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

P.D.P. (USA)

Based on the full-length debut, this act create intense modern thrashcore which mixes fast energetic pieces with dragging groovy ones this blend really livened up by the inclusion of a few ripping numbers like "Pile Driven" and "Twisted" which easily cross over to the death metal side on the more brutal passages. "Weight Of The World" tries to add more technical rhythms to the picture later helped by the abstract jumpy mechanizer "Fiend"; and the more dynamic closer "3.17". The singer shouts in a forced quarrelsome fashion the whole time and additionally puts more noise to the quasi-industrial landscape.
"The Arcane Ascent" is a more stylish affair, with more technical embellishments which start from the get-go with the unpredictable jumpy quasi-industrial pageant "The Soul Devourment", a masterpiece of shape-shifting modern thrash with echoes of Altered Aeon and even Vektor. The title-track is a cold dispassionate dystopian dirger, but delivers anyway despite its more rigid skeleton; still, the more dynamic walkabouts like "The Pious Mind" are the better proposition the more dramatic accumulations on "The Expurgation" bringing the winds of death metal for a bit the latter blowing in a more technical direction on the vivid hectic "The Automatic Worship of the Anti-God".

100% Heavyocity EP, 2008
100% Heavyocity 2 EP, 2010
Mass Delusion Full-length, 2011
The Arcane Ascent Full-length, 2018

Official Site

P.O.S.T. (RUSSIA)

Based on the demo, this Russian trio offer interesting technical retro thrash with spacey progressive hooks. "Chaos" is an intense opener with loads of quirky tunes and riffs which later get translated handsomely on "Believe In Change" this number more moderate and more complex. "Tragedy" is more on the power/speed metal side, but is satisfying enough to make this band at least equal to their compatriots Trizna who were operating in a similar niche at the time.

Paroxysm Of Sudden Thrill Demo, 1994
N1 Full-length, 2004
Bol Full-Length, 2008

Official Site

P.T.O.M.A. (GREECE)

This is decent modern thrash metal (based on the debut demo) played energetically with a crisp, but a bit thin, guitar sound which still is not a detraction from intense headbangers like "The Decomposed Pork Chop". "Die with Titties in Your Face", as you have already guessed by the title, is an uplifting jokey crossover piece to which the gruff drunken punk vocals are a perfect match.
The "S-POO-KY" demo is more in the thrash/crossover camp, the songs being more simplistic and more optimistic and decidedly more classic-sounding. "Decomposed Pork Chop", already heard on the debut demo, is a raging thrasher, and the last track is a cool nod to the veterans Nuclear Assault with a cover of their song "Sin" from the Americans' debut "Game Over", done in an energetic, faithful to the original, manner excluding the gruff semi-shouty hardcore vocals.

P.T.O.M.A. Demo, 2011
S-POO-KY Demo, 2011

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PACE OF HEARSE (GERMANY)

"Thrash The Heads" offers short, direct raw thrashers, not too far from Hirax, but more aggressive and with a worse sound quality. The singer adds to the raw pristine sound of the recording with his sinister hoarse voice. "Troops of the Hearse" is longer, but doesn't waste time and thrashes without mercy having also a cool lead guitar section.
The "ExtremeNuclearSlicer" EP is a 3-songer which sees the band still thrashing like demented on full-throttle adding the odd more melodic relief coming close to the unbridled fury of albums like Whiplash's "Power & Pain", Viking's "Do or Die" and Flames' "Nomen Illi Mors". The guys know their craft and among the incessant barrage one can distinguish cool melodic leads and riffs topped by the unholy shouts and screams of the singer who is a dead ringer for the early style of Tony Portaro (Whiplash).

The DemoN Demo, 2005
Thrash The Heads Demo, 2006
ReHEARSEal Demo, 2007
Godzilla Strikes Back! EP, 2009
ExtremeNuclearSlicer EP, 2011

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PACK OF WOLVES (USA)

Groovy post-thrash of the jollier type, not hitting hard in any department except in the vocal one, where the guy rends his throat to the point of hysteria. The music is mid-tempo to slow with references to doom, and crossover on the faster parts.

Betrayer Full-length, 2009

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PACTUM (MEXICO)

Based on "Haciendo Justicia Con Tu Propia Mano", this band offers rough thrashy hardcore with modern references not far from Madball with a pinch of more recent Pro-Pan. The guitar sound is a bit chuggy, and the vocalist is the staple angry shouter. “Voluntad” is an energetic bouncer, and “Druglords” is another more dynamic hardcore-peppered tune, but elsewhere the band don’t exercise their more aggressive muscle so much, opting instead for meeker albeit corrosive jump-arounds like “En un Rincon del Planet” and “Overdrive”.
The EP comes with an awful sound quality which ruins the guys' efforts beyond repair. Otherwise this bass-boosted noise may pass for some kind of thrash/proto-death/core which ineptly tries to blend fast and slow sections resulting in chaotic, messy music which gets completely stifled by the bad shouty vocals. This is some really amateurish stuff which had missed its time by 5-6 years.
"F.A.L." is the typical for the time groovy post-thrash which has its more attractive, more dynamic moments ("Sangre En La Tierra", the speed metal delight "Rapina Organizada"). The closing "Avidos Dioses" is a nice melodic progressiver with balladic and doom/stoner shades.
“IV”: the guys are back, and their brand of crusty modern post-thrash/core is quite evident once again, “Lamashtu” also offering an intriguing doom-oriented perspective spiced with the requisite doze of energy, the short brisk “Nada me PodraDetener” teaming up with the thick dirgy grooves epitomized for “Tzintzimime”, “Marcha de los Muertos Vivientes” with both dynamics and atmosphere, the highlight here with the speed/thrashing delight “Necropoder” a very close second.

M.O.D.L. EP, 1989
Ficcion, Lujuria y Blasfemia Full-length, 1992
F.A.L. Full-length, 1996
Haciendo Justicia Con Tu Propia Mano Full-length, 1997
IV Full-length, 2023

Official Site

PADORIA (SWITZERLAND)

Based on the full-length, this band play modern power/thrash/post-thrash which moves around with friendly welcoming rhythms, above all, the horse semi-clean vocalist the main disturber, the energetic "Shield & Spear" providing the occasional more unnerving element from the music side. The more dynamic gallops on "Hateful Spirit" are also worth mentioning as well as the more technical stomps on the otherwise doom/stoner-bound "Starkblast", the screamy wa-wa leads on this one (and elsewhere) a true highlight with their psychedelic 70's vibe.

Suicidal Breed EP, 2017
Antagonist Full-length, 2021

Official Site

PADRA (IRAN)

The Middle East is waking up for more intense thrashing, but in this case this is another passable modern post-thrashy entry which by all means has its more aggressive aspect ("Ehsasate Gaav", the infectious speedster "Yeki Bood,Yeki Nabud"), but generally this is catchy and friendly music which also wins from the pleasantly inebriate clean vocals.

Hezartooye Tanafor Full-Length, 2016

Official Site

PADRAX (ECUADOR)

Based on the full-length, this band play retro thrash/crossover which comes heftily black-decorated thanks to the screechy raven-like vocals and the several more intense proto-blasting adherences. "Intoxicacion" and "Witchunter" carry the vehement charge of the album, whereas "Guerreros del Sol" is the moody creepy presence, "Headbangers" fully justifying its title with its short hyper-active non-fussy execution.

Padrax EP, 2014
Sangolkillers Full-length, 2019

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PAGAN IMPALER (USA)

Based on the full-length, this US trio pull out simplistic pristine black/speed/thrash that is modelled after the early Bathory feats, the more proficient mid-paced trot on "The Witch's Curse" stifled by the more dynamic extrapolations of "Combat Shock". Still, the guys insist on those minimalistic deviations, and come up with the excellent atmospheric doomster "Buried Alive" which tries to get drowned by "Drown Me in Blood", another fast-paced pulverizer, the harsh shrieky black metal singer occupying half the space with his infernal rending tirades.

Salem EP, 2020
Open the Casket EP, 2022
Buried Alive Full-length, 2024

Official Site

PAGAN MOON (COLOMBIA)

A retro black/thrash formation which indeed manages to create some pagan atmosphere with its musical exploits, the latter epic and dramatic without essentially sticking to very fast-paced developments. The slightly cavernous production also helps the guys' cause, not to mention the hissing sinister black metal vocals. "Energy" can't be any more appropriately-titled, a raging death metal-ish composition, inspiring "Invasor" for another more aggressive outbreak.

Arte Oculto Full-Length, 2022

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PAGAN RITES (SWEDEN)

The guys from the heavy/black metal outfit Devil Lee Rot, along with Devil Lee Rot himself, have decided to harden the course a bit, under a new name. Based on "Pagan Metal - Roars of The Anti Christ", this is black/thrash metal sounding like a more vicious version of the Devil Lee Rot music, not very fast or aggressive, also recalling another Swedish act: Bewitched. An interesting moment are the doomy tracks ("Unholy Ancient War"), which bring the sound close to the veterans Bathory, Celtic Frost and Venom. The rest is cool simplistic headbanging stuff including mellower songs which sound as though directly taken from the Devil Lee Rot albums ("Pagan Metal").
"Embrace The Torments of Hell" is vintage early Venom, but this time the tribute to the Brits is done in a softer rock-ish manner still containing pleasant surprises along the way: the speedy roller-coaster "The Horned Immortal"; the raging speed/thrashers "Baphometal" and "Tragedy Of Christ". "The Seal of Baphomet" at the end is a high-octane doomster with a speedy ending, and the bonus track after it, "Unholy Divine", is another sinister funeral doom metal piece ala early Cathedral with another faster exit, but done chaotically and with worse musicianship, obviously a "remnant" from an older demo.

The "Preachers from Hell" EP is a brutal affair the band thrashing, also blacking, in a vicious aggressive manner with a few softer relieves (the speed metal joy "Catholic Sodomy") plus a cool atmospheric doom/blacker ("Unhallowed Ground") with a melancholic pinch ala Katatonia as a finishing touch.
"Survival of the Antichrist Nation" is a brooding, mostly mid-tempo black/thrash amalgam, the band early establishing the minimalistic but effective delivery with "The Last Dance Around the Lake of Fire", a pagan/black thrasher which creeps unobtrusively backed up by the raw underground production. "D-Day" is a dark brooding offering with a hefty doom/dirgy clout, the band entering the funeral parlour with the trudgy but majestic opus "S.A.T.A.N.", Nameless Unseen" seeping with macabre atmosphere, recalling acts like Barathrum and Khold. "Born Again Pagan Knights" is a playful rock-ish proto-blacker, and the title-track is a marginally more dynamic pageant with echoes of early Venom.
"Pagan Metal Legion" follows the (un)righteous path with aggressive determination, the playful song-alonger changing the course a bit, but later there's operatic atmospheric blacksters ("Christ Cross Killer"), morose doom-laden marches ("Necronomikon"), and even poignant lyrical ballads ("Into the Shadow Dark") to brighten the darkening horizon, the latter also comprising the eye-gouging grindy etude. "Proud and Possessed".

Sodomy in Heaven EP, 1994
Bloodlust and Devastation EP, 2000
Mark of the Devil Full-length, 2003
Dancing Souls Single, 2005
Pagan Metal Single, 2006
Pagan Metal - Roars of The Anti Christ Full-length, 2006
Embrace The Torments of Hell Full-length, 2010
Preachers from Hell EP, 2011
Survival of the Antichrist Nation Full-length, 2020
Pagan Metal Legion Full-length, 2024

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PAGAN WAR MACHINE (USA)

A side project of the Dreams of Damnation members; here the music is cleared of the aggressive proto-death parts of the other band's style, which makes it more melodic and less enjoyable. The concentration is on heavy 90's aggro thrash akin to Pantera and Machine Head, and on vocals Steve Gaines does a good job to impersonate Phil Anselmo.

Demo Demo, 2002
Bayonets And Battle Scars Demo, 2003

PAGANDOM (SWEDEN)

Based on the debut, this act plays typical modern 90's post-thrash with the groove and all the rest; one of the many Pantera and Machine Head-clones. Some of the band members also play with the sludge/doomsters Transport League.
The demo is a pleasant surprise showing an act having some real potential at the very beginning. The band play technical Bay-Area thrash with clever stylish riffage, a good feel for the progressive ("Recipient" which may remind of "Leper Messiah"), and nice furious headbanging opportunities ("Sorry, I Forgot Your Funeral"). "What Now, My Friend?" finishes this successful attempt with a hefty portion of heavy seismic guitars predating the similar approach on Heathen's "Victim of Deception". Sadly, when the "Crushtime" came four years later, the guys had already turned to the dark side.
"Hurt as a Shadow": another obscure formation rises from the ashes and they show quite a bit of improvement, and have torn their bond with the groovy movement. In other words, this is primal old school thrash the guys moshing out with all the passion they can summon, the guitars coming with a slight abrasive flavour. "Hurt as a Shadow" provides a more moderate semi-galloping respite, and more sophisticated semi-technical thrashing springs up on "Behind the Words" and "Monochrome Vision"... however, the initial energy starts disappearing bit by bit replaced by the quiet balladic instrumental "Breather". "Not of Diamonds" brings back the more engaging power/thrashing, and "Bridges Burn" is the remorseless headbanger the second half badly needed to get back on track, leading to other similar explosions like "Terminal Narcissist" which pour more fuel into the furnace regardless of the mild semi-balladic nature of the closer "Flooded City". The band have made a statement here, and this opus is by far the best they have managed to come up with so far.
"Ashes" is another assured recording, the guys thrashing with a lot of confidence and gusto ("Oblivious", the vitriolic "Bury Their Names"), the more varied but equally as venomous "Behind Walls of Glass" showing another, more ambitious side of the band's repertoire. "Don't" is just a heavy quasi-groover, and "End Begins" is an atmospheric experimental semi-relaxer, these cuts occupying the middle. The second half is a tad less consistent, "Blinded by the Dark" moshing in a curt spatout fashion, and the closing title-track is a furious modern thrash/proto-death walkabout.

Hear Your Naked Skin Say Ashes to Ashes Demo, 1990
Crushtime Full-length, 1994
Hurt as a Shadow Full-Length, 2016
Ashes Full-length, 2021

Official Site

PAGANFIRE (PHILIPPINES)

Based on the EP, this young band plays black/thrash of the raw amateurish variety with vicious rending black metal vocals. The guys bash the whole time and don't conceal their infatuation with the early efforts from the Brazilian scene (Holocausto, Sextrash, Vulcano, etc.) and the Canadians Sacrifice debut, but they have to work harder in order to reach those acts.
The full-length "Of Deathblades and Bloodsoaked Paths..." arrives after a lifetime of hibernation, but is a more aggressive offering, with a more overt death metal edge ("Bloodsoaked Life"), the latter nicely complementing the fervent thrashing spree unleashed, with "Poseurdom Shall Fall" spraining necks and contorting limbs with mirthful ease, the more technical carnival "Karumaldumal!Kasuklamsuklam!" a sure feats for the ears, alongside exhausting death-peppered excursions like "The Executor is Back".

Paganfire Full-length, 2005
Hate Vanishing Point EP, 2008
Of Deathblades and Bloodsoaked Paths... Full-length, 2021

Official Site

PAGANIZER (SWEDEN)

This band started mixing thrash and death metal of the old school on their debut; crushing and mostly fast-paced music, with a certain use of blast-beats, which could have been avoided, because they break the integrity of the compact, and quite cool thrash/death metal sound. Later on thrash metal stepped down, and their subsequent releases have embraced the death metal idea tighter, again doing a good job, along the lines of the early Swedish heroes from the movement: Grave, Entombed, etc.

"Scandinavian Warmachine": the music is more death metal-oriented, quite fast again, with a more polished and a more technical guitar sound, recalling Morbid Angel. The slow atmospheric compositions are a nice touch ("Colder") with an epic Amon Amarth-like flavour. "Thule in Flames", on the other hand, is pure black metal madness, hyper-fast and relentless. The technicality reaches its heights on the excellent stomper "Distracting the Gods to Enable the Slaughter of Millions".
"World Lobotomy" is pure death metal with a thick melodic edge and as such doesn't offer much entertainment to the thrash metal fraternity. It's a pretty standard offering with reverberations from Dismember and Unleashed not breaking any new ground, but also failing to serve the best from the old school.

Deadbanger Full-length, 1999
Warlust EP, 1999
Promoting Total Death Full-length, 2001
Dead Unburied Full-length, 2002
Murder Death Kill Full-length, 2003
No Divine Rapture Full-length, 2004
Scandinavian Warmachine Full-Length, 2009
Into the Catacombs Full-Length, 2011
World Lobotomy Full-Length, 2013

Official Site

PAGANOS (ARGENTINA)

At the time when the veterans on the Argentinian metal scene were modernizing their sound, here came a band to put them all to shame. The album-title is misleading as there is nothing experimental here: this is all-out classic speed/thrash metal with great guitar melodies and catchy headbanging tracks: just listen to "Mi Legado" and jump around till you drop. Well, you can have a break on the next track "Creando Tu Destino" which is a cool balladic piece, but after it the assault goes on unabated with "Ni Muerto": the most aggressive number on the album. This work must have been one the first "sparkles" to rekindle the interest in retro thrash metal in South America.
"Nos Vemos En El Infierno" would be another no-brainer for the classic thrash metal lovers starting with the energetic semi-technical mosher "Nos Vemos En El Infierno", before "Soy Pagano" cools the situation down a bit leaving room for more intense speed/thrash for a couple of tracks until the coming of "De Angeles a Demonios" which stays more on the melodic speed metal side. "Mala Yunta" is more vigorous and thrashy, still with melodic hooks aplenty, and the closer "Victimas Del Poder" is kind of underwhelming being optimistic crossover happiness followed by 4 bonus tracks which show the guys' less polished and rawer side thrashing hard and fast, even to the point of blast-beating ("El Mismo De Ayer", "El Pasajero") on a few moments.
"Infierno Real" arrives after a lengthy 8-year break, but shows the guys in fine form once again pulling out pretty decent old school stuff which this time is more melodic with more references towards the speed, as well as the power metal, field. As such some may be a bit disappointed since all-out thrash assaults are seldom encountered, replaced by a mellower more immediate delivery, even featuring a cool take on a more complex progressive song-writing: "Muerte Justa".

Experimental Full-length, 1999
Infierno Real Full-length, 2007
Nos Vemos En El Infierno Full-length, 2010

Official Site

PAHAN IKONI (FINLAND)

Based on the full-length, this act provide modern thrash/death which has its heavy pounding moments ("PetoMieheksi"), but it also has its less bridled galloping moments ("Sokea Lammas"), the moshing ripping "Yllamme Kaatuva Taivas" standing for the aggressive highlight here, although its restless spirit is easily matched by the brief breezer "1793" and by the more death-prone vitriolic "PahanIkoni". The vocals are harsh shouty death metal, spitting the lyrics with gleeful abandon. The band were earlier named Halo of Dreams, the style pretty much the same.

Kidu EP, 2015
Misantropia EP, 2016
Ikonoklasti Full-length, 2022

Official Site

PAIN (TURKEY)

These Turks provide stuff more melodic and more cleverly-constructed than what the demo-title suggests. This is more moderate classic thrash with clear progressive pretensions reflected in longer compositions and more expressive instruments the bass in particular being quite striking. "Guardians Of The Hell" is an imposing over 8-min opus which has all the necessary for a good progressive track ingredients which can be felt on the closing engager "Night Stalker" which is even longer (around the 10-min mark) and also contains brisk fast sections among the numerous melodic "decorations". The singer doesn't quite shine with his levelled indifferent semi-death metallish tone, but there's a potential here which shouldn't wait for too long before it takes a more acceptable shape.

Thrash Till Death Demo, 2003

PAIN (USA)

Aggressive Slayer-esque thrash, not bad, but the muddy sound quality is a major obstacle at times. Nevertheless the guys try hard, and the leads are more sensible than the ones of Kerry King. The music is fast and intense all the time topped up by gruff semi-death metal vocals.

Into The Bloodbath Demo, 1988

PAIN OF TRUTH (GERMANY)

Direct stripped-down retro thrash/crossover with frequent descent towards pure hardcore; blitzkrieg stuff, with covert echoes of proto-death ("Deathbringer") as well, with shouty semi-clean vocals. "Revelation" breaks the hyper-active pattern with good steady mid-tempo riffs, a nice digression which influences the interesting semi-balladic "The Great Pioneer" and the progressive symphonic extravaganza "Alone" near the end.

Stand Or Die Full-Length, 2019

PAIN PENITENTIARY (UK)

Based on the split, this act plays an extreme blend of death, thrash metal and grind. This is brutal relentless stuff which, despite the dominant fast pace, offers heavy semi-sludgy breaks which work well giving the music a cool diverse twist. Still, the thrash metal fans will not be very entertained: this is mostly death metal-based music with very brutal low-tuned growls.

Organ Pit Demo, 2007
Suffer The Torture/Dismembered And Burnt Split, 2010

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PAIN PRINCIPLE (UK)

Based on the debut, this act provide squashing, steam-roller post-thrash which is as trite and unimaginable as this style can possibly be. The riffs are unbrearably heavy and can help you hammer some nails on the wall if you're doing some construction work in the house. The vocals are gruff death metal-ish with a not very expressed shouty blend. Only for 90's completists...

....Until Someone Loses an Eye Full-length, 1996
Chronic Rage Disorder Full-length, 1999
Waiting for the Flies Full-length, 2007

Official Site

PAINCORP (USA)

This is modern post-thrash with a belated late-80's Metallica vibe still roaming around ("Immerse Yourself"), making things more interesting whenever they're not ruined by the awful unmelodic, shouty hoarse vocals. The groove permeates dragging uneventful walkabouts like "Emulate the Faceless", but there's some interesting alternative vibe going through the motions on "Invert" recalling Digital Ruin.

Demo Demo, 1996

PAINCRAZE (SWEDEN)

These Swedes play modern melodic thrash metal alternating between more energetic numbers and pure semi-groovy delights producing unpretentious laid-back music in the process with shades of alternative, grunge and crossover. The guys have done a much better job with their other band: the excellent progressive power/thrashers Dimension 34. Some of them are also involved in the death metal formation Skullbasher.

Hellbound Full-length, 2008

Official Site

PAINFUL PLEASURE (USA)

Look no further than the 90's groovy post-thrash on this 4-tracker which is chokeful of choppy crunchy rhythms, "Fear" emitting a couple of more lyrical balladic etudes, with "What's It All For" attempting more hard-hitting thrashing alongside surreal elusive lead sections, the weirdness transferred to "My Judgement", another stomping abraser the semi-whispered, not very well heard vocalist adding to the minimalistic nature of this obscure recording.

Painful Pleasure EP, 1997

PAINGATE (USA)

Based on the debut, these guys pull out boring alternative 90's post-thrash, soft and edgeless, coming as an awkward mix of Helmet and Misery Loves Co. The title-track even introduces some semblance of Primus-esque funk, but such developments are left alone quite early with boring ballads ("Gun to My Head"), goofy rockabilia ("In My Room") and alternative/grunge variations ("Voo-Doo") filling in the aether.

Sacrifice Full-length, 1995
Do the Wrong Thing Full-length, 1996

PAINGOD (USA)

Finally the band Raped Ape have decided to change their obscene name. Unfortunately, as Raped Ape the band were able to pull out some nice thrash metal riffs of the classic school whereas here we have just another modern thrash/post-thrash act, with touches of hardcore. The delivery is on the clumsy, quasi-doom side with isolated more stylish refreshers (the title-track) sparsely provided although the fun element isn't completely neglected as there's this trippy feel in the air also brought by the angry, but attached and comprehensive vocals. "Blind Vision" is a cool jumpy proposition ala early-90's Prong, but surprises of the kind are a rarity.

Paingod Full-length, 1997

PAINKILLER (POLAND)

The debut: a new Polish outfit who try their hands on classic thrash/death with a hefty technical twist; very good stuff, by the way, with meaty riffs and quite a few intriguing riff-patterns. Don't expect a worship of the Judas Priest album of the same title, this is way more brutal bordering on pure death metal on the excellent melo-technicaller "Cadaverous Venom". The shadow of Death looms over "Death Carrier", not without the help the guitar wizard Jacek Hiro from the technical death metal masters Sceptic (also Never) who adds a few tasteful licks to the already quite appetizing melee. Shredding speed is the order of the day on "Escape from the Mentality" before the instrumental "Intersection of Fear" acquires more ambitious, progressive proportions. The best is yet to come, though, in the face of "Nuclear Genocide", exemplary technical thrash/death which even beats parts of the Sceptic catalogue with ease. The remainder is far from an afterthought "Manipulation of the Mind" marching forward in a familiar Death-esque fashion, and "Walking in the Dark" speeding up again not straying too far from the attractive delivery of Chuck Schuldiner's (R.I.P.) gang. Not surprisingly, the saga is finished by a cover of Death's song, in this case "Trapped in a Corner". Despite an obvious fascination with one of the greatest metal acts of all time, the band show some individual touches which should develop further since they do show the guys' bigger potential.
"Suffering of Exile" tries to cover the same ground, and although the opening "Blindfold Beast" doesn't promise too many intricacies, it soon becomes clear that the style hasn't been changed drastically, first with the melo-thrash/death walkabout "Redemmers Prophecy" and the galloping instigator "Antihuman Terror". The techno-thrash/death carnival goes a few notches up with the short hecticer "Putrefaction of Mind", but it's the melodic quirks on the excellent Coroner-worship "In the name of Nothing" which hit the top whereas "Flesh Factory" fleshes out a more death metal-prone repertoire for a bit. "Wheels of Fire" is not a Manowar cover, but is another dazzling thrash/death shredder, a dynamic ball of sophisticated fury which gracefully wraps on this very convincing second chapter from the guys' short but impressive discography.

Death Carrier Full-Length, 2015
Suffering of Exile Full-length, 2020

Official Site

PAINKILLER (SWITZERLAND)

Based on "Pain and Destruction", this act specialize in classic power/speed/thrash that possesses both optimism and frivolity, the guys having fun with merry but edgy tracks like "Pandora" and "Reborn as a Sinner", the softer rhythms on "I Still Hear Them Cry" and "Four Horsemen" still valid in the company of more speed metal-based pieces like "Restless and Wild" (not an Accept cover) and the galloping "1319". The vocalist is a cool presence, a steady clean attached timbre that has both authority and passion.

Resurrection Full-length, 2019
Pain and Destruction Full-length, 2023

Official Site

PAINMUSEUM (USA)

The full-length: Metal Mike Chlasciak's (Halford, Testament) new band, ably supported by Bobby Jarzombek and Steve Digiorgio(you know their backgrounds). With a stellar cast like that you would expect nothing but a masterpiece, and this is probably close on the most inspired moments. Everyone is in top form here, especially Mike whose guitar pyrotechnics are outstanding. The style isn't too far from Halford's solo efforts, or Fight's "War Of Words", but is thrashier, and there's a certain modern edge ala Pantera in the guitar approach. And I haven't said anything about the vocalist yet who is an acquired taste with his gruff singing which sometimes doesn't quite fit the music. This is a solid, if a somewhat flawed, release.

Metal For Life Full-length, 2005
You Have The Right To Remain Violent EP, 2006

Official Site

PAINSTRUCK (PORTUGAL)

Swedish thrash/death metal made in Portugal; the debut is an energetic, albeit derivative affair that doesn't stray from any of the established for this style canons save for a cool invigorating version of Black Sabbath's immortal hit "Paranoid" the latter partially ruined by the staple for this genre overshouty vocals. The band members have quite a few other projects running, the death metal crusters We Are the Damned, the melodic thrash/death metal outfit Shadowsphere, etc.

Aggressive Ways to Pacify Full-length, 2001
A Whole New Perception Full-length, 2002
The Scalpel EP EP, 2006
Hell's Wrath in God's Fury Full-length, 2007

Official Site

PAINTED IN BLOOD (USA)

This act deliver abrasive groovy doom/stoner/post-thrash which never bothers to speed up and has definitely preserved the best moments for the high-octane doom numbers ("Destroy Frankenstein"; the psychedelic bluesy sleeper "Funeral Business"). The singer is a typical soulful clean doomster who emits a few higher semi-shouts to accompany the sparse angrier rhythms.

Carnival Of Souls Full-Length, 2012

PAJSZER (HUNGARY)

A 4-track EP offering well played Germanic thrash with sharp riffs, more melodic leads, and gruff low-tuned vocals. The music is up and mid-pace with both tempos taking turns the whole time. Two of the songs are longer and show the more ambitious side of the band; one of those compositions ("Dogevo") is a nice nod to late 80's Metallica. The last number "HadvezTr" is softer, more heavy/speed metal-based. The only complaint would possibly come from the drum department: the hollow sound of the drums could be a detraction to some.

Pajszer EP, 2008

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PALADIN (USA)

This band play a classic mixture of power (a little bit), speed and thrash which main new ingredient is the sometimes utilized death metal vocals which intercept the fairly cool main clean emotional timbre. Music-wise this is an early Paradox and Scanner worship above all, the guys making themselves heard with impetuous speedsters like "Carpe Diem" and "Call of the Night" which propel the album towards the hyper-active parametres with ease before more complex propositions like "Black Omen" suggest at loftier dimensions to be explored. This last aspect doesn't get the needed attention as the band's intention is largely to fascinate fans of the 80's speed metal movement. Some of the musicians are also active with the heavy metal cohort The Fury, and the now-defunct thrash metallers Sybaritic.

Ascension Full-length, 2019

Official Site

PALAT (ESTONIA)

A combination of modern and classic thrash accentuated by some stylish lead guitar work ("Linda") although the general delivery doesn't require any flashy exhibitions of musical dexterity save for the more ambitiously-structured "Payable Resolution". There are shades of hardcore ("To Mr. Mayor") as well the not very smooth production nicely accommodating such rowdier displays, including the dispassionate clean semi-declamatory vocals.

The First... At Last Full-length, 2017

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PALE CREATION (USA)

This is a very obscure band; the style is crossover/thrash, more thrash on the first demo, more crossover on the second one. The EP is two songs of well-constructed classic thrash which is sadly missing in the faster parametres being slow-ish, almost doomy at times, even reaching a Crowbar-like intenisty on "Wake Of Temptation". "Rose Colored Haze" starts with a slightly overlong, but effective, haunting orchestral/operatic intro.

Demo, 1992
Demo, 1994
Pale Creation EP, 2010

PALE HORSE (USA)

This band were previously known as Hostility. The name change carries style changes, too, but not too many: the music is still a blend of death and thrash metal like on the Hostility EP but this time the concentration is more on thrash, and even speed metal; the tempo is faster with the traditional doom sections preserved here as well, and a slightly more aggressive vocal delivery. It was good for the 90's that there were acts like this one to carry the old school spirit.

Mournful EP, 1993
Bitter Fruits of Temptation EP, 1994
Until the Last Seal is Opened Best of/Compilation, 2005

Official Site

PAN (GREECE)

Roughly-produced but decent heavy modern power/thrash that combines doom-ornate tunes (“Dance of Fire”) with rowdier dark atmospherics (“Angels Fall from the Burning Sky”), the gruff but cool semi-clean singer standing proud beside the seismic riffs and the thundering bass.

Poetry Against the Nature Demo, 1994

Official Site

PANACEA (DENMARK)

This is your typical modern thrash/death metal ala the Gothenburg school, the guys mixing fast and slow compositions, sticking more to the latter the resulting delivery reminiscent of Amon Amarth quite a bit including in the vocal department where the guy is an expressive lower-tuned death metal semi-shouter. The closing "Outnumbered" is a very good track with a progressive flavour, and may remind you of Sentenced's "North from Here".

The Dark Descent EP, 2011

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PANACEA (GERMANY)

Based on the demo: Panacea is a side project for two Accuser members and their debut is pretty close in sound to early Accuser with a touch of Bay Area thrash, an excellent album although a bit short (only six tracks). The guys thrash with conviction and aggression as evident from the smashing opener "Megalomania". Later calmer, but quite hard-hitting as well, songs come up ("Masquerade", "Delusion"). The tracks easily go over the 5-min range although there's nothing too technical going on, maybe just occasionally. The style changed along with Accuser's, the guys adopting a groovy modern post-thrash sound on "Pray".

Is It A Human? Demo, 1992
Promo-CD EP, 1994
Pray Full-length, 1995

PANDEMIA (SPAIN)

Based on the EP, these folks provide brisk energetic old school thrash which relies on hard sharp riffs and a frequent alternation of tempos with a bigger emphasis on the faster side. The approach borders on the semi-technical at times also helped by the very clear sound production, the only shortcoming being the angry quarrelsome vocals.
"Behind Enemy Lines": the old school thrash fiesta is on full-throttle here once again, the band lashing with passion and with a taste for both the more brutal (read deathly) and more technical both sides nicely exemplified on "Signs of Life". "Pandemia" and "Chemikaze" are pure unbridled retro thrashing goodness with their crisp headbanging nature while cuts like "The Last Zombie Alliance" exhibit more diverse, more complex aspirations including the energetic Bay-Areasque closer "Message of Death".

Destino Letal Full-length, 2011
Sed de Sangre EP, 2013
Behind Enemy Lines Full-Length, 2018

Official Site

PANDEMIC (POLAND)

Based on the full-length, this band play passable old school thrash that blends fast non-fussy violators ("Gambler's Fortune") with calmer galloping rides ("The Juggernaut") and ambitious progressive sagas ("Destined for the Gutter"), the decent semi-clean singer emitting pathos on moderate dozes whenever needed. Watch out for the nice melodic accumulations on "Ignorance is Bliss", and for the fervent headbanging nature of the closing "Fog of Birkenau".

Deaf Nite EP, 2018
Crooked Mirror Full-length, 2023

Official Site

PANDEMIC (USA, CA)

This act offer cool dark-sounding thrash which marries the progressive depth of Nevermore with the more aggressive technicality of Terrahsphere and late-80's Kreator. "Infecting the World" opens the album in a thunderous manner with heavy steam-roller riffs; those same riffs are very well blended with fast lashing ones on "Ode to Odin" which is aggressive technical thrash with a heavy doom twist. "Left for Dead" is a fine tribute to Nevermore, a smashing mid-pacer with super-sharp riffage. "Conspiracy of Silence" is a brilliant heavy semi-ballad which kind of influences the remaining material that features another similar "exploit" ("Sins"), the other tracks being heavy 10-ton hammers in mid-tempo the melody mostly coming from the lead sector. The final "Anointing the Flesh" still decides to thrash more intensely, and the few faster passages there liven up the situation quite well after the almost unbearable heaviness of the preceding couple of songs. The guys would have founded a place under the metal sun quite easily, even in a saturated scene like the modern one, but they're now operating under a new name: Sarcoma, having released two demos in 2007.

Infecting the World Full-length, 2006

PANDEMIC (USA, SD)

"In The Corners Of The Land Of Decay" shows the guys with a delivery that stays on the modern prog-thrash side, hesitating between moody dramatic mid-pacers ("Digestion Disection") and more diverse complex progressivers ("Carcass Dispersion Tractor #37A"), the latter ruined by the unsuitable guttural death metal vocals. The title-track is a nice semi-technical speedster, and "Razor Shine" is an epic pounder which displays a good sense of melody.
"Isolation Protocol" doesn't stray too far from the formula established earlier, with half of the tracks from the EP also featured here, the new material stretching from the catchy and mellow ("Purveyor of Flesh") to the heavy and dark ("Ape Face"), to the more complex and twisted ("Death by Chimpanzee"). "The Ballad of Gut Wrench and Sewage Stench" is a nice varied instrumental with a wide array of tempos, another attempt at more flexible progressive song-writing.

In The Corners of the Land of Decay Full-Length, 2018
Isolation Protocol Full-length, 2022

Official Site

PANDEMIC OUTBREAK (USA)

Based on the full-length, this band play retro thrash/death that is played with the maximum intensity for most of the time, with wild untamed outbreaks like "Personification of Evil (F.F.F.)' and the more death-prone "Rise of the Damned", the melodic complexities of "Infected Identity" nicely supported by the Oriental embellishments of the heavy dramatic "…In the Name of God". "Human Trophy" is a direct bashing explosion, and "Ritual Annihilation" is another less intense proposition, a formidable stomping march which is canceled by the semi-technical impetuousness of the closing "Into the Realm of Madness". Some of the musicians are also busy with another similarly-styled death/thrash formation, Frightful.

Rise of the Damned EP, 2016
Collecting the Trophies EP, 2018
Skulls Beneath the Cross Full-length, 2021

Official Site

PANDEMMY (BRAZIL)

A retro mix (the EP) of thrash and death metal with early Death an obvious soundalike, but the sound here at times is pure thrash metal ("Burn My Clan (The Lines Of Violence)") amplified by the aggressive throaty death metal vocals.
The full-length debut is more on the thrash metal side the band now epitomizing a heavier, arguably not as exciting, style with more slower breaks which develop into whole songs with ease. More macabre deathly riffage can be heard on the dramatic "Without Opinion" which is more on the less dynamic side again, but is consistently steam-rolling forward in a belligerent war-like fashion. Then the guys wake up and start lashing with a lot of speed "Involution of a Lost Society" the other cut where more brutal death metal can be encountered. "The Price of Dignity" is a more engaging, almost progressive, composition its relevant serenity canceled by the next "Rubicon (Point of No Return)" which is intense speed/thrash at its classic finest with a few more or less appropriate proto-blasts inserted near the end. The class served so far gets betrayed a bit by the closing "Ode To The Renegade" which is on the hard'n heavy side with thin leads and clumsy riffs, an obvious radio hit which this otherwise not bad album simply doesn't deserve.
"Rise of a New Strike" begins with an enchanting lead-driven intro ("One Step ... Forward") before the guys show their more pompous, operatic infatuations with the bombastic black/deathster "Circus Of Tyrannies". Thrash shows up eventually later on, and actually occupies quite a bit of space, like on the maddening death/thrashing "bomb" "State Of War"; or on the mid-paced epicer "7000 Days of Terror (and the New Attempt)", the friendliest number here. In the second half one will savour (well, that depends on the taste) the orchestral doomster "Inferno Is Over", and the progressive speed/thrashing galloper "Against The Perfect Humankind".
"Subversive Need" is another larger-than-life concoction ranging from high-octane doom (the opening tractate "Deforestation") to hyper-active proto-blasting death/thrash ("Neohate") and a couple of more technical variations ("Free Mumia (A Panther in the Cage"). The shadow of Bolt Thrower rises on the epic "Webchaos", and the semi-balladic lyricism on "I Choose My Blood" is also well noted, but it's the exuberant thrash/deathster that attracts the most attention, a near-flawless conglomerate of melodies, moods and riffs.
“Faithless” is another prime moshing entry, with all the guns blazing handsomely displayed on the opening “Every War Needs a God”, “This Land Will Never Disappear” hinting at more brutal deathly possibilities amongst the addictive melodic walkabouts. “Fatal Choice” is a militant battle-like steam-roller ala Bolt Thrower, but “Manifesto (Antifascista)” will blow your socks off with aggressive proto-death rhythms. “Selective Love” is a meditative laid-back elegy, and “Blood Never Lies” is a fast-paced diverser with again a few really catchy melo-tunes.

Self-Destruction Demo, 2010
Dialectic EP, 2012
Reflections & Rebellions Full-length, 2013
Rise of a New Strike Full-Length, 2016
Subversive Need Full-length, 2020
Faithless Full-length, 2024

Official Site

PANDEMONIC (SWEDEN)

Underground heroes from a couple of black and death metal bands have gotten together with the intention to play classic thrash metal; and they have done exactly that: excellent classic thrash in a fast and energetic tempo with great sharp riffs recalling Razor's later period and early Destruction. Those of you who grew up listening to "Shotgun Messiah", will spend days with this album. Apart from the non-stop riff-fest nice lead guitar could be heard, too. With the majority of the bands coming from Sweden nowadays, concentrated on the more modern thrash/death metal hybrid genre initiated by The Haunted, it's really cool to hear such a well executed classic thrash metal work.

The Authors of Nightfear Full-length, 2000

Official Site

PANDEMONIUM (USA)

A heavy doomy brand of modern thrash/post-thrash which very seldom leaves the mid-paced confines, but still delivers with ten-ton hammers like "Jaws" and "Left for Dead" amply provided. "Psychopath" is the most aggressive piece flirting with death metal, suiting the intense throaty vocals.

Angels Vs Demons Full-Length, 2018

Official Site

PANDORA (BRAZIL)

Based on the full-length, this is cool retro thrash with good soaring melodies which give it an attractive characteristic aura. The guys add a curious technical/progressive flavour to the longer material ("Death of a Friend", the Xentrix-esque stomper "Pandora"), and surprisingly it's the longest numbers ("Track8", "Summer of War") which come with the most intense riffage being versatile thrashers with virtuous melodic leads all over. The band soften down at the end with two mild ballads putting a not very fitting end to this quite nice tribute to the 80's done with a crisp modern production and not very impressive hoarse mid-ranged semi-clean vocals. Some of the musicians were members of the power metal outfit Drearylands who released two albums and an EP some ten years ago.

The Death of a Friend EP, 2006
Four Seasons Full-length, 2013

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PANDORA (PORTUGAL)

This new act pull out modern thrash/death sounding like a thrashy version of mid-period Sentenced emphasizing on melody. The music acquires a playful rock-ish vibe ("Snake Pit") at times also recalling the Finns Gandalf and generally the settled mid-paced tone is seldom broken. The singer is a gruff death metal throat who leads the show with authority without achieving any vocal heights.

Release Your Demons Full-Length, 2016

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PANDORIUM (GERMANY)

The full-length: this is a fairly cool slab of classic speed/power/thrash metal with boosted modern production, with virtuoso guitar work the musicians' efforts kind of clouded by the bad shouty death metal growler. This is complex, progressively-tinged stuff (the title-track alone is whole 11-min) with many layers of music with plenty of intense moshing passages, the guitar shreds being quite intense the superb leads taking their fair share of the compositions as well. Nice acoustic flamenco undercurrents sneak in here and there to make this appetizer even tastier and more diverse, also holding promises for similar future exploits from the guys.
"The Eye of the Beholder" is another fairly convincing affair the diverse progressive thrasher "Via Negativa" instigating the fiesta which acquires more immediate speed/thrashing confines ("Maze of Traits"), but generally the setting stays contrived with more lengthy opuses arriving later like the atmospheric brooding "From Individual to Entirety" and the more optimistic and faster-paced "Cacophony Of Thoughts". The 3-act odyssey "The Tower", which concludes the album, begins in an energetic galloping fashion before it acquires quieter balladic tendencies, all the way to the upbeat thrashing finale which may remind of the early Skyclad exploits with the epic/pagan motifs.

DEMOlition Demo, 2011
The Human Art of Depression Full-Length, 2013
The Eye of the Beholder Full-length, 2019

Official Site

PANDORRA (POLAND)

Cool old school power/thrash which attracts quite a bit of attention with the stylish instrumental "Pandorra" before "Swiat" introduces a more flexible power metal structure and quirky bluesy overtones, the ruder thrash rhythms returning for the short bursting "Wolnosc", but stepping aside for the more complexly-performed "In Nomine...", a steady power/thrasher ruined a bit by the fat unemotional semi-clean vocals.

Pandorra Demo, 1988

PANDREA (ROMANIA)

One of the stalwarts of the Romanian metal scene from the 90's and this millennium, this band plays strange non-conventional doom/death/thrash metal mixing both the classic and modern influences, but the guys' refusal to speed up, for at least a bit, makes all songs sound quite samey with casual stylish avantgarde deviations: the doom/black-ish "Lucifer Satanas Historiam". "Ingeri Antiteroristi" comes too late to pour some life into the album, and remains the only one of its kind. The closer "El Grand Finale" is another avantgarde decision, but more on the awkward unlistenable side: it's 10-min long, but most of the time it's just strange noise which at the end turns to funeral doom and haunting organ music to save it... too late again.

Instituta Suprema Full-Length, 2005

PANIC (BRA)

Based on "Rotten Church", Panic are a typical representative of the branch created by the works of early Sepultura and Sarcofago: brutal thrash bordering on death metal, obviously influenced by Possessed's "Seven Churches"; short on technicality, but long on evil atmosphere and enthusiasm.
"Best Before End" is a much better effort with its aggressive riffs and fast tempos strongly recalling Sepultura's "Beneath the Remains". The aggression is interrupted by good slower stomping thrashers ("Hannibal The Cannibal"), melodic power/thrash metal numbers ("No York, No York"), and a joke song at the end ("Shoobydahbydoobah").

"Boiling Point" is strongly influenced by the 90's groovy trends, and is the band's weakest hour despite the presence of interesting attempts at a more stylish play ala mid-90's Voivod ("Beholder", "Satanacrack").

Rotten Church Full-length, 1990
Best Before End Full-length, 1992
Boiling Point Full-length, 1996

PANIC (IRELAND)

Trevor Elliott from the two prime Irish thrash metal outfits at the time Killer Watt and Moral Crusade is behind this one-spell project who indulge in primal thrash/crossover with very buzzy guitars and naive unrehearsed semi-clean vocals which aren't a match to the much better bass performance. The band manage to somehow pull themselves together for the final cover of Metallica's "Hit the Lights" which still offers musicianship on a fairly pristine level, but at least everyone tries to stretch his limited abilities to the limit in order to reach at least a tenth of the level of their idols.

Secret Slam Demo, 1987

PANIC (UK)

Pretty decent energetic speed/power/thrash of the old school led by cool not very passionate clean vocals. Infectious melodic licks (“Metal Wrath”) alternate with steady mid-paced shredders (“Fury”) and short fast-paced excursions (“Murder Pays”, the early-Metallica worship ‘Misanthrope”), the friendlier jolts on “Sweet Revenge” siding with the US power metal scene with glee.

Too Scared to... Panic! Demo, 1990

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PANIC (USA)

The band appeared late on the scene, but their style was typical 80's thrash with a playful attitude, sounding like a less aggressive Anthrax, or early Mordred. The music has this jolly uplifting quality, but the guitars are too sharp for this to be defined as crossover. On the other hand some (from the debut) tracks ("High Strung") as well as the vocal style strangely recall Skid Row's "Slave to the Grind"; still, some pieces are really intense thrashers ("Morbid Curiosities") that should make the headbangers happy. The debut is the faster and the better effort whereas "Fact" introduces quite a few modern groovy elements bringing the sound close to 90's Overkill.

Epidemic Full-length, 1991
Fact Full-length, 1993

PANIC CELL (UK)

Based on "What Doesn't Kill Us": these guys pull out decent power/thrash metal of the modern variety with catchy choruses and a good vocalist whose semi-clean, proto-Anselmosque delivery is the best choice for this kind of music. There are both energetic, close to the classic school tracks ("From Father to Son" which is the opener and raises the hopes high, but remains one of its kind), light balladic pieces ("Fallen") as well as the obligatory leanings towards the 90's groove ("Forced Down"). The album never reaches an early Pantera-like intensity, but this is hardly the target here.

"Fire It Up" is more laid-back with more playful riffs which carry the winds of gothic/doom with them not too far from mid-period Cemetary. "Forever" is a cool heavy thrasher, and "Lie to Me" will make you jump around for a while, but the rest kind of lacks energy and life also touching the depressive mood of more recent Katatonia.

Rockaphilia EP, 2004
Bitter Part Of Me Full-length, 2004
What Doesn't Kill Us Full-length, 2007
Fire It Up Full-length, 2010

Official Site

PANIC LAYER (FRANCE)

This young French formation indulge in dissonant progressive modern-ish thrash with strong echoes of Voivod and the Eric Forrest project E-Force. It's not all twists and turns, and there are some direct bashers ("Undertaken") where the bass pyrotechnics will make your head spin. On the longer material this is guaranteed with the calculated headbanging complexity of "Dark Bossa"; or the more oblivious shreds on the still quite intense "Black Coffins"; or the only less seeming elaborations on the shorter mid-pacer "Social Killing Grounds". Dazed and confused will one exit "Confined Into Eternity" which, albeit relatively short, weaves funky/jazzy landscapes on a hectic lashing background. And a few words about the closer "Once upon a Mortuary" which is a hallucinogenic shredder with a few quirky fast-paced decisions. The singer isn't the most shining aspect of this very good recording his leveled hoarse death metal baritone just assisting the much better music unobtrusively.

