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


Modern mechanical thrash which comes with a curious quasi-progressive feel, but the too shouty death metal vocals and the relative lack of more intense sections ("Thrashing Mind" the only exception, of course) make this recording too monotonous and not very exciting in the long run despite the bigger ambition shown with the complex closing title-track.

End of Days Full-Length, 2014


O.B.E.Y. (UK)

This power UK trio pull out modern/classic steam-roller thrash which is mixed with doom to a pretty squashing effect alternating the two sides on longer sprawling compositions like "Anger Hunger" and "Learn not to Pay" where wild rhythms, on the edge of falling into death metal, take turns with seismic ultra-heavy moments. This is charming stuff having at times the early Celtic Frost vibe assisted by attached semi-shouty/semi-death metal vocals.

Romance of Misanthropy Full-Length, 2006

Official Site


This outfit offer dynamic modern thrash with a few post-thrashy tendencies. The groovy passages are aptly intercepted by vivid up-tempo ones some of which reach deathy dimensions ("Altered States of Consciousness") with ease. "Jealousy" is an interesting chaotic composition sticking out among the dominant short outbursts of energy topped by very shouty death metal vocals.

The Mourner Full-Length, 2015

O.P.E.N. (UK)

Mechanical industrialized post-thrash with jazz and funky moments; this is both jumpy and atmospheric music with a strong alternative vibe and several balladic stretches plus ridiculous computerized vocals which still suit the hectic robotic delivery.

Let's Get It On! Full-Length, 2010


These Russians offer melodic power/thrash with crisp guitars and a few more aggressive moments ("Na Grani") where the riffs start thrashing with more force. Generally this is moderate stuff with balladic and grunge touches ("Zver"), and an occasional adherence to speed metal ("Kto Otdal Jizni za Nas"). The singer is good with his passionate clean mid-ranged tember.

Smotri i Pomni Demo, 2011

Official Site


Based on the "Legends" demo, these folks indulge in excellent semi-technical speed/thrash ala Deus Vult and Have Mercy marred by the muddy sound quality. The music is fairly intense and eventful its less predictable nature culminating on the 10-min title-track which combines sweeping thrash with heavy stomping passages this amalgam led by nice steel technical guitars and forceful semi-clean vocals. The closing "Metamorphasis" is a shredding instrumental with great screamy leads.

Double Standards Demo, 1989
Legends Demo, 1990



Moody classic thrash with gruff shouty death metal vocals; "Closed Mind" is a pleasant deviation with more dynamic guitars and a very good sense of melody, and "Schizophrenic" is another shift from the sombre delivery with more vivid thrash/crossover decisions. Some of the band members are active at present with the black metal formation Exordium.

Woodlands Demo, 1996


Based on "I Feel Nothing": the modern death/thrash saga is given another chance here, and the Gothenburg fans should find their favourites in France this time, of all places. No complaints as the band play with conviction adding the more intriguing hoax... sorry, hook ("Hoax") whenever possible. "Heaven" is a breath-taking melodic instrumental which beats the metallic numbers by miles although indeed the rest isn't bad at all the closing "Forefathers" elevating the progressive pretensions heard previously to new heights despite the audible reduction of the speedy sections.

Living in Failure Full-length, 2005
The Answers Within Full-length, 2009
The Covers Within EP, 2012
I Feel Nothing Full-length, 2014



Based on "Lucifer Master": this band is a kind of a side project for the members of the Mexican death metal maestros The Chasm. The music, however, bears no resemblances to death metal opting for classic thrash metal mixing heavy stomping riffing ala Celtic Frost with faster energetic numbers in the tradition of early-Bathory and the Swedes Bewitched. This is straight stuff, you won't find any twisted technical riffs typical for the The Chasm style, but is enjoyable and a good reminder of the heydays of thrash metal.

"Unholy, Unwholesome and Evil" is an ultra-brutal black/death metal affair with very few moments of thrash. This is well inferior to the much more proficient debut, constantly blasting in a noisy drum-dominated way with only "Dark Gardens Of Eternal War" providing some comfort for the listener with cool doomy rhythms. The rest is just mindless bash, and it would be really hard to believe that The Chasm members are responsible for it.

Lucifer Master Full-length, 2002
Unholy, Unwholesome and Evil Full-length, 2006
F.U.C.K.: Forever Unholy Christian Karnage EP, 2007
Satanik Shoktroops Auf Doom EP, 2008

Official Site


Based on "I Hate Everyone Equally", this band play crusty heavy hardcore-ish thrash in mid-tempo supported by throaty brutal death metal vocals. The approach may not hold water for too long since it's pretty samey till the end the guys spicing the proceedings with the casual more melodic addition (the guitar lines on "Absolute Power", the utterly unexpected surreal technical hooks ala Voivod on "Superstar"). The end comes in the form of a heavy quasi-industrial version of Sepultura's "Bloody Roots" which is a bit clumsy and moodier compared to the original.

Sleep Now in the Dark of Hell Full-length, 2003
I Hate Everyone Equally Full-length, 2004


Ambitious modern progressive thrash which pulls in the listener with the primal twisting shredder "Doubtful Existence" before relieving the situation with the more immediate "Return to Oblivion". "Memories of Human Dust" is a larger-than-life saga, quite eventful, but the real winner here is the closing "Mind Illusion", a stylish nod to Artillery's heydays with sharp lashing guitars and nice technical licks, the only downpoint being the presence of the snarly death metal vocals.
The "Fragments of Infinity" EP displays very big ambition from the beginning with the nearly 12-min opener "Creator Of Void" which dynamics is also highlighted by a stroke of bombastic black metal near the end. "Ouroboros" is desirably a more down-to-earth shredder the guys mixing the tempos and accentuating the headbanging tendencies on the fast-paced ripper "The Shores Of Chaos" also adding several infectious melodic tunes on this one. "Wings Of Macrocosm" is a more laid-back number with a lengthy mid-paced introduction before the band carry on with their energetic arsenal. As a whole this effort isn't as stylish as the first EP despite the epic proportions of the first composition.

The Dreadful Meaning of Being EP, 2013
Fragments of Infinity EP, 2016

Official Site


One of the less known bands from the British metal scene; it's hard to define their style with a few simple words, though: there are fast, aggressive numbers; there are slower, doomy parts; there are mid-paced, semi-technical tracks, too. It might sound impressive to some, but as a matter of fact this is just an average thrash metal album.

Obscured Within Full-length, 1990


These Spaniards acquit themselves with good fast blitzkrieg retro thrash which can also be chaotically technical ("Agent of Chaos") although the super-fast riffage doesn't give too many chances for other gimmicks to develop beyond the occasional glimpse. This is wild aggressive stuff which will leave the listener with a wide smile on his/her face throughout its close to half an hour of playing time including the vocals which are forcefully shouty reminiscent of Jello Biafra (Dead kennedys, Lard) on the more melodic tones (the closing "Do You Know What Freedom Is?").

For Those About to Die... EP, 2014

Official Site


This band was formed by Ski: the man who sang for Deadly Blessing previously, and the same man who was very close to becoming the Rob Halford replacement in Judas Priest (outrun in the last stage by Tim "Ripper" Owens). This could have been the beginning of a stellar career if released 5/6 years earlier; the style is characterized by the typical for Deadly Blessing speed/power/thrash metal anthems, but the music is more technical and heavier (check out "Bloodred Sin"), and Ski screams his lungs out to the very extreme, seldom achieved before, even by Halford himself (check out "Bloodred Sin" again). Hey, there are other songs here, too, like the brilliant opener "Windows To Your Soul", another admirable steam-rolling hectic thrasher as well as Ski's tribute to Judas Priest, the cover version of "Beyond The Realms Of Death" with the vocal performance, of course, being the highlight.

Demo Demo, 1992


This great band never got the recognition they deserved. They play a unique brand of technical/progressive thrash metal with a certain industrial flavour on later works, heavy and mid-paced most of the time with meaty, crushing riffs. Their debut fits this description almost completely, lacking the industrial decorations of the other albums, but is a first-class slab of technical thrash. It opens with the excellent speedy, lead-driven instrumental "Access To The Acropolis", after which things take a heavier and a more technical turn with "Chronocraze", which still enjoys a great faster-paced section. "Droidomized" increases the heaviness without losing the speed, and the result is a fine intense thrasher with a technical twist. The technicality remains for the great 9-min progressive thrash opus "Fiction Of Veracity", one of the band's finest hours, a smashing combination of moods and tempo changes. "From This Day Forward" is a dark brooding mid-paced thrasher with creepy sinister guitars. "Imminent Regenerator" is technical speed/thrash at its smashing best, whereas the closing "It Should Have Stayed Unreal" slows down again acquiring a dark gothic edge.

"Nemesis" is the band's magnum opus, the finest example of their unique style, which also manages to stay away from the modern/industrial influences for most of the time. It starts in a fabulous way with the technical masterpiece "Dynamo", with superb guitar performance. "Estranging Abduction" follows the same pattern, but "Factory Of Delusions" speeds up and gets more aggressive creating a headbanging atmosphere which gets lost for the complex whirlwind of technical riffage "Frosted Avowals", which fans of progressive/technical thrash might find the highlight here. "Nemesis" relies more on heavy crushing guitars, and is a nice pause before another technical gem overwhelms you: "Obscure Mindways", this time faster, combining the best from Helstar and Despair in their prime. "Strays Of The Soul" shows the more lyrical semi-balladic side of the band for a while before the smashing technical riffs take over. "The Thinker's Lair" closes this incredible album in a mid-paced, more standard approach.

"Cybervoid" is a much more modern and a more immediate effort. There is groove, there is also industrial, but the interesting arrangements and the original musical decisions are still present to a certain extent: "Perihelion", "Sequels". Still they are not enough to make this album sound even half as good as the first two; the approach is too samey, making the whole album sound like one big track. The EP and "Carnivore Mothermouth" concentrate on the industrial and modern tendencies leaving the technical flair far behind.

From This Day Forward Full-length, 1990
Nemesis Full-length, 1993
Cybervoid Full-length, 1995
Planet Claire EP, 1998
Carnivore Mothermouth Full-length, 1999

My Space


Cool retro speed/thrash metal crossing Angel Dust with Rigor Mortis; fast music with simplisitc guitars and a gruff death metal singer. The leads are very melodic contrasting with the harsher, but repetitive, riffage.

R.I.P. Demo, 2000


This act plays dark atmospheric thrash/death metal with numerous melodies and heavy proto-gothic elements the latter recalling mid-period Rotting Christ. The tempo is mostly mid, but there are descents to slower waters with doom/death tendencies to which the deep low-tuned death metal vocals suit better.

Oblivion EP, 2009

My Space


A very obscure release, Oblivion's only mini-album is an enjoyable mixture of power and melodic thrash with a nice finishing touch ("Pipes And Drums", which somekind of reminds me of the ABBA great folk instrumental "Arrival"). Before this finishing touch, however, one will come across a very good fusion of power, speed and thrash metal: "Screaming Hearts", partially ruined by the emotionless, semi-clean vocals; one full-blooded intense thrasher: "Guilty Youth", with a great bass-bottom (which is very strong on the whole album, by the way); one feelgood crossover piece: "Let Leave Me Be Myself", and more.

Oblivion Full-length, 1990


A very obscure band; their only album mixes classic heavy metal ala Accept with power/thrash in the Heretic-vein, or the later Ultimatum works. There are punk-ish moments, too- "Get A Life", and as a whole the album doesn't have a very big headbanging potential except for the live track "Cross The Line" which is a cool nod to the 80's American scene, and the galloping power/thrasher "Euthanasia" which loses in the process from the buzzy guitars.

Oblivion Full-Length, 1989


This band is chiefly remembered for the two vocalists who had graced the line-up with their presence, the better know Mike Soliz, also Watchtower, Asalant, Militia, etc. and the lesser known Chris Collins (Majesty/Dream Theater). The debut demo (with Soliz's participation) features epic power/speed metal along the lines of Agent Steel and Attacker, but on the sophomore, where Collins steps in, the band really pull it off by providing first-class technical/progressive thrash with echoes of Watchtower, Deathrow and Realm. One will easily get dizzy from the complex mathematical equations with which "The Eagle's War Night" is full to the brim, this cut a most tantalizing riff-puzzle with several melodic reliefs served to better suit Collins' highly dramatic vocal exploits. "Tales of Vindication" is an all-instrumental venture with epic build-ups those reminding of early Fates Warning, with the bass player making itself heard in way no worse than Steve DiGiorgio. "Millennium" is a challenging Watchtower-esque rifforama with a wide array of time and tempo shifts, with Collins back in action all the way to the somewhat downbeat, balladic finale which also stays around for the title-track, a less exuberant semi-balladic, all-instrumental again, composition carved by sudden thrashy explosions. A very good reminder of this essential act's heritage is the 2009 compilation which is a sign that more feats could come out of the Knights' camp in the future as reportedly they are back on the "battlefield" in the new millennium.

Demo Demo, 1987
Forgotten Realm Demo, 1990
Oblivion Knight Compilation, 2009

Fan Site


This is excellent, first-rate retro power/speed/thrash with progressive leanings. The guys take the galloping dynamics of Attacker and Helstar, and blend it with the dark rhythms of Sanctuary and early Nevermore to create one of the best tributes to the American 80's scene of the past ten years. The album opens with the seismic "Gathering of Souls" which shreds with might in a mid to up-tempo with not very obtrusive keyboard support. Then comes "Dimensions" which is a more direct galloper with a more overt presence of the ephemeral keyboards. "Believer Deceiver" is a calmer progressiver with a few speedy moments with echoes of Symphony X and Shadowkeep. "Knightserrant" is almost 9-min of intense power/speed/thrashing which becomes a bit more aggressive here and there; but the real aggression arrives with the short exploder "Evil of All Corners" which is hard-hitting headbanging thrash to the bone performed with a nice semi-technical blend ala Hexenhaus and Pathos. "Twilight Dementia" pours more drama into the delivery with its dark lashing guitars, a cool reminder of Sanctuary, also graced by a good memorable chorus. "Mirroracle" stays on a Sanctuary/Nevermore territory with another portion of morose dramatic rhythms, and the final "Mystique" is more on the progressive power metal side with its more relaxed riffs which are greatly compensated by the brutal delivery on the bonus track "War Child", a fitting epitaph with its openly headbanging nature despite the several more epic moments that come later. The singer does a fairly good job as well with his warm forceful mid-ranged clean baritone, not very adventurous, but ensuring the requisite authoritative support to the very cool music.

Oblivion Myth Full-Length, 2006

Official Site


Based on the full-length, this band provides typical modern thrash metal with cool industrial overtones at times. The music is pretty energetic and headbangable also featuring one full-blooded deathster ("Postmortem Reprisal") which partially translates its ferocity on the closing "Filthy Secrets", another furious piece with blasting leanings.

The full-length is a full-on thrash/death attack the guys moshing out with very little remorse. "Mainstream for the Masses" shows some technical flourishes which are later elaborated on the atmospheric "The Poison Tree", and the brutal deathster "Bathe in Your Tears". Still, the highlight remains the excellent spastic technical closer "Wolves to Lead" which spits twisted riffs to no end for just under 3-min.

Dismal Swarming Shape EP, 2007
Lab #01 Full-length, 2009
Extinction Full-Length, 2015

Official Site


The full-length shows a very odd unusual act who center their music around technical/progressive death/thrash metal, but more is being offered on this base which tries to give both a more aggressive and a more quirky edge to the technical/progressive metal wave which was in vogue in Germany at the time. The opener "Life In A Second" will meet you with very brutal death metal vocals, dynamic technical hectic music, sometimes brutal and fast, sometimes complex and melodic, and alternative clean singing as well which sounds not bad actually. The mixture continues on the next "Methylhydroxypropylcellulose" (thumbs up for the title of the decade!) where the music becomes more brutal (by brutality here understand sudden short very aggressive outbreaks, nothing lasting for more than a couple of seconds) and technical; the technicality goes even beyond Coroner, lashing multi-layered riffs from all sides to the point of slightly overdoing it probably. "The Counterbalance" tries indeed to bring some "balance" to this very non-standard picture by toning down both the aggression and the technicality; still it remains fairly complex with nice bass support. "Autumn" is another technical riff-fest, quite fast, but not brutal, at times, at times slow and doomy; a mixture which delivers the whole time. "Mechanisation Of Death" is intense fast technical thrash/death metal ala Hellwitch with a great Oriental middle theme. "Videos Of Horror" is another fast/slow mix with the clean vocals taking more space, and a very sparcely covered technical play. "Euthanasia" is an excellent 8-min progressive opus, mostly mid-tempo to slow which again doesn't rely on very technical performance. "Prophet With Profit" carries on in the same spirit, not very fast and not very technical, and might leave some disappointed since the technicality kind of disappeared in the second half. A slight compensation, though, is offered on the short 1.5-min closing instrumental "Beyond The Twilight".

Twilight of Autumn Past Full-length, 1994
Dead At Dawn EP, 2003
Concrete Full-length, 2009

Official Site


A band formed by two ex-members of Agent Steel (Chuck Profus, Juan Garcia and George Robb); the style isn't splashing speed/thrash along the lines of that legendary band, but (based on the demo) is a worthy slab of 80's thrash spiced with some crossover reminiscent of Nuclear Assault and Sonick Plague. The full-length is an improvement in every department, not a very distant deture from the music displayed on the demo, but much more aggressive. The songs are short explosions of rage and fury, this time closer to Slayer's "Reign in Blood", or Sick Of It All on the more hardcore-ish sections. More laid-back jolly numbers are certainly added (the album is 21 songs long): "Crumbs", "Lovely", but songs like "Warning" compensate for them with their brutal, grindcore approach.

Demo 2005 Demo, 2005
Living in Profanity Full-length, 2007

My Space


This not very known act specializes in cool speed/power/thrash which boasts clear sharp guitars and forceful clean vocals. The guys mix fast and slow sections on almost every track, except for the short speedy cut "D.E.A.", also acquiring more complex progressive dimensions on the more power metal-based "Citadels On Fire". Run for cover, though, on the closing "Insomnia" which is a wild shredder with ultra-cutting guitars.

Citadels On Fire EP, 1989

My Space


Based on "Vital Estructura", this act offers an ultra-heavy mix of post-thrash and death metal which is curiously abstract at times, although the guys seldom abandon the predictable groovy patterns which may tire the listener well before the end; it's quite surprising, though, how come the singer doesn't get tired: his very shouty hysterical delivery may cause some serious vocal cord damages.
The debut is another less ordinary affair again mixing post-thrash with more aggressive death metal tunes, but the crushing character of at least half of the songs can't be ignored. Quirky spacey rhythms supersede more intense heavy sections the sudden alternations strangely working although this mid-paced steam-roller approach may tire the listener at some stage since the guys are never tempted to speed things up notching up the noise in the guitars a bit in the 2nd half industrializing the process as a result, the closing "Libertad" being a more "liberated" track also offering fast hardcore-ish sections among the dispassionate chugga-chugga riffage. The singer is the perfect match to this dry robotic music with his sterile detached hardcore shouts.

Fuera de Alcane Full-length, 2000
Vital Estructura Full-length, 2004

Official Site


Based on the "Curse the Course" demo, this is great thrash/death of the dark, but intense type reminiscent of Pestilence's "Testimony of the Ancients" and Infernal Majesty's "None Shall Defy". The tempo is frequently fast, but never too brutal, and the riffs are technical, but not as overtly technical as the ones on the Pestilence album, for example. The guitar hooks are catchy and memorable contrasting with the drastic brutal death metal vocals. The only flaw is the unnecessarily long orchestral intro "Yellow Brick Road to the Void" which lasts for more than 3-min and might stretch your nerves a bit.

Disgusting Reality Demo, 1990
Curse the Course Demo, 1991
Non Existendi Cultus Demo, 1992

My Space


Three tracks of brooding doomy thrash both styles woven into one uninterrupted tapestry which comes as a cool blend of Candlemass and Hexenhaus only that the delivery here is not as technical and engaging ss the one of the latter. The fans should be able to enjoy these pessimistic melodies, particularly those on "Confusion" which moves towards the power metal field where also the warm clean vocals belong.

Demo Demo, 1994


Based on the EP, these folks provide cool progressive power/thrash with epic accumulations and a few technical quirks ("Fear Among the Weak"). The approach clings more towards the mid-tempo side and the guys fail to do the most of their more dynamic repertoire which is lost in the softer, epic arrangements. The vocals are at least quite fitting for that with their clean, dramatic high-strung antics.

Roots of Existence Full-length, 2013
In Death We Trust EP, 2015

Official Site


A 3-track promo (the 2009 one) of intense retro thrash/death metal, quite faithful to the early Swedish scene (Entombed, Unleashed) with a couple of heavy doom-laden sections ("Witness Of The Last Crucifiction") in the tradition of Bolt Thrower. The guys also try their hands on some more death metal under the name Disdained where the music is pretty much the same, maybe with a slightly more technical edge.
"The Plague Within" inserts some modern elements and the resulting blend has energy aplenty as well as several genuine technical moments ("Crimson Altars") which could have been given more room. Fast and slower sections take turns the latter dragging a bit here and there ("Eradication") when they take full control which happens in the 2nd half where the closing title-track gets a nice orchestral exit.

Obscured Demo, 2006
Promio Promo, 2007
When Darkness Comes EP, 2009
Promo Demo, 2009
When Darkness Comes Full-length, 2010
The Plague Within Full-length, 2013

Official Site


This is a versatile mixture of thrash, death, doom, gothic, and a bit of power metal. The music is very atmospheric and dramatic evolving in a dreamy mid-tempo with slower semi-balladic breaks and very good melodic leads. The singer is your average low-tuned death metal growler who never changes the pitch even on the more tender moments which are quite a few, by the way.

Born Demo, 2008

Official Site


One of the first bands in Sweden who explored the more extreme and "darker" corners of metal. Their style is a furious mix of black and thrash (some proto-death moments, too) metal akin to Possessed, Bathory and early Slayer.

Ovations to Death Demo, 1986
Damnations Pride Demo, 1987
Damnations Pride EP, 1997
Ovations to Death EP, 1997
Damnations Pride Best of/Compilation, 1998

My Space


This "army of darkness" isn't exactly scary since the band offer modern/classic power/thrash with crisp feelgood rhythms which become harder and faster (the early Metallica-sque headbangers "Get In The Pit" and "Fix Me Up") on occasion, and thrash shows its teeth more prominently on "Bite The Bullet" although the dominant delivery remains within the speed metal confines the title-track a prime "eagle fly free" hymn ala the German school: think Gamma Ray, Iron Savior, Liar. The vocalist is a decent semi-cleaner with an inebriate tone, and he doesn't hit the high notes too often.

Army Of Darkness Full-Length, 2015

Official Site


Based on "Into a New Age", this outfit specialize in conventional modern thrash/death; there's no hint whatsoever at any technical performance as one could hope from the band name (Obscura, their close namesakes, are a fine progressive/technical death metal band from the same country). Still, the guys thrash with gusto mixing the tempos, relying on the faster numbers to make a more lasting impression ("Out of Sight", "A Million Tears"). On the longer compositons (the closer "Brutality Reigns") the band try to "flirt" with progressive, but should hone their skills a bit longer in this department. The singer is a throaty forceful death metal semi-shouter who leads the show assuredly also taking quite a bit of space.

Full of Aggression EP, 2000
Souls of Pain Full-length, 2007
Into a New Age Full-length, 2013

Official Site


This is a 3-track EP which shows a band who mislead big time with their name since in their music the references to Sodom aren't many, if any at all. This is black/thrash which starts in an imposing atmospheric manner with "Dechristianized" which is a sombre gothic-tinged piece. "The Art of Torture" is a dynamic cut with brisk lashing guitars, and "Enemy of the Church" is a dramatic mid-paced lasher with a nice cutting edge. The vocalist is the ultimate brutal death metal growler, but his rendings are easy to decipher.

Dechristianized EP, 2012

Official Site


Stylish dark retro thrash metal not miles away from Infernal Majesty's debut, with a few brutal death metal elements inserted; the music seamlessly mixes fast aggressive moments and slower almost doomy ones, the latter accompanied by excellent twisted riffs and nice swirling leads which are not fast and follow the rhythm. "Terrorlogy t 1" is a great technical semi-instrumental, mostly up-tempo, with brilliant Coroner-like decisions in the 2nd half and a cool speedy exit. Hopefully there will be "Terrorlogy t 2" soon... "Vulcanus" carries on in the same vein with again a sparse participation of the vocals, but here the music is slower, mid- paced at best, even gloomier, blending the very technical vortex-like riffs with the most melodic power/thrash metal sections near the end. The vocals are also quite dark low-tuned death metal rasps, but suit the brooding sinister music just fine.

Terrorlogy Demo, 2009


Based on the full-length debut, this band play inspired old school speed/thrash with references to black metal reflected in a few slower stomping sections ala Khold and Thorns. The guys shred with passion slightly obstructed by the muffled production which may be intentional imitating the patterns from the past. The Angel Dust and Iron Angel debuts come to mind most often, but the delivery here is more one-dimensional and bashing also rubbing shoulders with the Portuguese Alastor. Addictive glorious speedsters can one come across here: "Fistfights For Satan", " Storming Death's Revenge", etc. with "Apokalyptik Raids" being a rough tribute to early Celtic Frost, but not really Hellhammer: the approach is more polished and not as evil if we exclude the macabre semi-shouty death metal vocals. This entertaining roller-coaster is finished with a cool cover of the Swedes Gehennah's "Say Hello to Mr. Fist". Raising the flag of retro speed/thrash high, this band can do no wrong bashing in the same way for a coupe of albums: there'll be no complaints whatsoever. Still, one has to wait a bit, though, having in mind the numerous other acts the guys are involved with: the black metallers Hailstorm and Zerstorer, the thrash/crossover formation Beer Pressure, etc.

"Assassins of the Pentagram" is another highly energetic blacky speed/thrashing affair now openly emulating early Helloween (check out the flying hymn "Sacrificial Lust") including in the vocal department where some admirable piercing high-pitched screams have been applied. The songs are short and to-the-point and it seems as though the flag of early speed metal is raised the highest this time, especially on the definitive speed metal hymn of the new millennium "Black Speed Thunder". "Devil's Soldiers" is the only openly brutal cut, an early Bathory-worship with furious blasting rhythms. The closing title-track boasts great melodic leads with nods to Kai Hansen, and is a fitting epitaph to this pretty entertaining retro roller-coaster.

Black Thrashing Blasphemy EP, 2009
Blitzkrieg Battalion Full-length, 2011
Black Magic Rites EP, 2013
Assassins of the Pentagram Full-Length, 2014

Official Site


Based on the "Sick Salvation" 2-song single, this act, which is actually only one person (Brandon Ferrell), plays direct stripped-down thrash/crossover with accentuated hardcore overtones. "Sick Salvation" is a fast moshing cut whereas "The Demon" is mid-paced with a punky vibe. The singer quarrels throughout with a comprehensive shouty tember.

Obsession Single, 2011
Sick Salvation Single, 2011


A 4-song demo of really brutal thrash/proto-death metal sounding well more vicious than their more renowned compatriots; some tracks are pure death metal: "Satans Procreation", one of the earliest attempts at the style. The sound quality is very bad with buzzy guitars and low gruff vocals which do their best to sound as brutal and vicious as possible. This is the reason, I guess, why this demo had sunk without a trace although from a poineering point of view it definitely deserves a mention when talking about the spawning stages of the death metal genre.

666-The Ultimate Demo, 1987


This is modern thrashcore/death with very cool melodies embedded which don't quite match the simplistic musical delivery which suddenly gets highly agitated on the headbanging delight "Into Battle". Alas, after it the guys slow down to almost doomy dimensions on the last string of cuts losing completely the energy from the beginning.

No Self to Sue Full-Length, 2015


Good classic mid-paced heavy thrash metal infused with more melodic guitar lines, more typical for traditional heavy metal, but they don't sound awkward and give the music a catchier edge. There are some up-tempo moments ("Season of Witch", "Intru-mental", both great stomping thrashers with good leads and riffs), but they are compensated by pure hard'n heavy numbers ("Negligence").

Obskur Full-length, 1994


Heavy abrasive industrial thrash metal which hesitates between uncompromising hitting riffs ala Skrew and Ministry and more dancey tunes akin to KMFDM and Rammstein. The mixture works fine, although to these ears the pure exercises in creepy atmospheric electronic ambient ("House Of Wnstefeld"; the excellent mix of harsh guitars and electronics on the "symphonic" "Symphony Of Decay") are more compelling showing a more thought-out side of the band similar to Front Line Assembly and Clock DVA. "The Cauldron Of Human Flesh", however, is equally as interesting being a vigorous thrasher of the less industrial mid-paced variety. "33 Knife Thrust For A Satanic Crime" is not far behind being the only more sincere attempt at headbanging thrash even touching proto-death on the more aggressive moments. "The Devil Inside" is also worth mentioning being a calmer piece with gothic overtones. The downside would be the last two tracks which are sheer semi-techno/industrial variations, something typical for the industrial metal acts; and probably the noisy synthesized proto-death metal vocals which don't change anywhere even on the mellower sections, although again, they are something pretty common for this genre.

"Highway Of Horrorsr" clings more towards the dancey side of the undustrial movement, and as such may annoy the diehard fanbase although it will inevitably win the band many new supporters. The album still has its hard-hitting guitar edge, but the synthesizers and the dissonant keyboards are all over it sometimes to the point of distraction. Consequently the overall approach borders on the operatic histrionics of Front Line Assembly than the more thrash-fixated landscapes of Skrew and Ministry. Needless to say, some tracks are pure exercises in electronic industrial as opposed to the super-heavy guitar-driven crushers like "Bloody Black Skin" and the doomy depresser "Insane Impulse". Still, the album is well concocted and has its strange charm "Dead and Buried" near the end promising some mild headbanging fun, "Curse with a Teenager Slut" even introducing a few more technical hooks, before the undistrial cover version of Judas Priest's "Painkiller" "kills all the pain" revealing a stylish, never even dreamt of before, twist to this speed metal curmudgeon which here is hardly recognizeable given a very characteristic interpretation, by all means on the plus side. The vocal aspect is expressed through synthesized low-tuned recitals which play a secondary role here.

