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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, 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.

100% Heavyocity EP, 2008
100% Heavyocity 2 EP, 2010
Mass Delusion Full-length, 2011

Official Site


Based on the demo, this Russian trio offer interesting technical retro thrash with spacey progressive hooks. "Chaos" is an intense opener wiht loads of quirky tunes and riffs which later get translated handsomely on "Believe In Change" which is more moderate and 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


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



"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

My Space


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

My Space


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.
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.

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


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


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 Bapphomet" 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 reliefs (the speed metal joy "Catholic Sodomy") plus a cool atmospheric doom/blacker ("Unhallowed Ground") with a melancholic pinch ala Katatonia as a finishing touch.

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

My Space


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


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 4 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 aith 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 2nd 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.

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

Official Site


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.

Paganfire Full-length, 2005
Hate Vanishing Point EP, 2008

Official Site


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


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 towars 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


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 acceple shape.

Thrash Till Death Demo, 2003


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


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

My Space


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


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


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 mid-period Machine Head.

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


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-doomy 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


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-paterns. 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.

Death Carrier Full-Length, 2015


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 more thrashy and there is a certain modern edge ala Pantera in the guitar approach. And I haven't said anything about the singer 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


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


This act deliver abrasive groovy doom/stonery post-thrash which never bothers to speed up and has definitely preserved the best moments for the high-octane doomy 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 sparce angrier rhythms.

Carnival Of Souls Full-Length, 2012


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 ("Df1'98gevo") 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

My Space


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


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


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



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 on "Pray" a groovy modern post-thrashy sound.

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


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.

Destino Letal Full-length, 2011
Sed de Sangre EP, 2013

Official Site


This act offers 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 doomy 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 which 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

My Space


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 deathy 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 cancelled 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".

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

Official Site


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


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 aggresive piece "flirting" with death metal, suiting the intense throaty vocals.

Angels Vs Demons Full-Length, 2018

Official Site


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 2 albums and an EP some 10 years ago.

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

My Space


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 Fins Gandalf and generally the settled mid-paced tone is seldom broken. The singer is a gruff deathy throat who leads the show with authority without achieving any vocal heights.

Release Your Demons Full-Length, 2016

Official Site


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. 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.

DEMOlition Demo, 2011
The Human Art of Depression Full-Length, 2013

Official Site


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 doomy 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


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


Trevor Elliott from the 2 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 whcih are not 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 strecth his limited abilities to the limit in order to reach at least a tenth of the level of their idols.

Secret Slam Demo, 1987


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 up-lifting quality, but the guitars are too sharp for this to be defined as crossover. On the other hand some tracks ("High Strung"), as well the vocal style, strangely recall Skid Row's "Slave to the Grind"; still, some pieces are really intense thrashers ("Morbid Curiosities"). The debut is the faster and 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


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


f0 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 elaboratons 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 levelled hoarse death metal baritone just assisting the much better music unobtrusively.

Black Coffins Full-Length, 2014

Official Site


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 dramatism 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-roling 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 inevily 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

My Space


Based on "New World's End", this band play a dark atmospheric blend of doom/death and thrash metal. So 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


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


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


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 is 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


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

El es la Luz Demo, 2005

My Space


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 doomy, slow 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


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 is 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


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


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


Based on the Compilation: the carefree Motorhead style gets mixed with primal hardcore on this band's works resulting in moderately fast energetic music (sparce blast-beats can be heard) with nice melodic hooks coming out of nowhere, but creating a nice more serious atmosphere. The singer is suily 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

My Space


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

My Space


This is modern post-thrashy, 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 wiith some of the heaviest rhythm-sections around.

Fools & Saviors Full-Length, 2016


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


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 doomy 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 deathy side.

The single is in the same vein shooting short blitzkriegers ornated 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 guttutal rendings are more intelligible and easier to decipher.

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


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

My Space


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

My Space


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

My Space


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 thrashy boost. There are a couple of very fast deathy 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


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 allso active with the heavy metal outfit Guillotine.

Chaotic Systems EP, 2014

Official Site


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


An outstanding speed/thrash metal band; the debut is excellent 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 reasounding "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 neverending 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 headbanging 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 offerd 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, Neccrophagist, etc.), an eslished 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 is not 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 Mnnzner 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 headbbanger, the most immediate cut on the allbum. "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 repetoire, but the varied palitre within which the band reside still holds quite a few surprises, it's not depleted completely yet...

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

Official Site


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 cancelled by the oncoming groovers which are not 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 tember. The guys were previously known as The Scourge when they only managed to rellease a solitary demo in 2009.

Decomposition of Mind Full-Length, 2013

Official Site


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, dramatism.

Demo Demo, 1988


The debut EP is hardly a "paralyzing thrash attack" beign 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

My Space


A standout progressive/technical thrash metal band, who started in a marvellous 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 will come across impressive progressive thrashers: the more dynamic, up-tempo "The Waters Cry", the doomy 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


Based on the full-length, 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").

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

Official Site


Perfectly acceple 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


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


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


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


An obscure addition to the fairly barren Austrian thrash metal scene; 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 is 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


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") tp produce more engaging riffy cannonades with more tasteful guitar work including a nice acoustic intrumental finish ("The Last Dwell").

Camp Thrashers Full-Length, 2015



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/thrashy 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 suile 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 stiil 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 sectons.

Demo Demo, 2010
Pandemonium's Rise EP, 2011
The Edge of Existence EP, 2014

Official Site


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


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.

Strawberry Letter 23 Full-length, 1995

My Space


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.

Infected Pleasure EP, 2009

My Space


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 deathy rendings.

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

My Space


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


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 intrigiung 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 whicb is partually captured by the faster-paced closer "The Wold Inside". The vocalist is a passable, not very attached semi-cleaner who doesn't always match the melodic musical scenery.

Insanity Origins Full-Length, 2017


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 dramatism 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


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 are not 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


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, more thrashy 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 was not a very radical move from the debut, but the initial technical showings never materialized later on, and the softer approach in the beginning was not 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


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 suile for a gothic/wave act. The style will probably remind you of a more thrashy Misery Loves Co. (Sweden) or Die Krupps.

Demo Demo, 2004
Demo Demo, 2006

Official Site


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 which 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.

Hallucinative Minds\\tab Full-length, 2016

Official Site


3 songs which tread the agressive 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


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


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


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 predicle 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


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 tember 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 partuicular).
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 deathy 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 2nd 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 co-ordinated and smoothened out, and its obvious succcess 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


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 more thrashy 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 unpredicle 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-deathy 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


This Dutch outfit acquit themselves with pretty ordinary hardcore-ish 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


Based on the full-length, this act offer a fairly decent mix of black and thrash which isn't a "stranger" to some captivating lyriicism (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 debale 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


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


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


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


"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-doomy 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 Stran8 Sv8t" 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


This act sits on the more aggressive side of the Argentinian scene by thrashing far'n wide with a not very overt death metal edge. The tempos change so there is not 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


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


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 is not far from the organized chaotisms of early Voivod. There is 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


One of the best Swedish metal bands of the past 10 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 more thrashy 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-doomy composition reminiscent of the guys' compatriots Memento Mori transforming into the creepy balladic outro "Divine Intentions". The new singer has a less adventurous tember, 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


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


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


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 thrashy 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 thrashy riffage (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 10 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 doomy 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.

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

Official Site


A cool entry into the retro thrash metal catalogue of recent years, suffering a bit from the low-tuned deathy vocals. Otherwise this is intense stuff with stretches towards proto-death ("Iarost") with a few reliefs: 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


Based on "Reverse The Flow", these guys play hardcore-ish 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


These Brazilians play (also "pay"... "back") heavy stomping retro thrash whic 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.

Toxic War EP, 2012

Official Site


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 tember 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


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


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 ldblquote It's A Rip Offrdblquote 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


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


3 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


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

My Space


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


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 blask-ish vocals.

Mir Izchez Demo, 2011


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 2nd 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 eslish the more extreme metal genres as the much more famous and celebrated ones.

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


A 4-track demo of thrash/crossover with merry, punk-ish overtones not miles away from Lawnmower Deth; well, this definition goes for the 3 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


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

My Space


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


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


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"; quite good, aggressive stuff, albeit a bit short: only 6 songs. There is a certain hardcore aesthetics in the approach brought also by the good forceful vocals coming as a mixture between Billy Milano and John Connely.

Narcotic Religion Full-length, 1990


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 riffage involved.
The "Vlad the Impaler" EP can be considered a fair follow-up to its extraordinary pedecessor 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 dishevelled, 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 gutar 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


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


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 doomy 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

My Space


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

My Space


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


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 agressive 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 cacophonic super-technicality, this exuberant amalgam finished with an imposing doomy 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.

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

My Space


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 supproted 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 2nd 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


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

My Space


Based on the full-length, this band plays modern Gothenburg thrash/death metal which also comes with a pinch of groove. Otherwise, the fast numbers predominate frequently "ornated" 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.

PequoD EP, 2004
Forgotten Full-Length, 2011

Official Site


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-deathy shouter who tries to ruin the music, sometimes successfully.

Blood and Honour Demo, 1997


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


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 doomy passages which in their turn come accompanied by clean mid-ranged vocals.

Redemption EP, 2010


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.

Thick Fume of Dependencies EP, 2009

Official Site


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


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

My Space


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 is not 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 is not 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 deathy growls to cleaner deep vocals with a touch of emotion.

They Breathe Demo, 2012


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 is 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


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 unsuile hoarse deathy 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



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



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: "Ger a Life", a magnificent instrumental piece 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


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 2nd half where most of the cuts acquire a morose doomy "colouring" completely abandoning the speedy approach. The vocalist is a deep guttural deathy semi-shouter who is comprehensive without any strectches from the listener's imagination.

Carving a Dismembered God Full-Length, 2015

Official Site


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-deathy 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


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 not 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.

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

Official Site


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


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, but the mystery remains: where did these guys go after such a promising start?! With so much talent displayed it was obvious that this band could have owned the Australian extreme metal scene during the early 90's...

Tortured Existence Demo, 1989


The "Wings of Death" demo offers furious black/thrash, quite fast, and throughout the 9 compositions included here one will seldom hear anything more than speedy, to the point of absurdity sometimes, blasting black/thrash metal. The 2nd 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

My Space


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

Demo Demo, 2007

My Space


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


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


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



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 2nd 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


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


This act managed to eslish themselves on the forefront of the speed/power metal movement with 3 solid albums, but the shadow of Blind Guardian was looming so heavily over them that it was really hard to label them as ahytning 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


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 tember, 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


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.

Storm of Evil Full-Length, 2013



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


The EP offers 4 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.

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


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 strenghtened 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


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 doomy 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


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 Implaced Nazarene adding a small doze of the semi-technical hystrionics of early Hellwitch, and you might get somewhere picturing the music on display here. The guys slow down in the 2nd 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.

Into the Alcoholic Abyss Full-Length, 2013

Official Site


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 2nd 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/thrashy 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


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


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 deathy 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.

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

Official Site


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 dramatism to the "pessimistic" scenery.
The 2nd "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 "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


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

My Space


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


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 4 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


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



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. Peterseon 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 Dispair\\tab Full-length, 2017

Official Site


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


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


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


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 Hetfeld impersonator with a more aggressive deathy 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


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 unexpectecd 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


This band play dark brooding thrash/death metal with elements of doom, sounding like a fusion of Benediction and early Celtic Frost, enriched withcool 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


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


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 is certainly a potential here, but it has to be displayed in a better way.

Furiosis Demo, 1999
Psychical Seeings Demo, 2003

Official Site


This very obscure band plays awesome Bay-Areasque thrash in the Testament, Exodus, 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 coiple of songs in the second half 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 are 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 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 to which even the "post-thrash" label may be a bit too farfetched. The only place where the guys remind of their past is 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


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, which 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

My Space


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


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


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

Official Site


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 wiht echoes of hardcore/crossover ("Suicidal Phoebia") on the shorter numbers. The singer shouts/semi-shouts with an attached semi-clean tember and his wild manic antics may come as a bit too intense to some.

Demo Demo, 1994


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 thrashy 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 then 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


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 occasionthe 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.

Ruination Full-Length, 2016

Official Site


This is a recording with a very bad underground sound quality under which one can distinguish twisted doomy 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 doomy 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

My Space


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 tember quite reminiscent of Wattie (The Exploited).

Phobia Demo, 1991

My Space


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)


2 songs of dark complex old school thrash; almost instrumental stuff with quite good decisions (and not very obtrusive gruf 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 pasages as well as a few more stylish riffs.

Lost in Wrong Ways Demo, 1992


This formation specialzie 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 perennial pattern topped by gruff low-tuned death metal vocals. The title-track is the only "oasis" here with its more dramatic, almost deathy, 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 pespective, but without the groove.

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

Official Site


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 are not very fine additions both being melodic power metal compositions with balladic overtones. The singer sings well, though, and his steady clean mid-ranged tember has the necessary emotional colouring to carry the one-dimensional music through.

Soul Creeper Full-length, 2010

My Space


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 4 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


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 doomy atmospheric piece.

Obscure Feelings Full-length, 1994


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


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.

Fear Full-Length, 2015

Official Site


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 teh screechy hysterical blacky 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\\tab Full-length, 2017

Official Site


The 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 thrashy. "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


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 in the Kristiansund Operahouse, with Nils K. Rue (Pagan's Mind) singing one of the main parts.
"Reptile" offers a much more straight-forward music: these are three songs of intense classic thrash (if we exclude some parts from "The Weight Of Condemnation" with a gothic/epic flavour), without any technical gimmicks, and is decidedly inferior to the preceding work.

The self-titled debut is finally out, and it was interesting to see which style the band would stick to. The surprise would be pleasant to both sides, since this is a seamless, perfectly executed blend of both the more technical, and more aggressive approach. The opener "Decadence" 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", 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, 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 to continue 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


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 bvoost 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 ldblquote Omne Trium Perfectumrdblquote 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 metala scene of the new millennium.

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

Official Site


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 is 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 tember quite close to the one of early Anders FridTn (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


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 doomisms. "The Reckoning" embraces the 90's speed/power metal movement wholeheartedly whereas the final "Final State" is a doom/thrashy blend with nice melodic leads.

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

Official Site


A typical for the early 90's power/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.