Black Coffins Full-Length, 2014

Official Site

PANIKK (SLOVENIA)

Excellent retro thrash crossing the early German school with the more technical side of the Bay-Area (Metallica, Testament); after the initial fierce attack with "Trible" the music takes a more moderate direction, first with the up-tempo crusher "The Wave of Death", then with the early Testament worship "Indestructible Destruction" where the singer nicely follows the guitar tunes in a way no worse than Chuck Billy himself. "Direct" is another direct speedy assault, finishing this promising demo which could be used as the backbone of a commendable full-length.
The full-length is out and the guys fulfill all the expectations with their venomous delivery with two tracks from the demo serving as a backbone. The speed has been accentuated on and most of the numbers are compulsive pieces of energy spiced with the requisite amount of technicality which now shares the more direct intelligence of the Bay-Area with the more sophisticated puzzling creativity of the European scene (Target, Assorted Heap, Paradox, etc.): check out the melting opener "Panic Attack" and the lesson in speedy technicality "Messiah of Decay". But this is just the beginning since much more niceties come later on: the excellent instrumental "Away from Reality" which combines almost progressive drama with sweeping speedy melodies to an overwhelming effect. Another winner is the aggressive shredder "Playground of Visions" which is followed by the only calming moment here: the 1.5-min of instrumental acoustic serenity "Revelation Of Truth". The last duo of cuts after it wraps things up with force, "Cruel World (Society to Adapt)" with volcanic pounding riffage galore mixed with splashes of sudden fast-paced ingenuity; the closing title-track with more moderate mid-paced rhythms steam-rolling in a marching military fashion before the obligatory up-tempo swirl of technical flashes overtakes at some point. Regardless of how much classy output will come out later this year, this album would inevitably remain one of the highlights: this is thrash done with a lot of professionalism, heart and dedication.
"Discarded Existence" has no intentions on losing the accumulated inertia, and the band thrash on with all the passion they can muster shooting a bullet after bullet in the form of "Sedated in Utopia", "Under Pretence", etc., headbanging delights that will curdle the fans' blood all the way to the more complex, more ambitious "Rotten Cells" which shows some progressions towards more multi-layered performance. Still, the majority of the songs are pure "bombs" of energy, and as such this effort would be a sure pick for the moshing side of the audience.

Demo Demo, 2009
Unbearable Conditions Full-Length, 2013
Discarded Existence Full-Length, 2017

Official Site

PANKRATION (GERMANY)

Based on "Phlogiston", this band deliver heavy squashing groovy post-thrash which dominant punishing rhythm-section is livened up by energetic outbursts ("Zoom 42", "Oral Fisting") and jocund takes on the good old rock'n roll ("Hit By A Truck") those attempts ruined by the very hysterical shouty death metal vocals. The band members are also active with the progressive death/thrashers Soulgate, the old school thrash outfit Slave to Misery, and the gothic/death metal cohort Dawn of Wrath.

Berettas's Kiss Full-length, 2013
Phlogiston Full-length, 2019

Official Site

PANNOX (SERBIA)

Quite good old school thrash with bold progressive tendencies exhibited with the opening instrumental piece "The Night of Pan", then brief non-fussy "Prometheus" introducing the singer, a form albeit not very emotional gruff semi-deathly presence that gets a bit more attached on the technical shredder "At the Shore of Acheron". The second half offers both mid-paced drama ("Enemy Internal") and speedy shenanigans ("-237"), the stomping volcanizer "Event Horizon" at the end flirting with both doom and then ballad. Some of the musicians are also active with the speed/thrashers Deathonation.

The Night of Pan Full-length, 2024

Official Site

PANNYCHIDA (RUSSIA)

Based on "New World's End", this band play a dark atmospheric blend of doom/death and thrash metal. Don't expect fast blasting music, this is mid-paced stuff with female vocals accompanying the gruff death metal main ones from time to time; a strong but not annoying presence of keyboards, and meaty heavy riffs. The problem is that very often does the band adhere to the typical for the genre peaceful melodic interludes which stifle the more aggressive nature of the rest, and near the end they try to vary things, adding industrial and groove on the last two songs, ending up sounding like an almost different, but not better, band.

Here You Are! Full-length, 1996
Defragmentation Full-length, 1999
New World's End Full-length, 2006

Official Site

PANONSKI SINDROM (CROATIA)

Based on the "Completion" demo, these Croatians, from which only the singer (Igor Brkif1'b5) is known, offer dry pedestrian modern post-thrash, obviously "courting" the quasi-industrial style of acts like GZR and Biohazard. There are two very atmospheric, orchestral, all-instrumental pieces, which are a total contrast to the basic noisy rest, as well as one cover of Metallica's "Seek & Destroy" at the end, done in a curious mechanical way to suit the dominant mood on the demo, and except for the annoying synthesized, quarrelsome vocals there is little on it to complain about.

Panonski Sindrom Plays Metallica Demo 1999
Loudness Of Silence Demo 2001
Blind Demo 2003
Unsle Demo 2004
All In Vain Demo 2006
Ambivalence Demo 2008
Completion Demo, 2011

Official Site

PANSOPHIC (CANADA)

Based on the full-length, this act serve modern thrash/post-thrash with a somewhat buzzy sound quality, the guys throwing in the casual short abraser ("Frozen Hell"), but overall the compositions are lengthy, some sniffing of doom (the effective trampler "Panopticon"), others clinging more towards the alternative side ("Succumb to the Riptide"). The vocalist is a semi-shouty semi-cleaner, but manages to emit passion more often than not with a more aggressive hardcore-ish timbre.

The Awakening EP, 2021
Bred to Annihilate Full-length, 2022

Official Site

PANSSARITUHO (FINLAND)

Based on "Sanansaattaja", this act specialize in old school thrash/death which sometimes straddles into crusty hardcore territory (the title-track). The rest of the album is a conglomerate of fast semi-technical deathly outbursts ("Syvälle Haudattu"), heavy mid-tempo trots ("Jumala on Kuollut"), and atmospheric doom walkabouts ("Teurasmarssi"), the intimidating shouty death metal vocalist rending his lungs selflessly all around.

Loputon Teurastus Full-length, 2021
Sanansaattaja Full-length, 2023

Official Site

PANTERA (USA)

The masters of modern 90's thrash who actually invented the whole scene along with Exhorder; their beginnings (not included here) were in classic heavy metal, but with "Cowboys From Hell" they made a major claim at greatness. The early 90's were phenomenally successful for the band, but with Phil Anselmo taking part in numerous projects and especially after the untimely tragic death of Dimebag Darrell (R.I.P.), Pantera's impact on the contemporary metal scene would not be as strong as before.

Cowboys from Hell Full-length, 1990
Vulgar Display of Power Full-length, 1992
Biomechanical EP, 1993
Hostile Moments EP, 1994
Far Beyond Driven Full-length, 1994
Alive and Hostile E.P. EP, 1994
The Great Southern Trendkill Full-length, 1996
Becoming EP, 1996
Unofficial Hits (CD Sampler) EP, 1998
Reinventing the Steel Full-length, 2000
Extreme Steel Plus EP, 2001
Rhino Hi-Five-Pantera EP, 2006

Official Site

PANTHEON (USA)

The debut: a melodic mix of thrash, death and doom which occasionally branches out into something brutal and unbridled ("Awakening the Gods") where some raven-like blacky vocals emerge to assist the prevalent semi-shouty death metal ones; still, the dominant tone is officiant and epic not far from Amon Amarth, only that the guitar tone here is catchier ("Lust of the Beast"), and a few battle-like Bolt Thrower-esque rhythms ("Left My Mark") can be caught, not to mention the near-blacky clout of the bombastic "Choir of Death" towards the end.
"Empire in Ruin" is a more dynamic fare, the guys moshing with less stopovers this time, the pulverizing "Man-Infestation" instigating the prevalent pogo, the shadow of Bolt Thrower still standing here and there ("Penetration of Maggots"), but this recording rips through the speakers later thanks to all-out deathly rockets like "Slit the Throat" and "Death Is in the Air", thrash covering the meeker ground to which also belongs the laid-back melodic closer "Blood the Bible Bleeds".

Age of Wolves Full-length, 2020
Empire in Ruin Full-length, 2023

Official Site

PANTHER (GERMANY)

Based on the "Total Chaos" demo, this band come up with quite a mixed bag; at their best the guys pull out awesome speed/thrash ala Destruction and Angel Dust (the opener "Terror Invasion", and the follow-up "Shame for America" which features riffs directly stolen from Destruction's "Life Without Sense"), but there's a considerable doze of hardcore here as well as more intense, but not very appropriate death metal parts ("Nuclear War"), and the vocals change style on every song alternating between cleaner and harsh death metallic ones. It's most likely a compilation of smaller demos reflecting on the band's development through the years, but put together this mish-mash doesn't seem to work all the time.

Empire of Death Demo, 1989
Total Chaos Demo, 1989

PANTOKRATOR (VENEZUELA)

Four songs of cool classic speed/thrash metal with a heavy meaty guitar sound and galloping rhythms, strong bass bottom, and kind of unsuitable gruff low-tuned vocals. The music will remind you of Attacker, the Chileans Vastator, Helstar.

El es la Luz Demo, 2005

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PANTOKRATOR (SWEDEN)

Based on "Blod", this band plays fairly good progressive thrash/death metal with frequent switches from one style to the other, maybe staying closer to death metal with a dual vocal attack: low death metal growls, and vicious snarls ala Jeff Walker. The music will remind you of Carcass' "Heartwork" quite a bit with the addition of slow doom sections where the sound smells doom/death. Seldom can one hear guitar melodies in the vein of the Swedish melo-death wave, betraying the guys' origins, as well as some blast-beats. Near the end the band take a break from thrash/death metal with the folk/gothic number "Tidevarv", and with the short atmospheric instrumental "O Guds Lamm".

"Songs of Solomon" is not far from "Blod"; it's maybe more atmospheric and slower, doomier. "Aurum" slows down, but not much, and is quite inferior to "Blod"; the influence of the Gothenburg school is stronger although the music preserves the progressive tendencies most of the time. A highlight or a disappointment (depending on the taste) is the massive 14-min doom epic "The Feeble Flame" which could make even bands like Katatonia (early) and Opeth proud.

AllhSrskare EP, 2000
Songs of Solomon EP, 2001
Blod Full-length, 2003
Aurum Full-length, 2007

Official Site

PANZER (BRAZIL)

The guys who play here are all veterans from the Brazilian metal scene mostly serving in thrash metal acts: C.O.A, Reviolence, Mystic, etc. Based on "Inside", the style here is heavy modern mid-paced thrash with a certain hardcore attitude. On the slower moments the music may remind you of Carnivore (their 2nd effort, in particular), but rest assured that the fierce thrashing has not been neglected: "N.S.A.", albeit only on a very few tracks. Still, the softer moments predominate, topped by the cover of Kiss' "Detroit Rock City". There's plenty of heavy riffage featured here, but it's kind of monotonous and quickly gets boring. The guys have by all means done a much better job in the other formations.
"The Strongest" is a similar to the debut animal, but is even calmer now having acquired a strong stoner/doom vibe well expressed in the borrowed from Black Sabbath's "Heaven & Hell" riffs on "Red Days". Whenever the guys speed up ("Show Me!") they move straight to the crossover field with a few adherences to purer thrash ("Your Blood"). "House of Decadence" is a vintage traditional doomster as well as the hidden track at the end "The Face". The singer entertains himself coming as a less angry version of Phil Anselmo, and his antics are cool and unobtrusive.

Inside Full-length, 1999
The Strongest Full-length, 2001

PANZER (GERMANY)

This super group is the new vehicle for none other than Mr. Schmier from the legends Destruction who is here helped by the drum guru Stefan Schwarzmann (Running Wild, Helloween, Accept, etc.), and the celebrated Swiss guitar axeman V.O. Pulver (Poltergeist, Messiah, etc.). The debut was a mild heavy/power metal affair, but on the sophomore the band have remembered their more brutal pedigree and have started playing more intense stuff although the delivery remains squarely within the power/speed metal confines. Still, the edgier moments have their thrashy flair recalling the Headhunter exploits like the impetuous "We Can Not Be Silenced", or the angry mid-pacer "Afflicted". "Bleeding Allies" is the absolute highlight, a nervy speed/thrasher reminding of the Destruction more recent material. The end is in the form of the Saxon cover of "Wheels of Steel", a mild feelgood heavy rocker which partially captures the optimistic friendly tone of this unpretentious recording.

Send Them All to Hell Full-length, 2014
Fatal Command Full-length, 2017

Official Site

PANZER (RUSSIA)

Based on "Porojdenie Novoi Epohi", this act indulge in a more complex blend of death, power and thrash with some striking melodic lead guitar work. The hysterical, death metal side of the vocal support doesn't seem to work all the time except on the less bridled more death-prone material (Inkvizitor"). "Empty Space" shows some bigger progressive prowess, but elsewhere the delivery is more on the heroic epic side without too many complex strives.

Izuidi Full-Length, 2011
PorojdenieNovoi Epohi Full-Length, 2018

Official Site

PANZER DIVISION (HUNGARY)

Based on the demo, this act pull out modern heavy thrash in a squashing mid-pace which is desirably broken by the faster-paced closer "Bukott Angyal" which is a more classically-inclined headbanger. The vocals are on the angry semi-death metal side, but are a match to the pounding musical approach.

Bukott Angyal Demo, 2008
Tort'b7ra EP, 2009

Official Site

PANZER SQUAD (GERMANY)

Based on "Ruins", this outfit specialize in crusty retro thrash which comes with a covert shade of hardcore, the aggressive shouty death metal vocals doing additional damage on the side, the entertainment factor bigger on the more seriously executed material like the speed/thrashing epic "Escapist", and the galloping/hardcore hybrider "Delusionist", the closer "Approaching the End" making the situation barely tolerable at the end with its unbridled furious rhythms. Some of the musicians also play with the epic black metallers Path, and the speed metal formation Forsaken Tomb.

Coming to Your Town Full-length, 2016
Ruins Full-length, 2018

Official Site

PANZERBASTARD (USA)

Based on the Compilation: the carefree Motorhead style gets mixed with primal hardcore on this band's works resulting in moderately fast energetic music (sparse blast-beats can be heard) with nice melodic hooks coming out of nowhere, but creating a nice more serious atmosphere. The singer is suitably gruff trying to imitate Lemmy, and succeeds at times, especially on their idols' faithful cover at the end of "The Ace of ..." (was it "Hearts"?, or "Diamonds"?). The guys play in numerous other bands the main one being the black metal outfit Cold Northern Vengeance.

Boston Demo Demo, 2006
Bastards Die Hard Demo, 2008
International Apocalypse Split Split album, 2009
Hell Gate EP, 2009
2006-2009 Best of/Compilation, 2009

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PANZERHOLLE (GERMANY)

A cool, quite fast fusion of thrash and death metal, spiced with slower semi-groovy breaks in the tradition of Six Feet Under. The guitar work is quite good alternating sharp with melodic riffs to a good effect: check out the excellent "Battlefield". The singer's deep growls are maybe not the best choice bringing him close to the more brutal voices of death metal, like Karl Willets (Bolt Thrower).

And Then There Was Violence EP, 2008

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PAPALEO (USA)

This is modern post-thrash all-instrumental offering which marches forward in a consistent mid-tempo with volcanic abrasive riffs producing a few admirable stompers ("Kill The Blind") along the way, including the imposing 8.5-min closing pounder "He's Dead", an ironclad cut with some of the heaviest rhythm-sections around.

Fools & Saviors Full-Length, 2016

PAPER GANGSTER (INDONESIA)

These Indonesian "paper gangsters" pull out angry groovy thrashcore which can also be pleasantly uplifting (the punky hymn "Homeless Crew"). Th fast-paced beginning is gradually replaced by squashing, pounding rhythms which diminish the impact of this otherwise fairly intense opus which wins a lot thanks to the very angry shouty semi-death metal vocals.

Struggle United Till The End Full-Length, 2016

PAPER TRAIL (USA)

Based on the full-length, this act indulges in direct simplistic hardcore-ish modern thrash which varies things by adding slower, more interesting, elements (the imposing doom-laden cut "Broken Trust") from time to time. The guys don't bother to diversify their approach too much, though, and the hardcore and even the metalcore fans would be the happiest here in the long run not without the help of the expressive shouty vocals which are more on the aggressive deathly side.

The single is in the same vein shooting short blitzkriegers ornate by a few pretty cool melodic hooks. Again, the use of the slower passages is extensive and they bring a lot of variety even on short compositions like the ones presented here. The singer is even more death-inclined this time, but his guttural rendings are more intelligible and easier to decipher.

Raw War Full-Length, 2011
What About the Wicked? Single, 2012

PAPSMEAR (USA)

Based on the "Lunch for the P.M.R.C." demo, this is pure "Reign in Blood" worship, and very well done at that; aggressive and hard-hitting music.

Fear & Loathing in Las Vegas Demo, 1986
Lunch for the P.M.R.C. Demo, 1987
Scraping the Walls Demo, 1991
The Inhuman Condition Demo, 1992

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PAR'UZHA (BRAZIL)

A fairly good instrumental, lead-driven intro ("Eternal Day") sets the tone for this energetic slab of retro speed/thrash which is greatly boosted by the excellent lead guitar work. Attempts at more serious shred are made on the 8-min engager "Born Dead" recalling both Paradox and early Deathrow, but generally the guys thrash directly without any ado also showing their more lyrical side with a few more quiet sections on the otherwise restless speedster "In State of Vigilance". The sound quality is pretty muddy, though, and the singer is a hysterical semi-shouter who tries to overtake the whole space when in action, and he should be supervised more closely in the future.

In State of Vigilance Demo, 2010

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PARABELLUM (COLOMBIA)

Based on "Sacrilegio", this is a very brutal record which could have been considered a pioneering work if it had been known back in the 80's. So what we have here is vicious ultra-aggressive black/thrash metal sounding as though coming from the deepest bowels of hell (enough with the Lovecraft influence!). One can even catch proto-death passages. Good production qualities are, of course, out of the question, but the utter brutality makes it an essential listen just for one to hear where the actual roots of the most extreme metal genres lie.

Sacrilegio EP, 1987
Mutacion Por Radiacion EP, 1988

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PARABELLUM (USA)

This outfit specialize in dynamic retro thrash whose lashing nature is hard to disguise, the restless "Deserted" pairing well with the semi-technical title-track and the equally vehement "Corridor of Rage", the stomping officious march "One Above All" overwritten by the furious wind will that is "Truth Written in Blood", the pensive balladic all-instrumental piece "Logos Rhema" missing the throaty semi-clean vocals, those coming back for the ripping closer "Amoshalypse".

The Iron Curtain Full-Length, 2024

Official Site

PARACELS (RUSSIA)

A monstrous 26-track album is offered here, and we are not talking fast blitzkrieg thrashcore, but atmospheric dark thrash/death metal not far from early Crematory with an added more vigorous thrash boost. There are a couple of very fast deathly numbers to break the depressive monotony, but their number should have been bigger. Near the end the guys tear it loose with short semi-musical hardcore-ish pieces lasting for a few seconds. See, even their patience has run out...

Encyclopedia Of Metal Full-length, 1999

PARACID (RUSSIA)

Based on the "A-425" demo, this band play crunchy choppy old school thrash which straddles between serious labyrinthine progressive opuses ("Hrustalnaia Prisma") and short but varied shredders ("Chto To..."), the assured bass and the stylish melodic leads gracing nearly every track, the galloping pulverizer "Bez Zla" assisted by the brooding atmospheric delight "Kto Mui", the closing speed/power metal-ish instrumental relying mostly on the proficient bass support again to pull it through in the absence of the cool mid-ranged clean vocalist.

A-425 Demo, 1997
Na Aia Demo, 2001

PARADIGM (ROMANIA)

This Romanian formation provide clever classic power/thrash which doesn't break any new ground, but should engage the fan due to the elaborate nature of the songs which are fairly lengthy (6-7min) executed in a manner not very far from the one of Heathen's "Victims of Deception", albeit not as technical; so expect various tempos often changing within one composition, and not much furious thrashing which would have been beneficial even if inserted as a casual distraction; since now the approach may feel a bit stale especially to those with a little concentration span. Some of the band members are also active with the heavy metal outfit Guillotine.

Chaotic Systems EP, 2014

Official Site

PARADIGMA (COLOMBIA)

This outfit provide melodic progressive power/thrash which relies on long sprawling compositions where the more aggressive thrash idea gets lost too often in the sea of calm balladic passages. A few soaring speedsters ("Silencio de Esclavos") try to bring more dynamics to the proceedings, but their number isn't big enough to make this effort anything more than a vehicle for the talented guitarists who pull it out well on the closing instrumental "Presto-Verano" also thanks to a nice violin presence.

Mi Propio Infierno Full-length, 2014

Official Site

PARADIGMA (NORWAY)

This act were earlier known as Blackened when the style was fairly adequate classic speed/thrash. Based on the "The New Paradigma" demo, they play quite cool atmospheric dark progressive thrash, the lashing "Black Death" also courting the realms of death, not without the help of the intense curt deathly vocals. "Illusion" is a nice crafty 9-min behemoth, a tantalizing contrived thrasher with melodic leads, fast-paced galloping accumulations, feverish staccato rhythms, and thick technical breaks. The title-track is a weird brooding, intricate all-instrumental delight, and "Withdrawal/Eternal Bliss" is another larger-than-life conglomerate of vivid entangled thrashisms, dazzling lead sections, dense tech-thrash rifforamas, and sinister doom staggerings. "Speak the Dead" is a nice semi-balladic respite, and "Deeper Than Shit" is an intense surrender to the death metal wagon, a brief aggressive shredder with echoes of Hellwitch. For the full-length the guys changed their style to heavier, also slower doom/death with avantgarde overtones again to a fairly positive impression.

The New Paradigma Demo, 1991
As Autumn Dies Demo, 1994
Mare Veris Full-length, 1995
Skadi EP, 1996

Official Site

PARADOGMATA (NORWAY)

This act specialize in an intriguing thrash/power amalgam, the delivery hesitating between short concrete blitzkriegers ("The Seeds of Greed") and long thought-out sagas ("Seven Curses for the Deathly Pale"), some of those ("The Cleansing Flood") losing the thrash idea, going to lyrical territories, bordering on doom and heavy. The "harsh deathly/clean passionate" vocal duel facilitates both sides, but the second half concentrates on doom/thrash hybrids which lack any fast-paced ingredients, the exception being the few isolated gallops on the epic elevator "The Princes in the Tower".

Endetid Full-length, 2023

Official Site

PARADOX (GERMANY)

An outstanding speed/thrash metal band; the debut is excellent old school speed metal similar to early Helloween and Warrant, with bold hints at thrash, but with the extraordinary "Heresy" the band easily left most of the competition behind. One more album like that was needed to put them on the very top, but the band split up instead. Their comeback "Collision Course" is quite good with a more modern and complex sound going even into a progressive territory at times, also including a nice cover version of one of the first real speed metal classics: Scorpions' "Dynamite".

Apparently not willing to capitalize on the success of "Collision Course", the band took quite a long break, before they strike again with "Electrify". The style is not miles away from "Collision...", being more technical, albeit with more melodic guitar lines, coming as a mix of power, thrash and speed metal, and this time resembles the Polish Hellfire quite a lot on the faster sections. This is fast-paced stuff with progressive overtones and nods to the 90's power/speed metal scene: "Monument", mostly in the catchy chorus. The guys take a break from speed more often than they have ever done before which to these ears is a not very desirable tendency: "Portrait in Grey" and "Cyberspace Romance" are heavy, balladic pieces which would probably suit better mid-period Squealer, or modern day Helloween. While "Collision Course" was a truly satisfying slab of hard-hitting speed/thrash, recalling the incredible "Heresy" on a few moments, "Electrify" show the band spreading their wings to reach more metal sub-genres. Maybe this is the first step towards leaving the thrash metal field some time in the future?!

Well, the leaving of the thrash metal field is indefinitely postponed since with "Riot Squad" Charly Steinhauer and Co. give a resounding "Yes" to thrash which reverberates back to the 80's, merges with the legendary "Heresy", and even goes beyond that. One can not help, but fall into a spontaneous headbanging on the smashing opener "Suburban Riot Squad" which lashes fiery riffs from all sides until it starts to hurt. "Hollow Peace" continues the damage further thrashing like there's no tomorrow also introducing the band's characteristic choruses. "Riptide" is the definitive mid-paced thrasher offering razor-sharp riffs galore. "Rise in Rank" provides more fast speed/thrashing mayhem, a glorious speed metal hymn, short and immediate, recalling the band's debut. "Evolution Reset" is aggressive thrash, something not familiar from the guys' catalogue, an extreme number which will sprain your neck. "Nothingness" is more than welcome to offer some relief from the intense material being slower reminiscent of the more laid-back songs from "Electrify", but this one is a no-brainer with its never-ending overflow of whipping riffs and a great memorable chorus. There would be no place to "survive" from the next "No Place to Survive", an ultra-speed/thrash metal explosion on which the compulsive moshing is again guaranteed, albeit for just under 3-min. "Dream Hero" is a compelling mix of mid-paced and fast passages, producing a virtuoso mid-section, also excelling in the lead department. "Planet Terror" blends the two tendencies together again concentrating more on the heavy pounding side, but rest assured that full compensation will be offered on "Psychofficial": hyper-speed/thrash metal, a textbook of speed from which even acts like Fastkill, Solitaire and almost every other band will have a lot to learn. This very extreme song will finish you for good, and (un)fortunately this is the closer to this absolutely glorious return to form. It is very rare for an old timer to be able to reach the very heights of their career after a comeback, and Paradox are by all means on top of the list in this line of thought since the thrash metal "resurrection" started in the late 90's.

The "riot squad" are back in action Charly Steinhauer apparently not willing to lose the so well accumulated inertia. And for a good reason since this new offering is a no-brainer, easily the finest thrash metal album of 2012 regardless of the very strong competition this year (Kreator, Tankard and Destruction all released good albums, and Exumer are back on the scene with a strong release).

Apart from Steinhauer from the line-up responsible for the last two albums only the bassist Olly Keller has remained, but one reads the name of Christian Mnnzner among the new members of the crew: a guitar virtuoso more known for his "exploits" in the technical death metal field (Spawn of Possession, Obscura, Defeated Sanity, Necrophagist, etc.), an established force to be reckoned with who has joined Steinhauer along with an old comrade from the power/thrash metal formation Hatred, the drummer Daniel Buld. So shall we listen to some expertly-crafted technical metal here? Well, Paradox have always offered more complex music than the average thrash metal act, and this great album is not an exception. The acoustic intro to the opening title-track is a nice nod to "Heresy" and from here things start escalating. This same title-track is a 9-min rifforama second to none, smashing speed/thrash at its most shining best with a nice chorus; a few technical licks and a great bass-bottom back up this awesome start. The complexity of the opener is taken down for the next "Day of Judgement" which is more immediate speed/thrash with great leads which are on a really high level the whole time. "Brutalized" is not the most "brutal" cut here, but is the staple for the band intense speed/thrash which lets the steam off with a few short calmer passages. Time for the traditional for the band heavy semi-ballad here called "Fragile Alliance" and made a bit faster than previous attempts at this style. "Escalation" is heads-down aggressive thrash with genuine technical implementations growing into the galloping delight "Brainwashed", a dramatic composition with quite a few time and tempo changes later on the leads simply breathtaking, the best to ever grace a Paradox album, and this guy should really stay with Steinhauer longer. "Slashdead" is another more direct head-splitter the pressure relieved by the following short acoustic instrumental "Zeitgeist", before the guys say good-bye in the same merciless manner as on "Riot Squad": furious blitzkrieg thrash unleashed on the closing "The Downward Spiral" which gracefully ends this masterpiece. Actually, this is not the end: it comes in the form of a cover version of Rainbow's "A Light In The Black", the only minor pullback since to listen to more than 7-min of pleasant hard'n heavy, infused with copious amounts of keyboards, after 45-min of "carnage" is hardly to anyone's advantage, Steinhauer pulling out some admirable clean performance on this one although his singing style isn't on the harsher side anymore, a tendency he started on "Electrify".
Regardless, this effort finally sees Paradox on top of the thrash metal movement, something which they failed to achieve more than 20 years ago due to the genre's falling from grace. The band sound the most convincing, along with Helstar and the revitalized Overkill perhaps, of the legions of old-timers fighting to find "a place under the sun" again. Where they will go from here is irrelevant: even coming up with some real "tales of the weird" next time would be welcome; and maybe Steinhauer should hurry up with those "tales" while Munzner is still around; he would be of great help...
"Pangea": our favourite speed/thrashers of the new millennium are back to strike hard again, and this new opus doesn't disappoint. The delivery will bear no surprises for the band's diehard fans who will jump around on the explosive opener "Apophis"; they will also notice Steinhauer's adjusted, higher-pitched vocal bravado, but the rest is business as usual the band delivering their hyper-active technical music unerringly. "Raptor" is the next highly-charged speedster, but "The Raging Planet" slows down, just a bit, to recall "Electrify"'s more refined approach; and "Ballot or Bullet" is a raging headbanger, the most immediate cut on the album. "Manhunt" is a formidable galloper lasting for 7.5-min preceding the relaxed power metal anthem "Cheat & Pretend" seemingly serving the role of the ballad since such isn't offered here. Then the title-track comes crushing with its spinning technical arrangements the latter abandoned on the following "Vale of Tears" which is a mid-tempo shredder, a bit overlong (nearly 8-min). "Alien Godz" carries on with the speed/thrashing "carnage", an awesome hair-raiser which leads to the closer "El Muerte" which is sung in English despite the Spanish title, and otherwise serves more laid-back stuff relying on sharp cutting riffs in mid-pace to wrap it up.
Steinhauer operates with new musicians again, and one may regret the fact that he couldn't at least keep the virtuoso Christian Munzner from the previous incarnation. Anyway, teamed with the bass player Tilen Hudrap (Testament, Vicious Rumours, etc.) and the Greek guitar wizard Gus Drax (Suicidal Angels, Biomechanical, Sunburst) to replace the departed Munzner, he produces another stellar opus which doesn't stray far from the familiar repertoire, but the varied palette within which the band reside still holds quite a few surprises, it's not depleted completely yet...
"Heresy II: End of a Legend": always approach such references to past masterpieces with a pinch of salt... neither of them delivering in spades, but at the same time neither being a flop... what's the case with Steinhauer and Co., the same line-up from the last opus "Pangea"? Well, the band strike gold once again, sticking to their staple high-speed thrash approach which is again on the complex side, with vehement entanglements like "Mountains and Caves" and "The Visitors" leading the highbrow show which receives a crunchy mid-tempo baptism on "Children of a Virgin", but the infectious gallops on "Journey into Fear" are hard to resist. The same goes for "A Meeting of Minds", a 9-min doom/balladic elegy but strangely captivating and not stale at all, especially when the guys provide more than enough sharp edgy thrash delights afterwards, the other behemoth here, the 9.5-min saga "The Great Denial" moshing with passion for more than half the time, serving a nice epitaph to another exemplary performance from the man and his now very reliable cohort... this is some way to stay on the top of a wave, and even commanding the parade from up there like a visionary, dexterous conductor.

Product Of Imagination Full-length, 1987
Heresy Full-length, 1989
Collision Course Full-length, 2000
Electrify Full-Length, 2008
Riot Squad Full-Length, 2009
Tales of the Weird Full-Length, 2012
Pangea Full-Length, 2016
Heresy II: End of a Legend Full-length, 2021

Official Site

PARADOXICIDE (USA)

Modern choppy thrash which doesn't win too many points from the harsh shouty death metal vocals, a grating-on-the-nerves presence which trudges along without stirring too much drama, the latter left for the brooding minimalistic musical approach, a mid-paced at best march which sides with the fields of doom ("Into the End") invariably, the more vivid semi-gallops on "Consumed by Hate" unleashing bigger emotions, some of those also shared by the vivid closer "Plastic Horde".

Savior Full-Length, 2021

Official Site

PARADOXO (BRAZIL)

Based on the full-length, this band play energetic blitzkrieg retro thrash that is based on relatively short exhausting headbangers, "Currais do Governo" nicely setting the tone for the ensuing melee, "Revolta" attempting some Slayer-esque brutality for a change, the title-track another relentless moshing beast. The moderately shouty semi-clean vocalist assists the no-bars-held music with venomous pathos, toning it down a bit on the more controlled mid-tempo shredder "Controle".

Sociedade EP, 2018
1932 Full-length, 2024

Official Site

PARADYGM (USA)

Cool classic speed/thrash unleashed by these folks here who gallop with a fine sense of technicality on the excellent "Abattoir", the very cool attached clean vocals working to everyone's advantage. More niceties served later with the more measured mid-tempo trots on "The Uncertain Kind", before "I Don't Care" introduces a more streamlined power/thrash approach with intriguing more elaborate decisions in the second half.

The Uncertain Kind Demo, 1991

Youtube

PARAGORIA (SLOVENIA)

Dark brooding modern thrash which crushes forward with heavy morose riffs, but the guys are not strangers to some cool melodies (the dramatic shredder "Devoured by Artificial Soil"), and before you know it things go up the speed scale with the short exploder "Embryo" which also lashes a few stylish technical hooks. "From Carcass to Soil' is another more energetic number its dynamic aesthetics canceled by the oncoming groovers which aren't bad at all, and their steam-roller approach should keep the listener satisfied till the arrival of the headbanging delight "Myth of Justice" which companion, the closer "Last Wish", is a tender lead-driven balladic instrumental. The variety displayed here is more on the positive side, including in the vocal department where the guys semi-shouts with an authoritative death metal timbre. The guys were previously known as The Scourge when they only managed to release a solitary demo in 2009.

Decomposition of Mind Full-Length, 2013

Official Site

PARALYSER (USA)

Good power/thrash metal typical for the American scene of the 80's with high-pitched dramatic vocals recalling Warrel Dane's first attempts at singing in his first band Serpent's Knight. They fit the music, however, which is fast most of the time, recalling a more aggressive version of Attacker's "Second Coming", and Liege Lord's "Burn to My Touch". But you have to get used to the vocals, though, which might put a few smiles on your face for their sheer, and partially laughable, drama.

Demo Demo, 1988

PARALYSER (USA, Illinois)

The debut EP is hardly a "paralyzing thrash attack" being rough mostly mid-tempo thrash metal of the old school, but uneventful and pretty boring, except for the more dynamic jumpy "Hell Zombie Armageddon", but the guitar work there becomes too melodic with a shade of crossover, totally contrasting with the bad forced shouty death metal vocals.

"Turn the World Red" is a logical continuation of the sound heard on the EP: unimaginative noisy thrash with hardcore shades, again mid-paced and clumsy, which could have taken off at some point if energetic merry crossover numbers like "Death Squad" were given more space. Watch out also for the aggressive Slayer-esque "Annuit Coeptis", those two overshadowing the monotonous rest by heaps.

Paralyzing Thrash Attack EP, 2010
Turn the World Red Full-length, 2010
Thrash Invasion Split, 2010

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PARALYSIS (HOLLAND)

A standout progressive/technical thrash metal band, who started in a marvelous way with "Arctic Sleep": an exquisite opener for their career with its five explosive songs of stupendous technical thrash with its mighty super-technical riffs and mind-blowing leads; the tempo is fast, but frequently changes forming whirlwinds of riffs and melodies; Helstar's "Nosferatu" comes to mind quite often, too, when listening to this, but here the guitars are sharper; this short masterpiece ranks among the highest achievements of the technical genre. Every track is an exemplary representative of the genre, combining intense, speedy sections with swirling complex ones, the culmination probably being the closing title-track which is the fastest and the most intense piece its sudden tempo changes making it a fairly compelling elaborate affair. The vocal performance is by no means bad, but the music overshadows it a bit, which is a pity, since the guy has a powerful high-pitched voice, coming as a cross between Jeoff Tate and James Rivera. Such a strong beginning inevitably raises the question: "what happens next?".

"Visions": apparently the guys were carefully thinking over their next step so it was no wonder that the full-length debut appeared whole three years later. When "Altered States" starts one knows that this won't be the same experience; the opener is slower, longer, and despite the presence of great technical guitars, is kind of underwhelming. After the next "Experimental Factor Genocide", which carries on in the same vein, the listener will put his hopes to hear some fast and intense music to rest (there is only one track which could fit the debut: the short bombastic technical "Twisted"), and from now on will have to adjust to the new style; and if he manages to do that, he'll come across impressive progressive thrashers: the more dynamic, up-tempo "The Waters Cry", the doom/thrasher "Tardis", the atmospheric dark "Enemies Within". "Escape from Yesterday-Suniptar" is a magnificent ballad finished in a quite aggressive, thrashy manner: a sudden, unexpected, but satisfying touch (which could be another song, albeit too short). Despite its numerous good moments, this album remains in the shadow of the much shorter (this one here has whole 13 tracks) debut EP.
"Wonderland" sounds like a smaller version of the preceding album; again no speed involved, this time even the technicality is missing making this small effort sound like pretty standard power/thrash, still good, relying on old songs to make it stand out: the ballad from the previous work "Escape from Yesterday", and the great technical number from the debut EP "Inhumane".

Certainly after the last not very impressive offering the interest in the band was expected to diminish, and "Architecture Of The Imagination" did not enjoy the same acceptance as before. Still, it was quite a worthy slab of progressive power metal, quite close to Hexenhaus' "Dejavoodoo" and their continuation Fifth Reason, with few moments of thrash. Songs like the excellent technical power/thrasher "Picture Picture" and the slower, but very good progressive piece "Trip" stir the mood, but the insertion of modern elements, which were strange to the band's sound before, and the lack of any more speedy passages, might make this album a somewhat tiring experience for the regular thrash metal fan although as a piece of well executed progressive metal, this work delivers the goods on all counts.

The "Trivial Round Of Life" demo is a sure-handed slab of classic speed/thrash metal, quite intense and fast on the opening "Roman Struggle", and more controlled and galloping on the next "What's To Become Of Man". "Admonishing Famine" is an excellent speedster with semi-technical tendencies, and "Trench Reality" is not far behind lacking the technical licks, compensating with more vicious thrashy shred and very good bass support. "Is It Justified" is a fine piece of technical thrash, a convincing blend of fast and slower riffs. At this stage the guys sound more straight-forward, only lightly showing their bigger skills coming close to Target's debut "Mission Executed".

Trivial Round Of Life Demo, 1988
Arctic Sleep EP, 1991
Visions Full-length, 1994
Wonderland EP, 1996
Architecture Of The Imagination Full-length, 2000

PARALYSIS (USA)

Based on the full-length debut, this band play classic thrash/crossover executed with very boosted modern production which makes the guitars to noisy and buzzy. The music is expectedly brisk and invigorating although it's not the fastest one in the word as the band like to spice the approach with slower arrangements. Still, it's dynamic headbangers like "All Your Lies" and "Cut Deep" that keep the party going, also compensating for the not very expressive shouty death metal-ish vocals. Some of the musicians take part in the excellent progressive power/thrash formation Xenophile.
The "You Can't Win" EP doesn't radically differ from the style on the full-length so expect fast ripping thrash/crossover with the obligatory modern production and the casual stomping brooding cut ("Silent Killer").
"Mob Justice" doesn't radically differ from the delivery of the preceding efforts, and the band march on either with hyper-active speedsters ("Tombstone") or with imposing heavy stompers ("Nihilist") the crossover spirit finely expressed through brisk pieces like "Cut Short" and "Had Enough".

No Turning Back EP, 2014
You Can't Win EP, 2016
Life Sentence Full-length, 2017
Mob Justice Full-length, 2020

Official Site

PARALYTIC OF... (USA)

Based on the "...Pauls'" demo, this band play some very original progressive/thrash, which on "Don't Deny" is woven of slow-burning choppy rhythms, a weird twisted puzzle which is equal parts Psychotic Waltz and Mekong Delta, with a brilliant melodic interlude and mean-ish spatout semi-declamatory vocals, the guy behind the mike not emitting a lot of passion, but providing the requisite moral support. "Mr. 23" is a more dynamic proposition with meandering riff-patterns and serpentine melodic throw-ins, a more linear number which is superseded by the speedy saga "If There Would Be", a dynamic progressiver with intriguing semi-balladic developments and some truly visionary staccato riffage. "The Joker's Smile" is a surreal creepy template with echoes of Mekong Delta again, with a few dynamic decisions diminishing the outlandish feel generated. This is a first-rate exhibition of genius at play, an original unorthodox interpretation of the old school metal canons.
The "...the Click-Clack" demo is another very tasty dish, "23 Reasons To Die" offering a pleiad of delightful both choppy hectic and memorably melodic developments, an epic opus with steady chuggy technical guitars and a breath-taking bass-driven balladic respite. The title-track is a weird staccato-esque rifforama with balladic fusion-like stopovers, the doom drama elevated at some stage mortified by the exquisite technical vortexes stirred on "The Prophet", a ravishing carnival of atonal rhythms, fast-paced skirmishes, dense intricate passages, virtuoso lead-driven accumulations, and entangled riff-puzzles. "Frohlingsgefohle" is a stylish display of more melodic sensitivity, a bouncy thrashing near-all-instrumental masterpiece, a glorious finale to a supremely rousing fiesta.
The "...First Demonstration" demo is already a really nice beginning, the band lashing stylish technical riffs with gusto and also quite a bit of intensity as evident from the feverish layout of "Three Dark Kings", a standout twister with also a portion of virulent fast-paced strokes. "The Chase" is another heightened drama with heavy hammering riffs and sudden speedy escapades, the guys reaching progressive thrash dimensions with consummate ease, keeping everyone highly entertained with the labyrinthine all-instrumental wonder "Cruel Child", a spell-binding symphony of entangled riffage, arresting melodic licks, and weird doom accumulations. Nothing beats this gorgeousness, but "Gagarin" is more than a fitting tribute to the late cosmonaut, a homogenous mid-paced trot without too many intricate embellishments. This band is a fuckin' treasure, plain and simple... few are the acts that can leave such a consistently brilliant legacy be it in the deep underground.
The full-length is a really strange recording; it does justify its groovy title, though, as it's by-and-large an addition to the groovy/post-thrash realm, especially in the first half when the guys pile weird grooves after another, the stylish technical shredder "23 Reasons to Die" putting an end to said fiesta, not exactly a throw back at the band's loftier past, but an acceptable occurrence nonetheless. The faster-paced accumulations at the end of "Save the Pig" can pass for another more intriguing act, with "Three Dark Kings" a full-on retro metal attraction, the guys stirring a noteworthy vortex of rhythms and moods with a strong progressive shade. "Weird" is another revelation, a technical chopper which reduces the groovy escapades to the minimum, too, although this is just a mid-paced stroller with quirky additives here and there. Then the guys revert to the less demanding groovy patterns for a string of tracks, the closing title-track a fulsome tribute to father groove, a clumsy non-dignified epitaph to this otherwise interesting opus, the modern canons' surrender of a really interesting, valiantly visionary outfit.

...First Demonstration Demo, 1990
...Pauls' Demo, 1992
...the Click-Clack Demo, 1994
...a Groovy Kind of Seasickness Full-length, 1998

PARAMOURE (USA)

Perfectly acceptable power/thrash metal with a typical for the 80's American scene sound in the vein of Aftermath, Helstar, Liege Lord, etc. The first two shorter numbers in the beginning carry a more aggressive charge, but things get both more melodic and more complex on "Birthright (Destiny)" which is a nice combination of ballad, melodic hooks and smashing heavy galloping riffs. Then comes the brutal thrasher "The Last Danse" which is a really violent piece with shades of proto-death. "Hospital (of the Unholy Cross)" is vintage later-period Helstar with the sinister riffs and a couple of more technical hooks; and the closer "Tales from the Dark Side" is another exercise in more elaborate, almost progressive, power/thrash in mid-pace. The singer is good although his voice gets lost on the higher registers; still his attached clean delivery helps the proceedings seldom assisted by higher female vocals which belong to the bass player (Caryn "One Evil Bitch" dos Santos).

For the Love of Death... Demo, 1989

PARANOIA (ARGENTINA)

These Argentinians play heavy abrasive thrash of the more classic type with the Metallica debut an obvious influence on the edgier material ("Chicos De La Calle"), but there are also moments where the music is plain heavy metal ("Luchar Para Existir", the hard'n heavy hymn "Heroes Olvidados"). "Imperio Del Mal" is an excellent speed/thrasher also recalling Angel Dust. The singer isn't really an asset singing in a dispassionate semi-clean manner.

Luchar Para Existir EP, 2006

Official Site

PARANOIA (RUSSIA)

Power/thrash metal with weak vocals and one-dimensional tracks of the heavy/power metal variety with just a couple of decent thrashy headbangers present.

Mest' Zla Full-length, 1993

Fan Site

PARANOIA (USA)

Decent thrash/crossover, not too far from the more thrashy D.R.I. releases. The music has its more relaxed feel at times akin to Suicidal Tendencies ("Toxic Rock"), and the shorter material is either pure unbridled Slayer ("Control") or a direct nod to the hardcore heritage ("Out of Order"). The vocalist is vintage Kurt Brecht (D.R.I.), maybe a bit more lyrical and more prone to pure singing.

The Many Faces Of Full-length, 1989

PARANOIAC (USA)

Based on the full-length: classic thrash (based on the full-length) which moves along at a respectable pace, the brutal guttural death metal singer the major exacerbator, the music switching from heavier friendlier tunes ("Assisted Suicide") to dramatic atmospheric progressivers ("On a Cold Winter Day") to occasional fast-paced pieces ("Deathrail"). The lyrical semi-balladic closer "Killing Myself" is a fitting addition, too, also allowing the vocalist to try something warmer and closer to actual singing. Some of the band members also play with the death metal fromation Kommand.
Morbid Psycho EP, 2022
Guillotine Full-Length, 2022

Official Site

PARANOID AGONY (AUSTRIA)

An obscure addition to the fairly barren Austrian thrash metal scene of the 90's, and a worthy one at that, sticking to the 80's laws with hard-hitting riffs and stylish semi-technical decorations. The vocals are brutal low-tuned death metal ones, and the guys are expert at mixing faster and slower moments to a quite impressive effect (the haunting dark "Prisoner Of Egotism"). There's a gloomy gothic atmosphere permeating the whole album, but rest assured that gothic dreamy pieces are nowhere to be heard; well, "The Unknown" could pass for one with its slightly retouched guitars in the spirit of the Swedes Cemetary. But right after it comes the best song here: "Diabolic Force" which is a lashing headbanging thrasher, followed by the explosive but also melodic "Educational Result". The end is preserved for the punk-ish/crossover cover of the Austrian singer Reinhard Mey's "Uber Den Wolken".

A View in Agony Full-length, 1998

PARANOIA CORPS (SPAIN)

After the colourful, very picturesque atmospheric gothic/death intro, the guys jump the modern thrash/post-thrash wagon, and although some cuts (the intense headbanger "Force of Revenge") are definitely on the positive side, such heights are nowhere to be reached later. The grindcore joke "Goodson Harry's Home Strange Party" is just a not very necessary filler. However, the guys attempt something more serious on the last two compositions, both heavy varied behemoths of near-progressive thrash, the biggest flaw all around being the harsh shouty death metal vocals.

Mundo Inferno Demo, 1995

PARANOISE (BRAZIL)

This is dynamic hardcore-ish thrash of the old school with sharp riffs and semi-shouty, also semi-declamatory, hardcore vocals. The guys turn to pure hardcore in the middle before a number of longer more serious numbers ("Cellars Madness", "Devouring of Fleshes") to produce more engaging riffy cannonades with more tasteful guitar work including a nice acoustic instrumental finish ("The Last Dwell").

Camp Thrashers Full-Length, 2015

Youtube

PARANORM (SWEDEN)

A cool slab of intense old school thrash metal with hard riffs and quite good leads of the both screamy and melodic (check the exiting section for the latter) type. The guys prefer to play fast and tight inserting the odd more technical hook ("The Indoctrinated") here and there. "Strike Hard, Strike Fast" definitely deserves its ambitious title being a fine short bashing speedster which for some reason reminds of a more extreme version of Venom's "Black Metal". On the closing "Trail of Blood" the guys take a break playing in a more moderate mid-pace with the casual faster twist. The sound quality is not bad at all if we exclude the hollowly-sounding at times drums.
The "Pandemonium's Rise" EP sees the guys well-equipped to hit on a full-length scale producing another slab of cool vigorous speed/thrash this time taking some of the flavour of their homeland with a more modern melo-thrash sound ("Atmospheres") heard at times. Two of the songs from the demo are also featured here ("The Indoctrinated: & "Strike Hard, Strike Fast"), but the newer stuff beats them, "Aggressive Inhibitions" being an "aggressive" speed/thrash cut with nice technical tendencies, recalling both Paradox again and the Bay-Area scene; and "Shattered Future Tense" being a fine more serious number in mid-pace graced by good melodic hooks. "Predators of Peace" is another smashing thrasher with slower breaks and rolling guitars reminiscent of the early Destruction days. The singer has a suitable mean, vicious tember coming as a less screechy Mille with a touch of death.
The "The Edge of Existence" EP sees the guys taking a more elaborate, almost progressive, turn their bay-Area fascinations still quite obvious on the "Second Assault" mixed with newer Kreator-like easthetics. "Sunstorm" is a longer more thought-out number with a few blitzkrieg passages before "Desolate Worlds" shifts into an even more diverse delivery with shades of Gothenburg melo-death also including a cool balladic interlude and several less controlled blast-beating sections.
"Empyrean" stands for the band's finest hour, melodic progressive modern thrash which marches on impetuously ("Critical Mass", "The Immortal Generation") before offering a sprawling variegated saga, the 9.5-min "Edge of the Horizon", a nice energetic trip with echoes of the Gothenburg school. The thicker technical shreds on "Intelligence Explosion" are close to being the highlight, providing a nice contrast to the staple melodic walkabouts, the stern mid-paced layout of "Cannibal" an unmitigated deviation. The spell-binding virtuoso lead pyrotechnics on the title-track are another eye-opener, the closing opus "Desolate Worlds (Distant Dimensions)" adding a more convoluted deathly drama ala Vektor, plus a breath-taking lyrical epitaph.

