way. "Destiny" is already faster and more intense thrashing in a hectic "busy" fashion, an approach also translated on the following "Dissed" which provides very strong bass support. "If There's A God" is obviously the filler, ordinary heavy/power metal with the singer again saving the situation singing with an emotional dramatic tember. "Shedding The Light" is intense galloping power/thrash which crashes with heavy sharp riffs in a formidable steam-rolling manner. The closing "Tear Or Rise" is a short speed/thrasher, an aggressive merciless piece which brings this album even higher than the debut offering more entertainment for the thrash metal fan, and a generally wider variety of styles and moods. It was really difficult to fight against the dominant fashion during those most difficult for metal times, and after trying hard twice the guys had split up with neither of the three ever seen in any other act.

Fire Of Rage Full-length, 1994
Caught In The Storm Full-length, 1995


This is the early incarnation of the legends The Mist. Based on the debut 2-song demo, they played quite well-constructed thrash with nice melodic implements and a generally fast pace which decelerates a bit on "Insane Minds" the latter capturing the unique dark atmosphere of the The Mist works quite well being a sure precursor, and probably a template, for the future "exploits" of the band. The singer is a really brutal deep death metal growler, though, although the music has nothing to do with this style. This is indeed a promising beginning for one of the most original bands to come out of Brazil.

Adrenalin Demo, 1986
Morti Moriturius Demo, 1988


Another early aggressive entry into the thrash/proto-death metal genre (hey, there were quite a few of them out there in the good old times). This is actually the other band where the legendary workaholic Mem Von Stein (Exumer, Sun Descends, Of Rytes) was adjusting his vocal abilities to the demands of thrash, along with the early incarnation of Exumer: Tartaros. The band's sound is reminiscent of Whiplash's "Power and Pain" and Possessed's "Seven Churches". Unfortunately these guys are worse musicians than their American colleagues, and their music is frequently pure bashing, quite intense, but also too one-dimensional. The drums are put too forward in the mix, and sometimes what you would hear is just violent drumming, starkly contrasting to the screaming lead guitars. The Von Stein vocals here are semi-death metallish, quite violent and shouty. But, kudos should be paid to the band for attempting such brutal stuff at such an early stage.

Chains of Death Demo, 1985
Evil Pentagram Demo, 1986


Spped/thrash, quite typical for the time and country, not too far from Sentinel Beast's "Depths Of Death" and Anvil Bitch's "Rise To Offend"; the guys here have a less serious attitude perhaps, sharing some of the jolly light-hearted mood of the crossover scene at times. Apart from the obligatory brisk speed/thrashers, we have cool more moderate tracks like the merry melodic punk-ish "Couch Potato", the Motorhead-like "Fuk-u", the interesting "Aerobic Genocide" the latter introducing very cool melodies. One of their unfluences has been given a tribute at the end: Motorhead with... you have the right to make 3 guesses: but of course "Ace of Spades"! The singer Matt McCourt later sang for other acts, like Wild Dogs, Dr. Mastermind, etc.

Burned Alive Full-length, 1987

Fan Site


This band features the famous guitar player Louie Svitek who later took part in other much more famous bands: Mindfunk, Ministry, M.O.D. (he definitely likes the acts whose names start with the letter M), Zoetrope, as well as the drummer Bill Schmidt who later helped Paul Speckman both in Death Strike and Master. This 3-song demo is really cool speed/thrash metal which recalls strong albums like Blessed Death's "Destined For Extinction" and Heathen's "Break the Silence". The tempo is fast, except on "Matter in the Universe" which is a nice heavy thrasher with a more technical edge. Svitek does a very good job; especially his leads are quite striking, and the vocals are worth mentioning being quite high-pitched, but suiting the music just fine. The guys could have forged themselves quite a career if they had voted to carry on with this fine band.

Demo Demo, 1985


This band specialize in aggressive thrash with a strong Slayer-influence mixing their early more aggressive period ("Prey on Terror") with their heavier more restrained one ("Crunchy Frog"). The demo is long, and there is room for deviations from the pattern: the excellent speedy "Mirror of Judgement" which is a nod to the German school.

Dead From The Skyroom Demo, 1989


Based on the full-length, this formation serve intense modern thrash/death which is mostly fast up-tempo music producing some hard vitriolic pieces ("World's Dead Side") the wild riffing admirably sustained for over 6-min on at least one-third of the material. The biggest ambition, however, is shown on the final 10-min "giant" "Gilles de Rais", an impressive progressive achievement with a large participation of the harsh, shouty death metal vocalist. Some of the band members also play with the classic thrashers R.I.P. with whom they are yet to reach the official release stage.

Skullcrusher EP, 2012
Ready to Kill Full-length, 2016

Official Site


One of the first Swedish bands (along with The Haunted and Carnal Forge) who introduced the modern thrash/death metal genre on the scene. Maze Of Torment are more aggressive than the other two, with their works placed closer to death metal.

The Force Full-length, 1997
Faster Disaster Full-length, 1998
Death Strikes Full-length, 2000
The Unmarked Graves Full-length, 2003
Hammers of Mayhem Full-length, 2005
Hidden Cruelty Full-length, 2007

Official Site


Classic thrash the band moshing out in a straight fashion, the overall delivery recalling the German school (Darkness, Assassin, Tankard). "Apophis - Killer Asteroid" is a wilder cut with shades of proto-death, and "In Cold Blood" is a relaxing friendly mid-pacer. The vocalist is a passable semi-clean voice with echoes fo Tom Angelripper (Sodom).

The Illusion of Freedom Full-Length, 2016

Official Site


Based on "Lord of the Thrash", this outfit may try a bit harder in order to be labelled "Lords of the Thrash". At this stage this is just another derivative blend of modern and classic thrash. The title-track is a rousing anthem and indeed manages to lead the rest towards better future with "Evil Lyn" and "The Wytchhunter". "Through Hell" and "Pale Grey Sky" in the 2nd half ensure some more fun for the headbangers and despite their very close resemblance to more recent Sodom and Paradox, these tunes will keep the fans happy, especially the latter with its memorable chorus and more epic arrangements.

Spit of Fury Full-length, 2006
Lord of the Thrash Full-length, 2015

Official Site


This Irish act provides (based on the full-length) decent modern thrash, which is both intense and semi-technical on occasion. The carefree attitude can not possibly be disguised on crossover joys like "Death and Glory" or the sing-along "Powered by Death". "The Sound of Speed" will hardly reach "the sound of speed", but is a pretty cool speed metal hymn ala the happy 90's. "The Gravedigger" is nothing like its title, but is a pleasant, albeit a bit overlong, ballad, influencing the closing "Demon Killers", which is a bit faster with power metal shades. The Irish folk heritage nicely springs up here and there, providing the necessary melodic relief, may be a bit too much in the 2nd half.

Delusions of Madness EP, 2010
Powered By Death Full-length, 2011

Official Site


Industrial modern thrash which has a lot of dynamics in a way quite reminiscent of Front Line Assembly's "Millennium". The guys thrash with force, and the industrial elements only help aggravate the intensity, especially on major neck-sprainers like "The Death Song" and "The Last Ride". "The Game" is a short semi-technical explosion followed by another shorter, the operatic instrumental shredder "Saltatio Mortis". "The End" is more than a fitting epitaph thrashing wild with an abrasive edge and a slight death metal leaning. The singer is vintage Tom Angelripper (Sodom) maybe reciting a bit more, but his tirades are more than suitable to this cool robotic headbanger.

Hell Full-Length, 2013


An all-female power/thrash metal band who play power/thrash of the more melodic variety recalling at times 80's Chastain, with excellent female vocals. It's not deprived of good headbanging numbers: the intense thrashy opener "Roadkill", for example, but the rest is a mix of power and thrash metal clinging more towards the power metal side.

Roadkill Full-length, 1988


Like their compatriots from Channel Zero, these guys started in an awesome fashion, resurrecting the glorious Bay-Area sound, opposing to the modern trends of the 90's. Meantime are perhaps even better than the other more popular band, with their music being more technical and overall better executed. Forbidden's debut is the main influence, including in the vocal department, but the music here has a slightly more technical edge, which at its best also smells another Belgian act: Target. Unlike Channel Zero, this band voted to split up right after this demo, before turning into another Pantera-clone, like the other one.

Demo Demo, 1993


The 90's trends have been translated by these Brazilians for the younger generations sp expect post-thrash wrapped in a boosted modern production the resultant "therapy" hesitating between the groove and more interesting balladic/semi-balladic passages consequently offering nothing faster the exceptions being the cool headbangers "A New Medicine" and "Nothing Guaranty". There is also a lot of melody on offer mostly served in the form of short leads which are way more impressive than the indifferent semi-shouty death metal vocals.

A New Medicine Full-Length, 2007


Based on the EP: hardcore meets the groovy deviations of Helmet and Pantera on the more aggressive parts; the former Intruder guitarist Rotten Ron Hanisco plays here, but hardly reminds of himself although the music is quite energetic, and some tracks are cool up-tempo headbangers ("Who's Your God", "Triangle Of Pain"). Certainly, there are fillers which had better be skipped (the punk-ish "OI Hate").

Demo Demo, 1990
Keep the Faith demo, 1991
Triangle Of Pain EP, 1994


The interesting name comes from their rehearsal place, which was a real meatlocker. A place like this certainly inspires for nothing else, but thrash/death metal of the modern type with a more aggressive approach than the lot, and sparse cool technical riffs ala Morbid Angel (the debut EP). The full-length is a truly heavy affair which is characterized by seismic 10-ton riffs and generally short tracks which carry a certain hardcore charge. The songs never develop beyond the volcanic mid-pace, but their pounding consistency should not leave the groovers disappointed. The closing "Pyroclastic Flow" is a more stylish decision with more technical guitars and more elaborate arrangements, with even clean vocals sneaking into the picture, which is otherwise dominated by forceful shouty death metal vocals.

Corrode EP, 1997
The Biological Mechanism of Hate Full-length, 2003
Depression Earth EP, 2004
2005 Sampler EP, 2005

Official Site


Based on "Scavengers", this band plays pretty decent thrash/crossover which is both melodic (check out the excellent "sweet" ballad "Sweet Release") and intense (the short exploder "Rate of Decay") including one really nice speedy technicaller ("Hell Road") as a finishing touch, a surprising epitaph to this oterwise straight-forward effort which boasts sharp guitars and expressive shouty proto-hardcore vocals.

Meat N Cider EP, 2004
Fucking Metal Full-length, 2008
Scavengers Full-length, 2010

Official Site


Good modern thrash metal similar to what Overkill and Cyclone Temple were doing around the same time, plus a few technical, Jeff Waters-like, riffs which shouldn't be such a surprise having in mind that most of the band members had done service in Annihilator. The sound takes a very groovy orientation at times ("Laid to Rest"), but contains enough impressive energetic thrashers, like the album opener "You Speak With Lies" and the album highlight "Mouthwired".

Left With Nothing Full-length, 1996

Official Site


This demo is full of first-rate brisk, fast-paced technical riffs which come with a strong crossover edge at times, but of the more aggressive variety: think less linear and more meandering Wehrmacht. The guys have a good taste for pace and don't constantly bash without brains, but provide the casual more stylish shredder ("Skitzoid"). "Moment of Climactic Fury" even offers some choppy technicality which is partially transferred on the unpredictable Atheist-esque closer "Stuck", a most frantic number with mazey riffy "salads" and briliant twisted leads; for this cut alone this demo is a must-find, a very undeserving leftover from Atheist's"Piece of Time". The singer also recalls Kelly Shaeffer from the mentioned technical death metal wizards, but lower-pitched and a bit less dramatic.

Demo Demo, 1989

Official Site


This is industrial modern thrash which is more on the engaging side with serious thought-out compositions ("The Serpent`s Greed") where there's not much aggression present, but the ripping riffage should suffice to keep the listener interested in the proceedings which may remind of Grip Inc. and the Finns Vortech some guitar virtuosity ("Beyond Realms of Reality Part 2") also thrown in to hint at the band's bigger musical potential.

Realms Full-Length, 2013


This new formation is another vehicle for the talents of the drummer Gene Hoglan. The style is fairly complex progressive modern death/thrash metal with sharp technical riffs, frequently changing tempos, and, of course, precise expert drumming. To describe the band's style would not be a very easy task, but if you can imagine a cocktail of Nevermore, Biomechanical, Meshuggah, Obliveon, and their compatriots Martyr, you may get somewhere. The vocals are divided between screechy black-ish and brutal death metal ones; oh, and let's not forget the semi-clean ones springing up from time to time. The lead guitar work is quite good and works very well combined with the very complex, vortex-like riffage. The guys don't rely on very long songs, the only exception being the 7-min progressive opus "Hall Of The Gods" which is a wild mix of moods and time changes ranging from sprawling head-spinning sections to very short blasting moments. Even short numbers, like "Awake" or the less-than-2min furious "Lord And Thief", are very heavily technically-charged, leaving a little room for straight headbanging passages. The closer "Hellmutt" will scare you with its very brutal blasting beginning, and is the only death metal number on the album, a somewhat illogical exit from it, having in mind that there was no trace of brutal stripped-down death metal to be heard earlier. Still, it remains a fairly satisfying slab of technical/progressive metal, and may do well to fill in the gap left by Obliveon as the leaders of the modern side of the genre in Canada.

Inspired Horrific Full-length, 2009

Official Site


Having taken their name from the last track from "Killing Is My Business,...", this band's style shouldn't be hard to define: pretty cool melodic thrash which sticks close to 90's Megadeth (1992-1997), but more aggressive ("Aggressive"), and the vocal lines of Dave Mustaine. The lead guitar work is particularly impressive featuring great melodies, and the guys do an admirable job bringing to mind the technical, sharp riffs of their renowned peers. With Megadeth being on the edge of falling from grace in the late 90's, Mechanix came right on time to keep their style "alive", and even nowadays they seem like their worthy competitors. I can see quite a few of you banging wildly their heads on the excellent "44 Masterplan" which is a slightly modified version of Megadeth's early thrash hymn "Devil's Island" from "Peace Sells...".
I was quite surprised to find that "History Re-Rotten" contains completely different tracks from the ones included in the obscure Best of Compilation on which I based my review above; but the style remains the same: melodic semi-technical thrash along the lines of Megadeth, with the vocals even more resembling Dave Mustaine. This is very good stuff; mid-paced, with deviations into a faster play: the fine headbangers "Zero Point", "Passive/Agressive", and especially the mighty short outburst "27", again following the way Megadeth used to do it in the good old days (remember "Holy Wars" and "502"). These guys are a pleasant surprise, although they hardly offer anything outside pure Megadeth-worship.
The intro to "Sonic Point Blank" is already a fairly intense, "mechanix" affair with a strong industrial flavour, but later on the Megadeth worship is in full swing being of the softer mid-90's (think "Youthanasia", above all) type for most of the time, with occasional outbursts of rage (the death metal mid-break on "Collateral Damage"). "Skarface" is a surprising 2-min thrash/crossover piece, but on the other extreme we have the 6.5-min dreamy, pensive ballad "Point of No Return". Then more hardcore happiness follows suit (the 1.5-min joy "My Style"), before the epitomized Megadeth delivery comes back to stay until the end, supported by good meloidc Mustaine-sque vocals. This album sounds amazingly close to Megadeth's "Thirteen" which was released a year later, if we exclude the more immediate crossover "jokes", and as such can hardly be ranked along with the band's earlier output, which had both more edge and energy.

Mindfucked Demo, 1997
Masters of Self-Destruction EP, 1999
History Re-Rotten Full-length, 2003
Point of no Return EP, 2005
Sonic Point Blank Full-length, 2010

Official Site


Based on the "The Very First Heavy Release" demo, these guys were quite capable of pulling out cool technical thrash along the lines of early Megadeth (up to "Rust in Peace"), an influence also betrayed by their name; the singer has a voice quite similar to Dave Mustaine, maybe a bit rougher. The music is not aggressive, but the musicianship is quite good with nice leads and a heavy bass bottom. Reportedly the band have given up thrash on later releases, and have joined the nu-metal legions.

The Very First Heavy Release Demo, 1993
Diverse Opinions Demo, 1997
Never-fail Fix Demo, 2003

Official Site


Melodic power/post-thrash, strongly influenced by Metallica's Black Album; this is much inferior, though, with borrowings from other genres (the hard'n heavy "Disclose The Secret"), and numerous melodic elements, including one cool ballad at the end: "Feel The Pain", which is the best song on this below average effort.

Gravewish Full-Length, 2008


Based on "Kenosis", this band plays derivative unsurprising modern thrash/death metal which is suitably heavy and steam-rolling, but its tank-like approach has been adopted by quite a few contemporary acts already. The guys show their more brutal side ("Boiling Point"), but there are absolutely no risks for one to break his neck here, despite the really heavy nature of the music. The singer is your average death metal growler with echoes of Karl Willets (Bolt Thrower).
"Solipsism": the monotonous chugga-chugga saga continues without any drastic changes served in a more playful, frolic manner ("Hallowed Ground") at times, at others with a massive war-like, battle flavour (the 10-min opus "Mass Purgatory"). "Decree Of Servitude" is a cool nod to the doom metal scene, and "The Bloodfal" is the only more aggressive number again recalling the legends Bolt Thrower.
"Mortem in Aeternum": the battle march carries on remorselessly the guys death/thrashing with a lot of heaviness again, the officiant mid-tempo tone settling in in the middle, seldom disturbed by more intense escapades ("Vice Returned"). Touching doom ("Blood Moon", the majestic "Untethered") becomes no problem with a delivery of the kind, and it seems as though this may be the direction in which the band will be heading on future releases.

Holon Full-length, 2007
Kenosis Full-length, 2011
Solipsism Full-Length, 2016
Mortem in Aeternum Full-length, 2017

Official Site


This band play heroic, retro power/thrash which follows the epic paths more closely, seldom breaking the mould with the odd more aggressive rhythm (the reckless speedster "Escape"), preferring instead to "court" the ballad on the dragging, overlong "The Angel Of Rain". The final saga "The Fabled Uxoricide" lasts for whole 12-min, but is an eventful composition with engaging dramatic accumulations. The singer is a rough semi-cleaner, and his effective emotional tirades remind of David Wayne (R.I.P.) (Metal Church).

Conductor Of Storms Full-Length, 2016


The full-length contains the impressive number of 13 tracks of frenetic thrash/crossover still quite jolly and frolic reflected in short, 1-2min, numbers and simplistic direct riffs with a strong punkish flair. Party stuff as a whole, with expressive shouty vocals and samey roller-coaster rhythms.

No Regrets EP, 2010
A Voice Of Our Own EP, 2011
Burn the World Full-Length, 2012


This band play intense vigorous classic thrash with a few more brutal death metal moments including the ultimately brutal death metal grunter behind the mike. The guys play with passion hampered by the muddy sound quality and not very necessary stretches into other directions which comprise doom, black, power metal, among other influences. needless to say, some of those are totally unsuitable for the singer who never changes his low-tuned growls. If we exclude several stylish bassisms encountered here and there, the rest is just average stuff which may pass unnoticed due to its deep underground character.

Caminho do Arrependimento Full-Length, 2012


An obscure demo from the Greek underground offering cool dark intense speed/thrash along the lines of Infernal Majesty and Slaughter's "Not Dead Yet". There is a keyboard background here and there ("Eternal Death") which gives a nice surreal touch to the music, and will also remind you of the early "exploits" of their compatriots Nightfall. The sound is energetic in up-tempo with good sharp but also melodic guitars (the leads are particularly cool), but the singer may be a flaw to some with his indifferent declamatory chants which can hardly be called singing, and would better suit a magical evocation ritual.

Moments of Silence Demo, 1990

My Space


Noisy hardcore-ish thrash of the modern type, rough and semi-industrialized, with shouty hardcore/semi-death metal vocals. The guys bash a bit one-dimensionally, with simplistic direct riffs and a few doomy sprawls, which are the better side, and come with a strange ambient vibe.
"Asoma" offers the same crusty industrialized sound, this time the vocals screaming unpleasantly with an annoying hysterical pitch. The album again takes off on the slower moments (the doomy industrializer ala Mindrot "Destroy/Rebuild"), whereas the rest smells metalcore quite a bit. Some of the musicians practice much more aggressive music in the death/grind outfit Cap de Craniu.
The "Memory Hole" EP is 3 tracks of the same stuff, abrasive energetic thrashcore with signs of crust and speed metal ("Your Reflection") introducing the expected slower moments on "Silent Cries" which is longer and more serious than the other two.

Human Progress-Endless Regress Full-Length, 2010
Asoma Full-length, 2011
Memory Hole EP, 2012

My Space


Hard, jumpy modern thrash which delivers in the headbnaging department in a way no worse than early The Haunted and Carnal Forge pulling out short blitzkrieg thrashers like "Big Stick", "War Cry" and "Filicide". The guys spare no speed, which completely obliterates the few groovy attempts ("Spine"; the light-hearted power/groover "The Way") which would have otherwise suited the expressive shouty vocals.

Burns Going Down Full-Length, 2012


Based on "A Conversation Alone", this act offer ordinary post-thrash mixed with more intense hardcore outbursts. The two sides are mixed awkwardly still producing quite a few jumpy sections topped by slightly synthesized very shouty vocals. Later the guys continued their career under the name Murder One where the style became more aggressive incorporating slufge and death metal to the thrashcore-y picture.

All Our Friends Are Dead EP, 1997
A Conversation Alone Full-length, 1999
Dying From The Inside Full-length, 2000


Based on "Dream Machine", this is melodic power/proto-thrash metal with a slight progressive edge which sounds like a more melodic Drifter (Switzerland). Most of the songs are long, with all the atmospheric and balladic passages included, as well as a certain epic/pagan atmosphere present. The singer is the highlight with his emotional mid-ranged clean tone. The music is mostly mid-paced, but often moves into slower waters, and there is at least one track which will make you move around, but just a bit: "Eternida".
"Etherias" arrives 7 years later to provide similar stuff, progressively-laced power metal with shades of thrash, the riffs lashing harder and faster this time producing nice galloping moments ("Son Of Etherias"). "The Blaze Of The Setting Town" is a fresh invigorating speedster ala Savage Grace surroundded by quiet balladic interludes which are quite frequent, by the way, and could have been skipped. "Lacercians" is another more energetic offering, a sharp power/thrasher in mid-tempo, before "The Soldier's Letter" embraces the speed metal idea once again. The closer "Torments Of Hell" is a more ambitious take on epic power/thrash, longer but also slower, with the vocalist doing a very good job with his dramatic semi-high blend. Now he doesn't seem to be the clear highlight the music staying pretty much on par with him this time comtaining much more energy and vitality. Some of the band members are still around with the death metal act Xtrunk, and the guitarist Gilles Giachino is also a member of the modern power/thrash metal stars Kragens.

Dream Machine Full-length, 1995
Etherias Full-length, 2002

Official Site


This outfit are actually on eof the oldest metal acts from Sweden, but it's 30 years since their inception that they finally managed to come up with an offical release. The style is enojoayble old school speed/thrash with harsh deathy vocals, direst unpretentious music which is built around both short immediate headbangers ("Act Dead") and longer, sprawling compositions with a doomy flavour ("Heads in the Sand"). "The Puzzle" indeed tries to insert more technical rhythms, and the closer "" is another balladic doom metal epic graced by better cleaner vocals performaed by the same guy. This Is the End of It All... the Beginning of Everything... Full-Length, 2016



On "Different Kind Of Meat" Mega Mosh play thrash metal with slight hardcore influences, close to Nuclear Assault. This is enjoyable, unpretentious energetic stuff graced by furious speedy tracks: "Organ Dealer", "You Forced Me", which would have been a hit even on Slayer's "Reign in Blood". On the other extreme are the punk-ish jolly songs, like "Euphoria", but they sound cool as well. The guitar work is sharp and tight, serving right the direct, short explosive songs.

Fight the Epidemic Prince EP, 1988
Call to Account Full-length, 1989
A Different Kind Of... Meat Full-length, 1992

Vibrations of Doom


"Human Errors" is very good progressive thrash metal similar to Lost Century and Depressive Age, predating the latter's debuts with a whole year, characterized by the slightly rough, but fine female vocals. The delivery is both more aggressive and more hectic accentuated by the excellent lead guitar work. The album begins in a fairly impressive manner with the first three songs, which are shorter, effective technical thrashers full of stupendous technical riffs. Later the song-structures get more complex, the guitar lines become harder to swallow, but remain on a high level. The music never lacks coherence, and one would find himself quite entertained moving around this labyrinth of interesting, non-conventional stuff, although here the moments for the regular headbanger are not many at all. "Monofaces" arrives to provide a fair amount of intense energetic, but again quite technical, riffs, but moments of the kind are really rare. This album is one of the more interesting, and also the earliest, works from the progressive/technical thrash metal wave which overtook for a while the German metal scene in the early/mid 90's.

Alas, instead of keeping the inertia accumulated with the debut, the band inexplicably disappeared from the scene to come back 8 years later, when very few of the fans could remember who they were. "Inner War" offers the same hectic delivery, but the song-writing is a lot more conventional; there are no longer, more thought-out numbers which were the highlight on the debut. Still, there are a few interesting technical decisions to be heard ("Industrial Dictatorship"), but the dull moments are here as well: the odd ballads "Ciphers" and "Rain", which sound as though the girl was preparing to join The Third and the Mortal, or Theatre of Tragedy, followed by one pure heavy metal number: "Synchronicity". Despite the lack of any detrimental groovy tendencies, this album showed that 8 years are too big a gap to be filled properly. Later the guys (and a girl) continued their musical career under the name Step Into Liquid where they started playing more melodic progressive metal.

The Sign Of The Ape Demo, 1988
Human Errors Full-length, 1991
Inner War Full-length, 1999

Official Site


By kicking Dave Mustaine out, Metallica indirectly created a major rival for the title "best American metal band". And while Metallica left the thrash metal department a while ago, with "Death Magnetic" finally showing signs of waking up, Megadeth have been treading the true path with just a few deviations. The unpolished and slightly naive approach on "Killing Is My Business,..." was hardly the best answer to Metallica's first two stellar efforts seeing Mustaine's gang having a long way to go to catch up. "Peace Sells... But Who's Buying?" was a much better offering, the band this time sounding much more convincing, with the title track remining one of the definitive thrash metal hymns with its razor-sharp mid-paced main rhythm. "So Far, So Good...So What!" acquired a darker heavier sound, well reflected on the excellent "My Darkest Hour", which was actually written two years previously after Mustaine found out about Cliff Burton (R.I.P.)'s death. Even the uplifting cover of Sex Pistols' "Anarchy in the UK" fit well into the overall not very optimistic (atmosphere and text-wise) picture.
This album, however, could not be even viewed as a rehearsal to the glorious "Rust in Peace": a masterpiece of sophisticated technical thrash which saw the band hitting the top in every department. Here is the place where the name of the newcomer Marty Friedman should be mentioned as one of the main reasons for this, his great talents providing the best possible support for Mustaine's guitar pyrotechnics. The 90's saw the band experimenting with more melodic genres, although "Countdown to Extinction" was pretty much a classic thrash offering, not as technical as its triumphant predecessor, but still delivering with its catchy infectious approach, producing the megahit "Symphony of Destruction". "Youthanasia" steered away from thrash a bit, even flirting with the balladic genre on "A Tout le Monde". "Cryptic Writings" continued in the same vein, and was the first indication that the band were loosening up. It eventually led to the disastrous "Risk", which saw Mustaine finding it hard to "bury" the shadow of Metallica trying to produce an album in the modern non-thrash vein akin to "Load" and "Reload". "Risk" was a "risk" indeed, and not a very well measured one at that since it threatened to cause damages of the "Cold Lake"-proportions, especially after the follow-up was just a bit better. Still Megadeth managed to pull themselves together (not without the considerable help of the Drover brothers from Eidolon who came as a kind of replacements for the departed Marty Friedman (yeah, sometimes it takes two to replace a genius)), and their last couple of releases brought the band's sound almost back to "Rust In Piece" on their best moments.
"Endgame" (I'm not sure if the album title reflects Mustaine's intention for this album to be the band's swansong, but having in mind the quality of the music on offer here, it would be a pity; really) sticks to the safe successful formula from the previous 2 works, mixing the stylish technical thrash of early Megadeth with the more melodic approach of their 90's efforts; what makes this one superior to the previous two is that here the concentration is clearly on hard-hitting thrash, with not a single filler, even among the mellower material. It opens with the soft heavy metal instrumental "Dialectic Chaos", which is miles away from the thunderous ominous character of "Into the Lungs of Hell", the instrumental which started "So Far...So Good" more than 20 years ago. Mustaine, however, can not possibly keep you in "nomansland" confused as to what's going on here, and quickly blasts out with the cool energetic speed/thrasher "This Day We Fight!", sounding as though directly taken from "Peace Sells...". Don't expect two of the kind in a row, and the following "44 Minutes" is a nod to the romantic melancholic style of "Youthanasia". Then "1,320" thrashes on again, vintage classic Megadeth, with "Bite The Hand That Feeds" carrying on in the same vein, maybe a tad more melodic. "Bodies Left Behind" is a heavy stomper more in the spirit of their 90's output, with nice lead performance and fast closing speed/thrashing minutes. "Endgame" is even heavier with doomy overtones in the beginning, later evolving into standout technical thrash, well deserving to carry the album title. More romance on "The Hardest Part Of Letting Go... Sealed With A Kiss", which is a fine semi-ballad, more aggressive, and better, than "Tout Le Monde". Grab your seat for the next "headcrushing" "Headcrusher", splashing raging thrash, the most brutal song in the band's discography. "How The Story Ends" offers just a slight relief, being slower, but the riffs crush no worse on this one. The final "The Right To Go Insane" is a bit of a letdown, which could have been placed somewhere earlier, since it is another reminder of the band's more "tender" period, although the 2nd part serves a cool portion of more dynamic headbanging thrash. There should hardly be anyone dissatisfied with this album, which effortlessly manages to provide an entertaining cross over the band's previous output, sounding both fresh and true to the classic tastes.
"Th1rt3en": quite a few bands have been running out of imagination recently (Overkill, Tankard, etc.; I'm sure no one out there has forgotten how to count, especially when it comes to his/her favourite band) preferring to use numbers for album-titles rather than coming up with another cool catchy phrase/sentence (check the earlier titles here) for the fans to sing-along ("Peace Sells, but Who's Buying..."). Anyway, what have Mr. Mustaine and his gand cooked this time? And would this 13th warrior... sorry, album in the band's career be at least on a level with "Endgame"? Well, it would largely depend on which stage of the band's career you like since this new effort is very faithful to the guys' more radio-friendly period (1994-1997) with a pinch of the naive rock-ishness of "The World Needs a Hero" ("We The People", and elsewhere). It's definitely not the "end of the game", neither is it the end of the world, to listen to this pleasant mild power/thrash rhythms which at least on the opening "Sudden Death" promise quite a bit of moshing around. The rest, however, doesn't bother to reach this intensity with just separate cuts lashing with more passion ("Never Dead", "Wrecker"). It's a fairly easy effortless, feelgood listen which would not require any big concentration or physical strain since the headbanging sections are not many at all. It by no means beats "Endgame" in any department although the final ballad "13" (there is another, semi-one, "Millennium Of The Blind", earlier on, also quite good) is the best attempt tried by the band in this field. Those expecting Megadeth to flop again (no more "risks", hopefully) will have to wait until "number 14"; this album would definitely satisfy those who consider the post-"Rust in Peace" era of the band as more than just thrash, and with its wider gamut of styles and moods this "fatal" offering would be welcome with more smiles than frowns in the long run.
"Super Collider": well, after a creative peak, if we could consider "Endgame" as such, the only way is down; and down it is... for Mr. Mustane and Co. Now one can clearly see how reflective the title ("Endgame") was: apparently it's all said and done for the thrash metal side of Mustaine's repertoire, at least for a certain period. If "Th1rt3en" is the relaxing offering after a strong release, "Super Collider" is hard to be viewed as a second break because it's just too bad to be considered as anything at all. It's by no means the unforgivable flop which "Risk" was, but it's definitely not even half as shakingly promising as "The World Needs A Hero" was. Oh, so sorry, it actually does promise something: a guaranteed poppy radio-friendly oblivion which a third same-sounding effort would inevitably throw the band into; a "lethal" territory which even Metallica managed to evade when they "loaded" and "reloaded" a few times in the mid/late-90's. But if the band serve one more effort of the kind, the "super collision" with their fanbase would be very likely...
These ears didn't hear much worth writing about on this album except for the really promising opener "Kingmaker" which in the long run makes the listener even sadder for not hearing anything even remotely similar to its merry-go-round galloping energy. The title-track hits right after and the cheese starts flowing in all possible shapes and varieties to a fairly laughable effect all the way to the final cover of Thin Lizzy's "Cold Sweat" although very few would be the thrashers to ever reach that far into the album, and only in case of they find the more dynamic guitars on "Dance In The Rain" in the middle a promise for at least a proto-thrash joy some time later. Alas, no... At least "Youthanasia" and "Cryptic Writings" were full of catchy memorable tunes and choruses for one to stay hooked and sing-along ("Let me show you how I know you..."); none of those can be found here to the fan's utter chagrin. This is just the obligatory filler in the band's discography after the compulsory 2-year gap, and if the band have to increase this gap (3, 4 even 5 years, as long as it takes) in order to get back in shape, no one would complain; no one. For the moment simply "the world doesn't need a hero", definitely not in the form of this "super weaker" here.
"Dystopia": Mustaine keeps entertaining himself hitting lows after highs, taking turns to these ears intentionally. Certainly, those same lows could only be considered as such by those who don't like this particular style (for some, for example, "Risk" was a masterpece, believe it or not!); the same goes for the highs, of course. Well, "Super Collider" was a low by all conceivable standards so it should come as no surprise the better musicianship on this one which goes back to the 90's when Megadeth's competent semi-technical proto-thrash was still viewed as a highlight. Expect the shreddy mid-tempo formulas from those times ably applied here for most of the time as even the mellower moments (the feelgood anthemic title-track; the jumpy groover "Fatal Illusion") sound cool probably due to the introduction of the talented guitarist Kiko Loureiro (Angra) who pairs with Mustaine quite well all over particularly shining on the galloping crowd pleaser "Death From Within", and the excellent stomping semi-ballad "Poisonous Shadows". The gallops take over once again near the end on the energetic ripper "Lying In State", and the other really dynamic moment would be the cool short speed/crossover closer "Foreign Policy". On the best moments this album sounds almost as good as "Youthanasia", no kidding, and if Mustaine manages to keep the young Brazilian virtuoso in the band longer, one can clearly foresee another finest hour ala the Marty Friedman spell (yeah, keep on dreaming!).

Killing Is My Business...And Business Is Good Full-length, 1985
Peace Sells... But Who's Buying? Full-length, 1986
So Far, So Good...So What! Full-length, 1988
Rust In Peace Full-length, 1990
Maximum Megadeth EP, 1991
Countdown to Extinction Full-length, 1992
Youthanasia Full-length, 1994
Hidden Treasures Best of/Compilation, 1995
Cryptic Writings Full-length, 1997
Risk Full-length, 1999
The World Needs A Hero Full-length, 2001
The System Has Failed Full-length, 2004
United Abominations Full-length, 2007
Endgame Full-Length, 2009
Th1rt3en Full-length, 2011
Super Collider Full-Length, 2013
Dystopia Full-Length, 2016

Official Site


Based on the ambitiously-titled (and pompously, some may say) "Metal Maniac Attack", this band offers quite cool speed/power/thrash metal along the lines of Warrant and Not Fragile. Expect speedy numbers galore, some coming with a harder thrashier edge ("Before the Night"), others being more sprawling power/heaviers ("Nasty Savage"; no relations music-wise to the US band of the same name). "Nostalgia" even reaches towards a more epic Manticora-sque complexity, also speed/thrashing incessantly, but expect a total stoner/doom madness on the psychedelic "The Electric Wizard", which this time justifies its title being a nice nod towards the British cult act of the same name. Prime speed/thrash with a cool progressive edge will befall you for just above 7-min on "Apocalyptic Ride", and "Thrashing Mad" is exactly what the title promises: speed, I would also add, thrashing mad with lashing guitars, virtuoso leads, and sweeping melodies. "Along the Rainbow" is the staple 90's power metal happiness with a nice epic shade followed by the ultimate speed/thrash metal hymn: the 8-min long "Megahera" which adds cool sing-along choruses among the fierce riffage the latter replaced at the end by a quiet balladic outro. The singer is a less impressive semi-cleaner who could have changed his mid-ranged delivery from time to time with a more detached higher note. This is a really nice surprise from Italy offering a harder and faster alternative to the pleiad of Rhapsody and Labyrinth clones which have plaqued the scene in recent years.
"Condemned to Insanity" may confuse the listener with the overlong balladic introduction, but enters "An Eye for an Eye", an assured mid-tempo shredder, and things kind of go back on track. Still, this opener pales before smashing speed/thrashers like "Condemned to Insanity" and "Fighting Forever" which raise the flags of Manticora and Hellfire high. "Into the Sea" is a nice semi-ballad with a vitriolic fast-paced twist, and "Bipolar Mind" is the peak of the guys' progressive ambitions thrashing with intelligence for over -min also graced by a great memorable chorus. The final "Against the Law" is a rousing speed metal hymn again coming with a cool chorus finishing this effort with panache and showing a band already equipped to pay a more prominent role on the metal scene worldwide.

Lethal Noise of Violence EP, 2009
Metal Maniac Attack Full-length, 2011
Leather in London EP, 2012
Condemned to Insanity Full-length, 2013

My Space


Epic power old school thrash with progressive pretensions; the music acquires operatic proportions ("Ariadne's Thread") at times also thanks to nice female vocals which assist the main "brutal vs. clean" vocal duel the latter not very evenly achieved. The delivery seldom leaves the officiant mid-tempo parametres "Dedalus and Icaru's Escape" the exception with several livelier moments, and of course "End of a Reign (Begin the Judgement)", a nice melo-speedster with a more dramatic death metal-ish flavour. Some of the band members also play in the retro thrash metal outfit Esdrelon.

Power, Lies and Death Full-length, 2017

Official Site


Good energetic music, blending the speed/thrash approach of early Angel Dust ("My Evil Now") with the heavy doomy style of Anvil and Jag Panzer ("Nail Us to Your Cross"). The singer is a bit annoying with his gruff semi-clean drunken voice slightly recalling Lips (Anvil) and early Denis "Snake" Belanger (Voivod).

Risen From The Grave Demo, 1986

My Space


The demo": the drummer Oscar Moritz from Immaculate is here to take part in the recording of this energetic take on the good old thrash/death metal which comes with fast crispy riffs and gruff death metal vocals. The guys thrash with no mercy with the early German school paid special attention. "Speeding Death" is more "speed" than "death", a fast brisk number which, however, is beaten in terms of pace by the following "Megalomaniac" which is a blasting proto-deathster; and the final "Hypocrites Demise" which is the last "ball of fury", again death metal-laced, on this cool nod to the old sound.
The full-length aptly balances between thrash and death metal as more preferences are again given to the former and when it "rules", the sound is aalways on the high-speed side with short "therapies" like "Tempting the Blade" and "Broken Arrows" being major rousers with their crisp headbanging riffs. "Megalomaniac" is probably the most pleasant surprise being a shattering speedster with nice epic touches the latter ably supported by very good melodic leads. The singer sounds more comprehensive this time with a less brutal blend with a slight semi-shouty pitch.

Speed Demon Demo, 2011
No Return Full-length, 2015

Official Site


Based on the "Hands Of God" demo, these guys play thrash/death metal of the classic school the sound ranging from all-out brutal pieces ("Macabre Insemination") to heavy doomy ones ("Buried Beauty"). "Ticket To Neverland" is a surprisingly mild gothic affair, more suitable for the Finnish acts Razorback and To Die For, and the final "Preludio" is a nice progressive melodic instrumental.

Hands Of God Demo, 1998
Gattaca Demo, 2000

Official Site


The full-length: this is mostly death metal stuff with touches of thrash, similar to Agressor and Entombed in their earlier stages. The demo is more thrash-fixated, containing three lengthy tracks, concentrating on up-tempo aggressive thrash along the lines of early Pestilence, maybe not as fast, offering slow breaks on every song, as well as vicious gruff death-ish vocals.

Death Remains Demo, 1990
Calls from the Beyond Full-length, 1991

My Space


Quite cool retro thrash from the Andes; the band follow the early German patterns so the Sodom, Destruction and Kreator fans will make the most sense out of it, including those who favour shouty, slightly hysterical vocals ala Mille. More serious musicianship is intertwined with fast raging guitars on "Traces of Death" while numbers like "Confused Mind" pleasantly surprise with their minimalsitc, but effective mid-paced approach. "Metal Assault Force" is a convincing speed/thrasher, but the guys are intent on mixing it up so here comes "Power Explosion", a friendlier speed metal hymn akin to Warrant and Iron Angel. In other words, expect the German metal brotherhood to be covered extensively here.

Fatal Infection Full-length, 2017

Official Site


This album is a collection of the band's old demos released in the mid-80's, plus a few new tracks added, and show an act playing a speedy crossover version of the classic thrash sounding quite close to both the early and later efforts of their compartiots Ratos de Porao. The lead guitar is surprisingly cool albeit too short, and there is no energy and speed lost, the uplifting atmosphere further aggravated by the two covers near the end: MC5's "Ramblin' Rose", and the S.O.D.'s emblematic medley "March of the S.O.D./United Forces".

Megatherio Full-length, 2009

My Space


Future members of Extrema had tried their hands on some better music earlier as evident from the demo. It shows excellent speed/thrash done woth competence and enthusiasm in abundance the guys not far from the proficiency of their more known compatriots Creepin' Death. This is frolic roller-coaster stuff with rough semi-clean/semi-declamatory vocals. One would be curious to check how those tracks have been rendered with a better production (hopefully) on the full-length provided that the latter is almost entirely based on the old songs hence the almost identical titles.

BMS Demo, 1986
BSM Full-length, 2009

My Space


This act shares members with the progressive power metallers Ad Astra. Based on the full-length, the music is minimalistic technical/progressive modern thrash mixing complex with more direct passages with fine performances in both the bass and lead guitar sector. The tempo changes constantly, sometimes suddenly ("Interform", which introduces brutal blasting sections even), but one-dimensional hypnotic numbers ("Ribcaged") work almost as well, despite the cold industrial flavour which accompanies them. "Cause Or Effect" is a hardly necessary blatant groovy non-sense, a situation partially improved by the aggressive thrash/death shredder "The Traitor Of Absence", which scores high in the bass department. The last "Dying Process" shows the band in a stage of "dying"; kidding, of course, but this is a lengthy monotonous modern thrasher-ism which undesirably abandons the more technical patterns.
The "Sandstorm in an Hourglass" EP is a hectic choppy affair with a certain abstract feel the latter dissipated to an extent by the excellent melodic lead sections. Fans of the band will not be disappointed, especially on more intense cuts like "Second" and the stylish technical blaster "Healing Process". This is a cool appetizer for a coming full-length which would inevitably be full of similar niceties.

The Drug You Daily Crave EP, 2004
Dying Process Full-length, 2008
Sandstorm in an Hourglass EP, 2013

Official Site


This obscure Serbian band come up with well done energetic thrash metal without any modern leanings: pure old school stuff which will remind you of many veterans from the 80's: those from the Bay-Area scene, above all. The pace is up-tempo with several clever attempts at a more technical play ("Radost I Bol", the excellent instrumental piece "Megera"). The singer is kind of a setback with his unemotional semi-hardcore delivery.
The "Probudi Se" EP is 3 tracks of pretty derivative modern post-thrasgh with little of the vigour of their early material left, mostly felt on "Iza Nas" which thrashes harder with a cool speed metal edge. The singer now is angrier and lower-pitched with death metal overtones.

Iza Nas Full-length, 1992
Probudi Se EP 2008

Fan Site


The EP: Rough classic Slayer-esque thrash with furious guitars and frequent references to the good old death metal ("Unsound"). The songs are not very short so there's room for more experiments, like the quirky offbeat leads on "Dead And Gone"; or the doomy implementations on "Legions Of Dissent"; or the balladic temptations on the final "Exalted". The vocals are on the raw shouting, semi-death metal side, and are fairly comprehensive. Some of the musicians are also active with the death/thrashers False Flag.
The full-length is a hard-boiled thrashing effort with cool slower offerings (the pounding proto-doomster "Injustice Justified"), not to mention the excellent technical shredder "Exhumed Existence" which also serves great screamy leads. "Undercurrent" is an imposing dramatic epicer which summons dramatism within its nearly 3-min in a way many gigantic opuses would find hard to match. "Symbiote" would be chiefly remembered for the gorgeous lead sections, and the closing "Outlawed Evolution" is another more stylish exercise in proficient musicianship with the brilliant leads stealing the show among the stomping rhythm-section and the addictive Oriental motifs.

Legions of Dissent EP, 2014
Evolution Outlawed Full-Length, 2016

Official Site


Old Bathory-worship made in Canada; a cool black/thrash metal band who have done a good job resurrecting the Bathory sound from their first three full-length albums. There are also touches of Venom and Bulldozer. The band have a penchant for covers, but surprisingly from the four covers featured on their efforts there isn't a single one with the Bathory name on it (the albums contain covers of Exciter, Razor, Onslaught and Warfare).
"The Holocaust Messiah": the guys are back in the game after a gigantic 13-year hiatus, but their style remains intact. A lot of souls will grief on the dark depressing opener "Tombs", an atmospheric doomster which sets the tone for what follows despite the presence of "Onslaught Eternal", a headbanger in the spirit of the good old early Bathory. Later on the imposing doomy atmosphere is broken by the short ripping "Thrall" which precedes the elegiac closer "The Holocaust Messiah", a doom metal masterpiece worthy of My Dying Bride and Solitude Aeturnus. This is a cool effort which sees veterans trying to stay relevant to the contemporary scene with their staple antics by also looking at other fields to explore.

The Devil And The Whore Full-length, 2000
The Atavism Of Evil Full-length, 2002
The Holocaust Messiah Full-Length, 2015

Official Site


Based on "The Fog", these guys had all the skills to stand right beside Celtic Frost, Coroner and Apocalypse: excellent power/thrash similar to Apocalypse and Wargasm, maybe even more technical and varied. The music is energetic and up-tempo with nice leads and great bass work. "False Game" is an awesome technical number which will also remind you of early Megadeth; the vocals are also reminiscent of Dave Mustaine. "Suppressor" speeds up with mighty intense riffage followed by the last song the title-track: a nice combination of speedy and technical guitars. It would be interesting to check whether the band managed to develop their potent style further...
"Illusions" bears few resemblances to the debut demo; it's much more melodic and is full of modern elements. It's not completely deprived of sharp riffage, and "Time for Illusion" is a good thrashing number, but of the less intense variety. The other songs are laid-back modern power/thrash numbers with numerous peaceful balladic breaks, plus a not very bad cover of Ddepeche Mode's "Stripped" splashed in the middle.
"...And At Last - Moonstill Waters" is four songs of heads-down intense thrash metal ala early Testament, and "Neither Fish Nor Fowl" is a supreme technical thrasher that could even be on Deathrow's "Deception Ignored". The singer sounds very close to Chuck Billy, mixed with hoarse tones in the vein of Dave Mustaine again, and does a great job behind the mike. "Matter Of Course" could be a bit unnerving, with the innovative funky touches, but the rest is pounding mid-paced thrash, quite cool. "Stop The Noise" thrashes with full force adding genuine technical guitars, and a brilliant quiet interlude in the middle. "Moonstill Waters" slows down, but the heavy riffage is all over it, and this track hits harder and no worse than the preceding one.
"Waiting" is a disappointment seeing the band softening considerably with only the three songs already heard on the last demo, here present with almost no alterations, providing a few more aggressive headbanging moments. The new material is your average heavy/power metal, still appealing, though, considering the time of release.

The Fog Demo, 1989
...And At Last-Moonstill Waters Demo, 1991
Waiting Full-length, 1994
Illusions EP, 1997

Official Site


Ex-members of more prominent Hungarian thrash metal acts (Rotor, Atomic) have joined efforts here for the release of this only demo which shows them in a fairly crappy shape playing semi-amateurish speed/thrash with distorted instruments, weak impotent semi-declamatory vcals, and awkwardly screamy leads. At least on the "Instrumental" the listener is spared the awful vocals; on the rest the mish-mash is just too big to be swallowed even by the collectors.

Demo Demo, 1988


This act offer catchy post-thrash with playful tunes in the beginning served on a solid mid-paced base; the 2nd half is way better the guys turning to classic thrash with much better results. The band show their teeth on the more intense Bay-Areasque speed/thrasher "Vahsi Ve Eski" which gives a nice push to the album, and the following "See7limis Hie7" is a very cool galloping shredder again with Bay-Area overtones; followed by the invigorating early Metallica worship "Onursuz Emanete7i". The "cream of the cake" is the closing "986-Instrumental" which is mid to up-pace mosh with sharp lashing riffs. The production quality is very good providing a thick sound to both the bass and the guitars; and the singer is a cool high-strung clean semi-shouter. Some of the musicians are also involved in another thrash metal act: 80 Kalibre.
"Diktator": the Turkish "mekaniks" are here after a short break, and they have grown considerably as musicians now pulling out excellent technically-minded old school thrash with echoes of Heathen's "Victim of Deception", Accuser's "Diabolic", and Intruder's "Psycho Savant". The title-track opens the album providing nearly 9-min of clever headbanging thrash and the rest is by no means a sloucher, first with the more immediate headbanger "Bilmedigimiz Yollar", then with the razor-sharp mid-pacer "Kavgasi Basladi". "Yolumu Kendim" is an overlong ballad, but its sleepy character is canceled by the brisk speedster. The ironclad nature of the opener is nowhere encountered later the guys prefering to spice their style with numerous influences: the epic melodic "Vur Ka", the sprawling progressive closer Son Acim Bu". This is a big improvement over the debut showing the band a sure-handed direction towards even better results in the future.

Kitlesel Depresyon Full-Length, 2012
Diktator Full-Length, 2014

Official Site


One of the most original and innovative bands in metal history, started by the Aaarrg label owner Ralph Hubert (he produced and supported quite a few technical/progressive thrash metal bands during the 80's, virtually founding the technical/progressive thrash metal scene in Europe: Target, Living Death, Calhoun Conquer, Ravenous, Pyracanda, etc.; he also gave an enormous push to the Holy Moses career by releasing their first two albums including the legendary "Finished with the Dogs") in the distant 1985. In the beginning he was just the composer, and the bass which he started to play later, was handled by Peavy Wagner (Rage). Since the band members were involved with other bands at the time, an agreement was made for the guys to use pseudonims so that their real names would not be revealed to the public. Apart from Hubert, the other musicians who took part in those spawning stages were the Living Death guitarists Frank Fricke and Reiner Kelch, and the German drum hero Jf6rg Michael, for whom this first formation was a good field for honing his "weapon". The debut was a stylish technical affair, albeit a bit rough around the edges, with a couple of heavy-handed pieces (the doomy off-context "Black Sabbath", which is a stylish tribute to the legendary British band, by using some of the Brits' song titles for the lyrics, resulting in a really clever textual amalgam), plus the band's 1st "flirtation" with classical music (the excellent variation on Mussorgsky's "The Hut of the Baba Yaga") which actually gave birth to the technical thrash scene in Europe, along with the works of Coroner, Target, and of course, Living Death, whose same year's "Protected from Reality" bore more than a few passing resemblances to the Mekong Delta debut, leading some specialists to believe that the two acts were sharing members. Later on those resemblances completely disappeared, with the band elaborating their style quite a bit, and it was the second metal act to be labelled as "progressive thrash", after their American colleagues Watchtower. A string of two classy progressive thrash albums and EP's followed, but Hubert wanted to embrace the classical idea even tighter, by adding more melody to the band's delivery as well, and the cold technical shredding of Fricke and Kelch did not quite serve his purposes anymore so both of them had to go after the release of "The Principle of Doubt" (Fricke actually left after the "Tokkata" EP, and couldn't take part in the recording of that album).