Symphony Of Decay Full-Length, 2010
Highway Of Horrors Full-Length, 2013



This Greek outfit indulge in modern progressive thrash which is harsh and abrasive, but delivers the goods with its intricate arrangements and clever technical riffage. The delivery gets moderately headbanging ("Resolve") at times, but the focus is more on creepy abstract landscapes their dispassionate character alleviated by the good semi-clean vocals with an echo of James Hetfield. At some point the listener may get a bit bored since there's no variety in the execution, and the cold mechanical guitars may lose their effect on him/her before the arrival of the dynamic shredder "You Coward" which even adheres to more aggressive death metal for a bit. Still, the monotony of the dragging "R for Redemption" can't be helped, and this album may be deemed an average achievement despite its promising start.

Obzerv Full-Length, 2015


The EP: modern ordinary groovy post-thrash; the best moments are probably... ha ha, this is funny!, the ones where the sound moves towards stoner/doom ("War Machine"); no kidding. The balladic instrumental at the end "Epitomy of Evil" is not too bad, either (lol).

The full-length is a bit better complicating the approach coming up with monstrous compositions like the 10-min oddity "The Murder Song" which could literally "murder" you if you're not prepared for this offbeat doomy/post-thrashy quasi-industrial affair which has its moments, but is by all means an acquired listen. The strange sections, however, end here and the rest is mild predictable post-thrash until we reach another 10.5-min opus, but this one is nothing really special, just jumpy crunchy riffs have been piled with not much thought behind them. "Solitude" right after may scare you a bit with the short blasting passage, and the closing "Blood Soaked Tears" is a really overdone number lasting for more than 16-min offering numerous scattered sections making the previously heard material unnecessary since all that has been heard before has been packed here. This act are not for everyone, but they would surely found someone who would invest a fair bit of time digging into this weird, highly incoherent after at first (and even after a second) listen, stuff.

"Concrete Psychosis" begins quite excitingly with the short technical puzzler "Their Legacy Has Failed", and later on is by no means a sloucher, first with the twisting "This Is Fury" and the weird cyber-headbanger "Symbiotics Of Sickness"; then with a short string of abrasive industrial proto-groovers in the middle. The 2nd part, however, loses the plot almost completely with mild friendly rockers which abandon the thrashy idea "killing" everything good with the dragging soft closer "Vile", which is indeed a "vile" end to an otherwise very promising, fairly engaging, start.

Disciples of Death Full-Length, 2003
Obzidian EP, 2007
Damned Eternal Full-length, 2012
Concrete Psychosis Full-Length, 2014

Official Site


A black/thrash metal band; their debut is mostly furious black metal with slight hints at thrash. On "The Enemy Within" the transition is more than obvious: this is excellent heads-down thrash with a certain presence of black metal; quite fast and raging at times: check out the blitzkrieg opener "Souls". "Inquisitions of the Holy" is slower, but more proficient guitar-wise. The next "Crossing the Boundaries (of Life and Death)" is a very cool mixture of the two preceding tracks, a pattern followed by the slightly more vicious and brutal "Selfbetrayed". "Twisted Words (My Darkest Emotions)" will literally sweep you with its ultra-fast tempo: black/thrashing madness at its most unbridled. "Through Dark and Light I Dwell" has to be softer for the listener to continue being on track, and it's a fine up-tempo thrasher with a great haunting balladic interlude. The sound takes a genuine technical edge on "One Way Out", which also "courts" death metal, and is a masterpiece of technically-minded thrash/death metal ala Pestilence and later period Death. This nice deviation is nowhere to be heard later on; instead the guys keep blasting out, with "Eyes of Blood", or adding more black metal-like atmosphere and heavy mid-paced riffage, with the final "Delusions". The singer is a girl (Rachel Heyzer), but there is absolutely no way one would guess that right: her super vicious black-ish snarls would make even Mika Luttinen (Impaled Nazarene) run for cover. The death metal legends Sinister, quite impressed by her performance, hired her for a couple of albums later.
"Of Flesh and Blood" introduced death metal in the proceedings, and the black metal influences by then have been almost completely gone; this is another good album although some may mourn the lost primal aggression of the debut, and the spontaneous merciless shredding. "asite" opens it with a calm heavy pace, but the rage starts no longer after, although it gets tially lost on the dark brooding "Dreamsweeper". "Stolen" keeps a good energetic pace, but "Killing Breed" slows down, and influences the rest of the material, which reaches atmospheric gothic grounds on "Downfall of Deity". "Doomsday Destroyer" will surely wake you up, thrashing on full-throttle sounding like a leftover from the debut. "Dead Man Walking" and "Vow of Retaliation" carry on in the same direction, exiting the album with style although the very end is in the exactly opposite pole, coming in the form of the heavy doomy "Creatures of the Night", which, of course, is not a Kiss cover.

"Rage to Revenge" is pure thrash assault, with no gimmicks from any other genres. It will blow your socks off from the get-go, with the raging "Mind Domination", and the slower steam-rolling "Violence & Hatred". "The Madness Within" is a maddening thrash fury, another reminder of the debut, but the crushing heavy sound returns with "Killing for Recreation". It remains for "Thy Creation" as well, but the speed is brought back with no compromise on "Revenge is Mine". The last 2 compositions mix the two approaches, but the closing "The Desolate One" wants your soul producing another slab of intense headbanging thrash.

"Elegy For The Weak" is the band's magnum opus, and one of the best trash metal works of the decade. It opens with confidence and aggression with "Disturbing the Dead", and never lets go, inimily mixing the fast and the heavy moments on "Nuclear Torment". "Nocturnal Predator" is a masterpiece of mid-paced crushing, machine gun-like thrash: arguably the finest achievement in this trend. "Feel the Blade" starts in the same way, and one would hardly complain, still enchanted by the previous smasher, but later on speeds up, without completely losing the heaviness. "Expire" is badly needed: a short tender peaceful instrumental, to give a chance to both the listener and the performers to rest, totally cancelled by the brutal thrash on "Warbeast", "Obsessed by the Grave" and "Slaughtering the Pigs". "Reapers Call" shows some mercy trying to bring the super heaviness of "Nocturnal Predator", and comes close. "Slut of Sodom" is more controlled up-tempo thrash, a cool finishing touch to this truly memorable head-shaking tour around the thrash metal field.
A change of name followed: from Occult to Legion Of The Damned, taking with it the female vocalist as well who was seen for a while in the brutal death metal outfit Infinite Hate; but the style pretty much remains the same with a slight return of some of the black metal tendencies of old.

Pree To Meet Thy Doom Full-length, 1994
The Enemy Within Full-length, 1996
Of Flesh and Blood Full-length, 1999
Violence and Hatred EP, 2000
Rage to Revenge Full-length, 2001
Elegy For The Weak Full-length, 2004

My Space


Based on the demo: two songs of raw early speed/thrash ala Hallows Eve and Razor with a certain shade of hardcore on the short "Slaughterhouse", which also boasts the better guitar work, with a nice melodic main theme.

Bloodthirsty Demo, 1985
Agathocles/Occult Split, 2007


This Canadian power trio offer intense retro black/thrash which at times turns to Exciter "adoration" ("Black Adoration", the catchy mid-paced title-track) on the less aggressive passages the latter reminiscent of early Bathory and the Germans Desaster. The execution is fairly simplistic, and the vocals are screechy, raspy blacky ravens.

Hideous Obscure Full-Length, 2016

Official Site


The EP: noisy crusty thrashcore which is quite energetic even sticking to a couple of more classic speed/thrashy moments ("Gamma Tomb") with an early Venom flavour. There are also a few slower passages as well as some which are pure death metal ("Messiah Cleaver"). The vocals are very shouty, but are comprehensive and suit the wild untamed music.

The full-length is another noisy (but not so much this time) affair the guys bashing with vigour and a lot of crust, and death metal comes to help ("Devil's Breath") to a positive impression giving an enormous dynamic boost to the album. The speed/thrash now comes way more intense rubbing shoulders with Pile Driver and Rigor Mortis (the title-track). "Path of the Damned" is a nice heavy/power metal hymn which relieves the fans a bit; not that they need a lot of reliefs along the way despite the high energy emitting from the music and the good inspired shouty singer. The shadow of Venom is solely felt on the proto-galloping rougher "Blackest Apotheosis", the guys also trying something more serious with a pagan/epic flavour ala mid-period Bathory and Amon Amarth on the final "Towers of Silence".

Hell By Our Hands EP, 2012
Death Sigils Full-Length, 2013

Official Site


Cool thrash metal crossing modern with classic influences on a dark gothic base. The riffage is sharp with not many temptations at a faster play, and the final result comes as a more aggressive version of mid-period Sentenced, similarities also in the vocal department. Some of the band members try something harder and faster with the classic thrash metal outfit Exvertigo.

Wahnsinn EP, 2010

Official Site


Based on "Rychl'df Smrt", this Czech trio plays entertaining speed/proto-thrash which has shades of Motorhead and Tank, but often does it "rage" no worse than veterans like Rage, early Helloween and the French Killers. The odd heavy metal tune ("My Nem'dfme Penfze") is also around the corner as well as the obligatory borrowings from their peers (the Helloween-esque guitar harmonies on "Jom"). So you can imagine that this will mostly be speed metal stuff; music which is done with conviction and understanding of the old canons. The singer is cool with his his clean, attached tone which aptly accompanies the musical proceedings, never leaving the mid-parametres although a few higher-pitched antics could have been quite fitting.

The Motorhell Full-length, 2002
The Sexhell Full-length, 2003
Rychy Smrt Full-length, 2005
Fuckers Full-length, 2008

Official Site


Based on the full-length, this is modern thrash with various influences coming from power, heavy and even death metal. The delivery is fairly intense and hammering, but the really up-tempo numbers are not that many the band lashing out in a more volcanic, mid-paced fashion. The leads are quite good and along with the potent diverse vocals stand for the highlight. More dramatism arrives towards the end, first with the stomping "Demon Driver", then with the closing headbanger "Destructions Near" which spits fiery "destructive" riffs with passion making the finish worth waiting for.

3-D World EP, 2010
Octane Mob Full-length, 2014

Official Site


4 tracks of raw primal black/death/thrash played in various paces the guys seldom bashing out just for a bashing's sake. So there are more meaningful moments to be savoured (the compulsive headbanger "Tiempos de Demencia" at the end), but the noisy guitars, the screamy muddled vocals and the not very good sound quality ruin the intentions.

Reliquia Ancestral Demo, 2010


Very cool old school power/thrash metal this way comes from the Middle East. These Arabians pull out competent thought-out stuff with a progressive edge which gives their style a nice melodic blend which sometimes maybe comes as too much ("Illusion of War"), but at other times brings about good intense rhythms ("Delusion") accompanied by fine lead guitar work. The tempo is predominantly mid-paced, and the singer has a fine mid-levelled semi-clean voice.

Fighting for Freedom Demo, 2008

My Space


Simplistic laid-back proto-thrash/crossover with epic tendencies; the music is not miles away from Tank and Motorhead, with the vocals taking a harsher angrier hardcore tone.

Friendship Split, 2003


This band started their career under the name Kaskadiori where the music was more on the doomy/stoner side. The first 2 albums here are more in the groovy post-thrash camp, but on "Beyond the Shell" the guys enter the modern thrash arena on full-throttle. The band sound surprisingly tight and sinister with plenty of raging headbanging riffs for the fans to enjoy, and hits like "Follow the Horns" and "Death Trap" are guarantees for violent moshpits around the globe. The performance is quite professional with some great lead sections and numeorus melodic hooks the latter carrying their Swedish brand ("Rules of Blood") just underneath their shoulders. "Evolution" is an obvious leftover from their Pantera-sque past, but such "cobbles" along the path are not very common later replaced by a few more laid-back proto-balladic pieces including the long 9.5-min closer "All That's Been Is Forever" which is an interesting jumpy progressive saga. The vocals are of the shouty deathy variety, and create a bit of noise at times when applied in a more forced, strained manner.

We Are What We Are Full-length, 2008
A Bottle of Friends Full-length, 2010
Beyond the Shell Full-length, 2012

Official Site


The demo: modern thrash/death metal, alternating between the 2 genres, "courting" death metal more probably with furious blast-beats scattered around. The good sound quality gives a cool boost to the guitars which are cutting-sharp, occasionally going for the odd more technical lick ("669").

The full-length is an intelligent technical affair seeing the band having matured beyond their more amateurish beginnings playing surprisingly effective aggressive thrash/death (more death than thrash) ala early Suffocation and their compatriots from the distant past Canker. The blast-beats have been diminished quite a bit giving way to the guys' more technical nature to more fully develop including the more complete presence of thrash on cuts like "669" and the excellent technicaller "Ipuin Amaigabeak". The diversity in tempo and time-changes is big although the fast pace predominates favouring the speedy guitar players who shred with passion leaving a fairly positive impression overshadowing the flat unemotional shouty death metal vocals. This is a really cool tribute to the old school and the guys should by all means be a more regular presence on the scene.

Damned Demo Madarikatua Demo, 2006
Gorrotopean Loturik Full-length, 2011

My Space


A 2-song demo of heavy, black-ish thrash obviously influenced by early Venom; the music is not very intense, and the vocals are a bit of an acquired taste being shouted black-ish ones.

Ju+ Tu Nie Wr=cisz Szatanie Demo, 1987


This act rose from the ashes of the short-lived thrash metal outfit Halifax Gibbet under which name they only released one solitary demo in 1992. Based on "The New Prometheus", this is modern 90's post-thrash metal, but these guys don't fall too often into the groovy "traps" set by Pantera, Machine Head and the likes; they opt for a more original, alternative sound reminiscent of Tool perhaps at times, but more aggressive and a tad less adventurous. The clean vocals used on this album are quite good, but they would probably be more suitable for a doom or gothic metal act. This is cool, but melodic stuff, and might not satisfy the more hard-boiled fans.

The debut is another less ordinary stylish affair the band combining their avantgarde jumpy style with sudden speedy explosions and a few cool atmospheric balladic touches, all this on a very capably created classic/modern "marriage". "Mindraping Psy-clones" is an exemplary technical energizer with sudden tempo and time-switches, very unpredictable and satisfying stuff. "Naked Terror" will also keep you on the alert with its twisted riffage and crunchy rhythms; and "Amnesia" will remind of the Voivod experimentations of the late 80's/early 90's with loads of quirky decisions. "Mechanical World" is exactly what the title promises: mechanical technical shred with breath-taking balladic insertions. "Tyrannicide" is a creepy puzzler with weird proto-doomy riffs, and the final "My Experience" is a dynamic offering with dramatic riff accumulations which are the only more straight-forward moment on this fairly interesting effort showing a band sharing the original creative side of the genre along with other acts from their homeland (Misanthrope, Droys, Aleister, Witches, etc.), producing one of the true gems of the post-classic thrash metal period in the 90's.

"Qualms..." is more laid-back abandoning the harder thrash patterns, but is another stylish offering with several offbeat, intriguing moments to enjoy. "Thresholds of Consciousness" is excellent progressive thrash with sudden original decisions among the heavy steam-rolling background, and the other more elaborate number "Dreamtime" is indeed a "dreamy" composition with a moderate approach with heavy guitars alternating with balladic passages. The other material contains the odd more technical hook, but is more conventional seeing the band moving towards the post-thrashy side of the spectre. The last song is a cool industrialized cover of Two Unlimited's "Tribal Dance" done in a jumpy hectic fashion.

Experiment Full-Length, 1994
Qualms... Full-length, 1995
The New Prometheus Full-length, 1997


Modern-ish power/thrash with more classic elanings expectedly emulating the holy triumvirate of Argentnian metal (Horcas, Hermetica, Lethal) withotu trying anything outside those boundaries. In other words, prepare for laid-back, peaceful mid-paced rhythms with only one relative speedster ("Solo en la Oscuridad") breaking the "idyll". The vocalist is a hoarse semi-cleaner whose antics are devoid of passion and dramatism.

Nuestra Bestia Interior Full-Length, 2016

Official Site


Based on "Still Standing Strong", this act pulls out happy unpretentious thrash/crossover with open punk overtones. The singer is a more aggressive deliverer better suiting the intense proto-death on "Plunder And Pillage", or the heavy doomster at the end "Hail The Gods".

Battle Legions of Wotan Full-length, 1997
The Fire In Your Eyes EP, 1999
Still Standing Strong Full-length, 2000
Never Fade Away EP, 2001
To Death We Ride EP, 2002


Based on "We Are Gods", this act plays melodic modern thrash metal with epic tendencies. The officiant mid-paced tone is broken on more vigorous pieces like "More To Lose", but the majority of the songs are lengthy with doomy and semi-balladic stretches, those suiting well the clean emotional vocals which acquire a more vicious screamy pitch ("Dark Eyes") on the faster parts. The closer "We Are Gods" is an encompassing progressive opus which blends intense galloping riffs with beautiful balladic interludes creating something not too far from early Falconer with similar catchy sing-along choruses and infectious tunes.

The debut already sugests something with the title, but the guys could hardly pass for full-blooded thrashers this effort again clinging more towards the more officiant epic side of the genre full of galloping delights and more radio-friendly power metal cuts ("Bringer of the Knife"). "Silver" is a really cool elegiac doomster, and "Mighty Hammer Force" is an appropriate tribute to early Manowar with its stomping riffage and battle-like motifs. The only full-ahead speed/thrasher is the short shredder "The Chill of Winter's Darkness", preceding the excellent doomy closer "Odinfist" which emits a lot of passion with numerous melodic tunes and heavy progressive arrangements the latter assisted by operatic keyboard variations.

"Rest in Glory" will "rest in glory" till the "rest" of its days due to its dedication to the "glorious" battle-like rhythms which admirably wrap around this album devoiding it of many more aggressive moments, but the evocative power of the opening galloper "Release The Vice" and the dramatic steam-rolliness of "Grim Toll" will warm any metal fan's heart. "The Great Thirst" is epic speed/thrash with Manticora-sque overtones dissipating the officiant slower tone of the dominant material which is topped capably by the soaring clean vocals which disappoint a bit on the higher tones (the hysterical pitch on "Will Of The Warrior"). The closing "Ragnarok" is epic power/speed metal in the best tradition of Omen and Attacker exiting this effort with style which it by all means deserves.

Thrash and Pillage Full-length, 2009
Fields of Flesh EP, 2009
We Are Gods Full-length, 2010
Come to the Walls EP, 2011
Rest in Glory Full-length, 2012

My Space


Modern groovy 90's thrash metal with a pinch of death and gothic; this is not headbanging stuff as the music is mid-paced at best with several quiet atmospheric moments.

Fallen At EP, 1995


A modern blend of thrash and death metal which is sustained in various paces as clumsy groovy developments "cross swords" with fast-paced "excursions" on almost every cut, the brutal deathy decisions ("Hate") starkly contrasting with the other, more subdued material. Much noise is also generated by the hysterical deathy vocals although the guy's performance knows its limits as evident from his less rending exploits on the good atmospheric psychedelic closer "Exsanguination".

Planet Of Immense Decay Full-Length, 2017


This German act is a pleasant surprise trying to find their way through the groovy/modern "jungle" of the time providing a cool retro mixture of power, doom and thrash metal. The debut begins in a dark morose manner before hitting hard with the much more dynamic thrasher "Chronic Madness", which remains the only faster surprise, though, the rest of the tracks going down to doom metal (including one tender acoustic ballad) producing good results in this genre, but their appeal to the thrash metal fan won't be very lasting.

"Into The Outfields" continues in the same vein blending the three styles again giving more space to doom metal perhaps, this time refusing to speed up beyond the semi-galloping tempo (the dark power/thrasher "Mindbender", which will hardly bend your mind), and may consequently fail to win the thrash metal fans for the band's cause. Still, they have to be paid respect with their true to the classic idea sound, although it would be interesting to check whether they have managed to preserve it on future efforts...

"Stop My Anger" is a harder affair, comprising of moody, mostly mid-tempo power/thrashers, seldom livening up ("Salvation") with the odd more aggressive riff, relying on crushing, stomping guitars which this time don't recall the doom metal scene (maybe only on the heavy ballad "A Look Inside"; and on the semi-balladic closer "Suicide") so much, but have a characteristic dark quality to them which brings them closer to Swedish acts like Fifth Reason and Morgana Lefay. The vocals keep up with the morose music pullng out subdued, semi-clean performance without any emotional outbursts.
"Written In Flesh" doesn't stray too much from the chosen path, but is edgier than its predecessors providing cool sophisticated power/thrash with an early-90's Megadeth flavour ("Written In Flesh") at times. The doomy side shows up ("All Is Bleeding") inevitably, mostly in the second half, but the accentuation is on more dynamic numbers including the short crossover joy "Be-Orscype".
The "Just a Crisis" EP is six tracks of the same stuff mixing fast and slow pieces in equal dozes (three from each side), the former featuring the nice sharp headbangers "Diet" and "The Well", and the more diverse closer "Would u Carry Me". The band show quite a consistency throughout, both music and vocal-wise, never venturing into anything outside the box, but at the same time never betraying their fans with their steady reliable, albeit slightly repetitive, approach.
"The Science Of Dying" is the band's most aggressive recording, at least in the beginning, the guys thrashing wildly covering Slayer ground ("Who I Am") with ease. Certainly, this won't turn into a full-fledged headbanger's fest, and "Die with Pride" is already a nice mellower hymn with the legend Paul Di'Anno (Iron Maiden) guesting. After it the band have problems raising the intensity and what follows are not very impressive slower numbers with power metal ruling all the way to the end. A thoroughly misleading beginning which may make the fans quite disappointed, and even angry in the end...
"As the World Turns Black" doesn't betray the band's staple style by blending power and thrash with more preferences to power metal again the consistently dark tone of the music paying off in the end as in terms of consistency this effort beats the preceding recordings. "Frozen World" tries to notch up the speed, but such attempts are frowned upon usually although "Time Is a Killer" is another more energetic cut overwriting the mellower balladic tendencies of the title-track.

Odium Full-length, 1997
Into The Outfields Full-length, 1998
A New Beginning Full-length, 2001
Written In Flesh Full-length, 2004
Just a Crisis EP, 2006
Stop My Anger Full-length, 2010
Beautiful Violence Full-length, 2012
The Science Of Dying Full-length, 2014
As the World Turns Black Full-length, 2017

Official Site


Dark obscure thrash with modern death metal leanings; there's a lot of doom ala Dark Millennium and gothic involved as well, among other more or less prominent influences. The compositions are slow-ish without much participation from the vocals which are shouty deathy outbursts. The guys drastically changed their style a few months later and started playing some insipid alternative rock/metal under the name Imaginoid.

Complaint Demo, 1998


The debut: a very cool obscure band which started promisingly with an interesting progressively-oriented debut sounding like a more thrashy version of early Therion and Nocturnus. "Cold Of Oblivion" is an awesome highly atmospheric opener alternating clever technical passages ala Death with haunting keyboard-infused ones to a very positive effect. The masterpieces don't end here, and "Out of This World" is an entertainment of a similar kind, slightly slower, but also more technical finishing with great twisted Coroner-like hooks. "Space Reason" is a melodic opus starting with a quiet balladic section before speeding up to mid-pace later on. "Constellation Of Dreams" is a great "cosmic" piece with virtuoso leads and brilliant melodies; the sharpness of the guitars has been taken away a bit, but this song would be a no-brainer for the progressive metal lovers in general. "Eternity" is a nice speedster with Death again a close soundalike, but "Putrefying Flesh" is another breathtaking exercise in more melodic progressive thrash with haunting keyboard implements. "The Last Angel" is a nice combination of hard riffs and swirling melodies giving room to the closing etude which is a fine acoustic ballad with lead-driven parts; more than a fitting epitaph to this first-rate effort.

"Bezdna" is another standout work, shorter on atmosphere, but longer on technical play, as evident from the heavy complex opener "Anti-Reality" which even touches Watchtower in terms of complexity. "Voskresshiy" is relatively more relaxed with references to Coroner also containing a few faster moments supported by a great bass- bottom. "Illusion Of Superiority" will remind you of the debut with the return of the keyboard motifs and the memorable melodic lines resulting in an outstanding progressive/technical thrasher with some of the best leads around as well. "Interminable Sleep" is an abstract doomy "sleepy" composition with creepy minimalistic riffage. "Mirror Of Dark" is a great exercise in another more abstract technical thrash with a few faster "surprises" near the end which culminate in a gorgeous bass-dominated exit. "Book Of Fates" recalls later-period Death with keyboard support, and is a welcome more dynamic number; and "Limit Equilibrium" doesn't stray too much from the more energetic formula despite the couple of high-octane doomy riffs present. "The Abyss" closes the album by mixing slower and faster rhythms offering fine lead guitar passages along the way, plus the fast-paced headbanging ending.

Up to that point the guys had all the right to be considered "the greatest underground phenomenon" on the Russian metal scene producing two albums of exemplary technical/progressive thrash metal ranking right beside (and even higher) the works of more famous Russian acts like Valkyria, Zhelezny Potok, Aspid, Trizna and Koma. "Realnui Mir", however, would be quite a surprise for their fans offering pretty mild, and not very impressive, modern post-thrash with very little left from their more complex past. There are a few faster tracks, but they sound as though taken straight from the 90's power/speed metal scene. The fine guitar work can still be felt as well as the keyboard melodies, but they sound much more ordinary and not very inspired. Well, we have heard worse examples of change of style, both from Russia and elsewhere, but still the aftertaste is pretty strong after such strong performance in the not so distant past. Parallel to this band's career, some of the members had also taken part in the heavy/power metal formation Magistr.

"Otchuzhdenie" is better than its successor, but is nothing more than your typical progressive metal offering, melodic laid-back stuff; not bad, with loads of melody, but having almost nothing to do with the band's older "exploits".

Kosmicheskij Razum Full-length, 1994
Bezdna Full-length, 1996
Otchuzhdenie Full-length, 1998
Realnui Mir Full-Length, 2000

Official Site


Based on the "Halucinace" demo, these folks specialize in energetic semi-technical thrash which is cleverly-constructed also supported by a couple of good melodic tunes which are particularly evident on the largely instrumental affairs "L.S.D." and "Halucinace". "Gynekolog" is an excellent technical shredder, but the other cuts are not too far behind the closing "Troska" another stylish exercise in less ordinary headbanging thrash. The singer is not bad although his semi-declamatory antics are not exactly superior to the top-notch musical delivery which also scores high in the lead department (check out "Troska" again).

Halucinace Demo, 1991
The Umacart Forehead Demo, 1992


Based on "Catharsis", this formation deliver energetic old school thrash which shifts the tempos trying to keep the main one in the up-parametres where the sound becomes too Bay-Area friendly ("Addiction"), in a good way, of course. "When I Wake" is an imposing balladic semi-doomster, but there's plenty of energy "flying" around later with roller-coasters like "Shining" and "Cut You Loose" provided abundantly. In the 2nd half the guys slow down again for the production of several longer numbers, the closing "Betrayer" trying to make up for the sleepy atmosphere with a portion of vivid speedy rhythms. Some of the band members were earlier active with the thrash metal outfit Signs of Decay when they only managed to release one demo in 2007.

Speak No Evil Full-length, 1994
Catharsis Full-length, 2001

Official Site


The "Schematics" EP: excellent technical, all-instrumental thrash metal of the jumpy hectic, unpredictable, type not too far from the Canadians Electro Quarterstaff; the title-track is an outstanding composition mixing very fast, almost death metal-like, sections with very elaborate mazey structures supported by some of the most technical riffs around, and an awesome bass bottom; the song remains memorable due to the repeated motifs which are still a bit hard to follow comprising numerous time-changes. Then hits "Fractured Dimensions", a colossal 11.5-min number, quite an achievement in the progressive/technical thrash metal genre summing up almost everything one could look to hear on such a piece. A riff after riff overflow the listener to a pretty overwhelming effect, and it will inevily require several listens before one starts getting the picture; very good melodic leads are aslo featured to assist the superb riffwork. "Requiem" is a relaxed take on lead-driven dreamy progressive with no ties to thrash, but "Peripheral Aspects" will make your head spin once again with sudden time and tempo changes mixed with abstract spacey moments ala mid-90's Voivod. Although consisting of just 4 tracks, this effort contains music to fill in a whole full-length easily, and hopefully the guys will delight the technical metal fans with a longer offering soon.
The full-length debut is already an accomplished affair, comprising of pretty good diverse instrumentals, like the opening "Iconoclast", which is a creepy offering with meandering riffs, in mid to slow pace with a dry, sterile edge. "Ashes Rain from the Sky" is more dynamic, thrashing intensely with puzzling, multi-layered riffs with a fine surreal flavour. Things get just a bit more simplistic on the shorter jumper "Planetary Implosion", which delivers in a busy, hectic manner. One will have no choice, but to "quietly wait" for the passing of "Quietly Waiting", which is a peaceful, dreamy composition of the balladic variety. "Neural Impulse" is an aggressive proto-deathster of the ultra-complex type, the balladic moments springing up again in the middle, stretching till the end, to give an atmospheric abstract touch to the otherwise intense shredding. "Outlier" is a calmer number, progressive thrash in a consistent mid-tempo without too many adventurous digressions. "Ascendance" is in a similar vein, but the riffs become edgier although their presence is not felt too much due to the overuse of the leads. The closing "Redemption" is a creepy masterpiece of atmospheric technical thrash which seamlessly moves from aggressive lashing sections to slower, abstract ones both graced by some of the finest technical riffs around; a brilliant display of high-class musicianship, 12-min of sheer mastery the riffs doing the major damage leaving some room for the leads at the end. This is more than a sure-handed beginning for one of the most talented acts on the scene nowadays, showing a surprising maturity at this early stage.