Demo Demo, 2010
Pandemonium's Rise EP, 2011
The Edge of Existence EP, 2014
Empyrean Full-length, 2021

Official Site

PARANORMAL (GREECE)

A decent debut from Greece of varied classic/modern thrash metal ranging from all-out speed/thrashers ala Whiplash ("Fake Friend") to heavy proto-groovers ("War"). Both tendencies alternate throughout the album leaving small room for the good old crossover ("Fuss up Your Ass") to wrap it up nicely at the end. The drummer gives a good performance, unlike the singer whose raw semi-shouty synthesized pitch is a major detraction.

Paranormal Full-length, 2010

My Space

PARAPLEGIC (NORWAY)

The full-length: this obscure act offers an uneven mix of straight bashing thrash/death metal of the old school and modern 90's clumsy groove. Needless to say, the former side is much more appealing as well as a couple of more stylish decisions with an industrial flavour ala 90's Prong. Near the end there is also one intense exercise in pure hardcore which is the perfect fit for the gruff shouty singer.
The "All Flesh" demo is a much better proposition, the guys delving in some truly intriguing technical/progressive thrash fashion, the twisted "Fake Bird" a total shredding disorienting masterpiece, also featuring a quiet acoustic digression; the title-track just bashing stylishly and virulently with badly suppressed complexity. "Lust Liar" is a meandering mid-tempo technicaller with several more laid-back semi-balladic arrangements, and "Love Is Dead" is a more orthodox piece with a forceful hyper-active rhythm-section and spell-binding but short lead sections. "LiebeGesicht" is a drunken sing-alonger, a lyrical chanson which can only be viewed a filler to this otherwise very cool entry.

All Flesh Demo, 1992
Strawberry Letter 23 Full-length, 1995

My Space

PARASITE (COLOMBIA)

The EP: the guys from the classic thrashers Atrox have moved on with this band although the music is not a very distant departure from the one of the other act: in other words, we have energetic retro speed/thrash metal which is pretty wild and aggressive (the speed bomb "Say Nothing and Suffer", the intense Slayer-esque "The Taste Of Fear") for most of the time without many unnecessary deviations from the formula.
"Genocidal Suicide" has picked a few more brutal proto-death tendencies, the raging aesthetics displayed on "Lurking" leading to the seismic heavy behemoth "Cadenas" and the fast-paced abraser "Rivers of Blood". The death-laced battle-like "Perpetual Void" is a faithful echo of Bolt Thrower, and "Embrace Debauchery" is an aggressive death/grind/thrash amalgam.

Infected Pleasure EP, 2009
Genocidal Suicide Full-length, 2022

My Space

PARASITE (GERMANY)

Death/thrash with a hefty groovy flair; angry quarrelsome deathly vocals and heavy squashing riffs which can get occasionally faster-paced (the title-track), but generally this is mid-paced volcanism better exemplified by the grudgy excursions "Ride" and the pessimistic doom-laden expletives on "There Is Nothing to Be Proud of", the playful post-death Six Fee Under-esque groovisms on "No Escape" an only marginally brighter stroke.

Millennium#3 EP, 1999

PARASITE (USA)

Based on "Focused I Become", this band play groovy post-thrash/death which has a vibe and verve, the squashing steam-rolling guitars doing the requisite damage on cuts like "Psycho" and "Greed" although a couple of more lyrical, atmospheric ("Shadows") also deliver almost as well. "Lose Control" is a very appropriately titled piece the band producing the only headbanger here, a really wild basher enhanced by the vocalist's shouty deathly rendings.

Your Blood, My Life Full-length, 1996
Focused I Become Full-length, 1998

My Space

PARASITE MAN (SPAIN)

This is rowdy abrasive thrash/crossover which firmly sides with the old school canons, but the compositions are lengthy, and something uncanny and technical ("Buena Vida") by all means goes on, the major spoiler being the rough death metal vocals. A couple of intense energizers ("Asalto Legal") enliven the setting, but watch out for "Educado Para Matar", an interesting albeit flawed progressiver which offers literally everything under the sun in an attempt to capture all nuances from the metal spectre within a bit over 8-min.

Katrezixmo Full-length, 1994

Official Site

PARASITER (CHILE)

Two songs of intense old school thrash/proto-death in the vein of early Kreator and Sadus. The bash is constant topped by expressive semi-declamatory vocals which have the tendency to scream like a banshee to a scary effect. Watch out for the cool melodic leads on "Torture Commander" which is the more melodic and more effective track with its roller-coaster speed metal nature and the appropriate slower break.

Promo Single, 2012

Official Site

PARASYCHE (CHILE)

This young Chilean outfit specialize in classic progressive power/thrash which prefers the sprawling mid-pace as a dominant delivery displaying flashes of less bridled energy (the aptly-titled "Detonation") also expressed in the form on intriguing galloping decisions ("The Treason"). "Land of Lies" is an epic ballad, and "Stolen Liberty" is only a marginally more vivid proto-galloper. As a whole the compositions in the second half lack vitality and dynamics then band losing the inertia which is partially captured by the faster-paced closer "The World Inside". The vocalist is a passable, not very attached semi-cleaner who doesn't always match the melodic musical scenery.
"Sons of Violence" contains mostly modern prog-thrash for a change, which hits the roof quite early on the stylish shape-shifter "Black Mamba ", but also serves a more than adequate continuation in the face of the choppy hectic "Vile Rejection" and the pounding doom-laden monolith "Sleep Paralysis". The band experiment with more nuances and moods on the uneven 2-part "Cachafaz" saga, also losing the thrash idea for a bit; but manage to bounce back with the crunchy mid-pacer "Brutal Hypocrisy" and the excellent brisk "Metallica meets Darkane" closer "The More Who Die".

Insanity Origins Full-Length, 2017
Sons of Violence Full-length, 2021

Official Site

PARASYTE (USA)

This short-lived act later evolved into the death metal formation Resurrection, and also featured the Revenant guitar player Dave Jengo. The music is good inspired vigorous speed/thrash in the best tradition of Forbidden and Agent Steel accompanied by quite cool high-strung clean vocals which emit a lot of drama without overdoing it. The production is a bit muffled and serves right the several slower brooding passages ("Your Life Ends") scattered among the furious lashing which definitely deserves to be heard by more fans.

Demo Demo, 1988

PARASYTIC (USA)

The debut: thrash/crossover in the vein of D.R.I. and early Ratos de Porao; the guys play fast and tight coming up with cool headbanging winners. Still, a personal favourite here is the mid-paced hammering "Spiral" with the lighter speed metal delight "Mad Men", and especially the blitzkrieg speed/thrashing "Hogs", very close seconds. The closing "Animal Sacrifice" is also worth mentioning being a longer more complex composition alternating furious super-fast sections with more elaborate, even technically-sounding, ones.
"Poison Minds" is another wild animal, the guys moshing out fast and tight with expected more relaxed numbers along the way, but there are none of the kind at the end which is occupied by four aces of dynamic blitzkrieg thrash/crossover, again recalling the aforementioned Brazilians. The more intriguing moments from the debut have been left undeveloped, but apparently the band aren't willing to stretch too much at this stage sticking with the headbangers which is by all means the right choice.

Hymn Full-Length, 2008
Poison Minds Full-length, 2010

My Space

PARIAH (UK)

After the climactic "Suspended Sentence", arguably the finest British thrash metal offering, Satan decided to change their "satanic" name again, like they did in 1985 by adapting the name Blind Fury for the release of one classic NWOBHM album, by choosing the less suggestive Pariah. "The Kindred" was an immediate follow-up to the aforementioned album under the new name, so few were the surprised ones who heard the explosive opening galloper "Gerrymander" which brought a certain Bay-Area vibe into the band's approach. The chugga-chugga riffs on "The Rope" are something new, though, without the subtle melodies typical for the band, but the track works on all counts, not without the catchy chorus ("I see you... hanging at the end of a rope!"). "Scapegoat" serves more hard-hitting thrash, and up to this point there's nothing outside the thrash metal genre to be heard; and until the end what one will come across is serious solid thrashing in a predominant up-tempo which only drawback would be the lack of many technical leanings which were quite common for "Suspended Sentence". The bonus track "Show Your Face" is pure speed metal with great leads, and could have been made earlier, during the Satan days.
"Blaze of Obscurity" is closer in spirit to the last Satan album retouching the less compromising Bay-Area sound of the debut, and the first number "Missionary Of Mercy" already sounds both more melodic and more technical. "Puppet Regime" is an energetic speed metal cut, another reminder of the band's early days, and "Canary" is a sharper thrashier number with nice merry melodic leads. "Blaze of Obscurity" is a kind of a clumsy semi-ballad, but the 2.5-min "Retaliate!" is direct in-your-face thrash, and until the end we have a more aggressive thrashy delivery, quite close to "The Kindred". This album wasn't a very radical move from the debut, but the initial technical showings never materialized later on, and the softer approach in the beginning wasn't so well compensated making this offering another good, but hardly exceptional, slice of metal. Afterwards two of the band members (Graeme English & Steve Ramsey) joined Martin Walkyier in Skyclad, and the band was put on hold.
The band were back earlier than the flood of comebacks witnessed a few years later, with the two Skyclad guys on board again, and "Unity" sees them going back to the Blind Fury days for the production of mild power/speed metal with timid attempts at thrash, plus several modern elements thrown in the mix, without bringing anything too good to the proceedings. As a result this is the band's weakest achievement despite the effort put by the new throat Alan Hunter, the Tysondog singer, who sings in a clean attached way well suited to the more temperate musical approach.

The Kindred Full-length, 1988
Blaze of Obscurity Full-length, 1989
Unity Full-length, 1998

Vibrations of Doom

PARITY BOOT (GERMANY)

Based on the first demo, this is modern, industrialized at times, thrash metal with alternative elements added as well. A nice touch is the clean vocals as opposed to the synthesized hardcore-ish apocalyptic shouts, but they would be more suitable for a gothic/wave act. The style will probably remind you of a thrashier Misery Loves Co. (Sweden) or Die Krupps.

Demo Demo, 2004
Demo Demo, 2006

Official Site

PARKCREST (CHILE)

The debut: energetic brisk old school thrash with a very strong bass bottom and fast fierce compositions like the title-track and "New Plague" where a lot of things occur as there's plenty of room for that, the overall approach reminiscent of mid-period Sepultura and Dark Angel's "Leave Scars". "Dark Magicians" is a more laid-back roller-coaster with a more refined speed metal-ish vibe, and "The End of Times" is a raging thrash/proto-deathster that flows into the cool cover of Testament's "Raging Waters" at the end which is partly ruined by the aggressive shouty semi-death metal vocals.
"...and That Blue Will Turn to Red": the guys' uncompromising style is nicely reflected in the raging 8-min opener "Impossible to Hide", a ball of fury that handsomely summarizes the entire album the remaining compositions shaped with exactly the same mindframe, either expressed through short thunderbolts ("Punished in Life") or through more intricate hyper-activers like "Midnight Chasm" and "Tired and Guilty". The more controlled power/thrash flavour of "Possessed by God" is surely a respite, and also expect a few other similar moments on the lengthy instrumental piece "welling of the Moonlights", a sheer display of musical dexterity which the band should adhere to more often. The closing title-track also attempts something less ordinary with choppy rhythms and a wider range of tempos, a very cool wrap-on of this admirable opus.

Hallucinative Minds Full-length, 2016
...and That Blue Will Turn to Red Full-length, 2019

Official Site

PARRICIDE (UK)

Three songs which tread the aggressive thrash metal path in a way not too dissimilar to Sepultura's "Beneath the Remains" and Attomica's "Disturbing the Noise"; good intense music with a slight technical edge ("Carrion") and cool semi-clean vocals which become quite gruff and sinister when needed. "Presumed Dead" shows more courage lashing out in a furious proto-death manner, also touching Incubus' "Serpent Temptation".

Self Inflicted Biopsy Demo, 1990

PARRICIDE (USA)

This is the band where the Ritual Sacrifice guitarist Bill Pincins continued his career, albeit briefly. This 4-track EP is capable old school thrash with nice semi-technical tendencies, recalling Possessed's "Eyes of Horror" and Torture's "Storm Alert". The tempo is energetic, adhering to some blasts (from the past): "Ends Will Meet". Thrash with no mercy is what one will hear on "A Future of Suffering" and "Inhuman Condition", whereas on the other two the pace varies with the strong bass support being present all over. The singer rends his lungs out in a way no worse than Steve Reynolds (Demolition Hammer).

A Future of Suffering EP, 1995

PARTY VIBEZ (AUSTRALIA)

These guys play cool sharp thrash/crossover with a good classic (and also "party"!) vibe. The mosh is on full-throttle for most of the time the tracks being short and to-the-point with plenty of headbanging rhythms on offer to satisfy the hungry thrasher. All the songs comes as one big perennial thrash/crossover party which will keep you entertained, the guys never letting the joy drop including with the addition of a few hilarious song-titles ("Indiana Cones And The Temple Of Goon").

Killer Party Vibez Demo, 2008

My Space

PARTYONWAYNE (USA)

This is rough sludgy groovy post-thrash which wears thin even for a 5-song demo, simply because the band refuses to speed up even on occasion (a solitary short section from "Tiki Barber Sneak Attack" is the sole exception), playing in a predictable slow-ish fashion with repetitive riffs and song-structures. The singer does a further damage with his rending agonizing mid-ranged death (literally) metal growl.

Let Me Go Demo, 2009

PASADENA NAPALM DIVISION (USA)

Retro thrash/crossover featuring none other then Mr. Kurt Brecht on vocals; the man doesn't sound rusty; on the contrary, he unleashes his infamous harsh semi-quarrelsome timbre from the D.R.I. days quite well assisted by the others on the shouty choruses. Those others are members of the legendary death/thrashers Dead Horse who have reunited recently, and this short slab could be viewed as a rehearsal for something new to come from their camp in the near future. The music here is right as rain thrash/crossover with references to more stripped-down hardcore ("Failure"), simplistic energetic stuff also rubbing shoulders with mid-period D.R.I. ("Crossover", in particular).
The full-length is another optimistic slab of the good old thrash/crossover served with more aggressive proto-death ("Cemetary Mass"; the brutal grindy jumper "Dreamland"; the intense deathly shredder "Murder the Bearded Lady Killer"), a touch recalling the Dead Horse efforts, elements here and there which may remain unnoticed due to the prevalent furious nature of the other material. Heavier more restrained cuts come in the second half the guys toning it down considerably the music acquiring a more friendly crossover character until the band wake up for the last duo which provides an exiting portion of fast-paced riffs with a strong flavour from D.R.I.'s heydays. This sounds like a full-time act, well coordinated and smoothed out, and its obvious success may keep the careers of the father bands at bay for a while.

P.N.D. EP, 2010
Pasadena Napalm Division Full-Length, 2013

Official Site

PASCAL (POLAND)

Based on the "Collection of Destroyed Brains" demo, these guys try to offer something out of the ordinary and succeed most of the time. This is technically-minded thrash with death-ish vocals, clearly rooted in the 80's sound, which reminds of the Chuck Schuldiner (R.I.P.) side-project Control Denied, but with a considerably thrashier edge: the riffs keep flowing and they are quite interesting and change often without being too aggressive or fast. Another band their music could be compared to, is their compatriots from Astharoth, maybe less adventurous, and with a better bass bottom which is so good that often simply overshadows the other instruments completely. And that's why the guitar work really tries hard to be in pace with it which creates the impression that the guitarists compete with the bassist, and from this the listener only wins as there are plenty of pyrotechnics from both sides to satisfy him. This is an engaging listen with a lot of musicianship involved and the intricate nature of the music might not be the headbanger's paradise, but those who are willing to take more care into the proceedings will surely be rewarded.

The majority of the acts who released nice demos in the early 90's failed to fulfill the promises with their future full-lengths; apparently the early 90's still carried echoes from the 80's which with every passing year was fading away. Pascal are no exception to this rule; after the good demos came "About a Man" which shows an obvious fascination with the 90's tendencies for the sake of a complete loss of the technical flair from their older material. This is hard to be classified as thrash based only on the edgier "My Soul is..." which is still miles away from even the average songs from the past. The other place where someone may raise his eyebrow would be the really aggressive "Vision and Prayer part IV" and "To Others Than You" where a brutal death metal grunting has been included on a power/doom/thrash metal background. The rest is a pretty inept mix of alternative, post-thrash and ballads with not even a shade of technicality or a more intriguing play. This release gives a perfect picture of the very bad state of metal during the mid-90's, and particularly in 1995; albums like this could have only been released back then...
The debut demo is more on the fast, more conventional side although flashes of their more spectacular future (the hectic unpredictable shredder "Lancuchy") can be felt easily including several more progressive arrangements ("Agonia Cz.2/Potepieni"). "Agonia Cz.3" is a nice aggressive number with a few proto-death sections, but also with some of the most technical guitars here accompanied by great melodic tunes. The singer doesn't disappoint, either, with his emotional clean tone which leads the proceedings without taking any adventurous steps.
The "Bad Omen" demo is marred by a very bad sound quality which mixes the riffs with a lot of artificial noise. Still, the music is nothing short of good being quite fast and intense "Egzystencja" showing the band's penchant for more technical performance. The title-track is another delight, an all-instrumental speed/thrash fest of a more orthodox nature with great lead sections. The rest of the material follows the same path the closing "Thrash Pascal" thrashing far'n wide with piercing leads, maddening speed and a few more intriguing decisions including a short proto-blasting passage.

Bad Omen Demo, 1989
Agonia Demo, 1990
Collection of Destroyed Brains Demo, 1992
About a Man Full-length, 1995

PASS ON HOPE (POLAND)

This Dutch outfit acquit themselves with pretty ordinary hardcore/post-thrash which by all means has its fast more energetic moments ("When Walls Fall Down"), but the whole album is sustained in a jocund, not very serious manner bordering on punk with the groove breaking those sections making them clumsy and not very dynamic.

When Walls Fall Down Full-Length, 2013

PASSION OF DEATH (USA)

Based on the full-length, this act offer a fairly decent mix of black and thrash which isn't a stranger to some captivating lyricism (the balladic digression on "Of Shadow and Flame"; the brilliant short lead-driven instrumental "In Requiem"), and generally the emphasis is on atmosphere even on the more energetic pieces ("Burn This World", the brutal blasting closer "Wrath"). The vocals are agonizing screechy black metal ones, and their merits are debatable due to their hysterical at times character. The guys are also busy with the death/thrashers Blood and Brutality, and the death metal outfit State of Decay.

Passion of Death EP, 2012
Apophis Full-Length, 2015

Official Site

PAST THE FALL (UK)

Based on the full-length, these lads serve modern thrash/post-thrash which doesn't win too many points from the very shouty, plain hysterical at times, death metal vocals. Music-wise this is 90's groovy post-thrash carved by brilliant virtuoso lead sections those greatly favouring the more intricately-woven material (the progressive semi-ballad "Poison Mirror", the officiant quasi-doomster "Seldom Reason"). There are moments where the groove will surely grate on your nerves ("Above the Negative"), but this is ultimately what this recording stands for by-and-large.

Beggars at the Liars Banquet EP, 2013
From Insanity's Ruin Full-length, 2019

Official Site

PASTOR (RUSSIA)

Based on the "Nuclear Warrior" demo, these folks offer pretty cool old school thrash which stays closer to the Bay-Area in a clever sophisticated manner akin to Heathen's "Victim of Deception". The fast-paced histrionics of the opening title-track are replaced by a stomping, pounding sound on "Exodus of War", and the tempo varies from song to song touching the ballad on the lyrical "I Owe You" the sleeping qualities of this piece completely cancelled by the ripping "Extreme Energy" which richly deserves its extreme title. Near the end the band look for a more complicated delivery resulting in the nice acoustic guitars on the final "War And Pain" which is a cool battle-like epicer with a very good melodic lead section.

Nuclear Warrior Demo, 1992
Life Is Feudal Demo, 1999

PATCHWORK (USA)

This new outfit indulge in lashing retro power/thrash with echoes of Reverend, Heretic, and Laaz Rockit. In other words, the 80's American school is revisited here boosted by the modern production and the eventual excursions into pure thrash (the diverse shredder "Lessons in Tragedy") which don't dominate the proceedings, but by all means give the desirable aggressive edge to this otherwise more power metal-dominated effort. The vocals are attached and forceful with a horse semi-clean blend which doesn't change much throughout.

Exit Wounds Full-Length, 2015

Official Site

PATECABRA (CHILE)

Vicious, brutal, fast black/thrash metal is what is on offer here. The band seldom slow down; the music is close to Alastor from Portugal, but played much faster and with a more aggressive attitude.

Patecabra EP, 2005
El Horror Full-length, 2007

My Space

PATEK XIII (CZECH)

"Videothrash": a capable entry into the "video" thrash metal catalogue of 2010 which offers a mix of fast direct thrashers (in the beginning) and heavier, almost epic-sounding, pieces the latter touching Bifrost on the more intense moments. A slight pullback is the overlong string of moderate power/thrashers in the middle without any speedy insertions which compensate with a lot of atmosphere and longer more thought-out decisions; the sound isn't bad at all on those, but will satisfy the power metal fans, above all. "Poltergeist" comes to energize the situation a bit, but at some point it also turns into a moody power/thrasher where belong the remaining two songs, the closing "Nightmare" being a standout progressive opus alternating between fast aggressive passages and atmospheric proto-doom ones the whole time ably assisted by excellent operatic female vocals which deliver way better than the main gruff semi-death metal ones.

"Seance Na DruhT Strana Sviat" is much less impressive being not very exciting modern thrash "assisted" by abrasive guitars and several more dynamic passages which sound mechanical and kind of forced. The singer semi-recites with a vicious husky voice and near the end things become more interesting eventually with the intense sterile shredder "Lucio Fulci" which also shows the band's fascination with the horror film genre. That same composition livens up the proceedings the remaining songs containing more lively moments although the approach remains quite modern and not very pleasantly noisy the bass doing the biggest damage with its constant volcanic presence.

Seance Na DruhT Stran8 Sv8t Full-Length, 2006
Videothrash Full-length, 2010

Official Site

PATH (ARGENTINA)

This act sits on the more aggressive side of the Argentine scene by thrashing far'n wide with a not very overt death metal edge. The tempos change so there isn't only a blind dedication to speed at display here, and some compositions show more creativity (the longer dramatic opus "Sucesor") where the staple bashing is replaced by the odd more stylish hook. Things get out of control for a bit on the closing "Sufrimiento Eterno" which is violent blasting death metal in the beginning, but this approach suits better the cruel witch-like vocals which scream throughout recalling some "ravens" from the black metal scene.

Sucesor EP, 2012

PATH OF SORROW (ITALY)

Right as rain modern thrash/death assisted by harsh death metal vocals; the standard formula is interrupted at times by more serious attempts ("Martyrs of Hell") where the band reduce the speed, but come up with better slower riffs and more deeply atmospheric passages. "The Crawling Chaos" is a cool mixture of the two sides, and "Sea of Blood the March for Morrigan" is a sweeping death metal-ish headbanger, leaving the more stylish, semi-technical escapades for the closing "This Is the Entrance".

Fearytales Full-Length, 2016

Official Site

PATH TO IX (GREECE)

Two guys are behind this project which is a moody dark affair with doom, black and a bit of thrash metal shaking hands on a gloomy shady background. Prepare for a doomy, almost sleepy at times, tempo which doesn't offer any surprises except for the surreal psychedelic interlude on "At nighttime..." which isn't far from the organized chaotisms of early Voivod. There's some groove as well but of the less overt, more recent Satyricon-like type which settles in way before the end making this effort a somewhat tiring listen since variety is non-existent. The vocals are intelligible, but they have a characteristic painful, agonizing quality and will burden you additionally.

f0 Black Sky Full-Length, 2013

Official Site

PATHOS (SWEDEN)

One of the best Swedish metal bands of the past ten years; progressive power/thrash metal with touches of doom. The band first released one excellent demo under the name Valcyrie before making another one in 1992 as Depict Pathos. The debut is a really impressive beginning which came right on time to replace Hexenhaus on the top of the Swedish thrash metal scene: fabulous technical power/thrash not too far from masterpieces like Mind-Ashes' "The Views Obscured" and Hexenhaus' "Awakening". The vocals are excellent, very close to Messiah Marcolin, but the music seldom smells doom, and when it does, it comes closer to Memento Mori, rather than Candlemass. The opening "Mask of Fear" is sweeping epic thrash with speed and heaviness perfectly blended together. Two milder more immediate numbers come clinging more towards the power metal field, before "What Now" comes crashing down pouring steel riffs galore. "Transform" is another more laid-back progressive metal composition, but "Act on Impulse" is already a different story: a formidable dramatic thrasher with super-heavy riffage. A short string of power metal-based numbers follows suit leaving the end for "Violence Breeds": top-notch dark power/thrash in the vein of Nevermore, and the final "Scorned", a fine mixture of sharp thrashy riffs and sudden melodic breaks, the latter too short, but a nice stylish touch.

"Uni Versus Universe" is not too different from the debut, and is another stellar effort, but the sound is more complex, the guitars are even more technical, and the tracks are longer with power metal saying its word more often. "Mutation" is one of the finest songs the band ever composed: dramatic progressive power/thrash with outstanding vocal performance, but the closing "Negative Spheres", on the other hand, is a total waste of 6-min being a very quiet acoustic instrumental. Still, heavy steam-rolling pieces like "Rest Your Mind" and the power/doomster "Uni Versus Universe" can not be ignored; neither can the faster thrashier side of the album which is reflected in the short more immediate "Weight of the World" and the more complex progressive speed/thrasher "Under the Lence".

"Katharsis" starts in an awesome way with the title track, another great dynamic technical thrasher with steel technical guitars and brilliant melodic leads, a headstart for the album which later turns into one of the most impressive entries into the technical power/thrash metal circuit of the 90's. "Inhale" is a fabulous epic thrasher with nice speedy implements. Another exercise in technical mastery follows suit on "Suicidal Saviour Lies", a steam-roller of the highest order with, again, a couple of faster moments. "Violated" is an intense aggressive take on progressive metal with jumpy up-tempo rhythms and fine slower semi-balladic insertions. "Inject Reject" is a crusher of the slower, and more immediate, type, but "Revelation" returns to the the ultra-heavy riffage and the more dynamic pace. "Borrowed Time" is a dark power/thrasher ala Nevermore, an instant classic with a memorable chorus and an overflow of riffs. "Detonation" is a pure thrash metal aggression in mid-tempo, and the next "Inner Ego" offers just a slight relief with its dramatic arrangements and spiral-like riffs, technical/progressive thrash at its absolute best with a nice atmospheric interlude. "Time To Act" is the ultimate technical speed/thrash metal piece, with the following "Torn" being a milder proto-doom composition reminiscent of the guys' compatriots Memento Mori transforming into the creepy balladic outro "Divine Intentions". The new singer has a less adventurous timbre, but his clean emotional tone doesn't stray too much from the bellows of the old one. It was difficult to imagine how the band would be able to top up this masterpiece, but they didn't really bother with that (and rightfully), forming two other acts later: the power/speed/thrash metal heroes Nostradameus and the folk metal formation Fejd. The guys are still active, by the way, and something mighty from their camp may follow soon...

Hoverface Full-length, 1997
Uni Versus Universe Full-length, 1998
Katharsis Full-length, 2002

My Space

PATHRASHITELL (BELARUS)

This new formation provide intense classic thrash which softens down for the Razor cover of "Evil Invaders" acquiring more faithful speed metal-ish proportions. Comes "Violent Intentions" and the situation indeed becomes violent with more intriguing semi-technical decorations. "Wasted Kingdom" is a surprising heavy instrumental groover, before "Evilution" rages on as a finishing touch not counting the ridiculous rock'n roller "Don't Tell Me How To Live" which is the actual closer.

Humanoid System Full-Length, 2015

PATRIARCA (PARAGUAY)

The debut demo: this is Bay Area thrash with brilliant guitar work which might put many Shrapnel heroes to shame; these guys can certainly go far.
"Cargado de Acero": the full-length is finally a fact and the band don't disappoint, at least in the beginning, providing the expected doze of brisk classic thrash in the expected Bay-Area spirit with the shadow of early Metallica looming the heaviest. The band mix the pace surprising at times with the odd stoner/doom tune ("El Salvaje"), but they make sure to provide the obligatory fast cuts ("Incierto Porvenir", the closing encompasser "El Rugir Del Leon"). In the second half a string of not very interesting slower compositions may make the listener frown a bit, but generally this is the good old thrash done right the major downpoint being the lack of the virtuoso guitar sections which made the 1st demo such a promise.

Destrucci+n Massiva Demo, 2002
Metal Hasta La Eternidad Demo, 2004
Cargado de Acero Full-Length, 2013

Official Site

PATRIARCH (BELGIUM)

A relative late comer on the thrash metal scene, Patriarch play an interesting brand of epic power metal, accompanied by a healthy pinch of thrash, somewhat along the lines of the Swiss Drifter, but Patriarch are more power metal-based. Worthy of note are the excellent vocals ranging from forceful thrashy notes to wailing high-pitched ones. Both albums are in the same style, but the debut is decidedly the better effort. The compositions mix more intense thrashier riffs with epic/power metal ones, and those latter ones bring nice melodic choruses with them. The longer, progressively-laced songs are by far the band's more attractive side: "Shadowland" is a masterpiece of progressive power/speed/thrash; still some of the shorter numbers pack a punch no worse, like the energetic speed/thrasher "Father Kreator", and the fine stomping heavy thrash instrumental "Prophecy". But at least half of the songs are mid-paced, melodic power metal with hints at thrash, not bad at all, with cool melodic hooks. The sophomore release emphasizes on the melodic aspect, leaving the thrashing a bit behind.
The veterans are back after 10 years of absence, and it was high time for another act from Belgium to emerge in order to provide some competition for the up-and-coming After All, although in this particular case After All have no reasons to worry whatsoever. "Mankind The Virus" is just a decent effort, offering a style similar to the one heard on the band's older releases, in other words melodic power/thrash with progressive tendencies on the longer compositions ("Mankind the Virus"). The best comes when the guys seamlessly blend lyrical melodic passages with sudden hard-hitting outbursts ("Drowning in Madness"), but this only happens once. "No One Wins" is a nice pounding galloping number, but later on the album loses steam, introducing echoes from the groovy 90's ("Broken White", "Prise of a Nation"), as well as not really impressive heavy metal pieces ("Inside"). The closer "Legion" tries hard to capture lost ground, and succeeds, thrashing with a nice technical edge in mid-tempo for more than 8-min. The band doesn't betray their vintage sound, but in a heavily populated scene like the modern one, with high quality acts springing up from all parts of the world, it takes more to be the order of the day.
The "Deity" EP is a cool 4-song effort reminding of the band's fans that their favourite musicians are alive and well just waiting for the right time to strike again. The music is not far removed from the one offered on the full-lengths, but the small number of the compositions makes them stick out more. "Hatred" is a forceful power/thrasher with a strong Nevermore vibe, a steam-rolling mid-pacer, the heavy squashing riffage well translated on the following "How Far", which is the only track which slightly "flirts" with the modern 90's riffage at some stage. "Enigma" is hardly anything enigmatic but is a cool semi-ballad with dramatic overtones. "Psychic Wars" wraps it up with more intense thrashier riffs (don't read fast) in the spirit of the 80's US scene, and despite the readiness shown with this small offering for a fuller return to the scene, the band took their time once again, to re-appear some ten years later.
The "The Red Cord" demo is another commendable achievement the band not betraying their staple heavy epic style acquitting themselves with elaborate lengthy numbers which this time are more on the power metal side thrash mostly sitting on the side as a reserve waiting to interfere on the more intense moments which are not too many at all the final "Neverwhere" offering a few speedier moments as a finishing touch.
"Rage of Gods": the premier Belgian epic thrashers are here again, and this relatively new offering (all the songs from the preceding EP are here) should be a delight to their diehard fanbase. And not only since the opening title-track is a major ripper with seismic dramatic riffs followed by the harder and faster "Born Without a Face". The headbanging and the epic side of the band's repertoire are seamlessly blended on the already familiar "The Phenomenon Of Thought", but the drama is surprisingly big on the short stomper "By My Forbidden Worlds". "Chronology" slows down near the end with nice heavy doom implements, a tendency which stays till the end the saga finished with another piece form the EP, "The Sealed Tongues of Wisdom", which emits a few hard thrashing riffs at the end including a raging proto-blasting break. Although not a very regular presence of the scene, the band still manage to stay afloat faithful to their staple battle hymns.
“Demonic Heart” is decidedly a heavier and groovier affair, the guys relying on repetitive volcanic riffs (“Watch Us, Feed Us, Control Us”, the title-track), the bigger drama exuded from the more volatile “Divided” mortified by the semi-balladic elegy “Words Unspoken”. “Barely Alive, Far from Dead” is a cool dramatic march that pairs well with the more diverse prog-thrasher “In the Cold Hands of Time”, the band not doing much with the more complex arrangements in the long not very eventful run.

Prophecy Full-length, 1991
World Within Worlds Full-length, 1993
Deity EP, 1998
Mankind The Virus Full-length, 2008
The Red Cord Demo, 2013
Rage of Gods Full-Length, 2016
Demonic Heart Full-length, 2023

Official Site

PATRIARCH (RUSSIA)

A cool entry into the retro thrash metal catalogue of recent years, suffering a bit from the low-tuned death metal vocals. Otherwise this is intense stuff with stretches towards proto-death ("Iarost") with a few relieves: the crossover joke "Russian Vodka" which remains a pretty speedy piece; the heavy metal closer "Moskovskie Oktainui". The guitars are very clear with a slight pounding quality, but are boosted by the good production.

Na Poroge Bezumia EP, 2011

PAURA (BRAZIL)

Based on "Reverse The Flow", these guys play hardcore/thrash with a modern edge, which sounds quite hard-hitting and enjoyable, implemented by some cool melodic hooks. The music meanders from fast thrashers ("Drive by Fire"), which are the predominant ones, to heavy crushing ones ("Old Tools Work").

First Release Full-length, 1996
The Myth is Dead EP, 2002
Youkillusweovercome Full-length, 2005
Reverse the Flow Full-length, 2007

Official Site

PAVIANASS (GERMANY)

This young German trio pull out brisk classic thrash with thick meaty guitars and shouty deathly vocals. The musical delivery clings between heavy trudgers ("Hit fur Hit") and energetic thrashing explosions ("Thrash Metal"), the moshpits stirred easily after the bursting "Gewalt", the laid-back atmospherics on the closing "Im Namen Des Vaters" leaving the thrash field, going towards the semi-balladic/doom realm.

Fuck the Rest Full-length, 2022

Official Site

PAXTILENCE (GERMANY)

Based on the full-length, this act provide abrasive dynamic thrash/crossover of the old school, the guys moshing with gusto ("Estrangement", "Last Words") the entire time, the headbanging winner "The Blood" leading the pack confidently, the aggressive accumulations on "The Paxtilence" another vivid ingredient, the optimistic semi-shouty semi-clean singer adding more to the sincere merriment, which also acquires more technical tendencies on the brisk volatile shorter "Radiation Sickness".

Cyclotomic Warfare EP, 2017
Wildfire Full-length, 2022

Official Site

PAYBACK (BRAZIL)

Based on the EP, these Brazilians play (also "pay"... "back") heavy stomping retro thrash which is also quite fast for at least half the time. The guitars have a characteristic pounding quality which will remind of both Infernal Majesty and mid-period Sepultura. This is engaging well-thoughtout stuff which becomes unbridled and wild on occasion (the hyper-blasts on "Hordes of Space"), but the good taste is seldom challenged. The closing "Fake Theory" is a compelling blend of ballad and furious riffage exiting this short effort with pathos and promise. The singer is a subdued black/death metal rasper whose vicious delivery is a cool unobtrusive fit, albeit nor very clearly heard at times.
The full-length comprises intense fierce retro thrash which breezes by with the utmost intensity thanks to uncompromising cuts like "Come Out to Play!" and "Drowned in Mud", the more relaxed speed metal-ish veneer of "Gado de Abate" and the more diverse progressive character of the title-track softening the proceedings a bit. To these ears the highlight seems to be the interesting roller-coaster "Toxic War", a cool stomping/speedy opposition viciously supported by the venomous spatout vocals.
"Violent Ecstasy" is a more intense, faster-paced entry, remorseless tracks like "Private Playground" and "Sarcastic Serenity" disturbing the peace at every opportunity, the proto-death madness "God Profit" showing no mercy as well, as opposed to the corey stomps of "A Fila do Osso" and the choppy playfulness of "Redpill".

Toxic War EP, 2012
Padecer Full-length, 2020
Violent Ecstasy Full-length, 2023

Official Site

PAZUZU (GERMANY)

This obscurity is more in the technical/progressive camp with more serious build-ups which never lose the high-speed character of the music the latter also boasting some admirable lead sections ("The Ecology Of The Gibbering Mouther"). "Life From Life" is a thought-out cut with plenty of twists and turns, and "Seven By Five" is a shorter technicaller of the more dramatic variety recalling Unleashed Power and Toxik. The singer does a decent job with his expressive clean timbre which leads the show which could have grown into something more substantial provided that the time for this kind of music was particularly ripe in Germany with a horde of bands riding high the technical/progressive thrash metal wave. Some of the band members re-appeared for a short while in the early-00's with the classic heavy metal outfit Avanitas.

Rehearsal Tape Demo, 1992

PC DEATH SQUAD (USA)

Energetic thrash/crossover with a slight alternative bite sounding like a mix between D.R.I. and Rage Against The Machine. The track "Fuck Metallica" has a more than a clear message, but this should be more fitting for a band who are at least half as proficient musicians as the band mentioned in the song title. These guys are not...

Too Fat For Love Full Length, 2005

Official Site

PEACE AFTER PAIN (SPAIN)

Based on the full-length debut, this act provide energetic vivid thrash/crossover which is accentuated by brisk dynamic cuts ("No Way to Back Down", "Gobernadores del Odio"), the pummeling motifs on "Reveal Your Fears" accompanied by shouty sing-along choruses. The vocalist himself is a pretty vociferous, near-hysterical, shouter who leads the show assuredly, including on the more moderate shorter "Times Are Insane" and the more diverse basher "Outta My Sight".
"The Deadly Rave": the band are back with another full-length several months later, the approach quite compared to the first showing, fast blitzkrieg thrash/crossover played with the maximum intensity ("Minds in a Trap", "The Face of Death") at times, the short hardcore outbreak "FCK PAP" leading the pack in terms of aggression, influencing the maddening title-track and the lashing pummeling closer "U.Y.F.B.".

Peace after Pain EP, 2018
Outta My Sight EP, 2021
The Essence of Insanity Full-length, 2024
The Deadly Rave Full-length, 2024

Official Site

PEACE CORPSE (USA)

Cool interesting alternative, funky post-thrash which is both heavy ("There it is") and quirkily balladic ("Truth", the more linear "I Will Walk Alone"), not to mention the straight thrashy passages ("A Happy Day", the excellent Bay-Areasque "World's Policemen") which bring the necessary dynamics into an already quite intriguing effort. "Monument" is a surreal Voivod-ism, and "It's A Rip Off" is a wild metallic rapper further ensuring the encompassing nature of this recording. Near the end one will come across the weird technicaller "Beggar's Meat Pier" and the heavy title-track which is another retro piece with a very good main technical motif. There are a lot of other offbeat moments to be savoured here, but one has to sit down and give it a very careful listen; it would by all means be a rewarding experience.

The Ratsugar Full-Length, 1993

PEACE SANCTUARY (USA)

The presence of the ex-Skrew guitarist Steve Green may raise your hopes a bit, but this offering is nothing more than the already trite at that stage groovy post-thrash, mellow semi-jumpy stuff with better semi-clean vocals. "Feel the Heat" is a cool crushing stomper, but the rest is too boring and one-dimensional to stay in your mind.

Defy the System Full-length, 1996

PEARCING WAVES (GREECE)

Three songs of cleverly concocted technical thrash/proto-death which recalls quite a few big names from the glorious times of technical metal: Atheist, Hellwitch, Sadus, etc. There are numerous time and tempo changes including a very cool progressive cut: the pensive not as wild "Swallow the Tale" which shows a talented act who should soon hit with a full-length. Their line-up features the drummer Vasilis Antipatis who is also a member of the technical death metal wizards Sickening Horror, so don't be too surprised with the high quality of the material presented here.

Varvaros EP, 2012

Official Site

PEARL HARBOR (GERMANY)

This obscure act offer heavy mid-paced post-thrash, showing a band which have quickly grasped the modern trends, and more particularly the style of the Black Album, spiced with a couple of offbeat tunes (funk, etc.) which are very tastelessly used. By all means skip the closing ballad "For Those Who Made My Days", which is the farthest thing from thrash imaginable, and might make you hate yourselves for listening to the preceding, below average material.

Ladt Zum Tanz! EP, 1992

PEATH2 (JAPAN)

Modern all-instrumental thrash mixing energetic up-tempo moments, heavy groovy sections and complex progressive arrangements quite well with the lead guitarist clearly being the star of the show whose pyrotechnics are not far from those of masters like Joe Satriani (who is the main influence on the guy) and Steve Vai. The riffs are not given much room to develop, though, as the leads take a considerable space stifling the cool thrashiness on edgy hectic numbers like "Deathscythe And A Cluster Amarlls".
"Electric Red - Red Recollection" isn't too far style-wise from its predecessor, although the sound has become thicker and heavier, and a bit more energetic perhaps, even trying a cool headbanging section on "Dark Conflict". The melody takes very nice proportions on the excellent diverse "Lunatrace", both in the lead and riff department. The dreaminess comes a bit too much, probably, in the middle, where the approach settles for slightly boring semi-abstract structures and oblivious heavy riffs saved by the nice leads. "Blood Awakening" will indeed "awake" you near the end with aggressive proto-death shred, but the closing 9-min opus "The Illusions" will disappoint offering clumsy groovy dissonant guitars which don't really serve right the superior lead guitar work.

Red Hazard Full-Length, 2009
Electric Red - Red Recollection Full-Length, 2010

PECHAT ZVERIA (RUSSIA)

This is just one song seeing a band in the raw black/thrash metal camp akin to early Bathory with a pinch of solemn doominess ala Barathrum, this unrehearsed mid-tempo mix assisted by rough brutal black-ish vocals.

Mir Izchez Demo, 2011

PEDIFILE (USA)

Another worthy band who passed unnoticed, and quite undeservedly; this act played fast, aggressive thrash/death metal akin to Possessed's "Seven Churches" and Dark Angel's "Darkness Descends", probably a tad more intense... seriously. The opener from their first demo "Shackle The Jackal" could easily pass for the first real death metal track.
The second demo surprisingly comes with a much worse, fuzzy sound which considerably takes away from the music quality, but the intense delivery from the debut demo is almost completely preserved. This band is another proof that there were forces working in the underground which did as much to establish the more extreme metal genres as the much more famous and celebrated ones.

Die a Violent Death Demo, 1986
Round 2 Demo, 1987

PEDO (ARGENTINA)

A 4-track demo of thrash/crossover with merry, punk-ish overtones not miles away from Lawnmower Deth; well, this definition goes for the three songs; the last one is a sudden switch onto more aggressive proto-death riffage, and it stretches into whole 6-min, which is quite a lot, compared to the twice as short length of the other material.

Holocausto Fecal Demo, 2007

My Space

PELVIC FURY (USA)

Elaborate progressive modern thrash/death which base is the Gothenburg school, but there is quite a cocktail mixed on it. Some compositions are more straight-forward with galloping rhythms and melodic guitar hooks ("The Pusher"), others are really complex affairs with the jumpy frantic sections and super-technical riffs (the multi-layered masterpiece "Unrequited", which will stun you with the immaculate guitar performance, both in the lead and riff department). The instrumental "Crossing the Seas" crosses the two tendencies (as well as the seas, of course) focusing more on the melodic side. "Instrumentum Diaboli", which is an instrumental expectedly, is a direct up-tempo thrasher followed by another, this time purely acoustic, instrumental: "Dissociative Fugue in E Minor". The more technical and aggressive delivery returns with "Bedshift", and the lead performance hits the top on the energetic speed/thrashing "Reparations". The closer "Carrion Baggage" is a bit of a drawback offering not very impressive conventional thrash/death for more than 7-min, a situation partially saved by the superb leads again.

Non-Euclidean Nightmare Full-length, 2008

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PELVIC MEATLOAF (USA)

Based on the full-length, this act offer heavy squashing, angry groovy post-thrash which comes served with intense shouty death metal vocals. There's energy exhibited on a couple of cuts ("Cold"), and the dynamics is generally admirable with choppy hectic rhythms ("Strength In Numbers") and more atmospheric additives ("The Key").

Negative EP, 1995
Stronger Than You Full-length, 2013

PENALTY KILL (USA)

This new formation specialize in rough hardcore-ish modern post-thrash which jumps up and down to no end assisted by harsh drunken semi-shouty vocals. The guys try to break the ice in the middle with the faster energizer "Gone Away" and the cool cover of Dropkick Murphy's "On the Attack". Near the end the band take it easier and the sound turns to frolic optimistic hardcore of the heavy stomping type.

Breaking The Ice Full-Length, 2013

PENALTY WHEEL (USA)

This is modern 90's post-thrash, a heavy seismic noisorama that wears thin way before the end, largely cause it's built on repetitive heavy quasi-doom rhythms, the jumpier more vivid riffs on "Feeling Sick" more on the friendly side, the main aggravator being the semi-clean hardcore-ish vocals which become more passionate on the 10.5-min opus ""Hurt", a ponderous balladic doomster with echoes of both Godflesh and Crowbar.

I Know That Full-length, 1997

PENDEMIA (UK)

A very obscure thrash metal band from the UK whose style reminds of Violence's "Eternal Nightmare" (strong similarities in the vocal department) and Evildead's "Annihilation Of Civilization"; pretty decent aggressive stuff albeit a bit short, only six songs. There's a certain hardcore aesthetics in the approach brought also by the good forceful vocals coming as a mixture between Billy Milano (S.O.D.) and John Connelly (Nuclear Assault).

Narcotic Religion Full-length, 1990

PENDULUM (USA)

Based on the "Atrocity Sin" demo, these guys come up with a fairly interesting slab of classic thrash. The music is by all means technical, but is quite heavy, and features too much: very stylish melodic guitars with an Oriental shade (the beginning of the title-track), intense proto-death sections ("Sardonic Wrath"), very proficient lead guitar work all over, but above all numerous original moments which climax is the technical thrash masterpiece "Crown of Thorns": an encyclopaedia of amazing riffage which would stand proud even on Nasty Savage's "Penetration Point", and could easily be the highlight there as well. There's so much you would hear throughout its 8-min, from the brilliant lead in the beginning to the closing aggressive guitar section, that you might want to take a break from metal for a few hours after that. Now the big hunt begins for their other works...

The debut EP is four tracks, but the first one is just a quiet balladic instrumental interlude; after it the guys start thrashing like mad in a brutal uncontrolled manner coming quite close to the appealing chaos of "Darkness Descends" going well over it with furious grinding sections on "Kindred Spirit". There's nothing technical here, this is violent thrash/proto-death also rubbing shoulders with the first attempts at death metal made from the States at the time.
The split with the Texan thrashers Spectre contains two songs which are of the intense semi-technical variety featuring weird clean vocals with a punkish vibe which oppose to the main semi-death metal ones. The technical prowess from the early demos is kind of lost although the approach is still engaging with some interesting sharp riffs involved.
The "Vlad the Impaler" EP can be considered a fair follow-up to its extraordinary predecessor although the technical exuberance has been toned down a bit. Still one can't remain indifferent on the opening title-track which thrashes with style and a lot of vigour with hectic overlapping riffs racing each other, creating quite a bit of chaos in the process, but this eventful mish-mash is quite listenable, and very complex in a disheveled, charmingly scattered manner, a really nice reminder of the previous year's works of Hellwitch, Vacant Grave, and Nocturnus. "De-natured" is a brutal in-your-face basher with great proficient melodic leads and a couple of more stylish leaps and bounds; and "No Room for Gods" is another masterpiece of elaborate, larger-than-life thrash the guys stretching the listener's nerves with hectic choppy rhythms initially before a fountain of mazey guitar wizardry pours out, the nonchalant punk-ish vocals sounding utterly surreal on the demanding musical background. This was another fabulous showdown from a band who deserved a much wider exposure back in those days.