The band continued thriving in the early 90's, first with "Dances Of Death": a fabulous blend of furious thrash riffs and classical music, and then with "Kaleidoscope" which toned down the complexity a bit and was for the more mainstream-inclined fans, but was still a truly satisfying slab of classic technical thrash ("About Science" is one of the finest progressive/technical thrashers ever, ably supported by the furious speedy interpretation of the Armenian composer Aram Chachaturian's famous "Sabre Dance", and the brilliant surreal cover of Genesis' "Dance on a Volcano", here turned into a head-spinning thrash crescendo). The guys could now reveal their identities as Hubert had managed to find full-time members with no attachments to other acts, with only Michael preserving his pseudonim. "Vision Fugitives" concentrated more on the instrumental side with only two vocal tracks present, the rest being top-notch complex thrash with, of course, numerous nods to classical music. "Pictures at an Exhibition" is purely instrumental with no ties to thrash, quite deeply emerged into classical stuff, consequently being of little interest to the band's diehard fanbase and to thrash metal fans in general.

After a long, 10-year break Hubert has gathered a very respectable line-up: Leszek "Leo" Szpigiel (Scanner, Wolf Spider), Uli Kusch (Helloween,Gamma Ray, Holy Moses), Peter Sjoberg (Theory In Practice), to start a new chapter in the Mekong Delta history, and with such a stellar cast one knows that the sky would be the limit: "Lurking Fear" offers state-of-the-art progressive thrash, and is easily one of the main pretenders for "album of the year" for 2007. The sound is not as elaborate as the band's works of the 80's, but opts for a more accessible one similar to "Kaleidoscope"; the classical elements are all here, and combined with some of the finest technical riffage not heard in a long time, make up for a great musical experience. Once "Society in Dissolution" starts with its dissonant rhythms and abrupt time-changes, one knows that this is unmistakably a Mekong Delta effort. Szpigiel perfectly fits the picture with his emotional, but at the same detached, clean high delivery. "Purification" is another masterpiece of complex progressive thrash, a bit less hectic than the opener, with brooding minimalistic riffage, and a few faster speedy breaks. "Immortal Hate (Accepting Prayers of Supremacy)" will remind you of the immortal (no pun intended) "About Science" with the immediate, without any warning or introduction, jump on the technical abstract riff wagon, later on introducing a nice melodic semi-chorus and more aggressive thrashy sections. "Allegro Furioso" is the traditional for the band instrumental "flirtation" with classical music, mixed with sharp guitars, and haunting keyboards: quite a sinister piece. "Rules of Corruption" is a heavy mid-paced sleeper with very good leads where the music speeds up for a while. "Ratters (Among the Dead)" is the most melodic song, sounding like a more typical progressive metal composition with more retouched guitars and melodic chorus lines, but Szpigiel saves the day with his great performance. "Moderato" is another "classical-meets-thrash" instrumental, this time calmer, with less presence of the hard-hitting riffage. "Defenders of the Faith" (by all means not a Judas Priest cover) is the longest track, a progressive opus, an endless whirlwind of riffs and moods, graced by fine lead guitar work and a brilliant acoustic flamenco hook. "Symphony of Agony" is a staple abstract progressive thrasher, after which comes the closer "Allegro": a nice jumpy hectic slassical instrumental variation, with a considerable presence of the lead guitar, and a great bass support. Progressive thrash is back on the map, and done in a way very few acts would be able to match; hopefully the eccentric Hubert will be able to keep this talented line-up longer.
Hubert is preparing to strike again, hopefully soon although he couldn't keep anyone from the "Lurking Fear" line-up, and has summoned under the banner the singer Martin LeMar from the progressive metallers Tomorrow's Eve, the guitarist Erik Adam H. Grf6sch from the talented technical/progressive outfit from the not so distant past Annon Vin, and the drummer Alex Landenburg, who has hit drums in Annihilator, Axxis and At Vance.
"Wanderer on the Edge of Time" is structured as a classical piece which will keep the listener on the edge of his seat (not "time") with the constant change of moods and tempos which is, of course, to be expected by a Mekong Delta release, although in this case it is done kind of mechanically, workman-like, with not much soul put into it. The peaceful intro ("Concert Guitar") may scare the fans being a direct nod to the band's brief non-metallic period ("Pictures at an Exhibition", that is), but "Ouverture" breaks in, and the complex multi-layered thrashing begins on full-throttle; not for very long, though. "A Certain Fool" (Le Fou) // Movement 1" introduces the singer who was missing from the picture up to this point, and his clean mid-ranged tone fits the elaborate pieces well, although to these ears he is too dramatic and attached for such a technical delivery; the song is not much to talk about being a pompous orchestral ballad. Enormous relief will come after "Interlude 1 - Group" which is less-than-1-min of precise technical shred followed by the next vocal track ""The 5th element" (Le Bateleur) Movement 2" which is a dramatic semi-ballad, and one may want those vocal compositions to be less for the future. Well, not quite since ""The Apocalypt - World in shards" (La Maison Dieu Movement 3" is a nice hectic progressive thrasher with orchestral implements. ""King with broken crown" (Le Diable) Movement 4" follows the same pattern, but is slower, again with shades of ballad, and also doom; a creepy minimalistic approach not very common in the band's discography. The aftertaste will be considerably dissipated after the excellent instrumental "Intermezzo Movement 5" which is not all-out thrash, but creates a cool more intense duo with the following "Interlude 4 - Group". Time for the vocalist to pour his emotions on the acoustic ballad ""Affection" (L'Amoureux) Movement 6" which will confuse the listener as to where exactly to put this effort. His impression will be corrected (probably) on the much better ""Mistaken truth" (Le Heretique) Movement 7", which is another creepy ambitious thrasher which comes the closest to "Lurking Fear" with its steel technical riffs. The "Finale" is a fine abstract instrumental with surreal leads and frantic riffs, and will keep the listener quite busy, albeit for just under 3-min.

The blend between the instrumental interludes and the vocal numbers is by all means achieved, but the intensity of the previous album is very seldom felt, let alone the one of the band's older output. This is an ambitious progressive metal opera which doesn't quite belong to the thrash metal field the whole time, and it works better as separate pieces rather than as one whole, the latter not sticking together constantly with the sudden unexpected drops of mood and intensity. If "Lurking Fear" was a glorious comeback raising the level almost back to the old one, this release shows Hubert and the ever-changing Co. full with style which is sadly not matched by the enthusiasm.
"In a Mirror Darkly": with the previous album showing an obvious shift towards less thrashy and more progressive, classical, sound one can't help, but have quite a few reserves in mind about this new offering. The "Introduction" is already classical enough, but comes the "Ouverture", and some engaging proto-thrashing is already in place, albeit muffled by the semi-leads. Those semi-leads are gone for the next "The Armageddon Machine" which is the staple discordant, illogical thrasher with which this act made their name. This excellent number pulls all the complex buttons, and the fan will be quite delighted, albeit not for long since "The Sliver In Gods Eye" is a balladic, operatic cut saved by the very cool vocal performance. "Janus" is progressive thrash at its most consummate, a puzzling labyrinth in the best tradition of the guys' (or rather guy's) early years. Two in a row would be a mere fantasy although the following "Inside the Outside of the Inside" is still more on the hard side, an all-instrumental shredder with a few faster-paced moments. "Hindsight Bias" is a headbanging puzzler, a hallucinogenic track with a few appropriate classical twists. And finally two in a row: the closer "Mutant Messiah" which meanders and twists for over 7-min, a disorienting number with several hard thrashing sections, a very fitting epitaph to this fairly cool album which manages to find the perfect middle ground between the more laid-back and the more aggressive side of the band's catalogue. In terms of musicianship this effort could hardly be beaten everyone involved pulling out his best, and indeed one may get the feeling that he/she listens to an opera with the inimitable classical atmosphere flowing from every corner.

Mekong Delta Full-length, 1987
The Gnome EP, 1988
The Music of Erich Zann Full-length, 1988
The Principle of Doubt Full-length, 1989
Dances of Death (and other Walking Shadows) Full-length, 1990
Kaleidoscope Full-length, 1992
Classics Best of/Compilation, 1993
Visions Fugitives Full-length, 1994
Pictures at an Exhibition Full-length, 1997
Lurking Fear Full-length, 2007
Wanderer on the Edge of Time Full-length, 2010
In a Mirror Darkly Full-Length, 2014

Official Site


Based on "Melancholia", this outfit serve "melancholic" Gothenburg-tinged melo-thrash/death which moves forward in an expected speedy tempo recalling early Dark Tranquillity above all, the shouty rending death metal vocals another trademark gimmick. The title-track is certainly a doomy atmospheric, "melancholic" piece matching the two surrounding it quiet serene instrumentals.

In My Eyes EP, 1999
Just Seasons Full-length, 2006
Through the Dark EP, 2009
Throught The Dark Full-length, 2010
Melancholia Full-length, 2017

Official Site


Based on the 2-song "Smoke" demo, this band these Poles play modern thrash/death in different tempos the bass bottom being particularly good. Otherwise the Gothenburg school is all over this effort which somewhat awkwardly switches between tempos also trying to sound complex and progressive on the messy "The End of Money" which at least boasts some enchanting melodic tunes those totally contrasting to the gruff guttural death metal vocals.

Cienie Demo, 1999
Smoke Demo, 2000
Story Demo, 2000


A good power/thrash metal band whose debut is their best, and most thrashy, release; the music is simplistic, but catchy and memorable, and it wouldn't take too many spins for one to remember the songs here. It develops in a heavy, mid-paced fashion, until it hits "Meliah Rage": the band name carrier is an overlong melodic power metal instrumental, which "excuses" itself for the lost inertia with cool energetic thrashy ending. "Deadly Existence" is the most aggressive number on this one, thrashing with confidence. However, instead of pulling out all the stops with a couple of more tracks of the more intense variety, the guys move back to the heavy/power metal patterns, producing a very bland result, in the form of the toothless heavy metal anthem "Enter the Darkness"; a situation partially saved by another furious number: "Impaling Doom"- speed/thrash at its finest and heaviest, which tries something more technical, and succeeds. "The Pack" is not too far behind, smashing with force, closing this work with style, making up for the several dull moments before.
"Solitary Solitude" is more consistent than the debut, and contains well executed melodic power/thrash, which moves from shorter, energetic numbers ("No Mind") to longer, heavy doom-laden ones ("Decline of Rule"), plus one very cool acoustic ballad: "Deliver Me". The second half is probably less striking, with a more power metal-based sound, with the guys refusing to add more intensity to the proceedings.
"Unfinished Business", recorded in 1992, but released whole 10 years later, is closer in spirit to the debut, being again a more uneven effort, jumping from one extreme to another: the raging thrashers "Decade Dreams", "Mind Stalk", which are some of the most aggressive material the band ever composed; on the opposite side of the spectre we have the slow, melodic "Possessing Judgement", "Ruthless" (which is anything but ruthless), and the last two, more edgy, but still more power metal-sounding tracks.
"Death Valley Dream" again scores higher in the consistency department than its predecessor, without leaving the thrashy aspect aside, and cool headbangers are here to make your day: "War Journal", but watch out for the funk-ish experiments on "The Last Detail", the modern groovy sound on the opener "Death Valley Dream", and other offbeat, maybe not very desirable moments elsewhere. The hidden track "Scarred" should have been hidden more carefully: just kidding, it's a cool semi-ballad, pretty much in the vein of the traditional for the band approach. This album remained the guys' last offering for quite some time.
Eight years after their last release, Meliah Rage are back on the metal field with "Barely Human", but this is "barely" the edgy power/thrash metal sound known from their past: the last two albums tread the classic heavy metal path with nods to the American power metal scene, and with almost no traces of thrash. Both works are actually sure picks for the fans of traditional metal, and are a good example of a band moving on, without betraying their roots.
"Masquerade" is the band's best offering from the new millennium, finally bringing the thrash back. "Lost or Found" is a commendable dark heavy opener with nice Oriental hooks and a cool speedy ending. "Chosen" is a smashing speed/thrasher, arguably the most aggressive track the guys ever produced. More moderate power/thrash comes on "History Will Tell", before "Dreamer" explodes in another ball of speed/thrashing fury with an early Metallica flavour. Slower heavy/power metal rhythms with balladic overtones reign on "Seeker". They stay around for "Hour Glass" and the cool ballad "Masquerade", but on "Last Rites" all hell breaks loose once again, this one being vintage galloping American power/thrash. "Whatever it Takes" thrashes like there's no tomorrow for about 7.5-min, finishing this album in the best possible way, showing the band looking back at their roots where their real power (and "rage") lies.
"Dead to the World" possibly, but definitely not "dead to thrash": the band are back with another, even better, offering showing their teeth from the get-go with "Up In Flames", a very cool thrashing headbanger, remaining the highlight on the album, which gives way to the more melodic power metal delight "Valley Of The Shadowless Souls". Two contradictory semi-instrumentals follow suit, before heavy hammering riffs overtake you on "Where Nothing Ever Grows", a more serious, heavy take on thrash, which becomes a tad more energetic on "Never From Me". Time for more jumping around with the speedy "Cold Cruel Fate", before "Time Won't Let Me Breathe" drowns you with another portion of more officiant, semi-balladic dramatism. The final "Awaken Sorrow" is expectedly a vigorous cut, with hard thrashy riffs galore, fine melodic leads, and a nice balladic twist at the end. Fans of "Masquerade" will by all means be happy with this one, as well those who have left their heatrs in the 80's/early-90's; the mixture of fast thrashy and slower & heavier numbers is well achieved, the band confidently carving a niche for themselves without strictly belonging to any style in particular, standing even more proudly than during their early days.
"Warrior": the Meliah "warriors" are here again, and despite the fiery beginning (the opening title-track) the band take it easy standing on a power metal ground for most of the time recalling the more recent "exploits" of Metal Church. Modern groove even arrives in the middle with "A Dying Day" to bring more confusion to the fore which later finds its way with the convincing shreds on "Garden of Evil", and the more impetuous speed/thrashing on the final "In Hate". As a whole this effort could hardly be viewed as the band's finest hour, but at least doesn't stray too much from the tested formula which may be tried for a more adventurous "flirt" some time later.

Kill to Survive Full-length, 1988
Solitary Solitude Full-length, 1990
Death Valley Dream Full-length, 1996
Unfinished Business Full-length, 2002
Barely Human Full-length, 2004
The Deep and Dreamless Sleep Full-length, 2006
Masquerade Full-Length, 2009
Dead to the World Full-length, 2011
Warrior Full-Length, 2014

Official Site


Based on the "A Flight To Insanity" 2-track single, this is raw, brutal unappealing thrash with proto-death metal moments, not too far from early Messiah, or Devastation's "Violent Termination".

Demo Demo, 1987
Garage Demo Demo, 1988
A Flight To Insanity Single, 1992


Modern post-thrash with metalcore elements; there are some alternative spices added, too, and if we mention the not very appropriate "clean/gruff" vocal duel the fan will know that this effort should be better left alone... and this would be the right verdict.

Answers Full-Length, 2015


Based on the two demos: a promising new band who play Bay Area-inlfuenced thrash along the lines of Exodus' "Bonded By Blood" topped up by some cool guitar solo work.
"Executioner", the band's full-length debut, fulfills, if not surpasses, all the promises. The opener "One by One" melts speed and thrash metal in a way not heard in a long time. The opening riff of the next track will throw you into Destruction-territory ("Mad Butcher"), and from then things only get better and better. "Death and Destruction" will bring you to tears with the memories of Metallica's debut (compared to what these guys are playing now...). The following "Murdered to Death" is a lesson in speed, and the remaining tracks are not too far behind. It would be a miracle if Meltdown don't grab the "Best Metal Debut" Award for 2007.
The band are at present operational under the name Mantic Ritual, and the first step of the guys was to re-release "Executioner". Nothing new there so those who have the album reviewed here, need not bother.

Live Demo Demo, 2005
Executioner Demo Demo, 2006
Executioner Full-length, 2007

My Space


These Swedes play classic thrash metal by adding a healthy doze of death resulting in an intense sound with more reliance on speed with quite a few blast-beats ("Fucked To Shreds", "Monkeys From Hell" which is a wild brutal deathster) incorporated here and there to not so damaging proportions. Some eclectic decisions (the jazzy breaks on the short exploder "Evil Nosogoblins") can also be heard at times, and "Meathook Fishing" is an excellent more melodic atmospheric cut with echoes of mid-period Carcass; it's just that the guys are fonder of the bashing side of the genre and seldom try to spice their aggressive direct approach with anything more stylish. The three band members can be seen in numerous other acts from the Swedish underground: the doom/stoners Obrero, the death/black metal outfit Total Dee4th, the death/thrash metal purveyors Ruins of Time, etc.

Songs for the Fisted Full-Length, 2011

Official Site


Weird, laid-back proto-thrash which "flirts" with the progressive at times reaching the dizzying heights of mid-period Voivod ("Krampus", a really creepy cut), but at others it's pure careless crossover ("Guess Whose House I'm Coming to When I'm About to Die") without a shade of originality. "Holy Mountain" is a creepy minimalistic mechanizer, and "Little Holocaust on the Prairie" is a more dynamic thrasher which doesn't find a match later on as the 2nd half is just clumsy mid-tempo variations where the otherwise unimpressive vocals sound even more irritating with their dragging monotonous instrumentalism the exception being the really stylish closer "Chrono-Synclastic Infundibulum" which offers a couple of intriguing riffy decisions on an elusive doomy base.

Little Holocaust on the Prairie Full-Length, 2016

Official Site


Based on the "Antithesis of Time" EP, this act is one of the rising stars on the progressive metal field. Their style is fairly complex, multi-layered metal with a strong doze of thrash which seldom transforms into a really intense headbanging passage, but keeps the hard shredding going throughout the fairly lengthy labyrinthine numbers among which "Cosmic Illusion" sticks out with its dark ominous Communic-esque overtones which are often intercepted by abstract Psychotic Waltz-like pyrotechnics. This is not an easy listen if we exclude the tad more direct "Through the Spiral Rise" which is not very fast-paced, but delivers with its more controlled arrangements which are surrounded by some striking lead guitar work. Although the nods to Psychotic Waltz name-wise, similarities in the vocal department as well, are well justified, the guys have all the potential to form their own face which should take a more coherent shape on the full-length.
The full-length is a standout affair of multi-faceted elaborate progressive power/thrash starting with the dark puzzler "Omicron" which is Sanctuary's "Into the Mirror Black" brought to its most complicated where the exemplary bass work will make one listen to this number over and over. "Opus Alchemicum" is another major mind-scratcher with a more dynamic delivery (still far from headbanging), and "Europa (Jupiter II)" brings the winds of ballad to alleviate the ultra-stylish landscape which later turns to a hard-to-swallow chapter from the early Psychotic Waltz textbooks to a dizzying effect also brought by the constantly overlapping lead sections. "Achilles' Paradox" finally manages to thrash with more speed even recalling the aforementioned Paradox from the title before it transforms into a cavalcade of whirlwind riffage in the vein of Sieges Even's "Life Cycle"; and let's not forget the enchanting balladic outro. More and more complexity "roams around" with each passing number: "Mechdreamer" is an oddity combining a sprawling balladic passage with dark brooding riffs; "A New Beginning" is mostly abstract spacey balladisms, but comes the closer "Emphasize", and things become serious once again the roaring riffage on this one creating a hallucinogenic thrash atmosphere which is topped by some of the most beautiful melodic hooks around: remember Helstar's "Nosferatu". And a few words about the vocalist as a finishing touch: a high-strung clean voice with echoes of both John Arch (Fates Warning) and Alan Tecchio (Watchtower), plus the more soulful croon ala Buddy Lackey (Psychotic waltz) released from time to time. The progressive metal scene gets an enormous push from these newcomers who should carry the weight of this sub-genre's resurrection on their shoulders with ease in the years to come.

Overcoming EP, 2005
Antithesis of Time EP, 2010
Division by Zero Full-length, 2013

Official Site


Based on "Vertigo", this act indulges in modern groovy post-thrash with a few more complex arrangements with progressive aspirations. The music provides interesting moments including several intriguing technical riffs ("Enigma"), quiet spacey sections, and more aggressive headbanging moments. The singer shouts in a forced death metal fashion, and a slight compensation for his unconvincing performance is provided by the better clean alternative vocals which show up from time to time.

Memfis EP, 2006
The Wind-Up Full-length, 2006
Vertigo Full-length, 2011

Official Site


This band boast the presence of Nick Menza, the legendary Megadeth drummer. Based on "Reduced To Ashes": the style has something in common with Megadeth, but it's closer to recent Annihilator (Jeff Waters actually takes part on their last album, playing solo on "TV War", which is not an Accept cover). This is thrash metal on the more melodic side with slight technical tendencies ("Facing My Demons" is a good more aggressive thrasher, and is the best track on the last album bringing you back to early Megadeth).

"White Line" is pretty much in the same vein, but this time the music actually recalls Megadeth more often, but their 90's, more melodic works. One of the best songs is actually a ballad: "Condemn Me to Obscurity", a really good achievement in the genre; there is another heavy, semi-balladic instrumental later on: "Silent Cry", which is almost as good. So in other words this is quiet and peaceful stuff, mostly mid-paced, with not much edge in the guitar department which sometimes makes the music sound like pure heavy metal (the closer "My Choice"). It was good that later the guys hardened the course a bit...

The debut is a not very impressive mix of power and thrash metal again clinging towards the Megadeth 90's works, but lacking quite a bit in the more aggressive riff department relying too much on calmer mid-paced to semi-balladic patterns which may bore the listener well before the end.

"Evolution" sees a real "evolution" in the band's style which shouldn't be a surprise having in mind the stellar cast summoned by the founder Ilias Papadakis: we have none other than Mr. Steve DiGiorgio on bass, none other than Gene Hoglan behind the drums, and the Deicide shredder Ralph Santolla (also Iced Earth, Obituary, Death, etc.) partnering with Papadakis. So what can you expect from such a dream team? The supergroup deliver a cool blend of modern and classic thrash with the 80's American scene now a main target the Bay-Area paid special attention (check out the edgy headbanger "Where Hate Lies"). "The Break" is a soaring speedster now turning towards the 90's power/speed metal movement for inspiration, again a relative winner, especially when the continuation, the short speed/thrasher "Circle", is so invigorating. The headbanging atmosphere reaches heights in the middle, and later on don't bother to calm down a lot with a few calmer passages included in the rest of the songs. The singer exhibits a passionate high-strung performance with plenty of dramatic nuances. "Destiny Found" is a prime shredder with lashing sharp riffs, but "A New Era" goes away with all the "laurels" being an excellent short bursting speed/thrasher. This is a really good fun the band sounding inspired all over never losing the dynamics playing on full-throttle all the way till the end. Will these virtuosos stay together for one more effort? Not very likely, but even as a one-time spell this album should please the fans on all counts.

"Seven Sacrifices": Ilias Papadakis, the band leader and its actual face, continues to rely on famous figures from the metal circuit to help him pull it through. Whether the man wants to increase the commercial appeal of his efforts, or simply doesn't trust his own abilities, is to anyone's choice to figure out the reason why: now we have Jed Simson (Strapping Young Lad), David Ellefson (Megadeth again), and Michael Gilbert (Flotsam & Jetsam) appearing at various stages throughout the album, but this time they don't bring anything too positive. Apart from the abrasive, hissy guitar sound the delivery is just too mild to please the thrash metal fan's ears on regular bases the dominant tone being in the power/speed metal parametres with an overt modern flavour in the execution. "The Hour of Death", and partially the more dynamic "Bad Wolf" near the end, is pretty much the only place where the masses will start moving around; on the rest they will only nod in uncertain agreement with this shaky emulation of the more recent Annihilator works which pales in comparison to the preceding "Evolution", and doesn't promise too much excitement on future efforts except that one would wonder who of the metal constellation Papadakis would invite to lend a hand.
"Zero Hour": the saga continues now without any assistance from half the metal stardom, and consequently the final result is more appealing, albeit hardly incredibly memorain... sorry, memorable. The escapades from thrash are more frequent, and the thrash metal fan may lose interest in the proceedings way before the end although the pleasant melodic nature of the music isn't a total waste, and the presence of a few headbangers along the lines of "Secret Sacrifice" guarantees at least semi-approving headshaking, if not exactly banging; still, the latter may become a reality on the closing "Maze of Madness" which crushes with might starkly contrasting with the preceding string of quiet, semi-balladic pieces.
"Duality of Man" sees the band angrier than ever and the cutting riffs start flowing from the get-go with the ripping opener "Demon's Hunt". Inevitably a few staple mid-pacers ("The Giant") appear including an appetizing semi-ballad ("Inside My Eyes") which is way more convincing then the soporific ballad "Since I Remember" offered at the end to which the hard-hitting closer "The Final Message" is just a partial redemption.

Digital Crimes Full-length, 2002
White Line Full-length, 2003
Reduced To Ashes Full-length, 2006
Evolution Full-length, 2012
Seven Sacrifices Full-Length, 2013
Zero Hour Full-Length, 2014
Duality of Man Full-Length, 2015

Official Site


Based on "Shatter the Art", this band serve your average modern thrash ala The Haunted and Carnal Forge. This is both heavy and fast stuff, both sides well covered, with an appropriate vocal assistance staying within the gruff semi-shouty death metal parametres. The sound gets surprisingly classic at times, and this is when the band sound close to the British legends Benediction ("When Everyone Starts to Forget", "Ave Agression") with a more thrashy twist.

Collision Scenario EP, 2006
In the Absence of All Things Sacred Full-length, 2009
Shatter the Art Full-length, 2011

Official Site


Modern thrash of the heavy mid-paced variety; this is moody and atmospheric music with doom/gothic overtones ably supported by the low-tuned death-y vocals recalling early Pyogenesis quite a bit.

New Order EP, 2008

My Space


Based on the "Men Eater" EP, this act pulls out modern hardcore-ish thrash with doom/sludge overtones. The faster and slower side are equally given share both occupying two songs, the latter coming in the beginning creating a cool headbanging atmosphere. The abrasive shouty vocals are a bit hard to bear, though.

Men Eater EP, 2006
Hellstone Full-length, 2007
Vendaval Full-length, 2009

My Space


Fast, furious thrash with bold echoes of proto-death; a pristine violent affair with rending overshouty vocals resembling early Mille. The music is also modelled after the works of Kreator. The leads surprisingly make sense being screamy occasionally quite melodic (check those on "Apostles of Violence"), and the shorter material ("Dictating Laws In Vain") is better constructed largely due to the less time for the band to bash their hearts out and consequently ruin it.

Apostles of Violence Demo, 1988


The demo: three songs of crisp sharp thrash of the old school which is both ripping ("Fatal Trust") and mid-paced and steam-rolling ("Mentally Ill") graced by shouty choruses ala Anthrax. The singer plays a very small role, but that's good since his unexciting hardcore tember doesn't fascinate a lot.
"Cosmic Conspiracy" contains all the songs from the demo, and apart from that fast blitzkrieg pieces which shred on full-throttle the whole time loosening up a bit on the more speed metal-oriented moments ("Menace"). "Abyss of Souls" is a first-rate speed/thrasher with technical overtones, but "Mentally Ill" right after it is pure unadulterated bash which influences the tracks till the end where sharp, ear-splitting riffs shake hands with timid attempts at melody. This is a promising beginning for the guys who will still have a lot to do before they manage to rise above the growing competition form their motherland.

Mentally Ill Demo, 2012
Cosmic Conspiracy Full-Length, 2014

Official Site


These guys deliver furious speedy thrash metal of the old school not far from early Hirax and Vio-Lence's "Eternal Nightmare". The band lashes non-stop adding the casual crossover ("Temptress of the Night") hook, or the desirable slower ("Slaughter in the Green Room") break. Some of the band members are also involved in the splatter/gore death genre taking part in prominent practitioners like Engorged, Frightmare, Lord Gore, etc.

Slave to the Stein Demo, 2006

My Space


Typical modern thrash/death metal which at times jumps on the technical wagon, and this is when the music may remind you of late period Death ("Ardad"). The sound has its progressive, as well as gothic elements, although the sudden blast-beat interruptions do not serve the band right, but if we exclude them, this is not very aggressive stuff, and there are numerous melodic hooks thrown in. The closing "When Strife And Greed Collide" is a nice ambitious, multi-faced composition, which could make even Opeth proud, although to these ears this one is more satisfying, thrashing intensely on quite a few moments.

Dark Matter Energy Noir Full-length, 2008

Official Site


This 2-track obscurity is a really pleasant surprise: this act provide state-of-the-art progressive thrash: "After Millennia" is a schizoid amorphous shredder with beautiful melodies and very technical riffs creating a marvellous tapestry recalling Sieges Even and Realm. "In Web" by all means deserves its title, a web of spastic riffs and intricate melodic "excursions" which never leave the mid-tempo, but are a sheer delight to listen to, especially with this brilliant dramatic technical accumulation at the end. The singer is another asset with his emotional baritone, and the crystal clear sound only enhances the band's outstanding musicianship.

Claiming Godhood Demo, 1994



Based on the "Abominable Thoughts" demo, this band offer a lot more than some of the longest (and strangest) song titles: this is first-rate thrash quite close to the works of Destruction ("Bestial Devastation") and Kreator ("Extreme Aggression"). The tempo is fast, quite intense at times, with a very slight death metal flavour, and the riffage is technical and sharp.

Kuusamon Demo, 1988
Senseless Extermination EP, 1989
Abominable Thoughts Demo, 1989
Thrashing Relics Volume 1 Split, 2006

Official Site


Based on the debut demo, this formation specialize in rigorous classic thrash topped by gruff semi-declamatory/semi-clean vocals. There are a couple of semi-technical quirks to be encountered, but generaly this is primal, direct stuff which thrashes hard, but with more style on the longer "Separation", and with more vigour and aggression on "Chemical Plant & Unit Operations". "Water Pollution" blends both sides at the end, enhancing them with a solid doze of impetuous gallops, to produce the highlight on this recording which suffers a bit from the muddy sound quality. The band members also played with the death/thrash metal formation Ancestor who appeared in the early-90's for the release of five demos, before they transformed into the premier melo-death metal cohort Kalmah, one of the most successful metal exports from Finland for the past 15 years.
The "Artificial Intelligence" demo is three tracks of the same clever semi-technical thrashisms which are choppy and Bay-Areasque on "From the Beginning To the End", complex and serpentine on the nod to Realm "Why This Century"; and vicious and aggressive on the more linear shredder "Mother's Land".
"Near Death Experiences" is four songs of the same stylish exercises in retro thrash starting with the galloping delight "Natural Emotion" in the best tradition of Megadeth with a covert hardcore-ish flair. "OBE" is ripping thrash with more intense proto-deathy moments, still fairly intricate and meandering. "Schizophrenia" is brilliant technical thrash again with nods to the Megadeths; and "People's Shells" is lashing aggressive thrash ala their compatriots A.R.G. with a couple of intriguing, twisting riffs.
"From Home" stretches onto whole five compositions, and besides that displays virtuous technical/progressive thrash which on "Nothing Special" comes with a portion of interesting, dissonant guitars ala Calhoun Conquer and Voivod. "The Flash" is abrasive dissonant weirdness akin to Living Death's "World Neurosis", and "Help" follows the same path the outlandish headbanging passages taking turns with spacey progressive ones to a pretty positive effect. "Mother Land" is a slightly updated version of the same song from the "Artificial Intelligence" demo enriched with very cool Oriental leads; and "From the Beginning To the End" from the same demo is given a more elaborate treatment the guys turning it into a carefree, roller-coaster progressive thrasher with a shouty chorus and ripping fiery riffs, not a radical alteration of the original, but still fairly quirky and eccentric.
"Miller Drama" is two songs of angrier, less intricate thrash, still quite convincing, but mostly mid-tempo and with more expressive hardcore overtones the latter enhanced by the more abrasive production.

Scientific Chemist Feast Demo, 1988
Artificial Intelligence Demo, 1989
Near Death Experiences Demo, 1989
From Home Demo, 1990
Miller Drama Demo, 1991

My Space


Based on "Utter Subordination": this is a vicious and often quite aggressive mix of thrash and death metal. The blast-beats are too many decorating almost every song, and might pull back the more faint-hearted, but those who choose to stay with the music will find quite a few thrashy riffs to enjoy. The guitars are quite technical recalling Suffocation and Morbid Angel.
The debut is deeply immersed in the death metal idea with almost no references to thrash. It's a good atmospheric album, not very fast yet with nods to Benediction and Bolt Thrower on the slower more officiant moments.

Mass Crisis Full-length, 2001
Utter Subordination Full-length, 2007

Official Site


Based on "Alcohol Anthems", this is groovy thrash along the lines of Pantera and Machine Head. The approach is perhaps a bit more hardcore-prone with ligher guitar work also reminding of early Pro-Pain. There are a few attempts at doom ("The Turnover", "Unpredicted") those aptly supported by the cool soulful semi-clean/semi-angry vocals. The band members are involved with other acts at present, like the power/progresive metal formation Klingenberg Syndrome, the heavy metallers Winterborn, etc.

Alcohol Anthems Full-length, 2005
The Holy Bastards Demo, 2006
Hair Of The Dog Full-length, 2006

Official Site


Based on the full-length, this act offer "coma"-inducing retro thrash which is brutality all the way spitting fiery, blitzkrieg riffs from all sides knowing no mercy on prime headbangers like "Profitable Killings" and "Mass Media Manipulation". "The Forgotten Ones" "flirts" with the technical and creates 6.5-min of sharp intelligent rifforamas. "Scars Of Loyalty" softens down a bit, before the "storm" starts over again with "Awake" which richly deserves its title with the exploding guitars which get translated on the short brutalizer "Global Suicide". The closing "Ashes Of Humanity" is an 8.5-min opus with a lot of hard thrashing dispersed among the stylish progressive quirks.

Wasteland EP, 2013
Fragments of Democracy Full-length, 2016

Official Site


This is mostly death metal stuff with more quiet thrash metal passages; quite brutal and well done: will appeal to fans of Massacre, Agressor and other similar bands from the early-90's. There are several stylish technical guitars to be heard ("Warzone") although the focus is strictly on direct assault with no compromises.

Extreme Unction Full-length, 1998

Official Site


This is aggressive thrash/proto-death which is pretty straight-forward hampered by the muddy sound quality. Unperturbed by the production shortcomings the band lash on in a manner no worse than early Possessed and even Death. The vocalist is a rending death metal shouter with a few more screechy Mille-sque tendencies. This is perhaps more violent and brutal than the early attempts made by Invocator, and the guys could have made an impact on the just stirred death metal scene if they hadn't decided to change the direction, first with the short-lived thrash metal outfit Conspirazy; then with the modern thrashers/post-thrashers Missing Link where they teamed up with the Stfctzer brothers from Artillery for the release of 2 albums and one EP in the mid-90's.

Demo Demo, 1987


This Chilean outfit acquit themselves with fairly well played old school thrash which relies on fast tempos, blazing solos (arguably the highlight on the album taking quite a bit of space), short shouty choruses, and slight technical twists ("Journey Into The Evil Control") here and there in the vein of mid-period Sadus. Things get rough on the super-fast "Denied Illusions", but the guys show mercy when necessary although the overall impact is pretty squashing all the way till the end the delivery also greatly helped by the nice bass support and the forceful semi-shouty/semi-death metal vocals. This is a new fresh force on the South American underground who have a lot more ot offer.

Red Skies Full-Length, 2013

My Space


Based on "Raping the Symbol of Humanity", this act offer excellent intense, semi-technical thrash/death which is built around relatively short (3-4min) explosive cuts among which "Crush The Opposition" is a particularly impressive number with the twisting riffs and the dramatic switches towards a more officiant sound. Death metal seems to dominate here with some songs ("Victims Of Fornication", "Obscured By Errand Flesh") being pure technical death metal delights. "The Great Stink" is an appetizing blend of technicality, melody and brutality which stands for the highlight opposing to the more linear, stomping aesthetics of "Cannibal Skull Cult" the latter completely cancelled by the twisting, hectic riffage of the closing "Cave-Dwelling Manwhore".
The debut is a much more ordinary effort the guys at this early stage just bashing with vigour adhering to the blast-beating deathy formulas way too often to please the thrash metal fanbase who may be more entertained on the longer, more complex material ("Driven by Hate"). "The Abdication" near the end unleashes some striking varied, technical guitar work to hint at the guys' much bigger potential to be displauyed in the future.

Let the Demon Speak Full-length, 2013
Raping the Symbol of Humanity Full-length, 2016

Official Site


Based on the full-length, this outfit offer cleverly-executed retro thrash/death which doesn't quite reach the heights of its "godfather" (the Coroner album), but manages to come up with stylish technical music closer to the mid-period Death repertoire than to the one of their Swiss peers. The music jumps around in style shifting pace at will, and generally the technicality isn't overwhelming tracks like "Paranoiac Evil" and "My Kingdom To Come" provide a sizeable portion of twisted riffs without overdoing it. The album eventually touches the Coroner magnum opus on the longer, more complex "Negative Fate" which is a consummate shredder slightly influencing the following "My Sickness" which is another mind-scratcher with the stop-and-go technique epitomized fully. "Mad Man On Drugs" is a short all-instrumental hallucinogenic perplexer even beating the previously mentioned lengthy opuses with a few exquisite abstract passages the latter completely missing from the next "Science Ethical Preoccupation", a fast uncompromising headbanger wiht a maddening blast-beating surprise inserted. The closer "My Last Trip" is a jumpy cut still remaining the most linear offering here, a less fitting epitaph to this exemplary work of a thrash/death blend with a hefty technical "decoration". Some of the band members had another band earlier, Dragdown, where they also played classic thrash/death, but only one demo was released in 2004.

Dodged Existence's Development Demo, 2009
I Am Now... Full-length, 2011

Official Site


This effort contains loads of heavy crunchy riffs which are closer to the modern trends and at some stage start dragging due to their repetitive nature and a stubborn refusal to speed up at least a bit. The singer is suitably angry with a deeper death metal blend, but he also merges into the not very impressive picture which borrows heavily from the doom metal scene as well.

Depths of Depravity EP, 2012

Official Site


This "thrash brigade" from Greece specializes in energetic Bay-Area thrash clinging between Forbidden and Vio-Lence. The album is quite an entertaining headbanging effort full of fast sharp riffs and screaming leads. The songs are up-tempo, and the first more mid-paced moments are introduced in the middle, on "Lunar Chaos" which is still intense with good bass implements. "Politisize" speeds up again, but comes up with a couple of more interesting semi-technical guitars. "Leatherface (Watch Me Die)" is a ball of aggression touching Slayer, and the closer is an extended version of the already heard previously "Thrash Brigade", maybe not a very necessary one since the changes can hardly be felt. This is a confident debut, something which the Greek metal scene needed to break the spell of the circle of dominant black/gothic metal acts.

The Thrash Brigade Full-length, 2009

My Space


The 2nd demo, which perhaps has one of the longest titles in music history, is dark depressive music crossing intense thrash/death metal ala Massacra with heavy doomy riffs taken from the Beyond Belief or the early Cemetary catalogue. The sound quality is a bit muddy, and the singer is a really brutal death growler not miles away from Dave Ingram (Benediction).

Enforcer Single, 1990
Some Call It Educational And The Others Just Domestic Violence Single, 1990


Based on the "Lies Of The Endless Life" demo, this is classic speed/thrash with very brutal low-tuned death metal vocals. The music is energetic and melodic hitting the top in the lead guitar department where the guy really knows his craft, albeit hampered by the muddy sound quality. The band mix things intercepting the dominant mid-paced character of the music with more dynamic parts which lack an edge since the guitar delivery is more on the melodic side.
The full-length debut is a fact after the band's reformation, and sees the guys epitoomizing a very abrasive sound bordering on thrashcore mixed with 90's groovy post-thrash which is too friendly to be a recommended listen for the regular thrash metal fan. The spirit of Motorhear looms heavily over some tracks ("Satan's Whore") whereas elsewhere we have pure unadulterated classic headbangers ("Murder Beach") with the closing "Scarecrow Fields" throwing more aggressive death metal rhythms to spice things up.

Holy Grail Demo, 1992
Lies Of The Endless Life Demo, 1992
Guts, Graves And Blasphemy Full-Length, 2016



Decent retro thrash of the more melodic variety with touches of power metal; things get tough on the intense "Head Bangers", which really deserves its title moshing out with force in the best tradition of early Metallica. The rest is more mid-tempo, and the singer delivers with his melodic mid-ranged tone recalling Jan Lubitzki (Depressive Age).

Demo Demo, 2005
Demo Demo, 2007

Official Site


This band serve atmospheric modern thrash/death with strong progressive tendencies. The style is more on the quiet pensive side if we exclude the crude death metal vocals, and the sudden outburst of aggression in the middle "Iscarioth". This is intelligent meditative stuff with strong reverberations from Opeth.

Sic Luceat Lux Full-Length, 2014

Official Site


Based on "Tyrant's Return", these guys come up with a vicious and quite brutal blend of thrash and black metal, resembling Impaled Nazarene most of the time. The band don't bother to calm down, except on "Necro Satanik Magick", which is a direct nod to early Celtic Frost, serving also to justify the album-title probably, and on "Mayhemic Demons" which is an excellent atmospheric doomy number and will remind you of Enslaved's viking period and Bathory's "Blood, Fire, Death".
"Metal of Death" quietens down, and is much closer to thrash, which varies from a morose doomy tone ala early Celtic Frost ("Megiddo", the excellent sinister funeral hymn "Maniac"), to an edgier Germanic one ("Zombie Terror"), to a happy Motorhead-ish one ("Motordeath").

Metal of Death Full-length, 2005
Tyrant's Return Full-Length, 2007

Official Site


Based on "Masterkiller": intense, aggressive groovy post-thrash which sounds quite good and reflects well the fashion of the times. At times the guys switch onto more energetic riffage ("Master Killer", "Downfall Of Christ"), and generally the guitar work moves around never sounding stale or repetitive producing nice headbanging moments.
"Bluetality" is another 10-ton "hammer" which steam-rolls onward with no remorse although to talk about very fast-paced moments here would be too farfetched. Again, the delivery is pretty eventful the band playing with force never forgetting about the more melodic aspect of things ("Messiah Or the Great White Pope", the bluesy joke at the end "Underground Girl"). The vocals are very shouty, angry and expressive, but are the best possible choice for this kind of music.

Masterkiller Full-Length, 1994
Bluetality Full-Length, 2002



The line up here includes two former members of more celebrated bands: one from Mordred (Danny White), and one from Heathen (Sven Soderlund). Based on the 1986 demo, this band come up with very good thrash metal resembling Wargasm's "Why Play Around" and early Testament, with great melodic leads which are clearly the highlight here.

Demo Demo, 1986
Demo Demo, 1987

My Space


A 4-track demo of primal Germanic thrash ala Destruction and early Exumer; vicious mean vocals ala Schmier, razor-sharp fast guitars, a sparce use of solos and other unnecessary gimmicks; these guys are really "possessed by thrash", like the demo-title suggests, which is an obvious allusion to the legendary Exumer debut.

Possessed by Thrash Demo, 2008


Merciless' debut is a first-rate death/thrash metal effort, which put to shame most of the releases at that time with its merciless (no pun intended), brutal approach. "The Treasures Within" follows a similar path, with a forceful sound, closer to death metal: brutal relentless pieces like "Mind Possession" and "Darkened Clouds". Despite the aggressive delivery, cool technical hooks ala Death can be caught ("Book of Lies", "Shadows of Fire"), but the guys' desire to play as fast and brutally as possible leave these moments unfinished. Still, this was a solid release, showing the band standing proud among the sea of 90's death metal acts.
"Unbound" was expected to emphasize on the technical side of their music, but it was actually stripped down direct thrash nicely mixing the old school sound with modern "updates", resulting in another strong work. The guys thrash with full force on "The Land I Used to Walk" and "Feebleminded", but the more appealing side appears to be the long, pounding mid-paced thrashterpiece "Back to North", "decorated" by nice epic/atmospheric passages: an obvious, and a good nod to mid-period Bathory. After another raging number ("Silent Truth") comes another brilliant epic thrasher: "Lost Eternally", combining frantic thrashy sections with superb doomy riffs. "Nuclear Attack" is lightning speed/thrashing madness, which sounds like a leftover from the debut. And finally, something softer: the speed metal delight "Forbidden Pleasure", with magnificent melodic guitar lines all over.
After 3 fine efforts the guys took a well-deserved break, maybe a bit longer than necessary, to emerge with their 4th self-titled offering. This album showed the band having preserved their skill to play good thrash/death metal of the old school. There are modern implements added, and the overall sound is close to the Kreator works of the new millennium, maybe more classic-sounding. The music is mostly thrash with few traces of death metal, and outbursts like "Cleansed By Fire" and "Cold Eyes Of Grey" are pure gems of fast headbanging thrash metal as well as most of the songs. This is by far one of the better comebacks made by old veterans, an impressive work finished with a slower, heavier, hypnotic number ("In Your Blood") in the vein of late-80's Slayer.

The Awakening Full-length, 1990
The Treasures Within Full-length, 1992
Unbound Full-length, 1994
Merciless Full-length, 2003

My Space


Based on "From Hell", this Polish formation specialize in pretty cool old school thrash/death metal which is both direct (the short bashing speedster "Army Of Hell") and bashing and stylish and intriguing (the excellent cleverly-concocted puzzler "Satanic Slut") not forgetting about the more atmospheric side of the genre (the creepy macabre doomster "Buried During Life"). In the middle the band indulge in technical pyrotechnics on a solid mid-pace which gives the album a fairly unique feel the latter rudely broken by the ultimate brutalizer "Time Of Birth": Impaled Nazarene meets Suffocation meets the Dutch Expulsion. Don't expect two in a row, though, "Litany To Satan" being another more serious brooder. Both sides come seamlessly blended on the fine "Cursed Religion" which boasts some of the greatest melodic leads around. For a "dessert" the fans will get an excellent cover of the Polish black metal stars Holy Death, of "Holy Death" which captures the sinister Celtic Frost-like atmosphere of those underground heroes in a perfect way. This is quite a treat, a diverse cross over the two styles which even finds time to bring something relatively new and original. One may want to track down this obscure debut effort in order to check whether the guys were already set for greatness back then...

Sick Sanctities Full-Length, 1993
From Hell Full-Length, 2011

Official Site


This is just one song (guess the title...) which is 7.5-min of intense semi-technical thrash with dark overtones not far from Infernal Majesty. The vocals are the weakest side being rough death metal-ish and not very clearly audible for most of the time.

Day After Demo, 1990


Based on the debut: this is cool stuff: heads-down speed/thrash quite close to Cranium, Solitaire and Razor's heydays ("Shotgun Justice", in particular). This is a true speed monster, from beginning to end, no slower breaks or intermissions, just merciless, lightning speed thrashing. Well, there is one more peaceful track (this is very relative here), but only the 1st half: "The Final Slaughter", but it quickly turns into the next violent speed/thrasher in the 2nd one.
"Realm of Terror" is another fine slab of straight, all-out retro thrash, but more aggressive and more "merciless" than the debut. This is really violent music which goes well beyond "Shotgun Justice", easily rubbing shoulders with proto-death, and as such is closer to late period Protector on the most brutal moments (check out the ultra-aggressive ball of fury "Tormented Fate", which would make even Slayer and Dark Angel cringe; or the lightning speed monster "The Gate"). It's surprising how fast and intense these guys can play the whole time, without pausing for a single break; well, no complaints, as this is one more gem added to the thrash metal crown of 2008.
"Taken Beyond" tries to take the guys' style "beyond" brutality; kidding here, but seriously, the music on offer is truly "merciless" thrash/proto-death the guys bashing with reckless abandon not bothering to spice their venomous approach to life... sorry, music, a lot. "Baptism At The Skull" is a surprising atmospheric restrained number, but the downpour after it becomes even more aggressive "The Evil of the Night" providing the requisite "shelter" for a while with a portion of stomping heavy guitars. "Christians of Gomorrah" is deeply immersed in death metal ala later-period Protector, but the final duo is more on the pounding side ensuring the bigger diversity this album "flirted" with in the 2nd half despite the maddening remorseless death metal ending.

Evil in the Night Full-length, 2006
Realm of Terror Full-length, 2008
Taken Beyond Full-length, 2015

My Space


This young Italian band specialize in an old school blend of thrash and black metal, quite well done, not too aggressive, nicely staying within the mid to up-tempo range. There is a slight shade of death metal, coming mostly from the vocals, which have both a death and a black metal vibe. The interesting thing is that these guys do not sound like anyone else from the old veterans; maybe Sacrifice's early period could be a reference point, or, from the newer names the Portuguese Alastor, but the music here has a more genuine black-ish atmosphere, and has no shades of speed metal.

Italian Warfare Demo, 2006
Promo Demo, 2007
Merciless Onslaught/The Krushers Split, 2007

My Space


This is epic retro thrash/death which can be both officiant (the imposing opener "Arise") and fast and blitzkrieg ("Duplicity") the melodic decorations constant companions all over giving the album a cool individualistic "aura". Some compositions are more progressive ("Flames of Determination") with more interesting decisions, and this seems to be the dominant tendency with "Thrash Fuck Kill" breaking the good tone with more rigorous headbanging riffing. The singer has a screechy high-pitched voice with a mean, witch-like hiss at times, which still belongs to the death metal camp.

Catharsis Through Chaos Full-Length, 2014

Official Site


An obscure trio trying to come up with some pretty decent speed/thrash in the vein of Viking and Nothing Sacred; they almost succeed playing quite fast with a comprehensive rhythm-section which gets softer on the not very necessary heavy/power metal anthem "Forces Of Evil". The rest is short and direct marred by the muddy sound quality, but ably helped by the good forceful semi-shouty/semi-clean vocals.

Damnation Demo, 1986


The demo: 3 songs of classic up-tempo thrash of the German school with a modern production bringing it close to the more recent Dew-Scented works; the difference comes in the form of the two vocal styles, both of the death metal school (one shrieky, the other one low-tuned), and the few blast-beats scattered around.
The full-length is a much more brutal offering the band now epitomizing death metal more along with a doze of hardcore. Still, the intense Slayer-esque moments are not to be ignored (check out the perennial neck sprainer "Circle of Contempt", or the "Reign in Blood" leftover "Enraptured" which will startle you with a sudden deathy blast near the end). "Baptized in Blood" is a nod to early Death, and "Process of Eradication" brutalizes the surroundings with a portion of furious blast-beats. Time for a more masterful display of skills with the quiet balladic instrumental "Dystopic Visions" with some brilliant leads, before the closing "Existence Denied" shifts towards more atmospheric death/doomy waters this brutal tiring saga finished with a breathtaking acoustic outro.

Deeds of Inhumanity Demo, 2009
Perpetual Devastation EP, 2011
Eternal Decay EP, 2012
Vile Extinction Full-length, 2013

Official Site


An excellent 4-song demo of energetic, fast-paced thrash along the lines of the Forbidden debut; the vocals also remind of Russ Anderson, maybe a little lower. These guys are a bit more aggressive and more technical coming up with really intriguing riffs. The tempo is fast the whole time with occasional slowdowns where the guitars start to crush really heavily.