Exes for Eyes Full-length, 1992


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


This is groovy post-thrash which can thrash ("Un Bellaco Arrastrado", "Cazador") on occasion, but the band have established a crushing doomy 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


90's post-thrash of the awful rubbish type; repulsive groove spiced with stoner/coom, 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


A cross between modern and classic thrash/death with not very appropriate brutal death metal vocals; some pieces are nice technical ("Different", the unpredicle 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).

Tief in Dir Full-Length, 2014

Official Site


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 wirh the retro thrashers Chainsaw.

Escatology Full-length, 2017

Official Site


Based on the full-length, this act provide an epic classic form of thrash/death which is rich in soaring melodies sidestepping the speed a bit the latter timidly showing its head on the shorter numbers (the brutal deathster "Maleficent"; the technical deviation "The Tribulation"). This is an officiant, formal release which comes close to Amon Amarth at times, the main difference coming from the lower-pitched, more guttural death metal vocals.

Unholy Death EP, 2011
Void to Enlightenment Full-length, 2015

Official Site


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 "Wutchunt". 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 marvellous 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


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

My Space


Thrash/crossover close to Lawnmower Deth, maybe a bit heavier and less enjoyable.

The Blitz Has Begun Demo, 1988


Three songs of modern mathematical thrash with technical twists the latter not far from Coroner even (check out "Together We Fall"). There arenrquote 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


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 AndrT 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 Manking" also scores high, the 1st part being pure speed metal to the bone, the 2nd 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 is not bad with a clean mid-ranged tember 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


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 piece slike 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\\tab EP,\\tab 2007\\tab
Join the Brotherhood\\tab Full-length, 2016

Official Site


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 tember 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 coreay post-thrash again.

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

Official Site


Basen on 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. A nice keyboard background can be heard well contrasting with the sharp riffs and the brutal death metal growls.

The Exorcist Demo, 1990
The Gate Demo, 1991
Worlds Grave EP, 1992
Cancer Single, 1993
Promo Tape Demo, 1998


This band was formed by Paul Baloff (R.I.P.) after his exit from Exodus. The style is not 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


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 wuality, not a very beneficial addition to this otherwise cool tribute to the old school.

Pirana Attack EP, 2005
Destructive Animal Revolution Full-length, 2008
Corruption Full-Length, 2012

Official Site


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 is not 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 buzzy 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


This is an interesting band: on their only 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.

New God EP, 1997

Official Site


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


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


Pretty standard modern thrash metal along the lines of Pantera and Machine Head, with some industrial touches recalling Fear Factory and Puncture.

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

My Space


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 Fr'f7mmler" bringing forward more intense hedbanging tunes; "Todesboten" could also be mentioned in this vein offering a short blasting break. Surprisingly, the slowest song on the album: the closer "SchlSfer", which is very appropriately titled, by the way ("the sleeper"), is the best one being a pure morose doomster partially ruined by the unsuile semi-death metal vocals.

Der Fr'f7mmler Full-length, 2010

Official Site


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


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 doomy 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


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 grolwer ala Karl Willets (Bolt Thrower).

Pit Messiah Full-Length, 2013

Official Site


Based on "Atonement", this outfit sppecialize in heavy modern post-thrash which is another testimony that there is 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 industial 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.

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

Official Site


Modern thrash of the laid-back, metalcore type; this is choppy stuff with not very pleasant deathy 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


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


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...

Designed To Dislike Full-length, 2007
The Devilty Full-length, 2011

Official Site


The debut: this is the "btainchild" 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 p ost-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 inevile 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 themsleves 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


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 predicle 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.

The Pitch Black Reality Full-Length, 2013

Official Site


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 7 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


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


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 2nd 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


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


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 hysterial 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


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


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 prroto-death dramatism (Exhumer") at times. "Pain of the Battlefield" 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 in inflicting as much pain as possible.

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



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


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 unpredicle 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 deathy 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.

Plague Rider Full-Length, 2013
Paroxysm EP, 2015

Official Site


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 inevily 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


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 deathster who strains his throat too much at times creating artificial dramatism.

Shrykull Full-Length, 2016

Official Site


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 is not 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 doomy 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


Based on the full-length, this act indulge in quite contrasting classic thrash/death metal whic throws itself from one extreme to the other serving wild brutal deathsters ("Pile of Bones") right next to morose doomy 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


This band coud 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 doomy tracks in the middle where the sound comes close to Flotsam & Jetsam's "Quatro".

Mother Are You Mad? Full-length, 1994


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


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 is 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 eslished 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 2nd 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


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 thrashy 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


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


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


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


These Costa Ricans serve progressive power/doom metal with harsher proto-thrashy 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 dramatism. 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-rolelr "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\\tab Full-length, 2010\\tab
The Game\\tab Full-length, 2017

My Space


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/deathy 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


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 comforly 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'e9b'e9cois d'antan Full-length, 2007
Le Quattro Stagion-Au temps s'emporte le vent: Une ann'e9e d'apocalypse EP, 2010
D'e9j'e0 novembre EP, 2010
Tome I: Anno Inferno Full-length, 2015

Official Site


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


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


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 doomy 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 Torbj'f7rn 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 doomy 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


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


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


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 is not 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


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


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


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 m jsession 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


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 2nd 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 deathy 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


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 thrashign 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).

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

Official Site


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 rellief is not 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 spee 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


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


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 Loalty". 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 acceple, albeit hardly emotional, semi-clean baritone which again is modelled 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


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


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


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 tember even carrying the odd shade of melody.

Brown's'Beurk Full-Length, 2011

Official Site


Cool Slayer-influenced thrash metal; good vicious riffs aplenty and solos from the chaotic Kerry King type.

Nuclear Threat Demo, 2004

Official Site


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


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 froom 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 intoduction, 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.

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

Vibrations of Doom


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


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 5 demos released already, it's a wonder that noone 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


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


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


These Russians pull out pretty decent melodic retro thrash with sparce 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 orchetral 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 eslished 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 deathy 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-blasing 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 whcih 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


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 pseudonim 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


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 furtehr diversifying the appeal of this minimalistic recording.

Poor Bastards Full-length, 2016

Official Site


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 anotehr 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.

Long Term Germ Full-Length, 2013
Never Sober EP, 2010
Population Control Full-Length, 2016



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 more thrashy 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


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 2 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.

Overflow Full-length 1993
Opinion Full-length 1996

My Space


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


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


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 forgetle 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


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


Modern thrash which gets energetic more than just now and then ruined to an extent by the gruff deathy shouty vocals. Otherwise the guys indulge in long, complex compositions of then merry speed/thrash variety with catchy choruses the only seming pull bakc 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 suily abrasive sound quality.

El Secreto De Los Cielos Full-Length, 2015

Official Site


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-thrashy 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


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


Based on the first EP: vicious, aggressive thrash/crossover with some brutal grind-core 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


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 deathy 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


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 deathy 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


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-deathy 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 "tusle" at the end with the epic heavy metal winner "All Good Things...". The trash metal fanbase won't be very happy here as the guys were thrashing with much more passion on the debut.

Set Phasers To Thrash Full-Length, 2016
Resistance is Futile Full-Length, 2017

Official Site


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.

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

Official Site


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 (simlar 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


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 appendade even to such a seismic, steam-rolling parade.

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

Official Site


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


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


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 wirth 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


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


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 an eclectic mixture 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 doomy 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 same singer is their original one, John McCarthy (R.I.P.), who sadly passed away shortly before the recording sessions were finished, and 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


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


Based on "Bloody Justice Comes": this band plays thrash/death metal 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


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


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


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


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 attepmts 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 is 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


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


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"...

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

Official Site


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


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


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 mroe 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


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


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


Based on "Lust And Violence", this outfit, which consists ot 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 deathy 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/doomy side and finely captures the album's nice characteristic, ethereal aesthetics.

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

My Space


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 2nd 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 deathy tones to his otherwise predicle repertoire. Some of the band members were previosuly 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 10 Slayer covers starting with an excellent doomy 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 meatl 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


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


90's groovy post-thrash of the mid-paced variety, not really hard-hitting, with elements of hardcore ala Gang Green and Pro-Pain.

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


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


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


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 reliefs ("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 unaugurating 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


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


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-deathy 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 doomy 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


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 marvellous intense speed/thrasher "Cold Day in Hell". The singer has a unique, thin, highly-strung melodic tember, 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


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".

Once We Were Kings Full-length, 2010
Awaken the Beast\\tab Full-length, 2012
In for a Penny, In for a Pound Full-length, 2014
Done Deal Full-length, 2016

Official Site


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 benefitted from a more melodic attached singing.

Aprostut Juddho Full-length, 2008

My Space


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


An eclectic modern version of the good old thrash/crossover full of energy and vigour as well as several cool ideas. The guys thrash on without too much ado with an added death metal intensity at times, but with an omnipresent sense of melody (check out the excellent speedy opus "Medusa's Child" which also boasts the greatest lead sections on the album) except for the moments when the guys branch out into a stripped-down hardcore territory ("Mustard Donut", "Beef Porridge"). The avantgarde feeling of the album is expressed through the use of sax, funky passages, illogical time-signatures, sudden blasts, and unexpected exercises in a more technical play (the closing "Goat Milk Butter Pops").

A Wrench Short Of A Baker's Dozen Full-Length, 2012


Based on the full-length, this act pull out aggressive death/thrash which isn't completely devoid of melody, and the musicians' skills are admirable clinging more towards the death metal side with stylish nods to Morbid Angel. The frequent blast-beats kind of hamper thrash's performance which is reduced to a mere humble assistant on at least half of the songs. Still, captivating atmospheric progressivers like "Rise the Witchpower" should leave no one indifferent the only seeming pullback being the not very audible death metal vocals. Some of the guys also ravage the South American underground with the black/thrash formation Insorcist.

Profane Cult EP, 2013
Manifest Rebellion Full-Length, 2015

Official Site


This is a one-man show in which the guy serves melodic power/thrash which creeps forward with not very dynamic mid-paced riffs suddenly hitting progressive heights on the 8.5-min title-track the latter killing the inertia, if there ever was one in the first place, with clumsy balladic accumulations. "Godhunt" is a surprisingly stylish semi-technicaller, and "Fates Decided" is an invigorating epic galloper; th erest "flirts" too much with the ballad and doom to be a highly recommended listen. The guy provides a mean death metal-ish baritone which kind of suits the minimalistic tone of the music.

The Banishment Full-Length, 2016

Official Site


Good energetic old school thrash metal which starts with the nice moderate speed/thrasher "Religion Blindness", but soon switches onto a more aggressive play with the explosive "Waiting On Death Row". "Evil May Die" deceives in the beginning that it might offer a softer course, but quickly turns into the next fast-paced killer. No mercy on "No Redemption" either, but "Shards Of Evil" gives the guys the well deserved break, being mid-tempo and laid-back. 3 aggressive thrashers follow suit to close this entertaining piece of classic unadulterated thrash, something which the Portuguese scene has to offer more often.
"Confrontations" treads the same path since there's no reason for changing the course after the promising start, the classic thrash pieces which pour from all sides accompanied by shouty angry vocals which are the only more modern element here. Otherwise, the musical blend is similar to the one achieved on the debut the guys relaxing from time to time (check out the pretty cool semi-ballad "Inside 4 Walls") with some more laid-back numbers which is definitely needed after exhausting headbangers like "Too Much To Handle", "Dark Passenger" and "Acid 51" which will scatter you into all parts of the room/house in no time. Still, the faster material clearly dominates and would leave no one disappointed, especially those who have committed themselves to "mosh till you drop".
"Face of the Unknown" is the next in line roller-coaster as few will be those to stand still on compulsive headbangers like "Dead Alive" and "Past Present None". "March Forward" almost turns into a handsome technical thrasher, but it's the thrash/crossover joys "Someday" and "Betrayer" that deliver the goods in a better way with their unbridled furious rhythms.

Religion Blindness Full-length, 2009
Confrontations Full-Length, 2012
Face of the Unknown\\tab Full-length, 2017

My Space


This formation play a more elaborate brand of modern power/thrash which is quite clever for its own good the band shredding with competence, but with too many things happening within one song the closing "Let My Dark Arise" alone closing on over 13-min. To these ears the better moments are the more immediate ones: check out the headbanging sections on "F.T.W.".; which aren't that many the guys lashing complex riffs on a dramatic epic base, and the fans of mid-period Fates Warning will be the happiest with this offering. "An Agonising End" is a cool galloper with more aggressive riffage, and that remains the most intense moment on this fairly elaborate affair which also acquits itself with very good passionate clean vocals.

Counterfeit Penitence Full-Length, 2013

Official Site


Raw, aggressive and generally fast thrash metal which surprisingly sounds closer to the early days of the Brazilian metal scene; the band's style is similar to Sarcofago, Vulcano, Sextrash, early Bathory, too (it has a certain black metal flavour at times). Preacher are probably better musicians than the aforementioned bands, but their approach is pretty much the same: an evil and relentless black/thrash attack.

Trapped In Hell EP, 1987

My Space


Based on "Southpaw": I could have blamed these guys for shamelessly copying the Flotsam & Jetsam's "Cuatro" at times if this album hadn't been released a bit earlier. The other target for worship is Death Angel's "Act III". So what we have here is power/thrash simillar to the Flotsams' transformation from the 90's, but this one isn't as good inserting funk elements ala Mordred and Death Angel, but when the guys do this, they completely forget about the metal riffs, and these parts are simply bad, having nothing to do with metal. There are also quite a few balladic and heavy/power metal moments. It's only the heavy, pounding guitar work akin to the one in "Quatro" ("No-Can-Do", "Force Fed") which strikes a cord; the rest is nothing more than a failed attempt to sound original, resulting in a very uneven and unconvincing mixture. The band's last, self-titled debut is awful nu-metal, the lowest possible bottom a once thrash metal act could reach.

Southpaw Full-length, 1993
If you Must Full-length, 1994
Precious Death Full-length, 1996

My Space


Atmospheric progressive power/thrash with frequent balladic embellishments and just a few more intense moments ("New Beginning"). The vocal duel between the passable semi-clean singer and the gruffd eath metal semi-shouter is extremely awkward, and doesn't help the proceedings; neither does the shocking death metal closer "Death Wish" which at least makes some hints with the title.