"An Abstract Existence" would be another no-brainer for the technical metal lovers starting with the dry abstract shredder "Cellular Deconstruction", which has a few more melodic surprises (mostly in the lead department) later on without losing the futuristic edge of the jumpy guitars which come nicely supported in the middle by stylish orchestral insertions. "Transcending the Earthly Form" is calmer spacey progressive ala Canvas Solaris, despite the several more aggressive riffs heard in the second half. Time for something bigger and more serious: and here comes the title-track, a 14-min whirlwind of time and tempo-changes, served with quirky rhythms and funky/jazzy decisions galore, plus a hefty doze of consistent, modern thrashy shred in a solid mid-pace. "Peripheral Aspects", already featured on the "Schematics" EP, begins with a whirlwind of chaotic leads, but later on things get under control, this composition turning into another hallucinogenic experience, more aggressive (don't read fast), with crushing thrashy and proto-deathy riffs involved, reaching a fine Atheist-like crescendo near the end. "Inputting a Binary Sequence" is brilliant twisted technical thrash with very good bass support, maddening fast sections (with a touch of death metal again), and weird cosmic nuances the latter graced by some of the most complex lead guitar work around. Another colossal piece awaits you at the end: the 20-min "Quantum Symbiotic Inception", the ultimate encyclopaedia of progressive/technical metal which delivers in all departments with brutal shredding cuts taking turns with mellow balladic ones, all this having an appealing futuristic edge with mid-90's Voivod a close soundalike on the more sterile mid-section, and a more officiant doomy exit. The guys are pretty much on top of their game at present, and hardly is there any act which can beat them in the all-instrumental sector, and not because that same sector is not the most affluent one on the scene at the moment.

The "The Turning Tide" EP is the next in line display of musical mastery as the music this time isn't so prone to thrash, but goes in a more free, less scholastic, progressive direction with several atmospheric nuances covered. Still, the edgy riffs will keep you on the alert (check out the twisting hectic "The Machine Stops") although the real highlight would be the pensive oblivious sections (the title-track, the balladic "odyssey" "Quietly Waiting") which are captivating without changing the rhythm and the pace too much.
The "The Conscious Device" EP is an impressive 3-tracker which starts with the labyrinthine 10-min masterpiece "Esoteric Synthesis" which meanders through a maze of creepy minimalistic riff-patterns initially before hectic jazzy passages get installed alongside more peaceful variations settle in mid-way, only to be superseded by more brutal death-laced histrionics until the return the familiar creepy formulas from the beginning. "Via Domus" is a short psychedelic lead-driven etude, and the title-track is another ambitious, nearly 11-min long exercise in complex rhythmic mosaics which seldom leave the established mid-paced to semi-balladic riff-formulas except for the more aggressive technical thrashy stroke in the second half.
"Voids" is a more psychedelic, more spacey listening experience the band not focusing on hard-hittign shreds so much. This by no means means that this would be a bland fusion-like extravaganza, no; the moment the opening "Emerge. Evolve. Adapt." enters the scene with these intense thrash-peppered rifforamas, the listener will instantly know that the change wouldn't as drastic, and that there will still be entertainment for the headbangers. "Negate the Infinite" thrashes with more force even, but before this effort turns into a Megadeth, or Metallica worship come the swriling leads and the spacey mosaics to bring some balance the latter handsomely achieved throughout "Motives" nicely reminding of Zero Hour's best moments, a mazey shredder with a jumpy rhythm-section and ample fusion-esque overflows. "Before There Were Eyes to See" is a nice progressive thrasher with more dynamic riffs, the leads also trying to occupy as much room as possible, including on the jumpy Alarum-esque "The Plot Thickens", but on "Delineation" the hard-hitting riffage takes over as this number is a furious thrashterpiece for at least half the time the guys adding a couple of more abstract strokes which can also be heard on the closing title-track, a spell-binding blend of intense thrash and mazey spiral-like configurations plus a quiet spacey interlude. As a whole this opus is another sure-handed entry into the band's discography the guys further consolidating their status as the finest instrumental metal providers in the new millennium.

Objects in Space Full-length, 2009
Schematics EP, 2010
An Abstract Existence Full-length, 2011
The Conscious Device EP, 2012
The Turning Tide EP, 2014
Voids Full-Length, 2016

Official Site


This band indulges in old school power/thrash which borrows a trick or two from the 80's American school (Liege Lord, early Laaz Rockit). The musicians cleverly mix rhythms and moods to produce an interesting, at times progressive, picture the dramatism aggravated by the good clean passionate mid-ranged vocals. The more immediate numbers ("The Mysterious Stranger") work almost as well lashing more direct, more aggressive riffs which kind of better serve the slightly subdued, muffled guitar sound.

Demo Demo, 2011



Modern melodic thrash/death which is nothing new really, just rehashed Gothenburg-styled riffs and the not that exciting anymore "gruff-clean" vocal duel this particular gimmick bringing the approach close to metalcore at times.

Out Of The Shadows Full-Length, 2013


Swedish thrash/death metal; Gothenburg seems to have moved to the States with the increasing number of acts over there treading Swedish waters. These guys walk the borderline between the two genres (staying closer to thrash perhaps), adding nice epic melodies here and there, supported by the fine keyboard/piano background which creates an encompassing orchestral atmosphere "covering" the whole album, strangely recalling Blind Guardian's "Imaginations from the Other Side". The tempo is mid to up with adherence to speed metal as well (check out "Shadowed In Silence") without many very aggressive passages, and overall the music is dominated by a big sense of melody with the sharp riffage playing a secondary role here. The "Blind Guardian of thrash/death metal" definition could very well fit this talented band who give a nice twist to an already overcrowded and depleted style.

Bound to Prophecy Full-length, 2009

Official Site


The band where Mem Von Stein (Exumer) stopped for a while before his deture for the USA; he had also taken his colleague from the thrash/crossover outfit Phobic Instinct, with which he had a short spell earlier on, the drummer Bilka. The music presented here, however, has no relations to thrash/crossover whatsoever, but makes "Without..." one of the better works of the 90's German metal scene. Don't expect to hear any speed anthems like the ones featured on the Exumer's debut, either: this is moody, mostly mid-paced, technical/progressive thrash metal which had no precedent on the scene at the time. Von Stein lowers his vocals down to suit the music and does a good job as such sounding suitably dispassionate and detached. The style bears resemblances to the surreal atmosphere of Voivod's "Killing Technology" sticking to similar abstract dissonant musical patterns so characteristic of the guys' Canadian peers. It's hard to accurately describe this very cool album; this is probably the first work to start the wave of progressive/technical thrash metal acts which appeared on the German metal scene in the early/mid-90's although it hardly sets the tone for it being pretty much in a league of its own, not sharing much of the faster more aggressive formula of the majority.

Without... Full-length, 1991


Eventful choppy technical thrash which can get quite wild ("Vicegrip") on occasion, and generally the approach is not very predictable the guys throwing brutal deathy riffs whenever an opportunity arises which work well among the sea of groovisms the latter stretching into whole sagas ("Power of the Day") to a mildly positive effect. "Pax Americana" is an ambitious progressive composition, and later on there is one more exercise in technical mastery: "Built to Break" which is a dynamic shredder with great mazey passages. "Enevolergy" is also a cool technicaller, but the core sections there disappoint a bit as well as the last two cuts which are overlong progressive opuses without many merits.

AM Radio Full-Length, 2010


A not very known effort providing intense thrash with expressive sharp riffs along the lines of Sacrifice with shades of Slayer and Dark Angel ("March Of Doom") on the more aggressive material. "Human Flame" is the obligatory more complex and more melodic deviation, and "Black Rose" is a moderately successful attempt at injecting some epic power metal in the formula. The guitars are a bit fuzzy, and the vocals are on the semi-clean/semi-declamatory side.

Cummin' Out Demo, 1988


This is modern groovy post-thrash/death metal which will remind of the last two Massacra albums. The music doesn't sound stale, though, as the guys vary things from heavy, almost doom-laden, numbers to cool faster thrashers.

Existence Full-length, 2002


These Russians offer a larger-than-life mix of power, speed, thrash and death metal with epic shades with other influences also sneaked in (funk, jazz, classic heavy metal, etc.) which is far from coherent, still thrashing with passion on the more logical numbers (the epic progressiver "9-oe Marta"; the jumpy crossover piece "Zimushka Zima"). The singer mostly semi-recites in an attached, authoritative manner although his one-dimensional delivery doesn't really follow the numerous musical nuances.

Ubil Politiku Full-Length, 2011


Based on "Lacerate the Betrayer", these guys offer aggressive modern thrash/death, with very fast, almost grinding ts "decorating" every track. This is very intense listen, not for tender untrained ears...

Fuck It All Full-length, 1999
Lacerate the Betrayer Full-length, 2003
Total Laceration Full-length, 2009

Official Site


Epic classic thrash/crossover which is affluent in catchy, memorable melodies and sing-along choruses which create an optimistic, uplifting mood. Otherwise the music is not very pretentious the guys bashing in a relaxed mode the delivery seldom going for the sheer speed alone, if at all. On the other hand, epic metal is well covered including on the closer "Hateful Dead" which abandons the thrash metal idea to embrace the battle hymns of acts like Manowar and Heavy Load.

Arc of the Hammer Full-Length, 2014

Official Site


Based on the self-titled debut, these guys serve suitable for their name relaxed thrash/crossover which bites hard on occasion, but the merry optimistic character of the majority of the songs will make it hard for the listener to take this stuff very seriously. The band adhere to speed metal on the longer cuts, and in the second half the approach softens a bit recalling Headhunter's less impressive material wrapping it up with the Exciter-worship "Werewolves On Wheels". The singer semi-shouts in a more emotional way that the style requires, but his high-strung antics are a fun to listen to. Some of the band members are also active with the black metal formation Relique.

Oh Shit They're Going to Kill Us Full-length, 2007
Cryptozoological Attack Full-length, 2011
Combat Shock EP, 2012

Official Site


This band was formed by the ex-Dark Angel singer Ron Rinehart and the guitarist Blake Nelson. The style very slightly reminds of Dark Angel (some of the songs possess the heaviness of "Time Does Not Heal") being more modern, groovy with a certain doze of power metal, and Rinehart's vocals taking a more pleasant, melodic turn.

Oil EP, 1997
Refine Full-length, 2000


Cool classic speed/thrash metal of the energetic type with raspy semi-whispered vocals strictly belonging to the black metal camp. The music packs a punch carrying quite a bit of melody as well never going for the very fast extremes being up-tempo with several slower passages which bring the modern winds with them, typical for the time.

Lagrimas De Odio Full-length, 1997


Mario Parrillo (R.I.P.) is in charge here, the same guy who also took part in Detente, Fear of God, and Doro later (he seems to be fond of the female-fronted acts; who isn't, after all?). Well, there are no girls involved here, but his male comrades (based on the "We the People..." demo) thrash hard with conviction and with a Bay-Area flair, mostly in mid-tempo except for the jolly headbanger "X". The music has its semi-technical character ("My World") which also becomes more obvious when things get more aggressive ("Victims"). The pounding "Rage" also brings more atmosphere into the proceedings, but "Living Hell" shatters it all to pieces with the next portion of speedy vitriolic riffs ala mid-period Metallica. "KTFI" is another impetuous fast-paced piece, and the final "No Tomorrow" is a calmer composition with a few balladic build-ups. This is a fairly cool effort which could have passed for a full-length if it wasn't for the buzzy sound quality.
The 1990 demo is a heavy steam-rolling affair which moshes faster on "Demons Of The Sky", but the rest is either balladic and doomy ("Repulsion Of The Mind") with an ethereal melancholic edge, or raises the flag of 80's American power metal high ("Living Hell", the mid-tempo stomper 'Falling into Silence"). The sound uality isn't really great making the guitars hiss not very pleasantly deafening the other instruments, threatening at times to also take down the cool attached vocalist.

Let It Out Demo, 1987
Demo Demo, 1990
World of Deception Demo, 1991
We the People... Demo, 1993


This Czech trio offers old school thrash/death mixing brutal, sometimes black metal-based, fast sections with doom-laden ones not far from early Celtic Frost and their compatriots Root. The slow parts work better creating an ominous dark atmosphere also typical for the Americans Dream Death. "Transilvania" moves away from the pattern a bit with both more epic and more melodic crossover riffs.

...Tak Sa Neposer EP, 2007

Official Site


One more band who are fascinated by Celric Frost and Hellhammer; the music is raw, slightly unpolished old school black/thrash along the lines of the aforementioned bands with some more up-tempo sections ala Beherit and Barathrum.

Nocturnal Ritual EP, 2005
Down with the Nails Full-length, 2006

My Space


This is modern post-thrash with more dynamic speed/thrash moments the latter recalling the Voodoocult debut and Grip Inc. ("Fear of Reality"; the short semi-exploder "Stalker"; the merry quasi-galloper "Better Off"). The approach is not stale at all, and the guys make the most of their skills to produce an entertaining rendition of the 90's vogues giving the good old groove a nice appetizing aura also supported by the very good forceful semi-clean/semi-shouty vocals. The stoner/doomy/semi-balladic escapades are inevitable, but this new formation is just too good to be put in the pile with the others.

Old Man Savage Full-Length, 2013

Official Site


Based on the "Tecknotschtiklan" EP, these guys practise primal vicious black/thrash metal of both the brutal uncompromising and atmospheric semi-doomy type, both tendencies crossed well, although the raw sound quality is hardly the best support making the guitars too noisy and the vocals put too much up front. The early Norwegian black metal scene (Darkthrone, Burzum, Mayhem, above all) is an obvious influence, plus an added dramatism ala early Cradle of Filth. Some of the guys also pull out brutal death metal in Beyond Serenity.
"Battlecruiser Old Pagan" is another fairly aggressive affair the band seldom using thrash, even as a supporting "hand", blasting wildly throughout without any sophistication producing a more extreme form of the bombastic operatic style of acts like Burzum, early Dimmy Borgir and Cradle of Filth again. "Petrified" is a cool slower atmospheric cut followed by the equally as enchanting "Instrumental" which borders on epic doom. "Mighty Darkthrone" may be a tribute to the legendary Norwegians, but the style is more relaxed, more reminiscent of early Burzum than any of this band's creative periods. This is a sure-handed entry into any self- respected black metal fan's collection, but as a work of thrash metal it has very few merits.

Old Pagan EP, 1998
Tecknotschtiklan EP, 2003
The Sign Of The Battle Dragon Full-length, 2006
This Is Saarland Black Metal EP, 2012
My Black Witch EP, 2012
Battlecruiser Old Pagan Full-length, 2012

Official Site


Brutal raw thrash bordering on death metal with rough chaotic vocals of the husky semi-whispered type; the overall approach strangely recalls Necrophagia's debut. The music is speedy without crossing any undesirable limits, but the sound quality is awful giving a big boost to the drums most of the time which stifle the guitars.

Demo Demo, 2010


These folks serve modern thrash/post-thrash which seldom moves away from the trite and thoroughly worn-out groovy formula in the beginning except on a very few occasion: the intriguing winding "Mud Drug", and of course the short brutal ripper "Battle Against Repression". The 2nd half offers a more serious material which is "crowned" by the appropriately-titled "Steam Roller", a cool technical creeper with twisted "Grin"-esque riffs which are missing form the closing "Burn Like a Witch" which is a noisy industrial cut with a nice quiet exit. The songer is an angry semi-shouter, but his vocal histrionics are not that bad and can be tolerated without too many sacrifices on the side of the listener.

The Sound Of Tunnel Vision Full-Length, 2014


Modern heavy thrash in mid-pace which, when you least expect it, starts death/thrashing with fury ("City Of Psycho") making the listener wonder as to what may follow later. What follows later, though, is not very exciting if one doesn't count the progressive semi-balladic beauty "Locked And Bound" after which is provided another "rude awakening": the shredding bulldozer "New Hero, False Hero" which influences the good energetic closer "Mission On The Frontline" the latter thrashing confidently in a stripped-down classic fashion. The singer is a scary death metal gutturer who doesn't quite suit the 1st mellower half, but finds his fuller realisation near the end.

City of Psycho Full-Length, 2013

Official Site


A power trio who indulge in merry, uplifting old school power/speed/proto-thrash; the main fascination is obviously with Motorhead and Exciter as evident from cuts like "Bones of Saints", but watch out for the galloping delight "Black Skies (Hell's Gates)" and the entertaining diverse shredder "Heart of Stone". The singer has a cool semi-clean tember trying at times to capture the hoarse passion of James Hetfield.

Feral Full-Length, 2016

Official Site


This is 3 tracks of evil raw black/thrash sounding like Motorhead after spending a week in hell spiced with the misanthropic proto-doomy "cold" of Khold ("This World Isn't For Us"). The guys take t in various other projects around the globe: the Czech-based black metallers Inferno, the pagan/black metal formation Slavigrom, the Slovakian-based black metal outfits Evil & Warmarch.
"Possessed By Metal From Hell" is only a bit more polished affair providing the same evil black/thrash which this time leaves the Motorhead influences behind for the sake of a more aggressive, blackier, sound. Still, don't expect anything along the lines of Impaled Nazarene here: this is a cross between the more laid-back delivery of Bewitched and the blitzkrieg thrash of Toxic Holocaust spiced with a few sincere speed metal "outbreaks" ("Metal is Metal"). Hellhammer and early Celtic Frost are aslo honoured with the heavy roller-coaster title-track. A touch of death metal comes as a finishing touch on the closing fury "Invasion of the Undeads" ending this cool diverse effort with a portion of genuinely atmospheric doomy riffs.

This World Isn't for Us Demo, 2009
Possessed By Metal From Hell Full-length, 2010

Official Site


A power trio from Venezuela who specialize in old skull... sorry, old school thrash of the fast early German kind (think Darkness, Necronomicon, Minotaur). The guys thrash with no remorse spicing things up with the odd melodic hook ("Matter Over The Mind"), plus the frequent screaming leads which may annoy a bit with their thin sound. The singer is suitably gruff, but is comprehensive and even attached at times.

Breaking Bones EP, 2009

My Space


Based on "O Tromos Tis Eksousias", this act, who uses the services of a pretty female guitarist/vocalist (not the main one), provides atmospheric mid-paced thrashcore which sounds strictly modern with the boosted, noisy guitars and the modern production. The style may appeal at first, but soon wears thin due to the lack of more energetic "temptations" (the exception being the crossover energizer "I Prodosia Tis Anthropotitas" near the end), the whole melting into one big thrashy/cory fiesta of the pounding, quasi-gothic variety and will inevily recall the more recent exploits of their compatriots Nightfall.

The self-titled debut is another concoction of mid-paced thrashy hardcore and more engaging atmospheric passages which by all means provide the band with a niche of their own since hardly are there even half a dozen acts right now who dare to mix those two contrasting styles. The guitars have a nice melodic nature, and the bass performance is simply outstanding. "anoia" is a cool faster piece marking the end of the 1st half; the 2nd one is way more laid-back the guys (and a girl) delivering in a restrained punky fashion with edgeless guitars and carelessly constructed tracks.

Rigma Olethros Full-length, 1997
Fight For The Innocents Full-length, 1999
M.G.D. (Cops Pigs Killers) Full-length, 2000
Skotoste Ta Paidia, Foniades! (Kill The Kids, Murderers!) Full-length, 2002
O Tromos Tis Eksousias Full-length, 2004

Official Site


Based on the full-length, this act offer retro power/thrash with a pretty sharp riff-engine as evident from the heavy opener "Brown Jenkin". "Incidents In The Butterfly Garden" "flirts" with the doom metal idea producing another portion of ship-sinking rhythms; and "The Grey Havens (To The Sea)" is a more engaging progressiver with a haunting balladic beginning. "The Expedition" is an atmospheric creeper with doom covered extensively again; and "Before The Fall" is a more aggressive speed/thrasher with lashing ripping riffs. The closing "Slave" is again more on the slower, heavier side but more intense riffage appears iin the 2nd half to give it a thrashier boost. The vocals are not bad intense semi-clean ones which could have used a bit more passion to match the more dramatic tone of the music.

Olyphant EP, 2011
The Wolf Is Nearby EP, 2013
Expedition to the Barrier Peaks Full-length, 2016

Official Site


Noisy messy hardcore-ish thrash with hissing guitars and bad amateurish semi-declamatory vocals the guys change the pace frequently, but their musical skills are slightly above amateurish the situation not helped much by the awful sound quality.

Windmills and Laurel Trees Demo, 1989


Based on the "Routes to Nowhere" demo, this French act plays heavy crushing power/thrash metal with doomy overtones and good mid-ranged clean vocals. They know how to speed up whenever they feel like it, like they show it very well on the galloping "Cosmic Maze" which also has a sudden aggressive faster mid-break; "Inner Space-Outer Void" begins in an intense fast-paced manner, too, but soon things get more intriguing with more complex riffage, not far from their compatriots Kragens or Communic, and a brilliant Oriental tune: a fascinating touch, could have been an excerpt from a bigger work, quite memorable. The guitars have a certain technical edge, which is more obvious on the hallucinogenic Nevermore-sque "Shifting Sight" which also boasts a cool bass play. This recording will surely arouse the fans' interest to track the debut demo down; good hunting although it's only five songs; not that it matters...

"The Death Of The Nations" demo is a fine slab of power/thrash metal with a semi-technical edge, faster than the music on the demo, but not as hard-hitting and with a certain epic colouring: the opening "High Tide" which is a cool varied power/thrasher frequently changing the tempo recalling the Germans Psychotron, and Falconer on the mellower moments. "The Jewel" thrashes harder in mid-pace with sharp lashing riffs, but "Hate Has No Face/Rude Awakening" is just a tender acoustic ballad and is more than just an interlude lasting for about 5-min. "Decay Of Souls" restores the speed/thrashy approach, but the closer "Parmenion" is the biggest winner here: an awesome steam-roller with a cool Oriental edge and a few death metal growls added to the clean mid-ranged singing. This effort is a good beginning for the band crossing several influences, but it could have benefitted from a more passionate singer and more technical guitar work.
"Shades of Grey" is a logical culmination of the guys' "adventures" the title-track unleashing a "downpour" of steel technical riffs offered in various tempos and time-signatures. "New Breath" is a dark gothic thrasher with more aggressive guitars recalling the exploits of another very good French act: Skeleton Crew. "The Great Deceit" is a nice steam-rolling "marcher" with very good melodic leads before "When Nothingness Comes" reminds you of Nevermore's heydays. "Rest In Violence" brutalizes the environment with a portion of blast-beats and remains the most intense composition. More impetuous headbanging thrash with "The Source Of All" and "The End Of Time" after which the closer "Faultless Though Guilty" calms the situation being a cool heavy semi-ballad. The singer this time sticks to a more soulful gothic/dark wave baritone, but manages to find the right "companion" to this very strong effort which should make them a sure contender for the thrash metal crown in France.

The Death Of The Nations Demo, 2006
Routes to Nowhere Demo, 2009
Shades of Grey Full-Length, 2014

Official Site


The debut: classic speed/thrash metal with black-ish overtones not too far from the Portuguese Alastor on the more intense ts with a few inept moments ala early Razor. "Evil Rock n' Roll" is an "evil" nod to Motorhead, "Demon of the Night" is a mild heavy rocker, and "Hellhammer" is a nice twist towards, yes- you guessed right, folks: Hellhammer and early Celtic Frost, albeit a bit faster. The singer is a gruff black metal rasper who strangely suits the music, even its softer side.

"The Hell Patrol" is a frolic speed metal affair, catchy as hell, with the shadow of Motorhead looming so heavily over the album that at some stage one may want to check if the Brits hadn't replaced the guys behind the instruments (not quite behind the mike, though: the singer has a gruffer less melodic voice than Lemmy although he resembles him on the more lyrical moments). Since the tone is quite friendly, there's not much room for thrash to stand out: this is pretty much "Evil Rock'N'Roll", like the title of one of the songs describes it so well.

Second Coming, Second Crucifixion Full-length, 2010
The Hell Patrol Full-Length, 2013

My Space


This Brazilian, the name Guilherme de Siervi, indulges in an acceptable modern/classic hybrid which remidns of more recent Annihilator with a pinch of mid-period Iced Earth. In other words, this is power/thrash which mostly consists of razor-sharp stomping mid-pacers ("Fire At Will", "Shadows On Your Grave") that are the core of the album. Outside this core we have intense speedsters (the title-track), lyrical semi-ballads ("Death In Life"), and coll attempts at a more technical delivery ("The Bringer Of Evil"). Guilherme provides a fairly convincing attached clean baritone which serves well the varied musical approach.

Omega Blast Full-Length, 2017

Official Site


Pretty good, unusual, melodic power/thrash metal mixing both classic and modern elements alternating between soaring epic-tinged numbers ("Battlefield") and more aggressive groove-laden ones ("Calling Of The Dead"). Still, the real highlights here remain the faster more thrash-based pieces: "The Passing Of Azazel", which is a riff-fest at its best constantly thrashing hard with a very cool balladic break near the end; "The Prisioner (The Drawing)" which begins as a ballad before moshing out in a pretty intense speedy manner later offering a couple of more jumpy hectic riffs; the semi-technical speedster "liament Of Stone", which is quite a diverse affair including a furious blasting black metal break in the middle immediately followed by a very melodic, also fast, one with a folk flavour. The final "Metal Revolution" is not actually too far from creating a "metal revolution" being a superior song combining technical and speedy sections the whole time to a very positive, albeit slightly hallucinogenic, effect; make sure not to miss another great balladic "detour" near the end, this time lead-driven. And a few words about the vocalist who is all over the place, but in a good way, pulling out a very versatile performance ranging from piercing Halford-esque high-pitched screams, to fairly emotional clean vocals on the balladic ts, to brutal lower-tuned death-ish growls. This is an interesting encompassing listen which holds a few surprises along the way without losing focus and coherence staying true to the thrash metal idea most of the time.
"Beyond Control" is another appetizing diverser with a bigger focus on power and speed metal this time the guys only occasionally thrashing with power ("Unwanted Hell" which turns to furious death metal as well at some point). "Chaos Theory" is a nice progressive almost all-instrumental which partially influences the following "Infiltrate the System", but the band overdo it a bit on the 9-min opus "Blood Red Moon" which is just a mild power metal epicer without any particular highlights. The epic side later reaches new heights on a few cuts among which "Of Past and Present" is worth mentioning with its brutal thrash/deathy breaks. The amalgam is quite big again, but this time the band sound like many other modern acts nowadays who try to insert every existing metal genre under the sun in order to increase their appeal as much as possible.

Blood, Steel & Fire Full-length, 2009
Beyond Control Full-Length, 2014

Official Site


This new outfit specialize in quite good stylish progressive power/speed/thrash, quite reminiscent of the German legends Depressive Age at times, which is led by a female vocalist, the name Sarah Green, who also handles the bass. Otherwise the music delivers on all counts led by Sarah who epitomizes a not very emotional, but rather dispassionate style bordering on punk-ish rants at times. "Welcome To The Sandbox" inagurates this eventful saga with dissonant riffage coupled with more intense techno-thrash rhythms this symbiosis ended in the middle by a slower interlude, only to continue unabated later on. "Glamour Shots" offers a twist on the 80's American metal heritage with a portion of epic hooks in the beginning before the band start thrashing with style; all the way to "The Silver Cord", a surreal progressiver with a steady thrashy rhythm-section bordering on Voivod-ish abstractism. "Love-Fear" is high octane doom in the beginning resembling Sabbath's "Sabbath Bloody Sabbath" before the guys (and a girl) start thrashing once again without completely abandoning the doomy formulas which spring up again near the end. "Virtual Boi" is mostly epic galloping speed/power metal with echoes of Liege Lord, Attacker and early Fates Warning. "Patient Zero" stays on an epic power metal territory the quirky riffage emerging in the second half to give this otherwise linear piece a more original flavour. The closer "Casualty Of Time" is interesting crusty thrash reminiscent of early Sacrilege with a more technical twist which later grows into a surreal blast-beating passage akin to Bal-Sagoth. This is a very promising start for these youngsters who should continue to push the boundaries of the good old metal in any which direction they wish.

Used & Destroyed Full-Length, 2016

Official Site


Based on the self-titled debut, this act pulls out very heavy aggressive groovy post-thrash the aggression mostly coming from the scary death metal vocals, quite close to the ones of Don Cochino (Pungent Stench). Not a very cool addition are the much weaker clean vocals which accompany the more melodic alternative sections.

Omega Tribe Full-length, 2000
Necromegacon Full-length, 2004
No End Full-length, 2005

My Space


One can't help but notice that many of the Hungarian metal bands: Akela, Moby Dick, Fekete Sereg, Pokolgep, are a symbol of longevity and endurance. This band fits perfectly into this list, too. Omen were formed by two members of Pokolgep with the intention to play harder and heavier music than the one of the other band. Well, they tially succeeded, especially on the first three albums where one could hear nice thrashing along the more standard speed/power metal sections. The band's music has apently missed its age being clear classic Power/speed/thrash, and although their later works adopt a more modern sound, they nowhere completely betray their 80's roots.
The guys hit with a double album in 2012 as though to make up for the time lapse, and this may even turn into a tendency to release two albums when they are at play. Music-wise the band tread the same path of modern power/post-thrash in this case as on the more recent efforts, consequently sounding softer and not really energetic. The album develops in a predictable, sleepy mid-pace with little excitement generated, and to listen to two releases of the same generic stuff would be a tiring task even for the band fans.
"Huszonot Ev" is nothing much to write about, the next installment from the band's lengthy career continuing the unimressive descent into the groovy post-thrash "purgatory" the only saviour being the excellent lead guitar work the guy starkingly contrasting with the listless musical background created by his comrades which solely rise on the enjoyable power/speedster "Testver, Te Jatssz A Melynek".