Skull Fuck EP, 1989
Atrocity Sin Demo, 1990
Vlad the Impaler EP, 1991
Vlad the Impaler Demo, 1991
Isotopic Chaos Split, 1992

PENETRATE (USA)

The debut demo: brisk melodic speed/thrash which rips the air with hard-hitting, razor-sharp riffs slowing down on the epic hymn "Memories of War". "Emerald Nightmare" is a fine more technical speedster with great melodic leads reaching Shrapnel-like heights among the more vitriolic main riff-patterns. The vocalist has a deep semi-clean baritone and doesn't take a lot of space.

Demo Demo, 1992
Demo Demo, 1993

PENETRATION (USA)

These guys indulge in intense retro thrash/death which has energy aplenty gracing the songs with cool screamy leads which are all over the place taking quite a bit of space, but in a good way. When the band calm down ("Iraq", the march-like stomper "Victory or Death"), they come with more sensible arrangements recalling the war-like steam-roller style of Bolt Thrower. Near the end the effort loses steam abandoning the thrash idea concentrating on doom-laden riffage which culminates on the officiant doom closer "Bishop Slayer". Some of the band members are also involved in the black/death metal formation Solace of Requiem.

Return to Sodom Full-length, 2012

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PENETRATOR (FRANCE)

Based on the "First Penetration" demo: this is simplistic thrash with a clear classic edge, but with a horrible sound quality, especially the one of the guitars which are so fuzzy that create the impression that all that had been one of the earliest products, where everything has been made on a computer, and very quickly. This is quite aggressive stuff which sounds not far from Necrodeath's early efforts. "Spermrace" goes well beyond that, and ventures into brutal death/black metal territories. The vocals are horrible, hysterical black-ish shrieks which might scare the unprepared.

"Beyond Your World" offers much more proficient, albeit more melodic, stuff, very well executed retro thrash with interesting, quite avantgarde, eccentric melodic female vocals which plainly slubber, but in an enjoyable (this depends on the taste, of course) way, at times, and fast energetic tempos. The album begins vigorously, accelerating gradually until it reaches the semi-technical bombastic "Eros Abused" reminiscent of early Rigor Mortis with a twist. Classic speed/thrash at its best is offered on the next "Happy Beer's Day", again with a slight technical touch, followed by the similar speedster "Through the Screen". More variety is offered on the power/speed/thrash mixture "All Bitches" which will startle you with the raging super-fast ending. "Suicidal Army" settles for a more laid-back up-tempo delivery, but "One Night" will tear down the walls being another heads-down speed/thrasher with interesting melodic variations in the middle. "P.E.N.E.T.R.A.T.O.R." is 3-min of aggressive furious thrash, a headbanging fest at its finest, overshadowing the final "Birds" which is a lengthy more complex number sustained in mid-pace except for the speedy mid-break. This is a really pleasant, albeit a very obscure, surprise from the early-90's French scene ranking as high as same year's No Return's "Contamination Rises" and Massacra's "Enjoy the Violence" although this one has no ties to death metal.
The "Maria Gave Me Rock 'N' Roll" EP sees the guys taking the "rock'n roll" from the beautiful Maria and turning it into wild thrashy bash on "Get Out", already heard on the full-length, and the title-track which does contain a short playful rock'n roll section. The other tracks are short jokes with a hardcore flavour. As the title already hinted, this isn't a serious work of thrash the band relaxing with more direct, straight-forward rhythms.
The "Just a Rehearsal" demo is obviously just a rehearsal so don't expect any masterful music; this is vicious bashing thrash/proto-death which easily reaches the brutality of the early Massacra demos the barrage decorated by frequent crossover/hardcore outbursts those topped by the rending shouts of Madam who may have undergone a thorough treatment of her voice after the recordings. A cool cover version of Slayer's "Black Magic" arrives near the end followed by the surprisingly proficient short speedster "Mr Everybody" which is the sole hint that the band have a much bigger potential waiting to be realised.
The "Now..." EP is four songs of fast blitzkrieg thrash, the first real sign from the band that they may be actually much more masterful performers. "Mr. Everybody" from the "Just a Rehearsal" demo is played again, not turned into a much more potent thrasher, not "a rehearsal" anymore, even served with a thin semi-technical edge. "Better with Blood" is a maddening proto-deathster akin to Massacra; and "Alcohol Overdose" at the end combines brutality with a tad of technicality to ruin the listener's ears beyond repair, and to prepare him/her for the ensuing "carnage" on the full-length.

First Penetration Demo, 1987
...Live! Demo, 1989
Just a Rehearsal Demo, 1989
Now... EP, 1990
Wishing Demo, 1990
Beyond Your World Full-length, 1991
Maria Gave Me Rock'N'Roll EP, 1993

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PENITENCE (BRAZIL)

Amateurish unrehearsed thrash which is still more on the classic side; the sloppy production leaves a lot to be desired as well as the "musicians"' performance. The guys bash with vigour and try to sound convincing, but their limited skills don't give them too many chances to shine; neither does the awful sound quality. The singer screeches and rasps like a castrated gnome, and his mean tone just doesn't apply to this raw pristine music.

Queen of Death Demo, 1993

PENITENTIARY (USA)

A heavy seismic hardcore/post-thrash blend which exudes energy (the title-track, the nice lively dramatic shredder "Deadworld") on occasion, but most of the time the concentration is on volcanic steam-roller rhythms which disappear for the cool laid-back balladic progressiver "Injustice", a surprising display of loftier musicianship, the angry vociferous semi-shouty vocals managing to find a more lyrical way of execution for this number.

Recidivist Full-Length, 2018

Official Site

PENTAGRAM CHILE (CHILE)

A great underground band who beat the majority of the more famous Chilean acts easily. This is one of the big influences on the more extreme side of the metal scene which evolved from the works of bands like this one. The style is aggressive thrash with proto-death passages recalling Possesssed and Slayer. Two of the band members later formed another very good, but on a different level, act, Dorso.
"The Malefice": a really commendable debut after all these years of roaming the underground; the band excel in musicianship pulling out some admirable technical hooks which are not the focus here, but give the album a diverse, intelligent aura. The sound treads between thrash and death metal on a sure-handed classic base mixing both styles on almost every number where fast galloping rhythms intertwine with more meditative slower passages. The middle is occupied by several blitzkriegers which concentrate on the all-out mosh with an increased presence of the technical, and later give way to the engaging, almost progressive, "Grand Design", and the over 6-min of ambitious inspired shred "King Pest" which is the highlight here recalling the best from the Death repertoire. More style at display on the closing "Prophetic Tremors" which meanders at the beginning with suggestive discordant decisions before branching out into cacophonous super-technicality, this exuberant amalgam finished with an imposing doom outro. This is a fairly impressive entry into the contemporary metal catalogue, by all means one of the best efforts to come out of South America for the past ten years.
"Eternal Life of Madness": the band are a not very regular presence on the scene, but whenever they return, they always mean business, the excellent opener "El Imbunche" establishing the contrived thrash/death hybridization, the atmosphere getting bigger for the more technical "Omniscient Tyrant" with some doom also sneaking in at some stage recalling the Swiss legends Celtic Frost. The title-track adheres to some scattered blast-betas, and "Devourer of Life" relies on a few delectable melodic tunes to pull it through amongst the raging rifforamas. "The Seeds of the Deed" is a longer more elaborate proposition with again a couple of morose doom developments, but comes "Deus Est Machina" and things get back on a thrashier more intricate ground, with death metal stepping more firmly on the closing drama "No One Shall Survive".

Rehearsal Tape Demo, 1986
Demo l Demo, 1987
Fatal Prediction/Demoniac Possession EP, 1987
Demo #2 Demo, 1987
White Hell Demo, 1991
The Malefice Full-Length, 2012
Eternal Life of Madness Full-length, 2024

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PENTHAGON (ITALY)

This is a good effort which mixes power, speed and thrash in a convincing, confident way reminiscent of Beyond Fear, 90's Scanner, and Paradox. The approach crosses classic and modern influences by keeping the energy and dynamics the whole time the music ably supported by the excellent dramatic clean vocals. The sound gets more complex on longer, galloping numbers like the crushing "In The Name Of Peace", or the more laid-back spacers in the middle "Ash in My Hands" and "Asleep or Awake". The second half starts with the explosive headbanger "No Way Out" which has a worthy follow-up in the face of "Labyrinth of Fear" and the jumpy more elaborate "Shine". In a manner similar to their peers Scanner, the guys try their hands on Queen's "Innuendo", and do a good job diversifying things more, thrashing more than the Germans, and generally making it faster and more dynamic, producing an awesome speedy section near the end. This is a really promising debut which should easily make waves outside Italy, possessing a face of its own by at the same time carrying the influences on its shoulders with dignity.

Penthagon Full-length, 2012

Official Site

PEOPLE AGAIN (USA)

Based on the split, these guys offer noisy hardcore/thrash, not fast, but mostly mid-tempo with a few twisted riffs ala Hellhammer involved as well. There's some industrial aesthetics ala The Norwegians Red Harvest present, too.

People Again - Sarjan Hassan Split, 2009

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PEQUOD (GERMANY)

Based on the full-length debut, this band play modern Gothenburg thrash/death metal which also comes with a pinch of groove. Otherwise, the fast numbers predominate, frequently ornate by metalcore breaks and very good melodic leads (check the excellent atmospheric closer "D.r.o.w.n."), the latter creating a weird contrast with the harsh expressive death metal vocals.
"Spineless" is a more aggressive affair, with "Pursuit" and "Born Insane" raging in a near-death manner, the atmospheric/doom sprawls on the 8-min odyssey "Extinction of Souls" a drastic deviation. Still, this doesn't perturb the guys majorly as they return with another death-metalish tractate, the fearsome title-track, the mosh sustained till the end save for the minimalistic hypnotic closer "Of Rise and Ruin", another exploration of more ponderous doomy possibilities.

PequoD EP, 2004
Forgotten Full-Length, 2011
Spineless Full-Length, 2020

Official Site

PERCANTOR (COLOMBIA)

This is energetic retro thrash/death supported by somewhat questionable death metal vocals. "Cruda Realidad" comes with a more simplistic hardcore colouring but such outrages aren't so common the band retaining the dynamics all over, but seldom branching into the untameable if we also exclude the semi-violent mosher "Ritos de Batalla" and then intriguing semi-technical thrash/deathster "Alma en Pena". Some of the musicians also play with the death metal formation Dhemonic.

Ritos de Batalla Full-length, 2020

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PERDITION (IRELAND)

This act unleashes raw primal thrash/power/speed metal which stands above the pack of similar bands due to the elongated song-structures which don't offer anything technical, just bash more consistently nicely introducing several galloping moments ("Victory (Is Ours"). "The Strength of Steel (The Weakness of Flesh)" is a nice epic piece with a big horse-riding potential, but the singer is an awful proto-death shouter who tries to ruin the music, sometimes successfully.

Blood and Honour Demo, 1997

PERDITION TEMPLE (USA)

A project of Gene Palubicki from the black/death legends Angelcorpse, this act (based on "Sacraments of Descension") unleash a vicious old school death/thrash attack which pours relentless shredders ("Nemesis Obsecration", "Desolation Usurper") in quick succession, the more technical sting on the short frenetic "Eternal Mountain" a welcome deviation, also bringing other less ordinary hyper-active delights after it like "Devil's Countess" and the hallucinogenic masterpiece "Crypts of Massacre". Death metal takes over on "Carnal Harvest", but there's no ingenious intricate riff-carnage lost on "Red Reaping" and the closing dazzling brutalizer "Antichrist", the apocalyptic shouty death metal vocals adding more seeping drama to this excellent recording.
The debut is almost as fascinating with choppy not always very predictable rhythmic patterns are juggled throughout, the Deicide-sque chopper "Genocide Evocation" raising the lathe quite high from the get-go, with other delights following suit like the chapter from the dazzling brutality movement (Cryptopsy, Suffocation, Kataplexy, etc.) "From this Darkness of Flesh" and the labyrinthine masterpiece "In the Name of a Newborn Tyrant". Thrash plays second fiddle here, in fact it seldom participates fully although the headbanging immediacy of "Testament to Annihilation" strictly belongs there as well as the several more restrained walkabouts on the closing entangled roller-coaster "To Bleed at War".
"The Tempter's Victorious" is another hyper-active stylish affair, with death metal ruling the proceedings once again, the intense carnage certainly tolerating a few more technical escapades ("Scythes of Antichrist"), the shadow of Deicide still looming ominously ("Goddess in Death"), the choppy staccato rhythms on "Chambers of Predation" another testimony for more visionary musicianship which nearly fully materializes on the next opus.

Edict of the Antichrist Elect Full-length, 2010
Sovereign of the Desolate EP, 2014
The Tempter's Victorious Full-length, 2015
Sacraments of Descension Full-length, 2020

Official Site

PERENNIAL (USA)

This is energetic retro thrash which accumulates quite a bit of inertia initially with the hyper-active instrumental piece "A Part of Life", but when the rough unrehearsed semi-clean vocals hit things stop being as entertaining although music-wise there's little wrong here with the near-progressive roller-coaster "Life of Misery" and the frolic speed/thrashers "Cry for Mercy" and "Fear". The garage sound quality is obviously intentionally applied, bringing sweet memories of times long gone.

Last Breath Full-Length, 2019

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PERFECT CHAOS (FINLAND)

Based on "The Eightbound Five", these guys pull out your average modern thrash which hesitates between frantic jumpy sections and more ordinary groovy ones. There are a couple of straight headbanging moments directly taken from the Gothenburg textbooks ("Blind Horizon", "Ill Whispers"), and the guitar work is not bad; it's just that this stuff has been, and is being, played by quite a lot of bands at the moment.

Breed Hate:Steer Fate Full-length, 2004
The Eightbound Five Full-length, 2007

Official Site

PERFECT NME (NORWAY)

Modern power/thrash which offers a wide palette of moods, from more entangled shredders ("Skeletal Embrace") with a progressive flair to melodic pseudo-rockers ("Murder of Crows"), to moody doom stompers ("Chimera"). "Legion" thrashes hard for a change, giving a boost to the second half that is also reflected in the belligerent "This is War". The singer is a decent mid-ranged semi-cleaner who emits the requisite amount of passion on the more dramatic developments.

Remains To Be Seen Full-Length, 2020

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PERFECT ONE (BRAZIL)

A heavy blend of thrash and death metal, strictly modern, with very brutal grunting vocals; the guys have an interesting tendency to slow down suddenly with stomping doom passages which in their turn come accompanied by clean mid-ranged vocals.

Redemption EP, 2010

PERFECT STRANGERS (HUNGARY)

Complex multi-faceted music which naturally begins with "Beginning", a varied funky instrumental that doesn't promise much thrash; and this isn't full-fledged thrash, truth be told, as the core of this opus is choppy progressive 90's post-thrash, the band blending the dark brooding atmospherics of The Black Album with the more puzzling arrangements of the first two Psychotic Waltz albums. Lengthy diverse compositions like the 11.5-min "Heaven Must Be More Than Hell" throw too much at the listener to be considered satisfying affairs, that's why the latter will find more concise exercises in jumpy intricate metal like the quasi-groover "Trust" and the dramatic "The Eye" the better option, not to mention the few aggressive speedy walkabouts on "No Big Deal". The end is preserved for the Deep Purple cover of... but of course you guessed right: "Perfect Strangers", delivered quite faithfully the passable not very emotional singer raising his performance to match Ian Gillan's pathos-like histrionics.

No One Knows For Sure Full-Length, 2018

PERFORMED (SLOVAKIA)

The EP: this band plays heavy modern thrash with frequent groovy interferences which often intercept an otherwise cool speedy passage. Consequently, the pace remains mid for most of the time, and may wear thin on a full-length with its constant seismic, pounding riffs and brutal death metal vocals.
The full-length is a more energetic, also more classic-sounding affair, also boasting a couple of more complex shredders ("Good Mood Stealer"), those finely complemented by heavier pounding numbers ("War") and intense semi-technical dramas ("Mental Leech"). Generally the approach is way more serious this time, with "Uzzur" providing a wide array of tempos on a solid volcanic background, and "Moronia" relaxing at the end with a portion of more laid-back power/thrash rhythms.

Thick Fume of Dependencies EP, 2009
Moronia Full-length, 2021

Official Site

PERGAMENT (SERBIA)

The full-length: very good thrash metal similar to Forbidden and Heathen; up-tempo to fast, energetic riffs, fused with stylish technical passages. The EP softens the course and is the lesser effort introducing more melodic, but equally as effective, technical riffs. The music is not fast all the time, and some stomping thrashers sound even more appealing than the rest: "Red Hot Frontier". "Baby You Are Fire" is a letdown with its pop-ish guitars ala Ratt. The last song "Children of a Savage Kind" is just a little improvement over it being a melodic galloping power/speed metal number.

Vruca Linija Full-length, 1988
Mr.War EP, 1990

PERIMETR (FINLAND)

This is retro thrash supported by growling death metal vocals; the band vary things around, alternating epic atmospheric stompers ("Benighted") with virulent speedy outbursts ("Perimetr"), the latter side sometimes smelling death metal, like on the lengthy melodic odyssey "The Progeny", and partly on the imposing lyrical quasi-doomster "Pokoi-Post Hominum" at the end.

M.P.D. EP, 2022

Official Site

PERISHING MANKIND (AUSTRIA)

Thrash metal acts from Austria are a rarity these days, but this country would need more talented bands than the one here, to put it back on the metal map. What we have here is (based on "Wonderland") quite typical modern thrash, mixing faster parts with slower, groovy ones. Those second parts are more melodic, reminding of Machine Head's mid-period. There are shades of the Gothenburg sound in the guitar department, but it's the drier, less melodic numbers which work better: "Charge". Some heavy-handed funky/alternative passages can be heard on "Sad Day".

Fall of Men Full-length, 2005
Wonderland Full-length, 2007

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PERJURY (USA)

This formation provide punishing one-dimensional quasi-industrial modern thrash obviously played by just one person with a heavy use of computers and other technology, more or less appropriately. This isn't a Ministry-influenced material: this is a more aggressive variation of the sub-genre having more in common with Strapping Young Lad and Fear Factory. This isn't so bad, as a matter of fact, and the guy has the necessary skills although from a production point-of-view there's a lot to be desired since the guitar and drum sound comes samey on all tracks, with a bit more variety in the vocal department where the man switches from one-dimensional death metal growls to cleaner deep vocals with a touch of emotion.

They Breathe Demo, 2012

PERMANENT DAMAGE (AUSTRALIA)

An obscure trio providing (based on the EP) a more melodic brand of thrash/crossover which is still up-tempo and energetic; it's just that the riffs lack the requisite sharp edge relying more on softer, melodic guitars (check out the excellent lead section on "Wasted Dreams" which would make you think that the guitarist had wasted his time playing such simplistic stuff having in mind his real abilities). The singer is a capable hardcore semi-shouter who recites in a sure-handed, attached manner for most of the time.
The full-length is full-fledged thrash/crossover with very close references to D.R.I. both in the music and vocal department. The songs are short outbursts of pain, some of them being pure hardcore of the most stripped-down variety. There's nothing revolutionary here, just dedicated bash well conformed with the governing trends of the time.

Permanent Damage EP, 1985
End of Innocence Full-length, 1987

PERPETRATOR (PORTUGAL)

The debut: the Portuguese scene starts waking up with acts like this one around who stir the dormant spirits of the good old black/thrash with wild lashing performance: check out the short bomber "Pyres in the Night" and the death-laced "Nothing Left to Kill", both cool reminders of the heydays of the German movement (think Sodom, above all). The delivery becomes a tad more serious with "Shadow of a Man" which is a technical shredder with some mind-blowing speedy passages, not to mention the atmospheric balladic exit. The closer "Fire Unleashed" is for the party goers, a carefree merry-go-rounder with uplifting guitars the slightly unsuitable hoarse deathly vocals ruining the picture on this one a bit. This is an enjoyable diverse listen which alone should lead the packs in Portugal for a few more efforts of the kind.
"Altered Beast" is another assured mosher from beginning to end with wild short blitzkriegers like "Extreme Barbarity" amply provided. "The Doors of Perception" offers some more serious respites, but the fiesta never becomes prog-tinged with frenetic stripped-down shredders like "Lethal Manhunt" and "A Fleeting Passage Through Hell". "Terminal Possession" is a cool more melodic speedster, but the rest is clearly on the less compromising side with some cuts (Jungle Law") boldly touching proto-death.

Thermonuclear Epiphany Full-Length, 2014
Altered Beast Full-length, 2018

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PERPETUA (ARGENTINA)

Based on the full-length, these folks pull out harsh abrasive modern post-thrash/post-death which adheres to more intense hardcore "skirmishes" ("...One Time"), and generally the dynamics are quite big regardless of the bleak industrial landscape that spreads on all sides threatening to engulf even clever, more classic-prone headbangers like "Old Plague Revives". The shouty aggressive death metal vocals are good for the enhancing of the depressing, helpless mood that permeates the album.

Irrational Full-length, 1995
Involution EP, 2010

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PERPETUAL (SPAIN, ANDALUSIA)

This band offer a mix of the retro sound and modern implements with a certain technical edge which makes it a nice companion piece to Ktulu's same year's "Orden Genetico". The music is mid-paced to up-tempo with several more intense moments and stylish technical hooks: the cool technical thrasher "Domination", the excellent up-tempo riff-fests "Perpetual Sacrifice" and "Fatality Night", the heavy galloping "Walking to Destroy". "This is the World" and "Walk Strong" are more direct thrashers, put near the end, followed by the album closer: "Get a Life", a magnificent multifarious composition with outstanding guitar performance (the leads in particular) and a whirlwind of tempos and moods. Quite well conformed with the demands of the day, this remained the band's only effort, who were apparently not willing to join the growing cohorts of modern post-thrash metal acts.

Everything will End Full-length, 1994

PERPETUAL (SPAIN, GALICIA)

Modern thrash/death with not very overt progressive tendencies; the delivery stays closer to death metal and the blast-beats are a common occurrence only missing from the high-octane exercise on stylish doom/death on the title-track, the highlight here. This grand composition influences the second half where most of the cuts acquire a morose doom colouring, completely abandoning the speedy approach. The vocalist is a deep guttural death metal semi-shouter who is comprehensive without any stretches from the listener's imagination.

Carving a Dismembered God Full-Length, 2015

Official Site

PERPETUAL INIQUITY (USA)

Based on the debut demo, this act indulge in heavy progressive thrash which doesn't rely too much on speed, but hits hard with squashing volcanic riffs which don't change much throughout also clinging towards the doom metal arena, an obvious reverberation from the guitar player Chris Nolan's occupation with the doom metal wizards Confessor. This is good, often pensive, music with very good dramatic high-strung clean vocals.

The "Deceptive Reflection" demo is harder and faster the guys thrashing with more passion without missing a lot in the progressive/technical department. The good clean singer now has a helper, in the face of a much more brutal deathy throat, and although he may be a detraction at times, the music is nothing short of outstanding: "Deceptive Reflections" is a nice creepy technical piece, and the short "Death Be Not Proud" is a major ripper with proto-death tendencies. The hard intelligent thrashing continues on "Tides in Blood/Revelations of Immortality" which is a dramatic mix between two actual cuts finished with a cool semi-balladic pound. The sound quality of both demos isn't really good with a constant buzz surrounding the guys' musical endeavours.

Perpetual Inquity Demo, 1990
Deceptive Reflection Demo, 1991

Official Site

PERPETUAL PARANOIA (USA)

Based on "Between the Altar and the Cross", this act provide heavy modern-ish power/thrash which is supported by a pleiad of metal artists, this contribution sometimes going towards the poignant ballad ("Sin Machine"), sometimes towards the more volatile progressive realms ("Leaving With Gods"). "Perpetual Paranoia" is an admirable energetic headbanger, but such passion isn't exuded by the remaining material if we also exclude the keyboards-saturated extravaganza "Though He Slay Me". The majority is heavy squashing rhythms best exemplified by the pounding groovy monster "My God My God", the singer trying to stand his ground with a vacillating dramatic clean/semi-clean croon.
"Hell Fest" is sustained in a softer less exciting vein, the bouncy nervy rhythms of "Death Is Coming for Me" pairing well with the semi-balladic sentimentality of "Evil Eye". "Meet My Maker" is more on the meeker rock-ish side, and "I Talk to the Dead" is just a quasi-doom dragger. "Come to Life" deserves its title a livelier jumpier layout, and the closing "Love Death Madness" is a more restless psychotic near-thrasher which jolts will remind of early Mordred.
"The Wave" is a marginally more dynamic affair, the band livening the environment with their staple quasi-groovy tactics, the jumpy title-track siding with both the restless semi-technical Biomechanical-esque outburst "Cornestone" and the jarring corrosive "About to Crack the Sky", but for one to wade through nonsensical semi-industrial clumsers like "Travail" and dragging balladic pageants like "We Are the Few" and the cheesily electronic "Flesh n Metal" might turn an ingratiating chore at some stage.

The Reapers Full-length, 2018
Between the Altar and the Cross Full-length, 2019
Hell Fest Full-length, 2021
The Wave Full-Length, 2023

Official Site

PERPETUAL WARFARE (COLUMBIA)

This is retro thrash metal with very good bass performance, nice semi-technical decisions and forceful semi-clean vocals akin to Jon Van Doorn (Deathwish). The tempos vary the whole time, and the screaming leads are not bad. The serious brooding tone is broken once by the merry crossover piece "Guerra Perpetua", but the rest is pretty hard-hitting and often very speedy thrash with the bass stealing the show almost completely on a few songs (check out the closer "Muerto En Pogo").
The 2-song single doesn't stray from the path hitting hard with fiery riffs and fast tempos the guitar approach this time being more simplistic and violent "Noche Violenta" touching Slayer and Exumer's "Rising from the Sea" with its less compromising intense delivery.

"The Age of War" is more restrained and more technical, the band showing their more proficient side with more clever arrangements and more stylish riffage as evident on the imposing galloping title-track and the ripping head-splitter "Showbixxx". "Dehumanized (But We Still Have To Fight)" is a bit off-context, a more moderate power/thrasher with a furious ending, and after the short blitzkrieger "Colapso Mortal" comes another similar exercise in a bigger complexity, "Zoociedad" which is close to being the weakest number here if it wasn't for the speedy galloping mid-passage. The band alternate shorter direct with longer more elaborate compositions till the end "Otro Cadaver Mas" exiting this saga with aplomb thrashing wildly for just over 3-min. The guys have made a sure step forward and there's no reason why they wouldn't play a bigger role on the South American metal scene in the future.
"Earthliens" carries on in the same vein with more aggressive propositions ("Alienacion") more abundantly provided this time, some of which ("Sueno de un Maniqui") don't hide their fascinatiion with death metal even. Elsewhere one will come across the relaxed power metal stomper "Las Venas Abiertas", the uncompromising blitzkrieger "Hum-Antz", and the quiet lyrical instrumental "The Return of Kalasasaya" all adding to the diversity of this not very predictable affair.

Justicia, Libertad y Decadencia Full-length, 2010
Thrash Is Speed Single, 2011
The Age of War Full-Length, 2013
Earthliens Full-length, 2018

Official Site

PERRACIDE (SWEDEN)

Underdog Full-length, 2023

Official Site

PERRO SUICIDA (MEXICO)

Old school thrash which comes with a thick dark sound. The delivery is pretty atmospheric without losing the dynamic which on the maddening "Mk Ultra" easily reaches the proto-death parametres. Speed isn't exactly lacking elsewhere, with "Zombicidio" moshing onward with verve, the remainder sticking to less flashy mid-tempo parametres, the closer "Lluvia Napalm" incorporating some impetuous power metal-ish gallops to better accommodate the guttural growling death metal vocalist.

Pecado y Redencion Full-length, 2021

Official Site

PERSECUTER (BRAZIL)

Based on the full-length, this band play intense blitzkrieg retro thrash with angry semi-death metal vocals. The delivery becomes more brutal with touches of death metal not far from Morbid Saint and Possessed, but this is pretty straight-forward bash without any more intriguing "tricks".

Perfect Life EP, 2013
The Hatred Domains Full-length, 2017

Official Site

PERSECUTION (AUSTRALIA)

An excellent 4-track demo of aggressive thrash metal sounding like a nice combination between Slayer and early Death with fast, semi-technical riffs ala late-80's Destruction also present. The sound quality is great, the musicianship is top-notch, and the title-track is a vehement piece of thrashing asskickery, the horrifying death metal vocals shouting their lungs selflessly, flowing into another hyper-active showdown, "Manifestation" the title, another relentless headbanger. Mentioning relentless, here comes "Relentless Slaughter" to colour your world blackened with more impetuous highly intense Slayer-esque skirmishes, "Legion" following the same uncompromising path to finalize this short but utterly exhaustive retro thrashing carnival. Earlier the guys were called No Remorse, releasing another, also quite cool, demo of more moderate speed metal.

Tortured Existence Demo, 1989

PERSECUTOR (DENMARK)

Based on "Vendetta", this act offer modern thrash that is clearly on the moshing side for most of the time, the guys lashing with gusto on heads-down ripping cuts like “Narcissus” and the death-laced “Nothing Remains”, the confrontational shouty death metal singer fully supporting this latter cause. Please accept the softer friendlier rhythms of the power/thrash oddity “Veil of Despair”, and by all means the full-on attack presented on the brief explosive “Feast!”.

DP-EP EP, 2016
Rebirth Full-length, 2019
Vendetta Full-length, 2023

Official Site

PERSECUTOR (POLAND, Pabianice)

The "Wings of Death" demo offers furious black/thrash, quite fast, and throughout the nine compositions included here one will seldom hear anything more than speedy, to the point of absurdity sometimes, blasting black/thrash metal. The second half calms down desirably, and some sensible thrashers spring up: "Nihilistic Force", the 1.5-min of thrashing shredding instrumentality "Nuclear Command", and even meaty mid-tempo riffs can one hear on the last "Branded by the Reaper".

"Bestial Overkill" is more controlled speed-wise offering more restrained, still quite fast, pieces with raging riffs which try hard to justify the pompous titles ("Possessed by Speed") and succeed for most of the time. Death metal sneaks on the more brutal numbers ("Mental Wars"). A good sense of melody and a slower tempo is displayed on the longer "Bestial Overkill", which is followed by the choppy speed/thrasher "Venom of Deceit", the highlight on the album, with a nice discordant bass support. Expect no mercy, though, on the furious closer "Ancient Conjuration" which brings back the black metal madness for a while along with stylish technical death metal insertions.

Army of Damned Demo, 2007
Wings of Death Demo, 2008
Bestial Overkill Full-length, 2011

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PERSECUTOR (POLAND, Zielona Gora)

Cool thrash ala late 80's Slayer with a nice alternation between heavy crushing riffs and faster more intense ones; there's also presence of a more modern sound akin to Sepultura's "Chaos AD" ("The Art of Killing").

Demo Demo, 2007

My Space

PERSEGUIDOR (CHILE)

Based on the full-length: brisk energetic retro speed/thrash with more brutal deathy shades sitting somewhere between Rigor Mortis and early Whiplash. More laid-back speed metal rhythms can be caught ("Vicio Marginal", "La Maldicion") here and there, but the guys' efforts in all departments are hampered by the muddy sound quality and the thin guitar sound which at least is ably assisted by a very good bass bottom. The vocals are of the shouty drunken variety, and their noisy presence could be a detraction to some.

Oculto Plan Demo, 2010
El Castigo Full-length, 2011

My Space

PERSEIDAN (SPAIN)

This band's debut is very diverse: at times it's modern death metal, at times it's stupendous technical thrash, at times it acquires solemn gothic tendencies. The vocals also vary according to the sound changes; particularly impressive are those which are dead ringers for John Tardy from Obituary, as opposed to the more predominant Chuck Billy-like ones. The album starts really promising with the first two tracks offering excellent aggressive technical thrash in the vein of Gammacide and early Invocator, but later the guys show a lot more up their sleeve with the longer, calmer, gothic-laced "God's Rehearsal". After it faster, thrash/death songs take turns with softer, slower ones creating a somewhat disjointed feeling. "Outside" is particularly impressive, marrying both sides of the music into one, resulting into a really fine dark progressive thrash/death piece with never a dull moment throughout its 9-min. "Generous Murder", the closer, attempts something similar, but the overuse of Swedish death metal guitars, and the very long orchestral interlude in the middle, make it the lesser achievement.

New Method of Virtual Fiction Full-length, 2005

My Space

PERSEVERANCE (BRAZIL)

Retro power/thrash emitted here, the soaring but raucous clean vocalist leading the show, especially with his frequent attempts to pitch it sky-high, those by all means suiting the urgent thrashing pulverizer "Bringin' Your Death" and the complex albeit dynamic histrionics on "Buyers". "Prision Without Walls" is an epic stomper, and "Crushed in the Chaos" is a furious dramatic thrashorama with intriguing complex developments. Some of the band members later moved on with the short-lived the prog-thrashers Afterage.

Slaves to the Darkside EP, 2002

PERSEVERANCE (SPAIN)

Based on the "Demo-Lition" demo, this band play excellent retro power/speed/thrash in the vein of Reverend, early Metal Church and Attacker. The approach is quite intense accentuated by gallopers like "Destroyer" and the raging headbanger "Metal Discharge". "Estandarte" arrives with a more elaborate, technical sound, but it's the thrashing urgency of "Cross of Iron" which hits the G-spot the hardest here. "Let the Hammer Fall" is a captivating combination of serene lyrical passages and some really hard-hitting riffs this dramatic moment enhanced by the very good dramatic high-strung vocals akin to Russ Anderson (Forbidden) and David Wayne (R.I.P.), Metal Church, Reverend again) whose performance is standout all over.

Perseverance Demo, 2006
Everlasting Flame Demo, 2009
Demo-Lition Demo, 2014

Youtube

PERSEVERANCE (USA)

Based on the demo, this act deliver rough thrashy crossover which mostly relies on heavy mid-paced riffage, the most serious chugging encountered on "Sea to Shining Sea" qualifying for some progressiveness, with "Trial of the Mind" going in the same direction, only expressed with milder musical notes with thrash stepping aside for a more frivolous crossover-based execution. The singer is a harsh semi-deathster reminding of Peter Steele (R.I.P.) during his Carnivore days, and can pass for a weakling despite his vociferous authoritative tirades.

...God Giveth Demo, 1991
Perseverance Full-length, 1998
Us vs. Them Full-length, 2000

PERSISTENSE (HOLLAND)

These Dutch pull out comprehensive modern thrash more on the melodic side. Still, the guitars bite well, and the tempo-changes are frequent including a couple of more brutal blasting moments. The more simplistic approach gets replaced by more thoughtful compositions in the second half ("In Blood And Heart", "Doomsday") which clearly aim at the progressive field and succeed with their diverse nature and atmospheric leanings. The vocalist is the staple growling deathster adding the casual more expressive semi-shouty notes from time to time.

In Blood and Heart Full-length, 2009

Official Site

PERSONAL DEVICE (COLOMBIA)

The debut: these newcomers pull out modern/classic thrash which has shades both from the Bay-Area and the Gothenburg school. There are a few simplistic bashes (the short title-track, "N.M.") bordering on hardcore, but there are elaborations ("People", the dramatic steam-roller "Suicidal Genocide") where the band show their skills to the fullest. "Thrash Instead of Getting Mad" will surely help many schizophrenics and insane cases so this may turn into the main tune in many asylums and sanitariums around the world, the cut being very energetic and even sing-along to some extent. The guys were earlier known as Unheilbar under which name they only had one demo released.
"En Puerto" is a much gruffer and unfocused effort sounding like a very early rehearsal done by the band in their spawning stages, and released some 10 years later. The tracks are very short (1-2min) exercises in thrashcore with the exception of the other extreme, the gigantic 15-min mish-mash "El Hombre II. (La Vocacion) which is nothing but nonsensical chugga-chugga riffs topped by awful aggro-shouty vocals. This is just a joke, but not a very good one...

Microorganismos Del Mal Full-Length, 2014
En Puerto Full-Length, 2015

Official Site

PERSUADER (SWEDEN)

This act managed to establish themselves on the forefront of the speed/power metal movement with three solid albums, but the shadow of Blind Guardian was looming so heavily over them that it was really hard to label them as anything but capable followers of the renowned Germans. The year is 2014, and the guys have finally decided to shift from this shadow by incorporating more overt thrash metal formulas. Thrash has always found its place on their works earlier, but this time it takes over almost completely, and may pull back some of their old fans due to its openly aggressive nature. "One Lifetime" opens the album with hard mid-paced shred which doesn't exactly bring any winds of change, but enters "War" and the approach moves towards the faster, thrashier spectre. The title-track is ripping in-your-face cut which will make your fillings fall on the floor. Time for a rest after this one with the pleasant balladic "Deep in the Dark", but "InSect" right after it is a whipping thrasher with a memorable flying chorus. The alternation between fast and slow songs continues "Sent to the Grave" being another piece of uncompromising speed/thrashing brutality. The last string of tracks is more on the steam-rolling side the closer "Falling Faster" providing the requisite passages of less controlled up-tempo shredding including a maddening blasting intro (wow!). Regardless, the fanbase should be able to recognize their favourites here, and with the added aggression and the excellent staple catchy choruses, an asset not many acts nowadays can pull out so well, the guys can only enjoy their star status which now seems even better deserved.

The Fiction Maze Full-Length, 2014

Official Site

PERTNESS (SWITZERLAND)

Based on "Metamorphosis", these folks pull out a heroic epic brand/blend of power/speed/thrash which comes as a more belligerent version of later-period Skyclad. More intense propositions like "Firestorm" also go towards acts like Blind Guardian and Persuader, but it's heavier, not as dynamic steam-rollers like "I'm a Slave" and "Face to Face with Hell" which carry the weight here, with less bridled speedsters like "Flying to the Sun" adding the requisite "eagle fly free" flavour to the album. The singer is a passionate semi-cleaner his delivery a bit on the quarrelsome side similar to the one of Martin Walkyier (Skyclad again), maybe a bit higher-pitched.

Seven Times Eternity Full-length, 2007
From the Beginning to the End Full-length, 2010
Frozen Time Full-length, 2012
Metamorphosis Full-length, 2018

Official Site

PERVERSICA (ARGENTINA)

Based on the full-length, this act deliver energetic retro thrash with guttural death metal vocals. "TumbaHumilde" is an authoritative heavy pounder, but elsewhere the lads step on the pedal to the max, producing impetuous cuts like "Decadencia" and "Para No Olvidar", the laid-back lyrical balladisms on "Carta de un Suicida" also bringing a cool clean attached baritone to the proceedings, the latter also receiving a rousing epic decoration with the closing "Gritos de un Alma Rebelde".

EP EP, 2014
Perversica Full-length, 2020

Official Site

PERVERSIFIER (FRANCE)

The demo shows a band playing fast-paced retro thrash ala early Whiplash. This is really good stuff also reminding of more recent practitioners like The Swedes Cranium and The Portuguese Alastor. "Alcoholic Necrolord" is a softer offering with a jolly Motorhead/Exciter flavour, but all heads will fall down on the merciless speedster "The Goatkult Perversion". "Total Evil" is not too far behind it also nodding towards the German school with its rolling riffs. "Post Nuclear Armaggedon" justifies its title with sharp fast riffage and the heavy Slayer-esque mid-break. Venom's "Black Metal" awaits you at the end turned into an uplifting speed/thrasher well adjusted to the band' style. The singer, actually, recalls Cronos with his drunken rough timbre, but music-wise both acts have not much in common.
The full-length is another cool effort thrashing confidently in the good old school fashion mixing more aggressive thrash with more laid-back speed metal to a positive uplifting effect with instant headbanging hits like "Killing Spree Pandemy" and "Raise the Black Fire". So expect "evil speed thrashing metal" like the title of one of the songs sums up the approach presented here so well the latter track being a really cool semi-technical piece of the more serious type. Some of the band members also take part in another black/speed/thrash abomination... sorry, formation: Nuclear Abomination.

Thrash'n'Black Assault Demo, 2009
Nuklear Metalkoholik Attack Split, 2010
Perverting the Masses Full-Length, 2013

My Space

PERVERSION (USA)

A new US trio who provide raw evil black/thrash of the old school which is as close to the early German patterns (the cool Destruction-worship at the end "Venomous Lust") as it is to the not very controlled bashing exercised by early Sacrifice and Possessed (the explosive speedster "Nocturnal Rites"). The approach is pretty intense at times bordering on proto-death the winds of which are also brought by the brutal low-tuned singer. Some of the pieces are long (7-8min), but there's not much else apart from wild violent, albeit sensible and listenable, barrage spiced by short screamy leads.
"Dies Irae" is a more controlled offering despite the presence of death metal tunes, the remorseless "Decapitator" banging the heads like there's no tomorrow, while "Axioms of Domination" is a fine diverse more technical proposition. Brace yourselves for some truly fierce death metal on "Fathomless Cruelty", the encompassing progressive structure of "Unveiling the Primordial Revelation" summarizing the entire enterprise, leaving the more barbaric aggression for the short bursting "Barbaric Execution", and certainly for the short bashing closer "Possessed" which appears to be a Bathory (R.I.P.) cover from the legend's sophomore "The Return".

Storm of Evil Full-Length, 2013
Archaic Death Metal EP 2020
Dies Irae Full-length 2022

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PERVERSION 99 (ITALY)

Based on the full-length, this band play an engaging, progressive blend of power and thrash with other influences showing their heads from time to time, like doom metal on the officiant, mass-like "The Crimson Sultan" which is a 8.5-min, larger-than-life opus. "The Last Mission" is an interesting cut, a jumpy funky oddity on the more technical side; and "PTSD" is another doom-submerged opera which influences all the remaining pieces excluding the cool invigorating closer "Worse Than Hell" which will remind of the Manilla Road early exploits. The vocalist is a horse clean throat who doesn't have the requisite range to pull the more dramatic moments, but fits the varied musical scenery.

Belle Epoque EP, 2013
Declaration of War Full-length, 2015

Official Site

PERVERSOR (CHILE)

The EP offers four tracks of evil misanthropic black/thrash, quite fast and brutal, assisted by agonizing tortured black metal vocals. The guys certainly slow down to up-tempo ("Enthrone the God of Blasphemy", the Motorhead-ish section on "Command"), but the rest is pure bashing madness, still intelligible although it goes well beyond the "exploits" of Impaled Nazarene, for example. There are only two guys behind this project, and they also keep themselves busy with two death metal outfits: Etagord with whom they had an album released in 2006, and Mandingazo where they are still on a demo stage.

The "The Shadow of Abomination" EP is another 5-track assault on the senses, to the point of a The Berserker absurdity. Seriously, this is so vicious and brutal that to sit through it with a straight face would be a hard task despite its short length. Expect very little thrash, if any, replaced by constant deafening hyper-blasts which belong to both black and death metal. An aggressive outrage that is, all the way through, but it will surely find its fans among other fields, but not here.
"Umbravorous" is a bit more thrash-prone the wild delivery from earlier recordings amazingly put under control to an extent although brutal downpours like "Deadly Poison and Black Fire" and "The Dwell" would make the squeamish easily run away. More sensible shredders like the title-track and the speed/thrashing roller-coaster "Military Industrial Complex" will keep the thrashers in the vicinity, and generally the overall approach this time isn't very far from the one exercised on the early Vulcano efforts. In other words, not for the faint-of-heart...

Cult of Destruction Full-length, 2008
Demon Metal EP, 2010
The Shadow of Abomination EP, 2011
Anticosmocrator Full-length, 2015
Umbravorous Full-length, 2018

Official Site

PERVERSOR (ECUADOR)

Based on the full-length: classic-sounding thrash with a very good bass bottom; the guys manage to mix heavy slow with fast energetic sections on almost every track as the faster sections predominate coming with a touch of crossover/hardcore, a feeling further strengthened by the expressive shouty vocals. Seldom does the music reach Slayer-esque aggression ("Mentiras"), usually moshing in up-tempo with direct simple riffs of the abrasive semi-noisy type.

Balmaseda EP, 2006
Esencia del Mal Full-length, 2009

Official Site

PERVERTED SON (CHILE)

These are the same guys who earlier on released a couple of demos and an EP under the name Evil Offering. The sound here is more technical, bordering on progressive, the tracks are longer, and the guitars twist and turn into quite a few directions: check out the meandering serpent-like "Partial Truth". "Lost Essence" scores even higher, being exemplary technical/progressive thrash, still thrashing quite intensely at times. Generally the band tries to add more aggressive riffage into the complex song-structures, and consequently the music never gets lost into too much technical show-off. The title-track is for the more level-headed being a bit more direct technical thrasher with a nice jazzy break. "Desert" is a short 1-min acoustic instrumental followed by another dynamic technical thrasher: "Return to the Unconscious" which mixes fast-paced riffs with some abstract ones to a quite impressive effect recalling Voivod, Mekong Delta and Coroner; the end is minimalistic atmospheric/doom guitars: quite a stylish, unusual decision, but perfectly conformed with the less than ordinary nature of this very good effort.

To the Abstract Demo, 2006

PERVERTOR (NEW ZEALAND)

The debut: this is fast relentless, but also strangely intriguing, thrash/black/death metal wrapped in dark ominous atmosphere also helped by the sinister witch-like vocals. Imagine Impaled Nazarene adding a small doze of the semi-technical histrionics of early Hellwitch, and you might get somewhere picturing the music on display here. The guys slow down in the second half, but only for separate passages from the songs making them arguably more interesting listens. "Humanipulation" is a prime example of brutal semi-technical playing before the band go for the black metal flag on the atmospheric epicer "Scum, Entity, Disease". No more niceties of the kind on the closing "Into the Alcoholic Abyss" which is a sheer ripper with the final portion of shattering intense riffage. This is a pleasant surprise to appear from New Zealand, and one may start paying more attention to the acts coming from there. Some of the band members are also active with the retro thrash formation Execrate, and the death/black metal hybriders Christian Combustion.
"Perverted Tales of Depravity" is a wild, much more simplistic offering the guys raging with fury and gusto, reaching the early extremities of Impaled Nazarene with ease on the horrifying outrages "Systematic Violation" and "Fritzl's Dungeon", with even the longer and more thought-out "Wench" brutalizing the setting with an unrestrained black/death lustre, the sole moment of badly-disguised sophistication served on the crusty hardcorer "Sadistic Rape".
"Putrid Dominion" is a wild unrestrained black metal affair, very little thrash here if at all, the band spacing out in a way that may be deemed too extreme for Impaled Nazarene even... not for the faint-of-heart and the squeamish this overtly brutal slab.

Into the Alcoholic Abyss Full-Length, 2013
Perverted Tales of Depravity Full-length, 2017
Putrid Dominion Full-length, 2021

Official Site

PERZONAL WAR (GERMANY)

The modern answer to Metallica; from the vocals which are very close to James Hetfield, to the riffs which on the first two albums are closer to the old, 80's Metallica, the similarities are very big. The last three albums stick close to Metallica, too, but the sound has moved towards the Black Album, and has become more modernized and more melodic with some alternative passages; far less impressive than their early works.

"Bloodline" boasts a more aggressive, heavier sound, and is firmly in the classic thrash metal camp, finally showing the guys in a better light, thrashing with full force although traces of Metallica are almost nowhere to be heard (except perhaps, for the nice semi-ballad "Dead Meaning", and the mighty riff-monster "Shred", which touches again the Black Album), but the music is more along the lines of more recent Kreator, spiced with some scattered alternative touches which work quite well, embedded in the intense riffage. "Dying Race" is a pleasant deviation, a fine nod to mid-period Paradise Lost, with a good vocal performance, followed by the album highlight: the dark, brooding thrasher "New Confidence". The closing "Same Blood" is a cool ballad, a trade mark for the band. If these guys have been taken with something in mind, after this effort the number of the skeptics will be considerably decreased.