Demo Demo, 1989


Based on the debut demo, this act sppecialize in mild friendly thrash/crossover which acquires at times rougher tones ("Born to Kill"), but generally the guys are not very serious in their approach to the style including the singer who shouts in a hoarse unrehearsed deathy manner. The songs in the 2nd half become shorter (the grinding "atrocity" "Life"), and despite their more aggresive nature have a stronger hardcore character. On the other hand, this is where one will find the optimistic speedster "Holocaust" with its merry leads and the fast tempos; and the not very exciting heavy/power/speed metal closer "Tales" which tells "tales of boredom" for over 6-min. Yaaawn...
The full-length is finally a fact, and hats down to the band for their legendary perseverance to bring things to that level after so many years. The style varies from one song to another, and "Under the Acid Rain" immediately makes a positive impression with its more stylish melodic leads. Elsewhere the approach is less sophisticated the guys moshing out in a classic manner the lead guitarist being the star of the show by a long shot. The pace shifts with ease which can't be said about the vocalist who retains hiw guttural semi-shouty, death metal-ish delivery till the end.

Toxic Death Demo, 1990
Living In My Madness Demo, 1995
Under the Acid Rain Demo, 2001
Life Live Demo, 2002
Dominant Class Demo, 2003
Euthanasia Full-Length, 2015

Official Site


Mercyless were a part of the wave of bands from the French scene who showed up in the late-80/early-90's with the intention to "marry" the old school thrash sound with the coming death metal trends. They are one of the better practitioners of this sub-genre (second only to Massacra probably), and their first two albums are prime examples of well executed death/thrash metal mixing brutal blast-beat parts with genuine semi-technical sections. The music is probably more death metal-based, but the good moments are simply too many for it to be ignored by fans of good quality metal in general. Like Massacra, they changed their style in the mid-90's to sound more modern, and manage to come up with the interesting progressive thrash/post-thrash effort "Cold", one of the more tolerable adaptation albums of the 90's made by old school veterans. Unfortunately, it was a distant departure from their initial aggressive sound, and their fans abandoned them in draws. The band had one more go four years later, but "Sure to Be Pure" had better be forgoten: it's some really bad form of modern post-thrashcore without any claims at originality or at least decent musicianship.
The band are willing to give themselves another chance, and it can't be a more appropriate time than now having in mind the legions of thrash/death metal resurrectors "roaming" the scene at present. However, their two efforts after the reformation have very little to do with thrash being much more death metal-oriented still containing their original touches from the days of yore, making them sure picks for fans of high quality old school death metal.

Vomiting Nausea EP, 1990
Abject Offerings Full-length, 1992
Coloured Funeral Full-length, 1993
Cold Full-length, 1996
Sure to be Pure Full-length, 2000
Unholy Black Splendor Full-length, 2013
Pathetic Divinity Full-length, 2016

Official Site


Based on "Mundo Enfermo", these Spaniards offer energetic thrashcore which is more on the modern side with bold ventures into a Pro-Pain territory although the pace here is up for most of the time the pounding moments not so widely covered. The singer quarrels the whole time in a more subdued semi-shouty manner and is quite comprehensive.

No Hay Paz Full-length, 2008
Mundo Enfermo Full-length, 2012

Official Site


Based on the "Plagues of Death" demo, this is cool speed/thrash similar to the Forbidden debut, but with a dirtier sound, and a more aggressive attitude. The vocals are another thing worth mentioning being of the high-pitched semi-clean type sounding like a harsher version of Russ Anderson (Forbidden again).

In Memory of the Dead Demo, 1988
Plagues of Death Demo, 1989
Publishing Death Demo, 1990
Beliefs Demo, 1994


Fast aggressive black/thrash which has a clear old school sound: maybe the works of early Sodom and Bathory are close soundalikes as well the bands from the thrash/black metal wave from Japan: Abigail, Sabbat, Barbatos. This is basic stuff without many musical merits, the way it used to be done in the very early days.

Sodomy Attack EP, 2005

Official Site


The band's style is in the modern camp. There are certain Metallica influences from the Black Album and modern day Anthrax ones (especially on "Raw"), and generally this is competently executed, albeit generic, 90's post-thrash.
"New World Disorder" sees the guys debuting with their new moniker which misses the "Atomiche" part since their guitarist David Bisson, who left the band, was not happy with his ex-comrades using the old name. The music, however, bears no surprises being the expected post-thrash now more often spiced with heavy stoner/doomy sections and lighter heavy metal hooks; very mild, sometimes openly non-thrashy, music.

The Holy Metal EP, 2000
Walk Across Fire Full-length, 2003
Raw Full-length, 2006
Rude Rebel Brotherhood Full-length, 2009
New World Disorder Full-length, 2012

Official Site


Based on the full-length, this act provide modern corrosive power/thrash the pathos really big on dramatic shredders like "Ghost Of Xen" with more serious, progressive attempts ("Cauldron Born") featured as well some of them ("Gone At Last") mild semi-balladic delights, leaving the more aggressive surprises for semi-headbangers like "Lethal Attack" and "Lurking Shadow". The vocal assistance varies from attached clean to shouty proto-deathy ones always appropriate without being too striking.

Meridius EP, 2015
Sealed In Blood Full-Length, 2017

Official Site


The band's output includes both classic American power metal similar to early Helstar or Griffin and good speed/thrash in the Agent Steel tradition. The singer at times sounds like a lower-pitched John Cyriis attempting some wailing vocals in his vein.

Choose Death EP, 1987
Dead Is Dead Full-length, 1988
Dead Is Dead EP, 1990

Vibrations of Doom


Not a bad nesitation between the modern and the classic school with slightly synthesized shouty vocals; the abrasive guitar sound stands on the way a bit, but the fast-paced numbers are not that many for this to be a major annoyance, the band preferring to shred in a longer, more elaborate manner with a not very well disguised progressive ("Kingdom Come") colouring.

Matrix Has You Full-Length, 2016

Official Site


This Russian outfit specialize in a blend of modern and retro thrash which comes served with an elusive death metal edge which can be technical ("Martyr") at times and never goes towards the speedy extremes. As a result the heavy mid-paced delivery dominates all over the closing "Judgment Day" going away with all the fast-paced moments here. The vocals are brutal and low-tuned at times barely audible.

Fake It Full-Length, 2013

Official Site


Based on "A Force To Recognize", this band plays modern thrash/death metal of the dry, sterile kind. The jumpy riffs carry a certain technical charge (check out the stylish puzzler "Eaten By The Sun"), but as a whole the approach is more predictable steam-rolling forward in a consistent mid-pace which makes more intense pieces like "Bones In The Basemenent" and "There Will Be Blood" more than welcome. "Gruesome Blues" is indeed an attempt at blues, but done in a more aggressive, thrash/doomy manner contrasting with the final "The Inevitable" where finally the guys lose it to blast out with the wildest out there for a while with some of the most dispassionate, mechanical guitars of more recent times.

The Purpose Of Our Existence Full-length, 2009
A Force To Recognize Full-length, 2011

Official Site


This is boosted modern thrash the band aptly balancing between melody and aggression. "I Am Among You" is a nice sinister creeper, and "Drowning, Fading, Falling" is a passable power/speed/thrash metal anthem. The diversity so far resembles more recent Annihilator the good semi-ballad "At The Edge Of The World" another nod to the celebrated Canadian(s). "Last Breath Taken" brings back the thrash, and it's here to stay the remaining numbers retaining the hard-hitting riffage. The vocals are acceptable semi-clean ones with better cleaner inclusions at times resembling Jeff Waters (Annihilator again).

Alliance Of Thieves Full-Length, 2016


A very original and distinguished band; from the Metallica-influenced, technical thrash on their debut they developed gradually into progressive, dry, industrialized, "mathematical" thrash/death which can not possibly be described. A unique band, but definitely not for everyone.

"Obzen" is a nice, and desirable deviation from the abstract robotic sound of the last few releases into a more accessible and faster one. "Combustion" opens the album in a nice headbanging fashion, last heard on "Contradictions Collapse" probably. "Electric Red" returns to the more industrialized style introduced with "Chaosphere", but the follower "Bleed" thrashes again in an awesome way with great technical mechanical riffs. After that the songs mix both styles, and although they don't surpass "Bleed", are quite worthy with their choppy dry guitars (check out the complex and very intriguing "Pravus") which will also bring to mind Coroner's "Grin" and the Americans Baghead. Those of you who had given the band up after the hard-to-swallow music the guys started playing on "Nothing" and after, will be delighted to hear their idols back with full force to their earlier more accessible dynamic style.

The digital shredders are back with "Koloss" after the longest break they have ever taken between albums, but their fans should be delighted on all counts. The heavy doomy mechanical riffs of the opening "I Am Colossus" will nail you down sounding like a leftover from the French Treponem Pal debut feature. Immediately after that comes "The Demon's Name Is Surveillance" to show that more dynamics is not strange to the Swedish legends who pull out exemplary sterile technical performance here creating a masterpiece of modern technical thrash. "Do Not Look Down" is wrapped in doomy industrial heaviness again, a tendency continued on the longer and a bit more energetic "Behind The Sun" which is a really cool creepy piece. "The Hurt That Finds You First" will throw you into the other extreme: a fast hectic headbanger the guys shredding like demented on this one to produce some of the most speedy moments of their career. Then follows a string of slower pounding tracks where the abstractism may be a bit hard to swallow, especially on the sinister jumper "Swarm" which is also quite close to mid-90's Voivod. "Demiurge" is industrial gothic/doom at its most mechanically atmospheric, before "the last vigil" "The Last Vigil" which is a quiet ambient instrumental finishing this strong effort with style and a twist. After the fairly good "Obzen" the guys continue to excel having re-invented not only themselves, but the whole niche which they have been occupying for quite a few years.
"The Violent Sleep Of Reason": the kings of polyrythmia are here again, and this new opus will delight both the math and the metal fanbase. "Clockworks" opens the dispassionate, sterile saga with jumpy guitars and several surprising fast-paced escapades. "Born In Dissonance" hardly contains anything too dissonant, but its accumulative riff-patterns would be a delight to the math and djent lovers. "MonstroCity" will largely enchant thanks to the brilliant lead section, and later on the delivery wears thin since there's a repetition of the same pounding polyrythmic patterns on each subsequent track, the band sounding a bit lazy and not very inspired this time seemingly taking a break before unleashing another "kolossal" masterpiece.

Psykisk Testbild EP, 1989
Contradictions Collapse Full-length, 1991
None EP, 1994
Selfcaged EP, 1995
Destroy Erase Improve Full-length, 1995
The True Human Design EP, 1997
Chaosphere Full-length, 1998
Nothing Full-length, 2002
I EP, 2004
Catch 33 Full-length, 2005
Nothing (New Edition) Full-length, 2006
Obzen Full-Length, 2008
Koloss Full-Length, 2012
The Violent Sleep Of Reason Full-Length, 2016

Official Site


Based on "Until the End", this act plays modern thrash which is quite dynamic creating the desirable headbanging atmosphere with several energetic cuts: "Greed", "Contradiction". The slower side of the album ("Strong Enough", "Apocalyptic Sun") is unexciting and dragging relying on unimaginative groovy patterns. The singer is a suitable gruff semi-cleaner who recalls Phil Anselmo on the more inspired sections.

Scars Full-length, 1996
Diseases of a New Century EP, 2003
Obnoxiosus Full-length, 2007
Until the End Full-length, 2012

Official Site


Based on the debut demo, this French trio provide quite good, surreal bass-dominated thrash/death which doesn't exactly resemble any other band, and is also strangely atmospheric notching it up in the speed sphere ("Break of Clock") among a pleiad of other influences. The title-track is an admirable achievement, stomping technical thrash/death with amazing leads and a hallucinogenic mid-section where the bass reaches virtuoso dimensions. "Haunt Your Dreams" is a creepy shredder with jumpy passages and a nice balladic deviation, never speeding up; and "Safety Just" marches forward with puzzling, abstract riffs bordering on Confessor-esque doom ornated by great atmospheric, operatic touches and a surprising fast-paced insertion towards the end. The singer is a low-tuned death metaller and doesn't play a very prominent role oveshadowed by the very cool musical approach.

Eyes of Life Demo, 1994
My Lovagain? Demo, 1995


This act provide dynamic modern power/thrash which wisely straddles away from the groove for most of the time the interesting proceedings helped by good emotional clean vocals. The established mid-paced "idyll" gets broken by the faster "Monkey In Sunday Best" which has a few matches later: the title-track, "Shadows At The Edge Of Perception", and especially the cool headbanger "Mrs. Judas" which is clever speed/thrash with a nice catchy chorus. The 2nd half is way more energetic most of the numbers containing faster elements those strives sunk partially by the more peaceful semi-balladic closer "Promises" which at least shows the already proven his worth singer in a very bright light.

Paintropy Full-Length, 2013


Very good classic progressive power/thrash which puts thrash forward on the exemplary galloping opener "Darkness"; before "Face Of The World" recalls of the heydays of the 80's American metal scene with sweet memories of Helstar, Attacker and Heathen. "Sleepwalker" is a dark progressiver with echoes of Nevermore and Sanctuary slowing down a bit; and "My Love" is seemingly the ballad. "Haze Of You" is a nice epic progressive power metal anthem retaining the dark atmosphere which gets partly dissipated on the more optimistic speed/thrasher "Execution Day" which accumulates a sharp heavy riff after another the unbearable tension dispersed by a fast-paced insertion. "Memories" pours more dramatism with another portion of heavy razor-sharp guitars, before the listener gets exposed to the cover version of the James Bond blockbuster "Skyfall" as a finishing touch which is turned into a handsome galloper beating Adelle's original by miles, remaining arguably the most original cover version ever in the new millennium, also adding an additional strong flavour to this sure-handed masterpiece.

Face of the World Full-Length, 2016

Official Site


Based on the split, this outfit play typical modern thrash, not exactly "messy", but right as rain, without any deviations from the trite formula. The riffs cut and slice, but there is not much enthusiasm behind the recording it all sounding too familiar and rehashed to hold the listener's attention for long.

"Crushed Inside" is another lifeless recording the band only sparingly livening up the situation with the not very appropriate brutal blast-beat which are the only more inspired sections. Shades of dramatic death metal show up on the better "Perfect World" which contains the best riffs on the album with a few more following later trying to capture, not successfully, its both melodic and crushing easthetics. This is a tired offering seeing a band going through the motions although a look (or an ear) at their other output may be worthy just out of curiosity.

Reborn / Smell of Pain Split, 2000
Self-Convicted Full-length, 2002
Crushed Inside Full-length, 2004
Rejected Burden Full-length, 2005

My Space


Based on "Mive9 Fajul A Vile1g": this band play groovy 90's post-thrash quite close to Sepultura's "Chaos AD", edgy and mid-paced for most of the time, with angry vocals not miles away from the ones of Max Cavalera. Heavy riffs, choppy rhythms, more playful crossover tunes, but other than that the music bears no surprises for the genre's connoisseurs.

Pokoli vile1g Full-length, 1998
c9lsz, Ahogy c9lsz Full-length, 2000
Me1s tf6rve9ny Full-length, 2002
Savve1 Ve1lik A Ve9r EP, 2004
Mive9 Fajul A Vile1g Full-length, 2005
Isten Tervez, Ember Ve9gez Full-length, 2008

My Space


Based on the "Nothing Remains After You" demo, this outfit serve not bad semi-technical, creepy thrash which is mid-paced with not very overt doomy overtones. "The Prayer" is a nice reference to the Bay-Area (Metallica, above all), a varied progressive thrasher, its complexity also matched by the shorter hectic "Imaginary World". "Yellow Submarine" is of course... a cover of the Beatles' hit, done in a very characteristic crossover manner only recognizable on the more melodic chorus. After that the approach becomes too dark and kind of monotonous "The Neverending Crime" being more lively and headbanging aptly supported by the short experimental "Mum". The vocals are of the semi-clean hoarse variety and don't add up much to the better music.
The full-length is a sleepy, tedious affair which delves too deep into the recent groovy heritage consequently sounding too monotonous and one-dimensional to hold the listener's attention, also clinging too much towards the doomy/bluesy department to which the gruff semi-clean vocals kind of don't suit all the time. This effort sounds like an entirely new act playing here, well conformed with the tastes of the time, but not very interesting even for the 90's fanbase.

Abortion Thoughts Demo, 1992
Nothing Remains After You Demo, 1994
When Something Ends Full-length, 1996


These newcomers from Dallas play a potent mix of classic and modern hardcore-ish Pro-Pain-esque thrash which is high on energy, especially on short bursts like "Palerose", the latter well compensated by 10-ton hammers like the doomy winner "Anthems", and the only seeming shortcoming would be the characteristic shouty vocals.

Anthems EP, 2010

My Space


This German trio offer energetic old school speed/thrash with the early German school (Warrant, Tyrant, Not Fragile) paid a more special tribute. The band play on with a lot of vigour and passion emitting optimistic soaring sounds with both the riffs and leads containing a lot of melody. The singer is not a particular shiner with his gruff semi-clean tone playing a secondary role to the inspired music.

Demo'lition Demo, 2011

Official Site


Expect groovy thrash/death metal of the playful Six Feet Under-type, still crushing majorly whenever necessary with shattering 10-ton riffs ("1982").

Messiah EP, 2010

Official Site


This legendary Swiss band provided a respectable answer to the extreme "products" which came from the other side of the Atlantic (Slayer's "Reign in Blood", Dark Angel's "Darkness Descends", etc.) in 1986, and along with Kreator's "Pleasure to Kill" helped Europe get even with the States. Of the 4 mentioned albums "Hymn to Abramelin" is clearly the most brutal achievement ("Messiah" and "Thrashing Madness" are pure death metal predating the Death and Protector debuts with a whole year) although in terms of musicianship it is also quite clearly the least capable one.
Things didn't get much better on "Extreme Cold Weather" which was a less consistent effort mixing furious death/thrash numbers with much more laid-back ones with a doom/gothic shade, and the latter could be considered one of the first genuine gothic compositions, released at a time when the Paradise Lost members didn't even know each other. A couple of cool touches are scattered throughout the album, though: the tender balladic instrumental "Mother Theresa", dedicated to... well...; the brutal metallic take on Johann Strauss' "Radezky Marcht"; the excellent melodic atmospheric instrumental "Hyper Borea", which nicely mixes raging riffs with melodic atmospheric passages. The bonus tracks at the end are recorded live, but they are not present on any of the two full-lengths, and are some of the most brutal stuff released at the time: bashing outrageous death metal, bordering on grind.
Having the first two albums in mind, one could hardly expect what a big musical step the guys would take with "Choir of Horrors" which put them right alongside Celtic frost and Coroner as the finest extreme metal practitioners from Switzerland. With a much better production, and much superior musicianship, this album remains one of the finest crosses of thrash and death metal to come out of Europe. The music nicely switches from one style to the other with great sharp riffs, fast tempos, and smart semi-technical "decorations". The pace is quite speedy, but the slower sections are quite frequent as well, making this work a fairly interesting, not predictable listen. The fine instrumental "Northern Command" is a perfect example of this combination, which also reveals the guys' more technical side, which would soon find a better expression on the closing "Weena": a very good semi-technical death/thrasher, with the best lead guitar work on the album.
"Rotten Perish" appeared just several months later, and it captures the listener from the very first note with the brilliant acoustic intro "Act of Fate". "Living With A Confidence" fulfills the promises for more technical, but also more controlled, performance, suggested on a couple of songs from the previous recording, and this great number will strongly remind you of the more recent Death output ("Spiritual Healing", "Human"), albeit served with a big doze of thrash. The speed is not lost completely, though, as is evident from the following "Raped Bodies", which thrashes intensely, without losing the technical edge. Talking about technicality, this can not be even considered a prelude to the excellent "Contrition", which apart from the heavy technical riffage provides fine quiet acoustic moments, and more. "Dreams Of Eschaton" is a surprising, but well made cover of Manilla Road from "Crystal Logic"; it has no ties to the band's style, but serves as the necessary intermission, after which the assault continues on the furious "Anorexia Nervosa", the technical riff-fest "Deformed Creatures", and the combination of the two "Alzheimers's Disease". "Ascension Of A Divine Ordinance" is a good epic progressive track, scoring high in the technical department again, with the pounding twisted 1st part, making a summary of what was heard on the album within its 10-min, finding also time for one of the finest outros, which starts like the intro, with a fine acoustic theme, before the main doomy riff overwhelms you.
This work was seemingly the band's creative peak so it wasn't a surprise when they scattered around after it with the mainman Andy Kaina summoning other musicians under the Messiah banner (including Christofer Johnsson: the founder and leader of Therion, who sang on the album) for the recording of "Underground" which saw the band moving into gothic metal territories similar to Paradise Lost's "Gothic" and Cemetary, to finally fully develop those gothic tendencies heard on their early efforts.
The "Psychomorphia" EP is the first indication of the band's growth containing forceful thrash/deathsters, one of which ("Psychomorphia") is a diverse, almost progressive opus, quite an interesting musical journey finished with a nice ambient outro; another ("Right For Unright") being a more direct lasher with sharp dramatic riffs: and one ("M.A.N.I.A.C.") ultra-brutal death metal outrage lasting for 2-min.

Hymn to Abramelin Full-length, 1986
Extreme Cold Weather Full-length, 1987
Psychomorphia EP, 1990
Choir of Horrors Full-length, 1991
Rotten Perish Full-length, 1992
The Ballad of Jesus EP, 1994
Underground Full-length, 1994

My Space


Based on the "In the Flesh" demo, this band specialize in interesting mid-tempo thrash with simplistic, but quite effective guitar work, and an excellent heavy bass bottom. The tracks are 5-6min long, but there isn't anything technical going on; just cool, not aggressive thrash, which doesn't sound like anything else out there.

In the Flesh Demo, 1988
Look Unto The Cross Demo, 1989


Based on the "Invocated Unholy Souls", this band must have been the first extreme thrash/death metal formation in the Far East, with allusions to their Swiss colleagues also made with the name. The style is brutal, but very well done, with a sound which will remind you of Pestilence"s "Consuming Impulse", or Massacra's first three efforts.
The debut demo is another pretty aggressive affair boldly venturing beyond the borders of thrash, even surpassing their namesakes from Switzerland in terms of brutality, coming closer to the more stripped-down, purer death metal "massacre" of Protector's "Misanthropy". This is a raw, but controlled, aural assault which by all means has its raw charm not without the help of the brutal Martin Van Drunen-like vocals.

Gore of the Crucifix Demo, 1987
Immortal Kingdom Demo, 1988
Invocated Unholy Souls Demo, 1989


A one-album wonder from Canada with a very capable female singer (Lynn Renaud is the name); the music is mostly speed metal ala the Germans Warrant and Steeler, with also touches of 80's Chastain and the Germans Not Fragile. This album has definitely been a big influence on the 90's power/speed metal scene. The brisk opener "The Sequel" is the definitive speed metal delight, after which "Call From the Night" hardens the course with heavier, thrashy riffage, without losing the speed. "Watch Out" is speed metal at its purest once again, followed by the more moderate heavy/power metal of "White Night". "Spirit Killer" will not only not "kill your spirit", but will lift it much higher with its meaty galloping riffs, a tendency continued on the following "Silent Tyrant". "Hero's Saga" switches onto a full-frontal speed assault, before "The Last Day" adds more pounding power/thrash to the proceedings. "The Third One" closes the album in a flying speed metal fashion setting a very strong example for hundreds of acts to follow in the 90's making this effort one of the ultimate speed metal works on the scene. The leads are quite good, short and melodic, and Renaud shines all over with her emotional delivery ala Doro Pesch, with a more frequent adherence to the higher registers than the German metal legend.
The demo sees a male vocalist stepping in to replace Renaud, but the fans won't be disappointed since the newcomer (the name is Denis Dufour) pulls out really inspired performance to assist these three songs of forceful intense speed/thrash which will make your head bang spontaneously from the get-go: check out the cutting shreds on the opening "No Hideaway" which are aptly blended with some of the finest melodic leads around. "Get Away" is dramatic mid-paced thrash at its most memorable featuring great lashing riffs and a rough sing-along chorus. "Lesson For A Liar" is more in the power/thrash metal camp with a more relaxed rhythm-section and another sing-along chorus. These cuts were a very cool rehearsal for a future full-length, but sadly another great act sank without a trace in the groovy "abyss" of the 90's.

The Last Day Full-length, 1987
No Hideaway Demo, 1991

Vibrations of Doom


Abrasive hardcore-ish thrash which also shares some of the death metal intensity, all this packed into 1-2min tracks, some of them pure "outbreaks of evil" graced by shouty choruses and direct lashing guitars, without too many musical merits.

All Work And No Slaughter Demo 2006

Official Site


Competent aggressive thrash metal recalling late-80's Slayer and Devastation with a more technical edge and longer songs; the band play fast and tight, varying things with heavy stomping riffage ("Nothing Will Change"). The guys are quite good at making longer compositions sound aggressive without speeding too much, relying on crushing mid-paced, semi-technical riffs: "Who's for Dinner", "Ritual Killings".

Terrortory Full-length, 1990


These folks serve energetic retro speed/thrash which keeps the energy high regardless of the not very convincing musicianship which relies on very simplistic riffs which can't possibly keep the interest on an over 5-min long composition which are most of the numbers here. Otherwise the guys try hard to creat a more progressive impression (the baladic escapades on "Negative"), but they just don't possess the requisite skills to make that happen. The singer is another detriment with his indifferent clean baritone never changing the pitch for a split second. Som of the guys also play in another similar thrash metal outfit, Nevertrust.

Eraser Full-Length, 2015

Official Site


This new act play modern melodic thrash/death which is profusive from the melodic side with catchy hooks galore. The tempos alternate as the references here are on the faster side where smart hectic technical pieces like "What Is Established?" belong. There are certainly dull moments to be come across: "Ze9 Do Caixe3o" is a sleepy dramatic gragger which lasts for over 7-min; but later on another stylish moment arrives: the progressive energizer "Just Enough Rope" which is nicely strengthened by the next "Why Should He Live?": another intelligent thrasher with progressive overtones. There are a few acoustic instrumental parts scattered around which give a nice serene flair to this not a bad effort.

Interrorgate Full-Length, 2014

Official Site


Super groups are not a rarity anymore nowadays, and here comes another one to rock your world. The main "disturbers" are Alex Skolnick (Testament), David Ellefson (Megadeth), and Mike Portnoy (Dream Theater). On each song the gand have invited a different performer to sing among whom one will savour the presence of Phil Anselmo, Chuck Billy, Tim \f1\ldblquote Ripper\ldblquote Owens, Steve \ldblquote Zetro\ldblquote Souza (Exodus), Mark Osegueda (Death Angel), and other throats. The music ranges from epic power/thrashers ("Let Darkness Fall") to fast-paced brutalizers, to pleasant semi-ballads ("Scars" on which one will also detect the presence of Cristina Scabbia (Lacuna Coil)). Skolnick's involvement is traditionally spectacular although his pyrotechnics are not that flashy trying to fit the not very demanding character of the style. The end is preserved for the nice cover version of Ronnie James DIO's "We Rock" where all the singers join forces to celebrate the late vocal hero. It's not clear whether this project will turn into a full-time occupation for its founders, but even as a one-spell stint it still delivers, albeit not in spades.

Metal Allegiance FullLength, 2015


The flag of Germanic thrash is raised high in Colombia, with copious amounts or "metal" beer spilt as well, in the manner of none other but Tankard. The band play fast'n tight almost reaching a proto-death intensity ("Veneno Infernal") on the more aggressive moments. So one will have no problems walking (or driving, if you're more careful) on this "highway of beer", which comes paved later with a pretty cool cover version of Slayer's "The Antichrist".

Highway of Beer Demo, 2011

Official Site


These "metal brains" have concocted interesting, but not edgy enough, modern power/post-thrash which has the necessary misicianship to intrigue the fan, but the shadow of The Black Album is too heavily looming over the album to make it a truly original listen. The ballads/semi-ballads are also not too few, and although the singer has the requisite talents to pull it through, the musical approach is just too soft, and too consistently heavy and mid-paced, to make many heads turn.

The Core of Life Full-Length, 1996

Official Site


One of the pioneers of the speed/power/thrash metal movement, these greats never gained the recognition they truly deserved which went to other far less impressive acts. "Metal Church" is an extraordinary debut which even unbiased encyclopaedias, like "A to Z of Heavy Metal" can not help but call "phenomenal". It's needless to go into further details about this perennial classic which contains some of the definitive riffs in metal history (the opening machine-gun like one on the title track remains my personal favourite all these years; David Wayne (R.I.P.) couldn't resist to use it later for the opening number from his controversial solo effort "The Choice"). "The Dark" was even more thrash-fixated, abandoning the heaviness and the epic feeling that have permeated some of the songs from the debut, and it probably needed just one more effort of the same calibre for the band to seal their fate on the pedestal of metal fame along with their colleagues from the Bay-Area and the East Coast, but the leaving of David Wayne closed the thrash metal page from the band's career. With the coming of Mike Howe from Heretic Metal Church entered the power metal arena where they are still one of its most distinguished representatives despite the numerous ups and downs witnessed both in the musical and the personal (remember the ill-fated attempt for a reunion with David Wayne ("Masterpeace") for both) sector.

Metal Church Full-length, 1985
The Dark Full-length, 1986

Official Site


This is intense, abrasive modern thrash with expressive shouty deathy vocals. The guys make sure to mix the pace frequently as rougher more brutal cuts ("The Chaos") mix well with more stomping ones ("Grinder"). "My End" attemps something more progressive and more meloidc, and its endeavours are nicely supported by the jumpy, not very predictable "Folkcore".

Legacy Full-Length, 2017



Based on the full-length, this act pull out intense retro thrash which starts with a great lead-driven intro. Later on it's business as usual the guys moshing out relentlessly producing headbanging bombs along the way like "Thrash Paliza" and "Destruccion Letal". "Inquisicion" is a nice attempt at a more technical play, and "Dinero-Oscuro Ritual" is a dynamic thrash/crossover cut. The singer may a be a pullback with his overshouty black-ish timbre.

No Fake Bullets EP, 2008
Doctrinas & Rituales Full-length, 2016

Official Site


Run away from the "metal disease" which spreads quickly carried by these youngsters, or rather a youngster since the only known member of this formation is a guy called, or rather named Prasolov. So Prasolov is responsible for almost everything here, from the inspired energetic musical tribute to the old school to the slightly thin, but charming shouty, quite high-pitched at times, semi-clean vocals. This is entertaining stuff which recalls Heathen's debut and Viking's "Man of Straw" so expect fast thrashing with slight semi-technical deviations. "You're What You Do" is a hardly necessary friendly rocker, only one of its kind, but seriously off-putting compared to the much better rest. Anyway, it remains good fun also with the inclusion of frolic crossover cuts like "Go, Drink And Fuck Off!".

Young Attack Full-Length, 2014

Official Site


Most of the time the music here is cool thrash/death metal along the lines of later period Protector, but with a darker sound and fierce grindcore outbursts which could have been avoided. On the other hand, there are good leads present as well as pure punk-ish pieces ("Mean, Green and Pink").

Auto Ducko Destructo Mondo Full-length, 1990


This compilation sees an act playing consistent modern power/thrash (check out the intricate groover "Vindico" at the end) with post-thrash tendencies by switching at some stage to more interesting melodic progressive power metal. One may have problems placing "Demogoroth Satanum" in any of those two camps since this is pompous orchestral black metal; and later on there's "Lavidius-Prison Within" which is more classic-sounding thrash ably accompanied by "Mutilated Evilution-Human Machines" which is another more intense thrashy number. The vocal styles also change with the music ranging from shouty angry ones on the post-thrashy material to very good clean emotional ones on the progressive tracks.

Earth Metal Best of Compilation, 2013


Nice energetic retro speed/thrash in the tradition of Angel Dust and Iron Angel (too many "angels" here, one may say...); the guitars lash with passion seldom slowing down, ably supported by mid-levelled semi-clean vocals quite close to Jf6rg Weiss (the first Angel Dust singer). Some of the band members are also involved in another thrash metal act: Impact.

Send the Posers to Hell Demo, 2006


A 3-song demo containing thrash done in a sure-handed classic manner with a strong technical edge, not far from mid-80's Voivod. There are more aggressive speedy moments present, but the clever more technical "decorations" are always at hand to make this an intriguing off-the-track listen, ably supported by cool mid-ranged clean vocals.

Demo Demo, 2009


Based on the demo, these folks indulge in laid-back heavy/power/proto-thrash with clear NWOBHM references sounding not far from Tank also offering the odd galloping rhythm ala the American scene ("Between Life And Death") at around the same time. The singer is not bad with his mid-ranged, albeit unemotional, clean tember recalling Tim Branom (Fifth Angel) and Blaze Bailey (Wolfsbane, Iron Maiden).

Liferide EP, 1987
Demo Demo, 1987
The Unborn Child EP, 1989


Good Bay Area-influenced thrash, with Metallica the prime target for worship (their early period); even the vocals resemble the slightly undeveloped James Hetfield-ones used on "Kill'em All" (in the higher tones they might also remind you of Jeff Martin from Racer X). The lead guitar is particularly striking, even having a certain Shrapnel vibe, and is the highlight here. The music is quite energetic and fast, and loses steam once, but only a little: on "The Awakening", which is a power metal-based number, and would also recall the early Racer X works.

Honour Among Thieves Full-length, 1989


This talented guitarist also has a side-project: Painmuseum, and is a full-time member of the Halford team. On his solo works the man does a fairly good job serving hard'n heavy thrash metal mixing the modern and classic trends, with more references to the former which is of the heavy, but pretty dynamic, type with numerous up-tempo implements. The concentration is more on riffs, though, unlike most of the guitar wizard efforts, except for the short instrumentals (the opening and closing ones mostly), and the fans will be delighted to hear intense thrashy sections all over with a big headbanging potential. The tracks are almost purely instrumental, the exception being a totally unnecessary tribute to Yngwie Malmsteen on "Terrotory: Guitar Kill!!!" with a cover version of the Swede's worst song probably: "Bedroom Eyes" from "Eclipse", an utterly out-of-context softer amidst the much more aggressive surroundings. There are pounding groovy passages as well, but they never drag and are well combined with the faster moments. "The Spilling" may annoy the listener a bit, though, with quite a few numbers being just either plain noise, or overlong balladic variations, or purposeless dialogue samples, etc. Still, fans of the instrumental side of thrash metal will be quite pleased for most of the time with the Chlasciak's riff-oriented thrash-friendly, not boasty or flashy, delivery.
Out favourite shredder's engagements with numerous other acts around the globe have detained him from producing anything under his name for a looong time. 11 years after his last effort comes this 4-track "This Is War" EP to keep the flame of Metal Mike alive, and it shows the man unleashing his power/thrash/speed mantle far'n wide sharing the space between 2 vocal and 2 purely instrumental pieces, the vocal ones being raging speedsters with high-strung soaring vocals; the instrumentals splitting in terms of passions, "M Is for Metal" being laid-back and melodic with semi-balladic tendencies and a lot of lead pyrotechnics; "Tonight We Ride" moshing wildly being a full-blooded thrasher with hard riffs and screamy leads. This is a good testing of the soil in case of Mike intends to concentrate on his solo career once again. It's time for more thrashy shred from his side now that the competition on the field is getting bigger and bigger...

Rock-Et Boulevard EP, 1991
Grind Textural Abstractions Full-length, 1996
Terrotory: Guitar Kill!!! Full-length, 2000
The Spilling Full-length, 2001
This Is War EP, 2012

Official Site


The band name says it all: Metallica and nothing else matters. Well, although Metallica are an obvious influence on some tracks, the overall style reminds more of early Megadeth, with the exception of some speedy numbers ("The Impending Holocaust", "Slave of Darkness") where one could hear Slayer-esque riffs as well. Nice guitar solos and heavy riffs make this album an enjoyable listen.

Perpetual State of Aggression Full-length, 2003


Energetic, noisy thrash metal with hardcore touches not too far from the Acrophet debut, but a lot less professionally done. This would probably appeal to some if they can tolerate the screeching vocals which recall some modern day black metal singers, and are actually the distinctive feature of the band, distinguishing them from many other similar acts.

Cease To Exist Full-length, 1987

Vibrations of Doom


This is the guys from Gumo Maniacs' new project. A brilliant melodic intro ("Darkness Blindfold") opens the album and things don't flop from there, first with the melodic headbanger "New World Order", then with a string of cool melodic power/thrashers which are led by the very good singer who has one of the warmest emotional voices in the genre at present, and is just a wonder to listen to creating numerous chorus-like opportunities for both himself and his comrades. The focus is not on wild thrashing although there are less bridled moments ("Mirrority") to be savoured here, inclduing in the 2nd half which is more on the power/speed metal side and may annoy the hard-boiled fans because of the overuse of keyboards. Still, as said before it's the vocals which are the reall star of the show, and they alone should be able to make the fans' day.

Diary of the Night Full-Length, 2013

Official Site


Based on "Unorthodox", this act plays fast aggressive thrash/death metal of the retro type with an abrasive guitar sound and brutal death metal vocals. The "requiem" is thrown as an intro, but there is nothing classical later on, as the guys thrash hard adding a few interesting Oriental motifs. As a whole the style resembles the one of early-90's Messiah ("Choir of Horros", in particular), but the music here is not as interesring, especially near the end when it loses the speed almost completely "resurrecting" it a bit on the cool black metal-tinged closer "Evil Detonator". Some of the musicians involved here also take part in the power/progressive metal outfit Sierpe.

Inquisition EP, 2002
Illusions Of Fire Full-length, 2004
Unorthodox Full-length, 2010

Official Site


Having taken their name from the Sodom song, this band are not as vicious as the style on the album to which this song belongs ("Obsessed by Cruelty", that is), but are more in the speed/thrash metal camp, occupied by acts like Vectom, Iron Angel, Atlain, etc. Their music is not constantly fast ("Soldiers of the Nite" is more laid-back power/thrash; "Paranoid" is pure classic heavy metal; "Hiroshima" is a slightly overlong tender ballad), and some of their speedy material has this simplistic, crossover shade ("Sometimes a Barkin' Dog May Bite"). Still, full speed ahead we have on at least half the numbers: "Burnin' Metal", "Suicide Commando", "Outbreak of Evil". As a whole this is just a passing release with not much to impress the thrash metal fan who by that time has raised his standards quite a bit.

Outbreak of Evil Full-length, 1987

Fan Site


This band provide typical modern thrash accentuated by sharp guitars and forceful deathy vocals with a quarrelsome pitch. The middle serves a few surprises: the tender semi-acoustic ballad "Open Your Eyes" and the quasi-guitar virtuoso instrumental "Fingers Smashed Strings" which could have been a lot better if it wasn't for the intentional fuzzy guitar sound. The second half lacks the initial edge the songs degenerating to boring mid-paced patterns the closing "Stand till the End" (it would be a bit hard, lads!) apologizing partially with its carefree fast crossover rhythms.

Escape From The Death Full-Length, 2012


An early mix of power, speed and thrash metal reminiscent of early Exciter and Vectom; the music here is probably more melodic, staying more within the confines of power/speed metal, and the musicianship on display is considerably inferior.

Metal Race Demo, 1985


These "metal workers" play dynamic speedy old school thrash which is not a "stranger" to more melodic variations ("I'm The Killer Now") those same ones kind of marred by the noisy sound quality and the rough shouty vocals. Otherwise the guys seemingly have fun with the style moshing with force on intense pieces like "Broken Cradle" and the frantic proto-deathy closer "...And The War Has Began".

Metal Drunkers EP, 2010

Official Site


Four songs of early classic speed/thrash metal mixing the early German trends with the American wave: the Metallica debut, Exciter, etc.; cool stuff, with a slight crossover potential ("Let the Evil Begin") as well. The music is moderately fast assisted by hoarse semi-clean vocals with a certain punk-ish tember.

Into the Grave Demo, 2009

My Space


Based on the 3-song demo, this band play dynamic Bay-Area thrash with very good emotional clean vocals with a harder flair at times. Very good stuff with some semi-technical elements also popping up "Nation of Sin" thrashing with style with a great bass bottom. "X-Men" is a heavy shredder with a nice fast-paced ending; and "Won't Lose Unto You" is a magnificent technicaller with brilliant melodic implements, a masterpiece of clever thought-out metal.

X Marks the Spot Full-Length, 1989
Demo Demo, 1992

My Space


The full-length shows a band dedicated to the retro thrash idea executed in a more thought-out, almost progressive-sounding at times, manner with several more intense numbers (the opening "Mdmx"; the edgy speedster "Fight the Lightning") "roaming" around, resulting in a decent Bay-Area influenced sound ala Defiance and Xentrix. "Bear & the Wolf" adds power and epic to the picture, but the rest has a dark vibe, which reaches the climax on the heavy, doomy semi-ballad "The Returned...Annihilation Zone" near the end. The singer sings in a semi-detached/semi-clean way recalling Chris Astley (Xentrix).

Fuck Posers! EP, 2009
Enter the Metalator Full-length, 2011

Official Site


A traditional for the Japanese scene blend of thrash and speed metal, familiar from the works of acts like Sex Machineguns, Cocobat, Volcano, Gargoyle, Hellhound, etc. The cool soaring clean vocals are also firmly in place, with gruffer deathy support appearing on hard-hitters like "Attack of the Darkness" and the excellent speed metal roller-coasters "Envoy of Destruction" and "Battle of Fear".

Invasion Of Dark Troops Full-Length, 2018


One of the few thrash metal bands from Romania, Metalchrist mix 90's speed/power metal with thrash. The music at times reminds of the Germans Brainstorm. It's melodic stuff that might not appeal to many thrash metal fans.

Nihil Sine deo Full-length, 1994


These guys play thrash/crossover not too far from early Nuclear Assault. In other words, this is simplistic, but catchy stuff, fast and energetic, maybe a tad more melodic than the music of the aforementioned Americans. The singer is bad with his undeveloped raspy delivery which doesn't quite suit the better music. "Victime del Futura" is a melodic mid-paced track with a power/epic feel, but deviations of this kind are not too many.

Violencia y Metal EP, 2006
Crucificados EP, 2007

My Space


This band, who boast the presence of a beautiful female guiatrist (Anna Olejniczak is her name) specialize in modern power/thrash metal with several classic leanings. The music resembles the one of their colleagues and compatriots Perzonal War and Runamok developing in a dynamic mid-tempo helped by heavy meaty riffs, but the intense speedster at the end "Beyond Reality" shows another side of the band's skills, and one may wish this side would be better covered on future efforts.
"Radio Apocalypse" is another blend of the two sides of the genre, maybe a tad softer now with more power metal leanings which give the album a nice melodic edge. More intense thrashing can still be encountered, like on the energetic mosher "Overload" and the Annihilator-esque "Disbeliever", but the focus is strictly on laid-back, at times openly radio-friendly, riffage.

March To Hell Full-length, 2010
Radio Apocalypse Full-Length, 2012

Official Site


Based on the "At Trace for Insanity" demo, these Colombians provide three songs of blitzkrieg retro thrash which consists of crips lashing riffs, predominant fast tempos, a few more clever arrangements (the interesting semi-technical opus "At Trace For Insanity"), and unrehearsed shouty semi-death metal vocals. The sound quality is a bit muddy deafening the leads and the vocals.

Mortal Pride Demo, 2011
At Trace for Insanity Demo, 2011

Official Site


Based on "Flashback", this formation offer modern tedious post-thrash (the 1st half) which is miles away from The Black Album models it tries to follow both music and vocal-wise. Apparently at some point the band give up and take their life in their own hands: "Accursed Bond" in the middle would be a huge surprise: Slayer-esque aggression sung by James Hetfield; quite an achievement leading to 2 more niceties after it. The last 3 songs indeed manage to pull it out with dignity partly saving the unimpressive beginning although the two sdes sound as though having been recorded by 2 different acts.
The debut is even more boring comprising repetitive post-thrashers with a doomy/stoner flavour with power and heavy metal scattered around saved by the excellent melodic leads (check out the title-track). Unfortunately, there's no dignified ending this time the album finishing in the same downbeat not very impressive proto-modern manner, another relative asset being the cool clean vocals.

Inimical Reality Full-Length, 2003
Flashback Full-Length, 2010

Official Site


A retro mix of power, speed and thrash metal emulating for the thousandth time their compatriots Hermetica and Horcas. The music is both sleepy and energetic, with more emphasis on the former side which comes served with screamy high-strung thin vocals and slightly noisy one-dimensional guitars.

Sere Asi Por Siempre EP, 2009


One guy, the name Oscar M.G., is in charge here for the creation of this modern thrash roller-coaster which is by all means "a metal album", and although it aptly avoids the groovy traps for most of the time, it hardly has any merits if we exclude the tasteful lead guitar work which seems to be Oscar's main asset. In the 2nd half the songs are longer bordering on doom on the not bad "Blinded Citizens", also providing a decent Annihilator-esque shredorama on "To Serve And Protect". "This World Burns" is another piece with mentioning with its headbanging riffs... and probably the not very convincing "flamenco meta;" on "Al-Miraya Demons (Flamenco Metal-Parte 1)". Oscar sings in a gruff death-ish fashion adding the casual cleaner baritone for a spice.

Metal Album Full-Length, 2015

Official Site


The band's debut is classic thrash of the German school similar to Necronomicon and their compatriots Mezarkabul: intense, heavy music which isn't all-out speed all the time; actually it starts with heavy mid-paced thrashers before it moves onto the faster material where the guys simply take no prisoners with their uncompromising delivery: check out the excellent instrumental "No Descent". The cool, Schmier-like vocals are also worth mentioning.
Five years later the band are back with "Suffer", and with the very first song it's obvious that the guys will show no mercy once again. The sound, however, is more aggressive and vicious with nods to death metal in a way similar to the Swedes Merciless' debut, or Massacra on at least on half of the tracks, but there's a fair number of songs which aren't fast at all, and even come with shades of doom: "Circle of Despair". The vocals have changed as well now sounding more along the lines of Fred "Death" Duval (R.I.P.) from Massacra.

Behind The Power Full-length, 1990
Suffer Full-length, 1995


Based on the "Weapons of Metalization" demo, this act pulls out vicious classic speed/thrash with the German school an obvious influence. The music is simplistic, but delivers being energetic and intense the whole time assisted by intelligible vocals which resemble Paul Baloff (R.I.P) quite a bit adding the casual high-pitched shout ala Schmier from time to time.
The full-length debut continues the retro speed/thrash saga, with "thrashing force", on full-throttle the abrasive guitar sound the only detriment. There's pLenty of energy in the execution where the guys lash fiery riffs with enthusiasm bashing with vigour and simplicity. Speed metal is the order of the day on a couple of cuts in the middle, but after all this effort is all about playing fast'n loud the dedication recalling Whiplash's debut as well, among many of the 80's Germman practitioners. Things become serious for a bit on the semi-technical speedster "Bleed by My Fist" which is also longer than the rest, and partially influences the closing "Silent Desperation" which has jumped straight out of the mid-period Destruction textbooks.
"Your Nightmare": the band are in full swing here thrashing their hearts out on short ragers like "My Cage" and "Street Dog". More sophisticated, semi-technical thrashing is offered on "A Bridge Across Time and Space" which also comes with tasteful epic decorations. Remorseless thrash is what follows all the way to the end the excellent instrumental "Cause and Effect" graced by a breath-taking acoustic passage. The final "Life Is Your Nightmare" is a surprising more serious cut offering 7-min of speedy thrashing even spiced with several furious blast-beats binding this entertaining effort with death metal for a very short bit.

Electric Homicide Demo, 2005
Weapons of Metalization Demo, 2007
The Thrashing Force Full-Length, 2013
Your Nightmare Full-Length, 2015

Official Site


This band were earlier known under the name El-Alquimista, but there is not a change of style the latter being a classic/modern brand of power/thrash with solid heavy riffs which seldom cross towards anything faster, but on the other hand rarely offer pleasures for the doomsters (check out the stoner/doom anthem "La Manzana de Isac"). The approach doesn't often go towards more exciting moments and the songs start merging into one another towards the end. The vocals are of the cool clean mid-ranged kind and are suitable for the not very adventurous musical delivery.

La Cruz del Alquimista Full-Length, 2008

Official Site


This band were earlier known as Headless when they had two demos released in the early-90's of traditional heavy metal. The approach some 17 years later is more aggressive power/speed/thrash as the opening "Metalheads" so nicely exhibits with its impetuous very speedy guitars, the vintage early/mid-80's German sound. "Fly" is a heavy squasher the clean mid-ranged vocalist getting some help from more brutal deathy growls. "Crimson King" is a vigorous galloper the guys riding the horses to oblivion, adding the catchy chorus as well until "The Gods Above the Sky" puts an end to the ride with mellower power metal rhythms. The delivery stays this way for a string of tracks before "Imperium" starts thrashing with might and technicality producing nearly 7-min of first-rate retro speed/thrash the singer unleashing a couple of piercing, glass-shattering screams as everything stays aroound for the closer "Wrath", another speedy shredder with more flexible riff-patterns reminiscent of Wargasm's "Why Play Arund".

Metal Heads Full-length, 2017

Official Site


This Russian outfit indulge in complex, but also bashing at times, modern thrash which is quite annoying thanks to the very fuzzy guitars and the inserted quasi-industrial gimmicks which create plain noise without any meaningful contribution. This is messy unfocused stuff exited with a cover of Mayhem's "Freezing Moon" from the Norwegians' legendary debut "De Mysteriis Dom Sathanas", sung in Russian and generally delivered faithfully with the appropriate macabre "frozen" atmosphere the mean semi-clean vocals becoming more brutal and huskier with a colder sinister tone.

Illusia Pravdui Full-Length, 2012


The EP: 2 tracks of classic thrash/crossover, fast but melodic with cool crisp riffs and clean punk vocals.
"Agriculture Thrash": some "agricultural thrash" comes our way to help us gather the crop from the fields faster... The band are now a full-on thrash attack, at least in the beginning, not far from Slayer the more laid-back crossover atmopshere from the EP eventually coming back ("Laskar Tendang Bokong", "Pelaut") for a bit. The 2nd half is merrier and not as hard-hitting, but the closing title-track is a revelation: 7-min of some impetuous Bay-Area shred in various tempos which would delight the moshers and, of course, the farmers.