Vision Demo, 1996


This is a project of two members of Hellwitch. Based on the two demos, the style isn't too far removed from the father band; this is a thrash/death metal mixture with more concentration on technicality than on speed (although some songs excel on speed, too), and more atmospheric with slower, gothic-tinged passages involved as well. The songs here are longer, and the time changes and the great technical riffs keep them interesting throughout. The vocals are totally opposite to the unholy snarls of Hellwitch, deep low death growls ala Jan-Chris De Koeijer from Gorefest. Fans of Massacra, Atheist and Death would also want to check this band out.
The "Foundation" demo is arguably the band's finest achievement, The full-length comes six long years after the demo stage, and the music isn't as technical anymore. The slower gothic passages are here again, and the lead guitar work has improved, but the overall approach lacks a punch, often adhering to less speedy, somewhat dragging sections. In other words what we have is pedestrian gothic-tinged death/thrash recalling the early 90's Dutch scene: Gorefest, Asphyx, also the Swedes Cemetary's early period, etc., but not as good and more thrash-based.

The Foundation Demo, 1994
Black Sun Rising Demo, 1995
Prophet of Doom Full-length, 2001

Official Site


This is cool power/speed/thrash which has managed to capture the American scene's atmosphere better than some of the bands over there. The guys unleash energetic speedy numbers with echoes of Savage Grace, Attacker and Liege Lord topped by comprehensive clean vocals which are not very attached, but deliver. The guitarists are prone to melodic licks which decorate this effort with several stylish moments: check the guitar duel on the closing instrumental "Celtic Attack" which pays a worthy tribute to the Irish folk music heritage. It should come as no surprise the fact that Anthrax picked these guys for support during their Irish concerts on the "State of Euphoria" tour.

Predator EP, 1988


The debut: a pretty acceptable entry into the classic power/thrash metal side of the genre; the opening "Cursed (Letters From Hell)" is the staple energetic 80's American number, but "Between Vengeance & Forgiveness" tells another story: an awesome technical Coroner-esque piece with mindblowing riffs and great leads; a song for which alone this album is a must-listen. Unfortunately "Closet Anti-Christ" returns to the more standard patterns being another cool dark power/thrasher paving the way for the smashing semi-technical mid-pacer "Demon Soul" graced by a fine faster galloping ending. "Die Unborn" is heads-down speed/thrash with short screaming leads, and "Icon" is a cool, albeit hardly necessary, nod to the 90's power/speed metal scene to which the excellent high-pitched clean vocals ala Ralf Scheepers (Gamma Ray, Tyran Pace) are very fitting. "Fugue-itive" is 2-min of a technical lead show-off courtesy of the guitar maestro Damien Lee Thorr; a nice offbeat track which seamlessly flows into another major speed/thrasher: "Lone Wolf", intense aggressive shred which completely disappears on the melower galloping power metal number "Mercy", but the brutal thrashing gloriously returns with the short explosive "A Moment, Sir...". The alternation between the two sides carries on with "In The Name Of God?" which is some more power metal of the American type, before the closing "The Border" wraps it up nicely serving a potent mix of melodic and hard-hitting riffs on a heavy galloping mid-base with the odd semi-technical twist thrown in.
"Born in Blood" is richer in melody, a tendency well reflected on the melo-speedy opener "Days Without Rain". As a matter of fact, thrash isn'ot very well covered, the overall style clinging between Griffin and early Helstar. "Burn" is a stylish exercise in heavy technical power/thrash, but the rest is pretty conventional old school stuff with interesting lead variations on "Far Beyond Death"; pompous orchestral arrangements on the operatic interlude "Die Not My Hopes"; and a guitar wizard show-off on the closing 2-min instrumental "Caprice 16". The singer is by far the finest asset singing in an attached emotional manner the whole time, a nice reminder of both the first Scanner vocalist Michael "M.A.J.O.R." Knoblich and the aforementioned Ralf Scheepers.

Predator Full-length, 2009
Born in Blood Full-length, 2011

Official Site


Based on the "Atomic Deconstruction" EP, these folks provide stylish technical thrash which on "Atomic Deconstruction" comes with fast overlapping rhythms assisted by not very intelligible death metal-ish vocals; the constant speedy riffs kinf od don't leave much room for a more complex play to be developed. "Intergalactic Expeditionary Strike Force" is in the same vein, but its more elusive rhythm-secton leaves space for more diverse arrangements in the middle, including the twisted ending. It would be interestign to check how the band have pulled it off on earlier recordings.

The Executer EP, 2011
Mothman EP, 2015
Atomic Deconstruction EP, 2016

Official Site


An energetic good mix between the 80's speed/thrash metal sound (Toxic Shock, Solitaire, Cranium) and a pinch of crossover; the traditionally fast tempo is "broken" by a couple of heavy dark atmospheric numbers ("No God For Me!", the epic power/thrasher "One Day..."). The bass work is quite good, but the singer is hardly an asset, unleashing a gruff death-ish tone. Expect surprises later on, like the extreme ultra-fast thrash/deathster "6-6-Cervezas". The extremity remains for "In The Name Of War", which is blitzkrieg speed metal in the best tradition of Solitaire, and another ultra-track: the smashing speed/thrasher "Open Beer"; "6-6-Cervezas" is another "nuclear" bomb, starting with the funeral march, and later on "flirts" with another popular tune which I'm not sure where it comes from. Time for crossover to justify its presence with "Policia", before "Dia Del Apocalipsis" nails you down with another fine slab of fast uncompromising thrash. This is a true commitment to the classic sound, done in a direct stripped-down manner, without any ado, staying away from both melody and technicality.
"Thrash, Beer & Sex" will give you the first in big dozes, but for the other two you'll have to take care yourselves. Otherwise the music is faithful to the band's chosen path, ripping speed/thrash metal this time coming with a stronger shade of crossover, and with more melodic guitar work. The leads are much more widely covered, but generally the musicianship is in the same direct simplistic vein. The guys abandon the fast pace for a short string of slower songs near the end, but the exiting trio is the highlight pulling out brisk intense thrash/crossover at its classic best.

"Red Day" spreads its wing wider, now moving onto proto-death and more overt hardcore. The resulting "therapy" is a mixed bag although at least the more aggressive deathy passages suit the gruff singer better. The musicianship has decreased in terms of quality, and now the guys bash directly without too much thought put into the proceedings, leading to more simplistic tracks, where only the good leads strike a cord. The rest is energetic, but hardly very impressive, thrashcore with a touch of death.
"Cadaver" is a dark groovy affair which still has its more brutal moments (the raging title-track; the surprising galloping joy "Chronicles of the War", the highlight on the album), as well as a few nice attempts at a more technical play ("Fuck you! God!"; but of course!). There are whole 15 tracks here so one should expect variety in the approach which like on the doomy volcanizer "Drunk", and elsewhere.

March of Death Full-Length, 2009
Thrash, Beer & Sex Full-Length, 2010
Red Day Full-Length, 2011
Cadaver Full-Length, 2013

Official Site


Based on the "Contesting the Truth of Death" demo, these Brazilians provide an aggressive retro thrash/death hybrid which is more attractive on the more laid-back material (the stomping officiant bass-driven "Message of Death") while the other pieces are ornated by spasmodic blast-beats not applied very appropriately. The vocals are on the shouty death metal side. The musicians also take part in the death metallers Chemical Disaster and another classic thrash purveyor: Front Attack Line.
"Dirty Scum Arise" is a modern thrash afair which smells Slayer (the brooding opener "Sickly Psychological Profile") when it becomes tempted by the classic formulas. This doesn't happen very often, though, and the badn just bash with vigour, but with little imagination, all the way sparcely energizing the environment with more intense hardcore-ish moments ("Art for Madness"). The 2nd half is the better one with a more dynamic delivery which strips doen the riff-patterns to more direct core-ish formulas ("Welcome to the Army") which even come with a pinch of catchy meloic hooks. Some of the band members also take part in the death metallers Chemical Disaster and the classic thrash outfit Front Attack Line.

Walking To The Trap Demo, 2000
Visions World Apart Full-length, 2005
Contesting the Truth of Death Demo, 2009
Dirty Scum Arise Full-Length, 2013

Official Site


Based on "Hate Nation", this band plays chuggy modern post-thrash with a more frequent adherence to intense pure thrashy moments (the vigorous headbanger "Homicidal Man") with abrasive guitar work and shouty aggro-vocals.

Predatory Violence Full-length, 2007
Meet the Cure Full-length, 2009
Hate Nation Full-length, 2010

Official Site


Based on the full-length, this formation specialize in heroic power/speed/thrash which has a lot in common with the 90's movement in this field. The band's "eagle fly free" approach is admirable excluding their ventures into groovier waters although the latter can hardly break the vivid rhythms' stride on perennial epic speedsters like "Prodigal Son" and "Necropolis". The vocalist isn't very suitable to the uplifting musical delivery with his subdued death metal growls, contrasting with the sweeping melodies amply provided.

Dhominization EP, 2013
Alien Nation Full-length, 2016

Official Site


Based on the debut, this is another rendition of the angry 90's canons done in a slightly more energetic manner than expected also infused with a few catchy melodic tunes ("It Rips, The Destroyer", "The World Outside"). The title-track is an overlong 9-min groovy progressiver showing a more serious attiitude, but the latter doesn't quite suit the guys whose more direct side (the dynamic Pro-Painesque "The World Outside") is way more attractive. The vocals are the staple quarrelsome shouts seldom intercepted by much better soulful clean ones.
"Through the Winter's Cold" emphasizes on the groove more, and as a result the sound is quite heavy with jumpy distractions which are not bad, actually, and have clear progressive, also alternative, pretensions ("Through the Winter's Cold") at times. Later on in the 2nd half one will come across bluesy ballads, stoner/doomy cuts, even a nice headbanging passage on "The Stand"; all this finished with the dreamy 8-min opus "Hell is on my Side".

Learning to Suffer Full-Length, 2010
Through the Winter's Cold Full-Length, 2014

Official Site


This obscure Polish formation plays really cool classic speed/thrash crossing the early German trends (Destruction, Exumer) with the American scene (Sentinel Beast, Whiplash). The music is vigorous and intense, also touching Rigor Mortis on the more intense material ("Agresja", presumably "Aggression" in Polish, which justifies its title despite the few melodic hooks which smell Paradox). The sound quality is crystal clear giving the guitars a lashing crisp sound although the singer is a pullback with his gruff low-tuned death metal delivery.

Nihil Desperandum Demo, 1993

Fan Site


Based on the "Tomorrow" EP, these guys offer a boring uneventful blend of groovy post-thrash and alternative. The singer sometimes uses a more interesting melodic blend similar to Dax Riggs (Acid Bath, also Agents of Oblivion), but unfortunately most of the time he sticks to shouty hardcore patterns.

Greed Death Time Money EP, 2006
Tomorrow EP, 2006

Official Site


Based on "Reality", this is chunky, technical thrash/death metal, very well done, quite similar to Atheist (think "Unquestionable Presence", above all), and also their compatriots from the not so distant past Chemical Breath. This is compelling music with some of the finest technical riffs in a while and head-spinning time changes. Even the short opening intro "New BReed" comprises a whirlwind of furious technical guitars which before it turns into a vortex of jaw-dropping elaborate sections on the following "Act Of Despair". And it's only the beginning: later on one will come across spinning virtuous leads on "Dictated Lives"; more aggressive deathy passages on "Embrace" and the speedy technical madder "Betrayed"; twisted proto-groovy moments on "In-Vitro"; etc. "Nuclear Malediction" is an exemplary technical stomper near the end with steam-rolling riffage propelling the song into Bolt Thrower and Benediction waters served with a strong technical twist. The vocals may not be to everyone's taste, though: their low-tuned grunty/guttural character with a pinch of hardcore is a bit of a spoiler.
"Dominion of Chaos" moves into the brutal technical/progressive death metal realm by retaining the technical play, but it would be of little interest to thrash metal fans. "Megalomanic Infest" is a clear disappointment abandoning the technical flourishes moving towards the slamming less expressive side of death metal.
The debut is another strong release the technical flair all over the album even strengthened by a few atmospheric keyboard-infused passages. The energy nicely gets decreased on a couple of heavier numbers ("Eyes Only") where the technical complexity of the other material hasn't been reached, but one will have enough time (or probably not) to swallow/savour the mazey arangements on puzzlers like the jumpy chopper "As Long as it Lasts", or the vortex-like riff-fest "Last Scream". Other delights would be the short technicaller "Shadows of Society", the little more straight-forward galloper "Prejudice", and the standout technical death/thrashing title-track ala Atheist at the end which is the best possible way to finish this excellent offering also containing a nice slow lead-driven interlude. The only complaint comes from the vocal sector where the guy has already settled for those semi-shouts with the not very pleasant hardcore-ish/deathy tone.

Broken Promises Full-length, 1998
Reality Full-length, 2001
Dominion of Chaos Full-length, 2004
Megalomanic Infest Full-Length, 2009

Official Site


These "thrashers from hell", like the title of the opener says, deliver classic speed/thrash of the more laid-back speedy type with speed metal playing a major role ("Evil Perfection") here and there. "Thrash Olympics" may indeed win the "thrash olympics" with its fiery riffs which sound as though directly taken from the Metallica debut. After this exhausting number the band relax with the more power metal-based "We're Titans" which unfortunately brings after it dragging slower pieces making the 2nd half a bit dull and less inspired except for the effective steam-rolling closer "Toxic Experiment". The vocalist is a sure-handed attached semi-shouter whose spitting lines have both emotion and spite and are a really cool asset also offering some diversity with a more aggressive singing from time to time.
"Corrupting Influence" doesn't disappoint although the approach isn't as fierce, and power metal comes more often to remind of itself, even on the presumable album leader "Toxic Experiment" which unleashes some admirable screamy leads. Things become more thrashy in the second half with the cleverly-executed "Sentenced For Life" which embraces quite a few moods and tempos including a nice balladic interlude. The thrashniness remains for the final string of cuts, but the real stepping on the pedal is done at the end on the title-track which again provides less ordinary entertainment with more progressive arrangements. There's not much "hell" on display here the band mixing the delivery to appease a wide gamut of fans by sacrificing quite a bit from their primal energy.