The guys are taking it easy recently, and after another healthy 4-year gap comes "Captive Breeding" to rock your world in a way that may be even surprising to them at times. The thrash flag is raised high all over both reflected in more speedy (the energetic opener "Regression Of The Art") and calmer pounding numbers ("Tongues Of Cleavage"). The more moderate modern delivery settles in in the middle, but it doesn't spoil the picture too much the hard-hitting rifforama never stopping even on the groovy fillers ("Tearing The Old") which could have been avoided. Near the end the approach becomes softer with adherences to the balladic side, but the closing "My Fate" goes away with all the glories ripping and thrashing in a more clever, almost progressive, manner correcting part of the not very positive impression left by the preceding material. As a whole this is an inferior effort compared to the album before it seeing the band returning to their more diverse, but less exciting style.
"The Last Sunset" is another feelgood power/speed/thrash affair not offering anything new although there are times when the fan will start jumping around: the invigorating speedster "30 Years"; the classic thrash resurrector "Metalizer". The title-track in the second half raises the flag of retro speed/thrash once again recalling the more recent exploits of the guys' compatriots Paradox also featuring a very cool memorable chorus. It influences the closing "I See Nothing" which is another pleasant surprise, a vigorous thrasher with very good semi-technical guitars. The mixture has been achieved, but the calmer material is too mild to please the average thrash metal fan, and in the long run this effort will be thrown into the "average achievements" pile.
"Inside the New Time Chaoz": the band quickly turn into one of the more prolific acts from the European metal scene although in this case they haven't moved outside their comfort zone producing the same blend of milder and more aggressive power/thrash pieces. The complexity has been notched up a bit for the sake of the speedy surprises so the thrash metal fanbase would hardly be very impressed by the material on offer. "Putrefaction of Mind" is a cool dramatic progressiver which best exemplifies the style here: intense mid-tempo shreds alternating with more laid-back balladic moments. "New Time Bitch" is an invigorating speed metal anthem, but its example has no followers, and the album later goes back to its staple approach.

The Inside Full-length, 1998
Newtimechaos Full-length, 2000
Different But The Same Full-length, 2002
Faces Full-length, 2004
When Times Turn Red Full-length, 2005
Bloodline Full-Length, 2008
Captive Breeding Full-Length, 2012
The Last Sunset Full-Length, 2015
Inside the New Time Chaoz Full-Length, 2016

Official Site

PESSIMIST (CZECH)

This act is a nice addition to the technical/progressive side of the thrash/death metal hybrid, in a way not too dissimilar to their compatriots Scenery. These guys here are more fusion-oriented coming close to Cynic as well, a tendency stretched into a few calm instrumentals (mostly on the debut). The music is mid-paced without any faster "temptations" except on very few occasions. So the headbangers will not be very delighted with these two albums, but fans of the more serious thought-out undercurrent of the genre will find a lot to like here. The complexity never reaches very abstract forms, and there are more direct rhythms to be heard, too. The band is still active although at present the guys pay more attention to their other formation Mindwork with which they give a more intense dynamic edge to their already very technical style, and the latter could be considered the better offering by some.

The work with Mindwork is put on hold now and here comes the new Pessimist offering. "Longaevus" won't disappoint fans of the previous two albums developing in a similar peaceful fashion despite the desirable "detractions": the faster abstractism "Rad" in the spirit of Voivod and Coroner; the more aggressive shredder at the end ala Pestilence "Marast"; but the rest is complex pleasantly edgy stuff again "courting" Cynic, above all. The compositions are never too long, and have an individual "character" (sound) with the vocal participation not very big, of the semi-whispered throaty kind. This is by all means very well-executed music full of interesting progressive/technical surprises, but its surreal dreamy nature may not be to the regular thrash metal fan's taste.

Ignorace Full-length, 1998
Ke Hvezdem Full-length, 2003
Longaevus Full-length, 2010

Official Site

PESSIMIST (GERMANY)

The debut: cool diverse thrash metal of the old school mixing fast and slow tracks, both sides sounding convincing although the speedsters kind of deliver in a better way: "It's Time to Fuck (with Hate)", "Call to War", etc. The end is also worth mentioning coming in the form of a nice melodic thrash instrumental ("Another Day in Mania") with very cool lead guitar work.
"Death from Above" is a sure-handed effort the guys thrashing with conviction and an increased technicality which is reflected in the more dynamic song-structures which don't shy away from the odd deathly break (the proto-blasting cuts on the title-track). The band break the pattern in the not very best possible way with the dragging mild ballad "Antisocial Bastards" which pales before the proficient blend of quiet passages and fierce cutting riffs which is the instrumental "Behind The Veil". "Don't Care" is a short brutalizer before the closing "The Last Bastion" serves the final portion of stylish headbanging speed/thrash recalling the more recent exploits of the veterans Paradox. This is a commendable entry into the German retro thrash catalogue of recent times, a sizeable step forward compared to the more pedestrian debut.
"Holdout" is another more stylish opus with the opening "Landsknecht" nicely technicalizing the environment before the shorter ripping headachers "Roaring Thunder" and "Death Awaits" brutalize it in a less compromising fashion. The title-track introduces heavier stomping rhythms but watch out for "Mountain of Death", maddening thrash to the death with "The King Of Slaughter" ensuring more entertainment for the serious metal lovers with a wider array of riffs and tempo changes.

Call to War Full-length, 2010
Death from Above Full-Length, 2013
Holdout Full-length, 2020

Official Site

PESSIMIST (USA)

This act provide fairly good semi-technical thrash/proto-death which starts with the galloping prodigy "Open Wounds" which manic intensity is nicely translated on the following "Dungeonlorde", an atmospheric pounder with great leads and heavy dramatic passages. As a "dessert" we have "Violator" which is a mid-paced shredder without any particular highlights. The singer is a throaty semi-clean/semi-shouter and his antics add additional drama to the "pessimistic" scenery.
The second "Dark Reality" demo continues the stylish technical delivery reaching progressive heights on the excellent Cynic-esque "Unborn (Father)". The problem is that the fast-paced passages aren't provided aplenty this time except for isolated seconds from the already familiar "Dungeonlorde" and the choppy closer "Innocence Defiled" where the sound even goes towards blast-beats. Both demos are a fine display of advanced musicianship which would have made an impressive full-length.

Dark Reality Demo, 1993
Dark Reality II Demo, 1994

PEST CONTROL (UK)

This pulverizing thrash/crossover recording begins with a spell-binding virtuoso lead-driven all-instrumental intro ("Extermination"), before jumping head-over-heels into the moshpit short explosive cuts, the whole fiesta clocking on just over 20-min, ten tracks of fast relentless thrash/crossover, the very shouty near-hysterical vocalist further aggravating the setting with his confrontational presence. The mid-tempo parade "Struck Down" provides some respite, also giving the six-stringer another chance to shine very brightly, the latter stealing the thunder of his comrades with a steel precise, also fairly proficient performance. Some of the band members are also engaged with the death metallers Mortuary Spawn and the thrashcore outfit Implement.

Don't Test the Pest Full-length, 2023

Official Site

PESTICIDE (BRAZIL)

The "Hellish Warfare" demo is only two songs of fast aggressive retro thrash courtesy of members of Violator and Slaver, among other musicians. The music here is a bit more extreme the first cut being purely instrumental furious shred, the second boldly going into proto-death metal territories close to Necrodeath's "Fragments of Insanity" and early Massacra. The singer is a husky semi-death metal growler suiting very well the intense speedy music.

Veterans of Death (Promo) Single, 2007
Hellish Warfare Demo, 2008
Corrosive Warfare Split, 2009

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PESTILENCE (HOLLAND)

This legendary technical death metal band have started with excellent thrash metal, aggressive and fast with slight technical moments, which later became the trade mark for the band, and distant death metal passages. "Malleus Maleficarum" opens the album in an aggressive, stylish way, with blistering technical guitars and aggressive vocal delivery, courtesy of the omnipresent Martin Van Drunen. "Parricide" thrashes with even more intensity, and already the thrash fan knows that this will be a perennial headbanging delight all the way. And this is exactly the case; "Chemo Therapy" suggests at the bigger technical potential of the band, later to find full realisation on the later releases. "Bacterial Surgery" is a thrashing masterpiece where Van Drunen even tries to scream sky-high, and probably has found out that for the future he should try this only if his life depends on it. "Cycle Of Existence" is another ball of fury, a hint that the band might be one of the first to join the growing death metal legions from Europe. Seldom can a debut album sound so professionally executed; a masterpiece after which it is not so hard to come up with another similar one, like "Testimony of the Ancients".

Malleus Maleficarum Full-length, 1988

Official Site

PESTILENCE (USA)

Well executed aggressive thrash similar to Sepultura's "Beneath the Remains" and Devastation's "Signs of Life"; the tempo is fast, the music is straight-forward without any technical hooks, but the sheer intensity of the material will keep you headbanging throughout the FOUR tracks. Later the band changed their name to Horde of Torment where their style remained almost the same only acquiring slight hardcore tendencies.

Infected Demo, 1988

PESTREITER (GERMANY)

Based on "Der Virus Mensch", this band play vicious noisy thrash/black metal with an evil atmosphere and sinister witch-like vocals which hiss their way through this organized noise in a way no worse than Danny Filth (Cradle of Filth). This is music way more oriented towards black metal the thrashy implements not very widely covered superseded by spasmodic blast-beats, and completely absent from the nice richly atmospheric poetic closer "Winterdornen", the highlight here. The guys were previously known under the name Berzano when they released one album ("Hell on Earth") in 1999 of vicious classic black metal, a style not far removed form the one presented here.

Der Virus Mensch Full-length, 2007
Todesweihe Full-length, 2013

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PETERSON'S POWERTRIP (DENMARK)

This album is the product of just one person, the name Nils Peterseon, who specializes in moderate classic/modern power/thrash which mostly relies on melodic mid-tempo hymns ("An Angels Kiss") to pull it through, and this is what the listener will come across for most of the time. "Brainwashed...With Lies" is a total mid-90's Megadeth rip-off, and remains the highlight with the galloping delight "Fighting With My Shadow" a close second. Peterson provides a pleasant clean baritone distantly recalling Dave Mustaine whose band is a clear influence on the Dane.

8 Tales of Love, Hate, Fear and Despair Full-length, 2017

Official Site

PETRIFIED (SWITZERLAND)

This formation indulge in tight complex thrash/death which has its militant Bolt-Thrower-esque streak ("Bleeding Memories of an Immortal Soul"), but there's also some energetic semi-technicality ("Frailty") exhibited as well, the harsh subdued death metal vocals leading the show with a not very obtrusive, sometimes also husky black metal presence. "Mourning" is a strict doom metal opus, officiant and atmospheric, and the closer "Angel's Fall" is a violent death metal piece, ending this otherwise well-measured effort with badly disguised virulence.

...with Fear Full-length, 2006

PETROCHEMICAL ACCELERATOR (IRELAND)

Laid-back unpretentious groovy post-thrash which moves on in a peaceful mid-pace pleasantly surprising with the energetic cut "For As Long", but everything goes wasted on the semi-balladic/bluesy closer "Inhale the Resurrection" which drags on with soft country-like rhythms for 8.5-min. The clean soulful vocals are not bad and are fitting to this mild musical landscape. Some of the band members entertain themselves in a much more brutal manner with the death/thrash formation Killface.

Dead Disco EP, 2008

Official Site

PETTYPEW (GERMANY)

This obscure German outfit acquit themselves with capable classic speed metal with a shade of thrash which starts with the imposing galloping piece "Immortal" which speeds up with full force near the end. "Chatooga" represents the 90's speed/power metal movement down to the-T-, and "Child of Misery" is a crisp thrashy mid-pacer. "No Tomorrow" is faster, again of the happier variety, but "Coward" is just an ordinary power metal filler. Things don't get much better with the just a bit more dynamic "Diary of a Dying", but "Against the Stream of Influence" is a major speedster ala Not Fragile and Killers (France) with more serious progressive tendencies the latter remaining for the next two tracks which are more moderate, mid-paced at best. The closing "Questions" is a letdown being a tender romantic ballad to which the gruff semi-clean vocals are not the best possible addition.

Against the Stream of Influence Full-Length, 1997

PEUCHARIST (USA)

Violent brutal thrash/death/black metal the guys bashing relentlessly nodding towards black metal more leaving thrash a humble assistant for most of the time to the aggressive downpours which are fairly one-dimensional often decorated by spasmodic blast-beats, among other "atrocities", like the screechy hysterical vocals. Some of the band members played in Gorehammer for the recording of one isolated demo in 2003 of classic death/thrash.

Vomit Rites Full-Length, 2016

Official Site

PEXILATED (SWEDEN)

This obscure formation specialize in classic Bay-Area thrash mixed with more relaxed thrash/crossover, but watch out for the technical chops on "Suicide", and for the more stylish headbanging swirls on "No Paradise". "Moonpearl" is a curious mix of laid-back melodic passages and twisted jumpy technicality the latter the sure highlight on this short, but quite intriguing effort. The vocalist is a gruff James Hetfield impersonator with a more aggressive death metal baritone; the more initiated should know him, Jonas Kjellgren who has also taken part in the doomsters World Below, and the stalwarts Centinex, Scar Symmetry and Carnal Forge.

A New Beginning of Unfaithful Life Demo, 1994

PHALANX (GERMANY)

Based on the debut, Phalanx play classic, semi-technical thrash somewhat akin to the Swiss Poltergeist (and more particularly, their debut). The tracks never get lost in technical wankery, but tend to lose their thrashy edge at times ("A Winter Day's Thought") spiced with quiet balladic sections, but are very catchy aided by the good melodic vocal lines.
"Look Behind The Mask" starts quite promisingly with the heavy retro thrasher "Silent Conselt"; the new singer has a deeper, emotional, semi-clean delivery, and things look bright. "Face The Facts" carries on in the same spirit, and the fans will be quite happy to discover another act of the 90's who have held true to the 80's traditions. "State of Mind" slows down being a heavy semi-ballad, but with "Yanus" the album picks up speed once again, and even excels in the lead department. "Scratch the Surface" is another major retro delight, but from there on the music takes an unexpected turn towards modern groove with "Why Speak?". "Remnants" is a very good ballad, where the singer shows what he is also capable of in the more melodic field. More groove later on, finished with the slightly faster, but less impressive, cover of Metallica's "Enter Sandman" (it's a Charleston mix, as the cover says, although the lovers of this very old music style will not find a lot to dance to). Still, more than half of the album is well above average although it has little to do with the more elaborate speed/power/thrash metal approach of the debut.

. The Judas Touch Full-length, 1993
Look Behind The Mask Full-length, 1998

PHANTOM (MEXICO)

Based on the EP, this band play fast bashing classic thrash/death that exudes quite a bit of aggression with the emblematic title-track, the pogo only becoming less tolerable with echoes of grind on "From the Abyss", a tiring violator which completely pacified by the idyllic acoustic/lead-driven all-instrumental "Epitaph". "Raging Pyres" is another hyper-active downpour with wild lashing riffs, the venomous sinister vocalist spitting the lyrics with maddening velocity.

Handed to Execution Full-length, 2023
Transylvanian Nightmare EP, 2024

Official Site

PHANTASM (RUSSIA)

This band play dark brooding thrash/death metal with elements of doom, sounding like a fusion of Benediction and early Celtic Frost, enriched with cool semi-technical guitars ala Morbid Angel. The tempo stays within the mid-range, but at times the guys speed up quite a bit, even adhering to blast-beats whenever necessary.

Keeper of Death Full-length, 1993

PHANTASM (USA)

This band was formed by Ron Mcgovney after he left Metallica. Unfortunately, unlike Dave Mustaine, he couldn't break it big despite the recruitment of the drum wizard Gene Hoglan and Katon W. Depena from Hirax on vocals. The style is actually not too distant from Hirax consisting of short speed/thrash outbursts, but is a bit more technical and aggressive. Looked like a beginning of a successful career, but...

Demo Demo, 1984
Wreckage Demo, 1987
Wreckage Best of/Compilation, 2001

PHANTASMAGORIA (POLAND)

Based on the "Furiosis" demo, these guys play decent, aiming at the old school power/thrash. The final track is a somewhat dodgy version of Iron Maiden's smashing hit "Aces High". There's certainly a potential here, but it has to be displayed in a better way.

Furiosis Demo, 1999
Psychical Seeings Demo, 2003

Official Site

PHANTOM CREW (USA)

This very obscure band plays awesome Bay-Areasque thrash in the Death Angel, Exodus, early Metallica vein. However, for some mysterious reason they never made it to the full-length stage. Based on the "Thrashing Spree" compilation, their music was quite intense featuring more aggressive thrashers ("All Saints' Day"), but the dominant pace is mid to up-tempo with sharp cutting guitars and stylish, but short leads. A couple of songs in the second half, those coming from the "A Visit from the Sewage Fairies" EP, show that the band have acquired some of the modern tendencies by adding groove and reducing the cutting edge of the guitars ("Temptation", "Numb"). Some of the band members were also involved with the power/thrash metal formation Fated.
"Scars and Stripes Forever": these guys eventually saw themselves armed with a full-length after long years of undeservedly crawling the US underground. Alas, to the listener's utter shock, thrashing spree is such a distant memory here that to listen to this awful outdated groovy post-thrash would be a really excruciating experience for even the modern metal lovers. This is mild laid-back music, the more energetic jumpy opener "Brothers in Blood" notwithstanding, to which even the "post-thrash" label may be a bit too farfetched for a large portion of the time. The other places where the guys remind of their much more impressive past is the short abrasive headbanger "Control Freak", and the pounding closer "Mind's Eye" which still comes with a strong 90's flavour. This is a real shame: after such a long wait to come up with an album like that... better never than late.

Phantom Crew Demo, 1989
Phantom Crew II Demo, 1991
Existence Demo, 1993
No Compromise Demo, 1994
A Visit From the Sewage Fairies EP, 1997
Still The Evil Stands Best of/Compilation, 2004
Thrashing Spree Best of/Compilation, 2005
Scars and Stripes Forever Full-Length, 2013

Official Site

PHANTOM KILLING (CANADA)

Based on the full-length, this act deliver abrasive old school thrash accentuated by very shrieky/shouty hardcore vocals. The music is a melee-like compilation of speedy vehemence ("The Resurgence of Revenge", "Alien Invasion!") and more simplistic corey walkabouts ("Burn the Witch!"), the speedy roller-coaster "Creature" recalling Motorhead a bit with its more carefree rhythms. Watch out for the variegated "Human Candles", with some power metal sneaking in; and for "Sea Shepherd", an encompassing 9-min odyssey with a surprising hyper-active engine.

Killing Will Prevail EP, 2022
Sinner's Rewards Full-Length, 2023

Official Site

PHANTOM WITCH (USA, CA)

Based on the full-length, these lads indulge in intense classic thrash which takes no prisoners on the title-track and the short ripping "In Delusion", but more often is the delivery moulded after the heavy seismic riff-patterns leave no stone unturned on the diverse pounder "The Enemy" and the appropriately-titled "Volcanic Calamity". The more playful power/thrash escapades on the final "Spiderwebs" are also worth mentioning, but generally there aren't too many dissipations to disrupt the belligerent thrash-prone tone of this recording.
“Forced to Worship” is another hyper-active representation, the impetuous “Crusader” opening the proceedings with panache and verve, the hammering hard-hitting riffs of “Day of Reckoning” alleviated by the classical virtuosity of "Something Evil Approaches”, the diversity getting bigger later due to the more complex thrashing unleashed on “Psychogenic Death”, and the brooding atmospherics epitomized for “All Hail the Coven”, a tendency partially prolonged on the pensive elegiac “Forced to Worship”.

Phantom Witch EP, 2018
Death as We Know It Full-length, 2019
Forced to Worship Full-length, 2023

Official Site

PHANTOM WITCH (USA, ID)

Based on the split with Taking Over, this young band pull out good speed/thrash, reminiscent of the early works of Razor (but this is better) and Slayer, with touches from the American power metal scene ("Dark Allegiance"). "Necromancer's Curse" is an aggressive speed/thrashing delight that will also remind you of Rigor Mortis whereas "Spellbound by Satan" is pure Slayer worship done with style.

Phantom Witch EP, 2007
Taking Over vs Phantom Witch Split, 2008

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PHANTOMS (AUSTRIA)

This band pull out modern thrashcore which is surprisingly more on the moderate mid-tempo side for most of the time boasting a very good sound quality and not bad attached forceful angry vocals. Some leads are quite striking displaying a higher level of musicianship which also finds expression on the more purely thrashing "Born Under a Bad Sign" and the more relaxed semi-balladic closer "Bottom of the Harbour".

As Above So Below Full-Length, 2010

PHARAONS (MADAGASCAR)

Three Ra's (Jean, Mamy, and Fidy; could be brothers) are behind this only thrash metal act from the African island, who are also fascinated by black metal, judging by the evil atmosphere permeating the album, recalling both Bathory and early Burzum (the blasting opus "The Dark Side of the Fire War"). There are stretches towards the acoustic ballad ("Ny Tenimpolin'ny Fantasy Ratsy") as well as a good pounding closer with doomy tendencies: "Nagasaki". The singer is a vicious semi-whisperer strictly belonging to the black metal genre, but finding his way on the ballad to produce a more meaningful clean delivery.

Evil World Full-length, 1989

PHAZE I (FRANCE)

This was a side-project of the Lyzanxia members, but as of now the efforts have been transferred on it, with Lyzanxia left in the side-lines. Based on "Uprising", the style on display is modern death/thrash which has clear progressive pretensions (the operatic shredder "Double-Headed Beast"), but watch out for the more immediate headbanging intensity of "Underworld Lust", or for the semi-balladic officiousness of "Our Affliction". Energy isn't lacking here at all, and as such this effort is way more interesting than the one-dimensional modern thrash dirges of Lyzanxia, "Putrified Souls" moshing wildly with a badly disguised industrial vibe, the very synthesized shouty vocals the only overtly annoying ingredient here.

Phaze I Full-length, 2006
Uprising Full-length, 2014

Official Site

PHEAR (CANADA)

This Canadian outfit indulge in cool power/speed/thrash which crosses the old school with the modern tendencies and manages to come up with a cool sound which doesn't thrash all around on full-throttle, but intense gallopers like "Delusions" and razor-shape progressive Nevermore-sque shredders like "Until You Die" will keep the listener on his/her toes. The rest is more on the heavy power metal side, and the singer is a fitter with his deep emotional clean voice reminiscent of Bruce Dickinson.

Insanitarium Full-Length, 2015

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PHENOMY (LEBANON)

Based on "T.W.O", these Middle-Easterners provide merry-go-round classic power/thrash that blends "eagle fly free" speedsters ("Chaos Within") with atmospheric quasi-doomsters ("Dance of the Wounded Souls") the not very expressive hoarse semi-clean vocals trying to please both sides to mixed impressions. "Sacrifice" is a cool progressiver with quite a few intense fast-paced sections, but the lively moments aren't that many as the guys prefer to stick to more laid-back ways of execution like the power metal closer "The Tribe" shows so well.
"Syndicate of Pain" starts with a more ominous (no pun intended) thrashy tune ("Ominous"), but later on the band notch up the atmosphere with slower more complex modern prog-metal numbers ("Bone Orchid"), the boosted modern production creating a cold feel throughout which does work for the heavier doom-fixated ("Temptation") material, but doesn't quite facilitate the elaborate character of the meandering progressiver "Beyond the Wall of Sleep".

Once and for All Full-length, 2016
T.W.O Full-length, 2018
Syndicate of Pain Full-length, 2022

Official Site

PHEROSITY (USA)

Well-constructed and executed demo of energetic old school thrash which at times offers something more serious and engaging (the progressive "Arise The Demise"; the hectic shredder "Messalian"), but usually is heavy bash with echoes of hardcore/crossover ("Suicidal Phoebia") on the shorter numbers. The singer shouts/semi-shouts with an attached semi-clean timbre and his wild manic antics may come as a bit too intense to some.

Demo Demo, 1994

PHIDION (SWEDEN)

Based on the debut demo, this is mostly death metal with thrash metal insertions reminiscent of Torture Squad and the Dutch Thanatos only that this is more brutal at times branching out into senseless grinding which in its turn comes replaced by a cool thrashing section, this cycle constantly repeated on almost every track. This is an aggressive listen which is ably helped by the brutal/screamy vocal duel both styles belonging to the death metal field.

The full-length carries on with the hyper-active concoction with thrash and death fighting for domination the whole time on nearly every song. Death metal seems to take the upper hand on those tussles as the maddening fast tempos are more tolerated, not leaving much room for imposing epic pounders like "The Empty Chapel" to breathe, with "Insect Mastery" being the only full-blooded thrasher on this exhausting recording.

Demo Demo, 2007
Alive at Brother Tuck Demo, 2012
Flesh of the Forsaken EP, 2012
The Throes of Scourge Full-length, 2017

Official Site

PHILOSOPHER (USA)

The debut: a nice dissonant instrumental intro ("Raising the Flag") raises the curiosity in the beginning, but what we have for most of the time is simplistic retro thrash/proto-death which can be quite furious ("Victim of the Earth", "Surgery Required") on occasion the guys racing with the speed of light on those tracks; whereas they handle the Venom cover of "Black Metal" with the appropriate speed metal finesse characteristic of the original. "Revelations" jumps on the death metal wagon for a while, but the soaring melodic leads soften the aggression not to mention the beautiful bass-dominated interlude. More untamed death metal on "Witnesses" before the closer "Attestant" turns the tables towards thrash with a cool progressive, also semi-balladic, twist. The singer is a suitable semi-death metal growler and does a fine job with his more lyrical inclusions.
Based on “Fires of the End”, this band play old school thrash/death which borders on the bashing on the simplistic barrages “Site of Massacres” and the title-track, the more brutally-executed deathly “Barren Wastelands of War” flirting with a few semi-technical decisions, before doom and death come blended in a cavernous tenebrous fashion on the slow-burning “Smoldering Ruins”. The vocalist supports the death metal cause whole-heartedly with his growls and shouts, a venomous and apparently needed presence.

Ruination Full-Length, 2016
Fires of the End Full-Length, 2023

Official Site

PHLEGETHON (FINLAND)

This is a recording with a very bad underground sound quality under which one can distinguish twisted doom/thrash with Hellhammer a close soundalike. There are fast more intense sections which are pure death metal, but they melt into a wall of brutal guitars stifled by the guttural low-tuned vocalist who mostly grunts in a scary fashion.

The promo is three songs "Karma Vest" starting with frolic optimistic rhythms reminiscent of Carcass' "Swansong" with good melodies and leads all around. "Teaser Whine" is a pure rock'n roller with a doom-oriented shade, and "Crystal Limbs" is a more interesting power/post-thrasher with uplifting atmosphere. There's no death, there's not even thrash metal for most of the time the guys taking an entirely different, much softer direction.

Fresco Lungs EP, 1991
Promo Promo, 1995

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PHOBIA (FRANCE)

Direct sincere thrash/crossover ala Attitude Adjustment and The Accused; the vocals aren't heard very well as they semi-recite submissively throughout, accompanying the highly energetic music which is very close to capturing the magic of the early German speed metal movement ("Cyanide", the wayward Destruction-esque riper "Blackflash").

Sudden Death Demo, 1987

PHOBIA (NEW ZEALAND)

An obscure entry into the barren thrash metal catalogue from this island; these Kiwis play merry thrash/crossover with some non-conventional formulas which recall mid-period Voivod and the Swiss Calhoun Conquer. The approach is appealingly jumpy and the guys don't bother speeding up too much breaking those moments with a sudden semi-technical one. "Frantic" is a brutal cut, intense thrash till the end with fairly cool lead guitars which can't be heard on the rest of the songs. The singer has a forceful hardcore timbre quite reminiscent of Wattie (The Exploited).

Phobia Demo, 1991

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PHOBIC INSTINCT (GERMANY)

This is the next band with whom one of the legends of German thrash Mem Von Stein got involved after his exit from Exumer. This album was recorded in 1989, but saw the light of day almost 20 years later. The style isn't a direct continuation of "Possessed by Fire", but is potent and intense thrash/crossover which on its best moments reaches towards Slayer's "Reign in Blood": on "Fatal Result", "Paranoic Stares", and most of the time the music is closer to thrash. The more crossover-based, jolly parts will definitely remind you of Suicidal Tendencies from around the same time ("Cop State"). The slower numbers are kind of awkward and unfocused ("Split Image") sounding like pure hardcore. Stein's vocals are dirtier and lower-pitched, and that's good because his apocalyptic high vocals could have sounded awkward here. "Plastic Brain" near the end recalls the bombastic speed/thrash of the Exumer debut accompanied by the slightly higher vocal delivery of Stein, and is the best song. This solitary effort remained Stein's last flirtation with metal for a few years until he had a one-album spell with another obscure act, the progressive thrash masters Of Rytes.

A Second of Thought Full-length, 2008 (recorded in 1989)

PHOBOPHOBIA (BRAZIL)

Two songs of dark complex old school thrash; almost all-instrumental stuff with quite good decisions (and not very obtrusive gruff death metal vocals), like the excellent leads on "Hard Days" or the atmospheric balladic beginning on "Lost In Wrong Ways". There's a good alternation between fast and slower passages as well as a few more stylish riffs.

Lost in Wrong Ways Demo, 1992

PHOBOS PREACHER (SPAIN)

This formation specialize in heavy mid-tempo (based on the debut) modern thrash which is plain boring for most of the time: pounding crunchy riffs come flowing in a perpetuum mobile-like pattern topped by gruff low-tuned death metal vocals. The title-track is the only oasis here with its more dramatic, almost deathly, arrangements also speeding up near the end. The other more pleasant moment is the fast cut "Ahogado En Mi Adiccion" which thrashes more vividly amidst the increasing barren groovy landscape.
"Asfixia" is another tedious modern thrasher which at least at times comes out with all the guns blazing, and generally creates more noise than the debut, to these ears for the better. "Rencor" is a cool spastic thrasher, but those moments are in-between the stomping officiant pieces which would also be efficient from a post-thrash metal perspective, but without the groove.

Humanos Full-Length, 2013
Asfixia Full-Length, 2015

Official Site

PHONOMIK (DENMARK)

Modern power/thrash with progressive shades; the guys play with crushing heavy guitars which unfortunately never leave the mid-tempo, and at some point the listener may get tired of this consistent, but uneventful wall of heaviness which cracks twice, but not so well: on the melodic "sleeper" "Atmos-Fear"; and in a more reparable way: on the cool semi-ballad "Life Lies". The two bonus tracks at the end aren't very fine additions both being melodic power metal compositions with balladic overtones. The singer sings well, though, and his steady clean mid-ranged timbre has the necessary emotional colouring to carry the one-dimensional music through.

Soul Creeper Full-length, 2010

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PHOSPHORUS (CANADA)

Based on the self-titled demo, this is black/thrash with a crisp guitar sound and screechy black rasps serving for vocals; the music is up-tempo to very fast with the obligatory hyper-blasts frequently bothering the listener. The sound is more modern rubbing shoulders with more recent Dimmu Borgir.

"CrTpuscule" is four tracks of the same black/thrash metal amalgam this time going for more moderate thrashy breaks ("Hegemonie") as well as more sprawling epic ("Cri de la Lumiere") nuances.
The full-length is here to crush skulls and the band don't joke around playing intense fast-paced black/thrash this time thrash more widely covered providing plenty of hard-hitting riffs. There's a lot of melodic joy to be witnessed ("Pentagramme") as well, and generally the guys find the perfect balance between raging and more moderate pieces combining the two sides on the dramatic shredder "Emphase De La Nuit". Black metal shows its "ugly horns" near the end on "Les Dix Sephiroth", and even some death metal ground is covered on the maddening "Chevelure De Berenice". Later on thrash reigns supreme on a string of longer semi-technical rippers led by the brilliant "Hiver Noir", a stylish nod to later-period Death. This is a fairly cool beginning for the band who find a good way to bring several genres together without messing it up.

Phosphorus Demo, 2009
Cri De La LumiFre Single, 2010
CrTpuscule Demo, 2010
Assassinat Full-Length, 2014

Official Site

PHOSPHORUS (MEXICO)

Prety effective old school power/thrash the guys looking at the early Metal Church and Meliah Rage crowd as a possible audience, keeping both the epic ("King of Fear") and the progressive (the heavy balladic saga "68") at an arm's length. Actual ripping thrash never occurs, but the boisterous lashing guitars on "Smokescreens" and the title-track should stir the blood as well as the effective high-strung semi-shouty/semi-clean vocals.

Slaves of Death Full-length, 2019

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PHOSSATERY (BRAZIL)

Very well done aggressive thrash/death metal, sounding like a more brutal and faster version of Sepultura's "Beneath The Remains". This is fairly speedy stuff also recalling Pestilence and Hellwitch; the guitars have a certain technical edge at times, but the concentration is clearly on speed, sometimes on the edge of falling apart, like on the insanely fast "For Whom It May Concern" and the 1.5-min outbreak "I'm Innocent", which is accompanied by super vicious screechy vocals (the main ones are typical death metal growls). "The Last Night" reduces the speed on most parts and is a really good stomping thrasher with melodic lines. "Army of Tomorrow" follows a similar pattern, but the ultra-fast middle break will make your head spin. "Depression", the album closer, finally shows mercy being a much much slower doom/atmospheric piece.

Obscure Feelings Full-length, 1994

PHOTIAN SCHISM (USA)

Intense crusty thrashcore of the modern variety the band bashing relentlessly varying the proceedings with the odd more moderate cut (the surprisingly atmospheric "Death Machine"), or with the freshly-sounding more classic piece (the speed metal hymn "Motorthunder"). The closing "Sleeping on Glass" is an excellent speed/thrasher showing a more proficient side which the band should display more regularly on future releases.

Photian Schism Full-Length, 2016

PHRENESY (BRAZIL)

The debut: this is a side-project for the guys from the retro thrashers Flashover. The style isn't radically different from the one of the father band, but the guitar work is cleaner and the melodic embellishments are kind of more, making numbers like the clever shredder "Destroyed" and the varied title-track a wonder to listen to. The overall tone is fairly energetic with seldom a respite encountered, with "Contra Tudo. Contra Todos" throwing a few more laid-back crossover-ish strokes as a finishing touch, the shouty hardcore vocals suitable for the hyper-active soundscapes.
"Fears Apocalypse" defies the one-album-wonder expectations, the guys obviously interested in prolonging the life of this initiative. And well done cause this slab is another invigorating addition to the old school thrash roster, a moshing riff-fest which develops along the lines established by the first instalment, "Fuck the Pain" and "Lost Generation" ravaging the neighbourhood with their wild unbridled rhythms. "Mistakes" is not really a mistake although this is a heavy mid-paced march, the only one of its king, mind you, if we exclude the few more tamed sections on "Vultures", the fierce thrashing on "The Truth Is All There" compensating for any such pitfalls, the closing "War For Beer" a crossover sing-alonger, a merry uplifting way to wrap on this intense roller-coaster.

The Power Comes from the Beer Full-length, 2014
Fears Apocalypse Full-Length, 2022

Official Site

PHRENETIX (LITHUANIA)

The debut: young newcomers from the Baltic republics who specialize in very good, crisp intense retro thrash reminiscent of Hirax and the Swedes F.K.U. The guys don't shy away from the more technical performance ("Time to Act"; check also the virtuoso bassisms on "Posera"), and the nods to the Bay-Area are quite stylish: check out the Testament-esque shredder "Piece of Lie", or the more direct wink at Exodus done with the short headbanger "Unconscious Game". The title-track is another awesome technicaller before "Muddy Tale" brings a slightly more epic colouring to the process, still built on a solid speedy base. The closer "Art of Jail" is a brisk way to finish this album with lashing fast-paced riffs which follow a more linear path. The vocalist is a girl, named Lina, and her inspired performance will put to shame many male throats on the scene right now.
"Exuviae" is a more ambitiously-performed offering, the melodic pirouettes on "Defunct" early setting the scene for the arrival of moderate progressivers like the title-track and the dreamy female vocals-supported "Yellow Eyes". "Raw Pain" is a friendly speedster, but the rest sounds very different from the unrestrained approach displayed on the first instalment, the furious "Kill the Messenger" the only full-blooded thrasher here.

Fear Full-Length, 2015
Exuviae Full-length, 2021

Official Site

PHRONEXIS (BOLIVIA)

The full-length: this is a very cool, more classic-oriented affair which thrives on impetuous speedy shredders ("Head Transplant", "Trephination") eventful progressive excursions which are matched by the more immediate stomping-ness of "Wrongful Sentence" and the more playful epicness of "Bestial Bliss". "Autopsy of Mankind" is an exemplary tech-thrash trip, a bursting at the seams merry-go-rounder which impression is partly clouded by the hardcore immediacy of the short "Prosopagnosia" and the disputable laid-backness of the closing atmospheric etude "Incessant Somniferous Visions". Alvaro Nunez aka Alvin Phronexis, the mainman here, also shreds in the tech-thrashers Genetic Infection.
The EP: three tracks of pulverizing high-octane classic speed/thrash, “Bodies Go Here” introducing a nice melodic nuance to the proceedings which go towards epic prog-thrash on the exhilarating blissful “Bestial Bliss”. “Tomb, Sweet Tomb” retains the intrigue without changing the formula too much, the hoarse but comprehensible vocals doing a decent job on the side. All the mentioned cuts are offered in their rehearsal versions as well. The band members are also occupied with three other retro thrash formations: Bestia, Black Mass Legacy, and Azotador.
"Opulence of Metal" is another appetizing slab of the good old thrash, the guys notching up the lead guitar work but still relying on the hard sharp riffage which is both dramatic and mid-paced ("Cursed and Blessed") and vehement and ripping ("Zoonotic"), the more entangled rhythms of "Speedomaniac" pairing well with the complex histrionics of "Mantis", the brief non-fussy "Lonely Phantom" standing for the most aggressive outburst here, "Chimes" pacifying the spirits with a portion of meditative semi-balladic motifs in the first half.

Pestiferous Full-length, 2020
Bodies Go Here EP, 2022
Opulence of Metal Full-length, 2024

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PHROZEN (BOLIVIA)

Corrosive abrasive retro thrash that, apart from quite a bit of noise, also delights the audience with fast ripping riffs and exquisite bass pirouettes, the band dispersing both welcoming sing-alongers (“Your Lullaby”) and sinister melodic tunes (“Welcome to the Otherworld”), the shouty raspy blacky vocals blending with alluring Oriental motifs on “Weight of Impermanence”, and more complex rhythmic configurations on the closing “The Precipice”. Cjeck out the guys' aliases (Tempters, Phantomlords, Conjurers, etc.).

Questioning Society's Secrets Full-length, 2023

Official Site

PHYLACTERY (CANADA)

This is fast uncompromising thrash/death the band bashing like demented for a large portion of the time siding with other extreme acts like Hypnosia, Devastation, and Morbid Saint, even their compatriots Sacrifice's debut "Torment in Fire" comes to mind on the less restrained ("King of Ruin", "Bubonic Undeath") material which borders on death metal save for the screechy hysterical black metal vocals. The band members are also involved with other acts, like the death/black metal hybriders Dire Omen, and the brutal death metal formation Display of Decay.

Necromancy Enthroned Full-length, 2017

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PHYSICAL ATTRACTION (SWEDEN)

The optimistic crossover opener "Stones Are Cold" is totally misleading as later one would hear more serious and much more aggressive music. The sound is classic with very slight modern leanings, and the riffs are crushing with a distinct technical edge at times. The tempo varies quite a bit and the overall style recalls another one album wonder: Wrekking Machine and, respectively, Anthrax. The modern moments ("Life in Pain") are close to Flotsam & Jetsam and to a lesser extent, Pantera. The crossover beginnings jump up here and there ("People with Power", "Someones Else's Words"), but are more intense and thrashier. "Master of Disaster" opposes to the surrounding it faster-paced tracks and introduce slower pounding riffs and cool clean background vocals.

The Fool Lead the Blind Full-Length, 1994

PICA FIERCE (NORWAY)

Another great technical metal act is rising up from Norway. These guys follow on the steps of their compatriots Scariot; based on the "A Spiral of Violence" demo, this is first rate technical thrash/death metal which is not too far from the first two Scariot albums. Smashing technical riffs and nice melodic guitar work will make your day. The vocals are similar to Scariot again, a mixture of rough death-ish and clean ones. The band have achieved a kind of a feat, performing a full heavy metal version of the opera "Faust" with the Kristiansund Symphonic orchestra at the Kristiansund Operahouse, with Nils K. Rue (Pagan's Mind) singing one of the main parts.
"Reptile" offers a marginally more straight-forward music; these are three songs of intense classic thrash/death without too many technical gimmicks, with the shadow of Death looming heavily over the material.

The self-titled debut is finally out, but there are only two new cuts here; those who have gotten a hold of the three demos earlier, will have almost the entire album. Nevertheless, this is a seamless, perfectly executed blend of both the more technical and more aggressive approach. The opener "Decadence", taken from the "Reptile" demo, is the proof for that, an awesome technical thrasher, a great tribute to the mighty Chuck Schuldiner (R.I.P.). The technicality remains, but the speed disappears for the next "The Weight of Condemnation" which is something unexpected, a mid-paced steam-rolling piece with some exemplary technical riffs. Back to some more intense thrashing with "Reptile", another reminder of the previous demo, which sounds as though directly taken from Death's "The Sound of Perseverance". And yes, Death is the most obvious influence here although the complexity on some tracks goes beyond that: the superb progressive multi-layered "The Coming of The 4th World", boasting some of the finest guitar work around. The closing "A New Beginning" is the other elaborate affair starting with a brilliant orchestral intro, before turning into a feast for the ears with its timeless melodic hooks and technical riffs surrounded by a very strong keyboard background, and the most melodic deviation on the album at the end. "Swan Song" switches onto more aggressive thrash/death metal with sinister guitars and some wonderful more laid-back main theme; the synthesized vocals could have been left out, though. "Spiral of Violence" is the other track where death metal reigns supreme offering a whirlwind of stunning technical riffs, and sudden jumping frantic tempo changes, not missing in the blast-beat department as well, a delight which the Canadian scene is yet to offer. "Urbania" is another masterpiece of up-tempo technical thrash where the moshing goes on until the end, graced by brilliant guitar performance. "Consumers Consumed" will delight you with both its first-class technical shredding and the nice catchy melodic chorus, an approach also applied to some other compositions throughout the album. There's no need in continuing reviewing the rest of the songs on this incredible album, the finest thrash metal offering for the past ten years to come out of Norway, along with same year's Scariot's "Momentum Shift".

Urbania Demo, 2001
A Spiral of Violence Demo, 2002
Reptile Demo, 2004
Pica Fierce Full-length, 2007

Official Site

PICK AXE PREDATOR (FRANCE)

Based on the full-length, this band play an original blend of technical modern and retro thrash which suffers from the bad overshouty vocals which take quite a bit of space as well. "My Crucifiction" becomes weirdly technical at some point, and the situation only becomes more interesting later on with the mechanical stylish shredder "Salem Justice". The quirkiness stays around for "100 Scalps" which even blast-beats for a while; and for the short melodic speed/thrashing intriguer "Teeth Don't Burn" which gives an enormous boost to the album and till the end what one will hear is fast bursting tracks laced by an elusive technical edge which becomes more prominent on the brilliant Shrapnel-like shredder "Dead Brothers". "Keg Killer" is more technical thrash/crossover ala the Swiss Lunacy, and the closing "Omne Trium Perfectum" is an 8-min extravaganza of engaging avantgarde thrashing which exits this effort with aplomb, making this young act one of the hottest propositions from the American metal scene of the new millennium.

Pick Axe Preacher EP, 2014
Salem Justice Full-length, 2015

Official Site

PICTURED (FRANCE)

An interesting, "pictured", formation who build their style around later-period Carcass (clinging more towards "Swansong" rather than "Heartwok") mixing it with Gothenburg passages the resulting mix being both melodic and aggressive in almost equal dozes with a slight accentuation on the former. There's a certain complexity showing up here and there with a more frequent change of the tempos ("Howling Forest") as well as more direct thrashing ("To Hell and Back") on occasion. The compositions lose the dynamics towards the end turning into a bit one-dimensional mid-tempo pieces full of catchy melodies, but not much else. The singer has a comprehensive death metal timbre quite close to the one of early Anders Friden (In Flames). Some of the musicians also take part in the black/death metal outfit Abnorm.

The Dwelling EP, 2010
The Strand of Time Full-length, 2012

Official Site

PICTURES OF PAIN (NORWAY)

Based on "World Demise", this band provide quite cool progressive power/thrash with scattered melo-death insertions the latter slightly aggravated by the more aggressive side of the vocal duel. This is epic stuff, with long compositions (7-9min), which thrashes with more passion on the complex opus "Time", with a dramatic accumulation of hard-hitting riffs on "Out of Control", and a more flexible speed/thrashing structure on "I Walk Alone". "Truth and Lies" is another aggressive shredder, but "The Edge", on the other hand, is just volcanic doomisms reminiscent of Communic with beautiful lead sections. "As We Fall" is just a tad more dynamic, but the closing title-track is an epic thrash/deathster with an apt alternation between raging and quiet, meditative passages.
The debut has set up the tone for this larger-than-life amalgamation featuring the four previously mentioned styles, death metal playing a lightly more prominent role at this early stage, the show inaugurated by the dramatic brutalizer "Betrayal" the following "Far Beyond" a cool tribute to the German masters Blind Guardian who appear to be a wholesome influence on the band alongside acts like Persuader and Manticora. "Eternal Rage" deserves its title thanks to several isolated blast-beating passages, but the "laurels" seem to be taken away by the heavy mid-paced epic thrasher "Deviator". More furious death metal featured on "Sign of Times" although this piece is mostly balladic doomscapes. "The Reckoning" embraces the 90's speed/power metal movement wholeheartedly whereas the final "Final State" is a doom/thrash blend with nice melodic leads.

The Reckoning Full-length, 2010
World Demise Full-length, 2016

Official Site

PIECE OF MIND (USA)

Based on the full-length, this outfit provide diverse progressive power/thrash of the retro variety which is both epic and speedy on "The Fifth Quarter" with catchy melodies flying all over, making circles around the hoarse semi-clean James Hetfield-like vocals. "The Judge" is a more officiant stomper with a doom vibe, and "Frequencies" is an encompassing, over 9-min, opus which features some nice contrived thrashing amongst the atmospheric quiet interludes and the great melodic lead sections. "Nibiru" serves a more linear epic layout of the more carefree power/speed metal variety, and "Montauk" goes way over the top with over 18-min of bombastic speed/thrashing which borders on Manticora-sque elaborate histrionics, but there's quite a lot of aggressive/quiet passage alternations here which come accompanied by dubious keyboard implementations; an overambitious conglomerate which needs some fine tuning before it starts bearing the intended fruit.

Frequencies EP, 2016
Guidestones Full-length, 2018

Official Site

PIECE DOGS (USA)

A typical for the early 90's power/post-thrash metal affair hesitating between the classic and the modern sound; at times the music leaves the thrash field and goes for some pop-metal, and even hard-rock-ish elements. The not bad clean vocals are a waste, unfortunately, cause there's not much music-wise to oppose to them if we exclude the quirky diverse, psychedelic heavy rocker "Sxck of Xt" and the hypnotic outtake from the Black Album "Mentally Sound". "Hxgh Anxxety" even attempts some more dynamic thrashing for a change, but in the presence of ship-sinking bluesy quasi-doomsters like "Death Chant" and the monotonous funky "Broken Wxng" its effect may as well pass unnoticed.

Exes for Eyes Full-length, 1992

PIEKIELNE WROTA (POLAND)

Wow… this effort (the self-titled) is easily one of the most violent creations of the mid-80's European scene, but it's also one of the sloppiest and most amateurishly produced. This is a violent death/thrash melee which flies by with all the vehemence the musicians can summon, the curt spatout semi-declamatory vocals racing with the fiery hyper-active riffs, the wall of noise near-impenetrable on the sense-dulling "Mare Imbrium" and "Phantasmagoria", the latter cut offering a few meaningful lead sections as a respite from the non-stop barrage, the ultra-brutal approach on "Przegrany Zwycieza" bordering on grindcore. A pioneering but ultimately pristine achievement in the death metal genre.

Piekielne wrota Demo, 1986
Live Demo, 1989
W oczekiwaniu Demo, 1989

PIER 6 BRAWL (USA)

90's post-thrash that stomps and pounds its way with stolid groovy determination, the more dynamic "Pier 6 Brawl" colliding with the lyrical balladic to "Curious" and the near-classic thrashisms on "Ignoramos". The shouty hardcore singer presides over the proceedings with quarrelsome panache, hitting a more hysterical octave on the Pantera-sque behemoth "Outlasted Usefulness" and the doom-prone march "The Poontang Jam".