Distorsi Menendang Bokong EP, 2009
Thrash Metal 1983 Full-Length, 2011
Agriculture Thrash Full-Length, 2015

Official Site


The "fathers" of the whole genre, along with Slayer; their 80's works are of an immeasurable significance to music in general. The first thrash metal band to break it really big and rival even pop-artists like Madonna and Michael Jackson in terms of albums sold. Even the Black Album is a compelling listen with its dark, post-thrash sound which later had a huge influence on the 90's scene. Metallica lost interest in thrash metal later in the 90's, and although "St. Anger" features some aggressive riffage not heard on the band's works in a long time, it's nothing more than just another modern metal album. It raised some hopes, though, and I'm sure that there are quite a few of you out there who believe that "Master Of Puppets 2" is lying in wait ready to strike at the right time.
"Death Magnetic" is finally out and it was interesting to see whether the band would be able to shut the mouths of the hordes of "weenies" who quickly denounced the band after the change of course during the 90's, pouring piles of crap over them on blogs, forums, etc. (not that Metallica ever cared about what this or that one would write about them), blaming them in what the hell.
Well, "Master of Puppets" 2 this is not, and if one comes to think of it, it is hardly necessary for this great album to be revised. "Death Magnetic" sounds exactly the way the guys said it would: it serves as a fine bridge between their 80's legacy (their output from the 2nd half of the 80's) and the post-thrash sound epitomized on the Black Album. This is not all-out retro thrash, but comes quite close on quite a few times. "That Was Just Your Life" starts the way the immediate follow-up to "...And Justice for All" should, and although it's not "Blackend", it's a fairly satisfying energetic heavy thrasher, a number which was missing from the band's albums for a loong time. "The End of the Line" offers more laid-back riffage, along with a couple of more modern-sounding sections, but overall the sharp guitar sound is not completely lost. "Broken, Beat & Scarred" is in a similar vein, not thrashing out intensely the whole time, but never leaves the thrash metal field, and fine leads which Kirk Hammett hasn't unleashed in quite a while, can be heard on this one. "The Day That Never Comes" is mostly a ballad, quite good at that, except for the nice speedy ending, but the guys needed this break; after all, they haven't thrashed for three whole tracks in a row in a long time. "All Nightmare Long" introduces a more technical guitar play, which this album was missing up to this point, and is a very cool mid to up-tempo thrasher with a fine melodic chorus, and great crushing riffs. "Cyanide" is a reminder of the style metamorphosis the band has been going through since 1991, but the fine lead section saves it from being just a filler. "The Unforgiven III" is... but of course, the second ballad, which this work hardly needed, weaker than the first, let alone the original "Unforgiven". Enough with more modern deviations, one may say, and here comes "The Judas Kiss", a combination of the classic and the modern sound, containing genuinely impulsive headbanging parts. "Suicide & Redemption" is the instrumental piece, 10-min long, but unfortunately is far from the high standards established by the band 20 years ago, and is a little more than mid-paced modern post-thrash, with occasional more stylish decisions in the 2nd half where the music speeds up for a while. The listener can not help, but have mixed feelings about the new Metallica output up to this point, and his judgement would largely depend on the last song "My Apocalypse" which seals the fate of the album in a sure-handed way, putting it on the front row, closing it with great classic fast-paced thrash rhythms, blitzkrieg screaming leads, and fine more technical implements- a thrash masterpiece which alone serves as a big slap on the face of all those who were bitching about the band for years for having betrayed their fans, and what not. The slap could have been harder, since there were "fans" who more than deserved it, but there will be another one later, and why not a punch, which will hopefully deal with those who survived this one. Metallica are back in the game, plain and simple, and this is hopefully just the rehearsal for what would befall us later.
"Hardwired... to Self-Destruct": even legends like Metallica need to remind of themselves on more regular terms, especially when the competition on the scene is almost as fierce as it was back in the 1980's. Well, the truth is that the band under scrutiny here don't care about any competition whatsoever since this new opus has very little to do with thrash, and consequently would be of little interest to those who loved "Death Magnetic" hoping that the guys would rise and lead again the thrash metal movement during its second renaissance. This is by no means the case here, and judging by the less and less frequent creative outbursts coming out of the band camp, "Master of Puppets, The Legacy" or "Ride the Lightning with a Vengeance" are very unlikely to appear, not now, not any time later...
The other truth is that the album isn't bad at all by mere metal standards. It starts very misleadingly, though, with the short blistering speed/thrasher "Hardwired" which could also pass for the relative title-track, but the guys very quickly move towards the calmer, less thrash-prone style already familiar from The Black Album, and don't dare move outside it for over an hour, until another glorious reminder of their heydays, "Spit Out the Bone", arrives at the end to bang the heads with fast'n furious riffs which could have been dug out of some rehearsal tapes left from the "...And Justice for All" sessions. Still, this last outcry of thrashing greatness would make one even sadder for the lack of such delightful moments earlier, and for the fact that the band simply follow their own minds and serve no tastes as they showed so well with their previous metamorphoses. "Self-destruction" this is not, and the fans of the band's 90's period should by all means rejoice as this is an apt, albeit a bit monotonous and not very eventful at times, reference to The Black Album with a pinch of "Load" on the more quiet moments. The thrash metal fanbase may eventually give it a second listen, but only to check if they haven't missed a few more intense passages the first time around.

Kill 'Em All Full-length, 1983
Ride the Lightning Full-length, 1984
Creeping Death EP, 1984
Whiplash EP, 1985
Master of Puppets Full-length, 1986
Garage Days Re-Revisited EP, 1987
...And Justice for All Full-length, 1988
One EP, 1989
Metallica Full-length, 1991
Death Magnetic Full-Length, 2008
Hardwired... to Self-Destruct Full-length, 2016

Official Site


Decent retro thrash with touches of crossover and brutal throaty death metal vocals; the guitars bite despite the slightly noisy background, concentrating on a speedy delivery whch gets mixed with heavier passages on the two longer compositions. Two cool covers await you at the end: one would be familiar: the good, relatively faithful, rendition of the French Killers' self-titled track; the other a tribute to the Spanish classic heavy metal legends Angeles del Infierno with a cover of "Maldito Sea Tu Nombre".

Metalmen Demo, 2004


The talented guitat player Alexis Philipot (Droys, Misanthrope, etc.) is on board here for the production of this cool technical speed/thrashing effort which reaches Coroner-esque heights on "Live In Wait", before embracing a more complex, progressive idea on "Temple Of Time". The instrumental "Symphonie No 25" fisnishes it off, obviously a vehicle for Phelipot to show his great skills and impress the audience; which he does... with flying colours disregarding the muddy sound quality.

Persistents Questions Demo, 1993


These guys provide gruff thrash/death with heavy, crunchy riffage and very brutal underground vocals. The album develops in a consistent mid-tempo with the steam-rolling guitars doing the necessary damage although there's no variety in the approach, and in the long run one may not be able to distinguish between songs. The concentration is exclusively on crushing chugga-chugga riffs with no shade of melody whatsoever. Points should be given to the band, though, for trying something purely classic during those very capricious times.

Embrace Your Creation Full-length, 1994


Only one musician, the name Anthony Adagio, is responsible for this sincere slab of old school fun which comes with a not very pleasant buzzy sound. The music is a power/speed/thrash mixture with various tempos covered doom particularly well "courted" ("Irony") as opposed to the vivid roller-coaster "The Hate". Anthony provides a warm semi-clean tember very similar to the one of Lemmy, maybe a bit gruffer and more shouty.

Color Me Dead Demo, 1993

My Space


Based on "Self Destruct", this is typical modern thrash, heavy and slow with influences ranging from Pantera to White Zombie with some flashes of the 80's scene.

Self-destruct Full-length, 1999
American Nightmare Full-length, 2003

Official Site


This new act play classically-inclined power/thrash which seldom "flirts" with speed (the surprising brutalizer "Canibalistic Society", and especially the aggressive death metal-lacer "Left in Sanatorium") preferring to do the damage in a more peaceful mid-tempo manner. The guitars are heavy and weigh a ton all over, and the singer is a dramatic clean throat who knows how to pitch it high without sounding annoying.

System of Lies Full-Length, 2015



This is varied, but sloppily produced retro power/thrash which ranges from ambitious progressive opuses ("Downward Spiral") to fast-paced briskers ("Messing With Creation"). "Euphoria" is a wild unrestrained cut with shades of death metal, not quite suiting the otherwise passable mid-ranged semi-clean vocals.

Brainwash Demo, 1994


Based on the full-length debut, this band play noisy grungy post-thrash which is just one wall of jumpy crunchy riffs ala Rage Against the Machine and early Biohazard served with several colder mechanical industrial moments ("Hold Up"). The die-hard side of the fanbase would find this an unforgivable waste of time...
"Nitimur in Vetitum" is way more optimistic with more classic-sounding cuts like "Never-Ending Hatred" giving a fairly energetic boost to the album. There's a lot of catchiness involved with plenty of sing-along choruses at every corner making one forget how non-thrashy this effort sounds actually for most of the time. Anyway, it's good invigorating fun in a cool new (now old)-fashioned groovy 90's way.

Tragedy EP, 2001
Meta non Grata Full-length, 2005
Nitimur in Vetitum Full-Length, 2014

Official Site


An excellent aggressive demo of thrash/death metal of the old school, not miles away from the Swedes Merciless' debut and Devastation's "Idolatry"; the guys thrash with force and speed, occasionally adding the more stylish semi-technical hook, also providing a couple of cool both screaming and melodic leads along the way. The singer is a bit noisy mixing semi-hardcore shouts with a more brutal death metal singing sounding like the early style of Fred "Death" Duval (Massacra).
The promo is 3 studio tracks of fairly good aggressive thrash/proto-death metal again, the last one ("Under the Snow") already familiar from the demo, followed by 6 live songs with a very bad sound quality.

The full-length is a ripping "beast" which shows no mercy the relative moments of peace ("Transition to Hate") turning into maddening shredders at some point towards the end. The title-track is a calmer epicer which brings after it the nice semi-technical "Circle of Fools", before "Dark Mountain Vision" continues with the "carnage" which turns into a stylish semi-technical mid-period Messiah-esque "orgy" on "Bringers of Fear" that stays till the end "Blackened Omen", the only more brutal "nail in the coffin". The guys have acquitted themselves with honour also looking at a bright future on the world metal horizon.

Under the Snow Demo, 2007
Promo Single, 2010
Executioner's Rise EP, 2010
The Essence That Precedes Death Full--Length, 2015

Official Site


The band's style is a combination of present day Entombed and modern aggro-thrash/post-thrash. "Katarsis" is an intense release with heavy crushing riffage and tries to keep the tempo up for most of the time although the 10-ton groovy sections are present on almost every track, but combined with more energetic ones deliver in a way no worse than a more recent Pro-Pain. The vocals, though, are gruffer with a certain death metal edge which suit the steam-roller approach well. The bonus track at the end is a cool deviation: a nice gothic number ala their compatriots Lacuna Coil with fine female vocals.

"System Subversion": the steam-roller delivery carries on unabated here, but the pleasant surprises keep being served along the way: the opening aggro-headbanger "Subversion"; the pleasant thrash/crossover ripper "You Got It"; etc. The band have decided to speed up the approach quite a bit, and for at least half the time one will come across fast-paced dynamic cuts with raging guitars and some interesting choruses ("Dead Memories"). The 2nd half is lazier and the groove comes forward on a couple of tracks, but all will hail the cool progressive semi-abstracter "Brawl", and the contagious dramatic intensity on "Blood, Oil & Vengeance"; the whole album wrapped up by the brilliant surreal technical closer "Distorted Emotions"; a glorious echo from Coroner's "Grin" with a more classic twist. This is by far the band's finest hour, and one can only expect more similar "exploits" from them in the future.

Recursive Full-length, 2004
The Worst Within Full-length, 2006
Katarsis Full-Length, 2009
System Subversion Full-Length, 2014

Official Site


Based on the "Crawl...Before You Walk" demo, these guys come up with good energetic thrash/crossover which sounds like a mix between Nuclear Assault and Cryptic Slaughter. There are really fast aggressive numbers (parts of "What's Your Point" and the excellent "Lullaby") and heavy pounding, but equally as effective tracks ("Welcome to the End").

Meth Til Deth Demo, 1988
Crawl...Before You Walk Demo, 1989


A cool debut crossing the classic and modern sound; the vocals are of the death metal-type, and seldom can one hear a more Gothenburg-influenced guitar. The band play aggressively with conviction, frequently changing the pace from fast to slower. At the end there is a cool cover version of Testament's "D.N.R." from "The Gathering" (the overall approach actually is quite close to that Testament album).

"Spiritual Reinforcement" has moved more towards modern Swedish death/thrash metal, and is consequently not as interesting although the fast-paced numbers would be worthy to be placed even on the best Dark Tranquillity and early In Flames works, with the "inhuman" furious thrasher "Inhuman Rights" leading the pack there. The lead guitar work is really good, and "Black Eagle" is a great bass-driven instrumental, a stylish touch which this otherwise pedestrian album doesn't really deserve. At the end the fans will hear a re-mastered version of the bombastic raging "Coldest Fear" from the full-length.

"The Constant" continues the Gothenburg worship started with its predecessor and as such offers nothing new or original the guys bashing with passion with numerous melodic insertions "roaming" around making this effort sound even more derivative. "Crying For Liberation Part 2" (where is part 1?!) is a 4.5-min acoustic instrumental, a total waste of space which splits the allbum into 2 parts both being exactly alike maybe the 2nd one a bit more aggressive with more headbanging moments and a bigger cutting edge given to the guitars.
"Abstract" is a more thrash-fixated "animal" the guys thrashing with passion relying on fast lashing riffs "Dust Devil" being a really pleasant deviation, a nice melodic dramatizer with epic touches. In the 2nd half the band lose it a bit, and this is where soft gothic rockers like "Lies On Your Lips" (nevermind the short fast-paced ending) appear for a while, including the excellent atmospheric balladic instrumental "Crying For Liberation Part 3".

Survival Of The Fittest Full-length, 2006
Spiritual Reinforcement Full-length, 2009
The Constant Full-Length, 2012
Abstract Full-Length, 2015

My Space


Eclectic stuff based on the 90's post-thrash idea with several more aggressive, even proto-death, elements and nods to jazz, funk, alternative, stoner/doom, and more. So the picture is quite varied with loads of jumpy riffs and virtuoso bass exploits. Headbanging potential- zero, of course, but this kind of music is not completely without merits, if you have the time to spare and listen with care. Ironically, the only vocal track is the closing "Instrumental" which is the worst number being a bland insipid semi-rap "atrocity" ruining the final impression beyond repair.

The Self-Titled Album Full-Length, 2010


This Russian trio plays minimalistic retro black/thrash with a very fuzzy guitar sound and snarly mean vocals, quite close to the ones of Gard from Khold. Seriously, these vocals are so deeply "underground" that some of you may spontaneously burst with laughter while listening to them. The music has something in common with early Barathrum, Khold as well, but Bathory and Venom haven't been forgotten, either, although the music seldom reaches the speed of the early 80's Bathory works, but is mid-paced with a depressing doomy atmosphere. Weird noises and ambient tunes are also well implemented into the sound: an interesting, albeit a bit one-dimensional, listen as a whole with a very cool mix of the most aggressive riffs on the album, and nice melodies which could have been taken from a Russian folk song on the closing number.

cbe8eae0edf2f0eeefe8ff Full-length, 2006

Official Site


Modern thrash with a hardcore edge; this is expectedly metalcore-ish, but it's pretty fast and energetic to be completely ignored; even more traditional classic crossover rhythms can be caught on "Camino Al Infierno".

Camino Al Infierno Demo, 2011

Official Site


Based on the debut demo, this band play progressively-minded power/thrash which ambition is nicely reflected on the 9-min opus "Atlantis". The other 2 tracks are more immediate with a stronger pinch of power metal which displays a huge horse-riding potential on "Lost Empire". The singer is a decent clean mid-ranger who semi-recites at times to still a not very negative impression, and excels on the catchy choruses. The leads are quite good as well, but are not given a very big boost by the slightly muddy production.

Lost Empire Demo, 1987
Triangulo De La Muerte Demo, 1989
Ancient Tales Demo, 1990


After the overlong boring intro, the guys throw pretty decent classic speed/thrash metal which sounds more appealing when it's sustained in an all-out speedy manner, like on the appropriately titled "Speed Metal Machine", or the moshing delight "Kill The Oppression". The "speed metal machine" produces other good results later on: the relentless "Misanthropic Way", a speed/thrasfest in the spirit of the Angel Dust debut; the lightning speed metal killer "Weapon Of Truth"; the very enjoyable 9-min opus "Medicinal Sickiness" which seamlessly blends power, thrash, speed and crossover; the excellent closer "Forea Alcoholica", reminiscent of Exumer's "The First Supper" from "Rising from the Sea" with more emphasis on speed. The thing which one may not like a lot here would be the bad shouty vocals, similar to the ones of Tony Portaro on the Whiplash debut. Music-wise this is a commendable effort, which will hopefully help the guys establish their name as a promising young hope on the Brazilian scene.

Satanic Machine Full-Length, 2009


Metralion will remain in music history as one of the few bands who have tried to metallize Pink Floyd throughout the years, in this case the British's most famous number "Another Brick In The Wall": a pretty faithful version, if you ask me, but not matching the rest of the material on this album, which is more dynamic and interesting. The band's style has nothing to do with progressive music, although the songs on "Mosh In Brazil" are quite lengthy, with cool riffs and a few semi-technical twists. The music only occasionally picks a lot of aggression, and on those moments it is not too far from the proto-death metal field (the beginning of "No Way Out"). "Disorder" is a cool more complex number with sudden faster sections, and it would have been better if those sections had been a bit more.

Quo Vadis Full-length, 1988
A Mosh In Brazil Full-length, 1989


The debut: members of two good Argentinian thrash metal bands (Horcas and Serpentor) have decided to join forces here, and the result is cool classic power/thrash, quite close to the works of early Horcas. The music nicely flows from power to thrash metal on the various songs; maybe a bit more sharpness in the guitar sound would have made things better. Now quite often does the ball remain in the power metal field, not far from more recent Horcas. Probably the guys should have chosen the more hard-hitting Serpentor style as an example to follow here.
"Sotanas de Satane1s" is the better effort; now the guys thrash with more edge and sharpness also adding cool melodic licks wherever needed. The music is full-fledged thrash with a few descents into power metal. After a quick string of dynamic blitzkrieg thrashers comes the semi-balladic "Fuerte Como Un Roble", a nice pounding piece slightly ruined by the indifferent semi-clean vocals. The music doesn't lose steam afterwards, however, and even goes up the speed scale with headbangers like "Crisis nerviosa", "Kilometros a mil" and especially the excellent cover of Hermetica's "Ardiendo En Llamas" which is not the closer; it comes after it and is called "Nido De Viboras": another cool energetic speed/thrasher which ends this work on a high note. Some of the band members are also active with the death/thrash metal formation Exthremony.

Fuego en las Mentes Full-length, 2007
Sotanas de Satane1s Full-length, 2010

My Space


The full-length is passable retro thrash/crossover with pretty brutal death metal vocals. The guys play competently, albeit in a fairly stripped-down fashion, with a more overt both hardcore ("Tetrico Final") and death metal ("Anti He9roes") edge at times. The songs all develop in an energetic, albeit samey, way still creating the necessary headbanging atmosphere. The closing "Decrepito Cadaver" is a prime thrasher, with the more speed metal-based "Creoneos de Guerra" a faithful "companion". The fans will have no problems recognizing the cool cover of Unleashed's "The One Insane" from their "Across the Open Sea" album, done in the expected heavy, solid mid-paced style.

Creoneos de Guerra EP, 2010
Creoneos de Guerra Full-length, 2011

Official Site


A really nice demo of intense speed/thrash of the old school with great melodies; "Fok A La Barraka" will split you at the seams with raging fast riffs, setting the tone for the remaining numbers which keep the level high, sometimes turning into pure speed metal ("Warra"), sometimes acquiring nice technical tendencies ("Setas") in the best tradition of the Polish Hellfire. This excellent demo simply screams for a full-length...

Fok A La Barraka Demo, 2009

My Space


This US trio play brisk dynamic classic thrash which recalls niceties from the past like the Forbidden debut, Laaz Rockit's 'Nothing Sacred", and even Wargasm's "Why Play Around". The 7-min "Possessed" is quite an achievement with its polished quasi-progressive delivery and stunning melodic leads, among the inspired hard thrashing heard for most of the time. The shorter material is not far behind, though: the dramatic jumper "Rules Of Engagement", the intense proto-deathster "Amnesia", the stylish Megadeth worship "Head Games" with a merry crossover exit, etc. "Full Moon Rising" could be viewed as a semi-ballad with its laid-back approach, and generally the 2nd half is more varied and mellower the guys giving freedom to their crossover and speed metal spirit hardening the pattern a bit on the closing sharper "State Of Chaos". The singer has a hoarse semi-clean voice quite reminiscent of Dave Mustaine, maybe less prone to melodic croons.

Annihilation Theory Full-Length, 2009

Official Site


Based on "Kind Of Hell", Metrock play power/thrash with a modern edge. There are some classic thrash remains("Black Evil": a nice aggressive thrasher), but the rest is not really that interesting.

Castelul de nisip Full-length, 1984
A Kind Of Hell Full-length, 1994


Speed/thrash in the German tradition, not bad, but badly produced, and with unsuitable death metal vocals, similar to the ones used by Toxic Shock on "Welcome Home...Near Dark".

Brain Explosion Demo, 1989


We have quite a gatheriing of stars hiding behind this silly band name: members of prominent acts like Meliah Rage, Crotalus, Blistered Earth. etc. There's nothing Mexican in the musical approach, though, the guys thrashing in the good old school way making things a bit more complicated ("Revolutionary Nuns") also losing the thrash idea somewhere in the middle, but bringing loads of catchy melodic rhythms ("Goat Rope and Chunder") for the fans to jump around on. Near the end these veterans wake up for some more hard thrashing ("Super Inga"), but their tender hearts spring up again at the very end for a string of mellow power/thrash rockers the closing "Alcohol, Tobacco and Firearms" featuring the finest leads on the album. The band are having fun here playing uplifting unpretentious stuff and there would be hardly a thrash metal fan out there to accept this work as a bit more than a party joke. At this stage this is very "light innocuous bombardment"...

The Late Heavy Bombardment Full-Length, 2014

Official Site


These Mexicanos provide (based on the demo) rough abrasive modern thrash with a death-ish flavour coming mostly from the brutal semi-shouty vocals. The delivery is predominantly mid-paced with a few sudden brutal outbursts ("Mexico Cabron") which are more than welcome since they bring a strong breath of air into the effort which may suffer from a serious lack of variety. Still, later on (the demo is 7 songs) one will encounter the violent proto-hardcore shredder "Tierra De Cabrones" and the dramatic semi-technicality of the closing "Mexicanos Al Grito De Guerra" which is a pile of brutal squashing riffs abruptly replaced by the final balladic instrumental outro "Devorando Fuego" which boasts great leads and an awesome bass bottom.
The full-length is faithful to the sound heard on the demo, and as such serves plenty of hard, heavy abrasive riffs with quite a few speedy sections this time the latter at times quite wild and violent even with blast-beats involved ("Jose Alfredo" which also boasts a breath-taking melodic passage) at times. If we exclude the really awful shouty death metal singer the rest is acceptable with nice sophisticated semi-technical undercurrents ("El Suee4o Mexicano"; the choppy not very predictable closer "El Despertar") "floating" around more or less expectedly.

Poder Mexicano Demo, 2008
Encabronados Full-length, 2011

Official Site


Arguably the greatest Turkish thrash metal band; the debut is superb speed/thrash metal in the vein of early Destruction and the first Exumer album- fast, intense music which will make you headbang for days; there's no speed lost here except on the offbeat melodic, orchestral track "Metal Not Dead", and on the excellent technical instrumental "Blood Guillotine" which nicely suggests at the band's bigger potential to be revealed soon. The album closer "Los Magandos" shows the lead guitarist at his best with awesome, Shrapnel-like performance.
"Trail Blazer" is another good effort, but the style there has changed into more technical and complex, sacrificing some of the speed and the fury of the first one. It would probably surprise those who expected another ball of speed and intensity, but such well executed music one would not find hard to appreciate. The songs on this one are longer, and some of the guitar work is quite technical, ably supported by brilliant Oriental implements. Another great instrumental awaits you: "Trail Blazer", of a less frenetic, but equally effective variety. "Fly Forever" is a cool ballad, but it might bore you being more than 6-min long, and too soft. "Brain on the Wall" is a pure heavy metal hymn ala Accept; all these were clear signs that the band were preparing their exit from the thrash metal scene. The vocals are more restrained than the vicious Mem Von Stein-like snarls on the debut, and are almost semi-clean. The band continued producing albums in the 90's and beyond, also high quality ones, but in the heavy/power metal mould.

Pentagram Full-length, 1990
Trail Blazer Full-length, 1992

My Space


Cool Bay Area thrash made in Sweden; the line-up features Ulf Petersson, who later founded two more acts: the modern technical thrash masters Rosicrucian and the much more ordinary groovy post-thrashers Slapdash. The guys play energetically and tight, with sharp riffs and cool, Chuck Billy-like vocals; music-wise the band are also quite close to Testament, and more particular "The New Order" and "Practice What You Preach". So apart from speed and intensity one can come across meaty heavy mid-paced bombs: "Ancient Terror", "The Final Holocaust". The full-on fast thrash attacks could rank with the best from the field: "Frozen Soul", "The Cross of Torment", "Where Death Begins", where shades from Exodus' "Bonded by Blood" can also be felt.

Then Came the Killing Full-length, 1990

Official Site


Based on "Clon", this trio pulls out a decent mix of classic and 90's thrash with a Sepultura flavour (between "Arise" and "Chaos AD"), plus a pinch of crossover and are overall more melodic than the Brazilians. The vocals also resemble Max Cavalera. The music is fairly energetic if we exclude pointless softer numbers ("Danzad, Malditos!") which are a direct nod to the classic heavy metal heritage. "La Araka" is a cool semi-ballad followed by the closing cover version of Black Sabbath's "War Pigs", the only track sung in English. Reportedly on their works from the 80's the guys were playing pure heads-down punk/hardcore, not miles away from the punk legends Discharge with whom they have a split released in 2005.

Derecho A La Vida EP, 1984
Holy Earth Single, 1988
Clon Full-length, 1994
Clonycore Best of/Compilation, 1997
Piromania EP, 2004
MG-15/Discharge Split, 2005
El Album Negro/The Black Album Full-length, 2007

Official Site


Based on the self-titled effort, this band play a not very even mixture of groovy 90's post-thrash and raging modern thrash/death in the vein of Maze of Torment and Carnal Forge, topped by very expressive hysterical shouty vocals. The needed balance is assured by the presence of several more laid-back mid-pacers ("Delusional") which occupy the middle and don't serve too many eventful moments. The 2nd half gives its fair share to industrial including a brutal grinding section on the closing "Lost Time".

Sound of Desperation Full-length, 2012
Miasmic Theory Full-length, 2014

Official Site


Hectic jumpy modern thrash/death metal with brutal low-tuned growls and some technical pretensions; still the heavy clumsy moments are too many to make this effort a compelling listen, and the lack of speed puts it more on the tiring side.

Bloodrunner Full-Length, 2008


An obscurity which shows an act playing elaborate power/thrash with serious decisions which retouch the sharpness of the guitars, but display a bigger level of musicianship which partially disappears on the more immediate material ("Running from the Law") where the sound comes quite close to their compatriots Vodu. Elsewhere the approach is not very intense, but gives a chance to the guys to concoct tracks reminiscent of the quasi-progressive landscapes of Liege Lord's "Master Control" and Rage's "Reflections of a Shadow". The singer has an assured clean mid-ranged voice, but the muddy sound quality takes away from his performance making him sound not very emotional and a bit strained.

Possessed by Alcohol Demo, 1989


A good, albeit flawed album which tries to pack quite a few styles into a not very large space; the base is aggressive thrash/black metal of the old school, but there are epic moments, too, which would remind you of Destroyer 666, but here come the Gothenburg nods, and all of a sudden there is an In Flames or At The Gates-like riff which sneaks into the sound. The pure black-ish thrash sections seem to work best, but the guys quickly catch up with the other styles the very next moment. With a less diverse approach, this band with a very difficult to pronounce (and to write) name, which actually has a meaning: "death" in the old Aztec language, could make a more lasting impression on the metal scene.

Pillars Of Silence Full-length, 2004

Official Site


Sweden seems to have quite a long list of one-album wonders which appeared in the late-80's. Midas Touch play excellent technical speed/thrash, quite aggressive and heavy. The technical guitars would remind you of the Dutch Mandator and Living Death's "World Neurosis". The demo is an excellent slab of less technical, but enjoyable speed/thrash metal; the guys never take a break from the fast-paced music except on the heavy semi-balladic "Strikezone". "Masquerade" carries a strong technical charge and suggests at future things to come.
The full-length contains completely different songs from the demo (which, of course, is always good for the fans), and the guitar sound is much heavier, starting with the very aggressive "Forcibly Incarcerated" which sounds as though the music would jump on the death metal wagon at any moment. Well, this never happens on the next songs, but the aggression remains, and the most intense sections are not miles away from Gammacide or Devastation. The guys could have done a marvellous job if they had carried on through the 90's joining the death metal brotherhood, but this remained their only official release. Later members of Midas Touch formed the industrial metal act Misery Loves Co.

Ground Zero Demo, 1987
Presage Of Disaster, Full-Length, 1989

My Space


Good retro power/thrash similar to Meliah Rage, Liege Lord and early Iced Earth; this is heavy, mostly mid-paced music, with cool vocals, which are not too far from Matt Barlow (Iced Earth). Modern, groovy variations could be heard ("Condoned") as well as more up-tempo thrashers ("Last Breath"). The debut is lighter, more power metal-based (but better) whereas the sophomore album is heavier and thrashier, but a bit one-dimensional except for the last piece which is a very good instrumental ("Zonk") to which attached are awkward acoustic country variations.

Thee Almighty Full-length, 1996
Expiration Date Full-length, 1997
Forced To Believe EP, 1999


Swedish death metal in the Dark Tranquillity, In Flames tradition meets 90's aggro thrash ala Pantera and Machine Head. It could have been good if the guys haven't decided to attract the power metal crowd, too, with American power metal elements added which dissipate the pounding sound of the album, making it quite a mish-mash. On top of that there are clean vocals present which make things even worse.

Born From Ashes Full-length, 2005

My Space


Based on "Revolution", this outfit indulge in modern power/thrash fronted by a female throat, the name Miriam Granatello, who sings brutally in a way no worse than Angela Kossoff (Arch Enemy) herself producing the odd more romantic/cleaner stroke from time to time. The shadow of the Gothenburg school looms too heavily at times over the album although the delivery here isn't very fast-paced the band sticking to the mid-paced parametres for most of the time.

Screaming Demon Full-length, 2011
Revolution Full-length, 2016

Official Site


Based on the "The Last War" demo, these guys offer cool energetic Bay-Area thrash akin to the Forbidden debut and Death Angel's "The Ultraviolence" although at times the speed reaches an almost hardcore intensity ("One of Dissadance"). The band are not strangers to a more stylish technical song-writing as well as evident from the varied "Suicide Pact", a fine blend of fast and slower pounding sections in the best tradition of Helstar's "Nosferatu". The singer is very well fitting into the picture with his emotional melodic semi-high tember not too far from Russ Anderson (Forbidden).
The "First Impression" (which is actually a "second impression") demo goes a notch up in terms if musicianship with an increased presence of technical hooks with Forbidden remaining an influence the band speed/thrashing with gusto adding piercing screaming leads at the fore on each track. "Suicide Pact" is here again, almost unaltered, an excellent technical shredder, but the immediacy of the following short exploder "One Foot In The Grave" cancels its intricate riffy landscapes. "Slaughter House" is another merciless headbanger with wild riffage and neck-breaking tempos making the last demo a major "wanted" list topper. The singer this time is lower-pitched with less expressive, less melodic performance distantly reminiscent of Jello Biafra (Dead Kennedys, Lard).

The Last War Demo, 1990
First Impression Demo, 1991
The Institute of Audio Research Demo, 1991

Official Site


Based on the self-titled debut EP, this band plays Motorhead-ish speed/proto-thrash with harsher black metal overtones at times. There is also one raw version of the early Celtic frost sound ("Unholy And Rotten"), as well as one cool exercise in doom ("Long Live Death"). The singer growls in an intelligible, but ultimately drunken, way, and actually recites most of the time, rather than sings. Some of the band members are more fully involved with the stoner/doom act Terminal Lovers.

"Satanic Royalty" is a laid-back affair, Motorhead-inspired stuff with merry playful tunes and hooks aplenty. "Black Damnation" is a cool nod to early Venom as well as the vocals on the whole album, which come as a more shouty version of Cronos. Near the end the guys start lashing with more passion producing the thrash/crossover hymn "Violence On Violence", the 1.5-min black corer "Holocaustic Deafening" which is a nod to early Celtic Frost; and the longer, more "thought-out" closer "Shock 'Til Blood". It's a cool party fun all the way, but there has been a reduction of the speed which in its turn diminishes the speed/thrashy merits of the band's approach.

Midnight EP, 2003
Slay the Spits EP, 2007
Farewell to Hell EP, 2008
Satanic Royalty Full-length, 2011

My Space


Based on the debut, this band specializes in pretty decent modern/classic power/thrash metal which, despite the constant keyboard background, doesn't lack an edge although the initial energy of the speedy opening title-track is very seldom captured. Still, one can't remain perfectly calm on sincerely epic thrashers like "The Sinners"; even the balladic closer "If I Die Tomorrow" is a compelling epitaph with the very good clean emotional vocalist giving a standout performance. The leads are quite good and are given enough space to impress even the most skeptical. The guys had taken part in two other bands earlier: the thrash metallers Dark Mordor, and the thrash/death metal act Undesirable.

"The Storm Is Just Coming" continues the power/speed/thrash metal saga from the debut adding another big portion of catchy melodic hooks to the guys' repertoire with some impressive attempts at a more complex progressive play ("The Devil's Breath"; the imposing speed/thrash shredder "Master of the Lies", sustained in the best tradition of Manticora and Paradox). Inevitably more relaxed power metal-based compositions ("With the Devil Inside"; there's a lot of singing about the devil here...). "New Age Preacher" is an engaging 9.5-min opus with loads of riffs and tempo-changes, plus a nice haunting acoustic exit. There are three bonus tracks at the end, one of them being a cool thrashy cover of Judas Priest's "Grinder"; "Land of the Shadows" and "Midnight Scream" being fairly decent melodic speed/thrashers both taken form the band's debut demo. The singer continues to excel with his emotional dramatic clean delivery, and is one of the highligts on this pretty good offering.
The demo starts with an intro "flirting" with Beethoven (to these ears some of the symphonies) before continuing with the two tracks already heard as bonuses on "The Storm Is Just Coming". The singer on it is kind of deeper and not as emotional; could be another one. The new cuts are ""I Am Murder" which is a mid-pacer with cutting riffs; "Kill Me and I'll Be Alive" which is faster and more aggressive with a nice technical bridge in the middle quite reminiscent of early Iced Earth. Then come the cover versions, the 1st of which is Iced Earth's "The Dark Saga", done a bit sharper and heavier then the original; and Sacred Reich's "Independent" from the album of the same title done more faithfully with more abrasive guitars.

"Shadowplay" is a cool effort seeing the guys thrashing with power mixing the three styles again this time in a shorter span since the whole album is just under half an hour. Still, there will be few disappointed with this proficient display of the good old school canons presented with a very clear sound quality with all members doing their best to establish themselves on the front echelon of European speed/thrash metal.
"War Never Changes" is another sure nail into the band's reputation as one of the leading acts from the speed/thrash metal scene in Europe although it can hardly pass for the band's magnum opus. It begins in a more relaxed epic manner with the title-track which emphasizes on a nearly forgotten gimmick from the guys' arsenal: keyboards. The latter stay around for most of the tracks, but their presence co-exists well with the sweeping hard-hitting riffs which settle in comfortably from the very next "Fuga Mortis". The tempos change from song to song, but overall the emphasis isn't so much on speed this time, and althoguh the Paradox-esque closer "Voice of Deception" compensates for some lost inertia earlier on, this album loses steam here and there as though the guys try to adapt their approach to the more melodic patterns chosen this time.

"Flammarion" is in a similar vein to its predecessor, in other words we have a more radio-friendly approach with power and thrash displayed in equal dozes with the mid-pace settling in dusrupted by the appearance of the odd headbanger ("This is War"). The second half is entirely occupied by longer progressive power metal opuses thrash not even playing a supporting role there. As a whole this effort would be a further disappointment from a once promising act who are now turning towards other styles to probably reach their full potential; who knows...

Midnight Scream Demo, 2000
My Girlfriend, Death Full-length, 2001
The Storm Is Just Coming Full-length, 2004
Shadowplay Full-length, 2007
War Never Changes Full-length, 2009
Covers Full-length, 2011
Flammarion Full-length, 2014

Official Site


This outfit indulge in long atmospheric tracks which are mostly in the thrash/death hybrid sector with a hefty progressive twist. This is characteristic quite interesting stuff which is also rich in melody the latter going well with the prevalent fast-pace which approach will recall Rigor Mortis (the guitar work resembles the one of Mike Scaccia (R.I.P.)) and mid-period Messiah. The vocals are on the witchy semi-whispered side and do not detract a lot from the cool musical landscape. This is really good music which should find a fuller realisation on a full-length.

A New Beginning Demo, 2012



The bad sound quality doesn't give the listener a chance to enjoy these three tracks too much; the music is fast aggressive thrash metal bordering on death with rusty, death-ish vocals which, when they go for the higher notes, will make you run away: and fast. The last track "A Nomadic Soul's Search For Solace" is a semi-acoustic atmospheric instrumental.

Ferocious Dominance Demo, 2004


Based on the "Hostile Takeover" demo, this band plays pretty decent classic Bay-Area thrash with good semi-clean higher, slightly screamy at times, vocals. The tempo is mid to up, also recalling the models from the early German speed/thrash metal scene ("Corruption (The New Mayhem)"), and cool melodic implements are present on almost every track (check out "Down The Pecking Order"), although "Systematic Slaughter" is on the opposite pole, thrashing out in an aggressive proto-death fashion, a trend which is apparently the dominant one in their other band, the more death metal-influenced Obsolete.

Violent Riot Demo, 2008
Mortal Slave (Rehearsal) Demo, 2008
Hostile Takeover Demo, 2009

My Space


Quite cool Artillery-inspired (just hear the melodic hooks on "Puzzles") retro power/thrash which also clings towards the Shrapnel catalogue on the more virtuoso passages ("The Fury"; the lead sections on the progressiver "Head That Wears a Crown") to a fairly positive effect. "The March" is a more quiet semi-balladic instrumental, and "The Last Stand" is a potent epic speed/thrasher graced by fine emotional vocal performance which sounds attached without pitching it very high.

The Undertaking Full-Length, 2015

Official Site


The debut: these latecomers on the Argentinian metal scene pull out quite good classic speed/thrash, not too far from their compatriots Lethal. The music is often speedy and energetic, but the band don't forget to insert slower, mid-paced numbers ("Carcelero Del Alma", "Violencia") which are a tad more melodic with a shade of power metal. The guys spare no energy, and here come fine speed/thrashers to make your day: "Horror", "Militia", which is a mix of thrash and crossover, the mighty riff-fest with a great lead work "Crimen Azul". To make a few heads turn with this kind of music in the 90's was out of the question, but the band have done a good job keeping the classic sound alive for a little more. Some of the band members are also involved with the classic heavy metal act Motor V.
The demo has slightly moved towards the modern trends largely due to the abrasive guitar sound, but the music remains pretty much classic in spirit the band still thrashing with force on short, cutting pieces like "Descontrol" and "El Que Calla". "No Pueden Con Nosotros" is a heavy pounder which carries the "winds of change" with it which overtake the closing "Sin Piedad" as well, but overall this is a cool "dying echo" of the 80's thrash movement done in a suitable updated manner.
"Old Skull": a return for the veterans after a gigantic hiatus; the delivery doesn't bear surprises as the guys mosh in the familiar old skull... sorry, school manner tearing the aether with compulsive headbangers like "Por Mano Propia" and "Todo es Igual", leaving the slower, less interesting material for the second half alhough heavy stompers like "Resentimiento" are not completely without merits.

Agonia Infernal Full-length, 1992
El Fin De La Agonia Demo, 1998
Old Skull Full-length, 2017

Official Site

MILITIA (USA, California)

The second demo is just 2 tracks of first-rate speed/thrash metal ala Agent Steel crossed with the Bay-Area, with very good high-strung John Cyriis-like vocals, maybe a bit lower-pitched. "Suspended Animation" is a great mix of swirling semi-technical and fast direct riffs, and the untitled track is a fabulous semi-ballad of the heavier guitar-driven variety. This is a no-brainer, and with the band reportedly back in action, it would be great to finally see them on the full-length stage.

Demo Demo, 1989
Demo Demo, 1990
Fiend of Misery Best of/Compilation, 2010

My Space


This band features the former Watchtower singer Mike Soliz. Militia are not anywhere near the technical exuberance of the mentioned band, but are appealing nonetheless. With three demos and one EP released within the span of less than two years, it was obvious that the guys wanted to get noticed, and it's a surprise they weren't, since the music on all releases is consistently quite good, ranging from American power/thrash ala Helstar, early Laaz Rockit and Liege Lord, to high-speed numbers in the Agent Steel vein. Soliz does a good job, if we exclude the hysterical screams on some of the songs, which is clearly not his favourite range.
The original line-up is back, along with Mike Soliz and are finally on the full-length wagon after 26 years of almost complete silence (except Soliz, the other band members haven't been seen in any acts of any genre). The familiar classic power/speed/thrash style welcomes you from the opening "Furious" which is hardly the most "furious" number around, but the next "The Judas Dream" already thrashes hard the hard-hitting riffage topped by the apocalyptic screams of Soliz and a few very good melodic lead sections. Then the guys slow down for a string of heavier pieces including the seriously doomy "Doomed". The situation livens up with the galloping shredder "And the Gods Made War" which is a nice wink at both Attacker and Agent Steel before more aggressive thrash comes forward with "Onslaught" and stays around almost for the whole lot till the end blending nicely with the good old American power metal on "Unveil the Faith" and the epic closer "We Need a New Enemy".The band don't surpass any expectations, and their fans should be happy with this expected concoction of styles which is exactly as the one offered on the earlier material, the main difference coming from the much better sound quality and the couple of more intense thrashy cuts.

The Sybling EP, 1985
Regiments of Death Demo, 1985
Talking to the Stone Demo, 1985
No Submission Demo, 1986
Strength and Honor Full-Length, 2012

My Space


Fans of milk will enjoy this rough hardcore-ish take on the genre where the guys blend short furious outbreaks with sprawling mid-tempo passages coming as a result with a not very even "marriage" between early Prong and later-period D.R.I., with added shouty choruses and not bad improvised leads. Still, there is a fair bit of energy put into the recordings, and the sincere stripped-down approach of the band will surely win fans of the more crossover side of things.

Demo Demo, 1989


Based on the "Ubi Bene Ibi Patria" demo, this band play modern post-thrash with a few more avantgarde touches which are accompanied by clean vocals as opposed to the main gruff death metal shouts. "Heads or Tails" is a more dynamic piece with classic-sounding guitars. The band upgraded their style to death metal and changed their name to The Sinkage. Some of the guys also play with the pagan/black metal legends Moonsorrow.

Deep Inside Demo, 1997
Infidel Demo, 1997
Ubi Bene Ibi Patria Demo, 1998
Headhunt EP, 2000


Based on the debut, these lads provide the typical for the tme groovy post-thrash as the approach is more playful bordering on Helmet and Biohazard-esque histrionics. There's no rush here, everything is well measured at a leisurely pace the exception being "Mislead", a reference to Sepultura's "Roots". The vocals vary throughout the dominant ones being semi-shouty with a hardcore-ish flavour, think Tommy Victor (Prong).

Bow Down Full-length, 1997
Gone Are All the Godly Things Full-length, 1999


Very cool speed/power/thrashy demo reminiscent of their compatriots Toranaga and Satan's "Suspended Sentence"; so expect a few interesting twists ("The Beast Will Command") along with the staple dynamic up-tempo riffs which are prevalent on the NWOBHM reminder "Slaughter House", a nice speedy enchanter. Up-tempo progressivism awaits you on "Cradle To The Grave", the most diverse composition here which shreds forward even recalling the mighty Sabbat with its more intricate pagan aura. "Aids" is the final portion of stylish semi-technical speed/thrashisms served with copious amounts of melody on top of the vigorous rhythm-section. The singer is another asset with his emotional clean tone who gets the message without any adventurous vocal steps.

Demo Demo, 1987


Based on "Extreme League", this duo serve blitzkrieg old school thrash the vigorous delivery bordering on hardcore ("Balls of Steel"), but also possessing this strange uplifting, technical vibe coming from such dynamic less ordinary shredders like "Cyborg Justice" and "Violent Desire" the latter not hiding its fascination with the death metal movememnt. More technical exuberance with the hyper-active roller-coaster "Destroy the State" and with the closing "Black Sunshine", which is actually a White Zombie cover, here turned into an exhaustung speedster boosted by the intense shouty semi-clean vocals. The guys are also partners in the brutal death metal formation Pukelization.

Hypersatan666 Full-length, 2015
Extreme League Full-length, 2017



This band was founded by two members of the black metallers Old Man's Child who here give way to their more thought-out and complex nature. "The Art of Becoming": black metal is nowhere to be found; this is very well composed progressive metal with a strong thrashy edge. The main vocals are clean, and quite cool, with an alternative blend, spiced by the casual death metal growl; the compositions aren't sprawling, but compact, although the time changes are quite a few as well. The guitar sound is heavy and sharp, "broken" by the obligatory for the style quiet acoustic moments ala Opeth which here are much shorter. "Sympathy form the Devil" (no relations to The Rolling Stones music-wise) is a nice acoustic ballad which precedes the Opeth all-acoustic album "Damnation" and other similar efforts. The title-track is a progressive thrashterpiece which starts in a fairly furious manner with fast-paced brutal guitars that very nicely contrast with the tender clean vocals and the sparse calmer sections. Some songs are inevitably exercises in an eclectic, elaborate song-writing, still quite edgy: "X=666", which twists and turns in many directions without losing coherence. Others are built on the contrast made by the quiet peaceful parts and the sudden thrashy outbursts: "In Union We Die". If Opeth are too hard for you, and aren't a pick for the thrash metal fan, here is a band who offer similar entertainment with a nice thrashy twist.

"Dissertation Prophetae" is another sure pick for the progressive metal fans, this time with fewer ties to thrash. The change is the singer: there's no romantic soft singing anymore; apart from the brutal death metal vocals, there are the main ones which now are rougher, but still belonging to the clean department. The ballads ("God of Gods God", the closer "Ferry") this time aren't acoustic, but are also good; there's one semi-ballad right after: "The Day My Life Lost Me", which softens the album quite a bit. As a whole the sound is milder, and despite the presence of intense fast sections ("The Tunnel", "Enemykind") overall this effort is more melodic and slower with the more non-conventional compositions exiting the metal field with ease: "I Am the Night". By all means an interesting listen, this work sees the guys emphasizing on the progressive side, sacrificing the hardness of previous recordings in the process.

Mythology EP, 1992
The Art of Becoming Full-length, 1995
...Demons Are Forever Full-length, 1998
Dissertation Prophetae Full-length, 2004

Official Site


This is heavy mid-paced dark thrash which has already settled for the modern trends with groove present here and there, but watch out for the imposing epic riffs on "The Prophecy", and for the keyboard-ornated quasi-doomster "Meaningless Death", a nice track with magical Oriental motifs. The vocals are harsh shouty death metal vocals, but surprisingly soften down for the closing lyrical ballad "Love Song".

Demo Demo, 1994


Good retro thrash, quite diverse, covering a couple of influences, to these ears sounding closest to the American power/thrash metal school (Helstar, Laaz Rockit, Savage Grace, even Agent Steel on the more speedy moments: check out "Whirlwind of Darkness" and "Our Justice"). The singer creates a lot of dramatism to a positive effect singing with a high-pitched clean blend reaching the heights of Ski (Deadly Blessing) even. Some of the guys practice playing more straight-forward speed metal with their other formation Striker.

Vengeance Rising EP, 2009

My Space


Very cool music awaits you here: very technical twisted thrash/death, much closer to death metal, crossing Necrophagist and Gorguts, adding quiet jazzy sections here and there, as well as very grunty low pig-like vocals, which should have been left out: noone would pay attention to them anyway, concentrating on this engaging, less ordinary, listen, which will cause you a headspin, since this whirlwind of ever-changing riffs never stops, even for a split second. This is really wild stuff, with very few slower stomping breaks, but at the same time with very few super-fast ones as well.

Demo Demo, 2002


The band have changed their name a few times throughout the years, known first as Holocaust, then Darcane and finally settling down for Mind-A-Stray. As Holocaust they played cool speedy thrash, and this is arguably the band's best period. Later their music is no less impressive, but is less thrashy, drawing similarities to Metallica- their Black Album days (listen to "Sadlife" and tell me which song it reminds you of). A Metallica substitute is badly needed on the scene, so these guys could perfectly fill the gap.

Face the Holocaust Best of/Compilation, 1999
Valley of Misery Demo, 2001
PanDEMOnium Demo, 2002
Survivors of the Holochaust Demo, 2003
The Very Worst of Darcane Best of/Compilation, 2003
Anamorphica Demo, 2004
Sign Of Victory Demo, 2005

My Space


This band is a real find. "The Views Obscured" is a stunning progressive/technical thrash metal masterpiece, by far one of the best achievements of the genre. It is a constant feast of superb technical riffage, sometimes served with a more aggressive attitude ("Pseudo"), sometimes in a very complex, overwhelming way ("Agreementality"), sometimes with a more lyrical, semi-balladic approach ("The Leaf"). The album boasts a very thick guitar sound, which slightly stifles the bass. The singer changes his styles in a way not too far from Ken Nardy (Anacrusis), but the predominant one is a levelled clean one sounding like a lower-tuned Warrel Dane.
It was interesting to see whether the band would be able to keep such a high level of musicianship for another release; "Trend Cemetary" adopts a more conventional, but still quite technical approach, including songs which are slow, semi-balladic and rich in atmosphere (the Scorpions' cover of "China White" from "Blackout" leads the pack there), but the technical brilliance of the debut could be heard on songs like the mighty headbanging piece "Nurse", or the energetic, complex opener "Paradise Beach". Still, this album leaves something to be desired, showing the band in a more melodic, less impressive form.

"Warcore" is quite a letdown with only small shades of technical play and an increased number of slower tracks which make it sound more like a mix of thrash and doom. The first two songs at least promise more with their energetic semi-technical riffs, but later the music takes a turn towards much slower, doomy direction, with retouched guitars. The guys' balladic infatuation finds fine forms ("They Don't Die"- a really good ballad), but this is not what the thrash metal fan looks for in such an album. Fans of doom and gothic will definitely find their new hit in "Forensic Nights". "Warcore" comes to awaken the sleeping thrashers, at least those, who have still their players on, but it shouldn't, because the next song (the last one) is a very dreamy doomy instrumental (back to sleep again).

The Views Obscured Full-length, 1997
Trend Cemetary Full-length, 2001
Warcore Full-length, 2003


A heavy, intense blend of modern thrash, hardcore and a bit of grind; this is wild, not very proficient stuff with unpleasant shouty death metal vocals, which also tries to flirt with the doom metal sector, providing the funeral doom cut "Juggling Anxieties" at the end which comes with an industrial flavour.

Glacial Reign Full-Length, 2006


The self-titled demo: this is quite a find: hectic multi-faceted thrash (based on the debut demo) with spasmodic death metal sweeps, highly stylish music with echoes of Atheist, Terrahsphere, and Deathrow. The virtuosity reaches unheard heights at times: the dramatic crescendos with some of the most chaotic lead sections around on "Clown". After the slower and a tad more predictable "Gobblin Fever" comes another whirlwind of puzzling rhythms, "Frigid Chicken", where the bass plays a prominent role. "Maladaptive" offers surreal technical riffs with macabre overtones, a sinister one-of-a-kind creepy piece. "Elephants" is an "elephantine" composition with busy guitars covering a wide range of time changes again shredding mostly within the mid-tempo parametres. "Number Two", the bonus track at the end, is the final portion from this first class technical/progressive saga, a more relaxed technicaller with stop-and-go riffs in the spirit of Coroner. Some of the guys are now active with the much less impressive groovers Full Scale Riot, but the bassist and vocalist Jeff Wood is reaping glories with the technical core heroes The Dillinger Escape Plan who must have listened to this recording many times before starting their career.