FeketTben Full-length, 1991
Brutf1'dflis Tang= Full-length, 1992
Anarchia Full-length, 1993
Jelek Full-length, 1994
Idegen Anyag Full-length, 1997
Tiszta Szfvvel Full-length, 2003
A Hetedik Nap Full-length, 2006
Agymos'dfs Full-length, 2006
Nomen Est Omen/Szimfonik Full-length, 2012
Huszonot Ev Full-Length, 2015

Official Site


This legendary American power metal band's sole flirtation with thrash metal has the typical modern sound for its time with groove and angry vocals, but is not that bad, with catchy songs and heavy riffs, universally denounced by the Omen fans. It begins quite well with the heavy aggressive opener in the Pantera-vein "Chained", but the rest is slower, less angry, and openly groovy, clinging towards Metallica's Black Album on the better moments.

Reopening the Gates Full-length, 1997

My Space


Cool retro thrash sounding like many other bands from the 80's; the tempo is energetic, and the guitar work is quite good, albeit simplistic and direct. The singer is not really an asset with his hoarse hardcore-ish voice. There are cool touches present, like the short folk-ish instrumental ala Skyclad "Imber", or the also short hardcore outburst "R.I.P.". There is a shade of hardcore on other tracks as well ("Enajenaci=n Mental"). "Thrash Metal" is a truly aggressive piece of thrash metal richly deserving its title. Its aggression is tially compensated by the jolly light-spirited closer "Omenomejodas".

Mundo de Locos Full-length, 2006

Official Site


This is modern thrash/power/post-thrash metal which tries to also please the Swedish-loving crowd with a few borrowings from the Gothenburg scene. As a result we have a laid-back, friendly-sounding offering which straddles in mid-pace the whole time mostly winning from the cool semi-clean vocals which are not very adventurous, but take the upper hand here and there hitting the top on the closing ballad "Echoes".

Inertial Inception Full-Length, 2014


A blend of thrash and death metal recalling Six Feet Under, both their early and later, more intense, period. The more moderate playful elements dominate so don't expect many speedy moments; the sound is suitably mid-paced and groovy assisted by brutal low-tuned vocals which are less comprehensive than the ones of Mr. Chris Barnes.

Beginning Of The End Full-Length, 2011



Based on "Void of Infinity", this outfit don't run too far from the established canons in their motherland; in other words, this is prototypical Swedish death/thrash with the casual more stylish throw-in ala Darkane ("Breath Of A New Dawn", "Omnipresent Ill"). Bigger ambition is also shown with the longer closer "Temptation", but this isn't something to really engage the listener. The vocalist "tortures" the atmosphere with over-the-top deathy shouts.
The debut is by far the more interesting listen starting with the unnerving Meshuggash-sque mather "Piece Of Humanity", this mind-scratcher followed by the progressive melodic, Death-like "Cry For Dawn"."Soon To Be Broken" is another sterile shredder, and "Forever Remains True" is a surprising romantic mid-pacer with even female vocals inserted. "Crossing Boundaries" is the necessary headbanger after that before "Drained By A Soul" increases the complexity in a pleasant again Death-influenced manner. The 2nd half is a bit underwhelming the band losing the speed somewhere closing with the doomy dirger "Frequent Redemption", not a very fitting epitaph to this otherwise appetizing offering.

The Spectral Manifest Full-length 2000
Void of Infinity Full-length 2002

Official Site


Based on the full-length, this formation specialize in edgy modern thrash/death with harsh death metal vocals. The delivery is umpy with technical pretensions (the spacey "The Reckoning") here and there which are more accentuated on the shorter material: the raging technicaller "Pestilence". Keyboard ornamentations start sneaking into the sound ("Plains Of Death") in the 2nd half where the approach also starts smelling the Gothenburg school as well. This is a larger-than-life offering which has its moments, but it would be of a bigger interest to the death metal fandom.

Beyond the Apocalypse EP, 2014
End of Days Full-length, 2015

Official Site


This band was founded by two members of the speed metal veterans Muro: one of the first acts on Spanish soil who started playing a more aggressive brand of metal. "Day Of Your Death Arrives" is black-ish speed/thrash with 80's spirit similar to Alastor from Portugal. "Yells That Destroys": after the imposing intro taken from "Star Wars" we are met with another slab of black/thrash, not a very distant deture from the debut demo, but with a better musicianship, leading to really cool intense speed/black/thrashers: "Legions of Youth". The only pullback would perhaps be the brutal blast beat-based, black-ish track "The Light in My Dark". "Shadow on the Wall" is a nice heavy/power metal hymn.
"V.P.A." doesn't betray the vintage band sound, and is another slab of fast-paced retro thrash with slightly annoying screechy vocals. The sound is more aggressive with a clearer black metal edge ("Northmen Wrath") on some tracks, boldly using blast-beats (the instrumental "Satanicspeed Thrash Metal") as well. The guys this time excel in the intro/outro detment: the intro is an imposing orchestral/operatic piece, and the outro is a nice take on some epic/pagan/folk melodies with, again, an orchestral twist.
"Thrash Metal Is Violence" suggests a lot with its title, but does the music live up to it? Well, it's not as violent as the one on the preceding demos, despite the presence of 3 re-mastered songs from them, but is pretty decent old school thrash metal with black-ish overtones, quite fast at times, boasting bombastic titles like "Satanicspeed Thrash Metal", which is hardly the fastest song on the album (this song is taken from the last demo, but here it sounds more moderate without the blast-beats); this prize goes to "Questions", which is raging retro thrash, and is actually a cover of the Spanish act Postmortem. Actually, the less speedy variations seem to be the better side here: the interesting diverse "Satanic Feelings", a stomping melodic thrasher; the jolly crossover-laced "Traitor".

"Merciless Jaws from Hell" develops on high-speed from the get-go, but this can not be a complaint since the dynamics is commendable all the way through coming with a pinch of black metal again, those insertions supported by the vicious mean vocals. There is a jolly unpretentious aesthetics felt in the guitar detment on some tracks ("Here We Stand", "You Can't Hide") bordering on the crossover; others are pure takes on the good old speed metal ("Day Of Your Death Arrives...") ala Tyrant and Atlain.
"Pioneers of the Storm" is another blitzkrieger the guys lashing fiery riffs to no end venturing into the death metal field ("Drunken, Junkie & Punter") without any remorse, even trying something hectic and technical ("I Am The Devil Scythe"). The speed is again admirable all over even on the more thought-out shredder with the not very serious title "Totally Fucked Up" which offers a bigger diversity showing the band's more proificent side which is also displayed once again on the closing "Attack Of The Living Dead", a headbanger of the more complicated variety. There's nothing new on display here, but the band's brisk vivid approach to the genre should keep the smiles on the fans' faces even after the album is over.
"The Unholiest of Them" is another classic "beast" which again flirts with the more technical, this time from the very beginning on the short stylish opener "The Black Flame Shall Burn". There's energy to spare here the guys thrashing like demented including on the longer and more thought-out shredder "Iron Will". The technicality doesn't get lost, mind you, and is even accentuated on on the excellent exploder "Breakneck Speed Blasphemies". "Thrash Metal Traller" surprisingly is a mid-paced instrumental, but the riffs cut like knives paving the way for the epic histrionics on "Spiral Of Self-Destruction" which even flirts with heavy metal at the end. "Isolation Marches On" reaches blast-beating extremes for a short bit in the 2nd half, but the progressive complexity of the following "What Kind of Person Do You Think I Am?" largely compensates for this "shortcoming". As a whole the band have done a good job again without making any major compromises with their staple exploits.

Day Of Your Death Arrives Demo, 2005
Yells That Destroys Demo, 2007
V.P.A. Demo, 2008
Thrash Metal Is Violence Full-length, 2009
Merciless Jaws from Hell Full-length, 2011
Pioneers of the Storm Full-Length, 2012
Black Darkness Obscurity EP, 2013
The Unholiest of Them Full-length, 2015

Official Site


These Swiss folks produce energetic modern thrash/death metal which has both intensity and melody to spare, but sadly lacks in the originality department the approach being as generic as it could get nowadays. Spasmodic blast-beats take turns with more laid-back, almost progressive-sounding at times, passages both sides not badly executed, but the "laurels" go to the dramatic shredder "White Roses Under A Blackened Sun" which is a mid-paced accumulator with sudden speedy interceptions. Other highlights are hard to be distinguished the ultra-brutal, barely intelligible, vocals by all means the most obvious downside on this generic, but professionally executed, recording.
"Constants and Variables" is pretty much in the same vein as faster and slower passages take turns in quick succession the nods to death metal more frequent this time which are at least served with better vocal lines this time. "Tod u Hass" is a maddening thrashing headbanger, but the following "Convinced by Superior Firepower" is vintage Gothenburg melo-death where at least half of the material witnessed here belongs.

Risen to Ruin Full-Length, 2012
Constants and Variables Full-Length, 2016

Official Site


Based on "Slash 'Em All!", this band play retro power/thrash with a slight progressive flair as the hard guitar egde is admirably sustained all over either with impetuous gallops ("Desolation") or with more soaring speed metal flourishes ("Metalliation Revengeance"). "Nuke the Moon" is a short thrashing ripper, and "Gothenburg" is a mellower progressiver with retouched power metal riffs; nothing even remotely death metal-ish here... More merciless headbanging thrash with "Not One Step Back", and especially with the excellent closer "Russian Roulette", a rousing hymn with near death metal-ish dramatism, with a great chorus pulled with panache by the good mid-ranged clean vocalist.

Call to Arms Full-length, 2015
Slash 'Em All! Full-length, 2017

Official Site


This is the band known as The KrixhjSlters previously. Unfortunately, with the band's old name a certain part of these guys' talent must have gone, too, because the music isn't even half as good. It retains some of the crossover elements, but it mixes it with heavy-handed semi-technical thrash which leads nowhere. At times the sound acquires a very eclectic nature aiming at the progressive metal realm, and these moments would be to the liking of those who enjoy albums like Voivod's "Dimension Hatross" and "Nothingface", but this is inferior. The album opener "The Power Line" starts with good energetic riffs, but soon introduces the offbeat elements which take over the few more aggressive guitars scattered throughout. The only other place where you can find yourself headbanging is "Torque Limit", but again for a while where there is even an attempt at singing in Russian. Of course, there are songs where thrash metal is nowhere to be heard: "I Am He", "Five in Four". To these ears the best song is the thousandth Motorhead cover of "Ace of Spades" at the end, done well in a brisk energetic manner with the vocals possessing the appropriate inebriated blend of Lemmy. Still, it's no wonder that the band disappeared without a trace soon after this only effort. Later some of the musicians continued their career playing death metal under the name Comecon, releasing three full-lengths before splitting up.

Masterpeace Full-length, 1990


This is another act who prefer to stay true to their country sound, providing your average Swedish thrash/death metal, alternating fast brisk, even blast-beating at times, sections with slower mid-paced ones.

Darkness Within Full-length, 2009

My Space


Based on the debut EP, these Ukrainians deliver intriguing modern progressive thrash which recalls mostly Canadian practitioners like Obliveon, DBC, and more recent Annihilator when they don't try too hard. The guitar tone is too modern, but still delivers on robotic moshers like "Nothing More to Say" which will make your head spin when it starts thrashing hard. "Beneath the Crust" is another energetic, sophisticated technicaller which still pales before the intense shredding histrionics of the final "Inanitas", a cool epitaph to this interesting short effort, and a sure promise for other niceties to come soon...
The "Repel Lament Destroy. I: Repel" EP is another very good shorter opening with the brief immediate speedster "Silence After", but the following "Imaginary Creator" is already the more serious progressive cut we could expect from the band. "All the Ways to Depart" is a dispassionate mechanical headbanger with stylish technical implements; and "Carrots and Sticks" pours more aggression with another portion of hard, crushing riffs. "Hold the Curtain" is the closing piece thrashing in a more laid-back fashion also serving cool melodic deviations at the end the latter contrasting with the harsh death metal vocals which shout too much at times and could be toned down in the future.

More to Explore EP, 2014
Repel Lament Destroy. I: Repel EP, 2015

Official Site


These "omnivorous" Italians offer aggressive old school thrash which channels both the Bay-Area and Slayer the mixture wrapped in a curious semi-technical aura which doesn't stand on the way of the brutal guitars, but takes the upper hand in the 2nd half on a couple of longer, more thought-out compositions ("Nothing More Than Dust"). "Omnivore" is almost death metal with its ripping riffage, and the closing cut is a cool faithful cover of Sepultura's "Arise" solely betrayed by the vicious semi-shouty death metal vocals which lack the depth of Max Cavalera's. Some of the musicians also play in the thrash metallers Nightmare of Fallen, and the thrash/crossover hybriders Skarsfukkers.

Omnivore Full-Length, 2014



This is all-instrumental stuff on the heavier groovier side of things, a bit one-dimensional with doomy overtones and the odd more technical hook ("Umlaut"). There are a couple of good ideas thrown in, like those on the more complex closer "Condition: Heliotrobe" which also speeds up a bit amid the jumpy hectic riffage which creates the necessary dynamics, "wrapped" in a robotic mechanized environment strongly reminiscent of Voivod's "Negatron".

Hell Is Other People Full-Length, 2010


3 songs of energetic retro speed/thrash ala Paradox and Angel Dust; this is invigorating ripping music. The guys thrash with passion seldom pausing for the odd slower passage those moments more prevalent on the closing "Shadow Of War" which is a relatively calmer number. The singer has an attached semi-shouty tember with a more vicious twist at times recalling both Schmier and the first Angel Dust singer Jurg Weiss, only lower-pitched than both.

Circle of Death Demo, 2012

Official Site


Modern laid-back thrash that has its more aggressive side ("Misguided Mission"), but generally the band prefer the mid-tempo as a way of expression with groove standing on the side ready to interfere at any opportunity. "Devils Institution" is a decent progressive semi-ballad, but the rest is one-dimensional barrage topped by angry shouty semi-death metal vocals.

Ever So Cold Full-Length, 2017



Modern thrash metal, fast and dynamic, with both more aggressive death metal and much slower metalcore elements. The music is pretty derivative, though, using all the gimmicks of the genre: the melodic breaks, the gruff-clean vocal "duels", etc.

Once Beloved EP, 2006
Delusions of Grandeur Full-length, 2010

Official Site


After the unsuccessful experiment Die Happy the Vengeance Rising guys assisted by the bass metal guru Angelo Espino (Hirax, Reverend, Uncle Slam, L.S.N.) decide to give themselves one more chance with this new formation. The beginning looks fairly promising, showing this new project trying to stay true to the classic roots of thrash, providing the necessary headbanging numbers: "The Contract", "Devotion", etc. without forgetting about the heavier side of the genre: the title-track, "Rise Above" where some groove inevitably sneaks in. Watch out for the short blitzkrieg killer "Feeding My Addiction" and the dynamic closer "Defy Man".

Visions of Hell Full-length, 2008

Official Site


The debut: this band boasts the presence of the guitar player Logan Mader (Soulfly, Machine Head), and the female vocalist Lauren Hart. The latter's performance betrays her sex, but not to a big extent and her tolerable shrieks hover over this prototypical modern thrash/death affair which inevitably resembles Arch Enemy, and not only in the vocal department. The band aren't very fond of speed and the delivery may become a bit monotonous towards the middle these melodic mid-tempo riffs not generating much excitement. What does, though, is the really good clean female exploit on the balladic "Devil Can Have You", and Lauren may emphasize on those talents of hers in the future, certainly not in a melo-thrash/death metal band.
"Evolution" is another modern death/thrash affair which isn't "a stranger" to more technical choppier, execution ("Mass Murder Frenzy"), but here's a seeming lack of speed as the dominant delivery borders on the mid-tempo and monotonous ("Dark Matter", "Drain") hitting progressive waters on the officiant semi-balladic hymn "Killers for the Cure" and the cool operatic closer where the girl shows her cleaner, more dramatic timbre.

The Life I Remember Full-Length, 2015
Evolution Full-Length, 2017



Good power/thrash with progressive touches sounding like a more aggressive and slower Fates Warning; the guitars are crushingly heavy for most of the time, but the meloidc relief is provided in the form of good forceful clean vocals and cool memorable choruses. Shades of both the ballad and doom can be felt, but the approach gets nicely dynamic on the longer, more elaborate compositions ("It's Dead"), if we exclude the overlong epic ballad "Noble Quest" and the finishing chords from the closing "One Vision" which are enchanting acoustic guitars with a dramatic pitch. Stylish technical riffs sneak on "Shattered", but overall the delivery is not very flashy, sticking to kind of predictable heavy patterns.

Scratching The Surface Full-Length, 1998


This band pull out all-instrumental modern thrash which begins with a splash with the virtuoso classical instrumental piece "Dragon Fly". Alas, later on only flashes of this flamboyant musicianship can be caught the guy (only one man is behind this project) settling for a much more ordinary approach with sparkles of originality mostly from the side effects applied ("Black Wind") rather than the music itself. There are several ballads provided in the 2nd half ruined by the awful fuzzy sound quality and the amateurish thin clean vocals which try to even growl in a deathy manner at some stage arguably sounding more convincing.

High Performance Full-Length, 2006


This formation pull out modern power/thrash which sounds both melodic and abrasive in equal dozes. The dominant style is stomping and mid-paced the heavy rhythm-section only sped up on the dramatic headbanger "I Am", and partially on the several more aggressive deathy sections on "Fake Tears". The vocals are hoarse semi-clean ones, but the guy knows when to emit more passion, mostly on the several balladic/semi-balladic numbers.

Carpe Ludus Full-Length, 2016

Official Site


Jolly unpretentious thrash/crossover, with the shorter songs representing their faster and more attractive side; the slower ones are softer, with heavy metal taking the upper hand on some. The guys try to make things quite varied including also a ballad and some funky moments, and as a whole the concentration is clearly on melody and good mood rather than sharpness and intensity.

Swine Flew Full-Length, 1990


Based on "Interfectus", this act provide modern thrash/death in the vein of their compatriots Carnal Forge (the bass player is from there) and Maze of Torment. The style is a bit more varied perhaps the band adding a few slower dissonant passages ala Morbid Angel. More surprises later on as "Penetrate Obliterate" serves some stylish technical riffs among the raging blasts; the technicality gets partly translated on the following quasi-groover "Bodybags" after which things take a more dynamic turn for a string of tracks. The vocals are on the typical for the genre hoarse shouty side.

Product of Massmurder Full-length, 2008
Interfectus Full-length, 2014



The debut: "one machine" is responsible for this although this same "machine" features members of various acts around the world (Biomechanical, Forbidden, Testament, Mercenary, etc.), and this admirable cast doesn't disappoint providing modern abrasive thrash with progressive nuances not far from the aforementioned Biomechanical, Nevermore, and Chaoswave. The singer is quite a find covering a wide range of notes, from clear emotional singing to some raging hardcore-ish shouts. Some ballast should be ignored, though: "Armchair Warriors" is nothing more than a calm power metal filler, and "Evict the Enemy" is an annoying post-thrasher. Elsewhere the guys have found the right way to thrash their musical proficiency undeniable as evident from the virtuoso guitars on the closer "Freedom and Pain".
"The Final Cull" follows the same path although the formula has worn thin a bit the longer compositions now sounding kind of plodding (the boring ballad "The Grand Design") whereas the shorter ones are a true revelation: check out the ripping "Screaming for Light", or the rousing galloper "New Motive Power". It's a bit sad the the more intense cuts aren't many at all the final "Welcome to the World" kind of fitting into that same category with its more energetic rhythms.

The Distortion of Lies and the Overdriven Truth Full-Length, 2014
The Final Cull Full-Length, 2015

Official Site


At from the long and pompous title (the debut), this band have something more to offer; this is actually Johan Lindstrand's (The Crown) new band. The style is also modern thrash, but unlike The Crown it's mostly mid-paced with good heavy riffs; one of the better bands from this over-saturated sub-genre.
"Grim Tales" is a cool turn to a more aggressive song-writing with faster tracks and good sharp riffage. The style is not too different from the previous recordings, but has more bite and is overall more satisfying. It's on the 5th song: "A Date With Suicide", when their more laid-back, staple galloping tempo can be heard, after which the guys take a break with the melodic balladic "Death Makes It All Go Away". Then the sound gets more intense, graced by a couple of nice melodic hooks on "Dominator Of The Flesh". Watch out for the short brisk thrasher "The Frisco Reaper" near the end.

"The Dark Epic" is the next chapter from the band's discography providing no surprises for the band fans who will be pleased to hear the trade mark modern thrashy riffs mixing fast and slow numbers keeping the balance well, except on the longer more serious compositions ("Dark Epic") which are heavier with more accentuation on atmosphere, contrasting with the more immediate squashers (the formidable steam-rolling closer "How I Love To Kill You").

21st Century Killing Machine Full-length, 2006
Error in Evolution Full-length, 2007
Grim Tales Full-length, 2008
The Dark Epic Full-length, 2011

My Space


This act provide heavy Pantera-sque 90's post-thrash which is both squashing and energetic these guys relying on the groove probably more than their more renowned compatriots. Still, there will be no disappointed after the 3-min of pure aggression "Burn" which easily reaches a death metal intensity later matched by the closing "Honey from the Razors Edge", a rising battle hymn with a memorable semi-chorus performed by the shouty death metal singer.

Loyalty & Honour Full-Length, 2014



This demo consists of 5 tracks of energetic classic thrash of the pounding mid-paced quality. The shorter numbers ("One of Them", "Hell") are direct takes on the furious Slayer approach, but the more moderate ones are not bad at all, either: the creepy semi-doomy "Suffering in Silence" carried by an addictive main riff. The singer does a good job with his gruff intelligible delivery managing to sound both angry and lyrical.

I Am One of Them Demo, 2010

My Space


These Greeks indulge in a more complex brand of the good new modern thrash, the abrasive approach spiced by the casual more retro-oriented gallop ("State of Mind Denial"). The mechanical soundscapes resemble Gojira and Biomechancial except on the times when some more aggressive death metal ("Reigning Machine") sneaks in although this is the time when the headbangers would be happier. More officiant stomping rhythms ("No More") also invade the aether recalling Nevermore where also the clean side of the vocal "tussle" belongs, the other being raspy deathy croak. "One and Only" is a nice energetic shredder retaining the Nevermore influences, with atmospheric undercurrents which stay around for the nervy jarring "Water", and for the epic elegiac "...From the Edge", a tendency enhanced by the remaining cuts, especially the balladic opus "The End" which is indeed the end, an officiant academic way to finish this diverse effort.

Beneath The Surface Full-Length, 2017


This act play sprawling progressive power/thrash sticking to the Opeth landscapes on the longer material ("Agony of Life (Free of Lies)") where semi-balladic melancholy reigns supreme. On the rest the approach is way more dynamic, but the riffs are melodic lacking the bite which can only be felt on isolated more intense passages. The rest is peaceful and dreamy although intelligent sharp technical thrashisms can be caught on the engaging closer "Infernal Whispers". The vocalist is a not very emotional clean mid-ranger who hardens his delivery unexpectedly on some cuts.

Oneiric Full-Length, 2013


Based on "Storm Is Coming", this formation pull out a bombastic mixture of thrash and black metal which is a bit more blast-beat based than the one of Bal-Sagoth, and consequently less exciting. Thrash shows its head above ground on "Self-Destruction Mode", and even shades of power/speed metal can be caught on the lyrical "The Omega Legions" and the melody-abundant "Storm Is Coming". The diversity becomes bigger in the 2nd half where melo-death sneaks in ("Dronkenschap In Duisternis II") before the short operatic instrumental "Streams Of Silence" wraps it up at the end. The guys earlier had a black metal band, Martyr, and also had another similar project, Shrine, in 2006 with one solitary demo released.

The Threat EP, 2003
Razor Full-length, 2009
Storm Is Coming Full-length, 2014

Official Site


Modern dry mechanized thrash metal with unpleasant synthesized death metal vocals; the music is nothing special being heavy and abrasive, pretty groovy as well, with not much imagination put into the proceedings especially on the 11-min "Delerium" which at some point switches onto pure techno-industrial. The tempo is quite slow-ish with heavy repetitive riffs coming as an inferior Soulstorm (Canada).

Charge Full-Length, 2010

Official Site


Based on the full-length: modern Swedish thrash/death metal made in the USA again with echoes of Arch Enemy, above all; this is actually the "brainchild" of just one person, the name Armon Nicholson (could have a Swedish origin after all: check his family name). The delivery is right as rain until it hits "Death" which is a tribute to the Chuck Schuldiner (R.I.P.) gang although in terms of musicianship it still leaves something to be desired: the band hardly pull all the stops technicality-wise. In the lead department, though, they rule on all counts: check the leads on "A Price Paid in Blood". The end comes in the form of another cover, of At the Gates' "Blinded by Fear" which is more fitting for the band style done competently in a loyal faithful fashion.
"Dead Future" is a more brutal "beast" the approach staying more on the death metal side the fast lashing riffs flying from all sides to a squashing effect despite the unobtrusive presence of melodic hooks and tunes. "Downfall of an Empire" is a solitary thrashing champion, and partially "Filth" with its twisted non-linear guitar decisions, but the rest has been brutalized to the point of hyper-blasting on a couple of cuts ("Biodegradable", the more technical delight "Spiraling Down") near the end.
The "Premeditated" EP shows the band's career being more on the classic side at the beginning and way more thrash-fixated despite the presence of a few blasting surprises ("The Anticipation of Torture"). The approach is fairly energetic with a sparse presence of more stomping numbers ("Dissected"). The closer "Hiding the Remains" is a cool technical brutal thrash/deathster.

Prelude To An Apocalypse EP, 2012
Premeditated EP, 2012
Black Sun Rising Full-length, 2013
The Grinding Stone EP, 2013
Dead Future Full-length, 2015

Official Site


An essential British thrash metal band; "Power from Hell" is a cool, raw debut, sounding like a more aggressive version of early Venom; at from the up-tempo thrashy tracks the band try something more melodic, in the form of the long mid-paced power/thrasher "Lord of Evil". The song "Death Metal" is far from the early attempts in the death metal genre, despite its title: it's actually a light speed metal number ala Motorhead; the next one is a much better effort: "Angel of Death", an intense speed/thrasher almost touching the Slayer track of the same title (which hasn't been released at that time yet). Later on there is at least one more energetic piece: "Steel Meets Steel", but the majority is not really striking showing a band still a long way from the better examples of the genre.

"The Force" saw the guys almost fully equipped to compete with the best: with tighter and better musicianship each of the 7 songs is a heavy, thrashy tour de force, great combinations of heavy, pounding riffs and smashing faster ones. Shades of their more melodic debut album could be found in a heavy/power metal hymn like "Metal Forces", but the rest is uncompromising thrash with a unique dark atmosphere, recalling another very good act from the UK: Deathwish. The tracks are long-ish, within the 6-8min sector, but to talk about something more technical would be too farfetched.

The band took a very premature decision to adopt a more commercial, accessible sound on "In Search Of Sanity" after which their fans abandoned them in draws. It wasn't completely bad, as a matter of fact; there were quite a few energetic thrashers present, and if we exclude the annoying overlong noisy intro, and the not very convincing cover of AC/DC's "Let There Be Rock", the rest was pretty decent surrounded by the melodic, but cool soaring vocals of Steve Grimmett (Grim Reaper). The semi-ballad "Welcome To Dying" is one of the band's best songs, albeit a bit overlong. Not happy with the acceptance, the band folded soon after this release.

On their comeback album the guys took a step similar to Exodus: they added a more modern sound to their basic old school approach, and it was the right thing to do, because "Killing Peace" is a real winner. The album starts with no mercy, with the great headbanger "Burn", but later on the groovy, modern trends spring up on several songs, occupying the middle; they might stretch your nerves a bit, but if you have a bit more patience you'll reach the best, which comes in the form of another couple of nice retro thrashers ("Twisted Jesus", and especially the furious closer "Shock & Awe").

The fans of "Killing Peace" would be mildly entertained on the new offering "Sounds of Violence" which again blends the modern with classic trends with the latter again given more preferences. The album expectedly begins with the energetic "Born For War", but the mid-pacers this time start too soon after that, and seldom leave making this album the less energetic, and consequently the less striking effort. A string of not as intense numbers occupy 80% of the playing time with not much happening in the speedy department (isolated sections from "Rest in Pieces") until the coming of the closing "Suicideology" (which is actually followed by an 1.5-min outro: "End of the Storm", a quiet piano-based piece), which is a shattering thrash/proto-death lasher, a late comer which can hardly compensate for the workmanlike delivery encountered previously. The bonus track is a faithful cover of Motorhead's "Bomber" with Phil Campbell from the legendary act helping there along with the Sodom frontman Tom Angelripper. There's not much to write about this album simply because it brings nothing new to the well established classic/modern mix treading safely in well known waters thus staying away from both the flop and the success department.

"VI": so it's number 6 for Onslaught in case you have forgotten how to count. So what else is new: not much if we exclude the fairly energetic delivery which this time seldom gets lost the doomy creeper "Children of the Sand" being one of the few exceptions. On the most of the tracks here you'll be "slaughtered": the riff-machine "Slaughterize", the dramatic steam-roller "Cruci-Fiction", the speed/thrashing closer with Slayer-ish overtones "Enemy of My Enemy", etc. The guys have done a pretty decent job here including the unobtrusive presence of a few more intiguing guitar lines ala Jeff Waters carefully scattered around.

Power from Hell Full-length, 1985
The Force Full-length, 1986
Let There Be Rock EP, 1987
Shellshock EP, 1988
In Search of Sanity Full-length, 1989
Power From Hell/Angels of Death EP, 2006
Killing Peace Full-length, 2007
Sounds of Violence Full-length, 2011
VI Full-Length, 2013

Official Site


Pretty capable retro power/thrash which on "Burning On Both Ends" is heavy and pounding, but comes "Midnight Caller" and things immediately become faster and more technical; this number is a standout lasher with some tasteful guitar work and passionate performance by the very cool emotional clean singer. "Shot To the Head" returns to the heavy patterns from the opener, but remains entertaining and consistent making this obscurity a worthy addition to the fans' collection of deeply buried gems.