Suiciety Full-Length, 2010
Corrupting Influence Full-Length, 2014

Official Site


The band's debut demo is one of the finest gems hidden in the American metal underground of the 80's. It reminds in a magnificent way of some of the late 80's masterpieces: Torture's "Storm Alert", Forbidden's debut, Viking's "Man Of Straw", Helstar's "Nosferatu" and also Gammacide in the faster, more aggressive sections. The musicianship is on a very high level: very technical guitar work mixed with speedy intense parts and a great singer who uses his clean voice most of the time, but also does a very good job when he goes for the higher tones.
"Visions of Emptiness" might startle you a bit in the beginning, mostly because of the new singer who has this hardcore-ish blend in the voice, characteristic of the modern 90's bands' singers, but the music is nothing short of outstanding: superb technical thrash, not too far from the first demo, but less speedy, and more technical. The time changes would make even Coroner (who are the closest soundalike this time: think "Mental Vortex") and Mekong Delta pay attention, and the heavy riffs will crush you like a steam-roller. There is not much sheer aggression involved here, the concentration is purely on technicality and complex song structures which never lose focus, and are even graced by nice leads.
"Brutal Healing" is another exemplary display of technical musicianship, albeit in a more updated 90's way, with a heavy proto-modern guitar sound well shown on the 10-ton technical steam-rolling opener "Unlike You". The crushiness carries on with "Of Spirit, Body, And Mind" which is a choppy hectic track with a nice speedy break. "Brutal Healing" will "heal" you "brutally" with super-heavy smashing riffage with not much technicality involved. "Induced Psychosis" is another busy technical song, quite dynamic, even headbanging at some point near the end, the very one occupied by a twisted technical riff. The vocalist continues in the same hardcore vein, maybe with an added angry blend to more ably support the crushing more modern-sounding music.
The modern trends of the 90's have obviously affected the band's sound, and by the time of the release of their last demo, the music has almost completely transformed into heavy groovy 90's post-thrash; not bad, but pretty derivative.

Demo 1989 Demo, 1989
Visions of Emptiness Demo, 1992
Brutal Healing Demo, 1993
The Human Condition Demo, 1995

My Space


An ultra-underground recording of primal, brutal thrash/death which, despite its raw production, manages to capture the manic intensity of gems like Merciless' debut and Massacra's 'Funal Holocaust". The tempo varies also recalling the early histrionics of Infernal Majesty, and the singer tries hard to lead the proceedings with his sinister, witch-like delivery which is severely obstructed by the pristine sound quality.

Skeptic Remains Demo, 1992


5 songs of classic headbanging thrash which moves from all-out speedsters ("Endless Genocide", "Awaited In Vain") in the Bay-Area tradition to heavy mid-paced smashers ("Call Of Vengeance"). "Blind Faith" mixes both tempos, and the singer gives the music a slight hardcore colouring with his Kurt Brecht (D.R.I.)-like voice.
"Creepers" is built around the songs from the EP, the newer material placed in the beginning, so expect a similar old school speed/thrash assault which is especially impressive on the forceful intense opener "Death March". Things slow down on the softer "Power Wolves", but "Creepers" is super-dynamic speedy thrash ala Angel Dust, after which some relief is offered on the heavy stomper "Ghosts of Kampala". Then come the tracks from the EP in an unchanged form, split in the middle by the great fast thrash/speedy "Instrumental" which also blast-beats for a while.

Call of Vengeance EP, 2009
Creepers Full-length, 2009

Official Site/a>


Decent semi-technical thrash with longer tracks and cool guitar work, but the guys are not brave enough to come up with a more powerful technical sound. On top of that the pace is slow-ish to mid-tempo, and with the length of the songs exceeding the normal one, the overall sound is kind of monotonous, a feeling further aggravated by the clean, but weak one-pitched vocals, which can not be saved even by nice balladic moments ("Pilgrims of Despair").

Pilgrims Of Despair Demo, 1989


This is good stuff with clear 80's thrash metal flavour: think Kreator, Destruction; the guys offer a Destruction cover at the end of "Thrash Hell Ultimate": "Curse The Gods". The "The First Murderer" offers 2 songs of the same stuff: energetic edgy Germanic thrash metal this time coming with a more technical delivery resulting in longer a bit more complex numbers.

When Death Calls Demo, 2002
Thrash Hell Ultimate Demo, 2004
The First Murderer Demo, 2009

My Space


This is very good dark progressive power/thrash metal with dark doomy shades akin to Communic, Nevermore's debut , respectively Sanctuary's "Into the Mirror Black", Pathos, later-period Hexenhaus, etc. "Frame Dragger" opens the album in a seismic thundering manner with some of the heaviest riffs around topped by excellent deep soulful clean vocals which are at times intercepted by more brutal proto-death metal ones; watch out for the brilliant elegiac doomy exit on this one. "Footfall of Strangers" is a compelling blend of hard thrashy riffs and calmer proto-balladic sections. This song sets the tone for most of the material following suit, with a fine short atmospheric electronic piece "In Disbelief" breaking the darkness in the middle. It's followed by the only more open exercise in doom ("In the Eyes of Lesser Beings"), before "Mortal" speeds up with more energetic galloping riffs. "Denominations" is a dark progressive masterpiece, vintage Sanctuary with the best vocal performance, followed by the semi-balladic "The Night I Saw the Heavens Burn" which main riff will remind you of Nevermore's "What Tomorrow Knows", and this song can indeed fit into that band's debut any time. The same, however, can not be said about the closer "A Kind Remembrance", which is a romantic piano-dominated ballad with the singer showing his more operatic vocal abilities. Still, it remains more than a fitting epitaph to this slightly depressing, but very well-execuited, slab of dark progressive music, a valuable addition to a style which boundaries are yet to be reached.

Emergence Full-Length, 2011


Based on "Face the Truth", these folks offer melodic modern-ish power/thrash which is too deeply immersed in mid-paced waters to leave a lasting impression. "The Viking Age" is a rousing battle hymn and the galloping "beast" "Freeze to Death" will make you jump around for a few minutes... the rest is just too friendly and mild to make the thrash metal fans listen to it again. The singer, however, does a good job with his emotional diverse clean tember and goes away with all the accolades.

Nightmares Full-length, 2003
Face the Truth Full-length, 2012

Official Site


Based on the single, this is melodic power/thrash metal topped by nice lead guitar work resembling the works of German acts like Liar, Tyrant, early Risk, etc.
The full-length carries on in the same direction maybe introducing a slight modern edge to the gutars.THe approach is light-hearted with speed metal saying its word more regularly ("Force Power", "Fucked Nightmare"). "Bad Visions" introduces some nice progressive "visions" which are that close to reaching towards the higher models from the German progressive/technical thrash metal wave which was in full bloom at the time. "Have a Nice Trip" is even more serious in its more intricate applications, but the guys never give this interesting side of their repertoire to develop fully since from this moment on we have happy-go-lucky speed metal in the vein of the previously mentioned American and German heroes.

Fucked Nightmare Single, 1989
Have a Nice Trip Full-length, 1993

My Space


The full-length debut: a blend of stoner/doom and thrash metal; it might not sound very appealing, but cool headbangers ("Boneless") could be found here. This is not hard-hitting music, but it's interesting to hear how these two contrasting styles could co-exist.
"Hell in a Box" brings nothing new to the scene, maybe it sounds less thrashy with less intense guitar work, but happy rockers, like "King Asshole", will surely make you dance around.
"Back From Hell's Holiday" has very few relations to thrash, if any at all ("Black" is a heavy "hammer" with some headbanging tendencies), developing in a frolic stoner/doom manner till the end with strong bluesy undercurrents more evident towards the end where the approach comes almost unbearably slow recalling the semi-funeral dirge of acts like Sleep. Sleep, sleep....

Evil Goes To Hollywood EP, 2005
Thrash'n Roll Asshole Show Full-length, 2006
Hell in a Box Full-length, 2008
Back From Hell's Holiday Full-Length, 2013

Offical Site


Dynamic, jumpy thrash/death of the old school, which is both clever and semi-technical, and intense and aggressive. The last two tracks lose the plot a bit being shorter and less serious, incorporating blast-beats and hardcore rhythms to a not very positive effect. The vocals are not a very big asset, either, being low-tuned, growling and muffled with a guarrelsome note.

Promo Demo, 2008

Offical Site


Groovy industrialized modern thrash metal sounding like a mix between Puncture and heavier Pantera.

Demo Demo, 2000

Offical Site


An average, typical thrash metal band of the old school; after failing to make any big impression with their first two albums, the band increased the aggression on their last one, moving it towards the hardcore arena. This album actually packs a punch at times with its more unpolished production fitting for the rawer, more intense sound.

Veijo EP, 1989
Attack Against Gnomes Full-length, 1989
Selling The Salvation Full-length, 1990
Priest Single, 1990
Parasites In Paradise Full-length, 1992

Offical Site


Based on "Atentado Sonoro", this is the style of Cryptic Slaughter's debut "Convicted" having survived up to present days; in other words these guys provide extremely brutal uncompromising thrash/crossover with a frequent adherence to bashing grind, shooting very short barely 1-min long bullets/tracks in a furious aggressive manner. The closer "Casos Como Este" is close to 4-min (!), although the 2nd half is just a radio sample playing merry rock'n roll.
"A.Q.N.P." is the same uncontrolled fury, which this time is pure hardcore on at least half of the album, bashing the whole time through the 20 tracks most of which seldom reach the 1-min limit.

A.Q.N.P. Full-length, 2000
++dio Puro Concentrado Full-length, 2002
Atentado Sonoro Full-length, 2004
Comportamento Macabro Full-length, 2009

My Space


These Croatians provide modern laid-back power/thrash which is full of catchy melodic hooks and plenty of balladic sections (the cool ballad "Way Back Home"). This is peaceful music without any speedy temptations suffering a bit from the vocal side where the guy sings in a not very attached shouty manner lacking the melodic blend which could have made this offering a more attractive one.

First Conflict EP, 2012

Offical Site


This Argentinian formation specialize (based on the debut) in the staple for the country friendly power/speed/thrash which holds no surprises whatsoever for those who have already gotten quite familiar with the works of their compatriots Horcas & Hermetica. The few hard speed/thrashers ("El Legado", ("Unico Camino") are easily dissipated by the prevalent laid-back rockers which deliver in a way, especially the dramatic closer "Maestro" which could pass for a progressiver with its more elaborate arrangements and the cool semi-balladic passage.
"Sin L\\'edmites" is a more aggressive effort the more intense approach nicely epitomized by the short ripping title-track and the vigorous speed/thrashing roller-coaster "Tormento". Elsewhere the delivery is still more timid, but rousing gallopers like "El Aguante" should keep the heads moving in unison with sweet memories of the 90's power/speed metal scene. The closing "Exterminio" is a surprisingly smashing headbanger and steals the show at the end with its hard remorseless riffs bordering on Slayer.

Guerra Espiritual Full-Length, 2014
Sin L\\'edmites Full-Length, 2015



This is modern technical/progressive thrash with aggressive shouty death metal vocals. The approach is creepy and minimalistic graced by sudden fast-paced outbursts (the opening "Petrified Greed") which create a lot of dynamics throughout the lengthy (6-8min) compositions. Hectic eventful cuts like "Broken Beliefs" and "Destined To Fail" remind of Atheist quite a bit, but generally the riffs are a lot more moderate and the song-structures are more serpentine and contrived (check out the labyrinthine "Breeding Our Demise/After"). "Deadliest Sin" is a short psychotic hallucinogenia, a masterpiece of manic frantic technicality. "Fearless" is a brave step into dishevelled jazz-influenced technicality before the final "Sacrifice" wraps it on with spastic twisted, doomy riffage the latter accentuated by the shouty death metal vocals.

Prey|Pay|Obey Full-length, 2012



Based on the "Extinction Web Pack" EP, this act offers cool old school thrash metal coming with a good sound quality and crisp energetic guitars. The tempo is pretty fast seldom reaching the less bridled Slayer-esque aggression ("Message In A Bullet"), but delivers all the way. The vocalist is also on par with the good music singing in a detached gruff semi-clean manner similar to Rick Astley (Xentrix).

Solut)es Violentas EP, 2008
Extinction Web Pack 2010 EP, 2010

Offical Site


The debut: this young Russian act plays a melodic brand of power/speed/thrash metal coming as a more edgy version of the 90's power/speed metal sound. The riff work is often interrupted by melodic hooks although the guys are not strangers to more intense thrashing ("I Am") ala early Iced Earth. The pace is mid for most of the time also spiced with vigorous galloping rhythms ("War of Property", "The Past Love"). The closer "A Man Without a Name" is a nice heavy ballad with a slightly flat unemotional vocal performance.
"Razon Detra" follows a similar path and is another fairly good effort with more hard-hitting riff-patterns and longer more complex compositions. Raging thrash reigns supreme even on more clever exercises, like the Paradox-worship "Caligula" and the more modern-sounding speedster "Hour of Death". Progressive speed/thrash ala Manticora and Paradox again will strike you with might with the sweeping "Nuclear Age" although the very tender ballad "Follow a Star" right after it would be a pullback despite the attached clean vocal performance. Things get back on track immediately with the galloping shredder "Nothing to Believe" and the melodic virtuosity displayed on "Explode the World". The album finishes with a string of slower less eventful numbers, but its impact is hardly diminished the guys pulling out an inspired performance with an appealing diverse character.

Puppet of the Faith Full-length, 2009
Razon Detra Full-Length, 2012

Offical Site


This is just one song (guess the title!) which shows this outfit pulling out energetic thrash/crossover with modern shades coming from the sparce slower groovy passages and the attached semi-shouty hardcore-ish singer. The sound quality is clear giving the guitars a boosted playful sound.
The full-length appears shortly after the demo, and it follows a similar path maybe a bit more modern-inclined than before which results in heavy mid-paced riffs paving the way with not much energy used for the recordings. The playful closer "Road to Nowhere" provides some crossover joy as a finishing touch, but this effort is not very exciting not taking any risks, just following very familiar, well-trodden roads.

Strange Attraction To Tragedy Demo, 2012
Humans Full-Length, 2013

Offical Site


Based on the full-length, these folks provide energetic modern thrash not far from early The Haunted with more melodic arrangements ("Cast the First Stone") roaming around as opposed to invigorating gallopers like "Good Riddance" and impetuosu speedsters "Emperor". The singer is a deathy/semi-hardcore-ish shouter who occupies quite a bit of space without ruining the picture too much.

The Struggle EP, 2013
Demockracy Full-length, 2017

Official Site


Based on the full-length, this act provide abrasive hardcore-ish post-thrash which doesn't rely on speed too much although a couple of cuts ("Interference") are admirable headbanging achievements. Most of the album consists of more laid-back, mid-paced material ("Sensory Link to Pain") the proceedings ruled by intense shouty semi-death metal vocals.