The "Alpha-Kerbudi" demo starts with the surprisingly direct "Suppa' Time" which is nothing more than the good old crossover disguised slightly under a portion of more stylish shredding. The technical madness begins after it with "Disgust King", but this is intricate jumpy post-thrash, no more no less, quickly replaced by the aggressive riffy madness "Nerverak" which is hectic technical thrash at its more frenetic with superb blazing leads falling out of the sky... literally. "Stereo Hummer" is another unnerving creepy post-thrashism, "clouding" the following 1-min explosion "Irritation" which is technical thrash/death at its most laconic. "Brilliance" is the next in line piece of technical "brilliance", a surreal rifforama with strong hallucinogenic overtones. The psychedelic closer "Christ Complex" also serves more aggressive passages plus a shouty chorus although the abstract technicality and the swirling riff patterns may cause some dizziness along the way. This is probably the most shining example of unheard underground genius, and surely again the claims that these guys had been a major influence on Dillinger Escape Plan aren't completely ungrounded.
The "Flowers, Picnics, and Blue Skies" demo is a weird, eclectic affair which doesn't quite tend to the needs of the thrash metal fanbase, but branches out into experimental post-thrashy waters except for the wild shredder "Not A Word" which is totally off-context arriving at the end to improve the situation which has gone too much on the non-metal side at some stage.
The "#2" demo is already on the less striking groovy side although the energy has been retained to an extent, but not quite the technicality. There are a few more stylish rhythms and riff-patterns to be heard, but for most of the time this is an updated version of the gold old thrash ala Exhorder's "The Law" which becomes too wild to the point of hardcore on the closing "Doesn't Gotta Be".

Mind Eraser Demo, 1992
#2 demo, 1994
Flowers, Picnics, And Blue Skies Demo, 1995
Alpha-Kerbudi Demo, 1996


These guys deliver wild unbridled hardcore/thrash; noisy amateurish music also having something to do with Discharge and the more extreme side of the punk movement with abrasive guitars and shouty synthesized vocals.

Split Split, 2008


Scattered modern thrash which doesn't bring anything new to the scene; the guys bash one-dimensionally without too much thought put behind this barrage which at least serves the odd stylish melodic lead section. "Resurrection" is a more ambitious opus with a nice lyrical balladic mid-break; and "Death Du Jour" is a hard-hitting headbanger saving this effort from sinking completely also with the help of the diverse instrumental piece "Dead Man's March" near the end, an epic galloper with cool memorable melodic tunes.

8 Tracks from Hell Full-Length, 2016

Official Site


Industrial post-thrash which crosses early-90's Ministry with Front Line Assembly's "Millennium" so the music here is not a complete waste despite its heavily computerized nature and the ample use of synthesizers. The sound is prety squashing, especially towards the end when it acquires more imposing proportions ("In to the Shadow", "My Name") with a solid pinch of doom and mechanical Godflesh-esque dirge. The guys are now active under the name Genital Grinder where they play brutal death metal.

About the World Full-Length, 2000

Official Site


This is merry alternative post-thrash which clings somewhere between The Black Album and "Load" adhering to the former more perhaps, but there are quite a few balladic and other tender sections which would make the fans turn this off way before the end. The singer desperately tries to sound like James Hetfield, but seldom succeeds to bring the emotion and authority of his renowned American peer.

...The Way It Is Full-Length, 2010


Based on "Peak", this formation offer atmospheric alternative post-thrash with gothic overtones. This is interesting, albeit one-dimensional, music which doesn't provide many dynamic passages, but makes up with quirky, tricky decisions which border on funk, grunge, and even jazz. Still, the metal character of the recording is aptly sustained in the fair number of harder moments the latter recalling Mokoma from where half of the band members come.

Plasma EP, 1993
Peak Full-length, 1995
Inferno Go-Go Full-length, 1996

Official Site


This act indulge in dynamic, slightly progressive (think Drifter) power/thrash which suffers a lot from the muddy sound quality. The music develops in mid-pace for most of the time with hard ripping riffs, and the vocals are not bad with a dramatic attached clean melodic blend. The guys released another demo of similar music around the same time under the name Balance of Power.

Mind Siege Demo, 1991


Heavy, pounding thrash with a shade of hardcore; the music is never aggressive, mostly mid-tempo with heavy riffage and gruff, hardcore-ish vocals. "Mind Slavery" surprisingly picks up speed near the end and turns for a while into a cool speed/thrasher making the listener want to hear something more of the same. "The Media Way" follows exactly the same pattern offering more energetic moments at the end. The closing "Flesh" is a cool mix of stomping riffage and speedy sections, again slightly hinted at, and a cool balladic intro and outro.

Planet of Ghosts Demo, 2000


This act pull out hard-hitting modern thrash with subtle alternative shades which are completely missing from the more aggressive material ("The Other Way") the latter taking at least half the space here. Make sure not to miss the contrasting quiet instrumental lead-driven interludes, like "When Life And Death Destroy pt.2: Infinite Struggle", for example. The stylish thrashing leaves room for more lyrical escapades later on, like the ballad "Searching For The Answers", and generally the guys show a very good sense of melody all over the cool clean side of the vocal participation (the other one is gruff death-metallish) also winning points in the melodic department.

When Life And Death Destroy Full-Length, 2012


This Mexican act pull out aggressive modern thrash/death with fast ripping guitars and some really cool melodies ("Eternal Suffering") mostly in the lead department. The guitar sound is boosted too much to the point of annoyance, stifling the vocal attempts of the shouty death metal throat serving as the vocalist. The title-track, which is the closer, is a cool attempt at more progressive Gothenburg-styled death metal.

Final Judgment EP, 2013

Official Site


Based on "Vampires Dawn", this band plays good modern/classic thrash with hoarse death-ish vocals. The album begins well with the nice melodic, but intense speed/thrasher "Waiting For Another Dawn". Then a "pause" comes in the face of the slower, mid-paced "Forbidden Land", before "Transforming Queen" comes thrashing with a Gothenburg-like death metal edge, accompanied by the high-octane doom monster "God Abandoned", where the singer starts growling in a manner no worse than Chris Barnes himself; the music, however, is a very satisfying slab of doom. "Fear Of Heaven" is vintage aggressive 80's thrash assault, but the inertia is lost once again on the soft gothic, Sentenced/Paradise Lost-influenced "Remaining Time". "Greed For Souls" is another merciless piece of old school thrash, which fortunately sets the tone for the remaning 2 songs, although the closing "Sinking" at some point "sails away" into the fields of gothic again for a while. This effort definitely has its thrash metal charm, but the band is obviously interested in pleasing a wider spectre of metal fans.

Lifeless Full-length, 1996
Vampires Dawn Full-length, 2001

Official Site


This is rough modern thrashcore which shows its teeth (the energetic thrasher "Time.God.Soul.Mind") at times, but the focus is more on heavy seismic riffage with an abrasive industrial shade. "To become a Prayer" is a curious number, a mechanical headbanger with technical overtones which sterile shreds will make you jump around in a way no worse than the last couple of Ministry albums. Still, the most pleasant surprise has been left for the end which comes in the form of another fast-paced oddity ("When Water turns into Gasolin") which is ruined by the clean vocal intrusion which opposes the main gruff aggressive death metal throat. This is a diverse offering which would have its wider appeal to the modern thrash and industrial fanbase.

Stockholm Syndrome Full-Length, 2012

Official Site


Two "mindgrinders" from The States offer jumpy semi-technical thrash ala the Bay-Area and their eventful approach will win the listener although nothing really speedy take splace the band changing the moods and tempos coming up with the excellent melodic thrasher "Said And Done" at the end as the highlight. The singer is not bad at all with his assured clean mid-ranged voice hampered a bit by the not very clear sound quality.

Mindgrind EP, 1992


The band's debut has almost nothing to do with thrash being industrial death/black metal similar to Dodheimsgard and the likes. "Riot Detonator" moves considerably things into a thrashy direction, and the result is good thrash/death metal album, quite fast with a modern sound reminding of Dew-Scented and Terror 2000. Some of the musicians also play in the death metal formation Mental Garrotter.
"Prop Agenda" is a better affair the band now epitomizing the thrash metal sound completely by adding a solid pinch of melody to the proceedings which comes as too much at times deafening the hard riffage. The compositions are lengthy (5-7min) and there's a sad lack of fast-paced guitars to liven up the situation. The epic atmosphere is well covered, though, at the end on the closing "I Am the Black Wizards" which is a high-octane macabre doomster with a guest participation from Emperor members.

MindTech Full-length, 2004
Riot Detonator Full-length, 2005
Prop Agenda Full-Length, 2013

My Space


Four songs of dark straight thrash metal with touches of death; the approach is moody with mid to up-tempo riffage and brutal low-tuned vocals. The leads are more melodic, but are very thin, stifled by the atmospheric proto-doomy rhythm guitar which will remind you of Asphyx and Benediction.

Mirror of Tomorrow Demo, 1992


Modern thrash which hesitates between the aggro-approach of Pantera and the more dynamic one of Terror 2000 and Carnal Forge; the mix is not too bad creating a lot of dynamics along the way supported by typical angry Anselmo-like shouts, maybe a bit lower-tuned.

Soulfracture EP, 2000

Official Site


Based on the full-length, these guys play run-of-the-mill groovy post-thrash, with a strong shade of the Pro-Pain hardcore aesthetics. Alternative touches are thrown in ("Reality Relativity"), but they fail to give this unimpressive outing the desirable touch of originality.
"Enemy Of Silence" is a heavier affair, also a bit industrialized, and here the guys have also added quite a few faster headbanging sections which make the sound diverse and not as stale. As a result they end up sounding like noone else out there at the moment, except on the heavier moments when the music is not far from Grope or Puncture. The vocalist is a prototypical gruff semi-death shouter, but music of the kind hardly needs a more capable singer.

Manifesto EP, 2000
Ego Trip Full-length, 2003
Enemy Of Silence Full-length, 2010

Official Site


Classic trash which clings between rowdy deathy headbangers ("Essential Pain") and more elaborate quasi-progressive ("Born a Victim"). Still, the highlight is the atmospheric mid-paced pounder "With No Clue" which loses a few points from the brutal death metal vocal department the guy shouting his lungs out spitting bile and venom all over.

The Kill Floor Demo, 1993


Quite cool classic thrash following the Bay-Area traditions, pulling out admirable short thrashers some of which ("Child of Hate")e near the border with death metal while others (Other One") are more technical exercises in awesome galloping speed/thrash. "Beginning And The End" is a heavier, slower, more atmospheric proposition, another tasteful addition to this fairly entertaining obscurity which also boasts very good clean attached vocals.

Mindrape Demo, 1992


Based on the full-length, this act offer heavy abrasive modern thrash topped by expressive death metal vocals which shout with passion, but not unpleasantly. The guys don't focus on speed so much sticking to squashing seismic guitars for most of the time with welcome sudden fast-paced outbursts ("Cataclysmic Fire"). The leads play an important role being both melodic and screamy, but the volcanic riff-patterns are not as exciting getting repeated over and over without bringing anything striking to the picture.

Absolute Zero EP, 2009
Human Edge ( the Abyss) Full-length, 2012

Official Site


Based on "The Death", this is a mix of groove, thrash and death metal, quite fast and intense at times, but mostly reminiscent of Pro-Pain with a more aggressive attitude. When the guys get tired of following the pattern, they manage to come up with cool thrashing headbangers (the title-track).

Hanged Choked Wrists Slit Full-length, 2001
The Death Full-length, 2004
Disturb the Hive Full-length, 2007

Official Site


A 3-song demo of heavy industrialized thrash with seismic crushing riffs which lose their intensity on the several metalcore passages witnessed. There are also shades of Swedish melo-death ("Not Your fate") as well as the staple semi-shouted death metal vocals which here come unpleasantly synthesized.

Amidst Your Bloodlines Demo, 2011

Official Site


The Jester Beast and Headcrasher (both acts hailing from Italy) drummer Roby Vitari teams up with the former Holy Terror guitar player Mike Alvord for the recording of this passable, but hardly exceptional, tribute to the old school which crosses speed and thrash by also adding the less impressive proto-modern hard rocker ("Retrobution"), or the odd lengthy doomy deviation ("Lost"). The initial hard thrashing is superseded by clumsy slow pieces in the 2nd half the shaky saga finished with another imposing doomy track: "Walking Alone" which is a cool stomper showing a more attractive side of these musicians who have both done a much better job with their main outfits.
"Sworn to Secrecy" carries on in the same direction unflinchingly, headbanging old school thrash to the death with more or less expected dreamy, spacey escapades (the excellent "Lies"; the surreal semi-balladic "Helpless", both containing several hard thrashing sections). "Scalp Bounty" is a remorseless ripper, but the sleepy quasi-doomster "Rest Now (For Tomorrow Comes)" ruins the positive impression which is later hard to bring back to normal even with energetic cuts like "Release Me". The variety is bigger here, for better or worse, but again a talented outfit like this one is by all means capable of much bigger exploits.

The Enemy Within Full-Length, 2014
Sworn to Secrecy Full-Length, 2016

Official Site


A really good debut of technically-minded thrash/death metal which will remind you of the guys' compatriots Scenery on the more laid-back progressive passages, but the rest has a characteristic sound of its own, being heavy and mid-paced for most of the time with sharp technical riffs flowing effortlessly, albeit frequently interrupted by the aforementioned slower sections. "Essence Of Existence" starts thrashing aggressively at some stage, which is a cool addition, nicely contrasting to the peaceful moments surrounding it. Those peaceful moments turn to Cynic or Atheist-like jazz on "Freedom Of Mentality" which is a creepy minimalistic thrasher, before "Wretchlessness" sweeps you with its speedy rhythms, which carry an echo of late period Death. Hats down on the next "Parasite", which is a sublime technical number with smashing maze-y riffs and a couple of nice melodic hooks. "Twisted Priorities" is a milder more conventional composition, relying more on laid-back riffage and a slower pace, before the final "On The Path To Oblivion" moves up the scale speed-wise exiting this nice debut in a cool progressive thrash manner, offering a great quiet outro. It is always good to hear technical music brought in an original way recalling heroes from the past without borrowing heavily from neither. The band's guitarists move up the progressive scale with their other project: the progressive thrash/death metal outfit Pessimist.
"Eterea" begins greatly with the encompassing puzzler "Perceiving the Reality", but the clean vocals and the more quiet breaks suggest at a different direction; and soon this other direction springs up turning this offering into a dreamy spacey progressive opera without any attempts at thrash: think the Sieges Even transformation after "Life Cycle" maybe a tad edgier ("Reaping of Waters") coming close to Cynic after the reformation on the more surreal moments ("Ethereal Collapse") as well. This is by all means an engaging listening experience, but has very few relations to the genre, if any at all.

Into The Swirl Full-length, 2009
Eterea Full-Length, 2012

Official Site


This is retro power/speed/thrash which rolls forward with fast ripping riffs intially until it hist "Over and Out", a happy merry-go-rounder with Motorhead-ish overtones. "Chainz" is a rigorous thrasher with hardcore vibe, and later on the approach softens to heavy and power metal dimensions with the excellent folk metaller ala Skyclad "Today... (Is a Good Day to Die)" and the playful rock'n roller "Out of Time". The singer has a gruff semi-clean voice resembling Tom G. Warrior (Celtic Frost).

Black Lung Full-length, 2017



This act offer melodic laid-back power/proto-thrash which exudes so much melody and catchiness that the retouched delivery kills the sharpness before long another pullback being the lengthy compositions which are also supported by overt keyboard implements. The main plus is the very clear sound quality, but the singer is another weakling: his gruff semi-shouty/semi-clean tember is a harsh contrast to the very melodic surroundings.

Biday Shongbidhan Full-Length, 2013

Official Site


This is a solo project of The Crucified's guitar player Greg Minier who wanted to give way to his more classic thrash metal nature as opposed to his main band's more crossover-inclined style. The guy performs all the instruments, including the vocals, here and does a good job; this is vintage Bay Area thrash metal, one of the last good albums to represent the scene in the early-90's, a nice slab of sure-handed semi-technical metal with quite good, mid-ranged semi-declamatory vocals. It's a nice combination of stomping heavy, rowdy thrashers (the opener "Do Not Be Deceived") and energetic up-tempo ones ("The Skeptic"). "Price" softens down being a cool ballad, and "Philosophy Of Man" is an attempt at a more technical song-writing, both numbers trying to follow the Testament models.

Minier Full-length, 1990


Based on "Exile Of Fear": this band play typical for the time modern thrash/death with more nods towards death metal; no surprises here, professionally done, but hardly memorable.

Pantera Full-length, 2002
Exile Of Fear Full-length, 2006

Official Site


Retro thrash with Slayer and Devastation clear influences; the delivery here is probably more aggressive with death metal lightly touched on the more intense material (the formidable steam-roller "Vampiro Vaginal"; the violent grindy "Violando A Una Retrasada"). The vocalist is brutal and deathy, too, but suits the relentless musical approach.

Mente Enferma Demo, 2008


First-rate technical thrash, done by just two people, which sounds like a cross between the two Toxik albums: it has both very speedy and technical anthems ("Fields of the Dead") and slower, but also quite impressive ones ("Money Man"). "The Great Escape" is a brilliant combination of the two styles. The guitar work is simply stunning with swirling solos, mighty riffs and unexpected, but utterly coherent time changes. The vocals are lower-pitched than the ones of Mike Sanders from Toxik, and at times recall Sean Killian from Vio-lence. The sound quality is crystal clear; where these guys had gone after this demo, is a big mystery; this is a very obscure, but a very essential gem. The drummer Dave McClain later turned into one of the more prominent hitters with participation in renowned acts like Machine Head, Sacred Reich, and had previously performed in Juggernaut and S.A. Slayer. The two guys tried to continue their career under the name Murdercar, and succeeded in releasing 3 demos in the late-80's/early-90's.
The compilation contains the whole demo, of course, plus six brand new songs which betray, unfortunately, the complex style of the demo providing fairly banal power/thrash which could have been recorded earlier when the band were still learning how to play although the production qualities are pretty decent. It's really painful to listen to this having in mind how much better the demo was, especially the 8.5-min dragger "Man vs. Man" which is just major boredom from beginning to end.

Renaissance Demo, 1990
Renaissance Compilation, 2013


Industrial managed to establish itself as a full-blooded sub-genre on the metal field during the 90's, and although some metal fans are prejudiced against the computerized, electronic sounds and industrial noises with which these works are full, anyone who is more familiar with the style knows that in most cases industrial metal is just badly disguised thrash or death metal.
Ministry were the first band who combined the sharp guitar sound with electronic and industrial elements, and are virtually the creators of the whole genre. Having started as a new wave band, the band incorporated harsh electronic sounds on their later works. "The Mind is a Terrible Thing to Taste" is their first full-fledged effort in the industrial thrash metal field, and a great one at that. Just when the opener "Thieves" hits you with its aggressive, merciless riffage, you know there'll be a lot of moshing around on this one; the album loses steam towards the end, finishing with three pure industrial tracks. But the aggression returns with "Psalm 69": a colossal success for the band, one of the best-selling releases of 1992. The guys take no prisoners with thrashers like "N.W.O.", "Just One Fix", "Hero", "Psalm 69"; the last couple of tracks are again reserved strictly for exercises in harsh industrial. After this effort Ministry took a break from their intense approach, and gave way to their more experimental nature on the next three albums. With the flag of thrash raised high in the new millennium, the band returned to a thrash metal territory, in an even more uncompromising manner with "Houses of the Mole", arguably their most aggressive work to date. "Rio Grande Blood" followed, thrashing quite forcefully as well, at times moving onto heads-down thrash, stripped of any industrial "assistance".
"The Last Sucker" is on the opposite side, at least in the 1st half, heavily industrialized, but quite heavy and crushing, with the thrashy surprises all placed in the 2nd half: the fierce "No Glory", which is fast relentless thrash with a tinge of hardcore; the "purer", more speed/thrash metal based "Death & Destruction"; and the speedy undustrial thrash monster "Roadhouse Blues", recalling "Hero" from "Plsalm 69". "Die In A Crash" is probably also worth mentioning: merry industrial crossover, after which industrial takes over on the 2-part "End of Days", with a very sprawling calm melodic industrial passage, something last heard on "The Land of Rape and Honey", touching even "Twitch" on the more electronic sections.

"Relapse": our favourite industrial thrashers are back after their annoucement that they would lay down the weapons for good shortly after the release of "The Last Sucker". No rest for the wicked, as they say, and here thay are again with a brand new offering. And they will break you apart from the very beginning with the non-stop headbanger "Ghouldiggers" which thrashes with passion for nearly 8-min seldom letting the tempo drop. Then the staple for the band machine-gun "fire" comes pouring out from "Double Tap", and the next "Freefall" is even more intense despite the merrier crossover "sting" which runs through it recalling the guys' megahit "Just One Fix". "Kleptocracy" is heavy pounding thrash with a catchy alternative chorus, followed by a familar tune served in a more abrasive, industrial manner: S.O.D.'s cover of "Uniter Forces" which at the end is turned into an awesome super-fast crescendo. "99 Percenters" is rough industrocore with a mainstream rock-ish flavour after which the band relax with two not very eventful mid-paced abrasers. "Git Up Get Out 'n Vote" thrashes intensely, but "Bloodlust", despite its "bloody" title, is a laid-back doomy cut. "Relapse", which was one of the not very eventful mid-paced abrasers in the middle, is remade at the end, turned into a great electro-dance anthem something which could put the whole KMFDM or Front Line Assembly discography to shame; definitely not a pullback, and a fresh digression from the more brutal rest. As a whole Al Jurgensen and Co. have done quite well once again, and seem like a safe bet now unlike the times when their experimental swings were too unpredictable, and one could never guess right what style the band belong to.

"From Beer to Eternity": the really silly title is already a harbinger of what's to follow here: Jurgensen resurrrects the band for one last effort (or so he says) which sees the Prong guys, including Tommy Victor himself, stepping in to replace the late Mike Scaccia (R.I.P.) whose death is indeed a great loss to the metal world, and to whom this album is dedicated. This dedication is, unfortunately, not really inspired since obviously Jurgensen didn't have any ideas to present this time; he probably wanted to honour his friend and colleague with one last "temptation" which hardly does justice to the late Scaccia. It's another industrial barrage which is quite similar to "Animositisomina" with not so much thrashing fury which was the main driving force behind the last four albums. It's an acceptable industrial affair with all the staple tools of the trade, but if this is going to be the band's swansong, then they by all means deserve one muffled "Cheers!" for their last sucker... sorry, effort with pints raised semi-high and beer spilt (eventually drunk) from here to "eternity".

The Mind is a Terrible Thing to Taste Full-length, 1989
Psalm 69: The Way To Succeed And The Way To Suck Eggs Full-length, 1992
Houses of the Mole9 Full-length, 2004
Rio Grande Blood Full-length, 2006
The Last Sucker Full-length, 2007
Relapse Full-Length, 2012
From Beer to Eternity Full-Length, 2013
Beast of Nations EP, 2016

Official Site


Former members of Prowler and Hades, including the drum authority Ron Lipnicki (also Havochate, Overkill), have gotten together to pay their tribute to the old school thrash metal resurgence of recent years, albeit with a pinch of other influences, more or less appropriate. The band expectedly know what they are doing mixing slow and fast-paced tracks delivering in both departments the quality of their delivery culminating in the middle on the smashing galloper "Threads" and the frolic speedster "Thrash & Bang", both cuts split by the most disappointing presence here: the merry heavy metal anthem "Painmaker". "Machine Gun Serenade" near the end could have been harder to deserve its title; it's another mellow heavy/power metal offering partially compensated by the wild thrash/crossover closer "Ballad of Charlie Sheen" with which apparently the guys give their nod to their film idol (or do they...). As a whole this is a hit-and-miss affair which embraces several influences without sounding like any of the aforementioned acts lacking a certain direction at this stage, also having the feel that this may be just a one-time collaboration.

All Your Godz are Dead Full-length, 2012

Official Site


This band offer a nice cross between classic and modern thrash, with shades of gothic, and great dark atmosphere; a fairly interesting sound. This is mostly mid-paced and heavy stuff, strangely resembling the steam-rolling sound of the Brits Cerebral Fix, but songs like "Agony" and "Human Nature" (this one is a hyper-speed number with nice technical licks) thrash like there's no tomorrow. "Darkened" is a great nod to Paradise Lost with a thrashy edge, and "Fall of Life" honours another great British act: Bolt Thrower, with its doomy, death-tinged guitars. This is far from a mixed bag; this is actually one of the more interesting thrash metal albums of the 90's.

Fall Of Life Full-length, 1995


These Italians pull out thrash/crossover with a peculiar dry mechanical sound which recalls early Voivod on the more dissonant moments, but generally the music is right as rain the guys varying things by alternating fast with slow passages not forgetting about thrashing with passion ("Demon's Within"; the chaotic semi-technical headbanger "Distorted Picture From Distorted Reality") here and there. A few short tracks are pure hard, or even proto-grindcore, but the last two compositions are cleverly-concocted the final "Choosing Madness" a wild shredder with a very cool acoustic interlude. The singer has a dispassionate robotic voice which perfectly fits the bleak, but entertaining, musical landscape.

Distorted Pictures From Distorted Reality Full-length, 2012



The music on the full length is raw, messy and very badly produced thrash not too far from Necronomicon's first effort. This is miles away from even the average achievements in the genre. On the other side stays the EP, which is a much much better effort, featuring awesome speed/thrashers, similar to late 80's Kreator, and again Necronomicon, but their later, better period. Tracks like "Towards My Eternity" are instant classics, with their fast and sharp guitar work, and cool Mille Petrozza-like vocals. "Total Decay" is "total" fury, a very fast and intense piece, with a death metal flavour, which could overshadow even at least a couple of the songs from the Swedes Merciless' debut, for example. Having found the right way to making some great thrash, it would be a very good idea if the guys could re-release their debut; with the musicianship displayed on the EP, it could finally turn into a winner.
"God May Show You Mercy... We Will Not" is an elaboration on the EP from 16 years ago sounding like it had been recorded right after it, wtih barely a month between them. If we exclude the hysterical high-pitched black vocals, this is quite a good rendition of the retro German thrash sound, in fast tempo, which never lets loose, and the guys are apparently determined to not show mercy in the music department, like the album-title suggests. Among the 11 songs shorter, more laid-back moments can be found: the more speed metal-based "Princess of Hell" (which is not a Mercyful Fate cover) and "Soulless", but most of the time this is relentless old school thrash attack, fast and uncompromising, finished with a cover of W.A.S.P.'s early hit "Animal (Fuck Like a Beast)", where the music loses the speed and the edge, trying to sound true to the heavy metal approach of the original. While the debut was a good example of badly played amateurish thrash, this new effort is on the very opposite pole, showing the guys in a much brighter light, aiming high (hey, don't we all love this Accept song so much!), and well deservedly so.
The "Beast of Nations" EP: the "minotaurs" are probably testing the soil for the next full-length, and this 4-song effort sees them riding the wave with more uplifting speed metal-based sound as evident from the opening "27 Dead". "Beast of Nations" is a wild speedster, one of the band's finest achievements; and "Ignite Me" is another blitzkrieg hymn followed by the crossover joke "Skipping the Sin". Not bad at all, with all the diversity and references to both their own and other renowned acts' material...

Power of Darkness Full-length, 1988
Welcome To... EP, 1993
God May Show You Mercy...We Will Not Full-length, 2009
Beast of Nations EP, 2016

Official Site


Based on "Reign of Iniquity", this act idulge in mild friendly modern thrash/post-thrash which can be quite headbanging ("Dirge of Men") on occasion, but for most of the time it grooves/proto-grooves forward without too many exciting moments. The guys have a good sense fo melody, though, and some passages are frolic and uplifting (the heavy metal anthem "Become The Legend", the excellent exiting lead-driven instrumental "Pandoras Evolution") marred by the brutal deathy shouty vocals which are at times intercepted by milder clean ones, the much better choice for this kind of music.

Rebornation Full-length, 2008
Reign of Iniquity Full-length, 2011

Official Site


Based on the debut, this Brazilian trio pulls out melodic modern thrash which is technical at times in a way not too far from later-period Death even and generally provides a cool laid-back atmosphere by mixing fast and slower sections seldom branching out in something more aggressive (proto-death metal, that is: "Third World Tribute") as well as into several groovy "traps", fortunately not for too long. The vocalist is a throaty death metal semi-shouter who strains himself at times.

Choleric the Aversion Full-length, 2008
Vile Veil Full-length, 2011

Official Site


Based on "Bloodthrone", this band play a characteristic brand of dark progressive thrash/death metal with gruff death metal vocals ala Jan-Chris de Koeijer (Gorefest) which also comes industrial-ornated the latter ingredient giving a gloomy, apocalyptic edge to the album. There are lyrical moments ("Forgotten Fields") as well those reminding of a more abrasive early Opeth, and it's those moments which are arguably the highlight: the mechanical melancholy of the Katatonia-sque "Godspeed"; the beautiful atmospheric post-blackiness of the enchanting closer "Kill Me". This is not headbanging stuff, but is curiously engaging, serving plenty of moods, albeit mostly of the depressing type. Some of the musicians pull out much more energetic stuff with their other formation, the death/thrash outfit Dark Poetry; while other practice equally as serious, progressive music with Athanor.

The debut is a more dynamic affair, and is almost as good. It starts with the energetic mechanical headbanger "Liquid", and the next "6th Mass Extinction" is even faster producing another portion of intense sterile riffs. Up to this point resemblances between this band and their compatriots Gojira are inevitable, but enters "Empire" and things get slower, more serious, more atmospheric, and comfortably depressing. When "All Keeps Falling Down" settles in, one can not help, but like this unique concoction of early Katatonia, My Dying Bride, Opeth, with the stomping thrash rhythm-section "roaming" around to keep the intensity with "Time Zero" and "Watch The World Die" lashing wildly again with a more traditional melo-death tone. "The New Order" is an instrumental oddity of laid-back alternative progressive leaving the final depression for the gloomy closer "The New Order".

Watch the World Die Full-length, 2008
Bloodthrone Full-length, 2011

Official Site


This act play evil rough black/thrash of the very old school merging the cold misanthropic landscapes of Khold with the doom/thrash chaos of early Celtic Frost the best results brought about where doom has more space to develop (the title-track). The guys apparently realize that at some stage, and they give more chances for their doomy side to express itself more fully, but the listener would hardly mind since the situation doesn't get any mellower the only complaint being the relative lack of speed. The band members also take part in the death metal outfit Mabuse, and another thrash/black metal hybrider, Condor.

Black Death Full-Length, 2013

Official Site


This is pretty cool, all-instrumental, modern progressive thrash/post-thrash which shreds in a convincing mid-tempo with an unobtrusive keyboard background present, and choppy rhythms ala Meshuggah gracing almost every composition to a dry, sterile effect. The approach is jumpy with funky elements springing up from time to time ("F-82 Twin Mustang Flight"), and melodic progressive sections lying around full of enchanting melodic tunes: check out the great Oriental motifs on "Bort-78" where soaring operatic female vocals can also be heard. The closing "Vremia Vpered Mir78" is a vocal track featuring subdued semi-whispered male vocals, and is an otherwise solid mid-paced thrasher with creepy, not frequently changing, rhythms.

Zifferblatt Full-Length, 2011


Based on the "The Remnants of Humanity" demo, this act indulges in dark atmospheric thrash/death accompanied by deep guttural death metal vocals. The speed is kind of missing the band marching forward with heavy seismic rhythms and moody passages those sharing some of the melancholic otherworldness of early Katatonia. "Eternal Oblivion" is an energetic cut showing that a bit more energy would have been desirable earlier. Still, this is not bad clearly focusing on mood and gloominess and as such has reached its target.

The Fall of Existence Demo, 1992
The Remnants of Humanity Demo, 1993
I Will Become Your God Full-length, 2001


Good, albeit badly produced speed/thrash along the lines of early Kreator and Destruction, with good Mille Petrozza-like vocals (think the ones on "Terrible Certainty"). The bass is put too much up front, and stifles the other instruments, especially the slightly thin guitar sound, but the fast aggressive delivery saves the day.

Dead By Done Demo, 1989


A 3-sond promo of run-of-the-mill brutal Gothenburg death/thrash; fast tempos, some good guitar work, some blast-beats, ... you know the story.

The Suffering Promo, 2007


This trio specialize in fairly decent retro thrash which sacrifices the intensity for the sake of cool Oriental motifs ("Imminent Conflict"; the ones here are simply addictive also coming with a sophisticated technical edge). The approach gets harder later on touching the Bay-Area losing the aggression at times on more moderate cuts like the mid-paced proto-groover "Eternal Beasts" although the guys have no problems capturing the speed with short blasters like "Killing Spree" and "Triumph Of The Villain". The singer has a gruff deathy tember, but quarrels with authority and is not a detraction from this cool tribute to the old school.

Triumph of the Villain Full-Length, 2012

Official Site


This band were earlier known as Descent (a band not reviewed here). The music hesitates between the aggro 90's post-thrash and the more classic sound of the 80's German school, and despite the presence of cool headbanging riffs, doesn't sound very convincing. On top of that, the vocals are very annoying hardcore shouts.

Vicious Cycle Demo, 2005


This is the continuation of the death/thrashers Miscarriage who released four demos in the early/mid-90's. With this incarnation they managed to reach the official album stage, but in a strictly modern post-thrashy form. So heavy stomping groovy sections are the order of the day broken by the odd extravagant balladic piece "Hybrid Angel" which lasts for whole 12-min (!) being nothing more than acoustic guitars interlaced with the casual lead-driven passage, and the sparse appearance of angelic "hybrid" female vocals. In the 2nd half the songs make more sense with a more aggressive thrashy edge ("Stf6rfaktor") and a few progressive variations (the semi-balladic doomster "Architect Of Pain" in the vein of Paradise Lost and mid-period Cemetary). The singer has a forceful semi-death metal tone which suits the varied musical approach.

(Angsttriaden) Full-Length, 1997


Based on the demo, these guys play modern black/thrash with very impressive lead guitar work which will remind of old masters like Wolf Hoffman (Accept) and Michael Denner (Mercyful Fate, King Diamond). The music otherwise is nothing really special: quite fast and aggressive, with some blast-beats and death metal thrown in as well. There are also some slow, depressive passages which recall early Samael.

Legiones EP, 2003
Antigua Maldicion...Nueva Rebelion Demo, 2005

Official Site


Based on "Last Living Man", this young Russian band practice thrash/death metal with both classic and modern elements present; the music is mostly mid-tempo sounding at times close to Bolt Thrower, or Benediction, but with a more modern edge if we exclude the presence of clean vocals on some parts, and gothic atmospheric numbers ("Last Living Man") recalling Cemetary and modern day Samael.
"Just Hate" comes served with a drier mechanical edge of the guitars, but at the same time the dynamics is bigger and the music delivers with its abrasive industrialized character. Heads will bang in a robotic agreement on "I Pray", and some will inevitably shed a tear or two on the melancholic semi-ballad "Resurrection". The Meshuggah-esque futuristic dramatism of "The Brain Teaser" shows the band's more proficient side, but few would complain on the final string of tracks which bring back the speed "The War" even blasting in a less bridled death metal fashion at some point leaving the more laid-back industrial dirge rhythms for the closing "Let It Rain".
"World Without a Face" continues the mechanization process by adding further industrial gimmicks into the band's sound, but sterile headbangers like the title-track and the surreally hardcore-ish "Land Of Shadows" are strangely captivating. There are covers here, folks: Ramones' "Pet Sematary" can be heard surprisingly faithfully done without any staple insertions; and the more appropriate one: Hypocrisy' immortal hit "Roswell 47" as a finishing touch this track ultimately ruined by the bad mechanized dispassionate vocals which are the furthest possible analogue to Peter Te4gtgren's infernal "extraterrestrial" shrieks.

Life Is Gone Full-length, 2005
Last Living Man Full-length, 2007
Just Hate Full-Length, 2012
World Without a Face Full-Length, 2013

Official Site


Based on the full-length, this act offer fast ripping classic thrash/death which is performed with the utmost intensity for a large portion of the time although the guys aren't strangers to delectable melodic configurations ("The Brotherhood of Destruction"). "Dispelled" serves more interesting, more technical pirouettes, and the title-track upgrades the approach to loftier progressive dimensions without sacrificing any of the aggression. "Black Sirens Lurking" is an epic balladic instrumental, and "Trail of the Heretic (Maleficium)" is a sheer technical/progressive death metal delight, the highlight here, ably assisted by the forceful guttural death metal vocals.

Misanthrope Monarch EP, 2014
Regress to the Saturnine Chapter Full-length, 2017

Official Site


Based on "Everdark", this act pull out modern power/thrash which tries to be both melodic and intense both sides fighting for domination the whole time the former seemingly winning in the end due to the epic/pagan sing-along choruses and the very cool lead guitars. Actually, real headbanging sections are hard to be encountered, but the riffs have their bite despite their dominant mid-paced nature. The singer is not bad with his emotional clean voice which he doesn't strain too much staying in the mid-ranged parametres the whole time.

Soul Cancer Full-length, 2007
Everdark Full-length, 2011

Official Site


Based on the full-length, this band play direct, barrage-y old school thrash ala mid-period Razor and Whiplash. The music is served at up-tempo which is seldom broken simply because the tracks are fairly short (1-3min), mostly in the 1st half, for this to happen very often. Later on the guys exhibit more proficient musicianship and "Sacramental Suicide" is a cool more engaging composition with nice melodies the latter also featured on the leads (check the ones on the closing stinger "Virus").

Neurofire EP, 2013
Methods of Execution Full-length, 2015

Official Site


This is some very amateurish stuff sharing the middle place between thrash and death, but played on a rehearsal level seldom managing to sound sensible and comprehensive. Two covers await you (at least those who would be able to sit through the original 2-song material): Sepultura's "Troops of Doom" played surprisingly well except in the awful shouty guttural vocal department; and Sodom's "Sodomy and Lust" played badly, in a concert environment, the guys just plainly bashing at some stage ruining this immortal hit beyond repair.

Ataud Demo, 2006


Based on the band's last two releases, this is heavy, groovy thrash in the tradition of Pantera and the likes with some faster hardcore parts.

Children For Sale EP, 1995
Perfect World Full-length, 1997
Join The MBG Full-length, 2003
To End All Lies Full-Length,2006

Official Site


Based on the "The Difference Between" demo, these guys pull out a classic thrash/death metal mix, at times atmospheric and technical, at other times fast, but not to the point of brutality. Both sides of their music are well blended together, and thrash is clearly the dominant style with touches of death metal in the more intense sections. The singer is the downpoint here whose hardcore shouts could be a serious distraction to some.

Heritage of the Past Demo, 1990
Dark Epitaph Demo, 1991
The Difference Between Demo, 1993
Blutsyndrom Demo, 1994


Modern thrash, with some good guitar melodies, but otherwise not terribly different from acts like Terror 2000, or Carnal Forge.

Welcome the Miscreants EP, 2007

Official Site


These two demos precede the coming of aggressive semi-technical masterpieces like Viking's "Man of Straw" and Torture's "Storm Alert" (could have been an influence on both?). In other words we have fast aggressive thrash mixed with cool technical moments. At times the guys throw away the technical licks, and go straight for the throat with pure aggression: "Open Your Eyes", but after a few repeated listens one would start to discover stylish guitar work there, too. "Nuclear Wastoid" is a punk-ish/hardcore number, the joke song here, and "Heroine Face" is the band's tribute to Slayer's "Reign in Blood": a merciless brutal thrasher.

Demo Demo, 1988
Society's Joke Demo, 1988


Based on the full-length, this act serve modern melodic speed/thrash with a good edgy ballad ("Tratar y Fracasar") thrown in alongside lengthy quasi-progressive mid-pacers which are abandoned towards the end for the sake of a couple of invigorators which lift up the mood for a while before the closing "Ultimate Truco" provides the exiting portion of milder radio-friendly rhythms. The vocalist is a rough semi-cleaner who emits a lot of dramatism and passion throughout.

Una Miseria EP, 2012
Pueblo de Ignorantes Full-length, 2015

Official Site


An obscure power trio who used to play decent technical thrash/death metal with brutal deathy vocals. The guys start the damage with the brutal technicalller "Aceton", but things considerably calm down on the next "Misericordia" which acquires milder speed/thrashy dimensions which become the prevalent ones till the end making a bad use of the much more brutal vocals also bringing forward a dark gothic flavour ala Nightfall.

The Microbiological Revolution Demo, 1996

Official Site


This is cool intense modern thrash, mostly in mid-pace, with gruff semi-shouty vocals and a few more technical decisions of the jumpy type ("Inner Peace"). "The Box" is a fast-paced, more linear shredder immediately followed by the Black Sabbath cover of "Electric Funeral". The band later changed their name to Inner Misery and started playing more aggressive death metal.

Perpetual Sadness Demo, 1994


This is enjoyable power/thrash of the classic kind with good female vocals sitting somewhere between Doro Pesch and Leather Leone, maybe a bit thinner and higher-pitched than both. The music is mid-paced with consistent crushing riffs intercepted by epic moments (Attis") and cool melodic leads. The sound quality is a bit noisy making the guitars scream too much. Later the band changed their name to Lost in Misery and released one album ("Carousel of Memories") in 1997 of solid progressive power/doom metal.

Lost in Misery Demo, 1993


A decent, but hardly exceptional, mix of doom and post-thrash which is more on the heavier side with scattered pieces of dynamics ("Disqualified"). The very angry, quarrelsome singer finds his more tender side on the very cool ballad "Tears of Pain". Some of the band members also take part in the groove sludgers Bleed the Freaks.

The Power of Pain Full-Length, 1994


Based on the "Cries From the Dark" demo, this is quite good aggressive thrash inspired by works like Slayer's "Reign in Blood", Vio-lence's "Eternal Nightmare", with a more technical edge ala Gammacide (but less death metal-tinged).

Cries From the Dark Demo, 1989
Flirt With Insanity Demo, 1990


Heavy modern power/thrash which doesn't get many points from the rough angry vocals and the clumsy more dynamic passages which are badly disguised hardcore for most of the time. Things get better in the 2nd half where the sound acquires heavier, doomier tendencies with better guitar work ("Give 'em Hell") provided.

My Ugly Insides Full-Length, 2015


This is kind of the continuation of the promising technical speed/thrashers Midas Touch who have also invited the Entombed drummer Olle Dahlstedt to help them with the recordings. The bombastic speed antics of the Midas Touch works are nowhere to be heard here so the classic thrash metal fans should stop reading here. The truth is that the full-length debut is one of the best takes on modern industrial thrash; a style very close to early Skrew. The music is full of energy, very sharp riffs, angry shouted vocals, and a couple of industrial/noise implements. There's a lot of moshing on this one, and the 90's fans recognized its greatness, turning it into one of the best-selling albums of the genre. Unfortunately the future works of the band abandoned the aggressive approach, and settled for more melodic, alternative post-thrash, not bad, but having very little to do with the debut.

Misery Loves Co. Full-length, 1994
Happy? EP, 1995
Need Another One EP, 1995
Kiss Your Boots Single, 1995

Official Site


Based on the EP: devastating classic thrash metal- very fast and aggressive, calling to mind Hypnosia, Necrodeath and early Kreator (but with a more technical edge). The vocals have this black metallic blend, but suit the relentless music just perfect.
The Split with their compatriots Unholy Force sees the guys blasting out in a much less controlled manner, providing very fast brutal music, often being on the edge of falling apart. Impaled Nazarene have achieved something simlar in their early days, but this is more extreme; seriously. This is black/thrash madness which easily beats the early efforts from the Brazilian metal scene (Sarcofago, Vulcano, Sextrash, etc.) on which it's obviously based.

Civilization Torture Demo, 2005
Get Total Apart EP, 2006
Unleashing Hell's Wrath Split, 2009


Groovy heavy 90's post-thrash metal lacking the energy of Pantera and early Machine Head; one-dimensional boring stuff.

There Will Be Only One Full-Length, 1995


Based on the compilation, this band plays a wild incoherent blend of post-thrash, industrial and hardcore topped by hysterical rending vocals of the shouty synthesized type; the groove by all means leads the show with the faster hardcore outbursts more than welcome to bring in more life to this somewhat depressing picture which also comes with noisy buzzy guitars and sparse stylish leads.

Suppression/Misopsychia Split album (legacy), 1998
Our Purpose Is As Maggots+Mutantabort Compilation, 2000


Abrasive modern-ish thrashcore which moves around with more playful rhythms ("Esperanca Mutilada"), but for most of the time the delivery is mid-paced, melodic and friendly the only really brutal moment being the intense, rough death metal vocals.

Manifestvm Raivus Full-Length, 2017


Rock-ish speed/proto-thrash with Exciter a sure influence and guidance; there's hardcore, punk and even crust to spice up the proceedings which are dominated by shouty deathy vocals.

Crust Punk Stew Full-Length, 2015


The band were formed by members of Artillery after that band's demise a few years earlier. Don't expect some fabulous technical thrash here: the style is pretty ordinary modern power/thrash, melodic and quite average.

When The Door Is Closed Full-length, 1995
Merry X-mas Everybody EP, 1995
Lobotomized Full-length, 1997


Based on the "Silence in Grave" demo, this act pulls out energetic but badly produced thrash clinging between early Slayer and early Destruction. The music is a little messy sticking to up-tempo, but when it slows down it goes straight to Celtic Frost grounds ("Skies of Revelation"), albeit for a while. Still, it makes sense, and "Nightmare Beyond" is a major headbanger with nice tempo breaks and sharp lashing riffs. The singer may be a pullback with his gruff tember coming as a more hysterical version of Schmier (Destruction).

Rehearsal 26-02-1987 Demo, 1987
Silence in Grave Demo, 1987
Mission of Christ / Fratricide Split, 1987
Demo 1989 Demo, 1989

Fan Site


Based on the debut demo, this act specialize in nice brisk thrash of the old school with casual references to death metal including in the vocal department where the guy rends his throat without sparing it at all. There's a lot of melody ala Rigor Mortis applied at times coming with a pinch of crossover ("Too Much Die"), at others with appropriate balladic insertions (the title-track), at others going for the doomy end of the spectre (the elegiac "To The End."), not to mention the short, "Carmina Burana"-influenced intro.

Warning! Demo, 1993
Single Child's Tear Demo, 1994

Official Site


Modern thrash metal with Pantera/Machine Head-influences and some more melodic touches.

Engraved in Memory Full-length, 2006

Official Site


A cool, 3-track demo of Bay-Area influenced thrash, with good melodic, not very hard-hitting guitars; despite the energetic tempo the guys try to keep throughout, the final result is not very intense; will remind you of the Heathen debut.

Mirror Punishment EP, 2007


This is a curious EP which contains one track of brooding, dark, mid-paced, effective thrash/death metal: "Welcome to Utopia", one very good energetic headbanging piece: "Devastated Paradise", and one quite long, 10-min doomy, atmospheric, beautiful, peaceful instrumental "Llaki Runa", where you can hear numerous instruments (flutes, acoustic guitar, violins, etc.).

The full-length is not as varied albeit much longer containing modern thrash/death metal with a dry mechanical guitar sound. "Above My Lies" surprisingly brings the "winds of the past" with brisk classic riffs, but the continuation is on exactly the opposite side: "Alergia" is a heavy doomy groover with a much faster contrasting mid-break. Still, one more pleasant surprise comes before the end: the aggressive death/thrash shredder "Course". By the way, half of the band's line-up is based in Germany, and can also be seen in Aardvarks.

Welcome to Utopia EP, 2003
Sickness of the earth Full-length, 2009

Official Site


Heavy modern-ish power/thrash with very unsuitable rough semi-death metal vocals; the delivery is mid-paced with frequent indulgence in sleepy ballads and clumsy groovy stomps. "I Don't Settle For Less" at the end is a more dynamic shredder which even "flirts" with more flexible retro thrash riff-patterns.

Of Perversity EP, 1996


Based on the full-length, this act offer raw primal doom/black/thrash, a bit less polished than the one of their compatriots Megiddo. "Vampire Girl" is an enjoyable doom metal hymn, and the rest tries to follow the same depressing patterns the only "light in the tunnel" being the few more dynamic sections on the colossal over 16-min saga "Witchcraft of the First Degree"; the rest is doom and gloom to the death aptly supported by macabre semi-declamatory, sorcerer-like vocals.

Christians Stole My Pagan Traditions EP, 2014
Innermost Macabre FullLength, 2015

Official Site


This is heavy modern post-thrash which sticks to crunchy, chunky riffs in mid-tempo which wear thin well before the end since the guys never make any attempt at varying things carrying on in the same sleepy manner their efforts "crowned" with the doomy balladic closer "The Tower" which very well impersonates the band's monotonous style. The singer fits the music, though, with his mid-ranged clean delivery which doesn't completely lack emotion.

Deep Damp Dark Full-length, 2007

My Space


These Chileans play melodic power/thrash of the modern kind. The guys emphasize on melody and as such their music could have had even a hit potential if it wasn't for the very inappropriate death metal singer who stands on the way of the musicians who are quite good performers acquittintg themselves with crisp, sharp riffs which are sustained in a consistent mid-pace with the casual galloping rhythm involved ("Caronte", which contains some realy nice intense passages). The bass plays quite a prominent role here "duelling" with the guitars the whole time in a way no worse than Steve Harris and Markus Grosskopf (Helloween).

Fuego, Acero Y Poder EP, 2012


Modern thrash with shouty death metal vocals; the delivery meanders from rigorous headbangers ("Ego") to heavy stomping quasi-groovers ("Sexto Dia") also providing the odd more laid-back power metal tne ("Utopia") ala their compatriots Horcas in-between.

Escenario Mental Full-Length, 2017

Official Site


Modern post-thrash meets stoner/doom; we've had quite a few of those blends in recent times, and this one will also end up in the pile after one listen: heavy abrasive riffs get repeated throughout with very little variation between songs, and despite the presence of several faster crossover-influenced numbers, this effort as a whole will satisfy the stoner/doom lovers above all.

All Gods Kill Full-length, 2006

Official Site


Apart from another mention of the abbreviation F.U.C.K. (you know what this stands for, don't you?), there's not much to write about this band: aggressive semi-technical thrash; some good ideas, but all sounds more like a rehearsal for bigger things to come (which never did).

Inauspicious Eulogy Demo, 1990


Based on "Nine Shapes of Death", this outfit, which shares a drummer (Martin "Guli" Lukasek) with another talented contemporary technical thrash/death metal act from the Czech Republic: Barracuda, pulls out good technical thrash/death metal touching Death on quite a few times mostly in the vocal approach where the singer openly emulates the style adopted by Schuldiner (R.I.P.) on the last two Death efforts. The music is more thrash-oriented and comes close to the one of "The Sound of Perseverance", but is more diverse, serving both very fast (not many, and short) and very dreamy abstract, even jazzy ("Euthanasia") ala Cynic sections, often embedded into one composition ("The Chilly Touch Of Death"), and the word "progressive" may often come to mind while listening to the longer compositions. The more direct thrashers (Death") are not too many, for the sake of pure exercises in a complex technical play ("Puppets", "Total Apocalypse": this one comes with brilliant melodic hooks) with great thought-out riffage and stylish leads. The 2nd half is more melodic, and the sound "courts" melodic death metal more, producing really cool results: the fast energetic "Suicide", the jumpy varied, and quite meandering "Inward Fury". The end comes in the form of "The End": a nice short "leads-versus-acoustic" instrumental (remember Death's "Voice of The Soul") and, finally, a full-blooded Death song: "Crystal Mountain" from "Symbolic", done by the book. Although the contemporary metal field has been filled with quite a lot of technical metal bands following closely on the steps of the legendary Americans, these Czechs have no reasons to worry that they would remain buried under the others, and it would be interesting to hear how those influences have been reflected on their first two releases.
"Impervious Gates Of Heaven" is deeper submerged in thrash, but the music is not as cleverly concocted the band opening with 2 instrumentals: "Ave Satanas" being a lyrical balladic introduction; "Life After Life" being a jumpy overdone shred in mid-pace. The guys are all over the place also offering pensive doomsters ("Impervious Gates Of Heaven") the revelation coming near the end with "In Memoriam ...": a classy attempt at technical/progressive thrash with clever passages and interesting twists. The band stay on a higher ground after that with the intense mosher "The Revenge After Death", the only more death metal-laced song; an impression partly ruined by the peaceful acoustic outro "In Nomine ...". Despite the several moments of brilliance encountered, this album sees the guys still too far from the mastery displayed on "Nine Shapes of Death".