Demo Demo, 1990


Based on the full-length debut, this noisy trio unleash hard-hitting thrash/crossover which may pass for classic stuff at times, but the abrasive sound betrays its origins. Otherwise the guys are not completely bad and their antics are a bit more serious than the ones which used to go with the style. "Call Your Guy" is a heavy doomster which contrasts with the screechy singer who is not so bad, by the way, and his semi-hysterical rendings are not totally without merits. "Autopsy Turvy" is a cool energetic "topsy turver" with some really dynamic riffs, and some full-blooded thrash can even be caught on "Sustained by Hatred (Rambo 4)". The closing "Spirit Manimal" is a mish-mash, though, mixing quite a bit including several untamed blast-beating passages. Still, this is a decent effort which needs some refinement before it becomes a sure pick for the fans.
"Earth Suck" is again too much on the noisy side to be a sure crowd pleaser; still, one can't deny the charm of fuzzy headbangers like "Genuine Creeper" and "Hippie Speedball" which keep the party going despite the presence of several abrasive doomsters near the end. Again, there's a potential here which would hopefully find realisation one day...
"Whatever Forever" carries on with the abrasive saga the band now enllarging their intense, blitzkrieg style by pouring more dramatism this time due to more complex proto-death "bombs" like the opening "Rambo 5 (Pre-Emptive Strike)". "Diver" is a more diverse composition showing a more serious, also slower, aspect of the guys' repertoire. "Deep Space" is a steady headbanging shredder again showing a more proficient, even semi-technical if you like, side of the band's delivery. The culmination, however, comes with the nearly 8-min long "Mercury In Retrograde Virus", a doom-laden industrial miasma which also adds a nice progressive flair to the proceedings thanks to a few twisted quirks in the 2nd half which later turn into a dissonant cavalcade of riffs to a heightened, hallucinogenic effect. "Weather Tamer" is 8-min of proto-industiral landscapes with a touch od mid-90's Voivod; and "Everything Sucks And My Life Is A Lie" is a dirgy, noisy doomster with operatic accumulations. "Eruptor" is a short technical roller-coaster giving the needed boost which bears the hard-hitting dizzying thrasher "Tachycardia" after it, and the jumpy closer "Sky Creep", an interesting hectic cut with choppy, stomping riffs. The band have done a very good job here moving away from their primal, simplistic roots to more serious, encompassing music.

Vape and Pillage EP, 2012
Retrash Full-length, 2013
Earth Suck Full-Length, 2014
\\tab Whatever Forever Full-Length, 2016

Official Site


These Tasmanian "devils" try to mix the more energetic side of 80's thrash with the modern 90's trends. The mixture keeps balance between the two styles, but finds it hard to resist to the modern "traps", and consequently the sound smells groove more often than the good taste allows. "Compromised" is a very cool up-tempo thrasher with a slight technical edge, and "Torn Within" is another more dynamic piece with a steady galloping rhythm. The vocals are brutal low-tuned death metal ones.

Mindstates Full-length, 1994


At from Turbo and Wolf Spider there was another band who played good speed/thrash metal in Poland back in the 80's. How these guys remained so obscure, is a mystery... The band owe more to the speed metal heritage of Helloween and Warrant than to their compatriots. The album is full with great lead guitar work ala Kai Hansen and speedy melodies, topped by nice high melodic soaring vocals.

Lwy Ognia Full-length, 1988


An obscure demo from the Russian underground which shows a band specializing in an energetic blend of speed and thrash quite similar to early Master (Russia). The musiciahship is all right with a nice technical touch (check the German speed/thrash worship "Chetvertaia Chjast Zemli" at the end) except for the noisy pounding drums and the mean semi-clean vocals which were so typical for the Russian scene at the time. The fast assault is interrupted by the tender balladic instrumenal "Poslednii Put", but it doesn't sound awkward showing the guitarists in a bright light. It's a pity that the guys couldn't last longer: their approach was intense enough to be translated well later on the oncoming thrash/death metal hybrids.

Operativnoe Vmeshatelstvo Demo, 1989


Based on the demo, these guys play heavy mid-tempo modern power/thrash metal quite close to the works of 90's Chastain, resemblances with the aforementioned act aggravated by the cool female vocalist. The music is dark and brooding, and the girl does a good job mixing more aggressive manly singing with a more emotional lyrical one. There are a few balladic sections where the singer shines even more, but the sound gets much more melodic, and after that it takes more than the required time for it to get back on track. The other problem is that all songs flow in the same vein without speeding up beyond the mid-pace, except for the final "Roads", which offers more dynamic up-tempo riffage at some stage.

Demo Demo, 2003
The Awakening Full-length, 2004
Suffering/Dreaming Full-length, 2006

Official Site


Modern power/thrash metal of the more melodic type with slight alternative elements; the vocals are good, but are too melodic for the style, and the more peaceful moments are a bit overused, and consequently the ballad "Snake Eyes" appears to be the best song here.

The Perfect Symbiosis Full-length, 2007

Official Site


Generic modern thrash/death metal of the Swedish school which comes with plenty of melody and fast-paced rhythms, and will remind you of the Danes Withering Surfaces (the early material) and Night In Gales although the guy overdoes it a bit in the vocal department with these hysterical black metal shrieks.

Post Mortem EP, 2010

Official Site


This is some kind of a super group since the line-up consists of veterans from the Colombian black/death metal scene (Guerra Total, Storm of Darkness, Necronslaught, etc.) who have gotten together to pay tribute to the gool old thrash. The sound, of course, comes "plagued" by both black and death metal insertions, but watch out for the numerous melodic hooks which give this offering a cool, more laid-back "colouring". "The Excruciating Hindsight" has a more prominent thrash presence in the riff department, but elsewhere the music balances between the other mentioned genres the intense shouty death metal vocals also favouring those two.

Havok Anthems Full-Length, 2016

Official Site


This Brazilian obscurity exercises well executed classic thrash with some genuine technical touches sticking above the dark sombre riff-section which recalls their compatriots The Mist at times. Fast-paced passages are not very frequent, but the consistent stylish formulas will keep the fan focused, especially on the title track which shows quite an ambition with its eventful approach. Obstacles are the muddy sound quality, and the not very expressive semi-declamatory vocals.

Fora De Controle Demo, 1998


The ambitious opener "Thrash Invasion" shows a band who tread the path of retro thrash, and do it the hard, aggressive way, but with a really bad sound quality, and even worse shouty death metal vocals. The music is fast, but the noise created by the guitars is hard to be disguised, despite the effort put with the inclusion of a few melodic hooks. "Dominados (Por La Maldad)" is a more moderate speed/thrasher ending up being the best song, a sure leftover from Paradox's "Heresy", with a good lead section and forceful headbanging rhythms. Well, if it wasn't for these terrible vocals...

Dominados EP, 2011


Modern thrash of the more melodic type, still having its edge ("Throne", "Fire") whenever necessary, but often relying on the groovy patterns as well ("Grudge", "Unleashed"). "Dog Nation" is quite a good combination of the two, and on top of that we have nice melodic lead guitars.

Plewpatapi (Fire) Full-length, 2007

My Space


2 songs of dark evil death/thrash which "courts" the early "atrocities" of Celtic Frost on "Forbidden" by giving them a more atmospheric colouring; "Calling to Death" is a faster "razor" which "calls" to death metal indeed also thanks to the gruff low-tuned deathy vocals.

Life Is Shit-But... Demo, 2012


Based on "Zombified", these Singaporeans come up with a very enjoyable blend of energetic classic thrash metal and punk. Yes, punk-that's right! It will probably not appeal to punk fans too much, though, because the sharp thrashy riffs dominate, but the inimitable punk spirit of the late 70's/early 80's is all over the album.

EP Ver. 1.0 EP, 2000
Chaotic Years 1989-1995 Best of/Compilation, 2005
Zombified Full-length, 2005

Official Site


Meet another project of Lare Nieminen (also Gloomy Grim, Corporal Punishment, Sacrament, etc.), his shortest-lived one. This EP contains just two songs which present thoughtful doomy thrash in mid to galloping tempo with a very clear sound quality, ripping sharp guitars, and guttural semi-shouty death metal vocals.
The Compilation contains all the works of the band including their first three demos. The band's approach remains on the intriguing side with morose, doomy passages taking turns with serpentine technical ones as the most evocative example of their enchanting style must be "Within Six Walls", a 10.5-min behemoth which sprawling doomy beginning is replaced by a sudden outburst of energy and quirky, more surreal riff-patterns. The band's repertoire has its more dynamic side as reflected in the headbanging darker "Punishment From The Gods", or the pounding drama on "Oppression". "Immortal Objector" is another more rigorous piece with death metal echoes, but the real enchanter in the whole compilation seems to be the last "Parasites" which weaves schizoid rhythms amidst seismic brooding passages.

Alone/Majesty, a Joker EP, 1990
Scars 1988-1990 Compilation, 2015

Official Site


A great unsigned band; I hope this mistake will be soon corrected. All their efforts are of consistent high quality as the style is more of the fast, intense classic thrash variety, along the lines of Vio-Lence's "Eternal Nightmare".

Violence Will Dominate Demo, 2003
Left To Perish Demo, 2004
Deep Vein/Bloody Sign/Oppression Split, 2004
Extinction Agenda/Oppression Split, 2005
T.P.A.S Demo, 2005
State of War Demo, 2006

Official Site


Vivid energetic old school thrash with gruff deathy vocals; the mosh is relentless with a few stomping moments ("Apocalipsis", the closing more officiant progressiver "Humanidad in Vitro") present as well as the odd sense of melody ("De La Guerra"), but those are deviations from a rigorous steadfastly followed path of aggressive, no-bars-held execution.

Humanidad in Vitro\\tab Full-length, 2017

Official Site


The Incubus guys are back in the game, but under a different name since during their absence from the music scene another band with the name Incubus was founded (the alternative pop-rock clowns). "Discerning Forces" is a great way to start their career under the new name: fabulous old school thrash/death, not having much to do with the style of Incubus, staying quite close to the music of the old masters Death and Pestilence (their early works). The guys unleash hell on smashing pieces like "Ancient Rebellion" and "Digitarp", but also discover their more technical potential on slower, more controlled compositions, like "Dark Entanglement" and "Drowning". A slight drawback might be the middle, which is occupied by a string of not very energetic numbers, and the great speed from the beginning gets forgotten. "Merciless Torture" livens up with more up-tempo riffs, but the real revelation comes with the explosive "Moments of Despair": "Spiritual Healing" of the new millennium. "Blood Conflict" is very cool technical thrash despite the considerable loss of dynamics once again. The closer "Awakening to the Filth" is heads-down thrash/death metal aggression, a really nice way to finish this strong comeback from one of the pioneers of the death metal genre.

All of you who thought that the band only had the energy for just one album will be surprised to find out that the guys have been alive and well waiting for the right time to release "Mandatory Evac". The abrasive guitar sound might pull back some, but as a matter of fact this is not far from the music displayed on the first two Incubus recordings: relentless thrash/death, this timelasting more brutally at times ("Never Found", "No One At My Funeral"), and overall the tempo is very fast without the slower side of the previous effort. The songs are shorter, and the technical leanings heard on "Discerning Forces", which some could have expected to be developed further here, are almost nowhere to be felt. Numbers like "Daily Stress" go well over the good taste, bashing viciously and brutally, to the point of sounding more black metal-ish. To talk about thrash metal on this one would be a bit farfetched, but "Sick of This" and "Incident" are quite good intense thrashers as though directly taken from the Swedes Merciless' debut album. It's debatable whether this effort is a worthy follow-up to the debut, but those who were looking for a direct continuation of the uncompromising assault offered by Incubus during their first period will by all means rejoice.
"Supernatural Death" again clings more towards death metal, and the wild uncontrolled downpour this time is simply tasteless and unpleasant the abrasive flair way more annoying than on the preceding album. "Sadistic Sinner" displays some more stylish control, but the rest is bashing mess way inferior to the works of Incubus the band now obviously focused on their worse, amateurish side.

Discerning Forces Full-length, 2000
Mandatory Evac Full-length, 2008
Supernatural Death Full-Length, 2016

Official Site


This Argentinian formation offer workmanlike retro thrash with rough shouty hardcore-ish vocals. The guys bash with passion preferring to play in up-pace without any unnecessary gimmicks and the result is an affair which sits between the Spaniards Fuck Off and the early works of the guys' compatriots Lethal. In terms of energy this effort leaves nothing to be desired, but diversity-wise it can't possibly score very high the only number differing from the speedy rest being the heavy pounder "Transformacion Mental" which also turns to more vigorous Slayer-esque barrage near the end. The old school thrash resurgence is quite high in South America, and this act would fit nicely into the large group of practitioners from there although they could hardly be classified as its finest representatives.

Fiebre de Guerra Full-length, 2010

Official Site


This Peruvian outfit play old school thrash (based on the self-titled demo) in the vein of early Whiplash the singer also trying to shout in a scary apocalyptic manner ala Tony Portaro. The guys lose control over the proceedings at times: the brutal death metal sections on "Sin Lamento", and generally the speed is kept high, even on the more complex saga "Descarga" which is a more technical take on their intense style with a bigger diversity offered in the riff and lead department the latter really taking off near the end with a nice virtuoso passage. This is a good promising effort which should catapult the band forward in order to grab the attention of an interested label.

Opresor Demo, 2009
Demo Demo, 2011

Official Site


Not bad intense thrash with heavy speedy riffage reminiscent of The Exorcist and early Whiplash except the vocals which are more brutal, death metal-like. The guys shred with passion pulling out several intense headbanging passages which on the final "Nuclear Death" grow into proto-death metal Possessed-esque "diabolisms".

Optimum Fury Demo, 1989


This band were formed after the split-up of Deadly Blessing by some members of that band. The music isn't as speedy, and has already managed to acquire modern elements, not miles away from the Metallica Black Album ("Stand in Line"). Still, the classic sound takes the upper hand here and there ("Inside Out"), and what we have here is still passable power/thrash metal with cool semi-clean vocals vocals and heavy squashing riffs.

Demo Demo, 1991


Thrash/crossover, quite fast and aggressive at times, but with cool melodic leads; style-wise close to early D.R.I., maybe more simplistic and with worse vocals.

Perros De Presa Full-length, 2002
Control Full-length, 2003

Official Site


What we have here is rough, unrehearsed "opuses" which are a bit hard to categorize being heavy and doomy with a pinch of both thrash and death metal. This is chaotic, amateurish stuff which lacks energy, but manages to achieve some kind of weird gothic atmosphere the latter at times dissipated by the brutal guttural death metal vocals.

Opus Sacrum Demo, 1992


Based on "No Truth...No Justice...", these guys pull out cool retro thrash/crossover spiced with more aggressive Bay-Area moments with faster and slower songs taking turns throughout. The final comes in the form of three covers: Testament's "Over the Wall"; Sepultura's "Dead Embryonic Cells"; and Metallica's "Master of Puppets", all done faithfully with good musicianship except for the thin guitar sound on the last one which lacks the hardness and the dark ominous atmosphere of the original including lapses in the vocal department where the singer delivers in an unrehearsed higher-pitched semi-hardcore manner.

"The Forgotten" is another ripper of an album and with better production qualities the band have made a major step forward. The attack is impressive here, at least at the beginning, with nice deviations (the progressive "Crossing Al Shirath"; the short speedy jumper "Dark Tide"; the nearly 6-min of balladic lyricism "Seven Wings"). The only spoiler would be the pointless unfocused power/speedy closer "Nice Dreams" which doesn't share the wild restless, also "forgotten", nature of the rest.

Warna dan Dimensi (Color and Dimension) Full-length, 2001
Darkness Within Full-length, 2007
Judging the Sleepers EP, 2008
No Truth...No Justice... Full-length, 2010
The Forgotten Full-Length, 2015

Official Site


This is modern thrash/death with an overt virtuoso flair accentuated by the flashy Shrapnel-like guitar work. Occasional hyper-blasts from the black metal arsenal can also be caught ("There Will Be Blood") making the super-active approach reach the speed-of-light limits. "Nocturnal Creatures" is a more technical shredder, but the rest is melodic and fast-paced without being very intricate. The vocals are harsh death metal ones and can also be heard on the works of the death metallers Curse the Flesh.

Beyond Omega Full-Length, 2016

Official Site


A powerful release (the full-length) from Bangladesh this way comes; the guys will shatter your senses with intense classic thrash/death in a way no worse than Devastation's "Idolatry", Sepultura's "Beneath the Remains", and Gammacide's "Victims of Science". The guys waste no time nailing the fan down from the very beginning, and this merciless attack lasts till the "gory" end. The direct barrage gets a bit more technically twisted on "Gnosis Stained Khadga", but those sophisticated moments are not that many if we also exclude the pounding Oriental diverser "Devoid Of Dharma (Aghorey Bhyo)". Raging cuts like "Bestial Death" and "Rites Of Grand Renunciation" will make your fillings drop, but this is the main purpose of the whole exercise here. The singer is a forceful death metal growler who commands the proceedings with authority and panache. The band were previously known as Barzak when the style was a more brutal form of death/black metal.

Dominion of Avyaktam EP, 2010
Kapalgnosis Full-length, 2013

Official Site


This formation provides a curious blend of modern post-thrash and stoner/doom which hits some progressive heights on the longer opus "Forecast Of Vengeance". Otherwise the album flows in a more predictable manner with an abundance of carefree mid-tempo rhythms which are not very imaginative, but will engage the listener due to the sudden interruption of faster sections and a couple of more spacey riffs involved ("Penultimate Nullificator") those akin to early-90's Voivod. Some of the band members don't break too many stoner/doom rules with their other act Hazzard's Cure where the style is pure high-octane stoner/doom.

Orb of Confusion EP, 2011

Official Site


This band was founded by members of Seance who wanted to keep themselves busier, one of them Patrick Jensen: the guitarist who has also taken part in Witchery, The Haunted, Brujeria, and other acts. What we have here is two songs which stylistically are not too far from the Seance output, only with a more thrashy edge. Maybe the guitar work is more technical, especially on the long dark thrasher "Blessing of Death". "Open Grave" is an aggressive bashing thrash/death metal piece.

Necronomicon Demo, 1989


Based on the full-length, this Brazilian outfit specialize in modern-ish thrash which has an abrasive flavour also coming from the angry quarrelsome vocals which are a curious blend of mid-period Nick Holmes (Paradise Lost) and Jan-Chris de Koeijer (Gorefest). The music is heavy and mostly mid-paced to galloping the guys steam-rolling forward in an attached Cerebral Fix-esque manner "flirting" with the fields of doom ("Bluff") at times. The problem with this kind of recordings is that at some point the listener may start looking around for the odd more dynamic moments which in this particular case are not provided, dooming the album to the 2nd tier although one never knows how the band would be able to pull it out next time around.

Involution EP, 2006
[D]Generation Full-length, 2012

Official Site


Based on the "Here Comes the End" EP, this act indulge in intense modern thrash which isn't boring, but tries to provide capable stomping atmosphere which suprisingly becomes melody-decorated on "Continuous Arising" and on the diverse shredder "Closed Mind" which introduces the only more tender, balladic moment. The vocalist is a shouty angry throat who also carries a bit of melody.

Here Comes the End EP, 1998
Bed of Lies EP, 2014

Official Site


The debut: a cool female fronted, slightly progressive power/thrash metal band; at times the music loses its edge and descends into classic heavy metal territory, but there are enough hard-hitting riffs to keep the thrash metal fan satisfied. The music alternates between more simplistic tracks and more complex technical ones. The singer has a cool mid-ranged tember coming as a mix between Doro Pesch and Leather Leone. The problem is that the tempo is too one-dimensional: mid to slow with a few timid attempts at more energy ("The Election", which is actually the only full-blooded thrasher).

"Glimmer of Hope" is way inferior to the debut being a meditative balladic version of the 90's post-thrash with groove and ballad taking turns, with doom metal taking over near the end on the closing trio which are potent powerful takes on heavy seismic doom with a few faster insertions.

Ordained Fate Full-length, 1992
Glimmer of Hope Full-length, 1995

Official Site


A 4-song EP of heavy modern death/thrash metal which doesn't lack energy, and suddenly breaks into a more intense material ("Skyscraper"). The other tracks are mid-paced with a certain amount of groove and hoarse semi-death metal vocals ala early Ville Laihiala (Sentenced).

Haunt the Cross EP, 2007


This Russian act plays melodic retro power/thrash with doomy overtones sounding like a more aggressive version of their more renowned compatriots Aria. The lead work is quite good, and the melodic licks are not too bad, but the singer is again not on par with the music with his indifferent clean tember with a drunken blend, and definitely suits better the heavier doomy numbers ("Shabash"). He's gone for the closing instrumental "S Luvobiu", though, which is melodic lead-driven heavy metal.

Orden Svobodnyh Full-length, 2009


This is brutal bashing death/thrash which explodes all around you with short (1-2min) "bullets" piercing the serenity in a commendable aggressive way. Some moments are pure inbridled hardcore, but those are not detrimental and generally the guys don't deviate too much from the winning blitzkrieg thrash/death formula "decorating" the macabre environment with the odd blast-beat. They even manage to sneak in something slower and more atmospheric on the final "Zero Population Growth" which is a mid-tempo instrumental losing the witch-like black metal singer somewhere.

Configuration Full-Length, 2012

My Space


Based on "Rock City", these Chinese rockers provide steam-rolling post-thrash with abrasive hardcore cuts which breaks the settled mid-pace with the raging piece "I Am Opposed To" bordering on death metal, and the following number is not bad, either, being an ultra-heavy proto-doomster ("This Is Our") with a cool speedy outro. Be also preed for classic heavy metal tunes on the closer "There Is No Excuse".
The "Becoming A Citizen" EP is a more relaxed affair, still belonging to the post-thrash genre again with heavier doomy/stoner overtones and several quiet semi-balladic passages. This is peaceful stuff which won't keep you on the edge of your seat lacking any surprises whatsoever.
"Tear Down This Wall" treads the same post-thrashy path and the fans will hardly find a single moment to headbang here, and the generic balladic/semi-balladic delivery will tire even the band fans since it's exactly the same from beginning to end; not Chinese metal's finest day, by a long shot....

Struggle Full-length, 2005
Rock City Full-length, 2008
Becoming A Citizen EP, 2011
Tear Down This Wall Full-Length, 2014

Official Site


The Norwegian metal scene has been trying to show in the past few years that apart from black metal acts it could also provide bands for other metal genres. Based on the full-length debut, Ordrenekt play thrash/crossover recalling quite a few veterans from the 80's; the songs are mostly energetic and up-tempo, but are longer (3-4 min) than what usually goes with this style, and with a decidedly more thrashy edge ("Anatomy Of Pain" is a nice example of the more thrashy nature of this band's music).

R'b0d Himmel, R'b0d Jord EP, 2002
Guddommelig Incest Full-length, 2006

Official Site


Playful groovy post-thrash wiht a few more dynamic headbanging sections ("Organe Mi Daj"). The sound quality is crystal clear and gives a better image to this otherwise pretty pedestrian music. The singer shouts/semi-shouts and surprisingly holds a lot of melody all over which he mixes with harsher deathy tones from time to time.

Iza Ogledala Full-length, 2014



Based on the debut: a pretty wild mixture of very heavy, modern groovy post-thrash, sludge/doom not too far from EyeHateGod and Acid Bath, grindcore moments (but not too many), and a certain amount of hardcore. I'm not sure whether it would appeal to the regular thrash metal fan, but it's really worth hearing. The closest soundalike would probably be Lair Of The Minotaur, but these guys here care less about pure thrash metal.

Install The Underground Full-length, 2003
Volume of Hate Full-length, 2005

Official Site


Members of the retro thrashers Betrayel entertain themselves here playing groovy modern post-thrash, providing some nice catchy choruses along the way. The riffs weigh, but the approach is not very hard-hitting, albeit cool, not without the odd faster crossover deviation: "Six Feet Deer". The overall style recalls a more thrashy Helmet on the jumpier sections, and mid-period Machine Head on the more direct ones.

The Ultra-Violent Full-length, 2001

My Space


Cool heavy, semi-technical thrash, sometimes almost doomy, sometimes more up-tempo, with a couple of original ideas resembling Nasty Savage's "Ignorance", but a bit more diverse and slower.

Reconditioned Demo, 1988


Based on the full-length debut, this act indulge in brisk ripping thrash/crossover not far from Wehrmacht maybe with a more overt hardcore edge on the shorter material. The guys thrash on full speed with not many pauses along the way. The musicianship isn't bad at all, and the sound quality is quite clear so that the listener will have no problems savouring the cutting guitars and the hysterical shouty vocals which sound like early Tony Portaro (Whiplash) pricked by thousand hedgehogs at the same time.
"Struggle Within" starts shredding from the imposing intro "Better Reign in Hell Than Serve in Heaven", and from there the band unleash a hard-hitting "cavalcade" of fiery cuts: "Slave of Conformity", the semi-technical delight with weird hardcore-ish distractions "Supposedly Safe Haven", the proto-deathy blitzkrieger "Ignorance and Hatred" again comprising a surreal hardcore-ish passage. "Cheated by Death" "flirts" with the more technical once again among stylish quiet breaks and sudden deathy explosions. The short "City Life" is the next in line blend of unbridled hardcore and more technical arrangements, before "Hopeless Punks" crosses hardcore and death metal in again a less ordinary manner among the frequent thrashy outbursts. The final "You are not God" is another larger-than-life amalgam with a lot of hard, semi-technnical thrashing involved finishing this eventful opus with aplomb.

CMC EP, 2012
My Mind is a Mess Full-Length, 2013
Useless EP, 2014
Struggle Within Full-length, 2016

Official Site


This is a clever effort which circles around semi-progressive power/thrash, still classic-sounding for the time which at times recalls the more serious works from the 80's American scene (the proto-galloper "Deadly Caffeine"), at others thrashes with a stomp not far from Flotsam & Jetsam's 'Quatro"; at others is a pure speed metal delight ("Show Your Face", the closing energizer "Fatale Fatalism"). The singer isn't bad at all with his emotional mid-ranged clean tember which he gives a slight mean edge at times. Some of the band members continued their career for the release of a solitary full-length effort (1997) with the thrash metallers Renfield.

High-Tech and low Life Demo, 1993


Based on "Taco Hell", this band pulls out heavy groovy post-thrash clinging towards doom metal on the heaviest moments mixed with quite a few faster surprises, like the dynamic thrash/crossover piece "Designed By The Devil", the energetic headbanger "Super Soldier", and especially the raging thrashers "Death Day" and "What You Can't See", the latter a barely controlled number with a proto-death shade. Another one could be the gothic-tinged "Death Day" for the more romantically-inclined which boasts great lead guitar performance nowhere else to be "encountered". The diversity of the material could attract a wider audience than the regular thrash metal one including a punkish untitled joke as a finishing touch, but the not very original guitar work and the drunken hoarse hardcore-ish vocals pull this effort down.

The sophomore effort "boasts" harsh abrasive production which makes the guitars too noisy standing on the way on the crispy riffage which thrashes with passion at times, but at others goes back to the groovy post-thrashy formulas which it sometimes seems to have left behind. Still, after a few more intense tracks the guys safely return to what they know best, and the album surrenders to the groove which takes over completely by the end leaving the final damage to the aggressive headbanger "Super Soldier", a totally unexpected cut with super-fast riffs bordering on hardcore.

Taco Hell Full-length, 2002
Straight To Hell Full-length, 2005

Official Site


This obscure Russian outfit pull out friendly thrash with some nice melodies which are unfortunately buried at times under a very muddy sound. Still, the lead guitarist shines all over with his inspired performance while the others tread behind him occasionally producing something more substantial: the intense "Fucking Dreams", the cool speedy instrumental "Orgy" which is again carried mostly by the lead guitar. The rest is more on the rough semi-amateurish side the hoarse semi-death metalish vocalist not helping much with his unrehearsed semi-declamatory antics (so many semi's here...).

The Beginning of End Full-Length, 1991


A classic fusion of thrash and death metal; the band don't play too fast or aggressively, but the music packs a punch, being up-tempo most of the time, recalling a more thrashy Benediction at times, with deep growls ala Karl Willets (Bolt Thrower).

Rehearsal Fuckin' Tape Demo, 2003
Orgy Of Flies Demo, 2005

My Space


Based on "Thirst For Blasphemy", this act pulls out pretty decent retro thrash with death metal touches and several beautiful melodic "excursions" ("Barbarian Solution"). A lot of dramatism emits from battle hymns like "Fanatic Murderous Madness", where the shadow of Amon Amarth can be felt. On the other hand, brisk speedsters like "Thirst For Blasphemy" will make you jump around to oblivion. "Warriors Of The Horned One" & "A Goatwhore In The Convent" lose control near the end with a few blasting passages, but all thrash will break loose with "Overfull" and the "fucking" closer "We Fuck Nuns" which even finds time for the odd more technical hook. This musical amalgam is assisted by gruff low-tuned death metal vocals which at times try something higher to a scary Chris Barnes-like effect. Some of the musicians operate on a more aggressive scale with the death/grind formation Plague Stricken.

The debut is a much more carefreely executed affair with short direct numbers in the beginning which keep the fast pace all over and will make quite a few fans jump around with joy. Ironically, it's the "assy"-titled "My Ass Is An Abyss" which hints at the future more serious metamorphosis with its heavier epic guitars which remain for the following officiant battle hymn "Funeral Fetishism". As a whole the 2nd half is slower, but more interesting with the creepy technical doom/thrasher "The Necrosurgeon's Therapy" leading the pack there with its dark hypnotic riffs. The final "We Hate" lifts the mood up with its frolic crossover rhythms, but the listener wouldn't mind being left in the dominant brooding atmosphere which emits more class and is by all means more professionally executed.

Human Decadence Full-length, 2004
Still More Suffering Full-length, 2006
Thirst For Blasphemy Full-length, 2011



A 4-track demo of semi-technical thrash/death which starts quite promisingly, actually, with the multi-layered speedy instrumental "Chaos Engine", but later on the music loses intensity relying on hectic jumpy patterns and sudden blasting passages ("anoiac Wandering") which don't work very well together although there's definitely a potential here, and with a more controlled delivery the guys could leave a more lasting impression on the scene.