Fighting Filthy Full-length, 2000

Official Site

PIERCED (USA)

The debut: this band play classic/modern power/thrash with echoes of Meliah Rage and Imagika, with seismic mid-pacers ("The Fist") taking turns with more aggressive headbangers ("Warchief"), the very attached shouty semi-clean vocals assisting both sides with all the David Wayne-sque (R.I.P.) drama they can muster. Hyper-active proto-gallopers like "Impaler" are close to being the highlight here whereas towards the end the presence of the noisy quasi-groover "Valhalla" ruins the impression a bit, also due to the gruff deathly vocal inclusions.
"Cheers to Brutality" is indeed a more brutal affair than its predecessor, the guys betting on thrash more this time, and winning on all costs as this is a satisfactory opus if we exclude the slightly clumsy groovy title-track, and the moody not very focused "You Can't Play God with Me". "Razors and Heathens" is a catchy headlong galloper, and "9-11" is a sinister speed/thrasher with a formidable volcanic rhythm-section; the latter retained for the super-heavy closing wall-tumbler "Blood Sweat Aim Fire".

Pierced Full-Length, 2018
Cheers to Brutality Full-length, 2022

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PIGSKIN (SWITZERLAND)

Based on "The Never Ending Black", this act offers modern thrash metal with energetic guitars and several melo-death leanings. The band plays on in up-tempo mostly slowing down on the longer material in the middle ("The Rise Of Evil", "Return to the Chapel") where a few metalcore shades can be felt. The guys have a good sense of melody expressed in the stylish lead guitar work: check the excellent instrumental intro "Frisco Joe" as well as the more complex progressive closer "The Never Ending Black" the latter in its turn finished with a brilliant acoustic passage which will remind you of the opening moments from the Metallica instrumental "To Live is to Die".

Epidemic Full-length, 2003
Exposed to Threat Full-length, 2006
Noise Of The Broken Bones EP, 2008
The Never Ending Black Full-length, 2010

Official Site

PIGSPEED (ITALY)

Based on "Animated Mosh 2.0", these lads serve merry optimistic thrash/crossover which is a bit on the noisier side, but the guys manage to exude enough optimism from this vociferous approach, with the obligatory in such cases exits from thrash like "Freeway" and "Judo Boy". In fact, the uplifting mood permeating this recording doesn't give too many chances to the more intense material like "L'Uomo Tigre" and "Superauto Mach 5! Go! Go! Go!" to shine too much, the quarrelsome semi-shouty deathly vocals stirring a near-thrashcore atmosphere when in action.

Don't Bring My Soul Full-length, 2001
25th Century Blood Full-length, 2014
Animated Mosh Full-length, 2018
Animated Mosh 2.0 Full-length, 2019

Official Site

PIGSTEERER (AUSTRALIA)

Based on "Trotters of Doom", these lads indulge in modern death/thrash, vehement untamed stuff with shades of hardcore ("Unholy Strain"), the good cleaner side of the vocal attack decidedly superior to the gurgling death metal growls. The compositions are very short, neither exceeding the 3-min mark, the groovy strider "Third Day" trying to diminish the seismic impact from brief brutal outrages "Tommy's Out" and "In the Shadows".

Trotters of Doom Full-length, 2009
The Fat and the Filth Full-length, 2018

Official Site

PIGWALK (ARGENTINA)

This is groovy post-thrash which can thrash ("Un Bellaco Arrastrado", "Cazador") on occasion, but the band have established a crushing doom vibe which is the dominant one also suiting well the harsh hardcore-ish vocalist. The delivery doesn't have any highlights, but fans of Pantera and Machine Head should be delighted all over.

En Seco Por Matrero Full-Length, 2016

Official Site

PIKE (SWEDEN)

90's post-thrash of the awful rubbish type; repulsive groove spiced with stoner/doom, ballad, alternative and other atrocities which had better be left unmentioned. The singer is moderately angry, and even tries to sound emotional on the more "romantic" moments which also come aplenty.

Lack of Judgement Full-length, 1996

PIKODEATH (SWEDEN)

The debut: a cross between modern and classic thrash/death with not very appropriate brutal death metal vocals; some pieces are nice technical ("Different", the unpredictable choppy closer "Coma") splinters; others are officiant battle-like hymns (Slowly Death"). Raging tracks like "Child Devourer" and "Human Slaughter" keep the thrashing spirit alive, but death metal seems to be the more favoured style here also accentuated by excellent guitar work ala Mike Scaccia (R.I.P.), Rigor Mortis).
"Insane" is a decidedly more brutal affair with death metal the prevalent ingredient, the raging aesthetics all over reflected in short bursting brutalizers (the title-track, the semi-technical wonder "Forgotten Pictures"), "Back to Beginning" a needed respite with its stomping, more academic lustre. "Pigfuckers" injects a doze of more simplistic hardcore into the proceedings, with "Deflagratio" closing the fiesta with more modern groovy tricks.

Tief in Dir Full-Length, 2014
Insane Full-length, 2017

Official Site

PILE OF EXCREMENTS (GREECE)

An old school thrash/death amalgam which is relentless, not very sophisticated bash for most of the time although one can catch the odd more melodic stroke ("Miasma Cuming Embalming Fluids"). The brutal guttural death metal vocals pull the proceedings towards the death metal camp as the more thrash-fixated numbers ("Hooker With A Hook") strangely remind of early Possessed, the only deviation from the righteous path being the epic doom-oriented, Barathrum-esque title-track. Some of the band members, among whom is the drum guru Vagelis Felonis, are also active with the retro thrashers Chainsaw.

Escatology Full-length, 2017

Official Site

PILE OF DEATH (SWEDEN)

This is classic dark stomping thrash that features a few enjoyable fast-paced roller-coasters ("Nightmares") among brooding doom mid-pacers ("Dead Inside") and pounding heavy propositions ("Empty Souls"). There's not much speed present, and the singer is a deep guttural deathster whose comprehensible tirades can even pass for the highlight.

Obliteration Mmxix Demo, 2020

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PILE OF PRIESTS (CANADA)

Based on the full-length debut, this act provide an epic classic form of thrash/death which is rich in soaring melodies side-stepping the speed a bit, the latter timidly showing its head on the shorter numbers (the brutal deathster "Maleficent"; the more technical deviation "The Tribulation"). This is an officiant academic release which comes close to Amon Amarth at times, the main difference coming from the lower-pitched, more guttural death metal vocals.
The self-titled is a tad more technical and elaborate, and heavy academic progressivers like "Death of the Paragon" and "Exile unto Divination" establish the less intense mid-paced tactics the latter the main building block among short lyrical instrumentals ("The Threshold") and fats ripping headbangers ("Bloodstained Citadel").

Unholy Death EP, 2011
Void to Enlightenment Full-length, 2015
Tenebrous Labyrinth EP, 2017
Pile of Priests Full-length, 2020

Official Site

PILEDRIVER (CANADA)

Piledriver is the main band of Gord Kirchin who was also responsible for Dogs With Jobs and Convict. With the help of Edward Pursino from Virgin Steele, he manages to create one of the legends of Canadian thrash. The debut is a cool, melodic affair, mixing classic heavy metal with thrash. The songs are catchy and memorable, topped by the characteristic vicious, semi-clean vocals of Kirchin. The complaint is that with the exception of the short energetic "Sodomize the Dead" and the more aggressive "Pile Driver", the other material flows in the same vein, mid-tempo to slow, reaching its culmination on the slightly boring and repetitive, 7-min long "Witchunt". The album closer "Alien Rape" is even longer, but at least there's more variety including some attempts at a faster play.

"Stay Ugly" is a much better effort, now a full-blooded speed/thrash metal affair boasting intense and very catchy numbers, like the speedy opener "The Incubus", the marvelous combination of speedy, galloping and stomping riffs "Chaos", the great galloping thrasher "Lords of Abomination", the sinister "Flowers of Evil", and every other one. Although here the pace is mostly fast and doesn't really slow down a lot, because of the relative short length of the songs and the sharp, energetic guitar work, this album is a very satisfying listen with not a single dull moment. The band later transformed into Dogs With Jobs, another good band, but more melodic, with a more ordinary power/thrash metal sound.

Metal Inquisition Full-length, 1985
Stay Ugly Full-length, 1986

Official Site

PILGRIMZ (DENMARK)

This album sounds like a remnant from the groovy 90's and could well fit into the Machine Head catalogue of that time if the Danes had added more up-tempo compositions ("Paramount" is the only intense thrasher, but still ruined by a groovy section). Now this mid-paced wall of modern riffs would hardly make a few heads turn nowadays when there are hundreds of acts offering the same stuff.

Boar Riders Full-length, 2008

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PILLAGE SUNDAY (USA)

Thrash/crossover close to Lawnmower Deth, maybe a bit heavier and less enjoyable. "Early Riser" is a rising moshing fest, and "Graverobbing" is more on the carefree hardcore side, the harsh semi-shouty vocals mostly reciting, fitting the frolic rhythm-section epitomized on "Painful Romance". "Beyond the Flames" features some seriously heavy thrash, a pummeling piece with echoes of Nuclear Assault.

The Blitz Has Begun Demo, 1988

PILLARS OF CREATION (USA)

Three songs of modern mathematical thrash with technical twists the latter not far from Coroner even (check out "Together We Fall"). There aren't too many fast-paced sections, but the consistent mid-paced approach perfectly fits the technical riff-patterns. "Eyes Upon" is more immediate with very cool melodic leads, and "Dead Inside" is the definitive technical puzzler with sudden stylish decisions waiting at every corner to befuddle the listener who may be pulled back a bit by the ordinary hoarse, semi-clean vocals which are at times interrupted by better clean ones.

Pillars Of Creation Demo, 2014

PILLOW KILLZ (GERMANY)

Based on the debut demo, this act plays quite cool speed/thrash of the more optimistic type which became quite popular a few years later, mixed with more aggressive riffs akin to Angel Dust's "Into the Dark Past". "Invited by the Circle" is vintage early Blind Guardian (the guitarist Christoph Theissen played with Hansi Knrsch and Andre Olbrich in the pre-Guardian act Lucifer's Heritage), a fast and intense piece with a nice memorable chorus. "Frozen Desert" is a varied blend of power, speed and thrash metal with fine lead guitar work, and the 2-part opus "Loss of Mankind" also scores high, the 1st part being pure speed metal to the bone, the second one offering a wide amalgam of epic, power, thrash and speed metal with sprawling lead sections which kind of overshadow the riff-work. The singer isn't bad with a clean mid-ranged timbre who could have made things more appealing by adding a couple of higher-pitched antics.

The 3rd Prophecy Demo, 1990
More With Less Demo, 1992
Pillow Killz Best of/Compilation, 1994
Years Full-length, 1997
Sweet Pain Full-length, 1999

Official Site

PILSEN DRINKERS (CHILE)

Based on the full-length, these folks indulge in decent retro thrash with a lot of beer, mostly Pilsen, spilt along the way with an overall approach not far from early Sacrifice. The title-track is an awesome semi-technical shredder which remains the highlight although later on one will come across other interesting pieces like the more elaborate roller-coaster "One Last Time", the diverse progressiver "Prophets Of Chaos", and the metal thrashing mad closer "Un Destino Bajo Tierra". The vocalist is a passable semi-clean semi-shouter with a hoarse hardcore-ish timbre.

Controlado por el odio EP, 2007
Join the Brotherhood Full-length, 2016

Official Site

PIRANAH (USA)

Based on the debut, this act pull out playful modern post-thrash which acquires more modern quasi-groovy tendencies at times ("Solid Ground"), but is generally more dynamic and just a tad more interesting despite its infatuation with the Metallica Load/Reload period. The singer tries to shamelessly emulate the more recent James Hetfield style, but seldom captures the dramatic magical timbre of the latter.
"Set the World Ablaze" is a more aggressive affair although it would hardly "set the world ablaze", like the guys hoped. The guitars come with a teasing abrasive edge which reaches fever pitch on the Motorhead cover of... but of course your favourite "Ace of Spades", played quite faithfully, as a matter of fact. Alas, all the energy gets spared on it since afterwards what comes is your average toothless corey post-thrash again.

Crashing Down Full-Length, 2013
Set the World Ablaze Full-Length, 2015

Official Site

PIRANHA (GREECE)

Based on the 2-song single "Cancer", this trio play excellent dark/gothic classic thrash spiced with haunting keyboard melodies which work fine with the sharp up-tempo riffs and the harsh death metal vocals. The "Worlds Grave" EP is in the same vein boasting a better sound quality and a more pounding punishing rhythm section. The tempo is quite energetic never loosening even on the longer tracks ("Burn"), and the bass is really strong, overshadowing the guitars a bit at times. Nice keyboard background can be heard well contrasting with the sharp riffs and the brutal death metal growls.
"Arise from the Shadows": a not very expected return for one of the veterans on the Greek metal scene, the style surprisingly retained from the early efforts, the brooding atmospherics of the title-track boding images of Nightfall and mid-period Rotting Christ's vistas. The latter works quite well with the hard thrashing of "Rotten Mind" and "Endless Dream", the more playful attitude of "Reborn" abandoning the rigid thrash canons which are extensively covered on the perennial headbanger "Nuclear Disease" at the end.

The Exorcist Demo, 1990
The Gate Demo, 1991
Worlds Grave EP, 1992
Cancer Single, 1993
Reborn Full-length, 1998
Promo Tape Demo, 1998
Arise From The Shadows Full-length, 2020

Official Site

PIRANHA (SWITZERLAND)

Slickly-produced lashing classic thrash is what's on offer here, the band thrashing the neighbourhood at will with ripping headachers like "Turning Point" and "For Your Own Security", the mean spiteful Schmier-esque vocals adding to the drama which acquires a more serious physiognomy on the atmospheric "Flight Or Fight", the friendlier power metal-oriented "Rage Of Fire" turning the tables towards mellower ways of execution in the second half, with power metal completely taking over at some stage, the guys losing all the accumulated inertia, creating a not very convincing lopsided opus as a result. The musicians are also active with the doom/thrash veterans Excruciation, and the retro thrashers 2Black.

First Kill Full-length, 2019

Official Site

PIRANHA (USA)

This band was formed by Paul Baloff (R.I.P.) after his exit from Exodus. The style isn't too far from the Exodus debut album with Baloff giving his best behind the mike. His departure to pursue further glories in Heathen put an end to Piranha's existence. After things didn't work out in the Heathen camp, Baloff reformed the band, but either the lack of inspiration or interest left this stage of the band's career fruitless.

1988 Demo, 1988

PIRANA (MEXICO)

An interesting EP featuring some both classic and modern thrash as well as more intense death-like moments. The last track sounds as though directly taken from Paradise Lost's "Shades of God".
The debut full-length is a pleasant surprise seeing the guys thrashing their souls out, producing pretty cool intense retro speed/thrash which starts killing from the get-go with the instrumental intro "We will Bite Your Brain" which in its turn is followed by the blasting thrashing madness "Smoking with Hellstrom". So far, so great... Unfortunately later on the band take it easy slowing down considerably for a couple of tracks before "Black Spiral Dance" comes thrashing down, smashing everything in its way. This outbreak is not followed by another "pause" and the guys continue to blast out, with "God Killer", "Sodomist Pig" and "Aim and Fire". Some calmer numbers can be found near the end as well, but by that time the listener will be totally exhausted. With 13 tracks featured here one can't expect a constant assault from beginning to end, but this is not so far with more than half the tracks belonging to the extreme, faster side of the genre, along the lines of Necrodeath, early Kreator, even Hellwitch.
"Corruption" is another sure-handed entry into the contemporary thrash metal catalogue the band offering a cool energetic effort with crisp lashing guitars. The joke becomes pretty big on "A Big Joke" which is an intense headbanger which sense of aggression is well sustained later on even on the longer numbers ("Destroy All the Monsters", "Hasta Reventar") in the middle which contain elements of power and speed metal and are generally merry frolic pieces with a wider appeal. "Thrash Wars" does its best to deserve its title with a more aggressive delivery which completely disappears for the balladic saga "Viper" and the very cool short lead-driven instrumental "La Ofrenda" which is actually the closer since after it follow two live tracks from the previous album with a worse sound quality, not a very beneficial addition to this otherwise cool tribute to the old school.
"Blood Zone" rolls on this time built on more brutal death metal leanings ("Going Down") and covert shades of proto-thrash ("Traitor"). "Doomed" is surprisingly the finest thrasher here, a semi-technical wonder which overshadows the rest although there's very little wrong with relentless speedsters like "Under Heavy Fire" and the other more intricate number, the hectic restless shredder "The Hive".

Pirana Attack EP, 2005
Destructive Animal Revolution Full-length, 2008
Corruption Full-Length, 2012
Raw EP, 2015
Blood Zone Full-length, 2020

Official Site

PIRAS (ARGENTINA)

This band play old school power/speed/thrash with not very overt progressive tendencies, the shouty death metal singer doing his own show amidst the plentiful melodic walkabouts and the virtuous lead sections. "Comunidad" is a friendly mid-pacer, but expect brutal shades of death on the short "Condenados", and a more streamlined power metal layout on the lengthy monotonous "Irrupcion". The guys wake up for a more dynamic approach on the still contrived "Desercion", the finest representation here, and a really cool way to wrap on this diverse saga.

Juicio y castigo EP, 2018
Desorden Full-length, 2019
Cuando el tiempo cesa Full-length, 2022

Official Site

PIRATES OF ACHERON (GERMANY)

The guys from Devil Lee Rot, minus the main man, entertain themselves (based on the "Soul Stealer" EP) playing modern thrash/death metal with pagan/epic shades which isn't devoid of fast blitzkrieg numbers: "Intropication of Wrath", the speed metal hymn "Tobacco, Rum & Prostitutes", the potent blend of heavy and fast raging guitars "The Panic Cutchers". An obstacle can be considered the very thin buzzy guitar sound which overtakes the whole space leaving the forced death metal vocals hanging awkwardly merging with the chainsaw-like sound at times.
The "Warriors of Steel" EP would be quite a surprise comprising pure old school thrash without any modern gimmicks. The guys thrash on with no remorse reaching proto-death heights on the shorter numbers. This is direct old school rage served with a slightly fuzzy sound, but entertaining all the way with its uncompromising no-bars-held approach.

Chaos Flood EP, 2007
Soul Stealer EP, 2008
Warriors of Steel EP, 2009
Bestial Torments Full-length, 2010

My Space

PIROSAINT (CHILE)

This is an interesting band: on their EP you can hear 90's aggro-thrash riffs ala Pantera mixed with quite technical ones plus more atmospheric moments where the lead guitar does a very good job. The music is mostly mid-paced with occasional up-tempo moments; quite well done recalling the style of the Andy LaRocque and Co.'s formation IllWill. Some of the musicians are also active with the power/thrashers Quemasantos, and the heavy metal cohort Downfire.
The full-length arrives after a huge hiatus, but the guys haven't forgotten the craft, and here come both raging speedsters ("Bleed") and heavy seismic mid-pacers (the title-track), the hoarse semi-hardcore vocals gurgling on the side without contributing much. The approach is more on the classic side, though, despite the dry sterile guitar sound which aptly avoids the groovy traps. This is power/thrash which isn't very big on the fast-paced surprises but delivers with its consistent non-flashy demeanour.

New God EP, 1997
Know Thyself Full-length 2021

Official Site

PISSDOLLS (GERMANY)

These German "dolls" sound "pissed" indeed (based on the EP) lashing wild sharp riffs like demented, keeping things within the up-parametres the whole time, the crystal clear sound production being a great helper to the proceedings making every instrument heard including the attached semi-shouty vocals. There will be no rest on vicious cuts like "Blonde & Armed" and "Instant Asshole" the band paying more attention to the Bay-Area rather than their homeland, coming up with an invigorating slab of the old school done the right way.

From Hollywood to Hell Full-Length, 2010
Drink Fast or Die EP, 2012

Official Site

PISSED OFF ORGASM (USA)

An ultimately raw industrialized mix of hardcore, thrash and grind, which most of the time is pure noise, and actually it's quite difficult to distinguish anything apart from a heavily synthesized wall of noise sounding like Pitch Shifter partying with The Berzerker both acts having already reached the alcoholic delirium stage.

Porno Holocaust 1993-1996 Compilation, 2006

PISSING RAZORS (USA)
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Pretty standard modern post-thrash along the lines of Pantera and Machine Head with some industrial touches recalling Fear Factory and Puncture. "Cast Down The Plague" flirts with more aggressive tools of execution, but the noisy mechanical environment would be too much to bear by the old school fans who will semi-jump around not very certain on the more dynamic propositions like the hardcore-ish "Survival of Time" and the near-thrash experience that is the title-track. Elsewhere it's one vociferous groovy fiesta that never ends with Pro-Pain, Madball and Pantera tussling for domination.
"Where We Come From" acquires a more flexible, alternative stance the setting not as noisy if we exclude the staple shouty angry vocals which dominate the proceedings with all the vociferous passion the guy can summon. More volatile half-thrash outtakes ("I've Tried", "Opportunidad") deliver the goods, but the remainder is either urgently hardcore-ish ("Justice Denied") or quirkily experimental ("Cursed") with echoes of Helmet and even Rage Against the Machine.
"Evolution" follows the path carved by its predecessor the more energetic thrashcore material ("Fall Away") moving things around again, the appearance of better cleaner vocals ("Hanging on the Cross", "Takedown") suggesting at more or less mitigated innovations. Music-wise, however, there's not much that hasn't been heard before in the band's repertoire although "Perseverance" serves a few surprising melodic touches among the harsh noise-mongering; and "Two Face Devil" comes out with a more diverse palette that looks at the more intriguing Prong heritage for inspiration.

Psycho Punko Metal Groove Full-length, 1996
Pissing Razors Full-length, 1998
Cast Down The Plague Full-length, 1999
Fields of Disbelief Full-length, 2000
Where We Come From Full-length, 2001
Evolution Full-length, 2003

Official Site

PISSMARK (AUSTRIA)

Modern hardcore-ish thrash which acquires playful stoner tendencies at times which don't serve quite right the consistently heavy riff wall. The other complaint comes from the pace which is constantly mid with solely "Der Frommler" bringing forward more intense headbanging tunes; "Todesboten" could also be mentioned in this vein offering a short blasting break. Surprisingly, the slowest song on the album: the closer "Schlosfer" which is very appropriately titled, by the way ("the sleeper"), is the best one being a pure morose doomster partly ruined by the unsuitable semi-death metal vocals.

Der Fr'f7mmler Full-length, 2010

Official Site

PIST (UK)

Based on "The Bleak Unrest", this band pull out modern thrash/post-thrash that clings at times towards the doom side ("Life's A Lie"), the steam-roller urgency of "Death to All" the seeming highlight here, also featuring a crisp fast-paced passage. The shouty semi-death metal singer tears his lungs at very opportunity, his vociferous participation by all means acknowledged, including on the brisk roller-coaster "Until This World Has Fallen Apart". Some of the musicians are also occupied with the sludge/groove outfit Jacknife Holiday.

Riffology EP, 2014
Rhythm & Booze Full-length, 2015
Hailz Full-length, 2019
The Bleak Unrest Full-length, 2023

Official Site

PIT (USA)

Modern heavy power/thrash metal with classic heavy metal tunes thrown in for good measure; the debut is more classically-inclined, and contains the better and faster material whereas the follow-up concentrates fully on the modern groovy side of the genre, still featuring a few more pleasant surprises: the heavy semi-ballad "Forever at Once" and the retro headbanger "Boneheads", which even blast-beats for a while, partially ruined by the awful synthesized vocals.

Carnival Licence Full Length,1996
Boneheads Full-Length, 1997

PIT GROOVE (USA)

This is not exactly a groovy rehash, like some would think by the band name; there's groove, certainly, but most of the time this is vivid dynamic thrash/death ala the first two Six Feet Under efforts with a solid doom vibe ("Internal Struggle"). The production is expectedly muddy and the guitars can't be clearly captured the whole time also deafened by the overshouty aggro-vocals.

Self Inflicted Pain Demo, 1995

PIT MESSIAH (USA)

These young Finnish upstarts unleash brutal thrash/death of the old school which is not completely devoid of melody and several seismic battle-like moments ala Bolt Thrower ("Visions of the Blind"). Some impressive thrash/deathsters follow suit later ("Modern Day Slavery") some of them boasting stylish technical twists ("Pit Messiah") plus a few less bridled blasting breaks ("Living Severed Heads"). The singer is a brutal death metal growler ala Karl Willets (Bolt Thrower).

Pit Messiah Full-Length, 2013

Official Site

PIT MONGRAL (USA)

This US duo indulge in raucous retro thrash/death, the main annoyance being the mean death metal vocals which rasp not very pleasantly in then background. On the music front the lads deliver a tad better, the mid-tempo steadiness of "Hands on Combat Crazy" pairing well with the dynamic shreds of "Come up" and the overt aggression of "False Start", the muddy hissing production taking away from the vehement lustre of the closing "Retaliation". This is by no means the new face of metal, but one has heard much worse first efforts of a pair of young budding enthusiasts.

New Face of Metal Full-length, 2023

Official Site

PIT OF DOOM (GERMANY)

Based on "Atonement", this outfit specialize in heavy modern post-thrash which is another testimony that there's a resurgent interest in the 90's values in Europe in recent years. The capable bass bottom is provided by a beautiful girl (Katharina Guthoff is her name) who assists the two guys in creating this volcanic affair which also comes with a certain industrial edge the band wisely toning down the latter on the more lyrical moments (the nice balladic "A Common Nightmare", the dreamy lead-driven instrumental "Ray of Hope"). The rest is abrasive, at times even fuzzy, riffage with a gothic/doom flavour (the closing "Prototype") on the better parts which are still harmed by the very brutal rending death metal vocals.
"Despeairity" is largely a combination of doom/gothic and industrial, the post-thrash veneer left on the side for at least half the time, the dark atmospheric vibe permeating the songs which range from catchy memorable tunes ("Binary Afterlife") to more sprawling progressive pageants ("The Beloved"). "Walk the Walk" is a surprisingly vivid headbanger, but by no means expect full-on thrashing till the end, the overall approach recalling the more recent works of Septicflesh and Atrocity.

Misanthropic Full-length, 2008
Atonement Full-length, 2013
Despairity Full-length, 2021

Official Site

PIT STRIKER (CANADA)

This is heavy classic thrash/post-thrash which gets immediately more intricate with the jumpy not very predictable "Brain Dead", the mean husky semi-deathly vocalist humming authoritatively on the side. The technicality remains for the more streamlined but equally effective "Ready to Rumble", the more tamed mid-pacer "Blazing Guns" exuding a bigger sense of melody with a touch of power metal. "Pyromance" notches up ten energy, a sure headbanging fun without much fuss epitomized, "Magical" providing something a tad less magical, actually, an ordinary but still steady power/thrasher that lacks the verve of the preceding material.

Happy Thrash Friends EP, 2024

Official Site

PITBULL DIESEL (CZECH)

Modern thrash of the laid-back, metalcore type; this is choppy stuff with not very pleasant death metal vocals and jumpy rhythms, pretty bland as a whole. At the end there is a "Waltz mit Kiske", but it doesn't become clear from the lyrics whether this is a nod to the former Helloween singer; the track is mellow and pleasant with echoes of Machine Head's mid-period, although it could hardly pass for a waltz.

Thank You And Sorry For The Blood Full-Length, 2011

PITCH BLACK (PORTUGAL)

With an album-title like this, you really have to be confident about the quality of your music. And Pitch Black don't disappoint, providing us with a decent slab of mostly classic thrash with various influences- Exodus, Sepultura (their early 90's period), Slayer, Defiance. The music is moderately fast, never speeding up too much, and as such offers cool thrashers ("Beheaded", "Divine Not Human", "Pitch Black", etc.). The guitars have a dry mechanical sound, but the music is predominantly old school, with a modern production. This sound suits better the slower stomping tracks ("Suffochate") but these are the moments when the band sound close to Prong. The vocals are also similar to the ones of Tommy Victor, sometimes sounding awfully industrialized.

"Hate Division" is more consistent now thrashing in a sure-handed classic manner with speedy sharp riffs in the Bay-Area and Slayer vein, very seldom slowing down, and when it does (the dark stomping "One of Them") it sounds equally as convincing. The rest is a heads-down thrash attack, and one more effort in the same spirit will do a lot to bring them closer to the "Thrash Metal Elite", like the title of one of the songs suggests. The singer this time is quite angry sharing some of the Phil Anselmo style, but also coming as a less intense death metal shouter.

Thrash Killing Machine Full-length, 2005
Hate Division Full-Length, 2009

My Space

PITCH BLACK (DENMARK)

The debut: very good thrash/death metal of the modern type, quite energetic with technical leanings which brings it close to late period Death at times. There are the typical blast-beats and clean vocals, but they are not annoying and are used appropriately. Apart from the faster more technical numbers, one can hear slower softer moments ("Angelized", "Queen Of All Kings") with epic "decorations" as well as a great short acoustic instrumental ("A New Era"). When the guys decide to be merciless, they can rank among the best from the contemporary thrash/death metal scene: the speedy riff-fests "Satanic Majesty" and the closing "Heart Of Darkness".
"The Devilty" is a clear disappointment compared to the much more interesting debut. "Replacing God" is a confident opener with lashing fast semi-technical riffs with a couple of more intriguing quiet sections, but "Defriended" is already a groovy unimaginative filler after which two headbanging pieces ("You're Fucking Below Me" and "Don't Make Me Mad") follow suit, but that's about it. "One Day We'll Break 'Em" is a ballad, both heavy and tender, and from this moment on the guys indulge in boring tedious post-thrash sounding pretty close to the last few The Haunted albums. At least the forced shouty vocals suit those numbers...
"Death & Disbelief" brings back some of the old aggression thanks to non-fussy moshing cuts like "The World is Mine" and "El Dictador", but the dominant setting remains on the blase side, the semi-balladic "Crumbling Sands" and the dramatic steam-roller "Blood Tracking2leading the show on that side, timely stifling loftier semi-technical exercises like "Deathbed Lullaby".

Designed To Dislike Full-length, 2007
The Devilty Full-length, 2011
Death & Disbelief Full-length, 2020

Official Site

PITCH BLACK FORECAST (USA)

The debut: this is the brainchild of the drum wizard Gene Hoglan in team with other more or less famous musicians one of whom is the former Integrity bass player Steve Rauckhorst. This new/old crew pull out modern groovy post-thrash which nicely speeds up unexpectedly: the short headbanging number "Wrapped in Plastic", the longer half-groove/half-retro thrash "Lighthouse", and the slower but still energetic "Ornament".
The EP is a more dynamic offering lashing out direct no-bars-held riffs with a dry mechanical feel producing abrasive quasi-industrial atmosphere where the inevitable groovy "delights" appear at some point, but the overall tone is quite intense the band moshing out in a surprisingly unrestrained fashion to the point of blast-beating (parts from "Open Letter To God"). The singer shouts in an angry, quarrelsome manner, but his rendings are tolerable and comprehensive.
"As the World Burns" is several cover versions of the Bolt Thrower track of the same title... kidding, of course, but the guys have pulled themselves together here for the production of this abrasive intense beast which mixes the pace also producing numerous headbanging moments along the way which work well with the prevalent angry Pantera-sque tone. "The Human Furnace" is a ripping cut which will move the heads towards the end before the epic "Lighthouse" brings the winds of Manowar with a fine fast-paced crushing finish. As a work of modern thrash this effort should by all means stand tall, but considering the level of the musicians involved, one would still be expecting to hear something better later.

Absentee Full-Length, 2008
Burning in Water... Drowning in Flame EP, 2012
As the World Burns Full-Length, 2014

Official Site

PITCH BLACK MENTALITY (NORWAY)

This act offer modern thrash ala Dew-Scented and Davidian, only without too many classic nods, the riffs flowing effortlessly, but also in a pretty predictable way. Slow and fast tracks have been alternated with a good balance between them displayed. Still, it's the leads which elevate this album to a higher status: they are quite good, both melodic and technical, making up for the not very convincing gruff shouty death/hardcore-ish vocals. Some of the band members are also active with the progressive metallers Jarle H. Olsen, and the black metal formation Lidskjalv.
"World Final Wake" is a lighter affair, the sprightly galloping vigour of "Dahaka" meeting its match on the headbanging winner "Eternal Night", but not really elsewhere, the guys opting for the atmospheric progressive side ("Fear the Rising Sun", "Legacy") of the spectre instead, the meek friendly lustre served in the second half ("The Wall") drowning the album in melancholy and nostalgia.

The Pitch Black Reality Full-Length, 2013
World Final Wake Full-length, 2022

Official Site

PITIFUL REIGN (UK)

Very good classic 80's thrash influenced by Slayer and Vio-lence, among others; the debut starts with the heavy up-tempo "Toxic Choke" featuring very heavy crushing riffs and a very good bass support. Later more aggressive faster tracks show up ("In the Pits") adding more energy which stays till the end, making this short (only seven songs) affair a really good headbanging fest.
"Visual Violence" is another good retro thrash entertainment again with nods to the Bay-Area school. The mixture resembles the one from the debut, alternating fast-paced with slower numbers with both sides shaking hands admirably on the nice "Fatality". "Malevolence of the Butcher" is something unexpected: a very good more complex composition thrashing intensely for about 8-min, minus the cool more peaceful break in the middle. "Push to Prime" is relentless speed/thrash metal madness, the most aggressive track on the album.

24 Litre Killer EP, 2005
Toxic Choke Full-length, 2006
D.I.V.E EP, 2007
Visual Violence Full-length, 2008

My Space

PITONI (SLOVENIA)

Based on the first demo, this band play an interesting kind of thrash/crossover, heavy groovy with more aggressive lower-pitched hardcore vocals (some semi-rap ones also involved). At times the music might remind you of the last Xentrix album but Pitoni vary things more by including atmospheric, progressively-tinged passages as well as other non-metal instruments (pipes on "Paranoia": a nice touch). Despite the very varied nature of this recording, it certainly contains enough smashing thrashy riffs to keep fans of the genre interested.

World Around Me Demo, 1997
Kdo Je Bogu Bog? Demo, 2003
Core9 (Korenine) Demo, 2003

Official Site

PITYHOLE (GERMANY)

Modern brisk thrash which settles for sharp mid-paced riffage and marches on with little deviations from the pattern. Melodic tunes spring up from time to time, and there's also one very cool acoustic ballad ("I'm Awake"). "To Holy Ashes" in the second half finally starts thrashing with more bite, but it's too late for it to turn the tides which at least match the capable "gruff-clean" vocal duel.

Last Breath On Earth Full-Length, 2015

PIXIE KILLERS (DENMARK)

One of the best thrash metal album to come out of Denmark; their name will call many other music genres to mind, but not metal. And that's a pity, because apparently this is the main reason why this band remained in the shadow of Invocator, Artillery, etc. In terms of musicianship these guys are by no means worse than those bands, and are actually better on a few moments. The music is awesome thrash which draws comparisons to early Testament, Anthrax, late period Helstar, and... Artillery (the technical guitar work at times). One can find straight aggressive headbangers: "I Recall Evil", but the concentration is on the heavier, more technical side of the music, and songs like "Conscience" and the magnificent closer "Poottah" could be very well fitting even on masterpieces like Helstar's "Nosferatu" or Testament's "The Legacy". The pace is quite energetic, and only gets lost for a while on the very good semi-ballad "Strubesnittersangen (Throatcuttersong)". The singer sounds quite close to Helstar's James Rivera, maybe a little lower-pitched.

One Size Fits All Full-length, 1993

PIZZACOI (PHILIPPINES)

This is intriguing retro thrash with modern production and screechy black metal vocals; the delivery veers on the progressive (“Milletus”) at times, but for the large part this is intense dynamic stuff that flirts with the more epic configurations (“Hurt and Virtue”) on occasion, before the sprightly semi-technical ripper “Burn Them Alive” brings the house down with aplomb, the more immediate headbanger “Congregate” served with a muddier sound quality, a possible leftover from earlier recording sessions.

Post Existence Full-length, 2023

Official Site

PLACENTA (GERMANY)

Based on "Fixed Action Pattern", this act pulls out heavy steam-roller thrash/death metal of the modern type, spiced with quite a few uncontrolled blasting passages and more intense Swedish moments, but the groove is present all over although it's more dynamic except on the moments when it descends to pure metalcore. The vocal duel is really bad, though, seeing very brutal low-tuned growls mixed with very screechy hysterical shouts; a widely spread gimmick nowadays, but in this case this is hardly the best example of how it should be done.

Human Abyss Full-length, 2007
Fixed Action Pattern Full-length, 2009
Brutalis EP, 2010

Official Site

PLAGUE ALLEGIANCE (USA)

Excellent riff-oriented classic thrash metal; fast and aggressive with an obvious Slayer and Devastation-vibe. The vocals are more melodic bearing resemblance to Joey Belladonna. After the short aggressive opener comes a heavier, longer track ("101 ways to Die"), which slows down considerably, but the speed returns with the explosive "Pain Remains the Same", and never leaves again. The closing track "Things in the Wall" sneaks more technical moments, but the very aggressive riffage stifles it.

Demo Demo, 1990

PLAGUE AND THE DECAY (UK)

A modern power/thrash blend which has enough bite and speed (the intense shredding title-track) to hook even the more demanding listener, with even the classic spirit raised high on more impetuous anthems like "Deus Ex Machina" and the metal thrashin' mad hatter "Poison of Suspicion". The vocals are very good clean passionate ones, doing a particularly good job on the mellower material (the effective semi-balladic "Poison of Suspicion", the epic Blind Guardian-esque closer "Children of the Deity").

Children Of The Myth Full-Length, 2019

Official Site

PLAGUE ANGELS (ITALY)

The debut EP: the Italian underground grows considerably these days with acts coming from all sides to take part in the resurgent thrash metal revival. This outfit provide capable classic stuff which is mostly fast in the good old Germanic fashion characterized with ripping lashing riffs and mean semi-shouty vocals reminiscent of Bobby "Blitz" Ellsworth (Overkill). "Impiety" is an admirable speedster which will make you jump around in oblivion the way the early Destruction efforts had. "Pain on the Battlefield" is a short crossover fury reaching an almost death metal intensity pouring more fuel into the fire to this already fairly intense, and by all means satisfying, listen.
The full-length follows the same path; the band know no remorse thrashing like demented with fiery vitriolic riffs which acquire certain proto-death drama (Exhumer") at times. "Pain of the Battlefield", already heard on the first EP, is a short merciless rager, but the longer numbers ("Federal Bureau of Investigation (F.B.I.)") are only a tad more lenient, and their importance is sunk in the sea of shorter immediate brutalizers which show an act not kidding around, but totally intent on inflicting as much pain as possible.

Fake Mind...A Torture Chamber EP, 2011
Militia of Undead EP, 2012
Reign in Terror Full-length, 2013

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PLAGUE OF SHEOUL (USA)

This band are another pretender for the new At The Gates. Here the music is more of a thrash/death metal combination, and is quite fast with a frequent adherence to blast-beats. The sheer brutality actually nicely contrasts with the melodic guitar lines, and almost every track has a thrashy mid-break.

Spoken Into Existence Demo, 2006

PLAGUE RIDER (UK)

This talented outfit specialize in very cool, highly technical thrash/death with echoes of early Pestilence and Sadus. The approach is very dynamic with several blast-beating passages applied appropriately adding to the really intense musical picture which borders on the progressive on the unpredictable shredder "Malign Air". "Subconscious Entrapment" is technical virtuosity at its finest, and "Life Tribulation" is another progressive-sque opus with puzzling riffage galore. More straight-forward headbanging is served near the end with "Genetic Devolution" which is a cool "wink" at mid-period Death. The singer shouts in a forceful death metal fashion deafening the instruments a bit on his most passionate rendings. Some of the band members are involved in the death/doom metal act Live Burial, and the death metal formation Horrified.
The EP is another major achievement starting with the eponymous thrash/deathster "Retrovirus" which is somewhat obstructed by the noisy guitar duels some of which create really twisted sceneries. "Occidite" is pure technical death metal with echoes of Suffocation and Necrophagist, and "Hydrophobe" is an intelligent brutalizer with a few sudden, not very expected time and tempo-changes. The final "Prion" is another fast-paced technicaller again showing the guys' obvious fascination with death metal side, and one shouldn't be surprised to find that thrash is a distant memory on their next opus.
And indeed, the "Rhizome" EP is almost entirely built around the death metal idea; this is complex progressive/technical death which juggles between slower entangled passages and fast blitzkrieg accumulations. Not a very radical departure from the previous recordings except that thrash is almost non-existent.

Plague Rider Full-Length, 2013
Paroxysm EP, 2015
Rhizome EP, 2018

Official Site

PLAGUE WARHEAD (SWEDEN)

The band's line-up features Mr. Benny Larsson: the drum authority who has graced with his presence renowned acts like Edge of Sanity, Godsend, Ophthalamia, Pan.Thy.Monium, etc. The concentration here is more on the classic thrash/death blend, though, with rough, but intelligible, vocals strictly belonging to the death metal genre. The music rips with hard, sharp riffs which inevitably remind of the early Swedish death metal heritage (Unleashed, Entombed, early Cemetary, etc.). The guys play fast with no remorse resulting in a crisp invigorating sound which cries out for a longer release.

Whores Of Lucifer EP, 2011

My Space

PLAGUE YEARS (USA)

Based on the short compact full-length debut, this act deliver old school thrash which hesitates between all-out blitzkriegers ("Hellborn") and heavy more atmospheric stompers ("Aeon of the Serpent"), both sides provided in almost equal amounts. The vocalist is an intense death metal shouter coming with an angrier blend the latter more characteristic of the 90's aggro-movement.
"Circle of Darkness" carries on a similar direction if we exclude the noisier, more abrasive production. The saga is brought forward by the speedy more dynamic material ("Witness Hell", the title-track), but expect heavy seismic round-abouts ("Evil One", "NRFTL") as well the latter evoking the dark cavernous atmosphere in a more convincing manner.

Plague Years EP, 2017
Unholy Infestation Full-length, 2018
Circle of Darkness Full-length, 2020

Official Site

PLAGUEFEVER (USA)

A crusty retro black/thrash entertainment this one, the rousing epic veneer of "Cold As Hell" pairing very well with the steam-roller belligerence of "Crude Implements" and the brooding doom layout of "Cage of Gods". "Haunt You!" is more on the playful catchy side, but its more infectious character by no means ruins the guys' intentions which later lead to another doom-laden hymn, the boisterous "Toppling The Ikons", another winner here being also the more black-fixated odyssey "Keep The Pit", the intense shouty deathly vocals spearheading the admirable parade with vociferous panache.

Crude Implements Full-Length, 2021

Official Site

PLAGUEPREACHER (AUSTRIA)

Vicious aggressive black/thrashers who blast their hearts out ("Abhorrent Beast") in a wild unrestrained fashion, but there's also a more atmospheric streak ("Destroyers of Light") running underneath these hyper-active arrangements, the crusty dramatic "Terracide" a cool attempt at full-blooded retro thrash. The steady hoarse death metal vocals don't create much noise, assisting the show with a suppressed composed vigour.

Terracide EP, 2021

Official Site

PLAGUESHIP (UK)

This outfit pull out modern progressive thrash which hesitates between fast-paced shredders ("Solemn Sun") and more complex meandering compositions ("The Falling Facade"). Both sides have their appealing moments as the former is kind of more attractive due to its more dynamic nature (check the metamorphic futuristic twister "Absence Of Divinity", and the raging deathster "A Slave in All But Name"). The vocalist is a gruff semi-shouty death metaller who strains his throat too much at times creating not very necessary artificial drama.

Shrykull Full-Length, 2016

Official Site

PLAN 4 (ARGENTINA)

Based on "Dos Caras", this band pulls out 90's groovy post-thrash which changes the approach sounding both faster and more intense, and mellower balladic at different times. The music isn't stale and moves around although this is hardly anything that hasn't been heard so many times before.

"En Mil Pedazos" is the traditional for the band heavy groovy affair, this time more one-dimensional and less interesting, if we exclude the cool energizer "Odio (Tiempos Violentos)" which also contains genuine doom riffs at the end; and the vigorous galloping closer "Euphoria" which is vintage retro thrash at some point.

"Horizonte Rojo Sangre" is in a similar vein with an added pinch of dynamics reflected in a few more energetic numbers like "El Nido de la Serpiente" and the merry groover "La Mejor Arma". The bigger diversity here ensures more fun and more engaging moments (check out the melodic progressive opuses "La Procesion" and "Horizonte Rojo Sangre") which at the end transform into more standard groovy decisions to a duller effect.

Plan 4 EP, 2004
Cambio De Piel Full-length, 2005
Dos Caras Full-length, 2007
EXTRACHAOS VOL. 1 Full-length, 2008
En Mil Pedazos Full-length, 2010
Horizonte Rojo Sangre Full-Length, 2013

Official Site

PLAN TO KILL (CZECHIA)

Based on the full-length, this is modern post-thrash which grooves its way with belligerent authority, the more dynamic title-track sidelined by the elephantine rhythms of “Mis Penas” and the overt brisk character of “Petiso Orejudo”. The semi-declamatory hardcore singer rends his lungs with moderation, trying to actually sing a bit on the measured mid-paced trot “En la Obscuridad”, the groovy bellicose drama on ”Odio” providing another stage for his subdued but tangible vocal exploits.

Iluze EP, 2024
Vida y Muerte Full-length, 2024

Official Site

PLANET EATER (CANADA)

Based on the full-length, this act indulge in quite contrasting classic thrash/death metal which throws itself from one extreme to the other serving wild brutal deathsters ("Pile of Bones") right next to morose doom sleepers ("The Boats", the Crowbar worship "The Spoil"). The overall approach is pretty atmospheric, especially on the heavier material ("Suffer What They Must"), but expect also corrosive Soulstorm-esque industrial on "A Fault to Fix" which abrasive riffs perfectly fit the very shouty, angry death metal vocals.

Planet Eater EP, 2014
Blackness from the Stars Full-length, 2017

Official Site

PLANET HATE (USA)

This band could be considered the continuation of the excellent short-lived thrashers Dead On, but don't expect the interesting sophisticated thrash of the latter here: this is pretty pedestrian modern post-thrash, diverse and dynamic, but the diversity leads it too often outside the confines of the genre the guys experimenting with numerous other influences (funk, grunge, etc.) among which the only ones worth a listen are the couple of heavy doom tracks in the middle where the sound comes close to Flotsam & Jetsam's "Quatro".

Mother Are You Mad? Full-length, 1994

PLANLEFT (CROATIA)

Another one-man show, the name in this case Denis Pauna, which circles around choppy groovy rhythms with both post-thrash and stoner/doom courted copiously along the way, "Neon Glow" a particularly noteworthy illustration of the latter aspect. Expect unheralded smattering gallops on "Planned Obsolescence", a really cool wink at the Bay-Area, this outbreak of vitality buried under a wave of heavy antediluvian rhythms on "Back to Life" and the more psychedelic "Gripping Motion". Pauna is content enough emitting warm semi-clean croons behind the mike, resembling Dave Wyndorf (Monster Magnet).

Honor the Struggle Full-length, 2021

Official Site

PLANO D (BRAZIL)

This is choppy modern post-thrash with expressive shouty death metal vocals. The music is not excessively groovy, though, and the band try to make things more interesting by applying the casual more dynamic excursions ("I Am", the excellent pounding "Crows") alongside the more regularly present melodic nuance ("Devout").

Dusted Rusted Broken Full-Length, 2020)

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PLEASE DISRUPT (INDIA)

The noisy guitar background is utterly annoying, not helping much the awful death metal grunter who serves as a vocalist. Otherwise music-wise this is modern thrash with gothic and balladic overtones, the former particularly well expressed on the several short lead-driven instrumentals which are a good touch, and even overshadow the actual songs, which offer nothing that hasn't been heard plenty of times before.

Verge of Death EP, 2009

Official Site

PLECTOR (SWEDEN)

Modern thrash/death metal with brutal low-tuned vocals; the guitar work is fairly cool with jumpy riffs involved at times ("Destroy You"), but there's groove present as well. The more attractive side are definitely the up-tempo thrashing pieces, like "Get Drunk Or Die Trying".
"Dark & Spiteful" continues the tendencies from the EP relying more on fast rhythms, and as such creates quite a few headbanging opportunities, at times even crossing over the border of good behaviour (the grinding section on "Embrace Our Shit"). No surprises here as the approach is safely oriented towards the already established patterns.
"Punishment Day" goes up the technical scale and as such serves more stylish music with a bigger variety in the riff-patterns making slower puzzlers like "Insularity" a fairly engaging listen. In the middle the band return to the more trite delivery of old with an added doze of groove plus an increased presence of cool melodic leads (check out "To Be Punished" for both deviations). The second half is less exciting the guys slowing down relying mostly on heavy repetitive riffage losing the more intriguing hooks from the beginning settling for the sneaked-in groove to a not very positive impression.

Suppressed Aggression EP, 2008
Dark & Spiteful Full-length, 2009
Punishment Day Full-Length, 2012

My Space

PLEGARIAS (ARGENTINA)

Based on the full-length, This act lash pure old school thrash, the guitars spitting fire and steel but also quite a bit of melody (check out the gorgeous saga "DondeDomina el Rencor"), the lofty musical setting partly ruined by the harsh shouty death metal vocals. There's also a more technical sniff ("Origen") served, the guys displaying admirable professionalism all over, circling around the prog-thrash possibilities with "Detras de las Sombras" and "Despertare", the short ripping "Infectado" keeping the headbangers very happy with its brisk lively rhythms.