Pf8ivedtej smrt Full-length, 1994
Impervious Gates Of Heaven Full-length, 1996
Nine Shapes of Death Full-length, 2007

Official Site


A cool effort offering pure 80's American power/thrash during the hostile mid-90's environment; "The Storm" is a heavy stomping opener, but the approach softens later to power metal ala the Metal Church period with Mike Howe hardening with the casual galloping riff ala Attacker ("See Ya!"). The singer has a nice melodic tember recalling a less operatic Messiah Marcolin (Candlemass) on the higher tones. He later joined the progressive metallers Archetype.

The Fix Of Rage Full-length, 1996

My Space

MOB 47

Fast intense thrash/crossover, simplistic and direct, with short 1-2min songs, and hoarse shouty vocals.

Garanterat Mangel Full-Length, 1995


Based on the "First Diagnosis" EP, this band play crusty noisy modern thrashcore which is strangely captivating with ist hypnotic up-tempo riffage and the several jumpy passages the latter carrying a certain industrial charge and a not very distant echo of early Biohazard. "Final Day" is pure unbridled classic hardcore and the singer is an attached shouter who fits the picture without sounding annoying.

Dinner for Three EP, 2007
First Diagnosis EP, 2011


This power trio, which line-up includes T, more known as Todd Evans, among other pseudonyms, in Gwar, plays fast hardcore-ish thrash which doesn't stray away from the intensity of "Reign in Blood" too much packing it into not very long (2-3min) songs which are fast merciless "bullets" with minor exceptions (the heavy pounder "Offensive Release"; the drunken joke track "The Buffalo Song"). The sound moves a bit away from the classic tendencies on some sections, but as a whole this effort could be safely viewed as another addition to the new slassic thrash metal movement.
"Clear and Present Anger" is sustained in a similar fashion the band thrashing on fast and mercilessly without much ado the speedy riff-patterns dispersed by short chaotic leads. "Emerald" is the "oasis" here serving milder power metal rhythms, but it's ragers like "Warheit" and "Earth Metal" which matter here more and will keep the mosh going all the way to the slightly more techhnical and not very immediate closer "Vocable Assemblage" which abandons the smashing beginning for the sake of slower more intricate guitars in the 2nd half.
"Summon the Destroyer": the band's blitzkrieg delivery is pretty much intact here and fans of the more direct, immediate nature of our favourite music should enjoy this thoroughly. There's a more pronounced presence of hardcore which also retouches the guitars a bit, but longer speed/thrashers like "Vicious Smile" stop the tendency towards a completely stripped-down sound also thanks to the full-blooded "thrasher" "Thrashsquatch".

Black Swamp Rising Full-length, 2008
Clear and Present Anger Full-Length, 2011
Summon the Destroyer Full-Length, 2016

Official Site


The first thrash metal band from Hungary, Moby Dick's debut is a noteworthy start for the scene in this country, with its dynamic speed/thrashing approach which is admirably aggressive on "Talpon Maradni", which comes right after the more optimistic, more speed metal-oriented opener "Ugass Kutya!". Heavy hammering riffs aplenty will one encounter on "Tf6bbet Nem Tehetek", before the crossover happiness "Keresztes Vite9z" makes you pogo into oblivion for about 3-min. More aggressive thrash comes later with the short explosive proto-deathster "c1tnevele9s". More joy, but of the melodic speed/power metal type, comes with the merry-go-round "Metallopolisz"; as well as an odd industial doomy closer: "Re1zd A Rongyot!", which is a bit clumsy and not really on track with the remaining material. The singer provides a cool semi-clean tember with a suitable drunken flavour, a delivery appropriate for several genres.
Some of the musicians have also lid the foundation of other Hungarian acts: the heavy metal heroes Hungarica, and the one-album-wonder Brazzil, who released just one effort in 1995 of slightly modernized heavy/power metal.
"Holnapok Ravatale1n" will hardly be a surprise to the band's fans, an objective reflection of the guys' post-thrash period, featuring soft rehashed riffs with a slight bite, topped by the staple gruff semi-clean vocals. A pleasant surprise would be "Ki Mer A Szemembe Nezni?", a short more classic-sounding thrasher, contrasting with the other material, which in the 2nd half starts carrying a light carefree Motorhead-ish flavour. This is by no means a flop, and not without the apt avoidance of most of the groovy "traps" along the way.
"ldi Pokol" is more energetic than its predecessor and creates a cool semi-headbanging atmosphere in the beginning with a string of jolly good proto-speed/thrashers. The fast-paced inertia gets lost gradually and although "Alatt" and especially the major energizer "Poldabeszed" try to restore it at some stage in the 2nd half with more vivid riffage, the guys seem content enough play their staple mild post-thrash.

Ugass Kutya! Full-length, 1990
Kegyetlen c9vek Full-length, 1991
Korhinta Full-length, 1992
Fejfa Helyett Full-length, 1994
Memento Full-length, 1994
Indul a Boksz Full-length, 1996
Tisztedtf3tfbz Full-length, 1997
Golgota Full-length, 2003
Se Nap Se Hold Full-length, 2005
Holnapok Ravatale1n Full-length, 2011
Idi Pokol Full-Length, 2014

Official Site


This Canadian outfit mixes jolly thrash/crossover with heavy, power, and doom metal. This cocktail may come as too sotf for the hard-core thrash metal fan, although the forceful death metal-ish vocals add a slight aggressive shade, and are better suited to the faster material.

Modern Crimes Full-Length, 2008


Atmospheric modern thrash with orchestral gothic "colourings"; at times beautiful and dreamy, at others pretty intense. The band play in mid-pace with numerous "ornamentations" along the way: haunting keyboards, bombastic arrangements ala Cradle of Filth, quiet passages, folk motifs (check out the excellent BIfrost-influenced instrumental "Dignity"), etc. The musicianship is on an admirable level, though, the bass player giving his fair share with his omnipresent thundering bottom, and the lead guitarist producing some impressive virtuoso moments. Despite the distractions, this is pretty much thrash the hard-hitting guitars always leading the way. The culmination of the guys' expressive eventful style comes on the ambitious closer "Summoned by Nothing" which is an appealing amalgam of all the previously heard influences wrapped in intense headbanging rhythms.
"Ordo Ab Chao" would be a big dissappointment for the thrash metal fans; this is dark gothic metal with only occasional adherences to thrash. tasteful melodies and plenty of atmosphere are all present here, but there's no edge added to the guitar work the whole album taking the form of one slightly pretentious, and not thoroughly engaging, sombre opera.

Endless Road, Pt. 1 Full-Length, 2012
Ordo Ab Chao Full-Length, 2014

Official Site


These guys are the same ones who later found one of the most popular extreme metal acts of modern times: Slipknot. Here the emphasis is not on outrageous shows, but on music, although it will hardly make a few eyebrows raise being strictly modern groovy thrash, not too bad, and quite intense at times, and considering the time of release, they could have been one of the first to practice the style. "Indisposed" is a nice heavy steam-rolling thrasher, and "Into O Shadow" adds more intensity to the proceedings with crushing death-tinged riffs. "Ritual Circle" even speeds up a bit, but in a modern groovy way. One needn't have a very big imagination to find traces of this formation's music into the future Slipknot sound.

Visceral EP, 1993
Sprawl Best of/Compilation, 1994
Mud Fuchia EP, 1994


Based on the "Public Execution" EP, these guys pull out heavy crushing thrash/death metal of the aggro, groovy type with swirling meaty guitars and sparce blasting sections. A surprising taste for melody is shown ("Red") here and there, but the crushing steam-roller riffage rules with full force all over supported by the gruff low-tuned death metal vocals.

Without Place Full-length, 2004
Public Execution EP, 2006

Official Site


One of the more popular metal bands on the Finnish metal scene nowadays; their style is a fusion of the old and the modern thrash school with touches of pagan/viking metal, melodic death, and heavy/power on their early efforts. Their debut, at least from a thrash metal point of view, is hardly the finest album around, providing quite melodic power/heavy/thrash metal. "Mokoman 120 pe4ive4e4" hardens the course, but just a bit, and to talk about full-blooded thrash on this one is a bit farfetched, since the majority of the tracks are mid-paced at best, with nods to heavy/power metal, crossover, epic and even punk. The band's real "baptism" in thrash is on "Kurimus" which is a nice mix of the modern and the classic sound with sharp, but also melodic riffs, with the majority of the songs sustained in an energetic headbanging tempo. The softer fillers are very few, and they come with a cool epic shade, for which the capable emotional semi-clean vocals are very suitable. On their later works the guys have hardened the course, moving more towards the modern melo-thrash/death wave, typical for their neighbours, abandoning the classic thrash leanings which here are quite frequent.
"Syde4njuuret" is typical modern thrash metal with sparce aggressive death metal passages, both melodic and aggressive the main difference from the pack coming from the characteristic melodic vocals seldom intercepted by much more brutal death metal ones. The music is dynamic, and the fast pieces pack a punch although they get lost in the middle replaced by dull mid-paced power/thrashers with a slightly alternative edge.
"Juurta Jaksain" is a faithful companion to the preceding full-length being mild modern thrash metal this time without any more aggressive "distractions" developing in a predictable mid-pace with balladic overtones and catchy melodic tunes.
"Varjopuoli" is an entirely acoustic album showing the guys' more lyrical aspect; these are actually old songs re-recorded in an acoustic-only version. Expectedly, it's mostly on the balladic side, with a few faster sections with a country feel. It's not compeltely without merits, but would be of zero interest to thrash metal fans.
"180 Astetta" may catch you with your pants down with the explosive opener "Uusi Aamu" which is intense raging thrash to the bone. This beginning is, of course, misleading since right after the band settle for their predictable soulful post-thrashy delivery the "idyll" casually interrupted by the more energetic cut ("Uskalla Ele4e4", and especially the vigorous headbanger "Ajan Hermo"). As a whole the dynamics here is way bigger than on the string of sleepy efforts offered previosuly, and as such could qualify for one of the guys' more impressive releases not without the support of the good heavy ballad "Virsi N:O 5" and the bombastic operatic death metal-laced extravaganza "Illan Henki" which come near the end.
"Yksi" is modern post-thrash dissipated by laid-back heavy/power metal sweeps with a melancholic elegiac flair with echoes of Katatonia and mid-period Amorphis. Those who manage to fall asleep earlier, though, will have to wake up rudely on the brutal death metal breaks on the final "He Lensive4t isin".
"Elvien Kirjoihin" is an uneven mix of calm mid-pacers with no relations to thrash, and more invigorating pieces (the unbridled death-laced "Valtakunnassa Kaikki Hyvin"). The bad news is that the latter aren't very amply provided the album sinking into the sea of rehashed melodic post-thrashy patterns, and in the long run this effort will end where its predecessor have: in the mediocre "gutter"...

Valu Full-length, 1999
Mokoman 120 pe4ive4e4 Full-length, 2001
Kurimus Full-length, 2003
Te4me4n maailman ruhtinaan hovi Full-length, 2004
Kuoleman laulukunnaat Full-length, 2006
Luihin ja ytimiin Full-length, 2007
Syde4njuuret Full-length, 2010
Juurta Jaksain EP, 2010
Varjopuoli Full-length, 2011
180 Astetta Full-Length, 2012
Yksi EP, 2013
Elvien Kirjoihin Full-length, 2015

Official Site


Aggressive thrash/death hybrid which at times sounds quite brutal and fast, at times acquires cool technical tendencies recalling Disciples of Power's debut, at times has a strong crossover touch, bringing to mind Nuclear Assault. "Ephemera" is a nice both technical and aggressive instrumental which displays the band's more skillful side. Although the guys prefer to stick to the more simplistic and catchy part of their music for most of the album, this is varied and enjoyable stuff.

Veil Of Deception Full-length, 1991


Based on the demo, this band play fast aggressive thrash along the lines of Devastation and Sepultura. The guys try to experiment with longer songs, but there aren't any technical leanings here (except on "Think"), and the music starts getting a bit monotonous on the longer tracks. Still, this is a cool headbanging experience.
"Milkfish" will be a very unpleasant surprise to those who have heard the demo: this is pretty generic groovy thrash which lacks speed or energy except for the punk/hardcore closing joke "What's Up" relying on rehashed repetitive riffs and tempos: not even for the completists.

Looney Tunes from Insania Demo 1991
Milkfish Full-length, 1996
Tep Zepi Full-length, 1997


Based on "Re-Blank the Canvas", this act whose line-up includes Andreas Lohse, the singer who has graced with his presence quite a few acts throufgh the years (Lost Century, Forces at Work, Thought Sphere, etc.) specialize in modern semi-progressive thrash which suffers a lot from the brutal deathy vocal insertions which ruin the good work done by Lohse. Anyway, the music is not much to talk about, just modern rhythms played on a metalcore/Swedish death/thrash metal-ish base seldom trying something more interesting like the excellent headbanging arouser "Braille-Maps to Eden", or the less predictable jumpy shredder "Pioneer's Distaste [For the Copyist]".

The Legacy They Left Us With EP, 2012
Reset the Parameters EP, 2014
Re-Blank the Canvas Full-length, 2016

Official Site


In the music department these folks channel early Destruction, whereas vocal-wise we have a guttural semi-shouty death metaller. The music shreds, though, and shades of later-period Dark Angel can also be caught (the more intelligent headbanger "Ritual Massacre". A string of cuts in the 2nd half diminishes the speed until "Here We Are" which is a crushing death metal-ish instrumental. "Seventh Sign" is a more diverse 7.5-min rifforama, but it still pales before the excellent speed/thrashing Destruction-esque closer "Light The Fire".

We Rule the Freaks Full-Length, 2012

Official Site


These folks pull out (based on both demos) energetic thrash/crossover with very shouty, hysterical vocals. The delivery is often heavy and squashing ("Till the End"), but rest assured that compensation is amply provided ("Straw Man") and the band never venture into the fields of doom. Still, the majority of the songs are volcanic mid-pacers with samey, one-dimensional riff-patterns.

Blessed Are the Souls Demo, 1992
Another Reason Why Demo, 1993

My Space


This is the good old school thrash metal served with a pinch of technicality: check out the excellent puzzling technicaller "Memories of War"; but generally the guys show no mercy thrashing like demented ("Bloody Assault", "Dawn to Night") with Slayer and Devastation obvious influences. The tempo is fast with a shade of hardcore at times, and the singer is suitably gruff of the semi-shouty hardcore variety.

Dawn to Night EP, 2011
Go Forth... Slaughter Full-length, 2017

Official Site


Very cool, albeit roughly-sounding speed/thrash metal ala Not Fragile and early ADX with clean mid-levelled vocals, sing-along choruses and decent guitar work; the tempo is constantly fast, except for the longer "Minautor", which brings forward epic power metal elements, but the hooks and riffs and the excellent leads are not samey and compensate for the one-dimensional delivery of the singer. "Monark" is a very good galloping instrumental, and the closing "Dictateur" is an example of perfectly executed speed metal, which comes as the definitive pattern for the future 90's power/speed metal bands to follow: fast pace, melodic tunes, catchy choruses, edgy guitars, everything is here.

Demo Demo, 1989


Based on the full-length, this act offer merry-go-round speed/power/thrash of the old school with echoes of the 80's American scene, above all, which is quite well done without sounding derivative and trite. The warm horse clean vocals are definitely an asset giving the album a strange epic aura. The really thrashy moments are not many at all, but there is plenty of energy here all musicians performing well in a direct simplistic, but effective, manner.

Monasterio EP, 2003
Tierra Infierno Full-length, 2006

Official Site


Based on "Thrashing Pictures", these guys really paint a nice picture of thrash, based on the classic masters. Their music is heads-down 80's thrash metal with strong nods to Slayer, among others, and a sparce use of blast-beats. This is aggressive intense stuff only broken by one very awkward romantic semi-ballad "One Love" in the middle. Two covers await the listener: one in the middle, Sepultura's "Innerself"; and one at the end, Slayer's "Raining Blood".

God Save... Full-length, 1993
8cwieata Inkwizycja Full-length, 1993
The Evil Has landed Demo, 1996
Shattered Faith Demo, 2003
Thrashing Pictures Full-length, 2005

Official Site


Based on the 2-song "Pornoreligion" demo, this act specializes in raw, primitive, frequently blasting, black/thrash with macabre, semi-whispered vocals which, apart from the bashing guitars, offers a curious keyboard background, which takes some of the "pressure" and gives a more stylish flavour to this otherwise pretty basic, semi-amateurish stuff.
The full-length is on a more proficient scale and now the atmopshere plays a more prominent role making short numbers like "Mountains Of Truth" really captivating listens. "Cosmos Is All That Is" is an operatic shorter introducing the dominant sound to be witnessed here which seldom breaks the mid-tempo mould the exception baing the operatic black metal masterpiece "One God Further" which comprises a few short blast-beating sections. Mentioning black metal, it probably takes the upper hand on at least half the tracks turning the tables towards the darker side of metal with brooding, macabre riffs applied at every opportunity.

Eosforos Over Bethlehem Demo, 2008
Fornication In Sina Demo, 2009
Feeding the Roman Lions Demo, 2009
Pornoreligion Demo, 2011
Militant Atheist Full-Length, 2015

Official Site


The groovy post-thrash genre is given an interesting semi-progressive, also doomy, twist by these Germans who prefer to play mid-paced to slow adding casual industrial overtones ("Fat Boy") to the proceedings. The riffage us super-heavy, but pretty one-dimensional, and the listener may get bored since the compositions are not very short (5-7min) without changing the approach too much. "Dein Kleines Leben" is an excellent ballad, though, aptly followed by the closing "Zeit", which also shares some of its balladic calmness adding, here and there, the more intense heavier morose guitars.

Bring Woraus Die Tre4ume Sind Full-Length, 2008


Thrash/crossover of the softer, mid-paced variety; it has already acquired some modern groovy tendencies, including in the vocal department where the guy sounds moderately angry. Early Pro-Pain may be a more accurate reference, having also in mind the rappy sections which can be heard on "HIV-RIP". This act can actually be viewed as a side-project for two guys from the speed/thrashers Impaler, who are mostly known for their penchant for painting their faces in the manner of Kiss.

Demo Demo, 1992


This band is a side-project of members of Necrodeath and Schizo. The joint efforts of these musicians have produced a good album; style-wise the band's music is closer to Schizo with the same brutal and aggressive thrash metal sound and shades of crossover. Apart from the sheer speed, one could hear nice heavy, slower riffs, too: "Necroschizophrenia". Apparently this band were intended only as a one-album project without any intentions for further development.

Project One Full-length, 1989

My Space


Abrasive proto-modern thrash/crossover done by members of Blood Tsunami in union with musicians from other similar acts (Deathhammer, Lobotomized). This is simplistic playful stuff sustained in an energetic fast pace with references towards punk, hardcore, classic heavy metal ala Motorhead, stoner/doom, and more. A diverse bag as a whole, with gruff semi-death metal vocals.
These guys are pretty productive, and here comes another full-length ,"Nocturnal Neanderthals", following on the steps of its predecessor, providing the same varied mix this time slowing down more often, coming with arguably the more appealing material: the abrasive doomy "Slow Death", the interesting gothic-based "The Bible And The Beatles", the classic heavy metal hymn "Relationshit". The faster tracks are now pure hardcore/crossover pieces, and the guitars lack the sharp edge for at least half the time.

... And the Wrist is History Full-length, 2009
No Cunt for Old Men Full-length, 2010
Nocturnal Neanderthals Full-length, 2010

My Space


The debut demo: this hellish Australian trio pulls out brutal black/thrash metal with a couple of more controlled moody breaks ala Khold and early Bathory. "Mongrel's Cross" shows some mercy from the fast intense sound with a lighter crossover section mixed with a more epic approach ala mid-period Bathory.
The EP is three songs of the same fast relentless black/thrash metal with the atmospheric passages now a tad longer, rather recalling mid-period Immortal this time than the other aforementioned acts.
The full-length would be quite a surprise the guys calming down to a big extent concentrating on heavy moody riffs with echoes of doom and even proto-groove. The songs are much longer now, but the lack of too many speedy parts make them sound quite samey. "Hunters of the Born Again" in the middle introduces some more energetic moments, but it hardly speeds up beyond the frolic Motorhead-ish rhythms staple for the last couple of Darkthrone albums. The only extreme blasting passages come forward for a short period on "Revelations Transpire" the rest being atmospheric, mid-paced at best stuff touching more recent Satyricon and Thorns at times.

Mongrel's Cross Demo, 2009
Whoresanna EP, 2011
The Sins of Aquarius Full-length, 2012

Official Site


This band offer stylish modern technical thrash/death which twists and turns at times without breaking any technical or speedy records possessing quite a bit form both sides although the dominant tone is mid to up-tempo with clever touches including sparce spasmodic blasts on "Pestis". Less controlled wild shred can be encountered on "Death To Us All" which translates quite well on the closing "Carbonize The Flesh" which is a great puzzler along the lines of Suffocation and Pestilence. The vocalist is a normal death metal semi-shouter who assists the good music well. There is plenty ot talent at display here, and hopefully the guys would be able to enter the full-length arena soon. The musicians are also active with the thrash/death formation Sidius, and were previously blending thrash, death and black metal under the name Deathrage.

Pestis EP, 2011



Based on the second album: this band are a good example that apart from Japan, there are other places in the Far East where people can play cool thrash (along with Crash and Sahon). The band's music is a cross between modern (not much) and classic thrash metal in the Exodus-mould. There is a nice reference to "La Bamba", and also a cool relaxing instrumental at the end. Before that you can hear some joke songs, too, but the album is long, and there is enough here to please the hungry thrash metal souls. At present the band is run by just one person, Seo An-Sang, who was once a member of the heavy metallers Mystery.

Monkey's Ass Full-length, 1994
The Second Phase of Monkey Head Full-length, 1995
Nan Gaeya! Full-length, 2005


This demo contains dark creepy thrash of the modern kind with consistent heavy riffs and not very convincing semi-whispered deathy vocal performance. The guys never get tempted to speed beyond the mid-pace, but there are other elements to be savoured here, like the cool melodic leads and the several dramatic passages ("Inspired By God") which feature more dynamic decisions. This is monotonous gothic-inspired stuff which has a characteristic muffled sound also "boosted" by the messy production.

Inspired by God Demo, 2006

Official Site


This is excellent modern progressive thrash which is built around not very expressive, minimalistic riff-patterns predominantly in mid-pace, but its more aggressive, also more spastic and jazzy, nature ("Versus Humanity") easily shows its teeth also accompanied by harsher deathy vocals as opposed to the decent main clean ones. "Five" is another more dynamic shredder which is followed by the monolithic, steam-roller rhythm section on "Boss Fight". "Red Wheelbarrow" is stylish dissonant funkisms on an urgent thrashy base, and "F.F.S." is a semi-galloping power/thrash with quirky bass support. All the way to the spacey, oblivious closer "Dog Blood" which math and djent (not much thrash here) blended to a slightly underwhelming effect having in mind the mellower nature of the music. Nevertheless, it remains an interesting, less ordinary effort with a broader scope which would attract more than the regular power/thrash metal fan.

Monogamizer Full-Length, 2015

Official Site


This is very wild stuff sounding like a cacophonic, but utterly compelling, combination between Atheist, Extol, 90's Voivod, and Coroner's "Grin". There is progressive, thrash, death, sludge and even hardcore here. Nevertheless, the music hits the mark the whole time and never loses coherence despite the insane time-changes and mind-bending technical riffs. The "madness" only stops on the "The Untold Story" and "The Endless Trip": both relatively orthodox 2-part instrumentals. These guys are here to conquer and I personally have nothing against it if they later become one of the leading bands on the scene.

Amuk Full-length, 2007

My Space


Based on the "Arcana Balkanica", this act offers mid-paced semi-technical thrash recalling Metallica's "...And Justice for All" and the Brits Slammer. The problem is that the music develops in a predictable mid-paced crunchy tempo, which serves very well the guys' purpose on the excellent semi-ballad "Demona", which is a masterpiece along the ranks of "Fade to Black" and "Sanatorium". This composition kind of splits the demo into two parts, sitting right in the middle; the second half is kind of influenced by it, since the sound becomes softer with power metal elements, and the semi-clean hoarse pitch of the singer acquires more melodic dimensions (they are, actually, very good on the aforementioned "Demona").
The debut demo is a more melodic affair incorporating quite a bit of heavy and power metal. The music is more on the mid-paced side and relies too much on melody which is overdone in the lead department. Thrash is covered on isolated more intense galloping sections, and at this stage it's obvious that it was hardly the band's target for worship.

Demo Demo, 1989
Arcana Balkanica Demo, 2008

My Space


This band featured the legendary Nicholas Howard Barker, the drummer who took part in numerous acts throughout the metal spectre (Benediction, Atrocity (Ger), Testament, Dimmu Borgir, Cradle of Filth, etc.). Based on the 2-song EP, this band plays fast-paced thrash/death metal along the lines of early Pestilence and Death. "Sleep with the Dead" is slower and more thrashy, whereas "Maceration" is an aggressive death metal assault. The vocals are pure death metal, sounding like a more vicious lower-pitched Chuck Schuldiner (R.I.P.).

Sleep With the Dead EP, 1992
Tales Of The Macabre Full-length, 1993


Melodic laid-back power/thrash metal with a not very good sound quality; the guys mix their American power metal heritage with the NWOBHM-sound, and as a result we have decent mid-paced stuff without any highlights whatsoever, seldom changing the pace or mood except on the very romantic tender closing ballad which sounds like a completely different band, but that hardly matters, since at that stage the listener would hardly care which song, or which band he listens to.

Field of Stone Full-Length, 1991


Based on "One Nation Under Metal", this act plays typical modern groovy post-thrash spiced with hardcore although there is not much speed involved, and the overall approach is not miles away from more recent Pro-Pain. Somewhere in the middle the guys wake up for energetic almost classic-sounding thrash ("Endless Negativity"), but this never happens later on with the sound safely going back to the safe well-tested groovy formula.

Have A Nice Day! Full-length, 1997
Use Only As Directed Full-length, 1999
One Nation Under Metal Full-length, 2002
FOUR Full-length, 2009

My Space


An interesting, heavy take on the style with doomy, psychedelic overtones overtaking the hard-hitting thrashy riffage; some industrial sneaks in on the overlong nerve-stretcher "Goose", and generally the guys let their experimental spirit loose more than now and then, like also on the psychedelic doomy saga "Violet". "Pigeonshit" is some more dynamic thrashy "shit", but be prepared to fall asleep on the monotonous "Monologs" which is a bit more than 8-min of sterile melancholic riffs. Actually, almost every doomy number contains faster-paced thrashing sections, but their length is not sufficient to make this recording a sure pick for the thrash metal fan.

The Art Of The Broken Mind Full-Length, 2016


The EP: modern thrash/death metal moshing in a heavy mid-pace seldom reaching the epic atmosphere of Amon Amarth; a bit monotonous without any speedy temptations.
The full-length is a mechanical, sterile "beast" with a lot of robotic riffage "roaming" around. The staccato rhythmic patterns will bring Meshuggah to mind, but the delivery here is less adventurous and consequently less exciting (save for the brilliant chaotic tehnicaller at the end "Graced by Error") also due to the guys' steady refusal to add any more faster-paced sections.

Ending-Begining EP, 2009
Perception Changes Full-length, 2015

Official Site


The debut demo consists of 2 songs of aggressive thrash/proto-death which is dramatic and stomping not relying on many fast-paced sections except for the speedy srescendo at the end of the 2nd track. The sound quality is surprisingly clear offering a thick meaty guitar sound supported by forceful semi-declamatory death metal vocals.

Demo Demo, 1988
Live to DAT Demo, 1991


The debut: this formation specialize in modern groovy post-thrash which acquires more intense headbanging proportions at times ("Chemistry of Death", "Where Heaven And Hell Collide"), and even sounds intriguingly semi-technical ("Eternal Netherworld", the interesting choppy closer "Among The Rats") on occasion. The singer shouts attachedly with more overt deathy notes, and doesn't detract from the musical approach too much. The guys play in various other bands: the death/thrashers BK 49, the death metal outfit Weak Aside, etc,
"Blood-Soaked Restart" doesn't betray the course from the debut, and continues the heavy modern thrashy fiesta which is quite vigorous and headbanging based on the first couple of cuts among which "These Eyes Have Seen The Dead" is the undisputable leader with its solid semi-technical riffs. More intriguing configurations later with "Undead Skin Camouflage", a stylish polished shredder with great up-tempo implements. "The Blizzard" is a seismic stomper, but "Death Oddity" is the next in line hyper-active ripper that will tear everythig apart within 4-min. The alternation between the two sides goes on with the more restrained "The Enemy Inside" which is a ten-ton hammer with a few more lyrical escapades. The end is occupied by remastered versions of tracks from the debut which add more verve and volcanic activity to this fairly entertaining opus.

The Arrival Full-Length, 2014
Blood-Soaked Restart Full-Length, 2017

Official Site


A 3-song demo of retro speed/thrash metal influenced by the early German scene: Vectom, early Blind Guardian, Iron Angel. This is very good stuff with excellent deep clean vocals of the mid-range which higher screams are quite effective recalling Ralf Scheepers (Tyran Pace, Gamma Ray). The music is predictably fast-paced blending sharp direct riffs with melodic hooks and swirling leads.

He Gambled with Satan and Lost Demo, 2009


This is a rough blend of hardcore, thrash and grindcore, played quite fast and wild for most of the time, accompanied by brutal death metal vocals ala Chris Barnes. Those with more aesthetic preferences should run for cover... and fast.

Indoctrination Best of Compilation, 2003


Dominic Porco is the name of the guy in charge of the proceedings here; so this one-man show turns to heavy pounding riffage to pull it through and largely succeeds thanks to the solid, monolithic guitars which create some doomy atmosphere. "Death Of A Greek God" is a short galloper which livens up the situation; and "Viking Funeral" is a cool reminder of the effective, post-thrash aesthetics of The Black Album. From this moment onwards the album settles for the latter influences coupled with heavier GZR-esque escapades. "Orange Sky Turns Black" is a prime doom metal opus with the shorter "Walk Away" following suit with more vivid, but equally as seismic guitars. The closer "Submission" is another ship-sinking number summing up the volcanic nature of this cool effort which also sees Dominic doing a good job behind the mike with his controlled, but still dramatic and emotiional, clean tirades.

Angels with Fangs Full-Length, 2016

Official Site


Thrash metal acts from New Zealand are a rarity. Based on "The Precautionary Principle", this is melodic thrash/death metal-the one we are used to connect with the Swedish scene, professionally done, with nice guitar work. At times the vocals, which are otherwise typical for the genre, take a higher-pitched clean form, and combined with the heavy music, create a somewhat original sound. Another interesting moment is "Metal Is Everything": a straight heavy metal hymn where, near the end of the song, there is a fast aggressive break as a finishing touch.
"Spacial Operations" offers a slightly more melodic approach and is much inferior: the traditional heavy metal moments are more than on the previous offering, and the guitars are not as sharp; there are a few ballads ("November", "Lonely Crown"), and although aggressive pieces like "Stars Malign" which bring Strapping Young Lad to mind, try to keep the ship floating, it's clear that they are not enough to oppose to the predominantly pop-ish and unappealing atmosphere. The "Metal Is Everything" analogue here is "The Voyage of Magma Maiden" which is a catchy power/thrasher, but it comes too late to save the day.

"Singularity" is slow, sprawling and modern, in other words another step back from the band's earlier more potent style. Thrash metal plays a very secondary role leaving room for gothic, doom, classic heavy/power metal, death/doom (check out the steam-rolling "Death Sentence"), and even hardcore with industrial overtones ("Godkiller"); a very ambititous picture, isn't it? Comes close to the "cocktails" stirred by Devin Townsend on his solo projects and Strapping Young Lad, by the way, and may actually have its appeal to fans of the larger-than-life eclectic efforts (also check the Norwegians Dimension F3H).
"The God Album" tries to reach "godly" dimensions, and expectedly manages to embrace as many influences as possible incorporating post-thrash and alternative quite a bit now with the heavy doomy base remaining now having a strong psychedelic flavour. Needless to say, its merits to the thrash metal world are not many at all, the band obviously trying to make a special niche for themselves on the overcrowded music scene; good luck with that...
The "Man::Instincts" EP serves another 3 numbers of calm varied stuff which in this case means ballad, epic and groove the mixture assisted by very good lead guitar work which is the only thing worth mentioning.
The "Man::Intrinsic" EP is not surprisingly (having in mind the title) another 3-songer which begins with a not too bad epic ballad ("Unconditional Lie") before it turns into furious death/thrash for a while on "Taste Of Doom" before, of course, doom settle in; and boring balladic progressive on the overlong dragger "Air (We Have Come So Far)". The guys' experimentalism knows no boundaries, but it seems as though they're also getting a bit tired of this...
"Earth" is an expected concoction of styles and influences, a mild progressive affair which has completely lost its significance to the thrash metal movement, the band indulging in groovy/grungy decisions with sprawling balladic arrangements the latter recalling more abrasive and less focused Opeth (check out the surreal spacey closer "Earth" which could even pass for a lost Hawkwind, or a Pink Floyd, track).
"Overhaul" is the next pompous quasi-metal opera in which the guys started indulging not long ago. Alas, they haven't remembered about our favourite thrash a lot this time, and the final result is too sleepy and balladic to catch the fan's attention (unless that same fan wants ugently a portion of fast-acting sleeping pills; this music here would do the trick handsomely....). The way things are going this could be the last review of the band's works on this site...
"Black Swan Annihilation" is a bit more aggressive with a slight concentration on the riff-work, but it's hard to classify it as a thrash metal recording with the atmospheric, orchestral arrangements and the balladic/semi-balladic deviations. "Unbridled Force of Nature" richly deserves its title, though, being a wild death metal-ish basher partly "infecting" the following title-track which is an ambitious 9-min progressive opus with a constant shift of moods and riff-patterns.
"Alternatum" is a sprawling progressive "opera" which major claim at thrash glory is the short creeper "Living Doomsday", and partly the brutal thrash/death "chaos" "Arms Race". The rest is long labyrinthine compositions with a strong epic doom metal flavour.

Dimensional Urgency Full-length, 2000
Rogue Full-length, 2002
M-Theory Full-length, 2003
The Precautionary Principle Full-length, 2006
Spacial Operations Full-length, 2007
Singularity Full-length, 2009
The God Album Full-length, 2011
Man::Instincts EP, 2012
Man::Intrinsic EP, 2012
Earth Full-Length, 2013
Universe Full-length, 2014
Overhaul Full-length, 2014
The Existential Codex Full-length, 2015
Black Swan Annihilation Full-length, 2016
Alternatum Full-Length, 2017

Official Site


The demo: rough hardcore-ish modern thrash which comes with a very boosted drum and guitar sound making the rest of the musicians kind of unnecessary although the singer makes the utmost effort to be heard with his expressive quarrelsome shouts. The music becomes a bit more aggressive at times with a more obvious deathy edge, but the core breaks are too frequent for this album to be truly satisfying despite the presence of some merry optimistic headbangers (the closing "Whiskey Hangover").
The full-length "recycles" the "thrash" big time mixing fast blitzkriegers (the bursting opener "Take The Suffering") with 10-ton sludgers ("Monsterman") the latter still sounding energetic and vivid. The intensity from the beginning comes back with a vengeance with "Brazilian Roswell" and later reaches death metal extremes with "Vultures". The last song "The Brood" is a cover version of a hit of the obscure Brazilian thrash metal formation Expantor, a heavy semi-galloping power/thrasher.

Scavenge From The Soutern Demo, 2012
Recycling Thrash Full-Length, 2015

Official Site


This new act is just one person, the name already known (see band name), and he honed his weapons in Porong and Ministry. Here he specializes in a shreddy blend of classic and modern power/thrash without any shades of industrial, but with quite a bit of groove. On "Guilty Pleasure" he even tries something more brutal, towards the death metal canons, but watch oout for the imposing doomy ending on that same cut. Later on the man settles for a not very eventful mid-pace broken by a few semi-balladic "temptations" ("California"). Monte sings in an attached clean manner without emitting too much passion.

Inverted Grasp Of Balance Full-Length, 2016


Intense jumpy post-thrash of the seriously groovy type; the music develops in a samey steam-roller manner the band spicing things up with more thought-out progressive compositions ("Apollo's Fire", which features very cool leads, among other surprises), which are way superior to the other much less imaginative material. The closing "Diptera" is a 13.5-min extravaganza which stoms its way with hard riffs and a few balladic passages which drop the very brutal shouty death metal vocals for the sake of more meaningful soulful alternative clean ones. There are some ideas which could be developed further, but the guys really have to try hard in order to avoid the monotony which is quite prevalent for the moment.
"The Machine" is modern progressive metal with the occasional more aggressive thrashy shade ("Colorblind"), but offers engaging meandering opuses ("Dimensions", the larger0than-life 12-min title-track) which should be able to capture the imagination of the more open-minded metal fan. The thrash metal lovers will find very little to like here, but this is too aptly woven to remain completely unnoticed.

Wings Of A Fly Full-Length, 2011
The Machine Full-Length, 2015

Official Site


Based on "Resting Place", this band offers cool progressively-sounding doom/power/thrash "roaming" the "no-mans-land" between the classic and the modern trends. After the imposing epic opener "In The Name", recalling the Brits Sabbat, the sound moves towards heavier slower waters for two songs, before "The Game" provides more energetic thrashing. Time for pure traditional doom with "Reflections" which would easily overshadow most of the tracks from the last Saint Vitus album, for example. "Mortal Divinity" returns to the power/thrashy progressive music from the beginning in a heavier crushing fashion, but the doom-fixated approach comes back with "Judgement", leaving its mark on the remaining 3 songs, the last of which ("Resting Peace") is pure melancholic doom ala mid-period Anathema and Katatonia. There are definitely moments here which would delight the thrash metal fan, but the overall focus is more on the fields of doom.

Dust EP, 1995
Resting Place Full-length, 1999
The Millennial Death of God Full-length, 2000

Official Site


This formation indulge in decent retro thrash which varies the pace the dominant one being up with a touch of early Exciter and the Gerrman speed metal movement (Vectom, Warrant, Atlain). The main annoynace would be the buzzy sound quality and partially the gruff drunken vocals, but those are compensated by the stylish slower Celtic Frost-like insertions (check out the vintage early Frost tribute "Oasis" finished in an imposing orchestral way). Som eof the band members are also part of the retro black/thrashers Old.

Medusa's Throne EP, 2012

Official Site


Based on "Titoksz", this obscure Hungarian band offer excellent dark progressive thrash with nice guitar work, interesting tempo changes, genuine atmospheric moments, and harsh death-ish vocals. The music isn't fast, but moves from slow, balladic to mid-paced. This is by no means feelgood progressive stuff; there are plenty of sharp, thrashy riffs; it's just that the songs are long on musicianship and atmosphere, and would attract those who like concentrating on what they listen, and would also please fans of the more sprawling progressive song-structures (Opeth, for instance).
Their demo is more aggressive, offering the same highly technical music, but the time changes are a bit more hectic, and the sound "staggers" towards Atheist and Pestilence on quite a few times. The delivery is tight and intense, despite the presence of the 9-min sprawling opus "Hang-Alkony-Menede9k" which, again, will delight fans of Opeth, above all.
"Egforras" is a very cool debut, fully fulfilling the promises made with the demo, starting greatly with the twisted surreal thrasher "Vegtelen Hetedik Szeme" which will bewitch you with its not very complex, but meandering spinning, riffs and the spacey tune which suddenly comes up near the end. "Feletti Merfcles" is more controlled being more dreamy and semi-balladic, and "Fellegforre1s" is not too far behind offering a similar mix of balladic and sharp technical riffs. This appealing blend gets repeated on a string of songs until it reaches "Serkenytegnap": an elaborate progressive thrasher providing lashing technical guitars and a couple of more intense headbanging moments which aren't the dominant trend here, but are hardly necessary the band more than acquitting themselves with the stylish technical performance. The closer "Lidervedzmader" is a compelling weird combination of technical riffs and more quiet semi-alternative passages with a balladic shade which delivers on all counts despite its exits from metal.
"Ebredes" (which can actually be downloaded on the band's website- link provided below) will surprise you with its high-spirited energetic delivery in the beginning well expressed on the opening title-track which comes as a more aggressive thrashy mid-period Amorphis. "Odaet-Odafnt" is a sweeping potent heavy 10-ton smasher with a few melodic balladic reliefs along the way also coming from the excellent lead guitar work. Then the guys slow down for a string of songs which are doomy, mid-paced at best, before the coming of "Hang-Alkony-Menedek", a multi-layered progressive composition, still more in the semi-doomy department, but more intense and thrashy. Expect nothing of the kind on the peaceful acoustic closer "Nincs Mes" which is 2-min of tender strings, only for the romantic lovers. The intensity goes down big time near the end, but still this effort has its positive sides and will consequently attract a wider fanbase outside the thrash metal spectre.
The EP is a return for the band on the scene after ten years' break. The thrashy vigour is somewhat gone now although the title-track restores some faith with its more vivid rhythms. Still, this offering has a more officiant, epic flavour as evident from the heroic doomster "Brothers of Sky". "Univerzum" tries to "flirt" with more intense riffage and ends up being a dissonant version of Voivod's late-80's exploits.

Hang-Alkony-Menedek Demo, 1999
Egforras Full-length, 2001
Titokszulo Full-length, 2003
Ebredes Full-length, 2007
Vilagteremto EP, 2017

Official Site


These veterans on the Italian metal scene first appeared in the late 80's with a fairly cool progressive/epic power metal album ("Passions") to resurface ten years later with the 4-song EP "Beyond the Edges" which wasn't too far from the sound offered on the debut. The year now is 2002, and the guys (and a girl: the singer Sarah Bonetti) have a new full-length release which shows them in a newer more aggressive light. After the quiet balladic intro "What Will Remain?" the band offers nice power/thrash metal of the mid-paced variety with "I Am" which sometimes fluctuates into avantgarde semi-balladic variations ("After All") ala Atrox and The 3rd and the Mortal, sometimes into spacey abstract doomy territories ("I Hear You Call"). Those moments are by all means less than the pounding seismic power/thrashers like "Grey" and "Forced (Your Way)" which come decorated with elaborate progressive and quiet balladic passages. "Details Part 2" is an intriguing combination of doom and thrash metal with sharp jumpy guitars. The girl delivers with her mid-ranged slightly alternative tone singing in a samey manner all over in a way not too dissimilar to Anneke van Giersbergen (The Gathering), maybe a bit less emotional, but the music doesn't really give her chances to unleash something more dramatic and higher.

Insignificant Details Full-length, 2002

Official Site


This very obscure band pulls out intriguing heavy, often up-tempo technical thrash, with an angry, even groovy sound which a few years later would become the fashion of the decade ("What We've Become", the choppy, jumpy "Hi Jesus"). There are certainly several straight intense thrashers ("I Live"), and at least half of the songs are very close to Metallica's late 80's period, but the real winner is the 9-min progressive thrasher "Kill The Fooldead Dummy": an impressive concoction of moods and tempos with great twisted technical guitars near the end. The vocals sound like a rougher version of James Hetfield. It's a pity they disappeared so fast; their music would have quickly found a place under the 90's metal sun.

Kill the Fool Demo, 1990


A cool atmospheric take on the modern thrash metal idea, done in a consistent heavy mid-tempo with brutal death metal vocals which strangely suit the music. The guitars are both sharp and melodic with the leads being really good. "?????" breaks the pattern with more vigorous speedy riffs moving onto an infectious galloping rhythm near the end.

Moonless Acheron EP, 2011

My Space


A dark mixture of death, thrash and post-thrash which is also reflected in the varied vocal approach as clean vocals "duel" with brutal deathy one sthe whole time. The impetuous galloping energy of "When Worlds Collide" doesn't really have match later as the giys are more interested in exploring the more moody, solemn side of the spectre with gothic quasi-doomsters like "Forever to Reign" and grievous progressive power/thrashers like " The Fire Wave". "Hero's Live to Die" at the end livens up with more vivid riffage, but remains on the more elaborate, less hard-hitting side.

From Pariah To The Cradle Full-Length, 2017


Thrash metal from Ireland; not a very common phenomenon, but this one here is well done. The tempo is pretty fast with razor sharp riffs, along the lines of Slayer and Vio-Lence. There is no much variation throughout the songs, if we exclude the heavy, slower track near the end "A Change in Two Directions", but the intensity of the music makes up for it.

An Act Of Violence Full-length, 1990


This obscure Canadian outfit play energetic speed/thrash wtih shades of crossover on the shorter material ("When I Die") whereas on the longer one strong progressive undercurrents run: check out the ambitious "This God" which develops in apensive semi-balladic mood, but delivers with the virtuoso lead performance and the sudden faster outbreaks. "To Build an End" is another more thought-out number with great melodic leads, and generally the concentration is more on music leaving the hoarse semi-clean vocalist behind which should be the right way sicne his unrehearsed antics just don't hold water. The guitar work is really top-notch bordering on the Shrapnel (check out "Winds of Death") suffering at times from the not very clear sound quality.

To Build An End Demo, 1990


Cool, memorable classic thrash seeing an obscure act who refuse to lay the old school "weapons" to rest, but going out with all the guns blazing to produce shattering bombastic thrash like on the epic opener "Winter Harvest" which is vintage early Sabbat (UK), before "Human Season" acquires more moderate, progressive tendencies. "Sacred Whore" is a quiet minimalistic thrasher, and "Shattered" is a semi-funky Mordred-esque distraction. All the way to the engaging stomping closer "Dr. Bob's Nightmare" which is choppy thrash mixed with laid-back balladic passages. The singer does a good job with his attached high-strung clean baritone despite several not very carefully rehearsed sections where he loses the higher pitch for a bit.

Moral Decay Demo, 1994

My Space


Fast blitzkrieg thrash/crossover with short bullet-like tracks which duration seldom exceeds the 2-min mark. The aggression goes towards the proto-death department ("Appetite for Discussion") where also the intense semi-shouty vocals belong, but watch our for surreal early Voivod-esque "intrusions" like "A New Dawn That'll Never Come" which show a not very openly revealed side of this entertaining sincere bash which passes by in the blink of an eye closing on a bit under half an hour.

Picnic In A Minefield Full-Length, 2016


Light modern heavy/post-thrash in a one-dimensional mid-pace; optimistic energetic music with references to punk, crossover, the obligatory ballad, even rock'n roll.

Ff6ldlakf3 ember Full-length, 2004

Official Site


Based on "Strach ze Smrti", this band play fairly good raging retro thrash/death which wins a lot from the very good production. The guys know mercy with a couple of more relaxed speed/thrashers (the title-track, "Zakon Dzungle"). "Sexem Posedla" is a nice unrestrained shredder, and "Divci Valka" is a stylish more technical headbanger. The closing "Nocni Mura" is a more ambitious power/thrashing opus which considerably slows down reaching semi-balladic dimensions. The vocals are harsh semi-death metal ones, but fit the higly energetic musical approach. The guys have a more lasting career with their other formation, the heavy metal outfit Rentgen with three full-lengths released.

3 songs of modern grooby post-thrash Co Je v Nas....?! Full-length, 1999
Strach ze Smrti Full-length, 2015


A female-fronted thrash metal band; the girl changes from good clean vocals to screechy hysterical ones easily. This is music with a certain modern, industrialized edge and gothic overtones, heavy without any speedy parts. The debut is the better, more thrashy effort, whereas "Priest Hunter" deepens further into modern waters, and with an increased amount of groove and industrial elements, strays from the more appealing and immediate nature of its predecessor.

Psycho: Delusion Full-length, 2005
Priest Hunter Full-length, 2006

Official Site


Vicious aggressive black/thrash with horrifying deathy vocals; primal bashy stuff as a whole the more laid-back Celtic Frost-like passages working the best. The hyper-blasts are everywhere making this recording a tiring listening experience for the more faint-hearted who may smile partially on the cool Bathory-sque closer "War Infection Bestial".

Mundo Infernal Full-Length, 2016



A quite good demo which combines the speedy thrash metal of the Toxic Shock debut with the more aggressive sound of Sepultura and Devastation, topped by brutal death metal vocals.

Returning Impossible Demo, 1988


This is the band from where the legendary Dead (R.I.P.) started his short, but eventful career in metal, before joining the ill-fated Mayhem (and put an end to his life). Morbid are actually one of the first extreme bands in the history of the genre mixing black, thrash and even death metal on their first three demos, and despite the raw and undeveloped nature of the music, it is clear that the guys had gotten together with the clear intention to broaden the borders of metal into more brutal areas.

Rehearsal 07/08/1987 Demo, 1987
December Moon Demo, 1987
Last Supper... Demo, 1988
Death Execution Best of/Compilation, 1995
December Moon EP, 2000
Live in Stockholm Live album, 2000
Death Execution III EP, 2001

My Space


Based on "God Hates Asshole", this outfit pull out brutal deathy thrash which goes on in a splashing blitzkrieg fashion often branching out into grindcore without warning. "Brutal blues" awaits you on "Brutal Blues" whic is more of a hardcore "blues", and remains the most laid-back number here, a sopposed to "v" which is maddening death/thrash/grind with a cool melodic relief in the lead section. The death metal singer quarrels and shouts throughout trying to adjust his "singing" to the musical shifts with a few spastic, not very rehearsed, blacky screams.

Grind Up Your Ass Full-length, 2007
God Hates Asshole Full-length, 2014

Official Site


Based on the "Vox Spectrum" demo, these guys pull out cool classic speed/thrash which starts in the most energetic way with the instrumental "Vox Spectrum". "En El Calabozo De Los Condenad" enters to introduce the raw death metal vocalist and slower stomping tempos, but later on the guys have no problems capturing the intensity from the beginning, although the last few tracks have a certain crossover colouring.
The EP carries on in the same direction lashing out fiery riffs to no end till it starts to hurt. No complaints since the band know their craft producing brutal cuts like the speed/thrashing madness "Ceremonia De La Perdicif3n" which will recall both early Destruction and the Portuguese Alastor. But then arrives "Demente Y Lleno De Odio" which is blasting death metal; this change may be quite annoying to some breaking the settled speed/thrashy tone by the engaging opener, but later on such "surprises" are not to be encountered the guys finding the right way to conquer your souls with blistering old school speed/thrash/proto-death paying tribute to Possessed with the cover version of "The Exorcist" done in a faithful manner resurrecting the pioneering proto-death aesthetics of the song, including in the nice melodic riff deviations.
The full-length is a headbanger to the bone the band death/thrashing with force adding the odd blacky element to the barrage (the hyper-blasts on "Supplicium" and elsewhere). The German school hasn't been neglected again, but the death metal extremity is too big both on longer and the shorter pieces. Still, the end is strictly for the thrashers: first comes the shredding madness "Somos El Mal", then the capable cover of Slayer's "Show no Mercy". This is an aggressive listen with a bigger focus on death metal, but the headbangers from all walks of life should be happy all over.

Morbid Command Demo, 2010
Vox Spectrum Demo, 2011
Odio EP, 2011
Supplicium Full-Length, 2012



A 3-song demo of fast thrash/death ala Rigor Mortis; well done, with some surprisingly good, but sparce leads and bass work. The vocals are brutal, but good death metal ones.

Demonstrations of Devastation Demo, 1992


Based on the "Shamless Faith" demo, which contains 3 live tracks, this band play doomy thrash in the vein of early Celtic Frost, but here the doom is more strongly involved. There is no speed present, and except for the more lively "War and Pain" (which is not a Voivod cover) the tempo very seldom goes up.