Complex Life of Passion EP, 2016
Dirge of Escapism Full-length, 2018

Official Site


Simplistic, basic thrash metal mixed with crossover elements; the guys start quite well with short direct thrashers ("State of the State", "War and Sin"), but the music partialy loses its edge on more laid-back numbers ("Last Breath", "Kill the Light"). The intensity springs up here and there ("Ignorance Is No Excuse", "Mr. McCreedy") later on as well as on the nice closer "Shot on Sight" which thrashes with force combined with stomping moments ala Celtic Frost.

Volume One Full-length, 1987


The debut: this new act indulge in cool melodic classic power/thrash which is imbued with nice melodic touches the latter a stark contrast to the semi-reciting deathy vocals. The riff-patterns take more formidable proportions ("Eyes of the Healer", the galloping "beast" "Beast Slayer") here and there, but it's the beautiful melodies which weigh more here, as well as the heroic battle-like hymns like the title-track and the semi-balladic "Frozen Flesh", the closing "Pulse" being another addition to the group with a more serious progressive approach. Some of the musicians also play in the modern death metal formation Faith Buried in Flames.
"Recrudescence" is imbued with a more modern sound which also comes accompanied by harsher death metal vocals, but on the other hand there's an accentuation on the more technical play as evident from cuts like the creepy "An Odd Time to Wait" and the faster-paced shredder "Betrayed". The hypnotic atmospheric guitars on "Imminent War" are another pleasant moment, as well as the soaring melodies on the title-track which pair well with the semi-technical exploits on the sinister closer "Cursed and Poisioned".

Dichotomy Full-Length, 2014
Recrudescence Full-Length, 2015

Offical Site


Based on the "The Manifestation" demo, this band come up with a fairly interesting semi-technical mixture of thrash and death metal which bears resemblance to the Incubus debut, and even Nocturnus, but there are also slower heavier sections ala Celtic Frost, and although the guys definitely have the necessary skills to pull out something more complex like they show here and there, they prefer to stick to the more straight-forward thrash/death metal approach, which still delivers the goods.
The self-titled demo is direct aggressive thrash bordering on death metal not miles away from Dark Angel's "Darkness Descends" and Slayer's "Reign in Blood". "Living In Fear" slightly betrays the brutal character of the demo, being longer, a bit slower and more melodic with a crossover attitude and cool choppy riffs.
These veterans were finally able to reach the official release stage whic shows that they haven't forgotten how to play the good old intense retro thrash which comes both more technically and more modern-decorated (check out the twisting "Plague of Humanity" for both insertions) at times. "Soul Shattered" is maddening technical death metal shred after which one will find it hard to predict the ensuing tracks among which "Cannibal God" is another stylish display of technical death metal dexterity. "Horns of Rapturer" is a cool break from the intense delivery being more restrained avantgarde thrash; after which the "massacre" continues reaching blast-beating extremes on "In Defiance" and on the twisted closer "trangulated Decapitation" the last indication that the band have grown considerably as musicians and should finally find the exposure they by all means deserve.

Prime Evil Demo, 1987
The Manifestation Demo, 1988
Industry Demo, 1990
Terminal Dementia Single, 1992
Unearthed Best of/Compilation, 2002
Evilution EP, 2012
Blood Curse Resurrection Full-length, 2015

Official Site


Based on the debut, these guys offer 90's heavy post-thrash, quite typical for the time stuff, with good melodic clean vocals, which this below average music simply doesn't deserve. There are rock-ish, punk-ish, hardcore, alternative and grunge elements inside, and expectedly the final result is quite mish-mashy and unappealing, at least to the regular thrash metal fan. The band members have two other much better, and more classic-sounding, projects: Hammerhead, with whom they released one good Bay-Area influenced full-length in 1992 ("Shadow of a Time to Be"), and Stage Diver with whom they produced one demo the same year.

Pull it Off! Full-length, 1995
My Experience Full-length, 1997


This duo indulge in dynamic modern thrash/death which comes as thrashier and more varied Dew-Scented: just listen to the definitive mosher "Condemned" and try to remain still on your seat. "Insignificunt" is another not very restrained rager which also gives plenty of room for the talented lead guitarist to display his skills. The singer is an angry quarrelsome shouter with both hardcore and deathy overtones.

Prime Specimen Full-Length, 2017



The EP is intense technical thrash/death metal with very brutal low-tuned vocals and nice keyboard tunes, which will remind you of Nocturnus and early Therion. The tempo is predominantly mid, often interrupted bu jumpy faster sections, and "The Puritan" is a cool doomy atmospheric gothic/death metal piece. Apart from four songs, there's one remix of a track from their full-length debut, Manipulation": a surreal weird doomy composition with a backward play ala Morbid Angel present as well as one live recording of a song from that same album, called "Lie": a hectic technical death/thrasher.

Temptation Full-length, 1997
Scorn of Incubus EP, 1998

Official Site


Based on "The Line of Fire", these guys provide epic power/proto-thrash which is predominantly mid-tempo full of infectious catchy melodies. So don't expect many headbanging moments, if any, but there will be a few more complex, almost progressive sections, on the longer material ("Nocturnal Hordes", "End Of Your World"). "The Craft" is a cool melodic speedster, but the concentration is clearly on laid-back rhythms and officiant epic atmosphere. The singer serves the musical approach right with his attached clean tember witout emitting too much passion.

Through the Gates of Hell Full-length, 2007
The Line of Fire Full-length, 2010

Official Site


These Spaniards specialize in ordinary thrashcore of the modern variety which is dynamic and edgy with a few convincing thrashy breaks, but lacks a character emulating the Madball approach quite a bit including in the forceful shouty vocal department.

Instintos Primarios EP, 2011


Heavy groovy post-thrash with a dry mechanical sound and throaty death metal vocals; at their best the guys recall early Meshuggah, but those more dynamic moments are buried in the rest which is quite repetitive consisting mostly of abrasive cold mid-paced riffs.

Primitivo Full-length, 2008

Official Site


These Brazilians pull out vicious retro black/thrash ala Bulldozer spiced with the heavy epic mid-period Bathory break ("Azoth"); don't rely on the latter too much, though, since the tempo is fast for most of the time, except on the cool mid-paced power/thrasher "Medieval Throne". The singer is a very close soundalike to AC Wild (Bulldozer). The band members have two side projects: the atmospheric black metal outfit Goat Prayers, and the retro thrash metal formation Speed Metal Hell.

Rebellion War Demo, 2001

My Space


Robert R.Egler is a famous figure in the metal underground, and is probably featured on the Guinness Book of records as the man who has the biggest number of one-man projects, so far closing on 18. The styles are mostly thrash, death metal and grindcore. In this particular case we have fast furious thrash/death/grind, in other words, all the genres are mixed together on an abrasive modern base, obviously done on a computer, and this is perhaps the main reason why the all songs sound too samey: fast one-dimensional noisy stuff with Egler providing high-pitched semi-shouty vocals which don't change throughout the album. Well, let's not forget that the guy has to spare himself for the other 17 acts...

Among The Dead Full-length, 2004


The debut: authorities from the Greek underground (members of Rotting Christ, Thou Art Lord, Diabolos Rising, etc.) have joined efforts to produce this cool tribute to early Venom which is probably more proficiently executed than the music of the infamous Brits, but the character and feel are pretty much the same, carefree macabre stuff thrown unpretentiously at the listener sometimes more brutal than the norm (the nod to Bathory "We Ride at Night"; the brutal black metal outrage "The 9th Seal"), sometimes with a more overt speed metal "The Witchesrquote Coven") flair, sometimes with a more optimistic power metal ("Hellfire Legions") nuance akin to Manowar, sometimes with a gloomy doomy ("The Hand of the Hangman") shadow ala Barathrum and Khold. At the end the band also pay their tribute to the Bay-Area covering Exodus' "Strike of the Beast" from the Americans' legendary debut ensuring the fun all over on this eventful frolic effort.
"Sulfur & Bane": the "principality" is here again riding on the waves of early Bathory, above all, this time stomping the atmosphere with seismic steam-rollers ("Sons of the Desert", "The Invisible Empire") where the shadow of early Celtic Frost is more than tangible; or rages hard with intense speedsters like the title-track and the prime Germanic headbanger "In the Shadows of Sodom" where shades of the mentioned in the title German legends are indeed audible. "Den of the Serpent" even jumps on the death metal wagon for a bit before the closer "The Marble Witch" brings back the morose doomy feeling as a finishing touch.

Fire & Brimstone Full-Length, 2014
Sulfur & Bane Full-Length, 2016



This is moody doomy stuff, still a mix of thrash and death metal of the more modern variety scoring high in the melodic sector where the guitarists leave their hearts with a few tear-rending moments, which are quite good, by the way, smelling mid-period Rotting Christ a fair bit. Still, all will more than welcome the intense thrasher near the end "Camino al Priorato" to stir their souls, but the dominant atmosphere is more on the dark melancholic side ruined by the scary serpentine black metal vocals.

Camino al Priorato Full-length, 2009

My Space


The demo: quite good classic thrash with both the German school and the Bay-Area covered. The guys play with inspiration and understanding of the genre canons bashing passionately for most of the time reaching bearable Slayer-esque extremes on the "toxic" "Toxic". But things get worse when "acid rain" comes later with the closing "Acid Rain" which thrashes wildly as a fitting epitaph to this promising entry into the European thrash metal catalogue which also boasts ncie melodic leads and expressive shouty semi-clean vocals.
The full-length doesn't betray the blitzkrieg delivery from the demo also ensured by the presence of all the tracks from it here, and is another slab of raging retro thrash which is now almost exclusively a tribute to the German school, early/mid-period Kreator, above all. The band play on with plenty of speed simplifying things a bit with more laid-back crossover-laced pieces like "Snitches Get Stitches" also incorporating purer speed metal patterns ("Destruction Manifesto", the diverse title-track) at times.

Liquidators Demo, 2012
Sons of Tschernobyl Full-Length, 2014



Based on the full-length, these Serbian moshers deliver brisk dynamic, old school speed/thrash assisted by cool mid-ranged clean vocals. The riffs lash around you becoming a tad more controlled on the short "Deceived" and on the shredding mid-pacer "Lifeless" which speeds up in the 2nd half, probably to match the intensity of the following "Risen from the Grave" which sets the tone for the remaining pieces among which the final "Something to Fear" is a particularly brutal thrasher with echoes of Gammacide and Morbid Saint.

The Upcoming Devastation EP, 2014
See the Scars Full-length, 2015



This band was the beginning of the Jungle Rot guys who here exercise quite good semi-technical thrash in the Bay-Area mode with fast ripping rhythms: check out "Book of Lies" including the intriguing finalizing riffs. "ONce Evil" is a more immediate speedster, and the closing "My Last Goodbye" is a bass-dominated mid-pacer. The singer is a passable semi-cleaner who leads the show without doing anything striking.

Skeletal Remains Demo, 1990


4 songs of cool retro power/thrash metal with epic elements; the guys bring the desirable progressive colouring on the longer compositions ("Rise Of Aries (Gods Of War)", which is a compelling mix of slower epic and faster galloping sections). "Resistance is Useless" is a short mid-paced thrasher, and "Revenge Will Come" is officiant epic metal ala Manilla Road with not many ties to thrash, the main difference coming from the clean melodic emotional vocals. "Long Last Crusade" is epic doom/thrash/power metal clinging more towards the melodic side, but this short effort has other targets apart from the thrash metal fanbase.

Resistance is Useless EP, 2010

Official Site


This new band plays a chaotic heavy mixture of thrash and death metal of the modern variety with a lot of groove present, but not in a bad way. There is a twisted technical aesthetics involved distantly recalling Morbid Angel, but everything develops on a mid-paced base with not much speed involved. Still this could be worth checking out as there are clever time-changes and crooked riffs; don't mind the singer, though: his hysterical synthesized shouts are hardly the main asset of this recording.

Boner Jams '07: The Harpooned Heart Full-length, 2007

My Space


Avantgarde progressive post-thrash with shades of both Opeth and Porcupine Tree and an operatic keyboard atmosphere permeating the whole album in a sureal magical fashion. The compositions are long, mostly in the 1st half, with numerous other influences thrown in, among which particularly good is the one of mid-period Paradise Lost ("Deliverance"). More intense ripping thrash can be heard on "Green Eyed Monster", and the rest doesn't lack dynamics as a whole since the riff-work is really cutting expanding into another extra portion of vigorous thrash on the bonus track "Road To Paradise" which is followed by the interesting jumpy cover of Michael Jackson's (R.I.P.) "They Don't Care About Us" where one of the numerous singers involved in this project ejects the man's characteristic semi-scream to a startling effect which is further amplified by the very good leads present.

Diavatirio Full-Length, 2009


Classic power/thrash which starts promisingly with the fast Bay-Areasque "As I see Fit", but later offers trite repetitive heavy riffs, "Trashcan Man" being the soft heavy/power metal deviation where the aggressive angry vocals and the brutal male choruses are quite misplaced.

Private Property EP, 1993


These Austrians pull out vintage thrash/melo-death metal of the Swedish school. The sound of At the Gates and early In Flames is brought to the fore for the upteenth time in the past few years, this band bringing nothing new to the field playing competently and all, spicing things up with nice orchestral intro and outro.

Privilege of Approval EP, 2010

My Space


This is modern thrash/crossover of the less common heavy type with post-thrasherisms present and less frequent adherences to more intense classic-sounding thrash ("Frenar al Ladron", "Odio") which should have been covered more since then the album is very close to taking off. The rest is much less striking the band settling for one-dimensional heaviness seldom bothering to alter the tedious prevalent formula.

Numero Cero Full-Length, 2010


This very popular and prolific band started their career with three outstanding hardcore-laced albums, which remain their finest hour so far. With their self-titled release they moved more towards the thrash metal spectre by retaining their hardcore base. There is no much variety between albums: energetic thrash/hardcore with heavy groovy sections is what these guys offer, but it works well as their music has its appeal to metal fans of various tastes.

"Absolute Power" bears no surprises offering full of energy and catchiness thrashcore with a few inevile "excursions" into slower groovy waters, plus one shocking exercise in brutal extreme death metal (parts of "Hate Coalition"), and one nice crossover reminder of their early days ("Divided We Stand") placed at the end.