Origins Demo, 2008

My Space


An all-female thrash metal band; the music is actually more in the speed metal camp, not too far from SA Slayer or early Overkill, or even Exciter with some occasional thrash riffs; nice work although it shows its age.

Sin Will Find You Out Full-length, 1986

Vibrations of Doom


Well constructed retro thrash with sharp lashing guitars, a few more stylish semi-technical elements (the excellent shredder "Ciudad Putrefacta") and capable, albeit thin, clean vocals. The title-track is a prime headbanger with splitting riffs which leads a string of first-rate thrashers among which "Dictador" sticks out with its truly inspired lead guitar work. This blitzkrieg "team" is surrounded by a great intro and outro which are again lead-driven, but are simply a wonder to listen to.

Control Total Full-Length, 2015

Official Site


Based on the "Execration Behind The Walls" demo, these Macedonians offer cool thrash/death metal, mixing fast and slow sections, but a couple of scary ultra-fast passages are placed on the least expected places ("Execration Behind The Walls"); that same track is actually full-fledged death metal, an excellent piece, fast and furious with great leads and Oriental "decorations". "Convinced Through The Ages" is not far behind, but is more diverse with a grinding section, immediately followed by a doomy Bolt Thrower-like one. The last 2 songs are "obsessed" by speed in a way not far from the early Morbid Angel "temptations" in this trend.
The debut demo is another capable affair showing a lot of thought in the riff-patterns which border on the progressive without sacrificing the fast-paced moments, albeit obstructed by the messy sound quality. As a result we have a more original take on the thrash/death metal hybrid in the spirit of Nocturnus (check out the exiting keyboard-driven instrumental) and Afflicted so don't expect any furious passages here: this is carefully created stuff aiming at the serious fanbase.

Dreams Of Reality Demo, 1990
Banishing Souls Demo, 1991
Execration Behind The Walls Demo, 1992

Fan Site


The stylish lead-driven opening instrumental "Alpha Orionis" promises something technical, even progressive, but the continuation is all over the place, mixing 90's grooves with furious thrash/death sections to a not very positive effect ("Bloodshrine"). Later the music shifts to post-thrash ala The Black Album, the "idyll" nicely "broken" by the edgy mid-paced stomper "In The Mouth Of Madness". Nothing spectacular after it, all this finished with the frustrating 10-min uneventful doom/bluesy opus "The Final Sign" (this "final sign" could have been more carefully chosen at least...).

Angel of Dust Full-length, 2007

Official Site


This act serve modern/classic power/thrash reflected in long, progressive-tinged compositions where not much hard thrashing meets the dominant steam-roller, mid-paced delivery which will strongly remind of later-period Iced Earth. The closer "Oceans Of Despair" is a gigantic 15.5-min opus with a few fairly interesting moments including several speedy passages and a couple of intriguing tehnical decisions the latter even hinting at later-period Death at times. The vocalist has a tolerant semi-clean throat which he doesn't strain at all consequently sounding indifferent on a couple of more dramatic moments.

The Ruin Of Days Full-Length, 2012


Edgy sharp modern power/thrash metal also with a good sense of melody, both sides well reflected on the intense thrashing opener "Slave Of The Dark" which cuts like a knife topped by good semi-high clean vocals. The energy gets well translated on the next "Out Of The World" which speeds up a bit those attempts aggravated by "Faraway", a prime brooding gothic thrasher with a good speedy ending and a stylish use of church-like operatic keyboards all over. "Ilmariel" is a heavy stomper with a cool balladic interlude; here the keyboards are not very appropriately implemented, though, kind of overused. The pounding continues for another two songs before "Nightmare" starts galloping in a formidable scary manner with heavy crushing riffage assisted by more brutal deathy vocals; watch out also for the excellent melodic lead section in the middle which also springs up towards the end with a great classical edge. "Eclipse" brings the heavy proto-doomy riffs once again, only for them to disappear partly on "Revenge" which is a varied composition alternating fast speedy moments with dark creepy ones to a very atmospheric effect. The closer "Tragedy Of Soul" is the staple intense mid-pacer with keyboards and leads "duelling" throughout suddenly intercepted by a short brutal blasting section. This is a job well done with a good consideration of the present currents on the music scene finding the perfect balance between melody and sharpness surrounded by a dark gothic setting.

A New Dark Apology Full-length 2010

My Space


Based on "Livlaus", this is mostly bombastic operatic black metal with thrash present in a way not different from Bathory's "Destroyer of Worlds": check out the short rouser "Brende Bruer, Svart Metall" which still comes black-decorated. The hyper-blasts are omnipresent stifling the officiant operatic arrangements, and the highlight is the song form which they're mising, "Uforgjengeleg", a nice minimalistic quasi-doomster. The musicians are all busy with the black metal cohort Enchanting Darkness.

Crimson Canvas Full-length, 2012
Livlaus Full-length, 2015



Based on the debut: this band play dark thrash/death metal with gothic and doomy overtones, not far from the Dutch Asphyx, or early Cemetary. The music has its energetic moments (the furious death metal hammer "Undamaged", which will hardly leave you "undamaged", like the title suggests; "Fascist Doctrine"), and "Beginning Of The End" nicely brings the winds of black metal: a nice varied instrumental, but for most of the time the guys rely on heavy pounding riffs and melodic hooks ala Bolt Thrower (the closer "Ritual of Blood").

Ashes to Ashes... Dust to Dust Full-Length, 1997
Firthcoming Death Full-Length, 2000


Based on the "Soul Resurrection" demo, Orlok are a melodic modern thrash metal band with a somewhat gothic edge reminding of Rotting Christ's more sophisticated period ("Dead Poem", "Sleep Of The Angels") if we exclude, of course, the hardcore-tinged vocals. This is not sharp edgy thrash, but is far from dull, with tasteful melodic riffs present all over.

Behold The Darkness Demo, 2002
Soul Resurrection Demo, 2004

Official Site


Based on the 2005 demo: this is moody modern thrash/death metal which surprisingly doesn't follow the Swedish patterns, but comes with an individual sound being heavier and mostly mid-paced, and not as fond of speed. Some gothic leanings can be discovered ("My Private Heaven"), but the brutal death metal vocals ruin those moments.

"Transmission..." offers very similar stuff, thrash/death metal on the moody side, mostly mid-tempo with sudden spasmodic fast outbursts the latter slightly compensated by the doom/gothic breaks. The guitars have an edge and rise up for a couple of cool headbanging moments ("Black Lightning"; the nice galloping "Something Beside") although now they carry a clearly audible Gothenburg flavour making the music sound more derivative this time.

Demo Demo, 2005
Live in Zenica Demo, 2006
God's Grief Full-length, 2007
Demo Demo, 2008
Promo Demo, 2009
Transmission... Full-length, 2010

Official Site


Based on the full-length, this act serve modern thrash/post-thrash with traditionally sharp riffs and shouty semi-clean vocals which try to capture the hoarse blend of James Hetfield, but should have rehearsed more. "Encage" is a more dynamic cut, but the rest is content enough within the mid-paced confines with rare escapades towards the more aggressive formulas. On the other hand, the balladic moments become way too many in the 2nd half this growing tender tendency ably reflected on the closing lyrical instrumental "Eclipse".

PowerNerve EP, 2011
Ornimental Full-Length, 2014

Official Site


Based on "Attitude & Consequences", this outfit specialize in hard-hitting choppy modern post-thrash with sparce deathy deviations and several more stylish gothic touches where cool female vocals appear. The album inevitably loses its initial bite due to the mellower insertions, but this is music for a larger fanbase, and may not be the first pick for the thrash metal lover.

Proceed Full-length, 2001
Changes Full-length, 2004
Blinded by Illusions Full-length, 2008
Attitude & Consequences Full-length, 2012

Official Site


Fast intense old school thrash/crossover; references to their compatriots Storbais and Su Ga Tar are inevitable, the main difference being that these guys are more hardcore-prone, branching out in more unbridled pogos quite often, including the isolated grindy outrage ("Burguesia Putrefacta"). The music is pretty fast, but also jolly (check out the merry-go-rounder "Anarquistas"), but the lead guitarists do their best to sound more stylish and succeed with a few interesting melodic variations which are a nice contrast to the hoarse shouty vocals.

Hasta La Total Extincion De La Burguesfa Full-Length, 2011

Official Site


Classic thrash/death metal mixing fast raging songs with doom/gothic hymns ("Killing Time") the latter losing the thrash metal idea completely. The sound quality is quite good, and the brutal death metal vocals are quite intellgible.

The "Land of Despair" demo has two sides: the original material which is fairly effective with a strong technical flair, great riff patterns and impressive leads (two songs); and the covers both done very well: Morgoth's "Resistance" from the album "Odium" played faithfully with added speed; and Sepultura's "Desperate Cry" from "Arise" done close to the original. Still, listening to the original tracks one may wish the covers could have been replaced by more original songs: there was definitely a potential "lurking in the shadows" here which sadly remained unrealised the guys disappearing without a trace after this demo with not a single word heard about any of them.

Deadly Obsession Demo, 1993
Psycho Human Demo, 1994
Land of Despair Demo, 1995


This EP is whole 8 tracks long; otherwise this is vicious, occasionally blasting, thrash/black metal with melodic epic/viking elements. The thrashy riffs at times cling towards the Swedish scene, but they are often broken by the hyper-black metal passages ala Emperor and Dimmu Borgir, except on the nice epic thrasher "The Summoning". "Onward to Valhalla" even adds happier tunes from the power/speed metal scene into the already overdone picture. A cool touch, though, are the several orchestral/ambient short instrumentals: an intro, an outro, and an interlude.
The full-length debut, as you can guess from the title, is built entirely around the songs from the demo only featuring two new tracks: "Agents of Assyrian Wind" which is a furious speed/thrash/blacker carried out in a swirling fast pace; and "Thy Fate in Damnation" which is a more controlled epicer with a few blast-beating moments scattered around the stylish progressive delivery.
"The Great Mortality" is the band's magnum opus, nice thrash/black with sweeping melodies, fast tempos, occasional blasting decorations, technical/semi-technical decisions, pompous epic arrangements, and quiet balladic interludes (the idyllic acouster "Miasmatic Evasion"). The title-track is a cool epic progressiver coming at the end to add more to the cool diverse character of the album.

Tyrants of Deception EP, 2008
Tyrants of Deception Full-Length, 2011
The Great Mortality Full-Length, 2013

My Space


Based on "Endeavors", this band play your average melodic thrash/death metal of the Swedish type with loads of melodic riffs and energetic up-tempos. Nothing exceptional if we exclude the sparse stylish acoustic insertions including one short instrumental ("Anticipation") in the same vein.

The Undying Full-length, 2006
Summer Sampler 2007 EP, 2007
Endeavors Full-length, 2009

My Space


Fast, occasionally intense, thrash metal reminiscent of Sepultura's "Beneath The Remains" on the more aggressive sections. Despite the big number of the compositions (14), the band stretch at least half of them beyond the 5-min range, "Osamenta" reaching 10-min, and is quite a diverse track in itself, easily going from short furious blast-beats to heavy doomy sections. "Heridas del Futuro" is not too far behind in terms of length (9.5-min), but is more consistent, without too many extremes boasting sce, but cool Oriental tunes. The album is not constant bashing, on the contrary, it offers quite a few slower atmospheric passages, as well as attempts at a more lyrical balladic play ("Camino al Destino", where the sharp guitars are well intertwined with the background piano melody; "L'dfgrimas de Dolor"; the excellent short closing instrumental "Atardecida Soledad").
"Libertario" is more controlled with less extreme stretches, generally slower and more melodic, and consequently much inferior to the very cool debut. The classic sound of the first album has been tempered with, with a couple of more modern inclusions here and there which further deepen the not very pleasant impression from this sophomore effort which this time comes as a more edgy version of the trend from their homeland (Horcas, Hermetica, Lethal). It only scely thrashes hard offering for most of the time an ordinary semi-classic/semi-modern mix with very few highlights clearly concentrating on melody more rather than hard aggressive riffage.
"Subversivo" is more consistent than its predecessor and is consequently the better effort thrashing in a way not too far from the debut itself at times. The opening "Hambre de Revancha" moshes with conviction in up-pace followed by moderately dynamic, proto-modern, pieces which are not anything extraordinary, but deliver with good meaty riffage. The middle is preserved for a half-min acoustic instrumental ("El Camino") and the slamming speed/thrasher "Cuando Estalle La Rebelion" which invigorates the album influencing the rest of the songs the closer "Armados Hasta Los Dientes" being another major thrasher with crisp sharp guitars. This is a cool release although it would hardly make a revolution back home, but is still a good example of the classic and modern trends' co-existence.

"Consumicidio" comes with an expressive modern flavour which boosts all instruments in equal measures, for better or worse, still providing a bit of fun in the long run. The approach is mostly mid-paced with very heavy squashing guitars which are missing from the album highlight "Entre Tumbas De Derrota", a nice sophisticated semi-technicaller with cool jumpy rhythms and a surprising memorable chorus. "Sicarios Del Poder" near the end will probably make you jump around for a bit as well, but this effort is just too stale to make you go back to it again.

Sue'b1os Sin Final Full-length, 2004
Libertario Full-length, 2008
Subversivo Full-Length, 2011
Consumicidio Full-length, 2014

Official Site


This is interesting semi-progressive old school power/speed/thrash which covers a wide ground including several moshing tracks ("Ultimo Recurso"). Still, the mellower material is prevalent like "Inercia" which is a cool reminder of the guys' peers and compatriots Hermetica and Horcas. "Cicatrizar" is a more aggressive progressiver with echoes of Malicia, with some hard thrashing involved, but the rest doesn't try too hard to leave the established peaceful paramertes. The vocals are cool clean ones with a more detached, less dramatic timbre, but more emotion emitted would have been a better option.

Reevolucion Cultural Full-Length, 2017


Based on the full-length debut, this Singaporean trio specialize in pounding modern thrash/death with harsh death metal vocals. Energy isn't quite the name of the game here, at least in the 1st half, although some more dynamic galloping riffs can be felt on "Vae Victus!", including several less controlled blast-beats ("The Absolute") the latter accompanied by cool Oriental motifs. "Decapitating the Sarafan" is a nice semi-technical ripper which gives a boost to the second half which also features the more elaborate progressiver "The Scion ov Balance", and the closing headbanger "Into the Grave" which finishes with an imposing doomy outro ala Bolt Thrower.
"The Great Architect of Nothing" is a better offering the band now lashing with more aggression touching death and even black metal with ease trying to capture some of the manic intensity of their compatriots Impiety. There's a lot of brutality involved with frequent blast-beats in the beginning. In the 2nd half things calm down a bit with thrash taking over gradually to produce the best moments on the album (the dramatic "Imposter", the semi-technical "Last"). The end is in the form of the cover version of the Swedes Vomitory's "The Voyage" which is done with more panache showing an obvious fascination with the death metal side which may become the guys' full-time occupation in the future.

"Crossing the Bridge of Siraat" is another varied blend of thrash, black and death metal with fast and slow compositions alternating throughout. Quite a few cool Oriental motifs ("The Tree of Zaqqum") can be heard at times as well as less controlled brutal blast-beating sections ("The Field of Mahsyar"). "Inspiration from the Dark" is an imposing doomy Orientalism ala Melechesh influencing to an extent the final "Heathen" which also thrashes with force near the end.

Unending Carnage EP, 2009
Woe to the Conquered Full-length, 2011
The Great Architect of Nothing Full-Length, 2013
Crossing the Bridge of Siraat Full-Length, 2015

Official Site


Based on "Reconquista", this band plays vicious black/thrash metal which in the beginning is pure blasting black metal, surprising pleasantly at times: the atmospheric slower dreamy The Kovenant-styled "Sadomaniac", after which the album loses all the speed, opting for more atmosphere instead and winning in the long run since the guys really deliver when they keep it softer, breaking out in a genuine Dimmu Borgir-esque fashion near the end, on the excellent progressive "And Lucifer Fell" which in its turn is followed by the very cool Sodom cover of "Baptism of Fire".

Har Sabbat Full-length, 2005
Reconquista Full-length, 2008

Official Site


Very complex progressive thrash recalling Watchtower at times; the songs are relatively long which shouldn't come as a surprise, but contain the necessary aggressive moments, some of which come out of nowhere, and those would make you scratch your head quite a bit: the opening "Futurity (Something to Think About)" develops in a calm power/thrash metal direction before it starts thrashing quite intensely in the middle; then another shift into a more laid-back style follows suit, this time with a cool twisted passage at the end. "Mass Termination" will shoot you at close range, a relatively short (6-min) for the band's standards aggressive thrasher, which leaves the technicality a bit behind, but nails mercilessly steel riffs one after another. "Inextricable" begins in a tender balladic manner, but the fast riffage quickly takes over, this time combined with quite a bit of a technical play as well which later turns into very mazey hectic passages the only way out of which is the song's end. "Out Of Inspiration" is more abstract laid-back progressive thrash metal which never leaves the mid-pace during its nearly 9-min, and is a bit boring, also well deserving its "uninspired" title. "Inner Recession" is not faster, but the guys excel in twisted meandering riffs which change all the time flowing into one another, seldom repeating themselves recalling past masterpieces like Deathrow's "Deception Ignored" and Sieges Even's "Life Cycle". The album's opus "Fallacy (The Asylum)" closes on 10-min, and is another sprawling composition, the slowest one here containing several overlong semi-balladic passages alternating with somewhat clumsy unfocused mid-tempo guitars. The uneven impression is tially smoothened with the very cool closer "Frozen Memory" which is a solid cross between Psychotic Waltz's "Social Grace" and Watchtower's "Control & Resistance", not fast, but elaborate and quite sharp with another balladic deviation, this time placed at the end, and a lot more appropriate. This album is a good addition to the high quality Dutch technical scene despite its several not very convincing overdone moments on the longer compositions where the guys have apparently fallen into oblivion forgetting that they have to finish them eventually, and those same compositions could have benefitted from a more compact less stretched delivery.

Futurity and Human Depressions Full-length, 1991


Based on the debut demo, these guys serve dark thrash/death which has the more adventurous spirit of their compatriots Cadaver from "In Pains": check out the sudden melodic digression on "Honest?"; but they are kind of more convincing when they thrash with more reckless abandon ("Snakevision"). The sound quality is quite muddy making the guitars hiss with passion, and the vocals are shouty throaty ones, not really in the death metal camp.

Lesson 3: Increase Impact Demo, 1992
Ragnarock EP, 1993



Nothing more than the very typical for the time groovy post-thrash in mid-tempo trying to follow the Black Album models, but when the guys give those up, they manage to come up with more interesting headbanging riffs ("It", which ironically also contains crushing doomy riffs, the heaviest part of the demo). The singer is not too bad being clean, a bit high-pitched, sounding quite dramatic and attached most of the time.

Respectfully Stuck it in the Doorway Demo, 1993


A very good mix of classic and modern thrash metal with good sharp riffs and heavy tracks in mid-tempo recalling early-90's Sepultura (a mixture of "Arise" and "Chaos AD"). Catchy short modern thrash metal hymns await you here ("Drifting Away", "The Last Good-Bye", which also comes served with a great retro thrash section in the middle) as well as more melodic, but quite effective numbers ("Jesus Lover").

From The Ashes Full-length, 2003

My Space


These "kings of thrashers" will have to eat a lot more bread before claiming this title. What we have here is brisk spontaneous thrash/crossover which isn't tedious or one-dimensional, but comes up with more varied guitar work which doesn't go for the speed the whole time. The shouty quarrelsome vocals fit well the undemanding musical approach which at least manages to pull itself for one full-blooded thrasher near the end, with the appropriate title "Thrashers Hate Police" (who doesn't...). An interesting touch are the several excerpts from popular pop/disco evergreens inserted here and there.

King of Thrashers EP, 2008


The debut: these guys stick to the dry mechanized side of the genre where the works of early Meshuggah belong. The music of the Singaporeans is not as technical, and will also remind you of Pantera and Machine Head; not bad as a whole despite the unnecessarily big amount of groove present. "Nothing but Lies" is a cool undustrialized semi-ballad, and "The Birth of..." is a nice short atmospheric instrumental. "Voracious Pigs" is the best song here: a stomping riff-fest which nicely adds more technicality to the proceedings, and the closer "Endangered Nation" exits this album with dignity being a fairly interesting technical thrasher also recalling late- 80's Metallica.
"Kingdom of Delusion": the Singaporeans wake up for a bit more of the same, and this album is a logical follow-up to their debut. The mechanized guitar sound, which worked well before to these ears, has been retouched the riff-patterns now more simplistic and less interesting. The lack of speed may be another complaint since this monolithic wall of mid-paced sound may tire the listener at some stage.

Ossuary Full-Length, 1998
Kingdom of Delusion Full-Length, 2016

Official Site


Very good modern progressive power/thrash the approach divided between long complex compositions and shorter fast technical speed/thrashers in a manner not far from mid-period Eldritch although in terms of execution this act are strictly in the modern camp. The album begins with the former side fully displayed on a trio of engaging elaborate shredders in mid-tempo full of hectic mechanical riff-patterns which weigh a ton plus some great melodic leads which take some of the sterile atmosphere the latter on the edge of echoing Meshuggah ("Becoming the Omen"; check the speedy exit on this one) even. "Gallery of Fools" is the needed "reliever" with its super-speedy crescendos followed by another bomb: "Going Under", technical speed/thrash at its finest reminiscent of more recent Paradox and Manticora. "Ruination" reduces the speed, but is a super-heavy shredder with a great acoustic mid-break the latter influencing the nice semi-balladic lead-driven instrumental "Silent Judgement" and the ballad after it "A Return". Then "Facing Fate" comes crushing down with another portion of seismic riffage which remains for the speedy closer "Prosperity", a fitting epitaph with several more peaceful sections breaking the fast neck-breaking ones this progressive speed/thrashing symphony finished with a great atmospheric orchestral outro. The singer is nothing short of outstanding with his emotional attached mid-ranged tember occasionally acquiring harsher tones on the more dramatic moments.

Harbinger Full-Length, 2013

Official Site


Based on the 2006 demo, this band plays modern melodic thrash/death metal with metalcore leanings; pleasant, albeit predicle, stuff with energetic speedy riffs and really cool leads.

Demo Demo, 2006
Pre-Production Demo Demo, 2007

Official Site


An unknown act providing five songs of atmospheric death/thrash metal not too far from Amorphis' "Karelian Isthmus". This is interesting stuff, not very fast, with cool technical moments ("Blame of Existence") at times, but also with a lot of doom which comes with plenty of melodic tunes those sections partly ruined by the brutal low-tuned vocals.

Journey Between Flesh and Mind Demo, 1992


This is modern thrashcore which welcomes both stomping groovers ("Get the Horns") and vicious more intense shredders ("Pain Don't Hurt") as both sides alternate on an almost track-by-track basis. The playful nature of "Us vs. Them" combines both approaches into one jolly good melee, but the actual highlight seems to be "The Deplorables", a stiff mechanical headbanger opposing the more classic-prone roller-coaster "Battle Cry" which is ruined by the dry, not very pleasant overshouty death metal vocals.

Kill Everything to Survive Full-Length, 2018



Based on the full-length, this band play modern metalcore-ish thrash with expressive shouty death metal vocals. The approach quickly acquires Swedish melo-death proportions ("Zombie Nation"), and although later it has no problems getting rid of them moving towards more flexible power/thrashy models, or towards straight-ahead crossover ("Pornsuckers from Hell"). The singer is a harsh deathy shouter, quite expressive to the point of hysteria at times.

War for Nothing EP, 2013
The Beast Within Full-length, 2015



These are the same guys who released an excellent demo of classic technical thrash under the name Dred in 2006. The only member missing from the Dred line-up is the talented guitarist Denis Vlachiotis who concentrates on his solo career at the moment (although so far he has only one EP released in 2007 of pretty good technical power/thrashy shred mixed with classical and latino rhythms). The style presented here is quite similar to the one on the Dred EP, and the new guitar players are doing their best to fill in Vlachiotis' shoes by giving truly inspired performance with great Oriental and Latino motifs which are present on almost every song to a great effect: think flamenco played with technical power/thrash metal tools. "Black Hole Generator" concentrates on those Latino elements being a nice atmospheric mid-pacer with suggestive technical undercurrents and beautiful melodies. "Lashing of the Flames" is a wild technical thrasher in the best tradition of Helstar's "Nosferatu" which is again the main influence on the band with fine Shrapnel-like lead performance and an even finer quiet acoustic mid-break. More puzzling rhythms come served on "Animal, Man... Machine" which notches up the intensity settling for a faster, also jumpier more hectic approach. Dramatic spiral-like guitars aplenty will one encounter on "Sanctuary" as well as a breath-taking melodic doom/balladic interlude; beautiful stuff; but "Sea to Summit" thrashes harder with a few turbulent speedy crescendos present. The technical virtuosity takes more progressive proportions near the end on "Edifice of Tyranny" which is complex power/thrash metal in mid-pace; and on the closing "Absent from Entity" which is a sweeping galloping number, a sure leftover from "Nosferatu" to which this strong effort is the best possible tribute so far all these years. Like in the Dred case the singer is a letdown his guttural death metal antics failing, by a long shot, to match the magick created by the music.
"Emanations" would be a very unpleasant surprise for the band fans who will encounter operatic atmospheric death metal all the way through with no shade of technicality anywhere the latter replaced by overdone emotional Oriental motifs. To review this album further would be a total waste of time... it simply has no place here.

Glorification of a Myth Full-length, 2011
Emanations Full-Length, 2015

Official Site


This not very known outfit specialize in jumpy technical, at times even funky (the stylish unpredictable shredder "Grinding Into Silence") thrash which is still on the classic side, also "ornated" with the odd taste of surreal Realm-esque technicality ("World Of Sorrow") also recalling someof the Bay-Area heroes (Heathen, Forbidden) who should also stop and listen on the varied semi-ballad "Savior", a nice composition with great melodic leads and intriguing progressive arrangements. "Colors Of War" is another winner of the more aggressive type with cool bassisms and another portion of cleverly-executed riff-patterns. The singer is an asset with his attached clean mid-ranged voice which he doesn't strain too much, but does a respectable job all over.

Demo Demo, 1991


This is another very good power/thrash metal band of the old school. Out Of Order combine long epic power metal songs with fast razor-sharp thrashers. The style is close to contemporary Agent Steel and the Polish Hellfire on the faster moments. "Powered by Aggression" is the more melodic affair with a bigger doze of power/speed metal elements and epic moments. The songs are longer and more complex freshened by shorter more immediate thrashterpieces ("Dead End"). Some of the longer numbers also try to keep speed and intensity longer: "Terror Rules", and succeed most of the time.

"Back in Hell" is the thrashier effort boasting great sharp riffs making even the slower, calmer numbers ("God of Misery", "Back in Hell") sound intense. The base of the album, however, is the speedy tracks and they crush in a major way as well: "Seven", "Blue Eyed Tornado", etc. The songs are shorter except for the album closer "Invisible Empire" which is a great speed/thrash metal opus in the best tradition of the aforementioned bands.

Powered by Aggression Full-length, 1999
Back In Hell Full-length, 2002

Official Site


Thrashy power metal similar to the Germans Brainstorm or Manticora from Denmark; there are cheesy moments (in the choruses mostly), but there are, on the other hand, enough thrashy breaks scattered throughout the album to satisfy the average thrash metal fan. Another minor complaint would be the vocals which sound quite strained at times, especially when the guy goes for the high tones. Things would become really interesting if the band vote to concentrate for the future on their "dark", thrashy side.

Psychotears Full-length, 2003

Official Site


One of the better kept secrets from the Canadian ungerground, Outbreak offer pretty cool power/thrash metal which is obviously influenced by their more renowned compatriots Anvil, and these guys here perform equally as well, if not even better. The opener "Master Stroke" is a great galloping power/thrasher in the vein of Omen, Attacker and, of course, Anvil. "Uberalles" carries in the same vein, but speeds up, and the guitars take a more aggressive, thrashy edge. "Hell on Earth" is a brilliant technical power/thrasher, with overwhelming haunting riffs and superb melodic leads; for this song alone this album is a must. "Mein Kampf" is an all-out thrasher, fast and merciless. Then comes the odd hard'n heavy number "Love", something which sounds as though directly taken from the Anvil debut. This lyrical, romantic song is followed by another awesome galloping thrasher: "Spy Killer", again graced by some fascinating guitar work. "Leader", with its leaden super-heavy riffs strangely reminds me of the Candlemass' venture in thrash "Cry from the Crypt". "Triumph" is a really triumphant end to this masterpiece: a great up-tempo thrasher with a very memorable main headbanging riff. The singer is an acquired taste, though; high-pitched, screamy, but kind of fitting to the music.

Master Stroke Full-length, 1986

Vibrations of Doom


Based on the "Madman's World" demo, this act serves noisy hardcore-ish thrash which comes with an awful sound quality and very bad synthesized vocals which create even more noise than the guitars. There's a certain amount of crust introduced as well, but apart from the more clever exercise in heavy, stomping modern thrash "The Silence Within", and, partly, the more decipherable death metal approach on "Doomsday", there isn't much to be distinguished from this not very easily digestible wall of noise.

Madman's World Demo, 1997
Awaken the Night Demo 1997


Based on the self-titled demo, these guys offer speedy retro thrash metal with harsh hardcore synthesized vocals which simply don't serve right the much better music. Apart from the all-out thrashers a few more crossover-inclined tunes can also be caught ("Axis Of Evil") although the approach doesn't really change much remaining fast and tight the whole time.

Act One Demo, 2007
No Control Demo, 2008
Escape from reality Demo, 2009
Outbreak Riot Demo, 2010

Official Site


The word "thrash" is frequently present on the band's works' titles. Based on the "Pure Thrash" demo, this is really pure old school aggressive thrash metal in the Slayer and Vio-lence vein.