Nomad Demo, 1993
Shamless Faith Demo, 1997
Echoes of Solitude Full-length, 1997
Secrets Full-length, 2002
Unlocked Full-length, 2004

My Space


Noisy grind/thrash which could have been at least half good, if the musicianship had been at least decent: worth hearing just out of curiousity.

Death Anthem Full-length, 1990


3 tracks of raw, primeval thrash which clings between the evil bash of Possessed's 'Seven Churches" and the more stylish meanderings of the Infernal Majesty debut. The sound quality is awful obstructing the impact from cool thrashers like the short explosive "Golgotha (Cuts In 1/2)", and the more engaging, almost progressive-sounding, "Golgotha". The singer is a deathy shouter, and is the least capable performer from the batch.

Rehearsal Summer Demo, 1988

Official Site


A hellsh trio from Cyprus specializing in a slightly incoherent thrash/death metal which jumps from funeral depressive stuff ala Hellhammer and early Celtic Frost ("When the Darkness Falls", "Mayhem Reveals Disease") to awkward attempts at a faster play ("Morning Star") the latter recalling very early Messiah. The musicianship is well below average, the sound gives an unfocused distorted tone of the guitars, and on top of that we have an agonizing super-brutal low-tuned growler who stifles the instruments on quite a few times without leaving the best impression.

Morbid Existance Demo, 2010

My Space


Aggressive thrash/death, quite close to the Merciless debut, with some cool semi-technical guitar work, and a very strong bass bottom. The vocals have this distant John Tardy echo, but are lower-pitched, and less intelligible.

Darkest Age Demo, 1990


Based on the debut demo, this hellish duo, who are also active in many other Chilean underground acts including their other mutual project, the thrash metallers Electrocution, produce evil misanthropic black/thrash which, if we exclude the frequent and ultimately annoying blast-beats, owes a lot to early Bathory who is (R.I.P.) honoured with an abrasive hardcore-ish cover of "In Conspiracy With Satan". The vocals are of the witch-like semi-whispred quality and often get buried in the roughly produced mix which faithfully preserves the primal raw recording atmosphere of the early days.

Nocturnal Sin Demo, 2010
The Ritual Single, 2010
Morbid Holocaust EP, 2011

My Space


Black/thrash metal of the fast extreme type (based on the 1st EP); the music comes as a mix between early Impaled Nazarene on the brutal moments, and early Bathory on the more controlled ones which are way less than the former.
The "Antichrist Blasphemies" EP is another aggressive black/thrash affair maybe blasting a bit more than on the debut EP siding with Marduk and Watain this time. Thrash takes a second place here, felt here and there, but this is mostly black metal assisted by gruff low-tuned death metal vocals.

Thundering Evil EP, 2008
Antichrist Blasphemies EP, 2010

Official Site


Just one song seeing a band of heavy abrasive modern thrash with drunken death metal vocals and a surprisingly stylish lead section. Apparently the guys are too busy with their other projects to record something more. They also take part in Crackdown where the sound is pretty much the same (this song could be a leftover from a Crackdown album?), and more recently in the classic thrash/crossover act Assassinner, with all bands still being on a demo stage.

Sons of Misery Demo, 1994

Fan Site


Based on the "Celtic Thrash Metal" demo, these guys offer speedy "celtic" thrash metal in the spirit of Rigor Mortis and mid/late-80's Sodom. This is good stuff, constantly fast, seldom lashing out in a more aggressive proto-death manner ("Destruction", which is a great headbanger also reminiscent of the early Death approach). The only stop from the intense moshing is in the from of a heavier Celtic Frost-like section on the aptly-titled for the purpose "Celtic Thrash Metal".

Bestial Attack Demo, 2000
Celtic Thrash Metal Demo, 2001

My Space


"Spectrum Of Death" is a fabulous debut featuring furious thrash metal sounding like a mix of Necrodeath and a more vicious late-80's Kreator.This is great fast-paced music, with mighty sharp smashing riffs and direct 3-4min explosive tracks (the exceptions are "Assassin" and "Scars", which are about 7-min, but are not deviations from the aggressive formula). "Beyond the Gates of Hell", the album closer, reduces the speed for the sake of the up-tempo riffage, and is the only slight break from the merciless thrashing.
"Destruction System" is actually an unreleased album, and carries on in the same uncompromising vein: great aggressive thrash, this time containing slower, but equally as intense pieces: "Destruction System" and "Halls of Terror" (this one speeds up here and there). The whole work has this genuine dark atmosphere, created by the thick, brooding guitar sound. Few were the bands in the 90's, who managed to sound as fresh and as true to their roots after such a long break.

Spectrum of Death Full-length, 1988
Destruction System Demo, 1992

My Space


The second demo: very good aggressive thrash metal made in Texas: the band's style bears resemblance to the Rigor Mortis debut, but these guys vary things more with tracks which are not based entirely on speed, but are also graced with nice stomping riffs recalling Nasty Savage's "Ignorance". The guitar work is sharp and heavy, and never strays into death metal territory. The vocals are particularly good sounding like a mixture between Nasty Ronnie and Bruce Corbit.

Demo Demo, 1987
Morbid Scream Demo, 1989
The Signal To Attack: 1986-1990 Best of/Compilation, 2007

My Space


Based on the "Cauldron Of Souls" demo: power/thrash metal in the early Metal Church-vein, or Laaz Rockit's "Know Your Enemy"; good stuff with slower epic tracks. At the end there is a live cover of Mercyful Fate's "Evil".
The guys are back inspired by the example of many of their colleagues from the 80's/early-90's, and "Sins of the Flesh" is out, and their old fans will not be disappointed. The album begins in a heavy power/doom metal manner sounding close to the works of the Swedes Memory Garden and Mercy, and it's "Heaven Help Us" which starts crushing in a more aggressive thrashy way ala Sanctuary. But then comes the pure doom delight "Witch Window (Return to Salem)" followed by the nice ballad "Child of Darkness (Child of Light)". More lively galloping riffs on "Jesus Wept" as well as a more complex early-Queensryche sound on "Beyond Wickedness", and finally one full-blooded headbanging thrasher as a final touch: "Torn Apart". The vocalist Bobby "Leatherlungs" Lucas shines all over with his clean high-strung emotional tember which has previously graced acts like Overlorde, Seven Witches, etc.

The Arrival of the Sin Demo, 1988
Cauldron Of Souls Demo, 1992
13th Child Demo, 2005
Sins of the Flesh Full-length, 2010

My Space


Based on the full-length, these three Peruvians indulge in evil nihilistic black/speed/thrash which is assisted by hissing, witch-like vocals, a really sinister, and effective, touch to the musical landscape. That same landscape consists of fast Germanic worshippers ("Cannibal Butcher") with more moderate mid-pacers ("Zombie Splatter Axe") both sides working well creating an appetizing contrast especially with the cool nood to Bathory done with the macabre bashing closer "Slay with Steel". And these vocals, they have to be heard to be believed... be afraid; be very afraid.

Wicca EP, 2014
A Filthy Orgy of Horror and Death Full-length, 2015

Official Site


Based on "Planet Death", this outfit play modern melodic thrash/death which brings the "gruff/clean" vocal duel along with the staple melodic hooks. Unfortunately, the approach is too soft and bland to catch the listener's ear more than occasionally, especially when the music acquires several epic power metal proportions in the 2nd half. The band have cooked "rousing" rather than "morbid" tales here... The guys were previously known as Megiddo where the style was pretty similar to the displayed here.

Psychotic Mind Dance Full-length, 2007
Come Inside EP, 2009
Planet Death Full-length, 2012

Official Site


"Aggressive Destruction" is very good American power/thrash reminiscent of Abattoir and Attacker, quite heavy and aggressive at times ("Life for Violence"). "Target Earth" surprisingly tones down the thrash ("Fight, Kill, Slaughter, Burn" being the only exception) and is more power/speed metal-based, and the inclusion of very awkward death metal vocals on "Pyrokinesis" makes things even less appealing despite the presence of some interesting moments ("Technical Death"). The singer has a characteristic semi-clean voice which handles several ranges his wailing sudden shouts/screams being quite effective, maybe a tad unrehearsed also hampered by the muddy sound quality on both demos.

Aggressive Destruction Demo, 1985
Target Earth Demo, 1986


Based on "Harbinger", this band offers modern melodic thrash metal wirh very cool Oriental elements. The problem is that the album develops in a predictable mid-pace recalling the Jews Orphaned Land quite a bit on the mellower moments, also offering a similar to the latter "gruff-clean" vocal duel. Needless to say, the delights for the headbangers are very few: "Going Under" comes to mind being an intense death/thrasher, but the rest is "plagued" by gothic, ballads, groove, folk, etc. A diverse blend as a whole, which will definitely find its audience, but the thrash metal fan will not be fully pleased.

Rise Up EP, 2003
Seven Sins Full-length, 2004
Chaos Breed EP, 2007
Harbinger Full-length, 2010

Official Site


Very cool headbanging old school thrash comes all of a sudden from Denmark, of all countries, for the country to give its contribution to the awakening of thrash metal. Unfortunately it's done in the form of 4 tracks only which, despite their furious classic thrash nature, are far from enough to turn Denmark into a major contributor to the process. The guys play fast and tight, with sharp riffs and timid nods to the more technical style of their renowned compatriots Artillery ("The Glory") which never developed further since soon after the release of this EP the band went their separate ways.

The Firstborn EP, 1998


Atmospheric semi-technical thrash/death which is not far from Pestilence's "Testimony of the Ancients" and Assorted Heap's "The Experience of Horror". The guitars are lower-tuned here, and the singer is less audible his gruff death metal tone not getting much exposure. Otherwise the guys play with inspiration producing clever intelligent progressivisms on the closing "Prison Of Insanity". Later some of the musicians went onto bigger glories by forming the black/deark experimental metal formation Bethlehem.

Demo Demo, 1991


Based on the last split, this band play a raw vicious mix of black, death and thrash metal with low-tuned death metal vocals. The music favours black metal most, but some sharp thrashy riffs could be heard, which may remind you of Absu's "Tara".
The "The First Desecration" compilation is a really brutal affair, and will not delight the thrash metal fan. This is bashing black/death for most of the time with a very bad sound quality and grunting very low-tuned, absolutely unintelligible, vocals. The guitars form one impenetrable wall of sound without any solos or melodic hooks.

Death Desecration Demo, 2004
Ritual Sacrifice Demo, 2004
The First Desecration Best of/Compilation, 2006
Chainsaw Death Fuck Demo, 2006
Akerbeltz/Avangh Dhfcr/Morbid Yell/Hellthrone Split, 2007
Kf6rgull The Exterminator/Morbid Yell Split, 2008


4 tracks of heavy proto-groovy thrash metal sounding not as stale as the Pantera followers of the same time, if we exclude the throaty angry vocals. The music has an edge, and adheres to some 80's gimmicks ala the Bay-Area. Certainly there is groove to be "enjoyed", but "El Placer De La Vaciedad", on the other hand, is a good headbanging fun although on the others the heavy, slightly monotonous, mid-tempo dominates.

Ideas Desfiguradas Demo, 1996


This unknown band play dark evil thrash/death which comes served with a cool stylish progressive flair on "Transitional Changes" despite the thin lead guitar. "Phallic Seasons" is a more direct basher with Slayer-esque overtones matched interms of intensity by the bonus track "Born to Die"; and "Seed of Pain" is another more complex shredder with some really inspired lead guitar work which occupies almost half the space. The vocalist is a gruff, brutal semi-death metal shouter ensuring the lasting brutal appeal of this deeply underground recording.

Seed of Pain Demo, 1993


Based on the first demo, this band plays good edgy thrash metal with nice flashy lead guitar work and forceful deep clean vocals. The guys mix faster and slower numbers, the former delivering a bit better, especially those coming with a touch of crossover (the excellent speedster "Truth Or Consequence"; the thrashcore happiness "Sh(italy) Wops").
The "Strange But False" demo is clumsier and mechanical-sounding, and despite its more playful character doesn't entertain as much except for the catchy roller-coaster "What Could You Repeat That". Later on the guys just have fun pulling out merry carefree punk/crossover which reverts for a while to the more aggressive thrashy formulas on "Fear Of You" near the end.

C.R.D.K. Demo, 1989
Strange But False Demo, 1991


This is aggressive fast old school thrash with nods towards late-80's Kreator, so expect also a few more technical moments among the fast, but intelligible, downpour which comes assisted by forceful husky vocals not too far from more recent Mille. The Brazilians' infatuation with melody is bigger, though, resulting in a couple of more memorable melody-driven ("Alchemy Of Pain") passages.

Alchemy of Pain Demo 2003


This Brazilian trio specializes in simplistic retro thrash metal with proto-death shades. This is not totally fast stuff, but comes served with slower breaks and more optimistic crossover-laced tracks ("Corrosion Death"). The guitar sound is very thin, and the singer is an awful synthesized shouter.

Thank God!!! Full-length, 1994

Official Site


Based on the debut, this talented Iranian outfit offer diverse music crossing thrash and death metal on a more complex progressive base. The title-track is an intense speedy hectic opener, a very good start for this album with vigorous sharp riffs despite the decrease in speed from the beginning to the end the latter coming in the form of a nice acoustic guitar which stretches into a whole track on the following "Psychotic Depression" which is a cool balladic instrumental. "World Of Vaccum" is intense technical thrash/death, again quite jumpy and occasionally very fast. "Phrentic Dream Of Earth" is a calmer Oriental-infused composition of the atmospheric type, and the final "Ascenssion" (yes, this is a very short full-length) is a doomy/balladic instrumental. There are only 3 full-blooded songs here, and overall this effort may be considered a draft for something bigger to come soon.
"Room No.X" elaborates on the death metal side of the band's repertoire by also adding more imposing heavier riffage (the doomy gloomer "Open Your Eyes, Then Close'Em") full of appetizing Oriental digressions and battle-ilke passages ala Bolt Thrower (check out "Rebel's Cry"). The wider appeal of the album is later ensured with the tender semi-acoustic ballad "Suicide And Redemption", and the more technical aspect of the guys' music eventually springs up in the 2nd half with the dynamic jumper "Cursed Palace" and the wild shredders "The More I ..." and "War". The last string of tracks is a tribute to the more pensive progressive side of the gerne (think Opeth) with another portion of balladic moments served on the closing peacer "Empty Room". As a whole this effort doesn't quite deliver as well as the more inspired debut, but is still a decent achievement with more influences incorporated.

Darker than Grave Full-length, 2008
Room No.X Full-length, 2012

Official Site


This obscure act provide surprisingly classic-sounding for the time of release speed/thrash which begins in a restrained power metal fashion with the complex opener "Dark Age Of Reason" this semi-balladic epic mid-period Blind Guardian-esque composition not promising much in terms of thrash thus not seen as a real addition to the technical/progressive thrash metal scene which was flourishing in Germany at the same time. But comes "Utopia Within Reach" and things start moving around with fast sharp riffs, still more in the speed metal camp with echoes of the Angel Dust sophomore effort, another reminder about this album being the good soulful clean singer who recalls none other than John Arch (Fates Warning) on the higher tones. "Lies" is another tribute to the semi-ballad, and "To Sleep (Perchance To Scream)" only shares the title with the triumphant Helstar number from "Nosferatu"; no shades of any technicality here although the listener may be caught with his pants down in the second half where the guys start thrashing wildly also adding some of the best melodic leads around at the time. When the next "Scars" "flirts" again with the ballad one may lose interest to a considerable extent, and he/she woouldn't be blamed since this effort has been moving up and down the whole time. "Law And Order" is a nice little thrasher, and "In God We Rust" just a tad less intense again scoring high in the lead sector. "Advanced Humanity" is standout speed/thrash in the vein of Paradox and Manticora erasing many stains from the band's face, not without the help of the nice closing opus "Colour Life By Numbers" which is a stylish take on more elaborate progressive thrash with references to the Sieges Even debut even on the more puzzling sections with the lead guitarist again stealing quite a few points with his dazzling performance. Despite the several mild moments this album is a fairly good achievement and could have definitely been a winner if released 5-6 years earlier or later. Neither of the six musicians (there is also a keyboardist present although he is never heard, at least not on this album) involved in the band has ever been seen in any other act after they split up.

Scars Full-length, 1993


The EP: this is just twoacks of atmospheric gothic-tinged thrash which suffers from a production point-of-view which gives the guitars a very noisy edge which could have worked if the guys were bashing with vigour and without any more proficient pretensions. But this is an effort more on the musical side, and consequently the musicians' efforts are hampered by the constant noise. Some of them were later seen in the death/thrash outfit Burial.
The demo contains intriguing semi-progressive, also atmospheric, thrash/death which is high on the melodic leads which are quite a wonder to listen to whenever they aren't hampered by the muddy sound quality. "Chronicle Agony" is a nice short technicaller, and "Lonely" is a stylish jumper with some great bassisms. The closer "Violent By Nature Or Nurture" is a nice wink at the Pestilence heritage with gorgeous melodies and a few twisted rhythms.

Mortals Slow Decline Demo, 1992
The Progressive Downfall EP, 1993


3 songs of modern groovy thrash/post-thrash which isn't bad recalling Xentrix's "Kim" as well on the more dynamic moments. The sound quality is quite muddy, but the vocals aren't bad unleashing a cool semi-clean/semi-shouty tember coming up like a more throaty and angrier Chris Astley (Xentrix again).

Mordant Hate Demo, 1993


Based on the full-length, these Danes play modern thrash/death sustained in an up-tempo the better moments recalling Paradox's output of the new millennium ("Acts Of Aggression", "Silhouette Of God"). "Monarch Of All" is a surprising slower number placed in the middle giving the album a nice officiant, doomy flavour. The speedy character of this effort is "broken" once again with "Contrapasso" which is a more complex progressive piece with great soaring melodies. The guys exit the scene in a more brutal death metal tone with the closing "Treachery" which lashes fiery riffs which "duel" with the gruff semi-shouty death metal vocals. This is not a trite offering, like so many others nowadays, but has a fresh and diverse feel which will keep the listener interested throughout.

Slaughter EP, 2010
Violence, Fraud, Treachery Full-length, 2012

My Space


Typical for the country Gothenburg thrash/death metal which develops in a calm, friendly fashion not far from mid-period In Flames so expect a lot of melody to flow from the speakers often missing more dynamic riffage to support it. The singer croaks like a raven creating the only more macabre moments on this peaceful uneventful recording.

Where The Angels Fall Full-Length, 2015


Based on the debut, this is typical modern thrash metal with awful hardcore vocals and a handful of joke songs scattered all around.

Hogar, Dulce Hogar Full-length, 1994
Evolucion? Full-length, 1997

My Space


Mordred were kind of pioneers on the scene who, along with Death Angel and Re-Animator, started adding funk-elements into their music. On their debut these elements are very few, and for the most part it is really well-done, mid-paced to up-tempo thrash. "State of Mind" is a great fast-paced opener with sharp intense riffage and nice melodic vocals. "Spectacle of Fear" continues the riff-fest with full force, slower, but with a more clever technical guitar work, and strong bass support. "Every Day's a Holiday" brings forward the experimental spirit, which would later be the main driving force, on the band's next effort: a funky, jolly number, scarily non-thrash. But once the introductory riffs of the next "The Artist" hit you, you will have no problems forgiving the guys this innocent deviation: what follows is another hard-hitting intense thrasher, which will make you jump around in no time. "Shatter", apart from the great riffs, has a very catchy chorus, and is arguably the most memorable song here. "Reckless Abandon" is another mighty, up-tempo piece, again coming with a more catchy chorus, followed by the rock-ish cover version of Rick James' "Super Freak", which at least this time doesn't abandon the thrash metal idea completely, and is quite cool. Another big excuse is brought in the form of the marvellous aggressive thrashing closer "Numb", graced by superb leads (which, by the way, are on a very high level throughout the whole album, but here they beat anything); there's no way you won't accept it. This was a truly impressive entry for the band, and they hardly needed to go into a much more adventurous sound on the follow-up, at least not as much.
"In This Life" is where the band let loose their experimental spirit, and showed that a mixture of two contrasting styles could not produce very good results. The music has lost its thrashy appeal almost completely, being some "funk meets metal" mish-mash. Their last effort has very little to do with the past, and is actually a good attempt at a more ambitious progressive song-writing with a modern flavour.

Everyday's a Holiday EP, 1989
Fool's Game Full-length, 1989
Falling Away EP, 1991
In this life Full-length, 1991
Vision EP, 1992
Grand Summit EP, 1994
Splinter Down EP, 1994
The Next Room Full-length, 1994

My Space


Rough muddy-sounding thrash/crossover with noisy guitars and angry shouty vocals; the band don't play very fast relying on mid-paced stomping rhythms which become plain boring and repetitive at some stage "courting" the so popular at the time groovy tendencies. Still, one would do no wrong ordering "more beer" on this kind of music... at least let's keep drinking!

Some Wrong? Demo, 1994


Heavy abrasive thrash/death metal with touches of doom/gothic; soulful solemn stuff in mid-pace with rough death-ish vocals and heavy hammering guitars.

Diluted Souls Demo, 2005

Official Site


Based on "Smuta", these guys offer a not very convincing blend of intense fast retro thrash and modern groove. Certainly the former is the more appealing side of the album, and there really cool sharp riffs can be heard on quite a few times. The singer is not bad, either, assisting the music with good mid-ranged clean vocals, which do not really suit the slower modern passages, but nicely become more aggressive on the faster ones.

Russian Album Full-length, 2002
Smuta Full-length, 2003
Monastic Days Full-length, 2005


Morfeus have been wandering the Brazilian metal underground for quite a few years, having released two capable aggressive thrash demos in the late-80's, and when they finally got lucky to sign an album deal, it was the mid-90's, and the thrash metal scene had almost retired. However, this didn't prove an obstacle for the band to provide us with very cool stylish semi-technical classic thrash, one of the finest achievements of the Brazilian metal scene, and one of the best works of thrash metal from the 90's. The music is intense, aggressive and fast for most of the time, but the band never forget to serve it with a certain doze of technicality. The guys start lashing from the get-go with "Rigor Mortis": fast tight thrash with nice both melodic and technical decorations plus a strong bass-bottom. "Hopeless" excels in the lead guitar department, and is another very fast technical thrasher. "Witness" focuses on the twisted technical play, and is consequently slower with the leads reigning supreme again and a super-fast ending which will make your head spin. "Human Degradation" is speedy thrash from beginning to end with a more aggressive proto-death metal edge; "You Die" is equally as fast and relentless, but adds more technical guitars which on the slower passages are quite head-spinning. "The Creep In My Grave" is just a tad slower, but the technical edge of the guitars has been increased; it goes another level up on the progressive thrashterpiece "Dead Gods" which sacrifices some of the aggression again, for the sake of impeccable technical performance, still finding room for melody (there is one short balladic moment near the end) and a few more direct headbanging passages throughout its 6.5-min. "Ratkill" closes the album in a brutal direct manner with the bass scoring really high with a virtuoso mid-section. This gem sums up the best from earlier works of more technical aggressive thrash metal, like Midas Touch's "Presage for Disaster", Invocator's "Excursion Demise", Gammacide's "Victims of Science", Anacrusis' debut; it doesn't really reach the more extreme proto-death heights of the last three, but in terms of musicianship it's probably only second to the Invocator effort.

Disbelieved World Full-length, 1993


Based on the "Preda" demo, this band pulls out modern thrash with elements of stoner/doom; heavy stuff with crushing riffs and rough semi-hardcore vocals. The sound of the guitars is too buzzy, which takes away some of both the sharpness and the melody. Still on "Ha Ugy Akarom" they manage to sound interesting and even semi-technical, with the exclusion of the very fuzzy screaming leads.

Bfbnf6d e9s hibe1d Demo, 2002
Pre9da Demo, 2003
Ellenf5rze9s (Control) Demo, 2004
reg Se1te1n Demo, 2006
A Mester alkot Demo, 2009

Official Site


This act deliver intense retro thrash its volcanic effect a bit dissipated by the buzzy guitars. This is still not a detriment for the guys to thrash out on full-throttle (check out the perennial headbanger "De Cadaver a Zombie" which echoes Paradox and early Angel Dust with ease) also excelling in the lead department where the leads alternate between screamy and more technical. "El Circulo De La Explosion (Destructor)" is another speedy delight warming up the listener for the coming of the super-energetic ball fo fury "El Bosque" which also boasts the best leads on the album. This is a really good effort which should have no problems climbing all the way to the top of the Mexican metal scene: a short dedicated fist in the face with all the right attitude and professionalism.

Existe Me1s de lo Que Ves Full-Length, 2012

Official Site


Based on the "Monolith" demo, this band play aggressive thrash/death of the modern school with frequent blast-beats spiced with slower groovy sections. On "Buried" the guys continue the carnage in a more controlled manner considerably increasing the presence of the groove which disappears for the excellent mid-tempo semi-technical "Strife" at the end.

Enter the Morgue Demo, 2004
Return to the Soil Demo, 2005
Buried Demo, 2006
Monolith Demo, 2007

Official Site


Based on the full-length, this act provide wild aggressive black/thrash which finds time for more lyrical digressions, like the atmospheric melodic "Kaarmesielu", and the imposing dirgy hymn "Serpent of Fire". The singer is a raspy, alsoquite screechhy at times, raven who leads the show making a lot of noise as a result on top of the not very clear sound quality.

The Azazel's Throne EP, 2015
Kaarmesielu Full-length, 2016

Official Site


Often considered one of the "holy three" (Iced Earth and Nevermore, in case of some you wonder which the other two are) of the darker, more aggressive side of the modern power/thrash metal movement, this act began their career at a time when the style they had chosen to pursue was quickly going underground, and not many were those who enjoyed their excellent debut back in 1990, which was a potent blend of power, thrash and doom metal with a heavy dark sound similar to the Candlemass more thrashy compositions (particularly those from "Ancient Dreams"), with the singer Charles Rytkf6nen adding a great semi-high passionate melodic blend, not too far from Savatage's Jon Oliva. They persevered through those hard times, and 3 years later were ready with two more albums: the faster and more thrash-fixated "Knowing Just As I" and the less dynamic, but equally as effective doom-laden "The Secret Doctrine", which was way heavier and truer to the 80's than Candlemass' previous year's shaky "Chapter VI". 1995 was a time for some retrospection, done with the "Past Present Future" compilation, which collected songs from their 3 full-lengths, as well as two cool cover versions: one a tribute to their pop music compatriots ABBA ("Voulez Voux"), the other one a nice take on Crimson Glory's ballad "Lost Reflection". A few months later another LP was released: "Sanctified", which was a bit disappointing, serving a more epic/power metal sound, straying away from thrash and doom. The guys quickly went back on track with the great "Maleficium", considered by many their finest hour. Just when they literally hit the top, with their sales steadily increasing, and their having started sharing the stage with the most popular acts at the time, internal frictions led to the band's demise. Rytkf6nen and the guitarist Tony Eriksson were determined to continue, but since they did not possess the rights for the band name, they had to modify it a bit, to Lefay, and under this moniker they relased three more albums, the first one a re-mastered version of Morgana lefay's debut; the style there is more conventional power metal, without too many borrowings from other genres.
Suddenly in 1999 another full-length sprang up from their camp, self-titled, done by the other half: those who didn't take part in Lefay, with the only purpose to clear them of any contractual obligations towards the label; don't bother to track it down: it has nothing to do with the band's old style, being tedious dull groovy nu-metal. With this obstacle put aside, Rytkf6nen and Co. were ready to resume their career under the old name, the Co. part consisting of members from the Swedish groovy metallers Fantasmagoria, who have already worked with him (and Eriksson) on the Lefay albums. On the first album with them "Grand Materia" their groovy past shows clearly on a couple of tracks; the sound after the return is more "updated", more complex, bordering on progressive on the longer compositions, bearing resemblance to Nevermore and the Germans Courageous and Psychotron. Needless to say, there is a lot from their old days present, too, which, combined with the new elements sounds almost as good and compelling.
A harder course has been taken with their latest offering "Aberrations Of The Mind", which is their most aggressive work to date, which in this case doesn't mean the best. "Delusions" is the most fierce opener the guys have ever composed, and although later on such speed is nowhere encountered (with the possible exception of the cool speed/thrasher near the end "Vultures Devouring"), the album remains within the thrash metal realm for most of the time. The modern implements are here, the sound at times taking an angrier, almost Pantera-like attitude, but there is an increased presence of more peaceful semi-balladic sections, which sometimes too strikingly contrast to the hard-hitting guitars, and are not very well embedded into the overall picture. Some fillers roam around as well: the modern alternative post-thrasher "Where I Rule", the heavy semi-ballad "Over and Over Again", which is miles away from the high standards in this field witnessed on their older material ("The Secret Doctrine", in particular). There are no longer songs, and consequently there is nothing too complex or progressive going on, a tendency which was nicely started on "Grand Materia", but here not even hinted at. If the previous album had quite a few ties to their past, this one tries to pull the band's style into a new, and not a very desirable direction. Hopefully this new vision reaches further than the "comfort" of ending up like any other modern power/thrash metal act.

Symphony of the Damned Full-length, 1990
Knowing Just As I Full-length, 1993
The Secret Doctrine Full-length, 1993
Sanctified Full-length, 1995
Past Present Future Best of/Compilation, 1995
Maleficium Full-length, 1996
Morgana Lefay Full-length, 1999
Grand Materia Full-length, 2005
Aberrations Of The Mind Full-length, 2007

Official Site


Based on "Rebellion", this band provide groovy post-thrash which is too predictable to make one stay with it for more than 10/15-min. The music never leaves the mid-pace, and the few melo-death sections later ("Desecrated") don't improve the situation too much escept for making the following groovy passages even more annoying. The singer is the expected shouty aggro-death metaller who further adds to the album's trite and derivative nature.

After Dark Full-length, 2011
Rebellion Full-length, 2013

Official Site


This Far East trio comes up with very cool retro thrash in the Germanic tradition (based on the full-length), and more particularly, early Kreator. The music is fast with sharp riffs, sparce more aggressive proto-death sections ("Mutation From Devastation"), and light joke numbers ("Broiler Price"), typical for acts like Sodom, Tankard, Necronomicon, etc. "Independence" is a more laid-back track, a good speed/thrasher in the spirit of Warrant and Paradox. "Warmth of Blood" is a nice touch: a slower, mid-paced track, with good melodic licks. But, as if to compensate, the band place the most aggressive song after it: "New World Prosecution" which, apart from the furious riffage, doesn't forget to add some melodic tunes. Having fulfilled their responsibility towards the thrash metal fans, the guys take it easy, producing one more crossover-laced piece ("Scumbag"), and one noisy sinister outro ("Dead Souls in Abyss").
The "Cruelty Devastation" EP is a small version of the full-length, with half of the material also included there, the other two new tracks ripping in a way pretty similar to the rest being fast tight thrashers with a very good sound quality, with the formidable steam-rolling cover of Slayer's immortal "Postmortem" a valuable addition at the end, the only drawback being the vocal choice which on this particular song are low-tuned death metal ones contrasting to the high-pitched black-ish rasps featured on the others.

Cruelty Devastation EP, 2006
The Eye Of Gorsha Dimmag Full-length, 2007

My Space


These not very known Poles had to drop their moniker after claims made by the more renowned German act of the same name. Music-wise they are more in the thrash metal camp playing in various tempos with sparce adherences to proto-death. The sound quality is not very clear although the inspiration behind the music is more than obvious and the band do their best to deliver the goods in spite of the obstacles. The vocalist is not very rehearsed, though, and his declamatory antics are hardly intelligible always secondary to the beter music. After the friction with the Germans the guys adopted the name Indulgence and released one more demo in 1992 with a more aggressive, more death metal-oriented sound.

Apokalipsa Demo, 1989


This obscure act provide amateurish heavy thrash which very seldom changes the buzzy heavy guitar sound which would wear thin on the 2nd track already. After a string of samey unimpressive numbers comes the final "Hellstorm" which sees the guys miraculously finding a way to produce something more sensible resulting in more complex and diverse rhythms. Still, a big damage is done by the awful shouty death metal singer who deafens the instruments when in action, and is ultimately annoying with his ugly unrehearsed rendings.

In the Trenches Demo, 2000


Base on the EP, these Ukrainians play heavy abrasive modern post-thrash with both alternative and groovy elements, plus a couple of faster more dynamic moments. There are also a few melodic gothic-laced hooks and gruff death metal vocals.
The full-length is a better affair being heavy dark thrash metal in mid-tempo with less adherence to groove, but with an increased presence of melodic hooks bordering on stoner/doom ala Down. Near the end the sound gets mellower, and the guitars lose both the heaviness and the speed trying to capture the doom metal atmosphere more fully; they succeed, but those last moments will be a total waste of time for the thrash metal fan.
"Pain Shreds" is heavy, intense stuff which doesn't sound terribly different from the previous efforts, but the groovy crushiness at times is nicely interrupted by more energetic cuts (the deathy shredder "Fragments Of Thoughts"). "The Outlaw" is a cool alternative melodic piece, and the closing "Truth And Lie" boasts some of the finest melodic leads around. As a whole there is a slight tendency towards modern melo thrash/death ala the Gothenburg school, which in this case would be a good move, judging by the appropriate insertions here.

PSY. Full-length, 2009
Clouded Mind EP, 2010
Pain Shreds Full-length, 2011


A modern mix of thrash and death metal with interesting stylish guitar work present, but with brutal grindcore sections as well. This is really wild at times stuff, especially when the more aggressive passages sometimes come suddenly, without warning, to break a cool thrashy one. Still, some hooks are quite melodic, and are a nice contrast to the very heavy music, and as a whole this style will have a wider appeal, not strictly to thrash and death metal fans.

No Light Ahead (Upcoming Full Length) EP, 2006
No Light Ahead Full-length, 2007

My Space


This is an early recording of these black/death metal stalwarts, dating back from the times when they were playing some vicious, aggressive thrash/proto-death with echoes from the early efforts of Messiah and their compatriots Assesor, including in the brutal, death metal vocal department (Messiah), only that the guy here is more clearly heard. The music at play here makes more sense, though, and the guitar proficiency is by all means bigger than the one of the aforementioned Swiss, descending at times to more coherent speed/thrash graced by stylish leads. This is a live recording, but the guys make good use of the settings sounding almost as convincing as when in the studio, with audible guitars and drums, the only pullback being the boosted vocals which stifle the instruments at times.

Live At Death Metal Session Prague Demo, 1988

Official Site


An obscure release of melodic power/thrash with classic echoes seldom branching out into something more modern. This is moderate stuff with a few more technical touches ("Reject Yourself") recalling Destruction's "Cracked Brain", and several references to the ballad including a cool full-blooded one ("Blood Of Your Lips"). "Death With Dignity" is a surprising vigorous headbanger which soars above the dominant mid-paced material. The singer is not bad at all singing in an attached semi-clean manner pulling out really cool clean vocals on the balladic sections, then recalling Hansi Kursch (Blind Guardian) and Lars F. Larsen (Manticora).

Black Thoughts Full-Length, 1996


Dark melodic stuff which clings between power and thrash metal on a modern base. It starts quite promisingly with the creepy gothic thrasher "Extrano Despertar" recalling the excellent French one-album-wonder (at this stage) Skeleton Crew in a very good way. "Re-Existe" isn't far behind crawling forward with stylish technical riffs, but they kind of disappear later replaced by more ordinary modern power/thrash which remains until the end. The other flaw for some may be the consistent mid-tempo without too many attempts at a more dynamic play; and probably the singer whose low-tuned death metal growls may be annoying to some.

Instinto Full-length, 2010

My Space


Based on the full-length, these folks may be one of the most unusual acts to ever grace the scene since the beginning of the new millennium. A mocking superhero band name, a retarded album-title, not to mention the ridiculous obscene pseudonyms the guys have chosen for their artistic endeavours, and the funny masks they use for disguise: sounds like some amateurish thrash/crossover along the lines of Gwar... But no; this is a very stylish take on progressive power/thrash, a no-brainer reaching heights previously accessible to heroes like Watchtower, early Fates Warning, Mekong Delta, Psychotic Waltz, and Realm. "Predator or Prey" is the first shock along the way, a prime technical shredder with great leads also introducing the singer, the "8th wonder of the world", a very high-strung cleaner very closely resembling none other than Rob Halford, a piercing wail looming over this ultra-complex rifforama which is a bit more restrained on the short creeper "Voices in the Dark". "Deus Nefarius" is just a sinister operatic interlude, but "Dracula's Bride" continues the elaborate shredding done on a more quiet semi-balladic base. "O Demons of Darkness" is a 9-min progressive power metal opus with shades of Fates Warning, above all, before "Disfigured Little Face" introduces more aggressive, still fairly intricate, riffs the latter growing into the formidable 16-min saga "Melekron", an encyclopaedia of complex arrangements with beautiful balladic sections intertwining with fast-paced speed/thrashisms, not to mention the very wide range of vocal exploits which could make the frontman, after whom the band has been named by the way, the new king of the metal vocalists: a really versatile throat who doesn't spare himself also leaving enough room for his colleagues to do their thing. Hearing the music, one will have no chance but to take these folks seriously; this is a really strong reminder of all the greats from the technical/progressive metal scene of the late-80's/early-90's.
"Friends and Relatives": "friends and relatives" will all join together merrily on this expected slab of intricate rifforamas and interesting, mazey song-structures. "Vlad" opens the "feast" with creepy semi-galloping riffage which grows into more officiant epic passages and swirling lead sections. "Skorzeny" is a jumpy shredder with restless rhythms which are deafened by the very high-pitched vocals on this one. "Bughuul" is a weird surreal composition with elusive technical riffs superseded by the imposing orchestral beginning of "Tall Man" which is an otherwise sinister proto-doomster with outstanding technical decisions ala Confessor, not to mention the excellent emotional vocal performance and the beautiful leads at the end. "Hell Priest" is a diverse thrasher with intricate arrangements galore in the vein of Watchtower and Spastic Ink.; a lengthy quiet passage arrives in the 2nd half to inaugurate a string of short balladic variations with sparse vocal participation, but with a tasteful use of the leads again which are by all means the highlight in this final chapter of this entertaining saga with a downbeat ending.

Christmas with Morlok EP, 2013
Flippity Fuckity Doo Full-Length, 2015
Friends and Relatives Full-Length, 2016

Official Site


This Italian trio comes with 4 tracks playing laid-back modern gothic-tinged thrash with a clear concentration on melody as opposed to the very low brutal death metal vocals. This isn't fast stuff, and the nods to doom are more than passing.

5th Rebirth EP, 2010

My Space


Melodic thrash/crossover, with a strong punk-ish attitude; this is enjoyable music with memorable catchy songs, but might not be to the taste of the more hard-boiled thrash metal fans. The band later took an unexpected turn to death metal where they changed their name to Morpheus Descends.

More for Us Demo, 1990


A diverse offering built on classic power/thrash, but featuring more including more brutal death metal rhythms. The opening "Omens in the Storm" is an impressive beginning with its atmospheric undercurrents and the steady main riff-motif. "Wrath of the Exiled God"" is more dramatic with the intense deathy sections appearing for a short while, and later on the epic power metal shades increase for the sake of the sharp thrashy ones. The vocalist is a cool clean throat who could have pitched it up a bit here and there, particularly on the rousing closing hymn "Epilogue (As the Fates Weave)".

Defiance Divine Demo, 2015

Official Site


The full-length shows an act willing to pursue the generic modern thrash idea, and although the execution is by all means proficient and all, it leaves a strong sense of deja-vu hanging in the air the guys just bashing with vigour and reckless abandon, the overshouty death metal vocals another addition to the predictability. "Warfare" is an impetuous melodic speedster, and the closing "Hour Of Reprisal" serves a belated twist to the trite formula with a portion of nice atmospheric balladic sections.

Neurotic State EP, 2013
Colony Collapse Disorder Full-length, 2016

Official Site


A very bad sound quality leaves little to be heard from this dark old school thrash/proto-death with very brutal death metal vocals. The overall delivery recalls early Messiah with similarly-styled speedy bash which on the closing "Ilusao" turns into pure death/grindcore madness.

Tormento Urbano Demo, 1995


These guys unfairly passed unnoticed, since they were one of the more extreme practitioners of the genre from Finland in the late-80's/early-90's offering intense speedy thrash/proto-death metal with an almost hardcore intensity on the faster material. Both demos are sustained in an aggressive all-out speed manner, with very few moments breaking the brutal formula, in the form of odd joke punk/hardcore passages. After the split-up some of the band members were seen in the much more melodic progressive heavy metal formation Ancient Dawn in the 90's, with which the guys keep on releasing demos on regular bases up to present times apparently still waiting for their chance for an offical release.

Sick Standard of Living Demo, 1989
And the Pain Is.. Demo, 1993
Thrashing Relics Vol. 1 Split, 2006


Based on the "Marches for the Condemned" demo, these French offer typical late-80's/early-90's thrash/death metal sounding more restrained than the outbursts of their compatriots Agressor and Loudblast consequently ending up with better more proficient execution recalling another French effort from those times: No Return's "Contamination Rises". The music siwtches from fast intense to slower pounding passages the whole time as the former lead the pack, except on the more laid-back power/thrasher "March of the Condemned" which is unexpected, but is a pleasant deviation. The following "Dark Obscenity" is another unexpected, this time turn towards technical death metal: a really stylish mix of twisted technical and brutal blasting sections. The outro "The Sentence" is not too far behind pulling the demo into the other extreme being ponderous slow doom with funeral guitars.

Condemned to Thrash Demo, 2004
Marches for the Condemned Demo, 2006

Official Site


Bassed on "A Face of Leather", this act plays an intense classic-sounding mixture of thrash and death metal not far from the Japanese Torture Squad, so expect a more death metal-fixated sound, but without many blast-beating elements. The speedy numbers follow in quick succession until the coming of the hammering mid-pacer "Buried in Your Own Blood", a cool epic track with good screaming leads. Things get back to normal after it even reaching grinding proportions for a while on the short furious piece "Crucifixion", and the closing remake of "Necromaniac" features Mr. Paul Speckman (Master, Abomination, etc.) who lends his vocal abilities to make the song even more "necro".

Der Blutmond EP, 2006
The Chopping Block Full-length, 2009
A Face of Leather Full-length, 2011

Official Site


This is the beginning for Karl Sanders, the Nile frontman, who here exercises some quite inspired old school thrash in league with other comrades of his from Nile, the drummer Pete Hammoura and the bassist Chief Spires. The vocals are vintage David Wayne (R.I.P.), but the music is both more aggressive and more complex than the one of Metal Church opting for lengthy, elaborate thrashers where the mid and the up-tempo alternate the whole time. The more monotonous material ("Black River") may get a bit on the nerves, but furious pieces like the excellent closing technical shredder "Let the Sword Descend" are more than welcome to keep the listener on track.

Let the Sword Descend Demo, 1987

Official Site


Based on the "Purgatory Cries For More" demo, these guys offer your average melodc Swedish thrash/death metal with interesting folkish melodies ala the Finns Gandalf, and even mid-period Amorphis. The band prefer to play it mid-tempo with retouched melodic riffs which also smell gothic on the more romantic moments.

Demo Demo, 2005
Purgatory Cries For More Demo, 2007

Official Site


Based on the full-length debut, this act indulges in your average melodic thrash/death metal, the main difference coming from the drier, compared to their Gothenburg counterparts, guitar sound which doesn't carry a lot of melody, if we exclude the sparce nods to Amon Amarth ("Human Waste Compressor"; the officiant epic cut "Entrance Of Sickness"). The tempos change quite a bit within one song, leaving just one pure headbanger ("S.C.S.") to keep the dynamics.
"Degeneration" holds no surprises for those who have already heard the debut except that the melodic "excursions" are more frequent (check out the crowd pleaser "End Complete") including a short acoustic instrumental "release" ("Release"). There's seldom amore dynamic moment to be savoured the album developing in an uneventful mid-tempo not leaving a very memorable trace in the listener's mind.

Sound Of Spite EP, 2009
Human Waste Compression Full-length, 2011
Degeneration Full-Length, 2015

Official Site


Based on "The Myth Of Purity", this act, who is fronted by a beautiful Iranian girl, offer intense thrash/death which lashes fiery riffs to no end topped by the vicious venomous deathy vocals of the beauty, who is a bit higher-pitched and more expressive than Angela Kosoff (Arch Enemy). Music-wise the band also operate in a similar niche to the aforementioned Swedes, only that their approach is more aggressive with a certain adherence to blast-beats. Heavy steam-rollers like "The Heights" are a rarity, but they bring the desirable atmospheric "colouring" to the proceedings. The2nd part is less impressive, the speedy arrangements kind of disappearing for the sake of more lyrical ones (the semi-balladic elegiac "The Myth Of Purity"), and less serious crossover throw-ins ("Im Not Interested In Being Interesting"). Some technical prowess springs up unexpectedly on "By Default", but the rest is way more conventional, the closing "That Which Is Humane" bringing back the aggression with style, jumping with wild tempos all around wrapped in haunting atmospheric escapades of the surreal kind with a few grand melodic orchestral-like hooks.

Pnademic Paranoia EP, 2011
The Myth Of Purity Full-Length, 2012


Excellent 80's speed/thrash metal in the tradition of Exumer's "Possessed By Fire" and early Destruction; this is explosive music which will sweep you with its brisk speedy guitars; it has its more quiet moments, of course: the mid-paced, almost Slayer-esque "Dead Again", and the heavy stomper with nice Oriental tunes "Misery Existence". The guys heroically keep a very intense aggressive pace on the 7-min long smasher "Bastard Race", the highlight of the album.
"The War is Not Over": the speed/thrashing saga is not over, neither is "the war", as evident from this headbanging roller-coaster which sole intention is totally exhaust you from moshing sround. The guys grab you by the throat from the very beginning, "Storm Of Fire" being the best possible opener with its fiery speedy riffs. The music has now moved up the aggression scale aiming at legendary works like "Extreme Aggression" and "Scream, Bloody, Gore", although here the concentration on speed is admirable. There would be no rest for the wicked here, speedy guitars will pour over you from all sides, some coming with a more overt deathy edge ("Kill The Human Being To Clean Up The World"; the sparce blast-beating moments on the closing "Victims Of Faith"). The singer is a good assistant to the relentless music with his vicious subdued semi-death metal tember.

Trench for Evolution Full-length, 2006
The War is Not Over Full-length, 2011

Official Site


Based on the "Tame the Beast Within" demo, these folks create a lot of noise here playing brutal thrash/proto-death which is reflected in long messy compositions which are at times more on the bashing side ("Exodus Of Life"), at others are slow and pondering with a doomy flavour ("Tale Of Two Cities"). Both sides take turns as the tracks remain quite long (7-9min), but the girls' skills are quite limited except for the lead guitar player who manages to pull out a few intriguing leads. "Tame The Beast (Within)" is an admirable achevement, though, a progressive opus with beautiful balladic interludes and some hard impetious thrashing involved, too. The person behind the mike rends her throat no worse than Sabine Classen (Holy Moses) herself, but there's no evidence whether we have the girl performing here.

Blessed Death Demo, 1990
Tame the Beast Within Demo, 1991


Progressive, but also lashing thrash with Bay-Area overtones suffering enormously from the awful dispassionate, semi-declamatory vocals; the songs are long and meandering with a lot happenig within including a few rock/country tunes ("Fuck The Sticker") thrown in for good, or not so good measure. To these ears the shorter, more immediate ("Power Games") compositions work better and totally overshadow the 13.5-min closer "Souls In A Delirium" which is nothing more than a timid, tedious mid-pacer and seriously pulls this not so bad effort down.

Sticker Demo, 1990


This new outfit specialize in modern dry mechanical thrash which can be both more surreal ("Moving Among You") and melodic ("Do Not Be Afraid"), and moderately energetic (the final "Final Call"). The singer is a dispassionate semi-shouter who sounds convincing without strainig himself too much. Some of the band members are also active with the black metal formation Morgart.

No Lessons Need Learning Full-Length, 2014

Official Site


A pleasant surprise from the German underground which sees an act with a taste for the more progressive expression nicely exemplified by the opening title-track, smashing speed/thrash with more intricate decisions ala Paradox's Heresy" which continue through the whole demo a prominent performer being the bass player who plods in the background incessantly to a positive effect. The same can't be said about the singer who is an awful semi-reciter ruining the show with his ridiculous unrehearsed semi-shouts. Nevertheless, the music largely compensates for his lack of skils with either with spasmodic direct thrashers like "The Mirror", or with engaging melodic progressivers like "The Last Challenge". The last track is a live instrumental called "Dreams In the Forbidden Zone" the guys bashing with reckless abandon to produce another impressive shredder regardless of the not very clear sound quality.

World's Brutality Demo, 1991


Based on the Split, these guys play good thrash/death metal of the classic school with meaty heavy riffs and cool semi-technical licks. The music stays closer to death metal bringing to mind Bolt Thrower on the slower sections.
"The Reckoning" is more ordinary-sounding now a typical modern thrash/death metal affair with a Gothenburg flavour. The affair becomes quite aggressive ("Forsaken Graves") mostly on the shorter material where fierce vitriolic riffs dominate the landscape for a while. Melody is not "a stranger" to this effort, either, although it's mixed into the intense moments and is also aptly reflected in the stylish, albeit short, lead guitar work. The singer has a subdued, not very shouty, voice which belongs to the death metal field recalling Karl Willets (Bolt Thrower again) at times. Some of the band members also take part in the death/black metal formation Her Enchantment.

Evil Reborn Full-length, 2002
Arnhem Trolleymetaal Split, 2003
Taste the Blood Full-length, 2009
The Reckoning Full-length, 2013

Official Site


3 tracks of competent old school thrash sustained in an up-tempo all over with harsh quarrlesome vocals ala Simon Forrest (Cerebral Fix) topping the music up with a couple of stylish melodic leads "roaming" around.
The full-length carries on in the same uncompromising fashion the only annoyance being the vocalist's more strained and more shouty blend. The band cross fast-paced "bullets" with calmer compositions the former dominating making this effort a close companion to the more recent Cripper and Holy Moses releases. This is hardly "the sound of brutality", like the title of the closer suggest, but is well-constructed old school stuff with an appropriately boosting modern production.
"Final Death Denied" is a similar "beast" exuding energy in spades plus several more carefully plotted numbers ("Under The Serpent Tree", the diverse, but also quite intense, shredder "Hell Is A Crematory") with a shade of more recent Exodus. "Neurotoxic Fire" is another more stylish offering, but nothing beats the final 10-min closer "Dystopia" which is a fine twisting number with an interesting atmospheric outro and a few quirky decisions.

Eternal War EP, 2010
District Destruction Full-Length, 2012
Final Death Denied Full-Length, 2015

My Space


2 tracks of intense thrash/death metal with concentration on atmosphere and mood, quite similar to early Nightfall; this is very good music with intense thrashy sections intercepted by intriguing atmospheric slower passages filled with great melodies and swirling melodic leads, the picture slightly ruined by the gruff low-tuned death vocals.

Mortal Pain EP, 1992


Based on "Invisible Invaders", this band is a representative of the classic thrash metal revival witnessed so far in the new millennium. The music has this uplifting, punkish attitude typical for the Sodom albums from the 90's. The vocals are also close to Tom Angelripper. The last song "Drink And Drive" is a joke reminding of the Tankard side project Tankwart.
"The Last Will Be The First" comes with a slightly more aggressive sound: "Cursed to Destroy" will tear you apart with its sharp brutal proto-death riffage, but to balance things up, the band still have included more laid-back tunes: "Intoxication". The predominant tempo is quite energetic, with some numbers speeding up admirably: "Diving Into Emptiness" is another very good example of the latter. It looked as though through the years the guys have found the right way to thrash, but this was their swan song. Or...
"Undere" is not miles away from its follow-up: energetic, mid to up-tempo thrash with a classic edge, with catchy, not very sharp riffs. "Army Of Darkness" is a cool change with more aggressive guitars and a brutal, death metal break in the middle, followed by the similar, but shorter "You Can". These tracks are placed in the middle, and after them the music returns to the previous formula, mixing more interesting dynamic thrashy pieces ("Have You Forgotten") with pure punk/hardcore ones ("Dark Paradise").