"Straight to the Dome" bears no surprises ofr the band's fans thrashing/crossovering in the expected frolic fashion all the guys in good shape not betraying their staple approach for a split second aptly mixing fast and slower tracks "Pure Hatred" being a prime sing-along hymn in the best tradition of their early catalogue, with the brisk explosive "Bloodlust For War" another highlight (check out the short melodic licks on this one). "A Good Day To Die" introduces pleasant clean vocals, and could pass for another "radio hit" due to its more laid-back nature. The experimental side of the band doesn't spring up too often throughout their career, but the last 2 compositions have this aplenty: "Zugabe!" which is an infectious melodic crossover cut, instantly memorable; and the jolly interpretation of the Beastie Boys' "Egg Raid On Mojo", a punk evergreen sustained in the same optimistic carefree spirit.
"The Final Revolution" carries on with the Pro-Pain thrashcore saga whcih is mildyl entertaining here without reaching any musical highlights. There aren't many speedy cuts to be encountered, and the overall approach is friendly mid-tempo effortlessly passing through the listener's ears without leaving any lasting impression. This is the good old Pro-Pain the way we used to know them from times immemorial...
ldblquote Voice of Rebellionrdblquote is the expected from the band tour of the modern hardcore-tinged thrash spectre wiht a few surprising lyrical touches (the balaldic deviation on rdblquote o Fly Zonerdblquote ) served on which is generally a fairly melodic offering for the guysrquote standards. Amazingly, there are almost no fast-paced temptations except for the obligatory rousing, short crossover hymn (ldblquote Take It To The Graverdblquote ), and partially the jumpy rhythms on ldblquote Bella Morterdblquote.

Foul Taste of Freedom Full-length, 1992
The Truth Hurts Full-length, 1994
Contents Under Pressure Full-length, 1996
Pro Pain Full-length, 1998
Act of God Full-length, 1999
Round 6 Full-length, 2000
Shreds of Dignity Full-length, 2002
Run For Cover Full-length, 2003
Fistful of Hate Full-length, 2004
Prophets of Doom Full-length, 2005
Age of Tyranny - The Tenth Crusade Full-length, 2007
Absolute Power Full-length, 2010
Straight to the Dome Full-length, 2012
The Final Revolution Full-Length, 2013
Voice of Rebellion Full-Length, 2015

Official Site


After the beautiful acoustic intro, which is an obvious nod to Metallica's "To Live is to Die", these Argentinians overwhelm us with pretty good technical old school thrash metal which again stays close to late-80's Metallica with more speedy shades ala Paradox ("Enemigo Del Destino") thrown in. The progressive deviations are a bit longer here, but when the guys thrash, they take no prisoners: "Ciega Realidad". The singer is a more aggressive less melodic version of James Hetfield with again a touch of Charly Steinhauer (Paradox).
The full-length fulfills most of the promises and the band waste no time proving themselves with steel sharp riffs flying from all sides hitting the listener straight in the head with 10-ton hammers like "Mi Obsesi'f3n" and "Resurgir" wehich are also major headbangers all over graced by a couple of nice melodic leads. "Instinto Primitivo Original" jumps on the more technical wagon also galloping all the way to the next "Justicia Divina", a short more direct ripper. "Dimensi'f3n Err'f3nea (PDP)" elaborates the landscape with somewhat lengthy balladic lead-driven passages, but "En el Final" which is indeed "the final", compensates with wilder less restrained riffs reminiscent of Paradox's "Electrify".

Ciega Realidad Demo, 2011
El Castigo De Quien Busca La Verdad Full-Length, 2015

Official Site


Musiicans from more eminent acts (Disciples of Power, Tenet, etc.) have tried their hands here on music for the first time. This is cool classic thrash/death with precise semi-technical guitar work and passable semi-shouty/semi-death metal vocals. The tempos often change within the song-structures except on the final "Last Minute Saviour" which is a heavy stomper with the most stylish, technical guitars on the demo. The sound quality isn't bad boosting the drums and the bass more than usual.

Evolution Demo, 1993
Structural Fatigue Demo, 1994


Based on the debut demo, this band plays melodic power/thrash metal of the dreamy semi-doomy type with catchy melodic, slow to mid-paced, riffs and deep clean mid-ranged vocals. There are certain shades of gothic as well, and on the slower moments the guys may remind you of mid-period Katatonia.

Lost in Reverie Demo, 1999
P=g Mo Th=n Demo, 2003

Official Site


Four tracks of laid-back thrash/crossover coming close to Broken Bones ("Thank You") on the more dynamic moments.

Everybody Is On My Side EP, 1988


This album begins with a sprawling, mostly instrumental, progressive composition ("Hunter (Are You Ready To Die)") which will keep you guessing what may happen later since it gathers quite a few influences ranging from industrial to doom. The next "Wolfmen. Dancing With Death" safely settles for modern technical thrash ala mid-period Meshuggah, but your mind will get quite confused after you hear the virtuoso piece "Concertj Non Grosso", a brilliant power/speed metal instrumental ala early Marty Friedman (remember Hawaii). Variety will apparently be the name of the game here, and the heavy groovy "Harmony Of Light And Chorus Of Darkness" should come as no surprise also carrying an intriguing abstract edge ala Treponem Pal; quiet balladic interludes will one encounter there, too, plus a furious death metal section. "Guernica (Dilogy). Tribute To P. Picasso. Part 1. Spanish Pictures. Part 2. Death From The Sky" comes after (these guys definitely find it hard reaching the length of their song-titles with the lyrics) bringing a combination of fabulous guitar shred and heavy abrasive guitars with an industrial shade. "Chaos. Decay Powers Envoy" is a nice semi-ballad ruined, of course, by the aggressive death metal vocals, although the guitar work compensates for that. "Prising Alarm Hour!" is angry modern thrash in mid-pace, followed by the very original cover of Slayer's "South of Heaven", a highly individual take on this immortal hit, here turned into a puzzling dry mechanical technical affair with sudden tempo changes and very interesting offbeat arrangements; a really unique piece. Despite its diverse, and at first listen incoherent, nature, this album will definitely compel you to give it several listens simply because its charm lies in the unexpected musical decisions and the contrasting, but strangely appealing, mixtures which can not possibly be fully grasped at first, and even after second, listen.

Thanatophobia Full-Length, 2002


An EP typical for the time consisting of 90's post-thrash, but nicely staying away from the groove for most of the time also adding the odd classic riff; the music is mid-paced with a jolly, almost punk-ish at times, vibe supported by hoarse semi-clean vocals.
The "Last Seeds of Mind" demo is a purely classic offering, but the awful sound quality takes away from the guitars' bite, which come as too messy, especially on the faster parts. The compositions are lengthy, supported by a strong bass-bottom and clever song-structures, which aptly mix fast and slow passages. The approach has its shades of the Bay-Area, late-80's Metallica in particular, except for the isolated moments when it branches out into pure Germanic speed/thrash ("Asking More"). "Deadly Sin" at the end is a nice crossover reliever winking at Iron Maiden with a motif from "Charlotte the Harlot" included as a finishing touch. The singer is not too bad, but his rough semi-clean tember needs some refinement, and a tad of emotion.

Obsessed By Time Demo 1987
Songs For Lunatics - Promo Live Tape Demo 1988
Last Seeds of Mind Demo 1990
Read My Lips EP, 1994

My Space


Modern thrash/death, mostly mid-paced and heavy, descending to gothic/black metal territories at times ("Spirals"), at times elaborating on the balladic side (the beginning of "Hera") . When the music picks more speed, it sounds quite cool ("Perforation Of Entity") coming even with compelling chaotic semi-technical passages, but these moments are, unfortunately, rare.

A Dance for the Guns Demo, 2004

Official Site


This band's short career crosses paths with Iced Earth as two of their members had played in the more renowned band. This is a strong progressive power/thrash metal album which draws comparisons to Nevermore and Eidolon. The songs are long (some of them go over the 9-min range), but never sound boring even for a split second with dark, almost gothic atmosphere and nice crunchy, heavy riffs. The tempo is mid-paced with a very few exceptions. The softer moments ("Paradise (on the Edge of the World)"), which are not too many, will bring you back to the time of Queensryche's debut mini-album. The man who steals the show here, is Kent Smedley: the guitarist, who is truly one of the finest to ever grace the metal scene, and one of the least known. His performance is simply amazing: melodic, fast, but at the same time very technical leads decorate every track, and although on the longer ones he's been given quite a room to display his talent, you will hardly complain, since his pyrotechnics are just breathtaking. It's too bad this man never recorded anything else; could have been a very valuable addition to the Shrapnel catalogue, and certainly one of its most prominent representatives. His brother Brent Smedley, the bass player here, had a short spell with Iced Earth in the mid-90's. The other person worth mentioning, is William Wren: a great singer whose passionate powerful clean vocals will haunt you long after this album is over; he later joined the progressive power metallers Mystic Force.

As Darkness Reigns Full-length, 1993


Groovy aggro-thrash which is very lively and dynamic quite close to Pro-Pain even thrashing much harder ("Start The March") on occasion. "Your Last Chance" is another thrashing "bomb", but those surprises diminish later on the guys loosening up again towards the end with the blitzkrieg headbanger "Eyes Of The Damned" and the ripping closer "Unholy Manipulator". This is a nice deviation from the trite 90's formulas without completely losing the angry spirit of the post-thrash movement.

The Unholy Manipulator EP, 2010

Official Site


Thrashcore of the old type, quite fast and intense similar to early Prong and The Acccused even touching Cryptic Slaughter on the more extreme moments. The slower breaks come in the form of Pro-Pain-esque semi-hardcore/semi-groove implements which sometimes are accompanied by cleaner rappy vocals as opposed to the typical old school hardcore main vocals ala Qualcast "Koffee" Mutilator (Lawnmower Deth).

You Won't Take Me Alive Full-Length, 2008


An album which richly deserves to take "the best metal debut" award for 2005: first-rate 80's thrash along the lines of Destruction, with touches of Slayer and genuine technical passages. This is good energetic music, effortlessly combining more direct, headbanging riffs with more intriguing, technical ones. The tracks are generally long-ish (in the 5-6min range), but are so diverse and easily flowing that you wouldn't find a dull moment there. "666 Days To Follow" sums all that was so great about the 80's thrash scene in its 9-min: it begins in a heavier semi-balladic manner speeding up gradually before it turns into a full-fledged up-tempo thrasher (the music on the whole album very seldom sounds too aggressive), ending in the same quiet way it started. This is a more than a promising start for the band who are hopefully preparing something new in the near future.

"Deathplagued" would be another no-brainer for the retro thrash metal fans: "Faith no More" shoots you straight into a Slayer, Sepultura, Devastation territory where you'll stay for the whole time nailed by a bullet after bullet which this time are shorter and more direct without any technical gimmicks. The singer has chosen a higher more vicious pitch (could be another one?) close to Marcelo "Flegias" Santos (Necrodeath) compared to the almost death-y vocal tone applied on the debut. As a result this offering is also more one-dimensional offering speed, speed and... speed again. No complaints at all with merciless speed/thrashers like "Narcolatry" around which will also remind you of Paradox and Angel Dust. A good faithful cover of Slayer's "Epidemic" awaits you as a final touch.
"Mvtter Vicivm" is a wild affair now epitomizing the blitzkrieg Slayer style from "Reign in Blood" all the way leaving no room for any more original interpretations. Still, the dedication to speed is admirable and there should be few unhappy with this constant downpour of steely sharp riffs which only get a slightly more stylish "colouring" on "Necrocracy". The galloping machine-gun riffs on "She-Wolves Kalashnikov" will make you jump around in no time whereas the closer "Life Is Not" will engage you in a more serious listen trying to break the mould with a portion of more thought-out decisions reaching the 7-min mark not without the help of the stretching slower passage in the end. Fans of the more complex debut will have to leave their hopes aside for the moment: the guys are following their bashing hearts at this stage... bash on!

Libido Clerico Full-length, 2005
Deathplagued Full-length, 2009
Mvtter Vicivm Full-Length, 2015

My Space


These Singaporeans are obviously inspired by the early Brazilian thrash metal scene: Sarcofago, Sepultura, Volcano, etc. The music here is more amateurish, mostly mid-tempo, with faster outbursts here and there. This is one-dimensional and not very appealing stuff, despite attempts at originality: the songs close with leads which start out of nowhere, and last for a few seconds, but offer nothing too technical.

Rest Without Peace Demo, 1990

My Space


Based on the debut, this act pull out modern groovy post-thrash which is rehashed repetitive riffs for most of the time the angry Phil Anselmo-sque vocals another generic additive to the listless musical landscape. The cool melodic leads on "Down 4 All" and the fast energetic riffs on "Cross the Line" bring some variety to the rigid template, but moments of the kind a true rarity if we also exclude the doom/stoner variations on the opimistic roller-coaster "The Fool Is You".

1001 Proof Full-Length, 1997
The Spoils of Burglaratic Victory Full-length, 2000
Say What You Will Full-length, 2005

Official Site


This is typical modern thrash metal with classic references which at times aims at the progressive metal crowd, and occasionally succeeds to pull out more intriguing elaborate structures ruined by the pedestrian guitar work and the very brutal low-tuned vocals which are intercepted by even worse high-pitched shrieks. Still, the closer "Signs of Nine" is an ambitious progressive composition closing on 10.5-min to provide cool varied thrash in mid to up-tempo with the leads being the highlight.

Signs of Nine Full-length, 2010

My Space


Based on "VII Veces VII": cool retro speed/thrash with black metal vocals; the music isn't all-out speed all the time, but contains slower, almost doom-like tracks ("Lama. Trompeta", "Los Mil Aaos de Soledad", which also has a nice balladic ending). Still, when the guys speed up they produce really worthy pieces: "El Ocaso de los 7 Tiempos", "7 Times 7". The production qualities are not very good having left the guitar sound too fuzzy, and the bass is put too much upfront on some songs. These guys seem to be obsessed with number 7: check the song-titles (and the album title).
"Oro Negro" is another dynamic affair the band thrashing with anger and a very sharp guitar edge which becomes a bit noisy at times. The headbanging fun is guaranteed on most numbers, but it's the smashing rippers like "Infierno Eterno" and "Contaminaci'f3n Mundana/Descontaminaci'f3n Humana" which take away all the praise although the longer atmospheric "Catacumbas" isn't bad at all despite the relative lack of any up-tempo moments.

Anunciantes del Final Full-length, 1997
...Hacia el Armagedon Full-length, 1999
VII Veces VII Full-length, 2003
Codigo Marfil EP, 2012
Oro Negro Full-length, 2014

Official Site


This is roughly produced thrash/death which closely follows Merciless' debut and Morbid Saint, the main difference coming from the stylish melodic leads. The guys lash with passion without forgetting about the more moderate breaks. "City Of Lost Souls " is a filling dropper: an explosive bashing piece with a few clever, more technical insertions. "Blind Existence" is a larger-than-life diverser featuring brutal death and modern groove among the fiery thrashy barrage which is not very aptly supported by throaty semi-shouty hardcore vocals.