Fuck the Engineers Demo, 1986
Demoniac Outburst Demo, 1987
Pure Thrash Demo, 2003
Thrashback Demo, 2006

Official Site


One of the better modern thrash metal bands; perhaps this is because their music has something from the classic school, too. On "Fair and Balanced" the band waste no time, starting with the intense headbanging instrumental "220", which is pure retro thrash delight, thrashing intensely for a little more than 2-min. The modern sounds come with the next "Freddy's Song" (after all, all needs to be "fair & balanced"), along with more melodic than the main vocals, mixed with more brutal, death-ish ones. The classic thrash tunes come back for another furious piece: "The Beast Will Strike Again", followed by the more technical exercise "What The Eyes See", which is a great thrasher, with a slight twist. "Slaughterhouse" is a more ambitious track, longer and more elaborate, but fails to deliver the goods in a way the others did. So the guys are quick to bring back the more successful, simplistic intense thrash formula, with "The End" and "My Own Hell". "Attack Of The Overfiend" is an awesome mix of speed, thrash and a bit of death metal, a larger-than-life opus (not very long: 6-min), with great melodies and crushing riffs.
The debut is more in the Swedish thrash/death metal hybrid camp, but delivers as well with its fixation on speed providing six explosive pieces of thrash/death metal with razor sharp riffs and swirling leads. The vocal mix is again between the slightly thin clean and the vicious death metal ones both given equal space to perform. Classic thrash takes over on the last two numbers: "Attack Of The Overfiend" which is an intense speed/thrashfest, and the bonus track "Victory For A Soul", which is more diverse crossing raging aggressive riffs with more laid-back galloping ones.

The guys were previously known as Acrostichon under which name they started a while ago in 1990 with a couple of demos, and later managed to release two full-length albums and two EP's of classic death metal reportedly not far style-wise from their compatriots Gorefest. At that time they had a girl behind the mike, the name Corinne van der Brand, who didn't survive long enough to sing in Outburst. The band also have ties to the thrashers Crustacean with whom they share two guitarists.
"Ruthless" is as "ruthless" as thrash could possibly be nowadays. It again offers an appealing blend of the classic and modern school which this time comes with a somewhat abrasive guitar sound, intentionally or not. The tracks are generally speedy offering something covertly technical ("Perfect Skill") for the more serious listener. The Swedish school is paid tribute to with a couple of tracks ("Trapped") which work well combined with the more intense old school pieces ("Open Eyes Won't Bleed"). The singer this time is more hardcore-ish with adherences to a more shouty singing which fits well into the energetic musical picture.

Overfiend Full-length, 2003
Fair and Balanced Full-length, 2006
Ruthless Full-length, 2012

Official Site


Very good aggressive retro thrash (based on "Aggression", which deserves its title on all counts) with fast-paced riffs and tasteful proficient leads, topped by not very convincing declamatory semi-clean vocals. The songs kind of flow in the same speedy vein occasionally breaking the mould with slower, softer tunes: "Over the Edge", but it's good that these moments are kept to a minimum since this is when the music loses steam and edge straying considerably away from the initial delivery. Fortunately the intense thrashing carries on after this one although the music becomes more laid-back mixing speed and thrash metal: "Dealt Hand", "Dehumanization". The last couple of tracks recapture the more aggressive atmosphere of the beginning with "The Road" being a graceful headbanging closer.

Flesholic Souls Full-length, 2003
Aggression Full-length, 2008

Official Site


This is retro thrash with Germanic overtones and an updated modern production which makes the guitars sound too buzzy and chainsaw-like. Otherwise the guys try hard, and manage to concoct something along the lines of more recent Kreator (think "Enemy of God", rather than "Hordes of Chaos"), alternating fast and slower songs, the former by far the better side: check out merciless speedsters like "OS-7" and "Mayhem to the World". "Dethroner Of Gods" is a cool, more thought-out piece with progressive pretensions and fine melodic passages, the only composition which betrays the time of release, smelling the Swedish school a bit. The singer is a good forceful semi-shouter, quite close to the more recent Mille delivery.

Vendetta EP, 2011

My Space


The debut: excellent aggressive classic thrash reminiscent of Slayer's "Reign in Blood", Devastation's "Idolatry", Atomica's "Disturbing the Noise", etc.; there are death metal blasts thrown in for good measure, and as a whole the music is really fast and relentless except for the odd acoustic, ambient instrumental "Deus Ex Machina" serving as an intermission, and a short break before the next assault. The leads are superb, but the riffs are not far behind, hitting hard, leaving marks all over you (a joke!). "The Same Face From Passion To Hatred" is a magnificent technical thrasher, the only one of the kind on this album (sections from "To What I Belong" sound too technical, too) with great twisted riffs in the Coroner vein, quite brutal as well near the end: surely the highlight, and hopefully more of the same will be heard on the band's next efforts. This is one of the most impressive releases to come from France for quite some time, and a sure top ten pick for the thrash metal fan for 2005.

"Self-Injected Reality" fulfills all the promises for a full-blooded technical album, and goes well beyond that. This is outstanding technical thrash/death metal mixing the complex twisted riffage of Coroner with the labyrinthine arrangements of the Canadian school (think Martyr, early Gorguts, Norfixion). The result is a hectic, occasionally chaotic, very dynamic sound switching constantly from very fast to slower sections, and from thrash to death metal. "Denial of Elapsed Time" adds some progressive aesthetics into the proceedings, in the best tradition of Atheist and Cynic, and "Reversal" is not too far behind, providing a jazzy break, accompanying the aggressive precise technical riffage which here is nothing short of amazing. Some blasting moments ("Fragmented Memories") will remind you of Suffocation, and the American school in general, but at this stage the listener has already realised that this work would sum up all what is viewed as high-class technical thrash/death metal. "Collapsed Into Oblivion" slightly betrays the pattern, but in a good way, being slow, dreamy, recalling Fear Factory and Coroner's "Grin". "Materia Prima" is a quiet peaceful instrumental followed by the very contrasting ultra-aggressive "Hysteria", which is 2.5-min of very technical brutal death metal. "Feelings Transgression" is a very diverse composition mixing quite a few influences, even coming up with a hyper-blast black metal t at some point. The closer "Deviance" is probably not the best decision to finish the album with its more conventional Gothenburg-like approach, but may be a welcome shift for those who have gotten a headache from the neverending whirlwind of time and tempo changes provided up to this point. This is another strong addition to the French scene of 2008 and a major rival to the band's compatriots No Return for the "album of the year" title over there.

"Awaken the Reason" could be considered a disappointment for the band diehard fans since it takes a turn towards the more abstract side of the genre where mid-period Meshuggah and their compatriots Gojira belong. Consequently the wild deathy shred has been left behind, only rarely showing up, leaving the cold mechanical riffs to take over completely. The bleak atmosphere is well sustained throughout, though, despite the rare presence of more melodic numbers (the semi-balladic jumper "Abysmal"; the lyrical piano-driven interlude "Awaken The Reason- part IV:When Dawn Brings Clarity"). At times the approach also comes close to Fear Factory ("Unspoken"; the sprawling quasi-industrial opus "Isolation") having similar encompassing qualities which are still another sign that the guys have taken quite a turn, but how well this new approach would serve them, remains to be seen. At this stage this new effort leaves a solid aftertaste.
The EP features the already heard from the subsequent full-length "Abysmal", and a Gojira cover ("Remembrance") taken from their renowned compatriots' album "The Link" (2003), done in a stomping, steam-roller manner. "Element" is a jumpy sterile shredder with a few more intriguing technical quirks in the second half; and "David Winkle's Terrible Adventure" is an 8-min instrumental opus with echoes of djent and mathcore. The closer "Allegiance" is the highlight, a superb technical death/thrasher with meandering riffs and aggressive fast-paced "skirmishes" which later grow into hectic Atheist-like crescendos.
The demo is four songs which are already accomplished complex shredders the opening "No Void of Insanity" being the most simplistic without too many technical flourishes which come aplenty on the following diverse headbanger "Shell Shock", and the meandering progressiver "Remains". "Wicked Messiah" is a more sterile cut keeping the dynamics throughout recalling Darkane and early Meshuggah.

The Source of All Creation Demo, 2002
First Call/Last Warning Full-length, 2005
Self-Injected Reality Full-length, 2008
Circles of Motion EP, 2012
Awaken the Reason Full-length, 2012

Official Site


This is primal semi-amateurish thrash/crossover with messy arrangements and indifferent semi-declamatory vocals which never make the effort to really sing, but recite seldom following the stripped-down musical background.

Outcasts Full-Length, 1988


Thrash/crossover of the meaty thrashy type with good emotional clean vocals; there are a few more carefree punkish tunes ("The Unknown") scattered around, but one can't ignore the visceral power of the dark thrashterpiece "Marching Into Hell (Hell)", a heavy hypnotic number in the best tradition of the guys' compatriots Deathwish.

Into Hell We Gaze EP, 2011



Ordinary modern thrash/post-thrash which tries to borrow from everywhere consequently missing the plot although the borrowings from the Swedish scene ("Wages Of A Gunslinger") aren't bad at all with their thin progressive/epic edge. Another highlight is "Rotten (Tower Of Thoughts)" which is a short brutal death metal-ish ripper giving an enormous boost to the album which after it begins a "carnage" of fast numbers excluding the idyllic acoustic instrumental "Endless Wastelands Part I" which lacks the presence of the shouty death metal vocalist whose at times strained rendings are always on par with the musical approach. Some of the musicians are also active with the death metallers Lacerator.

Stormbound Full-length, 2014

Official Site


Modern melo-thrash/death which main asset is the cool vocal "duel" between a very good female croon and a semi-shouty deathy "beast". The songs are all mixtures of fast and slow sections creating a lot of progressive pretensions which are well justified on the better constructed cuts ("Smile for the False", "Run of the Mill Truth"), but their number isn't big enough to make this recording a cut aboe the army of Gothenburg sound worshippers.

The Parallels Full-Length, 2017


A very good demo of mid to up-tempo classic thrash in the Anthrax vein with nice riffs, not very hard-hitting, but enjoyable: three of the songs. The last one "Fear No Fear" is a marvellous turn to technical/progressive thrash (could have been written at a different stage of the band's career?) metal resulting in a feast of smashing technical riffs and tempo changes closing on slightly over 9-min.

Songs For A Romantic Evening Demo, 1991


Based on the self-titled demo, these guys pull out several styles all of them in a fairly good fashion: "Cabalistic Rites" is a fast aggressive track with a certain proto-death flavour; "Horror Night" is a cool, more restrained speed/thrasher; "The Terminator" is clearly the highlight here featuring a fine combination of slower, almost doomy riffs and very fast ones topped up by a few nice technical licks; "The Rapist" is another excellent aggressive thrasher. With 5 demos released within a relatively short period of time, it was clear that the band wanted to make an impact on the scene, and judging by the talent displayed on this demo they definitely deserved to be better known.

Outrageous Tapes Demo, 1984
Demo Demo, 1985
Devastation Demo, 1985
Bones of War / Buried Pieces Demo, 1986
Outrage Demo, 1986


This band is a further elaboration on the short-lived Mayhem, who released one demo a year earlier. The music is in the same vein: intense thrash/proto-death in the early Kreator tradition with throaty shouty vocals carrying the vicious blend of early Mille quite well. The guys play fast'n tight, the guitars ably boosted by the good bass bottom, and a cool balladic break can also be heard on the final "S.T.O.P.".

At the Edge of Hangover Demo, 1990


Based on the first demo, these guys were surely one of the most extreme acts on the European metal scene in the mid-80's. This is a brutal mix of black and thrash with nods to early Celtic frost and Hellhammer ("Go to Hell"), and Burzum (the monotonous and vicious "Death from Behind"). There is no much variety in the guitar approach, but this creates a somewhat hypnotic effect which might be appealing to some, and was later used by many, mostly black metal, acts: Beherit, Barathrum, Khold, late period Satyricon, Mayhem, etc.

"Back for Attack" shows the band having matured beyond the black metal influences, and on this effort they come up with cool speed/thrash metal in the early German tradition with, from the black metal acts, only shades of early Bathory remaining here and there. Among the speedy antics, which by the way come with a very abrasive buzzy guitar sound, some stomping Venom-esque "poisons" could be found (check also the song-titles): "Go To Hell", "Warpaint". The band knows no mercy on vicious thrashers like "Pact Of The Wicked" and "Slave Trader", but in the second half the music loses steam and becomes much slower although the 9-min sinister black/thrasher "Sails Of Charon" (which isn't a Scorpions cover) is quite an experience meandering from fast aggressive riffs to cool melodic inclusions. The thrashing in that second half is more laid-back, not as edgy, with an early Exciter vibe: "The Book Of The Seven Seals", "Name Your Poison". Well, the closing 2-min thrashing madness "Preseus Rules" will make you jump from your seat and is quite a satisfying ending to this diverse, but enjoyable release. The singer is an unholy black metal rasper, but this is probably the best choice.

"Go To Hell" will send you "to hell" and beyond although there is hardly any black metal to be heard on it; even the vocals now sound more throaty with a death metal shade. This is well crafted classic speed/power/thrash metal which develops in a Bewitched-like fashion for most of the time adding the more intense speedy break akin to Alastor (Portugal) here and there. The already heard from the previous demo "Perseus Rules" is a fine slab of vigorous thrash, and it serves well to wake the dormant spirits since after it the band start thrashing harder first with the 6.5-min roller-coaster "Infernal Recruit", then with the speed/thrashing delight "The Inner Contract". The 2nd half is way more dynamic the closing "Black Metal Attack" being a pure "thrash metal attack" ending this diverse offering on a high note preserving the faith in one of the longest-running metal acts on the German scene.
"We the Dead" is another sure-handed achievement for the guys who thrash with passion the speedy numbers following in quick succession, raising the flag of early German speed/thrash sky-high on rigorous cuts like "The Biggest Wrench" and "Death from Behind", whereas some more moderate pieces like the doomy rocker "Be That as It May" and the galloping power metal winner "The Iron Door" show a more diverse "face" which later takes a more atmospheric turn with the double morose hybrid "Sepia Eyes/Birth to the Flame". The lost for a while speed returns at the end for the exiting trio of songs which confirm the band's aims at the higher echelons of the movement in their motherland with their appealing blend and a genuine very old school attitude.
"And the Bedlam Broke Loose" follows the same no-bars-held trajectory with speedy blitzkrigers amply provided flying from all sides nicely reminding of old heroes like Destruction, Iron Angel and some US veterans like Helstar and Liege Lord on the more galloping material ("In The Name Of Satan"). "Rewind" is a heavy pounder, but a moment like this can only be a deviation here as the fast-paced barrage goes on on full-throttle with more admirable headbangers like "Put On Your Weathering Frocks", "The Draw" and "The Clearing" following in quick succession, making this album onw of the highlights in the band's lengthy discography.

Demo I Demo, 1985
Demo II Demo, 1985
From Nightmare To Myths Demo, 1986
The Book of the Seven Seals Demo, 1987
Back for Attack Full-length, 2004
A Mute Reminder Full-length, 2005
7 Is 1 Take One Full-length, 2006
Tales Of Counted Sorrows EP, 2006
Order in the Court Full-length, 2008
Conspirator Full-length, 2010
Go to Hell Full-Length, 2011
We the Dead Full-Length, 2014
And the Bedlam Broke Loose Full-length, 2017

Official Site


This band are probably the first speed/thrash metal band in Italy. The music is fast recalling both Agent Steel and the speedy heroes from Germany Iron Angel and Warrant. Another Italian band, Creepin' Death, might have been influenced by this band. The second demo comes with a better sound and nice deviations from the speedy pattern in the form of abstract semi-technical thrash metal strangely reminding of Voivod's same year's "Killing Technology": "Acid Brain". Unfortunately, the band's potential was never fully realised.

Smile of Death Demo, 1986
Outrage Demo, 1987

Fan Site


One of the longest running, and best Japanese metal bands; "Black Clouds" is a good speed/thrash metal debut with a clear Metallica influence. "Curtains of History" is not a very convincing opener, hesitating between a more technical and more accessible, faster style. The technical style "wins the battle", as the other songs become longer, increasing the complexity; the problem is that the guitar sound is very thin and abrasive, and irritating; the other flaw is the hoarse semi-hardcore vocals which are anything but suile to the much better music.
"Blind To Reality" offers excellent heavy technical thrash metal with long, but interesting tracks, along the lines of Metallica's "Master Of Puppets" and "...And Justice For All". It's not a very distant departure from the debut, but the guitars are much better heard, sharper and heavier; it begins with the good headbanger "Blind to Reality", but later the music takes a more technical approach, and the speed decreases springing up here and there ("Name Your Poison"). The guys perhaps overdo it on the last song, the 11-min "Lockin' At Time", which is nothing more than a veeery long and boring ballad which tries to "apologize" for the wasted time with a cool speedy outro, but it would rather serve to wake up the listener.

"The Great Blue" is a transitional album showing the band gradually acquiring the modern elements: the songs have become shorter and more light-hearted, but the staple razor sharp riffs guarantee another thrash entertainment. It's actually a satisfying listen keeping good speed for most of the time although the abrasive guitar sound of the debut kind of comes back. Cool headbangers like "Days of Rage" and "The Truth" stir the mood in a major way, and even more melodic experimental numbers, like "Clay Liner", sound appealing. The pullback is again in the form of a ballad, again quite long and dragging (9-min this time, thank god!) although at least the lead guitar work this time is cool.

"The Final Day" is the "final" attempt of the band to stay true to the classic patterns, and surprisingly leaves the modern tendencies which have sneaked into the sound on the previous recording, undeveloped concentrating on classic thrash with a more melodic edge, quite crossover-sounding at times, keeping the tempo up with the first two energetic thrashers "My Final Day" and "Madness", before the doomy "Follow" "follows" providing some gloomy atmosphere recalling Metallica's same year's Black Album. "Wings" is jolly thrash/crossover, but the next "Sad Survivor" hardens the course, thrashing more intensely. "Visions" is a heavy stomper, strangely reminding of the Black Album opener "Enter Sandman" (this effort was released earlier), but "Veiled Sky" beats everything mixing tender balladic moments with fast-paced thrash to a quite positive effect. If those of you who thought relieved that this song would be all they would hear from the guys' infatuation with the ballad, will have to wait for the following "River": the full-blooded ballad here, not bad actually, the softest composition the band ever produced. The closing "Fangs" is quick to correct the impression with raging riffs and fast tempos, and is the most speedy number. If we exclude the 2 slower tracks, which have this proto-modern "colouring" typical for the already mentioned Metallica album, the rest shows no sings of compromise with any modern tastes; maybe the guitar sound is kind of dry, akin to the one of the Voivod releases from around the same time, and the singer sings in a less emotional, semi-indifferent manner, a technique later fully epitomized by the industrial metal acts' frontmen. The future works of the band are modern groovy post-thrash which also have their interesting moments, but one has to listen with care in order to find any references to their past.

"Outrage" sees the guys opening up for more classic thrash metal, albeit not all the way through, and this can only be good news since the band remain the finest practitioners of the style (after Ritual Carnage, perhaps; and alongside Aion) in Japan all these years despite the modern mutations they experienced during the 90's and beyond. This self-titled comeback to their roots is so good that one can easily forgive them the "sins of the past". The opening "Rise" will "rise" you high with its rapidfire headbanging delivery, retro thrash to the bone, a tendency gracefully continued on the next "You Care? I Don't Care", another major lasher. Two more laid-back mid-tempo quasi-groovers follow suit, before the jolly thrash/crossoverer "Fists Full Of Sand" hits you with more fast riffage. Later on the two sides take turns intercepted by the very cool soulful ballad "Shine On", showing again a strong Metallica influence with an excellent vocal performance; the brilliant short lead-driven balladic instrumental "Tor"; but the final damage is almost irreparable in the form of the raging thrasher "Terrorizer" which closes the album the way it started. The guys find it hard to leave their infatuation with Metallica aside, and this effort sounds very close to the Americans' "Death Magnetic" serving a very similar cocktail of modern and classic thrash metal (with more references to the latter) finding the balance between them almost as well.

"Outraged" starts quite energetically with "Lost", but this time the album "loses" steam faster the latter still kept around with the more moderate galloper "Grip on Chains" before the groove settles in with "New Horizon" and seldom leaves after that. "Suck It" is a short exploder, but its aggressive easthetics aren't supported by the rest which again clings towards the ballad/semi-ballad in the second half (check out the beautiful instrumentalq "Freya"). "This is War" brings some fury with its venomous rapidfire approach, but the 7.5-min ballad "Hey! I've Got A Feeling" ruins everything beyond repair the latter arriving in the form of the more dynamic speedster "In the Air"; still 5.5-min of quiet, lyrical balladisms on the closing "Faraway" are befuddling, to say the least, for the fan, and in the long run this mish-mash hardly sees the band as the leaders of the thrash metal movement in Japan anymore.

"Genesis 1" is the band's tribute to the hardcore/punk/crossover fraternity so expect no thrash here except on very few isolated moments. The guys include several covers of Japanese punk/hardcore acts ensuring everyone has fun listening to these merry unpretentious tunes.
"Raging Out": the guys' imagination when it comes to album-titles has long since worn out, but music-wise they still have a few surprises up their sleeves. Unlike its predecessor which was one big joke, and not a very good one at that, this opus has more serious claims expressed with the invigorating opening galloper "Doomsday Machine" and the smashing headbanger "Hammer Down And Go". "Territorial Dispute" is a more abrasive groover so there'll be variety offered here again although the audience's concentration will be on the moshers among which "Machete"and "We Warn All Belongs" are really worth mentioning, the latter another more speed metal-oriented shhredder. "Heroes Falling" thrashes hard, too, matched by the sincere fierceness of the closing "Outrage" which keeps the recurring groovisms at bay those claiming at least anoher 3-4 numbers here.

Outrage EP, 1987
Black Clouds Full-length, 1988
Blind to Reality Full-length, 1989
The Great Blue Full-length, 1990
The Final Day Full-length, 1991
Spit Full-length, 1993
Life Until Deaf Full-length, 1995
Who We Are Full-length, 1997
Volume One EP, 2001
Play Loud EP, 2002
24-7 Full-length, 2002
Deadbeat EP, 2004
Cause for Pause Full-length, 2004
Outrage Full-Length, 2009
Outraged Full-Length, 2013
Genesis 1 Full-Length, 2015
Raging Out Full-Length, 2017

Official Site


Based on the sophomore, which is not a re-recording of the debut despite the same title, these lads provide varied old thrash which ranges from hypnotic mid-tempo dirgers ("Mass of Life", "Unreal Trip") to energetic headbangers some of which ("Embryo's Death", the closing roller-coaster "Death Crow") come with a covert deathy flavour. "Environmental Deficiencies" is an efective porgressive mid-pacer, but such intrigue hasn't been generated elsewhere the vocals not contributing much to the joy beign subdued growly death metal ones. Some of the musicians are also active with the doom/death meallers Norilsk.

New Blood Full-length, 2015
New Blood Full-length, 2018

Official Site


This is raw prime thrash/crossover with shouty death metal vocals. Fans of the simplistic bashing side of the style would enjoy it; others wouldn't find much to relate to this noisy stuff which comes with a messy guitar sound and fuzzy drums.

Demo Demo, 2012

Official Site


3 songs of rough edgy mechanical post-thrash which doesn't benefit a lot from the inclusion of the dragging groover "Bringer Of Your End" which ruins the stylish picture created by the other two cuts. This is minimalistic stuff with not a very big thrash appeal with a subdued semi-declamatory singer with a low-tuned deathy baritone.

Don't Eat My Organs EP, 2013


Two folks are behind this project which is a display of retro black/thrash covering all earlier influences: Bathory ("Duality Of Light"), Celtic Frost/Hellhammer ("Eternal Return"), Burzum ("LXVI: Matanza De Tiburon"), Venom ("King Rat; Affirmation Of The Ignoble"); with a bigger, death metal, intensity added on "As The Crow Flies". Most of the tracks are lengthy with various tempos covered some of which are interesting exercises in more thought-out metal ("Black Decay"); others are total takes on funeral doomy dirge ("Dreams Turned Rancid") ala Skepticism and Thergothon. And, of course, a cover is needed here, of one their main influences: Celtic Frost's "Dethroned Emperor", done well without any experiments.

"Crushing the American Christ" is more openly thrashy often going over the border into less tamed black/deathy fields ("Crush the American Christ") to a squashing effect. The guys mix the approach later on by adding the doomy stomper "Scourge of the Unwashed" and the high-octane doom metal hymn "Epsilon March" in the middle. Things get back to normal with the raging proto-deathster "In Human Altar" and the wild black/thrash/deathy closer "(R)evolution of Heresy".

Resurrection of an American Heretic Full-length, 2011
Stir ov Echoes EP, 2011
Crushing the American Christ Full-length, 2013

Official Site


This band offers mellow metalcore-ish post-thrash which moves onward with abrasive guitars and jumpy mid-tempo rhythms which are at times graced by cool melodic leads ("Ancient Side Of A Pure Mind") taking an interesting alternative turn. Unfortunately, those more intriguing moments are missing on the groovy closer "Existence" which lasts for whole 11.5-min presenting nothing more than industrialized chugga-chugga riffs which get tedious way before the end. The singer is a suitable shouty hoarser who doesn't spare his lungs rending them on quite a few occasions with an added noisy synthesized blend.

Resolution Formula Full-Length, 2011

My Space


There is only one person involved here, the name (or pseudonym) Ryu, who is at present seen in the retro thrash metal act Sadistic Eyes in the company of former Narcotic Greed members. The guy bashes with no remorse here playing classic thrash/death clinging more towards the latter with vitriolic riffs and sudden slower breaks in the vein of early Celtic Frost. The tracks are short "outbreaks of evil" decorated by casual blasts, among other brutal "niceties". Ryu does a decent job taking care of everything although his vocals are fairly amateurish, low-tuned, declamatory, and barely audible.

Life and Death EP, 1993


The demo: classic 80's thrash metal with slight death metal overtones; the tracks are lengthy (within the 5-7min range with one epic massive 9-min track: "Fear (Darkness Embrace)"). Apart from the aforementioned track, the rest is cool speedy music offering some nice headbangers: "Madness Stole My Life" is perhaps the finest representative of the latter.

Depths Of Madness Demo, 2005

Official Site


The demo: this is mostly modern groovy post-thrash with unsuitable brutal death metal vocals. Sparse fast-paced moments can be encountered (the opening short ripper "Beat Your Friends"), but those rare passages are rather a distraction than a valuable addition to this barrage of heavy, but pretty unmemorable, riff patterns which also smell hardcore and crossover (the closing "War Ducks") on the more dynamic sections.
The full-length is a much better affair now switching onto a blend of classic and modern thrash, no posts here, with a touch of death metal ("The Black Resurrection Of Gand"; the chaotic "monstrosity" "Obsessed By Virginity"). The speed is admirable for most of the time as well as the wide vocal participation which moves from emotional clean tirades to ultra-brutal low growls. The leads are also not bad at all (check out the section on "The Fall Of Gargamel") and as a whole the guys have moved up the proficient scale still bashing without much organization and vision, but that can be improved in the future.

Demo From Hell Demo, 2011
Postmortem Full-Length, 2013


A 4-song demo of good classic thrash of the fast headbanging type with slightly annoying declamatory indifferent vocals; the music packs a punch with sharp speedy riffs touching Germanic speed metal ("Gobiernos de Terror") on the fastest parts. "Farzas Militares" is a brutal short Slayer-esque number.

Lobotomfa Virtual Demo, 2007

My Space


Based on the "Confront" demo, these Dutch thrashers pull out cool polished Bay-Area thrash mixed with more laid-back power metal elements the style not very hard-hitting, but enjoyable and unpretentious except on the more serious motifs present on "The Hill". The singer is a not very adventurous clean mid-ranger who recalls Dave Padden (Annihilitor).

Hellhound Demo, 1991
Angel of Lust Demo, 1993
Confront Demo, 1997
Foul Full-length, 2000


Based on the full-length, this act specializes in cool "over the top" retro thrash with a nice Bay-Area shade and stylish technical arrangements which have an interesting individual sound dominated by the good bass performance. The guys mix fast, blitzkrieg sections with more relaxed, pounding ones on almost every song as there's enough room for that since the tracks easily stretch beyond the 6-min mark. The lead guitars are pretty good and the vocals are on the semi-clean, expressive side, avoiding the annoying shouty stereotypes. In the 2nd half the songs become shorter, some surprisingly slower (the mid-paced sleeper "Estranged World", and the more dynamic closer: the Sacred Reich-esque "Here to Stay"); others merrier ("Never Again") with a pinch of crossover.

Lighting Of The Pyre EP, 1989
Here To Stay Full-length, 1991

My Space


A standout progressive power/thrash metal band with the former Living Death drummer Rainer Schmitz on board, and a female singer whose voice resembles the legendary Doro Pesch from Warlock; she doesn't change the pitch too much, but her levelled delivery contains the necessary emotional charge. The style isn't far removed from the bands of the progressive thrash metal wave characteristic of the German metal scene during the early/mid-90's, and more particularly Depressive Age and Lost Century. There isn't much technical show-off, if at all, and the music is mostly mid-paced, very heavy at times, seldom going for all-out up-tempo thrashing: "Night Time". Over Us Eden are maybe less adventurous than the lot with a thicker monolithic guitar sound which at times also recalls Nevermore and Eidolon.

Over Us Eden Full-length, 2002
Fahrenheit Zero EP, 2003


Based on the full-length, this act play clever modern technical thrash/death with ever-changing rhythms and signatures the guitar players especially busy "duelling" the whole time for the creation of quite a few memorable melodic moments among the precise technical riffage which is also accompanied by truly inspired bass performance. The Swedish canons can be felt at times ("Self Exhibition") on the less elaborate compositions and the more aggressive ("Desolation Row") deathy cuts. The technical prowess gets lost here and there, but is caught up quickly with puzzling multi-layered pieces like "Abdicated". This album is hardly a classic despite the several classy sections, but is a fitting addition to the growing cohort of technically-minded acts from Germany with a bigger emphasis on melody.