Sobre mis lamentos EP, 2017
Gritos de liberación Full-length, 2022

Official Site

PLETHORA (POLAND)

This new Polish outfit specialize in quite good edgy, thrashy progressive metal which also wins quite a few points from the vocal sector where we have a diva, the name Adka Niksinska, who holds a cool high-strung timbre quite reminiscent of Doro Pesch. Music-wise the band mix melody in aggression mostly relying on heavy mid-tempo riffs and breath-taking atmospheric interludes ("Faith", the lyrical ballad "Into Your Soul"). "The Sparrowhawk" is a vigorous speedster with constant melodic support the final result reminding of the Danes Manticora. "Ged" is another more aggressive delight, thrashing with vigour the latter partially translated on the following "Kaizen", a nervy bouncy shredder with a smattering speedy mid-section. "Rebel" retains the thrash flair, gradually picking speed, leaving the more laid-back escapades for the closing "Freedom" although that cut will surprise with another fast-paced stroke, not to mention the nice virtuous leads and the excellent, pathos-like vocal performance. A young, very promising act who should reach far...

Age of Changes Full-length, 2017

Official Site

PLEUEL (GERMANY)

Based on "Explosion", this one-musician project, the name Markus Lang, serves an atmospheric modern thrash metal blend which gothic clout is at times a bit too big to be overcome by the not very aggressive thrashing histrionics. Lang adds subdued throaty death metal vocals to the dark proceedings, the latter decidedly lacking energy, developing in a samey mid-pace most of the time, the sprightly "Feuerball" more of a speed/power mixture than a full-on thrasher. "Objektive Uberforderung" is a wild semi-headbanger, but it's only the closing "Endgultige Separation" that supports it with a wild death metal cannonade, an unbridled sniff which some may fund awkward on the much meeker surroundings.

Durch die Wand Full-length, 2015
Aufruhrprozedur Full-length, 2017
Explosion Full-length, 2022

Official Site

PLEUROSIS (SPAIN)

The full-length shows a band treading the line between hardcore and thrash, and as such is more prone to display its brutal side, resulting in a considerable number of short aggressive bombs, going well over the Wehrmacht intensity. On the other hand, the longer songs which are not that many, are heavy and modern-sounding with heavy groovy riffs. On the shortest material the sound becomes no-bars-held grind, although the singer on those sings in the same gruff low-tuned way. The guys have tried their hands on more classic-sounding thrash with their other formation Convulsion-A.T.

Nopresion/Pleurosis/Aspid Split, 1993
No Mas Nuclear Full-length, 1993

PLOY FOR EXTINCTION (USA)

Based on the full-length, this band provide melodic power/thrash with some groovy implements which is mostly on the mid-paced side infused with numerous melodic tunes which are quite addictive, but stifle the sharp riffage which has no choice, but to play a second fiddle here. This is music for the more tender hearts, and the hard-boiled thrashers would hardly stand through it till the end.

Equality Lies Below EP, 2009
Primordial Full-length, 2013

Official Site

PLUNDER & PILLAGE (USA)

These are the same guys who also take part in two other bands: Bound for Glory and Before God. Based on "Desolate", this band play a style close to the hardcore-tinged one of Bound for Glory. The music has its more energetic thrashy moments ("Fry Mumia"), but often does it degenerate to dragging groove ("Unscarred", "The Liar", "Desolate). A cool touch is the couple of jolly punk-ish numbers ("Live, Die, Understand", "Forceful Salutation") which lift up the mood.

Lights Out Full-length, 1999
Desolate Full-length, 2001

PNEUMA (COSTA RICA)

These Costa Ricans serve progressive power/doom metal with harsher proto-thrash moments. The music is heavy and seismic with very cool clean emotional vocals which score high from the very beginning on the steam-rolling opener "Descend", which is followed by the slower doom-laden "Dementia" the later translating its heaviness on the following more dynamic "Ancient Times". "Then came the killing" with "The Killing", a heavy ambitious 8-min progressive opus with operatic and balladic overtones, slowing the album down considerably. More edge comes on "Betrayal Speaks of Rage", but all gets lost once again on another exercise in ponderous heaviness "Residual Experiences", this time better done despite the slightly overlong spacey balladic mid-break, compensated by a cool fast-paced thrashy section at the end. "Neuma" could be considered the ballad here (although at least half of the songs can compete with it for the title) with cool melodic arrangements and harsher scary vocal tones which serve well to increase the drama. But this is not the end: it comes as a monstrous 11-min long instrumental composition, quite a treat with loads of moods and rhythms still sticking mostly to the doom side with sprawling lead sections, but overall not bad at all also thrashing harder here and there, finished with a haunting acoustic outro. Fans of doom will be quite happy with this one, but any other metal fan should also give this nice release a try, just to see how contrasting genres can co-exist well together.
"The Game" comes with a much more modern sound with thrash making itself heard at the beginning, but not exactly for the better. Misplaced more aggressive death metal-ish passages can be heard at times, but the real deal remain those moments where doom still has the floor, like on the elegiac progressiver "Changes", or the excellent diverse, more classic-sounding title-track. "Gorilla on Opium" is the only more full-fledged doom metal track, trad doom at its finest, also devoid of the slightly annoying overshouty main vocals. "Struggle" livens up the environment with vivid energetic rhythms, but those aren't given too many chances on the seismic steam-roller "Landslide", and the progressive doom masterpiece "Hatelist", not to mention the 8-min lyrical balladic closer "Watership Down", the only mitigated failure on this interesting opus.

A Run Through Full-length, 2004
Anomaly Full-length, 2010
The Game Full-length, 2017

My Space

PNUK (SPAIN)

Based on "Acid Death", these lads serve pretty cool proggy old school thrash which also has its pensive heavier side as reflected in "The Evil Within" which later grows into the nice balladic odyssey "Brother Against Brother". With "Never Cross the Line" enters more ambitious waters, and the second half is a full-on display of serious contrived musicianship, "The Clash of the Titans" relying on dark doom vibes to pull it through whereas "Blackout", which is not a Scorpions cover, is a more dynamic proposition, the steady but not very expressive semi-clean vocals leading the show without exuding much passion.

Fin de la Civilización Full-length, 2016
PNUK Full-length, 2018
After Death Full-length, 2020

Official Site

PO'METRA CRIJEVA (CROATIA)

Based on the demo, this act serve an eclectic conglomerate of thrash, death and progressive that seeps with restless dynamics at times ("Kastaf Gori"), at others looks at the doom realms ("Vjever"), at others raises the deathly furies ("Macici", "Metla") with brisk dynamic strides. The band lose it a bit on the closing "Jure Grando", a soothing reggae tune which mostly wins from the presence of nice attached female vocals.

Crne Besede va Kastafskih Sumah Demo, 2003
Ca Metal Full-length, 2018
Boskarin IV Full-length, 2023

Official Site

POEM (SWEDEN)

More dynamic modern thrash (think Carnal Forge, Corporation 187) co-exists with groove on the debut demo which offers pretty pedestrian music which constantly alternates between the two styles, assisted by expressive shouty black/death vocals. The sound quality is a bit rough giving the guitars a slight fuzzy edge. Some of the band members also take part in the death/thrash formation Mindfall.

Virginity Demo, 2003
Angelmaker Demo, 2004

Official Site

POETE MAUDIT (SWEDEN)

Based on "Tome I: Anno Inferno", this formation play atmospheric crusty doom/black/post-thrashcore. The delivery is quite dark, but at the same time comfortably accommodates punk cuts like "Torsions" which come assisted by uplifting keyboard implements. The style clings more towards black and doom, and the thrash metal fraternity may not be thoroughly moved by this melancholic saga which also boasts not bad clean darkwave-ish vocals.

Hiver qu'eb'ecois Dantan Full-length, 2007
Le Quattro Stagion-Au temps s'emporte le Vent: Une Anne d'Apocalypse EP, 2010
D'ej'e Novembre EP, 2010
Tome I: Anno Inferno Full-length, 2015

Official Site

POGO ZERO ZERO (BRAZIL)

This is old school thrash/death/crossover that is accompanied by guttural death metal vocals, and sometimes by the causal more brutal deathly stroke ("Desprezível Vida"), the short grinding "Gritando" another display of overtly vigorous demeanour. "Nada a Oferecer" is a frolic optimistic roller-coaster, and "Jugular" is a more measured hardcore-ish briefer, with fuller-fledged thrash materializing on the wild furious "Punhos Fechados".

P?á?tria Que nos Pariu Full-length, 2024

Official Site

POINT (USA)

This act specialize in abrasive noisy retro power/thrash that tries something more complex and progressive ("The Mourge") at times, but the delivery is overall sleepy and cumbersome, the not very impressive mid-ranged semi-clean singer not doing much to revitalize the setting. "Black Death" comes out with a few more confrontational rhythmic jolts, and "Feel the Fire" is a mildly entertaining chuggy mid-pacer.

The Unknown Full-length, 1999

POINT-BLANK (FINLAND)

Based on the "Execution" demo, this act offers classic thrash/death metal with a very brutal death metal vocal delivery. The songs are heavy in mid-pace with the casual more intriguing hook ("While You Bleed", the excellent jumpy "Harvest of Death"), and some variety in the music department could have been offered. Still, this is competent stuff, professionally done, with a sharp guitar sound and a good sense of melody.

Gatling Gun Manifest Demo, 2007
Execution Demo, 2009

Official Site

POINT BLANK (NORWAY)

This is pretty decent entangled classic thrash which exhibits some progressive drama on "Camoflage" with a wide array of time and tempo changes; and "Stalemate" is another complex excursion covering wide ground once again, "The Last Laugh" trying to do the same only in an all-instrumental context, being another exemplary progressive thrash, missing the expressive shouty semi-clean vocals. Some of the band members were also involved with the retro thrashers Vigalante.

Promo Demo, 1993

Official Site

POINT BLANK (USA)

Thrash/crossover quite similar to early Suicidal Tendencies, or more melodic D.R.I., finished with a jolly hardcore cover of Deep Purple's "Smoke on the Water".

Point Blank EP, 1990

POINT OF EXISTENCE (SWEDEN)

The T.A.R. members have woken up for another temptation, this time under this name. Based on the very elaborately-titled (pun intended) full-length, the guys are ready to continue the damage in a more complex progressive power/thrash metal way, starting with the encompassing "Black Gold": 10.5-min of diverse music jumping from dark doom riffs to fierce headbanging passages and vice versa all this surrounded by some of the finest Oriental tunes on the contemporary metal scene; despite the wide gamut of moods and tempos this song will by all means please the listener. The latter will arguably be happy to hear more immediate stuff on "Falling Down" which is a bit more than the modern power/thrash played by numerous acts around (Morgana Lefay, for example) with a slight technical twist. "LOL" follows a similar path, but is too incoherent and jumpy, also marred by the synthesized blend the vocals take; those vocals are not bad, actually, the same ones encountered on the T.A.R. albums delivered by Torborn Sandberg. Things get more dynamic on "King of Sin" which is a decidedly more aggressive offering with brutal death metal riffs inserted. "Bethany" is cool jumpy technical thrash keeping the speed to an extent which also translates well on the nice epic thrasher "Mortal Illusions", before the closer "What's Next" wraps it up in an unexpected doom manner ala 90's Candlemass and Abstrakt Algebra lasting for nearly 9-min with an even more surprising faster "revelation" near the end.
To these ears the T.A.R. material sounds more appealing being more consistent also having a more individual and respectively a more coherent face. The album here spreads too wide at times, either intending to leave the obvious Morgana Lefay influences behind, or to satisfy the musicians' desire to make their music as complex as possible. It certainly has its moments, but it will take several listens for one to fully appreciate it. And still he/she has to have ears for those contrasting mixtures with the sudden switches between genres which quite a few modern acts try to implement more or less successfully; in this case the latter are rather on the positive side. And, let's not forget that probably there will be "02", "03", ... there will be plenty of time for smoothing out the flaws...

EP1 EP, 2006
0 1 Full-length, 2009

Official Site

POISON (GERMANY)

After a long line of demos (the first ones contain some of the rawest-sounding metal ever recorded) dating back from 1984, this band finally made it to the official release stage with this one. The improvement over the demos is obvious, but the sound still remains raw, noisy, brutal and primitive. This is mostly black/thrash with touches of doom and even power metal with influences coming from Celtic Frost, Bathory, Bulldozer, among others; a cult release if we ignore the almost complete lack of any musical merits.

Into The Abyss Full-length, 1993

My Space

POISON (JAPAN)

Based on the "Hot Rod" EP, these guys offer energetic speed/thrash with nice melodic guitar work and gruff undeveloped dirty vocals which surprisingly come up with cool melodic lines from time to time. There is a certain crossover vibe in the delivery, but pieces like the smashing "Combat" thrash with conviction and power. "Kill and Killers" is a good speed metal number with a nice punk-ish melodic break in the middle.

Doku EP, 1985
Hot Rod EP, 1986
Mystery Temptation EP, 1986
Hi-Energy Single, 1988
Kick Rock Full-length, 1988
Attack of 4 Tribes Split album, 1988
Game of Death Split album, 1989
One Hundred Dragon Full-length, 1989
Poison Arts Full-length, 1989
Rising Sun Full-length, 2008

POISON ASP (GERMANY)

The demo is pure speed metal, quite well done, not too far from early Helloween and Vectom. The EP is truly a revelation featuring some awesome thrash; the tempo isn't that fast anymore, and the guitars are considerably more technical calling to mind the Swiss Apocalypse's debut and early Megadeth.

Schizoid Nightmares Demo, 1987
Beyond the Walls of Sleep EP, 1990

POISONDEATH (PERU)

Retro thrash metal ala early Whiplash and Rigor Mortis; this is fast energetic stuff with not very convincing vocal performance which can be barely heard because of the boosted guitar sound which in its turn disappoints on the lead sections where the guitars are too thin. The guys spare no speed, though, moving the approach close to proto-death at times (the furious tribute to early Death "Metal Inquisition", which isn't a Piledriver cover), and with a better sound things could reach further: there's definitely a potential here...

Poison Metal Demo, 2010

POISONED (POLAND)

This is wild vehement retro thrash/death which rages onward with unrestrained proto-blasts ("The Despot") and impetuous speedsters ("Extermination Command", the lightning-speed delight "Legacy of the Lie"), the more overt deathly experience "Re-birth Through Suffering" creating some chaos due to its more scattered but pleasant delivery, the throaty semi-declamatory death metal vocals keeping in pace with the fast-paced music every bit of the way.

Beyond the Gates of Fire Full-length, 2016

Official Site

POISONED BLOOD (JAPAN)

Yasuyuki Suzuki, the famous Japanese metal guru (Barbatos, Abigail, etc.), entertains himself here with a similar classic black/thrash concoction, the main difference being the mean witch-like vocals, also courtesy of Suzuki, the brutal Impaled Nazarene-sque "Black War" setting the tone for this hyper-active melee, the latter later enriched by other aggressive tunes like "Black Bestial Slaughter" and the grindy "Endless War"... a lot of war here, but music-wise nothing too striking, Suzuki bashing with little moderation all the way through, the mid-paced dirges of the closing "Infernal Metal Knights" siding with the heavy/power metal community as a more welcoming final twist.

Sign of Final Massacre Full-length, 2023

Youtube

POISONED BREATH (USA)

Modern thrashcore which has all the staple ingredients of this overdone genre: the heavy stomps, the thick grooves, the quarrelsome shouty vocals... fans of mid-period Pro-Pain would probably be happy with this slab as this can be fairly energetic ("Red Wind", "Blood and Sand") on occasion, with some serious hard thrashing elicited from "Prowler" and the short sweeping "Home". In fact, the intensity is fairly big for most of the time, with only the heavy atmospheric "Cold Aura" taking it easy with patient slow-motion riffs.

No Kings No Gods Full-Length, 2021

Official Site

POISONGOD (BRAZIL)

PoisonGod offer a sound similar to the one of quite a few of their compatriots, in other words classic Germanic thrash reminiscent of early Destruction, with touches of the Bay Area scene. The music is actually quite good, and nicely moves from heavy, slower tracks ("Bullets") to really cool headbangers ("Genesis Protocol"). Somewhere in the middle you might get startled by the sudden outburst of aggression coming from "Daemoncracy": a more death metal-based song with a strong nod to Death; a very good number with nice leads and sharp riffs. No more surprises till the end as the rest returns to the retro thrash metal formula, but staying on a more intense level.

Daemoncracy Full-length, 2007

Official Site

POISON MOSH (POLAND)

One guy is in charge of the chaotic noise here, the alias Poison, of course. Based on the "Picture of Massacre" demo, this is a fairly amateurish exercise in thrash/death/grind which is basically a big wall of noise topped by even worse grunting vocals. Poison has obviously never heard of music or vocal lessons, but even a spontaneous jam session with my elderly neighbours tonight would come as more listenable and appealing. Raw, raw stuff... not even for completists.

Picture of Massacre Demo, 1989
Disintegration of Brain Demo, 1990

POIZON GREEN (BANGLADESH)

These Asians pull out rough modern thrash/post-thrash which is quite messy and unpolished the guys trying their utmost to come up with more meaningful sounds as opposed to their limited musical skills, and eventually manage to produce something more sensible on the longer cuts in the second half which are more on the balladic/semi-balladic side, but show the musicians' more proficient side for a bit except for the awful semi-shouty death metal vocals which are a very serious pullback. Still, this borders too often on the amateurish: the guys have a looong way to go before they reach even average standards...

Poizon Green Full-Length, 2006

Official Site

POKERFACE (RUSSIA)

Based on "Game on", these folks, who also include two girls one of whom is none other than the diva Alexandra "Owl" Orlova from Korrozia Metalla, specialize in brisk modern thrash which straddles between more recent Kreator and Arch Enemy. The guys (and girls) waste no time thrashing with gusto providing several energizers along the way: "The Fatal Scythe", "Play or Die", "Straight Flush", etc. The male/female vocal duel works for most of the time as the latter sounds way more appealing with more dramatic singing involved at times not far from Dawn Crosby (R.I.P.; Detente, Fear of God).

Terror Is the Law EP, 2014
Divide and Rule Full-length, 2015
Game On Full-length, 2017

Official Site

POLARIS (GERMANY)

All hail the new "Forbidden Evil"! These Germans have epitomized the glorious speed/thrash of early Forbidden quite well without sounding completely derivative although the vocalist is a dead ringer for Russ Anderson except on the moments when he shouts in a not very sober manner. Some not very conventional wild thrashing can be come across on "Fire from the Sky", but the relief isn't far behind in the form of the mellower power metal proto-galloper "Aurora" and the semi-balladic anthem "Immolation of the Dead". At the end the band raise the speed metal flag high and the exiting trio of songs can actually bring them the title "Pirates of Thrash" (since the other "pirates" on the scene, their compatriots Running Wild never really qualified as thrash), like the title of one of them suggests.

Dawn Of The Last Day Full-Length, 2013

Official Site

POLARITY OF LIFE (CROATIA)

This Croatian outfit offer laid-back modern power/thrash which relies on melody more, but wakes up at times for the regular hard-hitting ripper ("Transformed") including some which come with a strong Gothenburg flavour ("Torn"). The peaceful meditative tone of the album inevile leads to ballads ("Self Inflicted Violence"), and to one progressive exploit at the end: "Endless River", again more on the serene side. The vocals are gruff death metal ones, and leave a decent impression.

Polarity of Life Full-Length, 2014

Official Site

POLARIZED (USA)

Pretty much an all-star show comprising members of Carnal Forge, Rosicrusian, Slapdash (the bassist Lars Lind'e9n for all those), and Gory Blister, Node (the vocalist and guitar player Daniel Botti for those); the style is modern semi-technical thrash quite reminiscent of the more recent Annihilator exploits, but better and with a sightly bigger classic flair. "Wish'Em Well" is a cool ripping thrasher ably assisted by the short "bomb" "Recipe For Death"; before some abstract progressivism sneaks on the more moderate "Black Loyalty". That same number influences a string of cuts after it and the band have problems recapturing the energy from the beginning for a while, and in a manner similar to Annihilator again they tend to leave the confines of thrash metal ("Rise") exploring other mellower territories. "Listen" towards the end starts shredding with more force, not to mention the tasteful lead guitar passages. The highlight is yet to come, though: the closing title-track which is quirky stylish technicaller with a pleiad of time and tempo-changes; a masterpiece which would be the star even on "Alice in Hell". The singer has an acceptable, albeit hardly emotional, semi-clean baritone which again is modeled after the Jeff Waters attempts at singing. The musicianship is admirable all over an despite several lapses the fan should be satisfied by this overall confident slab of the good modern thrash.

Western Hypnosis Full-Length, 2015

Official Site

POLICE BASTARD (UK)

Classic-sounding thrashcore in the middle of the 90's is something rare, but these Brits manage to pull it out moshing in a mid to up-tempo with simplistic guitars and harsh quarrelsome vocals. The vogue of the times takes its toll on a couple of heavy proto-modern moments, but most of the time the music doesn't stray too much from the path carved by veterans from the 80's British thrashcore school like The Exploited, Concrete Sox and early Hellbastard.

Traumatized Full-Length, 1995

POLIKLINIKA (RUSSIA)

The debut: Professor Moriarty should remain pleased to hear this energetic speed/thrash which pays tribute to the 90's scene unleashing carefree soaring melodies aplenty on top of great melodic leads and cool mid-ranged clean vocals. The thrash side of the band is not so well reflected, but the Master cover of "Stit & Mech" is very well done with a nice individual colouring in both the riff and vocal department. The last piece "Jertvoprinoshenie" is a cover of the Russian punk/core heroes Skoraia Pomoch sustained in a brisk roller-coaster fashion the leads being the highlight.
"Experiment nad Dushoi" continues the speed/thrashing saga from its predecessor and the fans should have their good time on perennial speedsters like the opening title-track and "Palach". "Volchij Pastyr" is a more technical shredder also adding a couple of tasteful melodic leads; and "KaznuJ Magistra" is another stylish number thrashing hard with sharp lashing riffs plus the nice sing-along chorus. "Zver" is the definitive speed metal hymn, and "Novuj Prometei" is a very cool ballad again with astonishing melodic lead sections. This is a nice effort with a fresh classic character seeing a rising star onn the Russian metal horizon.

Professor Moriarty Full-Length, 2012
Experiment nad Dushoi Full-Length, 2016

Official Site

POLISHDEBIN (CANADA)

This is a more energetic, crossover-laced, version of the good old 90's post-thrash which mixes fast ripping passages with the compulsory clumsier groovy sections resulting in an eventful listen with a few playful arrangements and several attempts at a more serious play (the thought-out "Dictatura"). The singer shouts angrily and authoritatively with a more attached timbre even carrying the odd shade of melody.

Brown's'Beurk Full-Length, 2011

Official Site

POLLUTED (FINLAND)

Cool Slayer-influenced thrash metal; good vicious riffs aplenty and solos from the chaotic Kerry King-esque type. The title-track is a raging pulverizer, the slightly indifferent semi-declamatory vocals doing their own show without disturbing the peace too much. "Psycho-Killer" is a more tamed semi-headbanger with echoes of the Bay-Area, and "Life on a Deadline" displays both more aggressive and more technical prowess for a thrilling diverse ride. "Prisoners of the War" is a simplistic fast-paced cut, ending this enjoyable entry which remained the musicians' only creation.

Nuclear Threat Demo, 2004

Official Site

POLLUTION (SERBIA)

An excellent demo of hard-hitting speedy retro thrash metal which opens with the smashing instrumental "Absolute Pollution" (the guys care a lot about our environment, and that can only be a good thing) in the best tradition of Paradox and early Angel Dust. The attack continues on the equally as intense and fast "Manic Depression". "Violator" is a headbanging fest at its best, with the riffs now coming close to early Destruction, cutting like a knife, a feeling helped by the good sound quality of the recording. "Our Way" is the last speed/thrash hammer here, the shortest one, more speed metal-based, with a nice catchy chorus and good melodic hooks. This very promising beginning will hopefully not remain the band's only legacy.

The EP is another 4-song portion of classic speed/thrash which doesn't betray the high quality of the demos coming with a very clear sound. All the tracks are intense, in up-tempo, introducing the odd heavy mid-section ("Ruined Planet"), or pleasantly surprising with cool melodic leads ("Deceiver") bringing the wind of power/speed metal with it for a while.
As expected, "Modern Warfare" is built around the songs from the preceding EP and the debut demo, starting with the brisk retro thrasher "Black River". Things only get better later on, with the early Destruction worshipper "Devil's Henchman" and the excellent melodic speed/thrashing instrumental "Absolute Pollution", already familiar from the demo. "Ruined Planet" nicely mixes heavy pounding rhythms with fast Germanic riffs, before "Manic Depression", another already heard on the demo track, switches onto full-blooded classic speed/thrash ala Toxic Shock and Exumer's debut. This tendency remains until the end which comes in the form of the nice blitzkrieg speed/thrasher "Open The Void" which would stand proud even on the Angel Dust debut.

Our Way Demo, 2008
Deadly Pollution Split, 2008
Massive Overload EP, 2009
Modern Warfare Full-length, 2010

My Space

POLTERGEIST (SWITZERLAND)

One of the few, but high quality Swiss thrash metal bands; "Depression" is a very good effort of 80's speed/thrash of a more ordinary nature, compared to the works of their compatriots (Celtic Frost, Coroner, Apocalypse). It still thrashes hard with conviction ("Three Hills", "Depression") sounding no worse than Paradox (decidedly better than their debut, but not as impressive as "Heresy") combining speed and thrash in a more conventional, but quite enjoyable way. The bass work is particularly strong on this one.
Then their singer Andre Grieder went to replace Marcel Schmier in Destruction for the recording of "Cracked Brain", but it was only a one-album spell. With his return from Germany, he must have brought some of the technical greatness of this album, because "Behind My Mask" is first-class technical speed/thrash, the band's finest hour. The pace is quite energetic, but the guitars are much more technical and sharp. This time the guys sound almost as convincing as Paradox on "Heresy", the similarity with this album coming also from the memorable choruses. There's an improvement in the lead department although the increased technicality in the guitar sound leaves little room for the bass. "Grave" is an interesting track starting in a more aggressive, faster manner, but in the middle it becomes more experimental with funky passages added, before it moves to a quiet balladic ending. "Chato's Land" is another more peaceful track, slower and more melodic. The closing song "Drifting Away" follows a similar pattern, but at this point the listener has already received his requisite doze of invigorating headbanging thrash.

On "Nothing Lasts Forever" the band adopts a more melodic power/thrash metal sound with longer more complex songs of a more progressive nature. The opener "Only You Remain" will be a shock to those who would expect another high-octane, technically-charged speed/thrash; it's melodic atmospheric power metal with a nice chorus. "Empty Inside" is much more aggressive and thrashier, but the guitars are not that sharp. Later more complex, longer songs take turns with faster speed/thrashers, but numbers like the acoustic ballad "Never Again", the progressively-tinged "You've Seen Your Future", and the American power metal-influenced "Darken My Mind" show that the band has moved towards broadening their horizon. It still has its appeal to the thrash metal fanbase, and is more than a worthy exit from the scene compared to the transformations which other bands experienced during the 90's.
"Back to Haunt": the Swiss veterans are back in action, and hopefully their new exploits will prompt their peers and compatriots Coroner to do the same. The guys were a pleasant addition to the metal underground back in the late-80's/early-90's so one shouldn't expect any flops from them, at least not on this comeback album. So the band thrash with style and conviction the title-track galloping with the finest out there to inaugurate this new chapter from their discography. "Gone and Forgotten" is wild less controlled thrash recalling the debut with an added more complex flair the latter more strongly accentuated on the following "Patterns in the Sky", another major lasher akin to Paradox's "Heresy" and respectively the guys' sophomore effort. "And So It Has Begun" is the obligatory slower, mid-tempo respite after which the attack continues with the direct "When the Ships Arrive" and the more elaborate "Faith Is Gone". "Flee from Today" sounds like a leftover from their swansong being more power metal-based, but "Shell Beach" is back on track with faster, sharper guitars. The closer "Beyond the Realms of Time" begins with a cool atmospheric balladic introduction, but the impetuous speed/thrashing is just a note away although this composition isn't about speed and intensity with the plenty of progressive nuances and quiet breaks. As a whole this opus reminds of all the band's earlier works summing up their repertoire in one handsome collection of new songs which should arouse the interest of the young thrash metal fans to track down their past discography.
"Feather of Truth": the Swiss maestros are back, and they deliver in spades once again with this admirable slab of old school thrash kickassery. The traditionally brisk opener ("Time at Hand") naturally gives way to more laid-back speed metal pageants ("Saturday Night's Alright for Rockin'") and more elaborate galloping escapades (the title-track). Later on the diversity isn't small at all with short ripping headbangers ("The Attention Trap") interlacing with more complex shredders ("Phantom Army", "The Godz of the Seven Rays"), the guys wisely nothing up the intensity on the final string of tracks, releasing a rousing moshing fiesta to everyone's delight.

Depression Full-length, 1989
Behind My Mask Full-length, 1991
Nothing Lasts Forever Full-length, 1994
Back to Haunt Full-Length, 2016
Feather of Truth Full-Length, 2020

Vibrations of Doom

POLTERGEIST (USA)

This is modern thrash/death with brutal death metal vocals; the delivery mixes the melodies of the Swedish school with the more direct histrionics of the Floridian movement the resultant "cocktail" having a strange atmospheric aura around it. On the other hand, "(Paranoia) Sheogorath" is pure black metal madness the latter aesthetics further enhanced by the Burzum cover of "The Crying Orc", which is followed by the Pentagram cover of "Relentless" which in its turn is superseded by a cover of Nuclear Assault's "Hang The Pope" the latter aggravated to grindcore dimensions, but to a positive effect; all the covers are pulled quite well, minus the vocal side of course, especially the one of Burzum which is handled with a lot of atmosphere and menace.

Demo Demo, 2015

POLTERKRIST (SWEDEN)

The "The Death Cell" demo offers whole 9 songs of very good retro thrash, aggressive and fast, with the obligatory borrowings from death metal. The approach is direct, with speedy and sharp riffs and will probably remind you of Slayer's "Reign in Blood" (check out the short merciless outburst "Blizzard"!), or Atomica's "Disturbing the Noise", maybe a tad more melodic, with one fine tribute to the speed/thrash metal scene ("Cyanide Attack"), reminiscent of their compatriots Cranium. With five demos already released, it's a wonder that no one has showed any interest in signing this talented young act.

Cold Lazarus Demo, 2000
Killed With Domination Demo, 2001
Ss You In The Back Demo, 2002
The Death Cell Demo, 2003
Force Of Evil Demo, 2004

POLYDRONE (HOLLAND)

This EP offers modern alternative thrash with a few more aggressive classic moments. Not bad, quite dynamic and jumpy, with a headbanging potential on more than just a few moments, although the clean alternative vocals, which are supposed to be just assisting, are much better than the shouty semi-death/semi-hardcore ones. The guitar sound is sharp, and the riffs meander creating a cool semi-technical picture ably supported by the straight hard-hitting passages.

/2 EP, 2009

Official Site

POLYMETAL (CZECH)

Based on the "Trash'aaN'aaRoll" demo, this band offer what they promise: melodic speed/thrash with a rock'n roll edge, but this is more intense stuff than the Motorhead, or Exciter works, albeit not much more. There are clear shades of the already formed at that time 90's speed/power metal scene, mainly expressed in the infectious catchy choruses, and the cool ballad with the very aggressive name "Agresor". The sound quality is a bit muddy, but it can not stand on the way of the good melodic leads.

Hazardnf hr'afF Demo, 1989
Ve znamenf k'a6fPe Demo, 1992
Trash'aaN'aaRoll Demo, 1994
Live 95 Demo, 1995
Rodnej hrob Full-length, 1995
Polymetal 96 Full-length, 1996

Official Site

POMERIUM (ITALY)

Modern power/proto-thrash which has both dark and progressive pretensions, but neither have been expressed adequately, the monotonous one-dimensional delivery which wakes up for the crisp jumpy "The Fate", and on the short thrashing "Nights of Madness". The singer is a not very passionate semi-clean throat, his more aggressive deathly attempts clearly not an asset.

Through the Styx Full-Length, 2022

Youtube

PONT OF REINDEER (RUSSIA)

These Russians pull out pretty decent melodic retro thrash with sparse modern leanings. The guys thrash fast'n tight, and the melodic hooks make some sections addictive to listen to. More intense thrashing can be heard on occasion ("Pro Lubov"), but again, those memorable melodic tunes, which hit the top on the excellent melancholic semi-ballad "Pro Odinochestvo", are hard to ignore. "Litium" is an awesome galloper with hard-hitting riffs galore, and "Vne Stada" is a great melodic thrasher with brilliant keyboard implements which can also be heard on a couple of other pieces, and creates an appropriate orchestral atmosphere. The melodic guitars here are very characteristic without taking even a bit away from the music's sharpness, giving the band's style a nice individual edge. The singer may be considered a pullback with his mid-levelled, indifferent semi-chants. A slight annoyance may be the short peaceful cuts, sometimes accompanied by narratives, which are inserted between the songs, seldom exceeding 30-40sec.
The debut demo sees the band already having established their staple style being a potent mix of melodic keyboard-infused pieces and more direct thrashing cuts. The production quality is a bit muddy, and the singer awkwardly switches to bad deathly growls from time to time.
"Evil Begets Evil" is a much more polished affair the guys thrashing with finesse and style, the opening "VEkspression v Ad" being a forceful piece in a dramatic up-tempo. The aggression remains throughout, this effort more mosh-oriented and less melody-decorated. "Vkus Svezhei Krovi" brings the "winds of melody" with more retouched guitars and very cool female vocals. "Krovit davit Unichtojat" is an awkward groovy filler, but the attack continues with "Evil Begets Evil" and especially with the short Slayer-worship "Oligarh". Slower, laid-back power/thrash rhythms overtake the space on "Fear", which is pleasant and radio-friendly, the friendliness disappearing for the intense thrashing "Teni Bogov", which grows into a less controlled hyper-blasting black metal break near the middle, plus a cool melodic distraction recalling Falco's "Amadeus" with a gothic "dressing". The closer "Diavol Pomnit O tebe" is another compelling blend of melody and dynamics, the perfect "marriage" of thrash and gothic, done on a consistent dramatic mid-pace. This album is almost as good as the following one taking the best use of several styles without messing it up.
"Ice Scream" is a mellower, but much "colder", effort the band now epitomizing a merry folk sound which still leaves room for hard-hitting riffs to be heard, but the overflow of keyboards and optimistic accordion tunes just prevent the fan from taking this album as a serious work of thrash; it actually comes as a more aggressive version of mid-period Skyclad with a pinch of the good old thrash/death metal ("Ploiarnik" which comes with a doze of hyper-blasts) applied more or less appropriately. "Privet, Antarrctica" is a brisk speed/thrasher with a modern flavour, but the rest seldom leaves the stomping mid-tempo which may also remind of the Finns Finntroll at times.

Pont of Reindeer Demo, 2009
Evil Begets Evil Full-Length, 2010
National Opposition Full-Length, 2011
Ice Scream Full-Length, 2013

PONTIUS PROPHET (USA)

This band is the continuation of Agent Steel with three of the band members of the legendary speed/thrashers having moved here (previously the same line-up tried something more complex and progressive under the name Black Reign, with one demo released in 1990 ("Legion")), and this 2-song demo follows the same direction of excellent speed/thrash metal with John Cyriis' (here taking the pseudonym Father Damien) wailing vocals in top form, as always. Unfortunately, things didn't work out again, and the band members scattered in various directions (the drummer Chuck Profus re-joined his former colleagues from Agent Steel for the new project Obscene Gesture) leaving just a small trace on the field.

Rites of Hatred Demo, 1988

POOR BASTARDS (USA)

Hardcore-ish thrash which clings between the old and the modern school the former mostly represented by the casual flourishes of galloping greatness ("Burn the Torches") or sudden spasmodic displays of headbanging enthusiasm ("You Owe Me, I Own You"). "Valhalla" is an imposing epic hymn ruined by the hysterical, shouty hardcore vocals; and the closing "Witch Master" is a pensive doomster further diversifying the appeal of this minimalistic recording.

Poor Bastards Full-length, 2016

Official Site

POPIOR (POLAND)

This is a side-project of the Sceptic lads, the tech-death metal purveyors, who here entertain themselves with retro power/thrash for a change, the intelligent semi-technical guitar work displaying the lads' skills, one of whom is none other than the guitar maestro Jacek Hiro (also the technical death/thrashers Never). The delivery straddles between more pensive heavy numbers ("Zabierz Mnie do Piekla") and faster compulsive shredders ("Cien starych Cmentarych Drzew"), the singer holding to a levelled but boisterous semi-clean baritone. There's also a decent soulful ballad ("Astralne Wrota Gwiazd") and a morose quasi-doom hymn ("Pomarlisko"), the lead guitar work on an expected high level the entire time.

Pomarlisko Full-length, 2023

Official Site

POPULATION CONTROL (USA)

The debut: fast intense thrashcore quite close to the early efforts of Prong and the Madball debut seldom acquiring more extreme grindy tendencies. This is angry simplistic stuff with short tracks and hoarse shouty vocals.
The self-titled is another abrasive crusty "animal" the guys thrashing with more spite this time relying on purer thrashy patterns, resembling Slayer's "Reign in Blood", the more hardcore-prone material given less room the biggest surprise being the 6-min stomper "Gaze of the Abyss" with not a single hint at a faster play (check out the inspired bass performance on this one). The last three tracks are consummate aggressive thrash ala F.K.U. and Gama Bomb making this effort a recommended listen for all the moshers out there.
"Death Toll" takes no prisoners the band fixed on generating as much intensity as possible from the get-go, with furious bullets like "Threshold of Punishment" and the more hardcore-prone "From Where the Rotting Stench Came" peppering the setting, the death metal-ish drama of "Reborn into Failure" only mildly intimidating. The highlights come from the purer thrash sector where cuts like "Drowning in the Trenches of My Mind", but please prepare to run for cover on the wild closing title-track which features a brutal hyper-blasting passage.

Long Term Germ Full-Length, 2013
Never Sober EP, 2010
Population Control Full-Length, 2016
Schadenfreude EP, 2018
Death Toll Full-length, 2019

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POPULATION REDUCTION (USA)

Based on the EP, this is a blend of thrash, death metal and grindcore, which is becoming more and more popular these days; furious music, represented by short explosive tracks, but there is a fair amount of thrashy riffage involved, too. The full-length bears no surprises, blasting out in a similar fashion, with a thrashier edge this time, and slightly longer tracks.

At The Throats of Man Forever EP, 2005
Each Birth A New Disaster Full-length, 2008

Official Site

PORCELAIN GOD (USA)

Based on "Overflow", this band provides vintage retro power/speed/thrash which starts quite promisingly with the excellent speed/thrasher "Firing Away" which fires away a riff after riff with the utmost intensity. "Like a Machine" is a more moderate power metal number, but the following "My Liver is a River" welcomes you with more vigorous thrashing. "The Worm" is 7-min of milder power/thrash in mid-tempo which stays around for a string of tracks, until the arrival of the edgy speedster "Brief Description of Life", the last piece to bang the head since the remaining two numbers slow down again despite the heavy guitar sound. The singer isn't really an asset with his drunken semi-clean blend which doesn't change even for a bit throughout.
"Opinion" is a strictly modern post-thrash affair also sounding way friendlier as real headbanging atmosphere seldom gets instilled, the chuggy grooves on "Figment of Imagination" leading the show which gets disturbed by the short energetic hardcorer "Attitude Song #3" and the more classic, semi-lashing veneer of "Opinion" and the belligerent but still pretty mid-tempo "Last Breath".

Overflow Full-length 1993
Opinion Full-length 1996

My Space

PORCELAIN HELMET (USA)

Energetic merry-go-round old school speed/thrash/crossover that evolves around brisk cutting guitars and only occasional descents to less orthodox decisions: the weird "death meets groove meets melody" extravaganza "Goliath and Goliath". "Shark Song" is a primal headbanger leading the final pack which also consists of "NSTS" and the merry less serious closer "Roadkiller" which also wins from the presence of the jokey semi-clean vocals.

Porcelain Helmet Full-length, 2018

Official Site

PORFIRIA (LITHUANIA)

Raw retro thrash metal with really brutal unpleasant death metal rendings serving as the vocal parts, an unpolished echo of Jan-Chris De Koeijer (Gorefest). If it wasn't for the awful sound quality, which is especially horrible on the last two live tracks, one could have enjoyed this stuff more since the music makes sense at times coming close to the aggressive delivery of Slayer and Devastation.

Porfiria Demo, 1991

PORNO COMA (CANADA)

Based on "Beati Polyiterophili Spiritu Vagin Jesus", this band play effective minimalistic semi-progressive thrash which is strictly on the modern industrialized side, but creepy surreal outtakes like "Anal Forever Skullfuck Xyz", or subversive bizarre variations on the mid-period Malhavoc idea like "The Diplodocus Require More Weed To Succeed" are totally welcome, even if their accessibility is questionable at best. Shorter straight-forward violators like "Defcon 4" are equally attractive, not to mention the eclectic technical shredder "The Truth About Corpse Management…", an encyclopaedia of unorthodox, visionary song-writing. "Per" tries something doomy and jumpy in the best tradition of Confessor's first, and "Sacrifice of Self" is a weird atmospheric elegy, again with doomy overtones. Schizophrenic frantic thrash will one encounter on "The Coolidge Effect Side-Effect", before "The Cicciolina Effect Side-Effect" shows how it's done in the modern industrial prog-thrash department with a wide array of nuances and eccentric condiments. "Open Air" is a pure techno-piece at the end, adding more to the overtly outlandish character of this very good album. Some of the band members were also involved with the black metallers Tenebrae, and the progressive death metal outfit Unhuman.
The debut is built on more aggressive proto-death metal expletives at times, the band also betting on eccentricity at this early stage, with "Bodies in the Basement" containing enough quirky motifs and nuances to befuddle even the most devout Verwaint fan out there. "Sick of Silence" is a short proto-blasting rager, and "Porno Coma" is a doom/sludge parade. "Far Gone Factor" combines thrash and hardcore for a thrilling fast-paced fun, and "Relief" is an abrasive doom/thrash fiesta with distorted steam-roller riffs.
"Porn to Die" is a very eclectic progressive sludgy rock/metal amalgam, a more than an hour-long odyssey which has few connections to thrash, but is worth lending an ear just for the weird outlandish fun of it.
"Cheval de Truie" follows the same bizarre not very accessible trajectory, twisted psychotic music which doesn't serve anyone's mind, a chaotic but alluring combination of influences which also has more than just a few common points with the mathcore movement.
"Fifty Shades of Brun" is a glorious return to the more thrash-fixated configurations of "Beati...", the band hitting the jackpot once again with a potent variegated delivery which on the opening "La Tombe" is a wonderful crooked tech-thrash puzzle with tenebrous ominous overtones. "Le Surgissement" is a tractate on creepy minimalistic surreality, another bizarre masterpiece, and "Au-Delà Des Marais" is progressive thrash at its most labyrinthine and befuddling. Watch put for the melodic delight "La Ritournelle" where the otherwise grating-on-the-nerves death metal vocals get replaced by much more fitting cleaner ones, this piece being a dramatic heavy/power metal vaudeville. "Le Crapaud" brings the approach back to the more aggressive thrashy patterns, with some proto-death sneaking in as well to perturb the dramatic mazey rifforama; and "La Créature" embraces darker doom ways of execution. "La Chaise Noire" is a hectic twisted headbanging winner with eccentric stopovers, and "La Dégringolade" is a 9.5-min doom-laden odyssey which resembles a macabre funeral procession, but somehow fits this thoroughly arresting multifarious carnival.

Ambassadors of Embarassement Full-length, 1998
Beati Polyiterophili Spiritu Vagin Jesus Full-length, 2002
Porn to Die Full-length, 2008
Cheval de Truie Full-length, 2010
Fifty Shades of Brun Full-Length, 2021

Official Site

PORNOSTATE (JAPAN)

The state of the profuse porno industry in Japan is handsomely dissected on this roller-coaster which is built around high-speed retro thrash antics, the overshouty hysterical vocals creating quite a bit of noise in the foreground, and could be a serious detraction to some. The mosh never ends here sometimes expressed in lively gallops ("Hidden Truth"), sometimes served in a furious uncompromising fashion ("Hell’s Disco"), both sides working their magic in a simplistic, straight-forward way without any technical/progressive embellishments.

Evil Land Full-length, 2018

Official Site

PORNUCOPIA (USA)

Three songs made by guys led by the guitar stalwart Ira Black (Lizzy Borden, Vicious Rumours, Heathen, etc.). Ira is in good shape, but the others betray him, since apart from the stylish guitar performance there is not much else to be enjoyed. The bad sound quality and the bad semi-shouty vocals are a major detraction from this intense take on the classic thrash idea which has shades of Slayer and Evildead, also trying something more technical on the jumpy funkage "Death Or Jail"; but should have stuck to their more bashing side since this piece is quite flawed, the heavy guitar sound not matching the more complex pretensions. A forgettable fare as a whole, seeing Black later joining the post-thrash one-album-wonder Bralalalala before coming up with his own act Doom Society, also taking part at present in the German power metal outfit Consfearacy.

Demo Demo, 1995

PORTA INFERI (GERMANY)

A modern mix of thrash and death metal, both intense and atmospheric with frequent blast-beats of the hyper, black metal, variety. Death metal leads the pack all over leaving room for black metal on the good progressive Emperor-like closer "The Battue"; and generally thrash metal is just a humble assistant with not much work to do.

Guillotine Full-length 2010

Official Site

PORTAL X (VENEZUELA)

Modern thrash which gets energetic more than just now and then ruined to an extent by the gruff shouty death metal vocals. Otherwise the guys indulge in long, complex compositions of then merry speed/thrash variety with catchy choruses the only seeming pull-back being the 8-min semi-balladic melancholia "Miseria". The other material keeps the thrashing going with a little help from the melodic leads and the suitably abrasive sound quality.

El Secreto De Los Cielos Full-Length, 2015

Official Site

PORTALL (HOLLAND)

Based on "In The Absence Of Light" demo, Portall play heavy groovy post-thrash with cool melodic lead guitar.
The full-length doesn't shift into any other territories, but delivers a bit more intense post-thrash rhythms which this time are laced by sharper guitars which suddenly branch out into spasmodic thrashcore ("Transgression", the crowd raiser "The Salvation Encore") to a mildly positive impression. The approach is dynamic as a whole and seldom do the guys adhere to trite groovy formulas ("Dead Man Walking" comes to mind), and several nice galloping moments can be savoured as well as a really cool melodic passage ("For Those Unknown") near the end. The vocals are on the angry semi-shouty death metal-ish side.

First Demo Demo, 2003
Second demo Demo, 2003
In The Absence Of Light Demo, 2005
Code Black Full-length, 2009
King of the Mad Full-length, 2013

Official Site

POSEIDON (GERMANY)

A cool 3-song EP of classic German speed/thrash metal along the lines of Vectom and Toxic Shock; the guys interestingly mix straight classic heavy metal sections with furious speed/thrash ones which, surprisingly, sound quite cool. This mixture repeats on each of the 3 tracks, only failing to achieve the desired result on the last one: "Violence" which, despite its violent title, is the softest piece here sounding like early Vectom, and another German act from the same time: Steeler; it still carries the speed/thrash spirit, but the softer heavy metal sections on this one seem to dominate.

The Final Gate EP, 1989

Vibrations of Doom

POSER DISPOSER (CANADA)

Based on the first EP: vicious aggressive thrash/crossover with some brutal grindcore attacks and an interesting speed/power-like chorus on "Seagulls".

You don't Count EP, 2003
Victims of a Bong Raid EP, 2006
Waiting to Inhale Full-length, 2006

My Space

POSEYDON (BELGIUM)

Based on “Masterpiece”, this band play energetic old school thrash supported by agitated husky death metal vocals. The music rips thanks to the presence of short but effective headbangers like the title-track and “The Tempest”, the epic drama stirred on “Blind Faith” confronted by rowdy occurrences like “Blind Faith” and the death-prone “Last Sunset”, but backed-up by the steady short mid-paced march ‘Tortured Shadows”. Some of the band members are also engaged with the power metal cohort Everglow.
“Through the Gate of Hatred and Aversion” is more oriented towards the death metal camp, but explosive bombs like “Contrition” and “Enter the Gates of Hell” keep thrash in check, the steam-roller belligerence of ‘Human Suffering” a noteworthy volcanic presence. “The Power of Destruction and Decay” is as weeping blitzkrieger, and “The End Is Near” is a more melodic but equally venomous speed/thrasher.