Blind Existence Demo, 1993

Official Site


Based on "Torture of Flesh", this act serve abrasive modern-ish thrash with not many more brutal death metal insertions. There's nothing "profetic" about the music, it's right as rain the more interseting moments coming from the vocal shifts between a growling deathster and a cleaner deeper baritone the latter delivering several admirable choral lines (check out "Disciple of God"). The hard thrashing numbers, whcih are not too many, are obstructed by the not very clear sound quality which, however, can't stand on the way on the excellent screamy leads. The change of pace from one song to another ensures a more careful listen at times with everything coming together on the encompassing closer "Ice Age", an ambitious epic thrasher ala Bifrost.

Black Widow Full-Length, 2012
Torture of Flesh Full-Length, 2015



Ordinary not very imaginative modern post-thrash which goes through the motions with repetitive tedious riffage the latter providing the background for the best moments which are several balladic deviations. The guitars have a noisy abrasive edge and to listen to it on the longer numbers near the end would be a not very gratifying task. The leads deliver, though, producing nice melodies again mostly on those longer cuts (check out the mid-section on "Tierra" where the guy literally leaves his soul there). The vocals merge with the not very exciting musical delivery being semi-death metal, but mid-ranged with a subdued nasal tone.

Almas en Silencio Full-Length, 2008

Official Site


The very familiar modern thrash formula is served here with a more classic twist which even reaches death metal dimensions on "Ele Veio Para Roubar & Matar E Destruir". Energetic Oriental galloping moments await you on "O Inicio Do Final", but things get a bit messy elsewhere with quite a bit of groove involved, too, as well as more moderate melodic guitars on occasion. Don't expect any surprises in the vocal department, either: the guy is the staple angry semi-shouter.

Serial Killer EP, 2010

My Space


Cool speed/thrash mixing the 90's trends in the style with the heavier approach of the 80's American scene; the singer is a nice asset with his clean emotional mid-ranged voice, and the guitars bite whenever involved in a more intense shredding, since "Sailing in Silence" is a semi-ballad, and the last "Dreamspace" is a peaceful semi-acoustic instrumental.

Nothing But Silence Demo, 2009


Based on the EP, this band play modern thrash/death with progressive overtones ala Opeth. The music is not a "stranger" to enchanting melodies some of them with an Oriental flavour ("At the Mercy of God"),a nd the "beauty and the beast" vocal duel is well achieved recalling the one from the early Theatre of Tragedy efforts. The tempos are not that speedy,a nd at some stage the listener may just lose concentration bemused by this melodic mid-paced "oasis" which often borders on the balladic/semi-balladic ("Wrath"). The guys were previously known as Eyeless with one demo released in 2010.

Beings of Flesh Full-length, 2014
Eponym EP, 2016

Official Site


A heavy groovy blend of thrash and death metal which at times picks up respecle speed and sounds quite appealing. The problem is that the guys do not forget about the groove, and it pops up quite a bit on those 3 tracks. The other good side of this single is that the band are not strangers to more interesting guitar work which has an intriguing surreal edge, not too far from the Voivod 90's period with Eric Forrest, or the Polish Myopia. If we add some stylish atmospheric bass interludes ("Black Sun of the Humanity"), then you know you should check this out, at least out of curiosity. With more concentration on this side, these guys would have no problems sticking out of the metal crowd, especially in their homeland where there are very few bands right now who offer similar music.

Insanity Single, 2007

Official Site


Modern groovy post-thrash which develops in a predictable sleepy tempo until it reaches the final "Wake Up" which will really do a good job to wake you up offering dynamic sharp riffage in up-tempo smelling the Swedish school in a good way; that same track excels in the lead department as well, and a lead tune from there will remind you of the Twisted Sister ballad "I Believe in You", intentionally or not; watch out for the fine peaceful acoustic exit, too.

If You Want Your Survival Sign, Wake Up Full-length, EP
Doa a Quem Doer Full-length, 2011
Que Seja Feita a Nossa Vontade Full-length, 2014

Official Site


Based on the debut, this band play modern/classic thrash mixed with more traditional heavy metal. The final result is more on the melodic side with the presence of a few acoustic ballads, but also some up-tempo thrashers ("Abandon") thrown in.

"Pain" is a better offering now staying closer to the classic trends the band thrashing with more technicality as evident from the openig shredder "Nightmare". The title-track right after is a direct short basher, but "Media Terror" is already a more progressive-sounding mid-pacer. In the 2nd half things get mixed with faster and slower numbers taking turns the excellent semi-balladic "Buried Forever" being the highlight with its more serious musicianship; the razor-sharp headbanger "Free Again" a very close second. The closing "Dream Of A Dream" is the pullback, a mild dramatic ballad the indifferent singer marring it a bit with his not very attached delivery.

Truth Lies In The Eye Of The Beholder Full-length, 1999
Pain Full-length, 2007

Official Site


This band boasts the presence of Eric Forrest, the man who revived the Voivod career in the mid 90's. The base for the music is modern thrash/death metal, industrially tinged with many unusual tunes (violin solos, etc.), tempo changes and crazy song-structures; quite unconventional, and might pull back the more level-headed fans. The last track will be a delight to everyone, though: a magnificent cover of Venom's "Warhead". "The Conjoined" follows the same path featuring the same frenetic non-standard mixture heard on the debut.
Eric Forrest alternates between E-Force and this act, and here comes "Count Back From Ten" after a 3-year break. The mixture is predicly wild featuring industrial, thrash, death, cyber post-black, and a bit of doom metal. Purer full-blooded thrashers ("Lose Lose Situation") aren't a very common phenomenon; neither are appropriate well-crafted cover versions ("Irrelevant Thoughts", an excellent take on the Prong creeping post-thrasher from "Prove You Wrong"). The Prong cover influences the very cool minimalistic post-apocalyptic number "Patient Zero" where mid-90's Voivod-ish weirdness sneaks in, too. But after that the album returns to the overdone, and not very impressive, concoction of styles on a heavy industrial base topped by the indifferent robotic vocals of Forrest. Extreme metal blends are not a rarity nowadays, and this effort is by no means the worst of the lot, but when delivering in a more homogenous focused manner (check out E-Force), Forrest is well more appealing.

A Beautiful Sickness Full-length, 2003
The Conjoined Full-length, 2007
Count Back From Ten Full-length, 2010

Official Site


Excellent old school power/thrash with all the right ingredients to be a winner on all levels; the delivery recalls the early Iced Earth exploits, and the fast-paced beginning sets the tone for what follows although tracks like the volcanic pounder "Broken Drum" and the brooding semi-doomster "My Dark Passenger" reveal another, no less attractive, side of the band. The album has its slower side which is placed in the middle, but comes "Bad Blood", and all heads will be exhausted due to its mighty fast riffs. Later on the songs become longer again, but the aggressive guitars stay to thrash even the biggest skeptics with "The Trader of Pain" and the eventful progressive closer "Universal Mind". The singer is simply brilliant with some of the most convincing performances encountered lately: a strong passionate clean tember with a lot of emotion and dramatism. This is one of the best sum-ups of the 80's American scene in recent years, a work proudly standing right beside the last Attacker and Helstar efforts.

Neverwhere Dreamscape Full-Length, 2013

Official Site


The EP: this Dutch act provides cool classic thrash in the vein of mid-80's Kreator with razor-sharp guitars and vicious Mille-like vocals. The approach is a bit more controlled here resulting in a few more clever, more moderate ("Embrace Death") pieces where the shadow of Destruction can also be felt.
The full-length debut contains all the tracks from the EP, and the rest assist the main body well for the production of this no-brainer of retro thrash which gains a lot from the expert lead guitar work which is both melodic and technical. The guys thrash forward with lashing razor-sharp riffs and the coming out of nowhere leads supplement them very well giving the album a characteristic face. After the opening blitzkrieg trio the band try something more technical with the excellent "I Have Sinned", but the next "Thrashopolis" is the definitive headbanger of the new millennium which will literally split you apart. Technical all-instrumental exuberance is what comes after with the short puzzler "Canister", but then the "carnage" never stops with the final string of short direct thrashers which will remind of Exumer's debut with their speed metal leanings which also stay around for the closing ultra-smasher "Silent But Deadly": thrash till "deadly"! The singer is now a bit lower-pitched and not as expressive sticking to subdued semi-declamatory antics not far removed from the more recent ones used by Mem Von Stein (Exumer, etc.) on the Sun Descends works and on the new Exumer effort.

"Thrashed to Kill": the formidable album-title is already a warning, and the music more than justifies it: this is razor-sharp thrash which shows no mercy despite the inclusion of several more moderate tracks ("Necrophiliac"). It's short bursting speedsters like "Zero Tolerance" and "Flatline Invasion" which will make the thrash metal fan's day, and this is what he/she will come across till the end including less bridled blasting deathisms on the closing "Taken by Force" which isn't an Agent Steel cover. The sound quality is crystal clear making the guitars click and clock all around, and the lead guitar work is admirable throughout (check out the aforementioned "Taken by Force" again).
"Brothers in Blood" remains faithful to the band's chosen stance as exemplified by earlier recordings, and cuts like "Final March" will make the headbangers very happy this particular one bordering on death metal also serving both cool semi-technical and infectious melodic hooks. The rest of the material offers more direct entertainment the album full of bullets like "Eternal Flames" and the bursting speed metal classic "Decay".

Hatred EP, 2011
I Have Sinned Full-length, 2012
Thrashed to Kill Full-Length, 2015
Brothers in Blood Full-length, 2018

Official Site


These guys play thrash/crossover, energetic and optimistic, with cool not very hard riffage, and semi-clean/semi-shouted vocals. Lawnmower Deth are a very close soundalike as well as Excel and C.I.A. The music jumps to other styles occasionally acquiring speed/thrashy ("Open Your Eyes") or punk ("This Is Hate") tendencies.

Bullseye!!! Full-Length, 2009


2 songs of speed/power metal (the "Lovci Lebek" demo) with a shade of thrash on the second track ("Kovarna"), which is a fast killer with good high-pitched vocals and nice leads.

Madagaskar/Vzpomfnky Single, 1985
Lovci Lebek Single, 1989
Zp'aftky do Zahrady ticha Best of/Compilation, 1998

Official Site


This is modern thrash performed by this young German trio who don't aim at any originality, just bash in a way not too dissimilar to Carnal Forge Or Their Compatriots Ravage. "Conquistador" runs away from the foormula with a more complex approach, still thrashing wild at times among the melodic hooks. The singer is the staple gruff death shouter, a fitting addition to the equally as generic musical scenery.

As You Sow, So You Shall Reap Full-Length, 2016

Official Site


The former bassist of the legends Sacrilege Paul Morrisey (no, this is not the famed cult director) is at play here, and the style is dynamic hard-hitting thrash also served with a crystal clear sound quality. The guys shred with force without breaking any sound barriers, and they sound kind of more convincing when they shred in rigorous mid-pace: check out "Dead Man Blues" (which is anything but a "blues"), the short cutting "Wargasm", the raging galloper "9-5", etc. "Thrashing In The Church" speeds up near the end, and indeed many monks and nuns will start headbanging spontaneously if this track is played in some church. The singer delivers with his confident mean-ish semi-clean tember which is close to semi-reciting at times, but fits the very good music. This is a very unknown, but utterly worth hearing effort from the deep British underground.

Destruction of Life Demo, 1989


This band provide very cool modern technical thrash/death with shades of Nevermore and Altered Aeon, with brutal death metal vocals. The guitar work is pretty sterile and robotic, but short jumpy shredders like ldblquote Interstellar Imprisonmentrdblquote are quite worthy hearing out. Later on things become even more interesting with the dark thrasher "Nightmare Hall", and with the excellent surreal lead-driven cut "Crude Creation". All of a sudden arrives the hectic technical thrash/deathster "Cranial Control Contraption", and the situation hits the top, great help also provided by the short puzzler ldblquote Psychosisrdblquote and the stomping virtuoso instrumental "Unnatural Selection". The title-track would be a surprise with its mellow doomy delivery, but many will be the enchanted on the closing "An Ancient Invasion" which is a wild technical ripper in the best tradition of Atheist and Coroner. This is truly a find, a major contender for the top ten of 2014, and one of the most successful "experiments" on the technical metal field for the past few years.

The Experiment Full-Length, 2014

Official Site


This Israelian trio comes up with 3 songs (one for each member) of noisy chuggy black/thrash with slightly distorted guitars which mixes the primal intensity of early Whiplash with the more playful power/thrashy chords of Bewitched. The singer is a major detriment and his brutal low-tuned death metal delivery is a total waste.

Infernal Rock N' Roll Demo, 2011

Official Site


Prong's beginnings (the first two albums) were raw energetic thrash/hardcore affairs, still considered one of the more uncompromising achievements from this sub-genre. The band abandoned their aggressive attitude on "Beg to Differ" settling down for an original take on the modern 90's sound (at this time not fully developed yet), slow-ish, groovy, with a touch of industrial, and not a big presence of thrash, if any. Having forged an interesting style of their own, which lasted for at least one more full-length ("Prove You Wrong"), the guys brought the speed back on a few tracks from "Cleansing", resulting in a fine more thrashy effort ably supported by their more recent, modern approach, and is their finest hour at this point.