Progress In Disbelief EP, 2008
Facticity Full-length, 2012

Official Site


Along with Crucifier and Released Anger, this band are doing a good job to establish the Greek thrash metal scene as one of the better ones in Europe nowadays. The guys' music is a confident mix of Tankard and some Bay-Area riffage (think early Testament). The singer doesn't hide his fascination with the Andreas "Gerre" Geremia (Tankard) vocals, but they fit the music just fine. Cool Oriental touches could be heard on the smashing album opener "Middle East Terrorist" as well as death metal blast-beats on "Angels in Fire". The tempo is quite fast and intense with nice slower crushing breaks.

Under The Face Of Chaos Full-length, 2003

My Space


This band play modern power/thrash/post-thrash which is catchy and playful with steady mid-tempo riffage which seldom descends to groovy borrowings. "Death Trains" is intense maddening thrash, surprisingly retro-sounding, a brutal rude "awakening" for the listener which leads to another tasty "fruit" after it: the cool, again more classic, shredder "Are Gonna Die". The singer is cool with a dramatic clean throat which he at times strains towards the higher registers to a positive effect.

Shelterless Full-length, 2014



This band offer rough bashing thrash/crossover which is marred by noisy sound production and awful shouty semi-death metal/semi-hardcore vocals. Still, among the hindrances the guys manage to pull out some forceful thrash ("La Mierda Habla Sobre Tu Final") which comes with abrasive guitars and hollow-sounding drums creating the (un)desirable garage-like environment. The band's enthusiasm is obvious and with better production qualitites they may be able to make their name heard, at least in their homeland.

Destrozados EP, 2012

Official Site


Overdose are one of the first Brazilian metal bands having started at the same time with Sepultura, but having failed to achieve the same level of success and popularity. The band's style is less aggressive than the one of their renowned compatriots with their earlier works being more power metal-based, and their later ones opting for a modern, groovy sound. Still, "Conscience" is a pretty cool debut concentrating on American power/speed metal in the vein of Griffin, Jag Panzer, and the Nasty Savage debut. Heavy pounding riffs, intercepted by numerous melodic lead guitar "intrusions" the latter culminating on the fascinating 10-min instrumental "Kharma", are the base used by the band to produce some really powerful pieces of music: the epic progressive opus "The Day After", in the best tradition of Manilla Road; the exuberant progressive/technical power/thrashterpiece "Prison Of The Conscience"; the dramatic steam-roller "Rebellion".

"You're Really Big!" is a heavier affair with not as complex guitar work, but is still a fairly steady slab of forceful power metal relying on formidable gallopers like "Big As The Universe", short bursting speedsters like "Fight For Our Dreams", or pompous, operatic instrumental pieces, like "Age Of Aguarius", the latter clearly a precursor to the numerous virtuoso, neoclassical works which flooded the scene a few years later. The lead guitar work is simply stunning here the guitarist Claudio David proving himself as one of the most talented musicians to ever come out of South America.

"Addicted To Reality" switches onto a more aggressive, proto-thrashy sound, the tendency well reflected on the edgy opener with the "sweet" title "Sweet Reality". "Night Child" is an invigorating speed metal cut, but later on the epic power metal "infatuations" return for the production of not very impressive songs with banal choruses and cliched musical decisions, the leads saving the situation most of the time with excellent passages of inspired, Shrapnel-like performance. Still, this album is inferior to the previous two seeing the guys reaching a creative cul de sac, at the same time not willing to get on board the thrash metal "ship" which was already sailing away.
"Circus Of Death" could be considered the band's most thrashy release arriving at a time when the genre was way beyond its nadir. The opening track "Violence" starts the album in an openly aggressive way, but the rest is mostly in the mid-paced department, and the band's power metal roots could clearly be heard on many of the songs. As a whole this album can be rightfully put among the better power/thrash metal efforts from the Brazilian metal scene of the 90's. On later works the band embraced the modern groovy metal idea tight also adding industrial overtones on "Scars" in a way similar to Prong's "Rude Awakening".

Conscience Full-length, 1987
You're Really Big! Full-length, 1989
Addicted To Reality Full-length, 1990
Circus of Death Full-length, 1992
Progress Of Decadence Full-length, 1993
Scars Full-length, 1995

Official Site


Despite the bad sound quality, one could recognize decent power/thrash metal close to the guys' compatriots Killers. The band try to reach more progressive metal waters with "an overdose" of longer numbers like "Cendres de LibertT", but the simplistic one-dimensional delivery would make the listener tired quickly. Hard'n heavy numbers like "Princesse De l'Enfer" don't make things any better. The 2nd half (the demo is 8 songs long) is the better one with the heavy power/thrasher "Cond'de A Mort" and the melodic, but cool instrumental "LTgende".

Chasse a l'Homme Demo, 1988


The ultimately bad sound leaves a lot to the listener's imagination to stitch things together and those who have the patience to do that may appreciate this sincere bashing slab of rough old school thrash in various tempos served with thin guitars and bad shouty vocals. The Italian underground scene certainly knows much better examples of the genre. The band members were also busy with the death/grind formation Acromion, and are at present involved with the classic thrash resurrectors Obe.

Last Power Demo, 1990


This is jumpy, choppy modern post-thrash with technical pretensions, topped by rough death metal vocals which are at times replaced by better clean ones (check out the nice melancholic ballad "A Trace For Eternity"), mostly on the more moderate passages. Otherwise the music is not stale at all and the band shred with competence despite the sterile, mechanical feel of the guitars. Quiet, balladic sections are intersperced between the cold riffs recalling both Behold The Octopus and Meshuggah on separate parts of the album. Things take a more ambitious, progressive turn on "Rain", but the overall hectic, mid-paced shred never gets interrupted for long and reaches its climax near the end, on the brutal mechanizer "Don't Let Us Fall" which even introduces the odd death metal signature. And this should have been the end, a worthy one at that: alas, the band have decided to finish the album in a downnote with the very calm ambient piece "Gliese581c" which is a meditative cut and may easily put you to sleep.

Ethereal Full-Length, 2012


Crusty underground thrash/proto-thrash with echoes of early Venom as well; the singer also tries to channel Cronos and does an admirable job on the dark sinister musical background. "Abyssus" tries something more technical and atmospheric, and remains the highlight here. "Asylum Of Madness" is a ripping shredder and sticks out as the fastest cut aptly accompanied by the short rager "Weakend".

Supreme Dosage Full-Length, 2015

Official Site


This is the staple for the time groovy post-thrash with angry overshouty vocals, the repetitive heavy rhythms, and the sparse attempts at a more energetic play ("Lunatic"). "D.B.R." is a nice more melodic bouncer, but moments of the kind are a rarity on this very typical representative of the epoch.

No More Words Full-Length, 1997


A more dynamic form of the good 90's post-thrash (accentuating on the "thrash", rather than on the "post" side) spiced with brutal deathy vocals with semi-shouty tendencies, and sudden faster breaks ("Sangre De Mi Sangre"). The music is not that stale because of that, and some cuts even come with a touch of proto-death ("Miseria"; the sweeping speedster "Catarsis") leaving the groove frequently scattered never lasting for one whole track.

El +ltimo Camino Full-Length, 2008


This is cool classic thrash with a not very even vocal "duel" between husky death-ish vocals and clean dramatic ones. There is a thin progressive "fibre" going through the album ("Im Ho-Tep"; the very diverse thrash/black/death metal opus "Fear (Darkness Embrace)"), but the guys are kind of better when sticking to direct ripping riffs ("Another Dead Hero") although the guitar tone is generally not very hard-hitting preferring to lay out nice melodic landscapes on almost every song.

ORA (Our Regretless Awakening) Full-length, 2009

Official Site


The debut: modern thrash/post-thrash mixing mellow and aggressive moments on a strange alternative base coming also from the forceful semi-shouty vocals which are at times served with a clean soulful blend. Still, there's quite a bit of thrashing here even providing a nice classic Slayer-esque shade (the "killing" "Killing Show"), or acquiring more brutal proto-death ("One Word") dimensions. "Blow" is a very cool semi-technical thrash/deathster, and it's a pity that after it follows the less impressive, less energetic, material consisting of repetitive heavy-handed riffs with a strong groovy domination.
"Relentless Is Our Strength" is another modern post-thrash offering which lacks an edge and emotion dragging for at least half the time with uneventful groovy riffs the moment of illumination here called "The Consuming Element" which is an intense death metal sweeper with clever technical arrangements. "Figure Of Deception" is another piece with more overt headbanging tendencies which only leaves the rest of the material hanging awkwardly in the imbalance where even tearful piano tunes can be heard (the closer "Holiday In Wasteland") to a pretty soporific effect.

God In A Trench Full-length, 2007
Relentless Is Our Strength Full-Length, 2011

Official Site


This obscure formation pull out predictable speed/proto-thrash moving in a linear not very exciting fashion also "flirting" with power metal ("Friends"). "Technical Emotions" is a cool headbanger, but the rest is not that intense if we also exclude the bonus track "The Core" which indeed resembles Overlkill's "Rotten to the Core". The vocals are of the uneventful clean, mid-ranged variety and are just passing quality-wise.

Overheat Demo, 1988


This seminal band started greatly with "Feel the Fire", which remains one of the highest achievements of the 80's American power metal scene. "Taking Over" hardened the course a bit, but was still in the speed/power metal field. The movement to thrash metal was finally completed on "Under the Influence", which featured forceful sharp riffs slightly recalling their colleagues from Anthrax. "The Years of Decay" saw the band moving away from all influences and forging their unique, heavy sound, on this one expressed by longer, more complex song-structures with a healthy pinch of doom (check out the monstrous, 10-min "Playing With Spiders/Skullkrusher"). The improvement in every aspect inevitably led to the band's crowning achievement: the incredible "Horrorscope" which was one of the last great works of thrash metal before the genre's zenith.

Then it was time for modern thrash metal to come to the fore, and the guys wasted no time picking the modern tendencies, well displayed on "I Hear Black", which was quite a step down from the band's last couple of albums, flirting with no fear with all the gimmicks of the 90's. Then "W.F.O." came crushing down lashing awesome riffs from the past, showing the guys not completely willing to bid farewell to the 80's. But after that followed a string of modern thrash efforts, which weren't so bad, including an all cover-album ("Coverkill"). "Killbox 13" was a good return to form, containing the band's strongest material in quite a while, but instead of continuing in the same vein, especially when the time was just perfect for the good old school thrash metal sound, they came back to the safer groovy formula with "ReliXIV".

"Immortalis" is a mixed bag and not a very impressive one as such with half of the songs recalling the band's heydays, and the other half staying closer to their more modern sound.

Just when one is about to cross an old veteran off the list, these veterans come back with full force to show him/her how wrong the fan was to treat them this way. "Ironbound" is classic thrash as classic thrash can possibly get nowadays; it begins in a splashing manner with the 8-min of non-stop retro thrashing "The Green And Black". It only gets better later on, however, first with the blitzkrieg speed/thrasher "Ironbound" which brings the band's staple catchy choruses and the sharp lashing riffs from the past, showing a little mercy in the middle with a quiet lead-driven mid-break; and second with the speed metal delight "Bring Me The Night" which will remind you both of Diamond Head's "Helpless" and the Metallica interpretation of the same song. The speedy downpour is nicely broken with the heavy pounder "The Goal Is Your Soul", before the faster carefree "Give A Little" brings forward a certain crossover flavour to the fore. "Endless War" is heads-down galloping thrash with a great speedy dual-guitar ending ala Iron Maiden (remember "The Trooper"). "The Head And Heart" is another relative break with its dark heavy stomping riffage, but "In Vain" thrashes brutally with no mercy, fast and sharp. "Killing For A Living" calms down a bit, a diverse semi-technical number with a pinch of stoner/doom recalling the guys' flirtations with that genre (remember (so many memories today!) "Playing With Spiders" from the "Years of Decay" and quite a bit from "I Hear Black"). More energetic headbanging thrash as a finishing touch with the closing "The SRC", after which one can not help but have high hopes for 2010 after such a headstart for thrash metal. The guys play with so much enthusiasm and gusto as though they have been missing from the scene for a whole decade and more; especially "Blitz" Ellsworth who delivers one of the greatest performances of his career. This album easily beats everything the band have created since "Horrorscope", making the fans feel like the "dark ages" of the 90's never happened.
"The Electric Age" is a scary title for a retro thrash album, but the band know very well what to do, and regardless of what "age" we live in, be it "electrical" or stone or bronze, the guys show that the good old thrash is timeless. The opening "Come And Get It" is the ultimate classic speed/thrasher, and it only brings delights after it: the ravishing speedster "Electric Rattlesnake"; the more playful "Wish You Were Dead"; the thunderous doomy "Black Daze". "Save Yourself" is the obligatory adrenaline raiser which is an obvious nod to early Metallica, but "Drop The Hammer Down" is a different story: heavy pounding thrash with some seriously great solos and hooks. "21st Century Man" continues the speed/thrashing saga on full-throttle until the epitaph "Good Night" which has to say "good night" in a more relaxed manner, but the band lose patience and start thrashing insanely near the end the lead guitarist producing some addictive tunes as a finishing touch. Retrospection done in such a way can only warm the fans' hearts, and these "old dogs" are pretty much at the top of their game, believe it or not, sounding so fresh and inspired as though they have just appeared on the scene. Yes, the "21st century man" definitely needs vigorous rhythms like these in order to feel good in those cold "electrical" times.
"White Devil Armory": the obligatory 2-year gar is over, and the good old "overkills" are here again. The classic direction they recaptured a few years back isn't going to be abandoned, to the fans' utter satisfaction, and the opening "Armorist" states exactly that: speed/thrash till death. No signs of slowing down with the next "Down To The Bone", or the more immediate lasher "Pig" which comes with a shade of crossover. "Bitter Pill" would be a "bitter pill" with its less punishing mid-tempo guitars; but make sure you book an appointment with a dentist after "Where There's Smoke...", a perennial headbanger in the best spirit of the band's early works. "Freedom Rings" is another prime shredder of the slightly more complicated variety; before the next in line mid-pacer ("Another Day To Die") tears the silence. The speed/thrashy roller-coaster carries on with the more carefree speed metal cut "King Of The Rat Bastards", and the tad more intense "It's All Yours". The closing "In The Name" relaxes as a finishing touch with a slab of epic heroic battle-like rhythms, to put an end to this enjoyable nod to all things old school done right by one of the rightest practitioners of the genre, both past and present.
"The Grinding Wheel": there's no letting up for these veterans who are here with their next opus. The last three ones were a total return to their roots so is it time for another swing towards other waters? Well, not in this case as this next chapter from the guys' catalogue shows so well with the opening brisk old school speed/thrasher "Mean, Green, Killing Machine". "Goddamn Trouble" almost forebodes changes with its stomping quasi-groovy implements, but "Our Finest Hour" cancels those attempts in a brisk headbanging fashion. Still, the band don't give up easily to insert some vestiges from their 90's period as "Shine On" is again on the mellower groovier side, but "The Long Road" interferes again being another convincing classic power/thrasher. From this moment onward there's no letting up as the entertainment goes higher on the catchy anthem "Let's All Go to Hades" which moves the delivery more towards the power/speed metal side. The title-track is an imposing 8-min epic hymn with several more intense accumulations and a great doomy ending; and the closer "Emerald" is in a similar vein, albeit twice as short, the band relaxing with more melodic, more laid-back rhythms. As a whole there should be no disappointed as the band don't slip anywhere although the mellower approach in the second half may pull back the diehard thrashers a bit.

Overkill EP, 1985
Feel the Fire Full-length, 1985
Taking Over Full-length, 1987
Fuck You EP, 1988
Under the Influence Full-length, 1988
The Years of Decay Full-length, 1989
Horrorscope Full-length, 1991
Live to the Core EP, 1992
I Hear Black Full-length, 1993
W.F.O. Full-length, 1994
Wrecking Your Neck promo EP, 1995
The Killing Kind Full-length, 1996
From the Underground and Below Full-length, 1997
Necroshine Full-length, 1999
Coverkill Full-length, 1999
Bloodletting Full-length, 2000
Killbox 13 Full-length, 2003
ReliXIV Full-length, 2005
Immortalis Full-Length, 2007
Ironbound Full-Length, 2010
The Electric Age Full-Length, 2012
White Devil Armory Full-Length, 2014
The Grinding Wheel Full-Length, 2017

Official Site


Melodic power/thrash metal is on offer here coming with great melodic lead guitars; will not be the first choice for the average thrash metal fan. The sound quality is too muddy for one to appreciate this stuff fully, but energetic tracks like "Sumrak" and "Kroz Noc" are too good to be completely buried without a trace in it.

Odlazak U Mrak Demo, 1990

Fan Site


This obscure act plays thrash/crossover of the more laid-back type with frequent references to Motorhead and Rumble Militia. So expect cool melodic hooks, up-tempos and hoarse semi-growly vocals. The approach is kind of one-dimensional the guys sticking to the up-pace the whole time, and the simplistic riffs seldom change from one song to another. "Nuclear Trash" is a strange composition including very good acoustic guitars developing as a ballad for at least half of the time before the closing "Au Clair" exits the album with the most aggressive riffage and cool funky experiments.

The First One... (Won't be the Last One) Full-length, 1992


Based on "Zsarnok/Under the Heel", this band specializes in modern dry post-thrash which is mostly mid-tempo, but the riffs bite and scratch at times, and the overall delivery recalls the Germans Runamok. There are whole 18 songs here so expect ballads, heavy/epic metal hymns, pure groovy delights, and the energetic power/speed metal cut "Vedge of Extinction" at the end.

Ink'dfbb H)s... Full-length, 2005
Mag'dfnyos H)s EP, 2007
Zsarnok/Under the Heel Full-length, 2009

Official Site


Based on "Difference of Opinion", this band offer crunchy heavy classic power/thrash which is sustained in a solid mid-tempo the crushing rhythm-section weighing beyond a tone going along well with the emotional high-strung clean vocalist who is the main star of the show with his attached operatic delivery coming close to the one of Messiah Marcolin (Candlemass) himself. The steam-rolling riffage seldom disappears, but the more energetic tone of some tracks like the frolic "Caveman" is more than welcome to dissipate the heavy load. The aforementioned song leads a string of more playful tunes after it, which are suddenly interrupted by the raging speed/thrasher "Master of Metal" which contagious dynamics is well translated on the following "The Grave". The closing "O.L.D." is a heavy soulful ballad which is still a fitting finish to this admirable bow to the old school, and it would be interesting to check whether the guys keep thrashing in the good old way after the reformation in 2006.

Whiskey Drinking Woman EP, 1990
Second Stroke EP, 1991
Difference of Opinion Full-length, 1993
Back on Track EP, 2006
The Dark Side of Ambition Full-length, 2007
The Procession of Tartaros Full-length, 2008

Official Site


A 3-songer of dry sterile, semi-technical modern thrash which creeps forward in a sinister mid-paced fashion the stylish shreds on "1984" creating cool Altered Aeon and Nevermore-sque atmosphere. "Unvanquished" is a more dynamic piece promising more interesting music if the guys vote to carry on in this direction. The vocals are of the subdued semi-whispered death metal type.

Unvanquished EP, 2014


The EP: a classic mix of thrash and death metal ala Massacra and Merciless done by just one person named Flatuleitor. The man shouts in a not very pleasant semi-hysterical manner, but the music packs a punch offering dynamic riffs and a few nice balladic passages ("Viaje A La Locura") which are cool "calms before the storm" since the dominant approach is pretty intense. The end comes in the form of a cover version of the heavy rockers Bloodgood's "Black Snake", done pretty faithfully, the major detraction, of course, being the unsuile vocals.

The full-length is a melodic modern affair crossing thrash and death metal in a familiar Gothenburg way if we exclude the times when the guy bashes with passion without too many musical merits ("Retract or Die"). Except for those latter moments the man tries hard to pull out more proficient performance as evident from the short chaotic blitzkrieger "Sucesion" which is violent technical barrage served with style and plenty of energy. All, however, pales before the imposing closer "Descensus ad Inferos" which is a progressive thrash opera with numerous infectious melodic hooks, an all-instrumental affair which shows the guy in a fairly bright light. This is still an uneven work at this early stage the man not yet quite sure of his skills which are apently rising up.
The hard-working Chilean is here again serving his 2nd full-length ("Blackout", that is), and the fans will have no reasons to complain since this is not a more aggressive version of the Scorpions album of the same title, the man thrashing hard again mixing things in less expected ways fast-paced numbers ("Death and Unity") overlapping with nice stylish technicallers ("Amateur Damnation": this is definitely not amateurish!). Later on there are wild blacky hyper-blasts ("Temple of Ruin"), creepy doomy evilness ("Higher Dimensions"), no bars-held old school thrashers ("Thrash Olympics"; yes, this may by all means win the "Thrash Olympics"!); and an engaging gigantic 17.5-min opera which is mostly bombastic doom with operatic overtones with several faster thrashy breaks. This is not bad at all although the flaws from the previous efforts kind of remain the guy apparently happy with his delivery.

"Tolerance Collapse": "Karadima Boys" opens the album in a furious splashing pace following a really beautiful lead-driven intro, and the wild thrashing carries on with full force on the next "Spread the Crap" even reaching the borders of death metal. "Neurotheology" is a varied opus with some intriguing technical implements, but "Don't Fuck with Science" will make everyone realize that one shouldn't "fuck with science" this cut being another brutal shredder which transfers its unbridled aesthetics on "Deceived at Birth" which adds a healthy pinch of technicality, and things pretty much hit the top. "Redefining Madness" indeed tries to "redefine madness" with its super-technical/progressive twists and turns which still stay around for a few more numbers, like the diverse "Modern-Days Skeptic Flux" and the cosmic blaster "Molemen to Power". The musicianship is on a fairly high level all over, but again too much happens here for one to be fully glued to the proceedings. Still, the man has by all means found his place under the metal sun as one of the more original performers at present.

The "Total Cognitive..." demo is the next in line display of the guy's musical skills which it seems to grow with each passing day. So the all-instrumental death/thrashy rifforama doesn't stop here turned into curious technical psycho-thrash with elements of crossover on "Perception Asphyxia", this eventful amalgam taking more brutal proportions on the death-laced "Primitive Devastating Pleasure". The technical virtuosity reaches the climax on "Bringer Of Pain And Madness" which comprises 7-min of fierce very complex thrash/deathing influencing the closer "Increase The Chaos" which also finds time for a nice spacey quiet passage. This is a more coherent effort and the man should stick to those guns for the eventual execution of the perfect technical thrash/death metal effort.

"Death of Nations" starts quite imposingly with the title-track which is a ripping thrash/deathster and the guy manages to keep the tempo high with the hyper-active riff-patterns which easily cross the border towards pure death metal on "Levels Of Reality" and the unnecessarily brutal "Bringer Of Pain And Madness". Relaxed spacey progressiveness appears on "Individuality", but the rest sounds too overdone and show-offy to warm completely the heart on the regular thrash metal fan.

Overlord EP, 2010
Tiempos Antares Full-Length, 2011
Blackout Full-Length, 2013
Tolerance Collapse Full-Length, 2014
Total Cognitive... Demo, 2014
Death of Nations Full-Length, 2015

Official Site


Based on the "For Metalmaniacs Only" demo, these guys pull out fairly cool early Germanic speed/thrash (for "metal maniacs" only, of course!) metal with mean Schmier-like vocals which at some point take a rougher shade ala Uwe Die'afenbacher (Toxic Shock). The tempo varies as the dominant one is fast, and the mellower ones ably helped by the nice melodic leads which try to follow on the steps of Kai Hansen, could easily find a place on Helloween's "Walls of Jericho", or the two Vectom efforts: "The Omen". The majority, however, are all-out speed/thrashers along the lines of Exumer's debut and Toxic Shock. This is actually a compilation of the 1st and another rehearsal demo, but the style is the same: nice headbanging speed/thrash which delivers the goods despite the raw sound quality. The guys have another band: The Force, named after the Onslaught sophomore album.

Aggressive Assault Demo, 2002
For Metalmaniacs Only Demo, 2004


Based on the first demo, these Brazilians offer roughly produced retro thrash which can be quite bashing ("Asleep Present Dead Future") including on the short hardcore outburst "Cubateo"; but watch out for "Flesh Cage" which is a more serious thrasher with echoes of the Bay-Area. The singer can hardly be heard clearly for most of the time due to the very pristine, "overnoisy", sound quality, but at least the bass impresses quite a bit alongside the stylish melodic leads.

Demo Demo, 1992
Overnoise Demo, 2001

My Space


Based on the debut, this act play squashing modern 90's post-thrash which is dirgy and doomy without crossing over the bad taste, and as such will mostly please fans of acts like Grope and Helmet. The singer is a forceful shouter, but his rendings are always intelligible.

Stubborn Pack Full-length, 1998
La Rage Full-length, 1999
State of Decadence Full-length, 2000
Me[n]tal Medication Full-length, 2004

Official Site


Reportedly the band's first 2 demos were more in the hardcore/crossover spectre, not far from the style of their compatriots Ratos de Porao and early Prong, but the 2 songs on "Reality In Black" show more serious musicianship with mid to up-tempo riffs and clever semi-technical implements, reminiscent of MX's "Mental Slavery" and Dorsal Atlantica's mid-period. Too bad those songs are only 3/3.5-min long and leave these interesting "overthrash" decisions unfinished.

Demothrash I Demo, 1988
Demothrash II Demo, 1989
Reality In Black Single, 1991


Excellent fast, aggressive thrash metal with good technical riffs; early Sadus would be a good reference point, or perhaps Gammacide. The songs come together as one big relentless attack on your ears, and although you won't be able to remember much from the album later, the pure aggression of it will make you go back to it over and over again.

Within Suffering Full-length, 1990

My Space


You'll have to "adjust to darkness" if you want to fully appreciate this energetic barrage of modern thrashcore which sees the guys obviously fascinated with Motorhead by also adding the odd more aggressive deathy cut. Some slower numbers inevitably spring up, but violence is pretty much the order of the day on brutal ragers like "Phantom Hearts" and "Relapse" where purer thrash can be heard. The singer shouts/quarrels with a forced throat trying to be as little melodic as possible.

Adjust to Darkness Full-Length, 2012

Official Site


This is steady steam-roller power/thrash, more on the classic side, which loses points from the vocal department where the guy semi-shouts in a very rough drunken tember, a style totally inappropriate for inspired epic cuts like the short "Dead Armour", or the officiant power/thrashing shredder "A Message of Hate". The epic side of the band's repertoire reaches the culmination on the 8-min battle hit "Brush with Blood", an ambitious achievement which overshadows the remaining numbers. This is a not very even effort which sees an act still honing its "weapons", but by all means possessing the battle spirit requisite for this kind of music.

Wasted Existence Full-Length, 2013

Official Site


This is energetic volatile speed/thrash with a nice progressive edge more expressed on the longer numbers ("Overpowered By Insanity"). "Machine Maintenance" is another curious progressiver which includes nice bass performance the latter hitting the top on the engaging galloper "More About Killing". The closing "Resolution" is too ambitious to be handled properly being a 12.5-min opus mixing furious thrashing with more quiet semi-balladic passages; still, it's not bad at all and the band pull out some remarkable hooks to keep their complex delivery afloat. This is an interesting, intriguing listen which undeservedly remains very deeply buried in the UK underground.

Overpowered by Insanity Demo, 1989


The debut: two guys stand behind this energetic hardcore-ish modern thrash metal offering which nicely gets technical on occasion (the stylish Voivod-esque "Notik", a compelling abstract piece). "Mastery" is a cool "wink" at the Bay-Area bringing the classic spirit to the fore partially ruined by the sterile synthesized guitar sound. The rest is intense fast shred of the crossover/hardcore type ably supported by dramatic semi-clean vocals. The guys tear it loose at the end moving onto all-out thrash with the semi-technical galloper "Superieur", and the maddening Slayer-esque closer "13" (it's the 13th song).

"Demence" is a more energetic affair although it doesn't sound radically different from the debut. The album is ornated by short blitzkrieg numbers some of which branch out into pure unbridled hardcore ("War Machines"), but the fun is ensured all over even on more relaxed cuts like "Hypersomniac". "Seizure Complete" in the middle is a very surprising more technical piece with swirling galloping rhythms, much longer than the rest as well. This composition elevates the 2nd half to a higher musical level since after it comes the excellent melodic speedster "L'\\'c9vasion", the more stylish headbanger "Terra Incognita", and the slightly modernized fast-paced closer "The Protector". The guys have done a very good job here without making any drastic compromises with their staple delivery.

Devast Full-length, 2008
D\\'e9mence Full-length, 2014

Official Site


The demo: a blend of classic and modern thrash, mostly heavy and mid-paced, slightly resembling Cerebral Fix, but with a more modern, somewhat mechanical sound. The vocals are a problem, though, being very screamy at times with awful shouts which should be avoided for the future if the band want to make a bigger impact on the scene. The lead guitar work is quite good, but somehow doesn't fit the otherwise not very impressive music.

The EP comprises the same blend this time more dynamic without reaching any extremes speed-wise. "Adversity" is a serious brutal shredder which thrashes wildly for more than 6-min followed by the more power metal-based opus "Vice Grip". The song-length increases with each subsequent one reaching 8-min on the final "Twilight Descends" which, unfortunately, is a very diverse mess consisting of chaotic riffs without direction changing the pace the whole time to a disoriented, albeit strangely technical at times, effect the situation saved by the good bass support and the stylish lead guitars which are sadly missing from the short balladic passage in the middle. This is better constructed music the band having corrected most of the flaws to an extent including the vocals which now are not as annoying keeping to the mid-ranged registers for most of the time to a more positive effect.

Demo Demo, 2007
Oxidation EP, 2008

My Space


Based on the "Final Price" demo, this band plays gruff abrasive speed/thrash of the retro type with mean black metal vocals which are semi-whispers most of the time and are hardly intelligible. The music is fast with several shades of hardcore/crossover with simple samey guitars without any gimmicks.

Demo Demo, 2008
Ork Bastards/Meti Bhuvah Split, 2009
Final Price Demo, 2009

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