Undere Full-length, 1998
Invisible Invaders Full-length, 2002
The Last Will Be The First Full-length, 2003

Official Site


These are the same guys as the ones who performed on Mortal Plague (see the review below). This new opus sees them playing much much better music than the one displayed on the only Mortal Plague demo. What we have here this time is quite cool retro thrash with Sepultura the main target for worship. The guys lash fast, ripping riffs to no end by also thinking of the more relaxed speed/thrash metal movement with the more melodic roller-coaster "Killer Mafia". "Hunters" is a brilliant technical shredder, and "Painless" later on is another less ordinary headbanger. "MUtilation" rages on reaching death metal-ish dimensions handsomely supported by the following tornado of vitriolic guitars called "Against The Beast". Then a cover of their idols arises... sorry, arrives of "Arise" played quite faithfully without any particular alterations. This appetizing saga is ably finished with the short explosive "Trauma" whic also unleashes a couple of stylish melodic hooks to make this effort an ever surer pick for all thrash metal fans.

Universal Hatred Full-Length, 2016

Official Site


"Thrash is Back", or at least the title of the opener here announces. So shall we trust these Mexicans? Let's, especially after the explosive initial riffage of that same opener which shows the guys ready to bring thrash back, despite the numerous hindrances along the way, like the muddy sound quality and the not very high musical skills of the musicians. The riffs fight for domination with the omnipresent screamy leads the whole time, and the noisy drums deafen the situation being quite chaotic and thundering. On top of that we have a very brutal death metal shouter behind the mike who has barely rehearsed a day or two before stepping up. There's a lot of inspiration behind this naive semi-amateurish music, but since "thrash is back" with full force, the guys should be able to find the time to bring themselves closer to at least the mid-standards.

Demo Demo, 2012



This band is one of the proofs that quality 80's thrash could still be played in the 90's; dark, almost gothic stuff with heavy, razor sharp riffs and galloping rhythms, similar to what Eidolon started doing a few years later. Both albums are very good, and are well worth tracking down; "Return to Battle" starts in an imposing 80's American power/thrash galloping tempo, but the guys later slow down with heavy doom-laden riffs for a couple of tracks, before "Have a Nice Day" moves up the speed scale a bit partially abandoning the steam-roller approach. No more faster surprises till the end, the rest crushing in a very heavy pounding fashion ably assisted by the macabre low-tuned semi-death metal vocals.
"No Demons" is the more immediate listen, with generally shorter tracks and a slightly "updated" mechanized guitar sound, but not wading too much into groovy waters, and with a certain shade of Metallica's Black Album including the good, but derivative, James Hetfield-like vocals. "Dead Meat" opens in a way similar to the debut with energetic galloping riffs, but again the following material slows down preserving the heaviness which now is even bigger due to the added groove at times. "Bring Out Your Dead" is the other more speedy moment, but all the "laurels" go to the sweeping speedster "Meet Your Maker" sustained in the best tradition of Attacker.

Return To Battle Full-length, 1993
No Demons Full-length, 1995

Official Site


This album begins in a playful modern power/doom metal fashion, and things pretty much hit the top on the cool atmospheric opus "An Old Man Comes To My House", but all of a sudden things get too wild on the brutal death/thrasher "Ashes" which will take you completely by surprise. The "untitled" track after that slows down again by retaining the edgy thrash riffs, but "Wounds Of Time" is eager to take your soul away with another portion of vigorous headbanging thrash. "Faith" will "keep the faith" of the doom side of the fanbase mostly, and is quite a nice example of the genre, all-instrumental, with stylish haunting melodies. Another "Instrumental" comes later, much shorter and much more peaceful being a balladic semi-acoustic interlude. The closing "The Other Side" has the last word here crosing the doom and the thrash with clear preferences to the former which this time stays close to the morose pensive style of Type-O-Negative except the vocals, of course, which are more on the gruff semi-death metal side.

Mortal Remains Full-length, 1994


A female-fronted thrash metal band from Germany: yes, we've had quite a few of those in the past. If, for some reason, you were left unimpressed by the recent Holy Moses releases, here is a band for you. Mortal Remains are not an exact Holy Moses soundalike, but shades of the Sabine Classen's band are definitely present, the target being the legendary "Finished With The Dogs". What distinguishes this band is the melodic guitar harmonies which work very well with the general dark, almost gothic sound of the album. The other difference is that this girl's vocal style is actually less harsh and somehow more fitting for a thrash metal band.
The debut is another commendable achievement the band sounding more simplistic and straight-to-the-point. The riffage is both intense with a shade of proto-death ("Adrenalized") at times and melodic ("Warhead") with a touch of speed metal. The classic thrash metal idea gets abandoned on the melo-thrash/deathster "Follow Me" which overflows with catchy melodic tunes which are missing from the ripping short closer "In The Line Of Fire", a fitting finish to this cool, albeit hardly striking, debut. The girl is in shape delivering her barking subdued death-ish antics with authority and a bit of lyricism. She, by the way, is not a member of the band anymore having been replaced by a male throat recently.

Full Speed Ahead Full-Length, 2003
Next Level Full-length, 2007

Official Site


Based on the full-length, these folks deliver jumpy groovy post-thrash which tolerates atmopshere and side gimmicks like "Pain Elemental" shows so well, a cool friendly shredder with progressive aspirations the latter more evident on the diverse "Heart, Mind, Skull". Still, the majority of the tracks are short and to-the-point the guys failing to give a full shape to their complex visions, settling for immediate, hardcore-prone rhythms in the second half.

Welcome EP, 1995
No Cash Flow Full-length, 1996

My Space


The most famous Australian thrash metal band; they forged their reputation with two nice releases more in the Bay-Area tradition, with Metallica and Exodus being more obvious influences on the heavier material. "Mayhemic Destruction" is a decent debut, which starts promisingly in a heavy crushing heavy manner with "Women In Leather". With "Lebanon" the music becomes more technical, although it remains in the mid-tempo parameters. "Liar" is a softer thrash/crossover number, and when "Blood, Death, Hatred" is just a bit edgier, one may start wondering where the Bay-Area thrash from the beginning went. Well, it never returns in the form of a whole song, as the predominating sound is more melodic, even touching heavy metal on "Into The Fire". The closing nod to Metallica's early days "Mayhemic Destruction" restores some faith with more aggressive riffs, but would hardly win the listener for the band's cause.
"Face of Despair" begins in an imposing way with the good headbanger "I Am Immortal", but the next "Voyage Of The Disturbed" is already a different story, much slower and more melodic. "The Infantry Corps" picks more intensity, but the following couple of tracks are milder, with "Martyrs Of Eternity" switching onto full-blooded doom at some point. "Innocent Torture" adds some fire into the proceedings, being a better Exodus-like thrasher. The Exodus influence stays until the end, providing mostly mid-paced riffs, but the closing "Terminal Reward" thrashes out in a faster fashion, recalling early Metallica again. Still, based on those first 2 albums it's hard to justify the high status this act has as the leading Australian thrash metal act during the genre's peak.
"Every Dog Has Its Day" is less heavy, sounding close to Death Angel's "Act III" on the more eclectic parts, but without the funky sections, including a nice ballad "Wasted Days", which could be considered the highlight. The beginning traditionally promises more, with the intense "Access Denied", and "Every Dog Has It's Day" is not a complete waste with its consistent heavy mid-paced delivery. The experimentation, which is never annoying, by the way, starts afterwards, stretching into a couple of songs occupying the middle. Then the aforementioned "Wasted Days" comes to free space for the really cool headbanging thrasher "Behind The Lies", which puts an end to the classic "temptations", and till the end we have proto-modern thrash which at least on "Rebellious Youth" sounds appealing and semi-technical. "Why" deserves to be the closer, trying to mix the modern funky sections with more straight thrashing, sounding like a cross between Mordred's "Fool's Game" and Death Angel's "Act III". This album showed the guys capable of adjusting to the modern tastes in a way more convincing than quite a few of their American and European colleagues, but they sank without a trace soon after.
"An Absence Of Faith" is a return to the Bay Area-influenced sound of the first 2 albums, but this time there are more modern shades ala the Black Album present, and the overall sound is less hard-hitting and more restrained; still smashing thrashers like the 9-min epic "Tears Of Redemption" and the much shorter blitzkrieg "Say Your Prayers" save the day.
The guys lost inertia once again, but better late than never, and here comes "Psychology Of Death" "burying" you under a hurricane of fierce Bay-Areasque riffs from the opening track "Psychology Of Death", but not for long since the next "Blood Of My Enemies" (which is not a Manowar cover) is already more laid-back, with slower rhythms and very cool melodic leads. A string of disappointing songs follows, with barely a shade of thrash, clinging towards the power metal field, waking up for the odd faster section on the radio-friendly anthem "Burned Into Your Soul". "Deny" is a merry speed/thrasher, growing into the formidable headbanger "Doomed To Annihilation", which is vintage early Mortal Sin, putting the 2nd half on a higher, more dynamic, level. "Kingdom Of Pain" is a pounding mid-pacer, rich in both melody and sharpness, with "Down In The Pit" being another faster-paced piece raising both the Bay-Area and the early Overkill flag sky high. Thye closing "Hatred" is a ripping closer, thrashing far'n wide with minimal melodic deviations. The album as a whole is not miles away from the previous one, the guys settling for a sure-handed style, not taking any risks whatsoever, which is not going to make them the stars of the show on the contemporary scene, but will at least keep their both new and old fans happy.

Mayhemic Destruction Full-length, 1987
Face of Despair Full-length, 1989
Every Dog Has Its Day Full-length, 1991
Revolution of the Mind EP, 1998
Out Of The Darkness EP, 2006
An Absence Of Faith Full-length, 2007
Psychology Of Death Full-length, 2011

Official Site


An early mix of power, speed and a little bit of thrash, energetic and catchy, but the singer has the bad habit of screaming too high in not very appropriate times. The music will remind you of the Germans Tyrant, and Vectom in the more intense parts.

Death on Arrival Demo, 1985


Based on "For the Loud and the Aggressive", this band play brisk modern thrash with a pinch of crossover which pours steel hard-hitting riffs over the suspected listener, and rippers like "Outburst of Fury" and "Mg 42" will be a regular on the menu of every self-respected headbanger. "Smash the Tyrants-Storm the Gates" adds some death metal intensity, and "Strike" nails a few more nails down with with a portion of aggressive blitzkrieg rhythms. It's on the final "Unleash the Hounds of War #2" where one can hear more moderate riffage with an epic flavour, but only for a while, since near the end the band return to what they can do best: thrash like demented...

Unleash the Hounds of War EP, 2012
For the Loud and the Aggressive Full-length, 2014

Official Site


The debut: death metal which sounds like mid-period Gorefest (including in the vocal department) with a considerable doze of thrash; the music is heavy and crushing with the occasional speedy outbursts. "Evolving Self" is a very heavy proto-modern effort, rubbing shoulders with doom quite a bit, with one sole exception in the faster sector ("The Cognitive Triad"), and partially the frantic technical "World in My Hand" which is a stylish track, but remains unsupported by the other more ordinary material.
"Posthuman" is even doomier with balladic stretches and gothic overtones ("Silence Is Silence", "Belief"), and the faster sections ("Social Suicide", which is lightning speed death metal at some point ala early Dark Tranquillity) sound awkward and unnecessary. A weird choice for a cover version is made near the end: Eurythmics' "Sweet Dreams", and it has to be heard to be appreciated- a very slow funeral doom take, and the listener definitely has to have a very vivid imagination to recognize this hit; still, in terms of originality this song scores very high.
"Creating Destruction": the band sound way more furious this time even on longer pieces like "Too Old To Die Young". Certainly, don't expect raging thrash ala Slayer and Devastation; this is more along the lines of early-Exciter and the Germans Vectom, but is still energetic and uplifting. "Speed Demon" by all means deserves its title being an impetuous speed metal anthem, but in the 2nd half the guys return to their seismic roots with flashes of fast-paced play scattered among the long plodding opuses the darkness largely dissipated by the closing headbanger "Mortal Terror".

Evolving Self Full-length, 1994
Posthuman Full-length, 1995
A Strange Harvest EP, 1998
Graveyard Anthems for unhappy Teenagers EP, 2001
We Set Your Thoughts on Fire Full-length, 2003
We Are the Damned\ Full-length, 2010\
Creating Destruction\ Full-length, 2016

My Space


A 2-track demo of cool American thrash metal mixing intense Slayer-esque riffage with a Bay-Area one. The full-length is a sure-handed slab of old school thrash which sounds close to early Exodus ("Bonded by Blood", above all), so get ready for a non-stop mosh with several pounding slower breaks along the way ("Guilt after Life"). The short blitzkrieg numbers ("Justice of Mind", "Ironic Trust") are the "cream of the cake" thrashing with force making this albm a sure pick for the headbangers all around the world who shouldn't expect any sophistication here, but a relentless rifforama also scoring high in the nostalgic area, accompanied by forceful semi-declamatory vocals.

Trapped Inside Demo, 2006
Psychotic Paralysis Full-length, 2011

My Space


Raw amateurish thrash/proto-death coming as less rehearsed early Necrophagia; this is messy music alternating tempos the whole time even switching to some epic metal on "Reign Your Life" to an ultimately awkward effect. The vocals are as bad as the music being thin semi-clean/semi-declamatory ones. A few years later the guys re-emerged as G\\\\'f6tterdmmerung and started playing more sensible death metal for a string of demos.

Christian Terror Demo, 1989


A decent demo of crushing retro thrash in the vein of Sacred Reich and Evildead's sophomore effort. The songs are blends of fast and slow passages, "Death's Black Rider" going away with all the laurels for being a ripping, dynamic piece all the way. The sound quality is very clear, but the singer spolis the picture a bit with his forced, shouty hardcore-ish delivery recalling Wattie (The Exploited) quite a bit.

Starting the Killing Demo, 2005


Expect energetic retro thrash/crossover played simplistically and to-the-point with a few more brutal grindy inclusions which in their turn are compensated by merry punk-ish rhythms which are all over the demo. This music played for fun and as such will create a good pogo/moshing atmosphere especially at the end where one will encounter an invigorating cover of Agnostic Front's "Victim In Pain". Some of the musicians practise the other extreme of the metal spectre with the doom metal act Condenados.

Mundo Decadente Demo, 2008

Official Site


This very obscure demo shows that apart from brutal raw black/thrash/death the Brazilian scene at the earlier stages had something more to offer; these guys play quite good speed/thrash metal on the more melodic side with cool leads, in various tempos. Two of the 4 tracks are unadulterated speed/thrash at its finest (think the Angel Dust debut), one is a more laid-back mid-paced power/thrasher, and the opener is a nice melodic speed/power metal instrumental.

Demo Demo, 1986

Official Site


This trio's line-up features two girls, one handling the bass, the other one... the keyboards; the band uses a drum machine. Otherwise this is fairly satisfying classic thrash with a strong technical edge. The girls (and a guy) keep a good tempo throughout, thrashing hard, even blast-beating on the opening "Den Gneva", before taking a more technical, but no less intense, turn on "Igra", which is an intriguing meandering number, even recalling the style on the great "Alice in Hell". "Instinct" raises the speed, but the technicality remains to remind of their compatriots from the distant past Aspid; a seamless blend of aggression and technicality, also touching another Russian act: Koma. "V Ogne" is an excellent technical thrasher, another one worthy of "Alice in Hell". "C.C.C." abandons the more complex arrangements, and blasts out with sharp fast riffs, slowing down only for a short twisted Coroner-like section in the middle. More deviations, and bigger surprises with "The Doom", which is brilliant gothic/doom thrash (the title says it very well) with mesmerizing female vocals (could be one of the girls in the band, but which one?), but the dominating technical tone of the album is all over on the great closing instrumental "System Error", which lashes steel technical riffs from beginning to end for more than 8-min, recalling the Leather Wolf speed metal monster "Black Knight" in the faster more swirling parts. The drum machine may annoy those who are for a purer classic sound, but rest assured that there will be no dull moment on this very enjoyable debut which does a lot to bring the technical side of the genre back to Russia (another very good newcomer- Immoralist, can also help here), after several of the still operating main practitioners (Valkyria, Koma, Trizna, the Lithuanians Katedra) have already given up the thrash metal idea.
The demo is a much less polished effort, with a much worse sound quality the guys thrashing in a less controlled, less technical manner. The songs are long, the opener "Zatmenie" alone being more than 9-min offering purely instrumental stuff in up-tempo. The remaining tracks are straight intense retro thrashers, with "Vremia Platit" only slightly hinting at the band's bigger technical potential.

Vremia Platit (Time to Pay) Demo, 2005
V Nedobrui Chas Full-length, 2009

Official Site


Three striking demos of high quality 80's thrash; the music throughout is quite energetic and will bring to mind several standout acts from around the same time: Slayer, Vio-lence, Exodus, Metallica, Wargasm, etc. All three demos nicely capture the essence of the American 80's thrash metal scene; "When Barbarity Reigns" is probably the best one with the most aggressive and technical guitars and a strong nod to late-80's Metallica.
"For Whom the Bomb Tolls": despite the allusions made towards Metallica with the album-title, these risen from the ashes thrashers manage to find their own face with melodic, dynamic riffs which at times resemble the early works of their compatriots Raise Hell. With "Madness Of Devotion" they touch greatness this number being a prime slice of melodic semi-technical thrashiness reminiscent of Artillery at their best. "Tyrant" comes with both a touch of crossover and epic arrangements, an appetizing blend which is followed by a string of shorter, faster cuts until the final "The End" which notches up the epic side again not without the help of several fine melodic lead sections as a finishing touch.

Demo 1 Demo, 1989
The Prophecy Demo, 1990
When Barbarity Reigns Demo, 1991
For Whom the Bomb Tolls Full-Length, 2016

Official Site


2 tracks of modern melodic thrash which comes with a curious technical edge, among other pleasantries, like clever borrowings from the Gothenburg scene which carries plenty of catchy melodic tunes. The singer does his best to ruin the good impression left by the music by quarrelling in a harsh semi-death metal manner witn undecipherable semi-shouts.

Demo Demo, 2011


This album opens with the furious "Triangulum", which will remind you of early In Flames or Dark Tranquillity, with a more technical edge. Later the music introduces the thrash metal elements as well as a Sentenced's "Amok"-like sound, and things really become interesting on cool tracks like "Influence" and especially on the last one: the instrumental piece "M33" which comes with nice guitar work.

M33 Full-length, 2007

Official Site


Raw fast speed/thrash metal similar to the Whiplash debut, based on the 1st demo. The 1990 demo calms down, and takes turn towards the power/speed/thrash scene which at that time has said its final word in the USA. The sound is slower, with a heavy bass-bottom, and recalls Liege Lord's "Master Control" quite a bit. It's only "Contradiction" which recalls the debut demo, speeding up, again in a more controlled manner.
The "Created" demo offers a heavier and more technical sound, with longer and more complex songs, not miles away from Metallica's late 80's period, and Defiance. Again there is one faster number: "First Fallen", a nice intense speed/thrasher.

Conquering Armies Demo, 1988
Demo Demo, 1990
Created Demo, 1992

Official Site


3 songs of classic heavy thrash metal having shades of Metallica's late 80's period, but this demo is more melodic, and less dynamic. The music never leaves the mid-range, and the use of clean alternative vocals quite frequently is not the most approprite choice. The lead guitar, however, saves the day, but is used sparingly, and a bit more space given to it for the future would be a sure step in the right direction.

Introduction Demo, 2005

Official Site


Dark doomy thrash more on the classic side, with a few groovy implements; this is clumsy not very eventful music with brutal death metal vocals.

Course Demo, 1996


This Russian act pulls out interesting technical thrash/death metal with twisted song-structures, vicious extreme passages, and very brutal throaty death vocals. The bass work is particularly good, and some room for sentimentality has been left: the much slower gothic number "The Viscious Beauty". Still, you will cringe on the brutal grindy outburst "Cotzit", although the closing "I Love You" is again much calmer (after all, it's "I Love You" we are talking about), even semi-balladic with much more melodic guitar work.

Three Months Of Eternal Night Demo, 2000


Based on "The Roots of Ignorance", this act play not bad retro thrash ala Slayer; so expect plenty of prime headbanging fun spiced with more simplistic hardcore rhythms ("I Will Kill") from time to time plus the more brutal deathy section ("The Roots Of Ignorance") added for maybe not such a good measure. The singer is a shouty semi-death metaller and his rendings tear the air deafening everything around when in action. Reportedly the debut is more on the black metal side, a kind of a continuation of the guys' previous act Impetus Malignum where the style is pure second wave black metal.

Dechristianization Age Full-length, 2004
The Roots of Ignorance Full-length, 2012

My Space


2 songs of heavy retro thrash with angry death metal vocals. This is decent music with crunchy riffs in various paces which comes with a good sound quality coming as a bit monotonous at this stage.

Demo Demo, 2011


This EP is a cool entry into the Argentinian thrash catalogue, done by members of Malicia as a side-project, with its clever moderate delivery which sits between the classic and the modern school adding the necessary more technical lick as well as the more intense speedy passage. The singer is a bit of a detraction with his angry semi-shouty tember, but otherwise this is a nice little effort which doesn't walk the well trodden paths carved by those before them.
The full-length raises the lathe high with the impetuous opener "Humo Negro" which logically leads to the 8-min shredder "Basurero Humano" the latter providing numerous reasons to headbang. Later on the band thrash with passion also pulling it off in the lead department ("Plegarias") with tasteful melodic passages where the spirit of the 90's speed/Power metal movement can also be felt among the sharp thrashy "carnage".

Regimen De Sangre EP, 2012
Basurero Humano Full-Length, 2016

Official Site


This Brazilian outfit serve crunchy modern thrash which varies the tempos also notching it up to more brutal death metal dimensions ("Birth Of The Flawless") at will. "Frightening Lights" is more serious bash which leads to more thoughtful moments later on: the crushing doom/deathster "Drowned", the excellent creepy "Consuming", etc. The singer shouts in a more attached for the genre fashion, and his rendings are intelligible and even touching at times. The band were previosuly known as Overlook where they only managed one demo in 2009.

Where Everything Shall Die Full-length, 2014

Official Site


Based on the "Genetic Blur" demo, these guys pull out cool thrash/death, with meaty heavy guitars, mid-tempo, with one short, more dynamic number ("Psycho Genesis"), and one smashing very good instrumental piece ("Stygian Shore").

Terminal Terror Demo, 1989
Genetic Blur Demo, 1989


3 tracks of noisy, abrasive modern thrash/death with very brutal low-tuned vocals; heavy, proto-doomy riffs roll from all sides to produce something recalling Mindrot and Beyond Belief, ruined by the heavily industrialized edge of the guitars, which "quarrel" with the grunting singer for domination the whole time.

Demo Demo, 2005


A typical product of its time; groovy post-thrash/post-death with unusually brutal death metal vocals. The delivery sides with doom quite a bit as the energy hasn't been covered very well the band feeling more comfortable with pensive gothic cuts like "The 5th Season".

Posteuphoria Full-Length, 1997

Official Site


Mortifer released their debut during the late boom of thrash on the Russian metal scene in the early 90's, and then got lost. Seven years later, when the times looked good for thrash metal again, they re-emerged and have released 4 solid albums so far. Their style is clearly old school being a combination of Slayer and Sepultura.

Euthanasia Full-length, 1993
If Tomorrow Comes Full-length, 2000
Blind Faith Full-length, 2002
Total Darkness Full-length, 2004
Cybernized Full-length, 2006

Official Site


Mortification have changed several styles during their existence, but their beginnings are firmly in thrash metal. Both albums are good examples of the genre, more on the aggressive side, with nods to death metal. The debut is the lesser achievement, being quite scattered, with the style jumping from thrash to death metal all the time, and despite the fairly aggressive delivery, leaves quite a bit to be desired. The self-titled album boasts a tighter sound; the music is still fast, but not as aggressive, and closer to thrash, despite the brutal, death-metal vocals. "Satan's Doom" is a slow track in the middle, but doesn't reach doom metal waters, like the title suggests, and remains quite a cool stomping thrasher. The fields of doom , however, are reached with the last song: the slow brooding "Pathway of Reconciliation". These guys could have done an even better job if they had stayed within the thrash metal limits.
The EP is hardly a new beginning for the Aussies who thrash in a diverse uneven manner with death metal, crossover and hardcore summoned to help the blend occasionally producing something worth hearing: the wild hectic technicaller "The Jaws Of Life", the melodic thrash/deathster "Scribe Of The Pentateuch".
"Realm of the Skelataur" is a decent offering from the veterans who try to reinvent themselves, and manage to pleasantly surprise with several cool melodies ("Feed Your Hungry Ears"). Their death metal past shows its head on the shorter material ("Extrinsick Forces"), but waht's more interestign is the few attempts at a more stylish, progressive play: "Realm of the Skelataur", "Our Anthem" where, despite the audible reduction of speed, the guys try to show their more serious side. Still, the show is completely stolen by the weird technical delight "Total Thrashing Death" which is a consummate thrash/deathing shredder totally overshadowing the remaining numbers. This effort is again a hit-and-miss affair, but at least it offers some admirable musicianship on occasion and should keep the band fans hooked for another couple of years until the next installmemnt from the Mortification saga.

Break The Curse Full-length, 1990
Mortification Full-length, 1991
Scribe of the Pentateuch EP, 2012
Realm of the Skelataur Full-Length, 2015

Official Site


Based on the debut: another retro thrash monster (there is an epidemic out there... but who's complaining?) which thrashes in a Rigor Mortis and Razor manner with aggressive short tracks, adding the casual more light-hearted speed/thrasher: "Black Plague". There is no speed lost on this commendable debut, where the guitar work takes more intriguing dimensions at times, not too far from Mike Scaccia (Rigor Mortis, Ministry): "After the Fall of Man", "Wizard Trees". Everything here is close to perfect, with no breaks from the intense pattern, if we exclude the silly closing "Vocal Struggggleeeee" where some people are talking, wasting about 2-min which would have been more than enough for another thrash bomb.
The 3-song EP diminishes the speed although the tempo is seldom below the up, but there is not too much all-out speed to be heard, and the slower breaks grace every track with the guitars taking a cool melodic, even semi-technical, edge on the final "Lord of the Seas".
"Anatomies Undone" is another commendable effort, providing a similar concoction of straight headbanging and more stylish technical cords, admirably mixing both sides at times (the excellent roller-coaster "Nails in the Coffin"). "Into the Abyss" is a great short virtuoso lead-driven instrumental, after which the guys really start to shine; first with the technical melo-death/thrasher "Death Brings Life", and then with a string of fast'n furious tracks, "Tortured by the Night" bringing the culmination with a portion of hyper-blasting passages with a black metal shade. Near the end come the addictive melodic hooks on "Anatomies Undone" and on the closing "Untold Terrors", which are served among a whirlwind of fiery riffs and neck-breaking tempos. This is a second fairly strong offering from the band, and one more of the kind could catapult them straight to the top, and well deservedly so. Well, some may argue whether the minimalistic, low-tuned deathy vocals are a suitable "companion"...

Underground Noise Full-length, 2008
Tales of Torture EP, 2009
Anatomies Undone Full-length, 2011

Official Site


Based on the debut demo, these folks unleash aggressive retro thrash ala Slayer and their statepatriots Devastation. This is very good stuff with ripping, lashing guitars which at times calms down recalling Slayer's "South of Heaven": the cool brooding title-track, the quasi-doomy depressor "Suffering". "Now I Hate" moves towards more full-fledged death metal, a tendency deepened on later efforts including on their only full-length.

Eternal Pain Demo, 1994
Torture Syndrome Demo, 1997
Reborn Through Hatred Full-Length, 1999

My Space


Two girls (the singer and the bassist) take part here, and based on the full-length debut, they have assisted their comrades in the recording of an energetic catchy tribute to Detente's cult debut "Recognize No Authority" with a pinch of early Nuclear Assault. The vocals (courtesy of Cara McCutchen, who also sings for another thrash metal outfit: Minax) are a tad more melodic and emotional than the ones of Mrs. Crosby (R.I.P.), but the musical approach is pretty much the same, merry uplifting thrash/crossover full of moshing rhythms and catchy melodic tunes, and also strangely recalls the collaborations between the Bulgarian hard rock/punk star Milena (resemblances in the vocal department as well) and the Bulgarian power/thrash metal act Era. Switches onto more serious speed/thrash ("Outbreak") are not excluded, neither are slower, more power metal-tinged (the longer and really "serious" "Voracious Undead"; the excellent sing-along galloping hymn "Without Weapons"; an infectious cut) compositions. This is really catchy stuff, not a very common phenomenon on the scene nowadays, with plenty of memorable hooks and riffs to lift your mood up, which will make you jump around just having a good time.
"Origin of Extinction" is considerably more serious the Nuclear Assault influences now left far behind the band speed/thrashing with gusto varying the pace alternating fast with slower numbers reaching heights like the dramatic speedster "Creature Possessor" and the classic Germanic speed metal delight "F.O.A.D." which compensate for the string of less inspired, less dynamic, songs in the middle. The choppy "Maniac" is a nice reminder of their compatriots Messiah Force, and the closing "Sunday Morning Slasher" is another sophisticated mosher which nicely sums up the overall character of this fairly melodic, but also intense, listen. The girl is in a very good form behind the mike singing passionately without stretching her voice a lot aptly assisting this enjoyable old school roller-coaster.
"Shapeshifter" is fast ripper of an album which bravely crosses over the borders towards hardcore and crossover, and one shouldn't overestimate the moshing power of cuts like "Bullet" and "Mantis" the latter even introducing the wilder death metal-ish element. The thrashing carries on unabated with "Black Friday" and "Wendigo" before "At the Gate" suddenly switches onto friendly epic Iron Maiden-influenced heavy metal to everyone's surprise. No more surprises of the kind till the end although the final "Shapeshifter" is another heroic semi-galloper with pleasant echoes of the 80's American power metal scene.

Mortillery EP, 2010
Murder Death Kill Full-length, 2011
Origin of Extinction Full-Length, 2013
Shapeshifter Full-Length, 2016

Official Site


This is heavy modern thrash/proto-death metal with brutal grunting vocals. The overall approach may remind you of early Six Feet Under with its adherence to groove and death'n roll. Still, it doesn't lack dynamics completely, and the final "Metal Ride" is a sure headbanging winner.
"Shoot 'em Up" will "shoot you up" to the same modern thrash/deathy waters where you ended up while listening to the debut sinking even deeper overwhelmed by those low-tuned brutal deathy vocals. The approach bears no surprises mixing the tempos a bit more this time although this slight shift is hardly of the very exciting variety the band going through the motions slowly, but surely with a few "trigger happy" tracks providing the headbanging fun ("Trigger Happy" which also has a cool melodic tune; the rough dramatic headbanger "Whiskey Surgery"; the classic thrasher at the end "Point Blank").
"Burn Up the Dead" is the next in line modern thrash/death metal affair which provides a wide gamut of tempos as the more dynamci side delivers better with the title-track leading the pack. The slower compositions ("Pleasure of Hate", "Sold to Bleed", etc.) rremind of Amon Amarth, and their dominance here may be a sign of moving towards calmer ways of execution in the future.

Metal Ride Full-Length, 2010
Shoot 'em Up Full-length, 2012
Burn Up the Dead Full-length, 2017

Official Site


THis is the early incarnation of the death metallers Illdisposed. The music is wild chaotic thrash/death which is still surprisingly listenable with several more stylish touches ("Synthetic Abuse") suggested bordering on the technical including a not very successfully pulled out funky interpretation at the end. The vocals are rending hysterical shrieks which would have been more fitting for a black metal recording. Some of the guys also tried to form another thrash metal act, HellEvator. a few years back, but only survived for a solitary demmo in 2015.

Officers Bygningen Demo, 1991


Based on the "Agression Bestial" demo, this act plays vicious aggressive thrash/proto-death ala Morbid Saint and Gammacide. The guys waste no time nailing you down from the very first notes and seldom let the tempo drop below the up-point. "Extrema Violencia" richly deserves its title being an extremely fast cut with raging guitars and screaming leads. "Terror Y Dolor" is a slight "relief" being vintage German speed/thrash akin to early Destruction, and is the most relaxed track on this super intense effort which suffers a bit in the vocal department: the guy has a subdued, semi-declamatory style which sits between the black and death metal approach, and at times can't be clearly heard.

Valle de Muerte Demo, 2006
Agression Bestial Demo, 2008

My Space


This is decent retro speed/thrash metal with rough semi-death metal vocals. The band rages on with cool energizers some of which come crossover-decorated ("Vidro Na Cara"), others are short shooting thrashers ("Barriga"), others are happier speed metal numbers ("Porcaria"), all blended well into one monolithic dynamic picture boosted by a clear modern production with an emphasis on the cutting guitars.

Vidro Na Cara Full-Length, 2010


A 3-song demo of excellent aggressive technical death/thrash akin to Invocator and Hellwitch; the music is quite fast at times, but never falls apart; on the contrary, these guys manage to come up with stylish interesting and very appealing guitar melodies. Later bands like Suffocation, Decapitated, Necrophagist, etc. have continued the legacy of this very obscure, but highly worthy band.

Here Won't Be Life Anyway Demo, 1990


A not very known formation who "acquit" themselves with very raw, noisy, amateurish thrash/proto-death which is one big brutal mish-mash with messy guitars and awful shouty, sometimes screamy, vocals. This is early Messiah blended with very early Massacra when the guys barely knew how to play their instruments.

Rejected by Death... Demo, 1989

Official Site


Thrash/death metal with a strong classic spirit; it sounds like a cross between Death and Slayer; aggressive, but also technical music, exquisitely done, probably the finest thrash metal work to ever come out of Mexico. "Abyss Angel" is an awesome starter with great pounding riffs, speeding up little by little, until it explodes into a smashing death-tinged thrasher. Later on the attack continues with no mercy, with shorter, but very effective thrashing pieces, which will make you leave whatever you're doing, and mosh around like crazy. Few are the albums which could capture the essence of the thrash/death hybrid so well; on top of that often do the guitars have this genuine technical edge (the brilliant "Reign Of Dead" and "Blood Storm") which would make you wonder what would happen if the guys decide to concentrate on this side for the future. Don't expect any slower breaks; they come in the form of occasional sections from separate songs, sounding dark and heavy, along the lines of late 80's Slayer, but are very short. This is a masterpiece of aggressive fast-paced thrash/death metal.

"Shine Of The End" arrives after a 3-year hiatus, and sounds more restrained and decidedly slower, and closer to death metal. Still dark, haunting songs like "Shine of the End" and "Dead Life" are quite interesting; certainly the band haven't forgotten about the more aggressive side of the style, and here comes "Decaying Kind" which, among the fast thrashing, comes with a stylish slower technical break ala Morbid Angel; "Negatively Alive" is a great speedy technical death metal number, which slows down in the second half, followed by another intense deathster "Retroevolution", again accompanied by great technical, Morbid Angel-like hooks. "The Arrival" recalls Pestilence's "Consuming Impulse", with a great bass support ala Death's "Lack of Comprehension". "The Prey" is a very nice short technical death metal delight, but "Imperfection" is slightly off-focus, being slower and not on par with the rest. Apparently at this stage the band has given up the faster play, and "Fantasy Fall" is another slow and dragging track, after which you may lose interest in listening to the closer, "Frozen Flames", which embraces the doom/death idea even tighter, despite the faster break in the middle. Not even half as great as the debut, this album is still a fairly decent effort, coming a bit late to save the dying, both death and thrash metal, genres.

Blackened Images Full-length, 1992
Shine of the End Full-length, 1995

My Space


This band offer dark atmospheric thrash with sincere borrowings from Moonspell both in the music and vocal department (sparingly). As aresult we don't exactly have the headbanger's paradise here, the approach is mid-tempo with doom/gothic "ornamentations" topped by dep gutural death metal vocals except for the times when the guy "unleashes" his cleaner tember.

Rites Demo, 1996


This is aggressive intense thrash/death metal in the tradition of the Merciless debut, early Massacra, and the Mexican band with the same name (their debut: see the review above). Relentless heads-down assault with gruff low-tuned death metal vocals often crossing the border towards pure death metal ("Affected Sufferance", which also features a nice stomping mid-section ala Bolt Thrower). Kudos should be paid to the guys for playing so fast and tight without pausing for a break.

Void Full-Length, 1991


Based on the "Nocturnal", this band offer hard-hitting thrash, still pretty classic-sounding, which mixes fast and slow passages in equal dozes. The guitars have a characteristic dark sound reminiscent of Deathwish and Forced Entry, and the singer delivers with his deep semi-declamatory approach.

Death Trap Demo, 1991
Nocturnal Demo, 1992

My Space


This band have made a name for themselves with their atmospheric, larger-than-life, brand of black metal which has won them many fans around the world. Still, one couldn't possibly talk about their breaking it really big due to the disputable at times musical qualities of their efforts until their fourth, and last so far, album. The typical macabre intro is followed by 6-min of outstanding razor-sharp retro thrash on "Unfading Revenge", a great track sustained in a vigorous headbanging tempo which will catch you with your pants down, if you have listened to the band's previous output, ornated by very cool melodic leads. The guys' staple deviations into many other influences and styles before may make you think that the beginning was just to get you in the mood, but once "Deep Void" starts lashing out with those fast, unbearably cutting riffs one will have no choice, but to embrace the thrash metal idea fully since apparently this is going to be the order of the day this time. "Ectoplasm" develops in a peaceful balladic way, but later turns into stylish technical thrash in mid-pace again graced by some of the finest leads around. "Mistery... Guide Us To Death" finally introduces the prototypical for the band keyboard decorations which sound even more compelling blended with the lashing guitars which near the end move towards the proto-death metal sector with a furious portion. "Look Behind" is an engaging progressive composition comprising of plenty of tempo changes also hinting at the black metal movement, where the band supposedly belong, with a short blasting mid-section. "Who Calls Me" is more brutal death/thrash akin to more recent Infernal Majesty, a fast uncompromising number with nice atmospheric insertions ala Nocturnus near the end. "Spiritism... Around Us" is crushing mid-paced thrash with nice melodic decorations brought by the balladic beginning and again, the fine lead guitar work. "Animism" is energetic fast-paced technical thrash which grows into another more progressive song: "Your Last Cradle" which, despite the more elaborate twisted arrangements, still holds quite a few speedy surprises including a raging grinding break at some point. This magnum opus is finished with "Crosses In Graveyard", another ambitious progressive, this time death/thrasher recalling early-90's Messiah and again, Infernal Majesty, loosening it up a bit on a couple of more brutal deathy passages here and there. Listening to the great stuff on offer here, one may want to revisit the guys' back catalogue immediately just to look for any hints at such great musicianship. There's an obvious shift in style towards a more aggressive thrashy approach which may delineate some of the band's die-hard fans, but it will surely win them many new ones: music of such a calibre would not leave many people indifferent.

Buried in Time Full-Length, 2004

Official Site


This act was earlier known as INRI; otherwise this is a 4-tracker seeing a gang willing to try their hands on dark brooding, classic thrash with subdued deathy vocals akin to Killjoy. The musicianship is a bit amateurish not really helped by the very buzzy sound quality, but the delivery is energetic and "Homeless Dog" is a fairly vivid thrasher. The singer is just a subdued semi-death metaller who doesn't really try to sing, not for a split second, feeling content enough to recite through the motions.

Insect Killer Demo, 1992


Based on the debut demo, this band indulge in aggresive thrash/death which suffers from the very bad sound quality, but the inspired musicianship rubs shoulders with early-90's Messiah and Merciless also bringing more sinister atmosphere with a smell of doom (the title-track) not far from Asphyx. The singer is a guttural shouty death metaller who manages to make himself understood for most of the time. The guitar players also founded around the same time one of the first melodic death metal acts in Argentina, Manga de Bestias.

Smell of Tombs Demo, 1994
Decease in Silence Demo, 1996


Based on "Human's Dilemma", these Poles play nice retro thrash in a fast tempo with slightly unsuitable death/black metal vocals. "Protector of Reality" breaks the demo into two being a slower more technical number with good twisting leads. Then comes the ultra-speedster "Holy Hate" and the very well done cover of Metallica's "Fight Fire with Fire".

Ready to Kill Demo, 2008
Human's Dilemma Demo, 2009

Official Site


This Croatian outfit provide thunderous steam-roller modern thrash which acquires more aggressivde death metal tendencies at times, thanks also to the deep semi-shouty deathy vocals. The riffs squash and nail to no end, supported by a pretty good sound quality and the few more dynamic sections ("Sound Of Underground", the punk joy at the end "Peharcek").

Blood(s)pit Demo, 2010


Heavy dark thrash/death with very low, guttural death metal vocals; the pace is mid with rare brutal escapades ("Dzieci Bafometa"), but both sides show a band having a long way to go before reaching the high standards of both genres, on top of a very muddy sound quality.

A Mortui Excitare Demo, 1993


Based on the demo, this band plays modern/classic thrash/death metal, pretty intense fast stuff with very few slower breaks along the way recalling the Swedes Defleshed and the Germans Ravage, only without the blast-beats of the latter.

Let the Fist Do the Talking Demo, 2004
Mortyfear / Achren Split, 2005
God's Skin Full-length, 2006

Official Site


Fairly dynamic lashing classic speed/thrash with epic ornamentations and intriguing semi-technical hooks which grace the longer numbers (the exquisite instrumental "Dark Angel"). More moderate stompiness arrives with "Homicidal Maniacs" which also speeds up in the 2nd half. More straight-forward speed metal gets inroduced on the shorter material ("Screams of Death") which oppose to more carefully-crafted ragers like "Code Red" and the more melodic, progressively-laced, "Show Me To Hell". At the end the band provide a cool cover of Running Wild's "Merciless Game". The singer is not the very right choice, though, his rending antics staying closer to the death/black metal camp.

Rise of the Tyrant Full-Length, 2013

Official Site


Based on "Sickness of Memory", these Austrians try to resurrect the dormant spirtis of thrash metal in their homeland by adding a healthy doze of death resulting in an intense sound showing an obvious fascination with the Floridian school with the obligatory deviations from the fast-paced delivery to these ears way too many: the doom metal delight "Stillbirth", the merry Motorhead-worship "Liberation of his Madness", the nice short lead-driven instrumental "Dawn", etc. The band continue the "carnage" on the final trio of tracks which are uncompromising lashers played on constant high speed topped by the brutal low-tuned death metal vocals.
"Deathlike Thrash 'n' Roll" betrays its influence from the very title although the band have taken care of the more aggressive side of the genre with merciless headbangers like the aptly-titled "Thrash Assasination" and later the support is not far from it the riffs being hard-hitting and sharp all the way reaching the culmination on the smashing riff-fest "Angel's Piss And Devil's Jism" and the frolic headbanger "Tales Of A Diarrhoea Werewolf" near the end. The guys continue to deliver in their staple way the only seeming difference being the more laid-back character of the vocals which are more shouty and less brutal.
"Screwing the Devil" retains the playful nature of its predecessors, but steps on the pedal harder which results in several admirable headbangers ("From Rare to Done", "BBQ", the closing proto-deathy "violator" "Metal Maniax" which could really "screw the devil", and not only him...) staying proud beside more serious, engaging compositions ("Booze, Boobs and Bedroom Battles") the latter not that many, but show a cool, more thoughtful side of the band.

Sickness of Memory Full-length, 2009
Deathlike Thrash'n'Roll Full-length, 2012
Screwing the Devil FullLength, 2015

Official Site


The self-titled debut: the noisy production boosts the guitars too much, but the attached shouts of the singer, who is a dead ringer for Russ Anderson (Forbidden), top the proceedings without losing their dramatic melodic blend. Music-wise the band take no prisoners thrashing like demented on numbers like "Blood of the Tyrant" and "In Dollar we Trust" which are vintage early Forbidden. Their presence is balanced by the slower and not as impressive cuts among which "The Serpent" is the highlight with its varied paces and progressive leanings, the razor-sharp dramatizer "Wicked Messiah" a close second. "Dark Angel" is almost a tribute to the American legends of the same name being a major exploder with some very cool virtuous leads. Hectic technical thrash is offered as an exit on the final "Posers Genocide" which also thrashers with force making this album one of the better propositions to come out of the Balkans in the past few years. "Mosh-pit justice" has by all means been restored, and some more...
"Justice Is Served": more "justice" comes "served" here as the guys continue their conquest of the Balkan metal scene with another portion of the good old speed/thrash. No "mosh" is lost on this effort and the opening "A Free World Will Be Born" throws you immediately into spontaneious headbanging with its vitriolic impetuous riffs which this time come with a more epic "colouring". "Locked Away" is a short hammer before more epic metal comes forward again on "I Invite The Ripper". The alternation continues although the last string of songs is by all means on the aggressive side "I Laugh In Your Face" smashing everything in its way. "Chauvinist Control" is the next winner, a glorious reminder of Artillery's heydays; and the final "Cut My Restraints" is again a more technical exercise in crushing old school thrash without too many fast-paced excursions, but engaging and totally appropriate. The singer excels again his antics being more dramatic and higher-pitched, to assist in the making of another very good album which continues the guys' ascension towards the metal Olympus.
"Stop Believing Lies" is another winner all along the band not betraying their highly energetic delivery the opener "Burn to Live" a vintage early Forbidden worship. "To Hear My Name" engages in more intricate, technical thrashing, but "Rest in Flames" is a raging headbanger with more dramatic proto-deathy accumulations and a great melodic mid-break. "Till Death" reduces the speed, but the more progressive build-ups, the lyrical deviations, and the impetuous gallops in the second half make it a sure highlight. "Mosh-Pit Justice" carries on with the "assault" right after that on full-throttle, but "Left for Dead" is again a calmer mediator with an epic flavour and overt power/speed metal tendencies. The closer "The Battle Within" tries to walk similar ground, but the hard-thrashing riffage makes itself heard more often making this epitaph a really coolprogressive speed/thrash ala Manticora and Paradox. Three in a row seems like a proverbial formula for success, and the band can rest assured that there is hardly any thrash metal act from The Balkans right now who rank up there with them.

The Serpent EP, 2012
Mosh-Pit Justice Full-length, 2013
Justice Is Served Full-Length, 2014
Stop Believing Lies Full-Length, 2016

Official Site


A forgotten gem from the Brazilian underground which surprises with its solidarity with the 80's scene in the troublesome mid-90's, and the very capable (and quite good-looking as well) female singer, whose hoarse delivery is not miles away from the one of the legendary Debbie Gunn (Znowhite, Sentinel Beast, etc.). The sound is heavy and pounding with a meaty bass bottom all this very clearly displayed on the opening "Behind Locks And Bars". "Private Place" admirably speeds up, thrashing with full force with heavy crushing riffs. "The Scene" is a sudden break: a heavy ballad, where the singer starts to really shine despite the loss of energy in the music department. "Suffocated" introduces modern elements, but the tempo is energetic, and the screaming leads are quite cool. "H.T.K." is another very cool galloping retro thrasher followed by the less intense power/thrash mix "Shake My Bones". "Black Skin" is a great moody, almost doomy sleeper, with a sudden speedy outburst near the end. "Gang Wars" is a speed/power/thrash amalgam, but the closing "Tribal" leaves no place for illusions thrashing in a heavy crushing fashion. Certainly one will be pleased to find another act defying the metal laws of the 90's with their sincere old school approach raising their middle finger high to the groovy clowns swarming the scene at the time.

Private Place Full-length, 1995


Based on the "In The Sign Of Mosh Angel" demo, these guys show an obvious influence from the early German metal scene- think Destruction, Kreator, Sodom. This is well-played, mostly fast and energetic speed/thrash metal, topped up by more black metal-based vocals, similar to the ones of Nocturnal from Germany again, and the Italians Vexed.

Grave Digger Demo, 1997
Total Destruction Demo, 1999
In The Sign Of Mosh Angel Demo, 2002

Fan Site


Three compositions of elaborate Bay-Area thrash along the lines of Testament, late-80's metallica, and Heathen's "Victim of Deception". All the cuts are lengthy, complex affairs as the preferences would go towards "To Your Fate" which is a furious diverse headbanger that also finds room for several fine melodic crescendos in the second half. "Scream For Mercy" begins with a nice acoustic intro which gets repeated later making this number a decent heavy semi-ballad. The vocals are not very rehearsed semi-declamatory ones lacking the pathos which goes along with this kind of engaging progressive thrash.

End of Discussion Demo, 1989


This short effort is all about mosh, mosh and... mosh again. While the song titles definitely revolve around mosh, the musical concept behind them is pretty brutal and chaotic often branching out into hard and grindcore which still play the role of "supporters" to thrash. This is retro stuff played without any pretensions at anything beyond the "drunken party rehearsal", despite the fairly crisp sound quality and the generally fair execution which will easily see you "caught in a mosh". The singer shouts in a quarrelsome manner, but this approach should be expected from a dedicated to mosh act.

Thrash Up Yr Azz! EP, 2003


Classic thrash/crossover with a hard cutting edge; the band bash with passion emitting the necessary headbanging atmosphere producing several impressive speed/thrashers ("Firme Intolerancia", "Bola Rapida") along the way. The singer quarrels in a hysterical shouty manner, semi-reciting throughout without ruining the intense frolic feel.

Mosheando La Ley Full-Length, 2012


These "bestial thrashers" pull out (based on the debut demo) retro thrash with a very noisy guitar sound, mostly "courting" the German school, but having this playful jolly vibe ("Hellish Fire") typical for the crossover genre as well. Still, the majority of the songs are major headbangers all sustained in a vigorous up-tempo assisted by indifferent semi-declamatory vocals. Some of the band members also take part in another classic thrash metal act: Violent Death .

Bestial Thrasher Demo, 2008
Armado Hasta los Huesos Split, 2009
Promo Advance Single, 2009

My Space


Based on the "Mosh Till Mecca" demo, this band offer fast thrash similar to Sodom's "Persecution Mania" and Toxic Shock's "Change from Reality". This is good energetic music despite the awful sound quality. "Invasion of the Snobs" contains crossover elements along with the hard-hitting riffage.

Mosh Till Mecca Demo, 1988
The End of the Innocence Demo 1991


Based on the "Mosh 'n' Roll" EP, this is exactly what the title promises: playful carefree mosh'n roll which is definitely on the melodic side with not many shades of thrash, if any. The guys just have fun also adding punk and a bit of hardcore into the proceedings, the jolly musical approach topped by even jollier clean semi-punk vocals. Let's party, folks!

Moshpill Demo, 2008
Mosh 'n' Roll EP, 2010


The band's demos are fine slices of classic thrash, but they never got lucky to secure an album deal during the 80's. They returned in the late 90's with "Secrets" which saw the band hungry for some more thrash containing whole 14 songs. With such a big number of tracks, one should expect quite a diversity, and indeed, apart from the intense old school headbangers, one could catch attempts at a more modern play, but not annoyingly many. The new singer has a more hoarse, hardcore voice, and is probably the only flaw, considerably ruining the Jimmy Hendrix cover of "Purple Haze" at the end.
"World's End" is a much better effort, albeit more modern sounding. The songs are longer, and carry this intriguing technical edge typical for works like Invocator's "Weaving the Apocalypse". The album also offers interesting mixtures of classic and modern thrash ("Hunting Demon", "Flesh") which jump from clumsy groovy sections to blistering fast-paced classic ones in no time. The technical side reaches its h