Cold World EP, 2011
Masterpiece Full-length, 2016
Through the Gate of Hatred and Aversion Full-length, 2023

Official Site

POSGUERRA (COLOMBIA)

Based on "Amazonas", these guys pull out thrash/crossover of the more classic variety which hesitates between all-out thrash assaults ("Posguerra", "Hecatombe"), where they manage to capture the intensity of their neighbours Ratos de Porao, and jolly punk-ish joys ("Fla"). "Amazonas" is a cool mid-paced melodic instrumental with strong bass performance; on the other extreme we have "Crapulas" near the end: a wild proto-death atrocity.
The EP is a milder offering introducing more melody and less speed with even beautiful balladic moments ("Cadenas") present. The guys liven up near the end with "Marea Negra" and the death metal-laced "Jaque Mate", but generally this is soft stuff which relies on laid-back guitar patterns the brutal death metal vocals the main reminder of the band's much more aggressive past.

Homo Sapiens: Detractor por Profesion Full-length, 1998
Amazonas Full-length, 2004
Planeta 3 Full-length, 2007
Jaque Mate EP, 2012

Official Site

POSITIVELY NEGATIVE (USA)

Based on "Absolutely", this band play playful groovy post-thrash with a few vivid, dynamic moments ("Oblivion", the moshing delight "Renegade Nuns On Wheels"); "Out Of Tune" is a cool semi-ballad which sees the gruff shouty deathly vocals acquiring a more pleasant cleaner, shade. "Love Of Death" is even better, another more pacifying balladic piece with echoes of Acid Bath. Both sides alternate throughout as more preference has been given to the slower one giving the album a somewhat doomy vibe.

Flames Full-length, 2002
Absolutely Full-Length

Official Site

POSITRONIC BRAIN (CANADA)

The debut: this effort will "set all phasers to thrash", first with the really nice lead-driven intro "The Enemy Within", then with its fairly orthodox approach to the modern thrash affairs which are presented both in a more dynamic ("Balance of Terror", the proto-death shredder "Space Seed") and a more serious, more progressive-inclined (the cool semi-balladic, all-instrumental, opus "The City on the Edge of Forever") fashion. The singer is a harsh shouty deathster who can't be really considered a big benefit to the more engaging musical delivery.
"Resistance is Futile" is a diverse, uneven affair ranging from peaceful power metal-ish cuts (the opening "Conspiracy") to smattering headbangers ("I, Borg") both sides crossing each other in a nearly song-by-song basis, the former one winning the "tussle" at the end with the epic heavy metal winner "All Good Things...". The thrash metal fanbase won't be very happy here as the guys were thrashing with much more passion on the debut.
"The Thrash of Khan": the wrath... sorry, thrash of Khan indeed as this effort is more energetic than the band's older fares with intriguing abrasive shredders like "Kobayashi Maru" and especially the raging speed/thrasher "Ceti Alpha V" keeping the entertainment factor high from the get-go, with the longer material ("Genesis") reminding of the previous recordings' more complex, but also more tedious content. "Buried Alive" is an admirable achievement in the annals of the long intense varied thrash compositions, with the closing "The Needs Of The Many" another notable exercise in more cleverly-executed progressive thrash with a great balladic passage.

Set Phasers To Thrash Full-Length, 2016
Resistance is Futile Full-Length, 2017
The Thrash of Khan Full-Length, 2018

Official Site

POSSESSED (USA)

An essential band in metal history, mainly for their debut which is largely considered the first real death metal album (to these ears mostly based on the vicious vocals, a style which was later picked by Chuck Schuldiner for the first couple of Death albums, rather than the music), and not only because of the closer which gave the name of the whole genre. And, indeed, with its raw, primitive, aggressive sound "Seven Churches" has definitely been an influence on the death metal movement. Starting with the main theme from the Exorcist movie, the opener is a brutal slab of thrash, and the rest isn't far behind ranging from all-out intelligible bashing ("Burning in Hell", and most of the tracks) to a more controlled early Venom-esque ("Evil warriors", "Holy Hell") delivery. "Twisted Minds" nicely blends the two approaches, producing 5-min of really good varied thrash. The aforementioned "Death Metal", which is also the closer, deserves its title finishing the album in an intense aggressive manner.
"Beyond the Gates" has a more accessible and more variable sound, and can rightfully be considered the better achievement. It actually has bigger musical merits than the debut with more proficient guitar work, and a more controlled tempo. Some tracks even sound genuinely technical ("Beyond the Gates", the diverse 7-min semi-technicaller "No Will to Live"), others are straight taken from the debut ("March to Die", "Restless Dead"), others are milder with a touch of speed metal ("Phantasm", the furious speed/thrash metal killers "Seance" and "Tribulation").
With "The Eyes Of Horror" (produced by Joe Satriani) the band took a slightly more ambitious step which was expected considering the more complex approach taken on the predecessor, towards guitar-driven, semi-technical thrash which could have been elaborated on on at least one more effort. The opener "Confessions" thrashes with no mercy, and is the most direct number. "My Belief" doesn't differ from it a lot, but "The Eyes of Horror", which retains the speed, adds a nice technical edge in the guitar department. The trend continues on the following two numbers, and the tempo as a whole is quite fast-paced making this small effort a nice companion piece to the previous one. There was clearly more potential to be revealed, but the band inexplicably disappeared leaving this potential unrealized which is really sad since their thrash/proto-death hybrid could have secured them a place on the front row of metal in the late-80's/early-90's.
"Revelations of Oblivion": the legends are back finally, after numerous delays and what not, so it shouldn't come as a surprise that from the original line-up it's only the band founder Jeff Becerra who's left. His new comrades, however, do an admirable job in reviving the band's former glories with one of the most convincing comebacks of the past ten years. The classic thrash/death hybrid in full blossom here, and one won't help but wonder at the brutal semi-technicality unleashed on "No More Room in Hell", or at the exuberant thrashing spree flowing out of "Dominion". There's no mercy here the more dramatic accumulations on "Damned" only aggravating the fiery setting which gets more fuel from shorter blitzkrieg showdowns like "Demon". "Abandoned" goes up with a more ambitious delivery, still moshing on full-throttle, the more officiant lustre of the more tamed "Omen" suggesting a more progressive approach. Still, the fanbase will be largely enchanted by the unbridled aggressive grandeur of cuts like "Ritual" and the more melodious speed/thrashing roller-coaster "The Word", the closing "Graven" restoring the balance by giving death metal more freedom to brutalize the environment as a finishing touch. A great reunion stint, no second opinion about that, and well worth the wait after the series of exasperating false starts.

Seven Churches Full-length, 1985
Beyond the Gates Full-length, 1986
The Eyes of Horror EP, 1987
Ashes From Hell EP, 2006
Revelations of Oblivion Full-Length, 2019

Official Site

POSSESSION (USA)

A decent mixture of thrash and death metal, based on "Eternally Haunt"; the vocals are particularly twisted ranging from unholy death growls to banshee-like screeches not too far from King Diamond. The music is fairly technical and intense, but there are songs which are longer and slower with a touch of doom, both sides mixed in almost equal dozes "The Return" sticking out with its stylish semi-technical decisions with the excellent short 2.5-min lead-driven instrumental "Despair" a close second.

The "Scourge & Fire" EP is three songs of intense chaotic thrash/death metal with ultra-brutal shouty death vocals, the overall delivery coming as a lesser mid-period Carcass. The finale is interesting, though, a curious cover of King Diamond's "The Possession" from the legendary "Abigail" where good attempts at the King's famous falcetto are tried to good impressions (similar ones were already used on the full-length to another positive effect), and are well more convincing than the brutal growls accompanying them; the music falls behind, however, with the guitar work being far behind the virtuoso brilliance of the Denner/LaRoque duo. The guys also have another project: the death/black metal corpse-painters Frost Like Ashes, and some of them had started their career under the name Heirborne who survived long enough for the recording of one demo of similar intense thrash.

The Unnameable Suffering EP, 1993
Eternally Haunt Full-length, 1995
Scourge & Fire EP, 1997

POSSESSOR (UK)

Based on "Dead by Dawn", this British trio pull out steady steam-roller thrash which is abrasive and semi-industrialized including the semi-declamatory vocals. Expect consistent mid-pace all around echoing Amebix and mid-period Ministry although there are relaxed party tunes ("Without Warning") to be encountered as well as vintage stoner/doomsters ala mid-period Cathedral ("Midnight").
"The Ripper" is an industrial stone/doom extravaganza which has no merits for the thrash metal roster expect in a very few isolated notes. The vocals are very heavily synthesized and noisy this time, not a very pleasant appendage even to such a seismic steam-rolling parade like the one on display here.
"Gravelands" is a more flexible recording the band still retaining the noise, but attempting more volatile song-structures those citing Motorhead and Amebix ("Flight of the Mutilator") as examples to follow, above all. "Backwoods" is vintage early Venom, and "Breathe Fire" is a brief temptation at a more epic song-writing the jewel in this abrasive crusty crown being the 8.5-min closing opus "Hitchhike to Hell", a psychedelic fluctuating excursion with Hawkwind-esque overtones.
"Damn the Light" is a more aggressive offering, with "Bloodsuckers" energizing the environment with bouncy lively rhythms, with "Take It to the Grave" even serving a few headbanging riffs to everyone's delight. The playful vibe emitting from "The Strangeness" is not bad at all, either, the guys also throwing in the industrialized doomster "Razorback" for a bigger variety, and certainly one more dynamic piece ("Fresh Hell") to keep the pogo going.

Wings of Fire EP, 2014
Electric Hell Full-length, 2014
Stay Dead EP, 2015
Dead by Dawn Full-length, 2016
The Ripper Full-length, 2017
Gravelands Full-Length, 2019
Damn the Light Full-length, 2020

Official Site

POSSESSOR (USA)

The full-length: a commendable achievement in old school speed/thrash done with panache and inspiration; the band play hard following early Overkill and Forbidden pretty closely, but this isn't mindless emulation, but has its own face thanks to the diverse musical delivery and the expressive hoarse semi-clean vocals. The tempo is pretty up except on a few occasions: the more laid-back power metal anthem "Heavy Metal Underground". Clearer speed metal can at times be heard ("City Built With Skulls"), but for most of the time one will be running for cover "assaulted" by bombs like "Hammer and Nails" or "Hellbound Drifters". Near the end the guys tear it looser with the hardcore-ish outbreak "Metal Meltdown" which is definitely not a Judas Priest cover. The singer really shines along with the good music emitting authority with his forceful delivery echoing a more vicious Russ Anderson (Forbidden) crossed with Bobby "Blitz" Ellsworth (Overkill). Some of the band members had arrived from the split-up old school thrash metal formation Axe Bitch.

City Built With Skulls Full-Length, 2012
Make Them Eat Metal EP, 2013

Official Site

POSSUIDO PELO CAO (BRAZIL)

This band is a side-project of Poney Ret (Violator). The demo title suggests some relations to the Possessed's ground-breaking debut, and, indeed, the sound has similarities to it, but it's more along the lines of some 80's thrash/crossover bands, but with a more aggressive, thrashy edge, often crossing the border towards Exodus and other Bay-Area acts. It might sound like an awkward mixture, but it's not: this is good headbanging stuff which will hopefully find its full realisation on an official release soon.
The full-length fulfills all the promises thrashing with confidence and gusto. The approach is not too different from the demo: energetic speedy thrash/crossover, sometimes being pure thrash aggression ("Air Mail Surgery"), sometimes going over the thrash limits, into proto-death territory ("Catholic Beast"), and generally the sound is quite brutal and fast-paced, with tracks seldom exceeding the 1-1.5min limit. The only more laid-back number is the Attitude Adjustment cover "Grey World", but just a part of it.

Semen Churches Demo, 2006
Possessed to Circle Pit Full-Length, 2008

My Space

POST-MORTEM (FRANCE)

Based on the full-length, this act provide stylish death/thrash with a progressive flair and several leanings towards the Gothenburg school. The guys seldom speed up, and the title-track would be more than welcome with its sharp ripping riffs; ably followed by the Slayer-esque brutalizer "Void Millenium Genesis" the latter boasting tasty, melodic leads. The vocals are deep death metal ones, but are intelligible and authoritative.

Mystic Delights EP, 2000
Mankind Autopsy EP, 2001
God with Horns Full-length, 2016

Official Site

POST MORTEM (IRELAND)

Heavy mid-paced thrash with a tinge of hardcore and with gruff aggressive quarrelsome death metal vocals; the music is not very professionally executed with a thunderous bass bottom which dominates the proceedings leaving the amateurish riff patterns in the background at times. There are a few curious melodic hooks ("Signs Of Mortality"), but the delivery is too clumsy and unexciting to make the listener pay attention to them. Later the guys changed their name to Muck Savage, and the style moved more towards pure hardcore.

Primal Demo, 1992

POST MORTEM (USA)

Based on the debut, this band have one of the most unconventional approaches to thrash metal. The music is mostly slow, doomy with a very abrasive, hardcore-ish, indifferent sound, with riffs which virtually go nowhere, and don't differ much from one song to the other, making the album sound as one very long track. This minimalistic approach might remind you of Amebix, but these guys are more impassionate, and much more patient going through this plodding listening experience. Albums like that stretch the genre too far, and those who prefer to stay within the confines of more standard music, should better leave this alone; on the other hand, some may find it a sheer genius. Their later works take a U-turn from thrash, and are eclectic mixtures of various styles: doom, psychedelic, hardcore, groove, sludge, and more.
The guys are surprisingly back with a brand new offering ("A Message From The Dead"), and this one sees them pulling out quite cool doom minimalistic Celtic Frost-like thrash which works on all levels including in the vocal department where the singer growls in an intelligible black-ish manner; that singer is actually a couple of singers (Travis Ryan (Cattle Decapitation), Mike Perun (Cinanide), Mirai Kawashima (Sigh), and the frontman of the grindcore stalwarts Anal Cunt Seth Putnam (R.I.P., 2011) who had a short spell with the guys in the early-90's), all quite renowned, who joined the band once their main vocalist John McCarthy (R.I.P.) sadly passed away shortly before the recording sessions were finished the whole album is actually intended as a tribute to him. And quite a tribute, I would say, since the third track is a real "monster" being much faster and sinister. The next "Human Pinata" "embraces" the other pole: heavy classic doom in the best tradition of Saint Vitus and Count Raven. Doom metal reigns supreme on "Pray Before You Die", but "Field Trip" adds nice headbanging riffs to the morose slow picture, again with more nods to doom. Then "Never Rat" comes with a splash, thrashing like mad for a bit more than 1-min, followed by another piece of sorrow ("Babble On"). "A Happy Life" is your extreme thrash dream come true, but the end is strictly preserved for the doom metal fans with two exemplary numbers of traditional doom metal mastery. As a whole this effort blends the two genres giving more preferences to doom (and as such delivers no worse than the same year's Candlemass and Count Raven works), but it's miles ahead of their last two very insipid albums, and is more than a welcome return to form for one of the more eclectic left-hand-path representatives of the style.

Coroner's Office Full-length, 1986
The Missing Link EP, 1987
Festival Of Fun Full-length, 1991
Destined for Failure Full-length, 1993
A Message From The Dead Full-length, 2009

My Space

POST MORTEM DEPRESSION (NEW ZEALAND)

These Kiwis specialize in abrasive thrash/crossover which also comes with a hefty shade of punk, the delivery mostly on the mid-paced side, with "Revenge" trying to justify its title with a portion of vivid fast-paced rhythms, but the execution is leisurely, and the singer is just a frivolous punker who shows more emotion on the speedy rover "Worship" and the entertaining Broken Bones-esque "Naked Doom".

Addictions Full-length, 1990

POST NUCLEAR (MEXICO)

Based on "Tokkotai" this band, who were earlier known as Potaje Nuclear, play intense old school thrash/crossover that is at times quite close to the pure bashing parametres ("Alquimia Nuclear"), at others is choppier and more intricate (the title-track), but it's the vehement character of songs like "Factoría de Muerte" and the more varied "Fanatismo Toxico" that rock the boat in a more major manner, alongside the cool semi-shouty/semi-declamatory vocals the latter unleashing a few shattering deathly shouts on the final "Panzerfaust". Some of the band members are also involved with the death metallers Forgotten Son.

Dioses Sedientos de Sangre Full-length, 2019
Tokkotai Full-length, 2023

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POST SCRIPTUM (RUSSIA)

Modern thrash/death metal, intense but also melodic, staying close to the Swedish patterns seldom blasting out in a less controlled Floridian way. The songs are split into 2 kinds: those which are short, fast and even brutal, and those which are longer, more melodic, with a couple of cool catchy melodies.

Cocktail Full-Length, 2009

POSTMORTEM (ESTONIA)

Based on "Bloody Justice Comes": this band plays thrash/death with a classic edge. Some songs are more death metal-styled ("Mentally Insane"), coming with nice melodic hooks, whereas others are pure thrash pieces ("Souls Tyranny"), spiced with atmospheric slower sections. The best, however, comes from those mixing both styles, also served with more stylish guitar work: the heavy dark "Exile", or the faster technical, Pestilence-like "Prince of Darkness". "Farewell Melody" is a surprisingly melodic, but very cool, touch: an atmospheric gothic-tinged instrumental. "Drowned in Dirt" is a masterpiece of technical thrash/death metal combined with slower atmospheric, brooding tunes.
"The Victory Day!" is shocking mild gothic/doom with just timid shades of thrash and death metal making the Metallica cover of "Master of Puppets" in the middle barely recognizable where one can even hear keyboards(!); at least the balladic lead-driven mid-section is handled with dexterity and remains the best part of this unimpressive effort. After the Metallica rendition the guys liven up a bit in the 2nd half and harder, more vivid riffs can be caught on a few numbers later on, but the concentration is clearly on mood and atmosphere also achieved through the capable use of good female vocals and haunting balladic passages on the longer compositions (the 9-min opus "Iron Will and Spirit").

Bloody Justice Comes Full-length, 1996
The Call of the Sea Full-length, 1997
The Victory Day! Full-length, 2006

Official Site

POSTMORTEM (SPAIN)

Based on the "Raw Survival" demo, these guys mix fast aggressive thrash, quite close to the Swedes Merciless' debut, and the French Massacra ("Questions") with heavy stomping songs (which are more): "Blood Angel". The mixtures of the two sides seem to work best: the nice more complex "Misery Empire". The excellent "Raw Survival" carries the death metal spirit, and is the most aggressive number here.

Raw Survival Demo, 1992
Renaissance Demo, 1994

POSTNUCLEAR DEATHMASS (GERMANY)

Death/thrash of the more classic variety with cool, but somewhat unfinished, progressive tendencies (the 8-min opus "Optimum Eradication"), but its headbanging appeal is clearly expressed on short intense numbers, like the up-tempo "Eine Romantische Und Grausame Brutalitat", ot the nice more melodic "Submit To Madness", which all of a sudden bursts into brutal death metal near the end, a trend continued on the next short 1-min bomb "Dr. Dan".

Generation Doom Full-length, 2004

Official Site

POSTRAUMATIC (GREECE)

These Greeks provide intense modern thrash which mixes the pace, but the guys are fond of the speedy patterns except on the closing "Suna" which is a diverse semi-ballad with progressive leanings where cool clean vocals sneak in to distract the main shouty semi-clean ones. The sound quality is crystal clear giving a sharp cutting edge to the guitars.

Industries of Suffering Demo, 2011

POSTRIBULUM (ITALY)

This Italian trio must have been one of the most pristine rawest practitioners of the style from the Italian scene back in the late-80's; the music is amateurish black/thrash (this is very relative, folks), a not very distinct wall of sound topped by gruff death metal vocals which hardly sing rather than recite. There are timid attempts at more intelligible lead parts, but they sound too isolated as though the other musicians have stopped to listen during those moments in wonder that at least one of them could manage something more sensible. The whole mess leaves the impression that there's only one person responsible for it... Still, considering the transition witnessed at the time towards more extreme genres, this effort shouldn't come as a complete surprise; and let's not forget that even much more renowned names have started their career in a similar fashion...

Rehearsal'89 Demo, 2010

POSTWAR (BRAZIL)

This is heavy modern, mostly mid-paced thrash along the lines of the Danes Grope and Machine Head's early, more edgy period ("The More Things Change..."), but these guys are not strangers to some good Bay Area riffage ("Slave Your Sinful God", and elsewhere); apart from that this is cool crushingly heavy, bass-driven music.

Attack Demo, 2006

My Space

POTENTIAL THREAT (USA)

Based on the first 2-song demo, this is excellent fast-paced thrash metal akin to Vio-lence's "Eternal Nightmare" and Blessed Death's "Destined for Extinction".
"A New Threat Level" is a very uneven mix of classic and modern thrash and fails to completely capture the magic of the demos. Although hailing from San Francisco, the guys' approach doesn't really represent the Bay-Area movement on a full-scale. The songs in the beginning are blends of fast and slow riffs, but the second half is much weaker with all numbers being repetitive, strictly modern-sounding and mid-paced at best with only the final "Four Our Nation" bringing some life into the not very impressive picture.
The threat is not just potential anymore but is quite real; even a whole "Civilization Under Threat" we're talking about here. The band finally manage to sound convincing thrashing hard with more passion and melody as all sides of their repertoire have enough room to develop: the compositions are relatively long (5-7min) and mix various tempos dragging at times ("Sick to Your Guns") when speed is missing. "Edge of Insanity" is a cool melodic progressiver, and the 9-min opus "Behold the End" is another pleasant surprise thrashing in a dynamic up-pace the whole time accompanied by some great melodic leads; a really good cut which is the band's finest achievement so far. It gives a push to the remaining material which consists of the hard-hitting speed/thrashing piece "Written in Blood" and the more technical shredding closer "Rise of the Apocalypse" (check out the surreal atonal leads on this one!). The guys have done a really good job not trying to impersonate the heroes from their area, but venturing into a different territory "where few dare to tread"...
"Threat to Society" is another assured old school thrash offering the guys alternating melodic excursions ("Spitfire") with raucous rapidfire attacks ("Raise Your Fists"). "Pre-Emptive Strike" will nicely remind of the Paradox exploits, both old and new, with its more elaborate layout, but it's the sharp shredder "Don't Look Back" and the progressive semi-ballad "Victims of the Fall" that will stick in the memory the longest, the guys confidently coming of age albeit not on very regular bouts.

Demo #1 Demo, 1988
Demo #2 Demo, 1990
Demo Demo, 2002
2.0 EP EP, 2005
A New Threat Level Full-length, 2009
Civilization Under Threat Full-Length, 2013
Threat to Society Full-length, 2019

Official Site

POTHOLE (SOUTH AFRICA)

Based on "Showdown", these guys are typical representatives of the groovy heritage of the 90's. The problem is that the music lacks an edge, turning into post-thrash, hardcore, and even punk. Only will occasionally someone catch a heavier more aggressive riff ala Pantera or Machine Head. The vocals are suily angry, though, ...

Force-Fed Hatred Full-length, 1997
Showdown Full-length, 1999

POTRA (FINLAND)

The groovy post-thrash formula is brought about again this time given an energetic faster twist with nods towards the classic school even. Alas, those moments should have been more, because this is where the guys show their more musically proficient side coming up with a few nice edgy riffs.

E.M.O.N.E. EP, 2008

Official Site

POUNDING DEMISE (GERMANY)

Based on the "Only Death Remains" demo, this band plays very good technical thrash/death metal which base is Death's "Human", or even Pestilence's "Testimony of the Ancients", but the sound clings more towards thrash, and here one can hear atmospheric sections where even clean vocals are involved (see where the influences on the modern scene come from) as opposed to the basic aggressive, Max Cavalera-like ones. This is so technical that borders on the surreal at times, like on “Inquisition 2000” which even goes beyond the Invocator's "“Excursion Demise” and the Baphomet’s “No Answers” intricacy wit some of the most precisely woven riff-knots of the 90's. "“Nightmare Souls” goes towards the not yet formed dazzling brutality movement with bouts of death metal-ish gorgeousness which becomes quite virtuoso-prone on the more thrash-fixated “Body of Christ” where the even the finest Shrapnel representatives will listen with their mouths wide open. “Living the Lie” incorporates a shade of atmospheric doom before the hyper-technical skirmishes resume on full-throttle, overwhelming the listener with their dizzying application, the riff density reaching inordinate heights. “Complete the Human Death” wraps it on with marginally more orthodox rhythmic patterns, the moshing fiesta absolutely arresting with some of the riffs racing with the speed of light.
The "Lavatory" demo is only two songs "Beware Of The Blast" being a dark rager in the vein of Assorted Heap's "The Experience of Horror" the gruff semi-declamatory vocals ruining the appetizing musical picture a bit. "Raining Fire" is shorter and more immediate with stomping epic rhythms, not a very typical number for the band's repertoire.
The "Postproduction" demo is a really promising offering containing the excellent progressive thrasher "Winds of Pain", a 7.5-min cannonade of furious riffs and blistering technical appreggios. It may sound as a sheer cacophony at times, but its super-stylish decisions by all means make it an intriguing listen. Sadly, this was the last to be heard from this talented act who sank without a trace soon after. Some of the guys later gave themselves another chance under the name Disorder, and are still around nowadays with their intense brand of retro black/thrash with two full-lengths and one EP released so far.
The "Adeptus Delicti" demo would be another no-brainer for the technical/progressive metal lovers as the band unleash another cavalcade of stylish intricate rifforamas which sounds a tad more orthodox and aggressive on the opening "Pit of Hunger" although some of the guitar knots in the second half are pure Atheist and Invocator. "My Godly Intend" is a moshing shredder which changes the pace at will before brilliant melodic leads take over for a while on the following "Freeze Your Laugh" the guys notching up the technicality making mazes not heard since Deathrow's "Deception Ignored" and Sieges Even's "Life Cycle". "Where Sleeping Gods Lie" is another portion of supreme super-stylized progressive thrashing where very good cleaner vocals spring up to bother the prevalent not very rehearsed, inexpressive semi-declamatory ones. "Vatican Blasphemy" jumps up and down at the beginning preferring to creep minimalistically in a brooding subdued fashion before a brutal, very technical death metal-ish passage breaks "the idyll" in the second half. "The Hosts of Pain" is a masterpiece of varied technical thrashisms which range from melodic dramas to labyrinthine vortexes both sides coming entwined in the middle under fireworks of blazing leads. It's really rare to find such a phenomenon on the scene with so much style exhibited on an underground level; a great band who never got the recognition they truly deserved.

Only Death Remains Demo, 1991
Adeptus Delicti Demo, 1992
Lavatory Demo, 1992
Children of the Abyss Demo, 1993
Postproduction Demo Demo, 1997

POVERTY (USA)

Based on the debut demo, these folks, some of whom were members of the death/thrash legends Insanity, play intense direct thrash ala Slayer and Dark Angel with a not very visible hardcore flavour along the lines of D.R.I. This is intense aggressive stuff reflected in short, 1-2min long tracks supported by comprehensive shouty hardcore vocals.
The "Poverty Sucks" demo is a brutal bashing slab the band now bringing grindcore to the fray, producing a not very listenable melee of aggressive chaotic sloppiness.

Poverty Portrays Truth Demo, 1989
Poverty Sucks Demo, 1998
Global Destruction EP, 2003

Official Site

POWAR (FINLAND)

The EP: this Finnish outfit specialize in energetic retro power/speed/thrash which comes either epic and officiant ("Big One") or heavy and stomping ("Revolution"), the cool levelled mid-ranged semi-clean vocalist seldom emitting passion, the sturdy mid-tempo shreds on "Freezing Flames" dictating the proceedings later on, turning the second half into a not very exciting power/thrash stalemate.
"Hatred to Ashes" is a more streamlined power/thrash fare, the moshing vigour of "Race" well acknowledged, before the heavy seismic "Nameless Shout" enters the scene with its elephantine strides and strongly influences the remainder, the balladic/doom "Childless" entering a more acceptable territory despite its modern groovy flair. "Evil's Birthday" is a light-hearted crossover/speedster, and the final "Last Sight" is a full-fledged soulful ballad.

Crowstance Full-length, 2020
Post War EP, 2021
Hatred to Ashes Full-length, 2023

Official Site

POWER (GERMANY)

The band's habit at painting their faces in a manner similar to Kiss doesn't do them a very big favour as their music (based on the debut) is well-executed classic thrash which crosses the European and the American school in an admirable way. In the guitar department one can hear interesting, semi-technical riffs which strangely remind of the Brits Hydra Vein and, respectively, Destruction. They carry the album through most of the time, but there's also a certain presence of heavier guitars bringing to mind Slayer's late 80's period as well as straight Bay Area pounding ones ala Vio-lence and Exodus.
"Roll the Dice" is more Bay Area and late 80's Slayer-oriented, partially abandoning the more technical approach of the debut with a more aggressive sound, and although it's another cool effort, it doesn't impress as much as its more lustrous predecessor.

Thrashblitz Full-length, 2004
Roll the Dice Full-length, 2007

Official Site

POWER ASSAULT (USA)

Based on the EP, these folks deliver vicious bashing thrash/proto-death not far from Rigor Mortis, only that the guitar work isn't as flashy, and the compositions are shorter, seldom going beyond the 3-min mark. Still, it's not all one relentless bash here, and "Leaving Us" and "Sight to See" offer a couple of more relaxed, not as speedy tempos the latter overwhelming the listener on the near-death experience "Pain and Misery".

Pain And Misery EP, 1991
Power Assault Demo, 1994

POWER FROM HELL (BRAZIL)

Based on "Lust And Violence", this outfit, which consists of two Brazilian satanists, acquit themselves with primal underground black/thrash steadfastly borrowing from early Celtic Frost and early Bathory in order to produce a raw, underground recording which has its naive charm with its repetitive riffage and low-tuned, semi-whispered deathly vocals. When the "power from hell" takes a break, the sound gets mellower with clear nods to Motorhead and Venom ("Confessions Of Whore", the roller-coaster speedster "Satan's Bride"), and generally the mood is not very depressing, the slightly fuzzy guitars also carrying quite a bit of melody, especially in the lead sector (check out "The Metal Is Sick But Never Die") which is completely abandoned, though, on the merry cover of G.B.H.'s "Slut" near the end, which is followed by a stylish, Eric Clapton-esque, attempt at blues aptly titled "Me And The Devil Blues" (let's dance, folks!). Well, that "the metal is sick" every normal human being knows, but with acts like this "it will never die"... for sure.
"Devil's Whorehouse" is a rocking unpretentious delight the guys having fun channelling Exciter, Venom, and Motorhead among other veterans and one won't help but jump around on sincere primal speedsters like "Revelations Of Flesh" and "Howling At The Blood Moon". "Torture Garden" even tries something more quirky and technical with its spacey rhythms before "666 Ways To Blasphemy" slows down for a couple of heavy, stomping passages. "Black Forest" is an imposing atmospheric cut with echoes of mid-period Bathory, and "The Evil And The Lust Never Sleeps" is a stylish minimalistic piece with dark sinister tunes. The closer "Long Road To Hell" is another pleasant deviation, more on the semi-balladic/doom side and finely captures the album's nice characteristic, ethereal aesthetics.
"Profound Evil Presence" is a darker and more seriously-woven offering, the blacky vibe more prominent although nothing truly outrageously brutal occurs, just the good old black/speed/thrash through and through, the less tamed proto-blasting aesthetics of "False Puritan Philosophies" and the short bursting "Nocturnal Desire" notwithstanding. The spirit of early Bathory gets resurrected on pieces like "Lust... Sacrilege & Blood" and the atmospheric hypnotizer "Unholy Dimension", but the prize for the highlight goes to the excellent operatic Emperor-esque masterpiece "Diabolical Witchcraft", an immaculate display of inspired musicianship with alluring melodic walkabouts.

The True Metal Full-length, 2004
Sadismo Full-length, 2007
Spellbondage Full-length, 2009
Lust And Violence Full-length, 2011
Voices from the Grave EP, 2014
Molesting the Holy Virgin EP, 2015
Devil's Whorehouse Full-length, 2015
Blood 'n' Spikes EP, 2017
Profound Evil Presence Full-length, 2019

My Space

POWER FUEL (FRANCE)

This is not very original, but still decently executed, groovy thrash which only saving grace is the faster rhythms incorporated from time to time which make it sound a bit more playful if nothing else. Cuts like the intense shredder "Here Be Demon" are a rarity which is sad since this one in particular is a prime shredder with death metal overtones. "We're Back" is probably the other highlight introducing heavy semi-technical stomping riffs before the latter get replaced by much faster one sin the second half which bears some interesting headbangers: the hardcore-ish "Blacksheep", the closing raging perverser "Perfect Perversion", etc. The singer is the prototypical hardcore shouter adding more aggressive death metal tones to his otherwise predictable repertoire. Some of the band members were previously seen in the 90's in the short-lived death metal formation Distaste.
"Tribute to Slayer": the album-title says it all, the band offer ten Slayer covers starting with an excellent doom rendition of "South Of Heaven" before they speed up the proceedings with "The Antichrist", only to slow down again for "Season in the Abyss". The fast/slow alternation continues with "Hate Worldwide" the latter broken by "Spirit in Black". The majority of the songs are taken from "South of Heaven" and "Seasons in the Abyss" as the American's magnum opus is respected at the end with two good covers of "Angel of Death" and "Raining Blood". The cuts are all quite well done the band showing an obvious fascination with their peers and with the exception of the rough death metal vocals the rest seems well suited to the purpose.

The Pure Gazoline Full-Length, 2009
Unleash the Bastards Full-length, 2013
Unleash the Bastards EP, 2013
Tribute to Slayer Full-length, 2015

Official Site

POWER GATES (JAPAN)

Thrash/death metal along the lines of Ghoul and Frightmare, but this is more brutal, with a more frequent adherence to grindcore blast-beats, and very low-tuned death metal vocals. Still there are enough thrashy riffs, although some of you might lose their patience while waiting for the next grindcore attack to pass. If nothing else, at least those of you who have waited until the end, will be able to enjoy one full-blooded thrasher: "Russian Roulette"- quite a good number, if we, of course, exclude the absolutely unnecessary grinding section at the end.

Shout At The Evil Full-length, 2005

My Space

POWER OF EXPRESSION (GERMANY)

90's groovy post-thrash of the mid-paced variety, not really hard-hitting, with elements of hardcore ala Gang Green and Pro-Pain."X-Territorial" is a slightly noisier proposition than the first two showings with the delivery having moved towards the Biohazard histrionics, with not much actual hardcore present.

The Power of Expression Full-length, 1994
Water EP, 1995
X-Territorial Full-length, 1995

POWER OPERA (USA)

A 4-tracker of heavy shredding semi-technical power/thrash which blends the aggro-power of Machine Head's "Burn My Eyes" ("I Kicked Fonize's Ass") with the choppy histrionics of Confessor ("Midget"). The sound quality is crystal clear, and the vocalist delivers in a deep forceful semi-clean manner. Some of the band members used to play in the classic heavy metal formation Rampage.

Welcome Home Mr. Mephistopheles Demo, 1993

POWER TRIP (USA)

Based on the "Armageddon Blues" 3-song EP, these guys unleash intense classic thrash/crossover boosted by a very clear sound quality. The band thrash on without much ado the invigorating music accompanied by forceful shouty vocals ala Kurt Brect (D.R.I.). Whether fast ("Armageddon Blues") or mid-paced and stomping ("Lake of Fire") the band deliver even on the slightly off-context diverse "Vultures" which for most of the time develops in a sleepy semi-balladic fashion.
The full-length is a sure-handed slab of the good old thrash/crossover again served in a vigorous aggressive fashion the style often bordering on pure thrash ala Slayer and Vio-Lence ("Heretic's Fork"). Stomping slowers ("Murderer's Row", "Crossbreaker") are not such a common occurrence. but can be heard towards the middle to create an imposing squashing effect. The closing "The Hammer Of Doubt" is a longer cut with more eventful riff-patterns and an impressive battle-like ending. The singer is more aggressive now even trying some death-like shouts to a scarier impact.
"Nightmare Logic" continues on the path chosen and there should be no dissatisfied with this retro thrasher which is sustained in a heavier sound the actual mosher here being "Firing Squad", with the title-track and the majority occupying the seismic mid-pace. "Waiting Around To Die" is the other cut where the guys come out with all the guns blazing, with the final "Crucifixation" another lashing number raising the flag of thrash/crossover high seeing the band on the top of the wave without necessarily repeating their repertoire note-by-note.

Armageddon Blues EP, 2009
Power Trip EP, 2011
Manifest Decimation Full-Length, 2013
Nightmare Logic Full-Length, 2017

Official Site

POWERED BY DEATH (CANADA)

The demo: 4 songs offering fast blitzkrieg retro thrash with sharp ripping riffs those a bit muffled by the not very clear sound quality. The guys know their craft also excelling in the lead department where the man produces fast screamy leads to positive impression. The vocals are a bit of a detraction with their quarrelsome semi-shouty tone at times stifled by the instruments.
"It's Only Getting Worse"; well, I wouldn't say so having in mind the music on display here... After the stomping, steam-rolling opening instrumental "Carried Out" the band start bashing in the good old Slayer-esque manner with very little mercy if we exclude rare relieves ("Hit the Surface") from "the pain" the latter trying to emulate the volcanic qualities of the opener: for a further proof of this tool check out the squashing dark shredder "Verbal Decay": vintage "South of Heaven". "Watch Her Burn!!!" is a pleasant semi-technical surprise inaugurating the final and best part of the album also featuring the perennial headbanger "The Crown", and the excellent rolling, more technical closer "Eyes Ripped Open". It's actually "getting better", guys; but the self-criticism is well noted...

Plug It In Demo, 2012
It's Only Getting Worse Full-Length, 2015

Official Site

POWERHOUSE (USA)

Based on the full-length, this act indulge in classic speed/power/thrash that straddles between early-Overkill and Meliah Rage, and contains its fair share of dynamics (“Come And Get It”, “Envy”), the band really moshing it on short curt cuts like “There Is No Tomorrow”, but rest assured the mellower material is just a song away, the radio-friendly stroll “The Patriot”, although its meeker merits fade quickly in the presence of the dramatic progressive “Never Forget” and the notable Bay-Areasque shredder “Darkest Before Dawn”. The vocals are acceptable mid-ranged clean, possessing enough pathos to lure the casual bystander.

Adrenaline EP, 2017
Weight of the World EP, 2022
Darkest Before Dawn Full-length, 2024

Official Site

POWERHUNT (NORWAY)

Fairly intriguing modern thrash/post-thrash which twists and turns into quite a few directions on the opening title-track, a futuristic tractate with clever thumping riffs; the more measured melodious “Closing In” suddenly bursting into a crescendo of hyper-active rhythms, the latter disappearing for the stomping mid-pacer “Infamy”, this piece capitalizing more fully on the belligerent but subdued death metal vocalist.

Sci-War Demo, 1995

POWERLORD (USA)

A very good album mixing power, speed and thrash metal similar to early Exciter, Agent Steel's debut or Attacker's "Second Coming". "Masters of Death" is a fine opener with dynamic galloping tempos and powerful semi-clean vocals which are not strangers to a high-pitched screaming, whenever necessary. "Malice" is a cool speed metal piece, followed by "Silent Terror": slower, power metal-oriented. "The Invasion of the Lords" is a smashing speed/thrasher in the best tradition of the Agent Steel debut. "Merciless Titans" starts as a calmer power metal track, but later evolves into another thrashing delight. "The (The Awakening) Powerlord" is the definitive American speed/power metal hymn, a graceful closer to this short, but commendable effort.

The Awakening Full-length, 1986

Vibrations of Doom

POWERMAD (USA)

This band reached a much wider audience due to the cult director David Lynch who included their song "Slaughterhouse" in the soundtrack for his hit "Wild At Heart". This track is the opener for their full-length which is fairly entertaining speed/thrash metal with classic heavy metal numbers pushed towards the second half of the album which creates the impression that the two halves had been recorded at a different time. Although "Slaughterhouse" remains the best song on the album, there are other impressive energetic speed/thrashers: "Absolute Power", "Test the Steel" (which has a touch of early Helloween), as well as a nice short technical piece: "Return from Fear". Then begins the second half which still holds one more aggressive surprise: "Fallsafe", among the longer, slower, more melodic, and marginally less impressive numbers.
The "The Madness Begins..." EP is another auspicious recording charged to the brim with full-on speed metal attacks like the formidable "Terminator" (it's a sheer mystery how James Cameron hadn't picked this cut for the soundtrack of his blockbuster of the same title) and the excellent jumpier, more technical "Hunter Seeker". "Gimme Gimme Shock Treatment" is a very cool cover of Ramones tunred into a frolic speed/thrasher with very good bass support, and "Blind Leading The Blind" is another truly compelling headbanging melee with great melodic leads.
"Infinite": what a pleasant surprise; from the deep jungles of metal return one of the unsung heroes of the American power/speed/thrash metal movement. David Lynch, among others, would be very pleased to hear his favourites thrashing like demented on the opening "Army Of One" reaching unnerving death metal-ish heights on the more aggressive moments. Everything is under control, mind you, so don't expect this album to turn into an "altar" of unbridled Morbid Angel-esque "madness" although the following "By A Thread" is another wild headbanger with a more moderate mid-break. "Forest" introduces the power metal spirit, but "My Day Of Demons" is the next in line hard thrashing delight "Souls Descending" a very close in spirit thanks to several not very tamed proto-death leanings again. "I Am Infinite" is an excellent more technical shredder with echoes of Nevermore, and "Hypocrite" is a short ripping headbanger. "An Imperfect Day To Die" is the needed respite, a cool heavy ballad which steps down for the guys to rock your world with the wild thrasher "The World Is Turning Without You" the latter another more serious, progressive-tinged cut. The peak in this trend is reached on the closing "Irrelevant", a 7-min opus of precise progressive thrashing, again akin to Nevermore, with an imposing doom ending. As a whole the guitar sound is more modern than the one on their early works which may be a slight annoyance to their old fans. Nevertheless, this is a really strong comeback effort which is a good example of how old timers can re-invent themselves by pleasing both their old fans and winning new ones in the process.

Powermad EP, 1987
Absolute Power Demo, 1987
The Madness Begins... EP, 1988
Absolute Power Full-Length, 1989
Infinite Full-Length, 2015

Official Site

POWERS COURT (USA)

Based on "The Red Mist Of Endenmore", this band play excellent power/thrash with a slight technical edge. This is really great stuff, which is sometimes energetic and up-tempo, sometimes is heavy and mid-paced (the magnificent crushing thrashterpiece "There Once Was A Time"). The tempos often change and the riffs are very sharp accompanied by stylish melodic hooks. The overall style is close to early Iced Earth, Eidolon and the Swedes Pathos, but these guys seem to thrash harder (check out the marvellous riff-fest "Darkness Calls", and every other song). The riff-work dominates, leaving little room for the leads, which are short and would pass through your ears without notice most of the time, while waiting for the next riffy section to arrive. "Vain Regrets" is a nice semi-ballad, coming as a very well-deserved break for the guys near the end, before the aggression begins once again, but just for one more effort: the fabulous intense speed/thrasher "Cold Day in Hell". The singer has a unique, thin, highly-strung melodic timbre, which suits the hard music fine, although some might find it too soft for the style.
"Nine Kinds of Hell" is another good effort, but is probably not as striking; the songs are longer, and the sound is more melodic, sticking to the power metal formula more often. The arrangements are more complex, with obvious pretensions for the tag "progressive": the 8-min "Conquistador", which is actually a ballad, with nice epic melodies, but will not appeal to thrash metal fans a lot. Still, there are nice moments, like the energetic power/thrashing opener "The Tragedy of Faust"; the galloping speed/power metal number "Devil's Triangle"; the technical jumpy power/thrashterpiece "Tanzania": a magnificent song with brilliant Oriental melodies and sharp riffs: the highlight of the album; the nice atmospheric heavy "House of Sorrow"; the excellent intense up-tempo thrashy closer "Emptiness". The singer Danie Powers sings even higher here, to the extent of sounding clearly operatic at quite a few times, which might be an annoyance to some. This is a really entertaining listen showing the band in a less aggressive light, concentrating on atmosphere, melody and a more thought-out delivery.
The self-titled debut is a sure-handed slab of classic American power metal with again fewer ties to thrash. The music stays closer to early Helstar and Omen, and is mostly in mid-pace with a heavy bass-bottom and generally heavy guitar work, frequently using the galloping patterns. Danie Powers is more restrained singing lower with just a few more piercing high-pitches unleashed. A couple of faster tracks could have made this effort a more interesting one; now this wall of heavy power/proto-thrash may tire a bit sticking to a samey formula unless you are a keen horse rider: this music will definitely inspire you to explore the prairies on a horseback like a vintage 18th/19th century cowboy.

Powers Court Full-length, 1996
Nine Kinds of Hell Full-length, 2001
The Red Mist Of Endenmore Full-length, 2008

Official Site

POWERSTROKE (BELGIUM)

Based on "Done Deal", this band play groovy post-thrash which can be quite angry at times ("Blessing in Disguise", the steam-rolling "Walk the Talk"), but also quite lyrical (the excellent semi-ballad "Hold On"). Playful rockabilia like "Call It a Day" could have been skipped, but generally the guys aim it diversity, and in this train of thought the album delivers including the merry crossover anthem "Judge Rules No Violation".
"Omissa" is a more aggressive affair the band attempting something rougher and industrialized in the manner of Fear Factory and Strapping Young Lad, but less controlled outbreaks like "Cheap Pride" and "Gold Diggers & Manwhores" throw the sound all over the place although the much more energetic ways of execution make this opus an entertaining listen with friendlier groovers like "Elevate" spicing then proceedings in a less intense fashion.
"The Path Against All Others" is a fairly decently performed modern thrash/post-thrash saga once again, with a more prominent presence of the clean vocals which really do a good job on complex progressive excursions like "By My Command". "The Awakening" is a very enjoyable hard-hitting thrasher, and "An Honest Decay" is another dynamic energizer which even winks at the realms of death. The second half hits the calmer parametres, but watch out for "Legacy of Life", a most hyper-active fillings-extractor.
“Diamonds Made of Scars” is a marginally more dynamic fare, “Hunter” and “Siren Call” leading the hyper-active pack, the latter pacified with the radio-friendly groover “Ultimate Power” and the nostalgic balladic filler “Billion Dollar Man”, the wider… sorry, wild shreds on “Eyes Wide Open” qualifying for the preliminary audition for a Darkane recording.

Once We Were Kings Full-length, 2010
Awaken the Beast Full-length, 2012
In for a Penny, In for a Pound Full-length, 2014
Done Deal Full-length, 2016
Omissa Full-length, 2018
The Path Against All Others Full-Length, 2020
Diamonds Made of Scars Full-length, 2023

Official Site

POWERSURGE (BANGLADESH)

This act plays good classic thrash of the more technical variety. The music possesses this pounding galloping quality characteristic of the works of late 80-s Helstar, interrupted by sudden speed/thrash explosions in the tradition of the German school (Paradox, Angel Dust, Toxic Shock). Some numbers are complex technical affairs: the excellent opener "Aprostut Juddho", the nice tribute to late-80's Metallica "Mitther Agrashon"; others are direct blitzkrieg thrashers: "Hangor", "Agnisnan". When the guys reduce the speed, things become less impressive: the ordinary, even groovy "Shadhinotar Barta", also infused with a few melodic breaks; the acoustic ballad "Slogan". There are occasional leanings towards the modern power/speed metal scene: "Powersurge", but most of the time this is potent retro thrash metal with the semi-angry hoarse vocals being the only real drawback: the music would have benefited from a more melodic attached singing.

Aprostut Juddho Full-length, 2008

My Space

POYNT BLANKK (USA)

This not very known act provide playful post-thrash which has both heavy hard-hitting and calm, balladic moments. The blend works almost as well as the Flotsams' "Quatro" on the best moments ("Shot in the Arm") all the more with the help of the good clean vocals. Mordred will immediately come to mind, too, with the jolly funker "Comin' Down", but the rest is more conventional and predicle, the guys apparently never intending to leave a more lasting impression on the scene.

...Any Questions? EP, 1993

PPTA (HOLLAND)

Based on "Bleeding for a Living", this band play retro thrash with a thick heavy sound, but doesn't miss out on faster-paced expletives, with "German Suplex" and "Cross Armed Pile Driver" being brisk short headbangers, and "Atomic Drop" shredding with more technicality, the untamed vehemence of "Close but no Sigar" close to tumbling into the realms of death. The vocals are intelligible semi-clean ones with a slight hardcore shade.

Beaten Broken Bleeding Full-length, 2011
Bleeding for a Living Full-length, 2021

Official Site


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