"Rude Awakening" is the band's most melodic, but no less impressive work, again with no ties to thrash. Then Tommy Victor (the band's founder and frontman) put an end to the band's career, and got involved with other bands (Danzig, Ministry, Killing Joke), before returning with "Scorpio Rising" 7 years later. This album was a direct take on the band's hardcore past, still infused with their unique sound from the 90's; some of the tracks on that one surpassed in terms of aggression even the most furious numbers from their first two efforts, and it's these tracks which kind of didn't work out compared to the better, on a musical level, other material.
"Power of the Damager" is a nice continuation of the more thrash-based sound from "Cleansing", sometimes following those patterns maybe too closely, and is almost as good. It starts in an openly heavy thrashy manner with the nice headbanger "Looking For Them", which will remind you of the band's biggest hit "Whose Fist Is This Anyway" from "Cleansing". Then comes "No Justice", which in its turn sounds very close to "Snap Your Fingers, Snap Your Neck". The "third option" "Third Option" is a cool mix of the jumpy Prong-esque post-thrash and more intense riffage, which comes as a more aggressive "Another Worldly Device". Things only get harder later on, straying away from the "Cleansing" formula, on the pounding intense "Pure Ether", which also adds spacey melodic tunes, again a staple mark for the band, quite well epitomized on "Rude Awakening". "Power of the Damager" is vintage mid-paced heavy thrash, after which the hectic trade mark post-thrash reigns supreme on "The Banishment", bringing the delivery back to "Beg to Differ", where the industrial legend Al Jourgensen (Ministry, Revolting Cocks, etc.) helps with a short performance on keyboards. "Worst Of It" carries on in the same vein with Tommy Victor showing his better vocal abilities with more melodic higher tones, not too far even from Ozzy himself. "Spirit Guide" could be considered the odd ballad, although in the 2nd half the thrashing comes back with full force. "Messages Inside of Me" is another prototypical Prong number with the discordant guitar and the groovy post-thrash approach, but "Can't Stop the Bleeding" returns to thrash territory once again sounding like a leftover from... oh, come on, enough with these references to "Cleansing", man! And enough with this long review as well, although I have to also mention the hardcore-ish "Bad Fall", the sole reminder of the band's very beginnings, and the excellent closer "Changing Ending Troubling Times": an all-out dynamic thrasher with a furious hardcore deviation near the end, ably "assisted" by brutal death metal growls unleashed by Victor (supposedly). I can hear some fans complain about the relative decrease of the original technical/progressive leanings from their works of the 90's on this album, but those same fans will hardly be left indifferent listening to their favourite band's most thrash-fixated release to date. One can hardly think of a better comeback for these guys, and one can easily forget about the previous shaky effort, moshing around, raising his (or whose) fist. Anyway...

After the excellent "Power of the Damager" the confidence in Tommy Victor and Co. grew and on "Carved Into Stone" one may not be surprised to hear the band thrashing wildly like never before. The opening "Eternal Heat" is a virtuous thrasher, a hard-hitting number with a formidable wall of guitars. The band's staple crunchy, hard to label, approach comes forward on the next "Keep on Living in Pain", and the next string of songs is a direct take on the groundbreaking "Beg to Differ", "Revenge Best Served Cold" bringing more relaxed playful rhythms ala "Rude Awakening". Grab your seats for a couple of more hard-hitting moments on the interesting diverse "State of Rebellion", and also on the straight return to theit 80's roots with the short crossover thrasher "List of Grievances". At the end the guys relax with softer sounds with a dreamy, progressive quality, retouching the bite of the riffs. As a whole we have a really cool walk over the band's back catalogue which will also be a pretty nostalgic trip for the band fans with tunes and hooks recalling the band's past in many good ways.
"Ruining Lives": the band will be a more regular "menu" on the fan's le from now on having in mind the warm reception of their more recent albums. Here comes album number 5 after the reunion to rock you "like a hurricane" displaying the familiar edgy thrash/post-thrash. It begins quite impetuously, as a matter of fact, with the first several cuts which are major headbangers (check out "The Barriers"), but arrives the melodic proto-groover "Windows Shut", and the staple Prong approach is evident. The hard riffage returns later on, first with the dramatic shredder "Ruining Lives", then with the excellent classic thrash resurrector "The Book of Change" which will spill your teeth and fillings all over the place. Such brutality is not to be come across later on, but the album deliver all the way till the end not without the help of the excellent semi-technical ripper "Chamber of Thought", and the jumpy progressive closer "Limitations and Validations" which also boasts a very cool catchy chorus. The band have done another good job, and one sees no reasons why they should run away from the winning formula for the future.

"Songs from the Black Hole" is a covers-only tribute to acts from all walks of music: Discharge, The Sisters Of Mercy, Killing Joke, Black Flag, Bad Brains, etc. Nothing special really the pieces being performed faithfully without any more particular innovative elements.
"X-No Absolutes": Tommy Victor and Co. are becoming more and more prolific, but in the case of this seminal band the fans should have no worries that this would happen for the sake of the quality. Still, surprises are also out of the question; "Ultimate Authority" is the staple pounding catcher to open the album, but "Sense of Ease" is the headbangers' paradise, a major speed/thrasher at its classic best. "Without Words" is a twisting groover with doomy overtones, but the title-track turns to thrash again this highly dunamic delivery spiced by the spacey modern rocker "Do Nothing" and the full-blooded ballad "Belief System". The slow middle over, the guys start moshing out for the umpteenth time with "Soul Sickness" and the more laid-back "In Spite of Hindrances". "Ice Runs Through My Veins" is the traditional for the band mid-tempo nerve-calmer, but "Worth Pursuing" is already a more aggressive proto-thrasher. All the way to the not very relevant rocky closer "With Dignity" which doesn't quite reflect the dynamic nature of this very cool effort which shows the band in a fairly bright light sticking to what they can do best.
"Zero Days": Tommy Victor and Co. quickly turn into the most prolific act on the scene in the new millennium, and there's nothing bad about that as long as the band retain the high quality of their output. Drastic alterations to the delivery haven't been made like the opening "However It May End" shows only too well with its characteristic semi-mechanical riffage which goes on on the faster-paced title-track, the more stripped-down hardcore-ish side of the album exemplified by the more relaxed speedster "Off The Grid". "Forced Into Tolerance" brings back the thrash with full force, and this more aggressive stance has been given other chances despite the presence of their staple quasi-groovy semi-progressivers like "Blood Out Of Stone". "Operation Of The Moral Law" is another thrashy outburst the mellow/harsh alternation continued with "The Whispers" although the latter is a fairly energetic piece with a couple of less restrained thrashy strokes. "Self Righteous Indignation" is a chuggy industrial doomster, and "Rulers Of The Collective" is the next in line pleasant friendly melo-groover. In the end there's a ittle bit for nearly everyone the band making sure to cover all nuances from their better opuses, including on the closing "Wasting Of The Dawn", a cool nervy jumper in the best tradition of "Innocence Gone" from "Rude Awakening".

Primitive Origins Full-length, 1987
Force Fed Full-length, 1988
Third From The Sun EP, 1989
The Peel Sessions EP, 1990
Beg to Differ Full-length, 1990
Prove You Wrong Full-length, 1991
Whose Fist Is It Anyway? EP, 1992
Snap your Fingers, Break your Back (The Remix EP) EP, 1993
Cleansing Full-length, 1994
Rude Awakening Full-length, 1996
Scorpio Rising Full-length, 2003
Power of the Damager Full-length, 2007
Carved Into Stone Full-length, 2012
Ruining Lives Full-Length, 2014
Songs from the Black Hole Full-Length, 2015
X-No Absolutes Full-Length, 2016
Zero Days\\tab Full-length, 2017

Official Site


One guy, the pseudonym Morbid, who is also a member of quite a few undeground black metal acts, is in charge of these 2 tracks of evil old school speed/black/thrash which are fast with the casual use of the blast-beat supported by an appropriate slightly muddy 80's-like sound quality. Morbid sings in a sinister forceful fashion always clearly heard exercising the necessary amount of authority for this kind of music.

Propagator EP, 2011

My Space


The demo: quite good classic Bay Area thrash along the lines of early Testament and Metallica, among others. The guys play tight and fast, spicing things up with great melodic riffs (check out the sinister doomy break on "Empty Life). "Agony Within" slows down, but remains entertaining with heavy meaty guitars. The vocalist does a good job coming as a potent mix between James Hetfield and Chuck Billy.

The full-length: there'll be non-stop moshing on this cool retro thrash reminder; the guys follow with dedication the path of the Bay-Area heroes, especially the one carved by Testament: just listen to "Lying Prophets" and discover the mighty Americans in a better way than "The Formation of Damnation". "Agony Within" is the odd proto-modern stomper, but everything is forgiven after the brisk explosive assault which is "Empty Life". "Risen From Hell" is the prototypical mid-period mid-tempo heavy Testament number, followed by the more energetic, but still not quite fast, "Paradigmatic Reality". "Evilution" pulls all the stops once again, thrashing its soul out. The absolute highlight is the great instrumental "Nameless" which begins in a haunting balladic acoustic fashion before it develops into a crushing thrash experience where a big part is given to the nice lead guitar work. This masterpiece overshadows the following not very interesting monotonous "The Game(Is Violence)", but the closer "Legacy Of Ashes" takes no prisoners, thrashing without mercy, putting this promising young outfit right next to master practitioners of the genre from their homeland, like Violator, Bywar, Flashover, Executer, Breakdown, etc.

Technics of Violence Demo, 2001
Legions of Violence Full-Length, 2008



This not very known entry into the Swedish metal catalogue of the early-90's runs away from the eslished death metal vogues towards dark hypnotic mid-paced classic thrash which doesn't change much throughout the 4 tracks offered, but is decent morose fun also thanks to the good subdued semi-clean vocals which at times raise the pitch towards more sinister death metal fields. There are some cool melodies (the title-track) as well as a nice faster-paced section on the same song.

Remission of Sins Demo, 1992


On their only demo these guys play a mid-paced fusion of traditional, power and thrash metal; music-wise this is quite good with a nice addition of violin melodies here and there which might remind you of the Dutch Blind Justice or Skyclad. The downpoint is the terrible, somewhat alternative, vocals which don't suit the music at all.

Serpents of the Valley Demo, 1997


This compilation of demos contains long-ish songs (5-7 min long) which don't sound progressive or technical: this is an early blend of power, speed and thrash metal, quite well done, with references to the Nasty Savage debut and Jag Panzer in the heavier parts, or Attacker and Agent Steel, in the speedy ones ("Radiation Wasteland" and especially the magnificent "Cry of the Innocent" richly deserve a place even on the Agent Steel debut with its furious fast riffs). The guitar work is particularly impressive: the guys come up with stylish riffs last heard on the first two Mercyful Fate albums as well as great leads ala Michael Denner (from the same band); the satanic lyrics also bring this band close to the Danes.

Demos, 1985-1987


THis act deliver meloidc power/speed/thrash which balances between the "eagle fly free" approach ("Searching For Light") of the 90's speed/power metal fraternity, and the more elaborate, but still intense, exploits of Manticora and Hellfire ("God Killers"). "Last Hope" is a slacker, though, a 7.5-min ballad/semi-ballad; and the closer "The Age Of Gods" also goes over the top, a 10-min progressive opus which spends most of the time in calm power metal waters to which the excellent dramatic, emotional clean vocals suit perfectly.

Prophecy Full-Length, 2015

Official Site


This Danish formation, who were called Prophecy earlier when they were playing classic heavy/power metal, would surprise with their clever, technical take on the power/thrash metal idea producing something not far from their compatriots Artillery at their best. They actually started the transition to more aggressive music with one demo in 1986 under the name Migaira. This is elaborate stuff also recalling the Americans Realm and the Canadians Savage Steel, the songs nicely "cut" by short virtuoso instrumentals ("Structural Madness"). Stomping doominess takes over for a while on "Spiritual Pollution", but "Abandoned Rest" is a speedy shredder which grows into the dramatic power/thrasher "Access To Wisdom". Classic American power/thrash is what one will hear on "Pilgrims Of The Faith", but "Carrier" is raging thrash to the bone, a short explosive number which gives room to the closer "Satanic Rites": a calmer complex composition which wraps things quite well giving the album the necessary progressive edge. The vocalist is a find with his great versatile performance covering several ranges staying mostly within the mid to high clean parameteres. This obscure effort is truly one of the finest pieces of metal to be released in the late-80's/early-90's in Denmark standing proud beside the pillars Artillery. Later in the 90's the band members turned to even more complex progressive power metal under the name Northern Empire.

Access to Wisdom Full-length, 1989


Raw clumsy thrash/crossover which has some of the hypnotic characteristics of Sacrilege's first two albums with its monotonous riff-work at times (on the longer tracks), but unlike the Brits these guys fail to pull out the best out of such an approach, and often does the music try to liven up with spontaneous outbursts reflected in short 1-1.5min songs. There is a bit of S.O.D. ("Speak English or Die") as well, but the dominant boring mid-pace and the unemotional performance by everyone involved makes this effort a lot inferior to the models it tries to follow.

Mosh To Relax To Full-length, 1989

Fan Site


This unknown act, previously known as Prophecy, offers outstanding progressive/technical power/thrash, complex thought-out music coming as a more dynamic early Psychotic Waltz mixed with Sieges Even's "Life Cycle", with nods towards mid-period Fates Warning ("Awaken the Guardian", "No Exit") on the more laid-back parts. The opening "Synthowomb" is a wonderful labyrinth of strange time-changes, hard-hitting riffs, jazzy arrangements topped by very cool emotional clean vocals ala John Arch (Fates Warning) and Bruce Dickinson, setting the tone for the elaborate picture that follows. "Pi" may upset you a bit with the synthesized direction the vocals take at some point, but the music is top-notch progressive metal with great bass work, a speedy mid-section and a weird main theme reminiscent of Voivod's "Killing Technology". "Humanicity" is state-of-the-art hectic technical thrash with a few quiet semi-funky sections thrown-in. "Babba" is a sprawling, mostly instrumental, progressive composition with creepy riffs and balladic passages, the "sleeper" here, but "Babba's Progeny" is already more intense, and although title-wise it's related to the preceding number, in terms of music there isn't much to relate it to it, the latter being much shorter, but surprisingly more diverse. That same formula gets repeated on the next 3 songs until the coming of "Terminal Sorrow": aggressive technical thrash in a galloping pace with many twists and turns. The final "Sdrenoid" is the most ambitious track; quite a varied offering with a stormy aggressive beginning and ending the middle occupied by a slightly overlong balladic passage; the actual finishing touch is actually a very complex jazzy variation ala Spastik Ink which will make your head spin.
This excellent debut was left without a follow-up for 5 years when the band came out with the more melodic, but much more complex and abstract, "Alconauta" which is by all means a very engaging listen from beginning to end, but its appeal to the thrash metal fan will be not very big.

Enforce Evolve Full-length, 2004

Official Site


This is very typical 90's post-thrash without any good ideas and imagination; soft repetitive riffs without much heaviness or melody keep coming making this fairly below average effort sound like a washed-down version of Anthrax's "Stomp 642", finished with an unimpressive cover of the Beastie Boys' "Fight Your Right".

Dogday Full-length, 1997


Based on the "Total Shit" demo: this band play aggressive thrash/death ala early Messiah and early Death, which has a nice melodic break in the form of the Russian folk song "Kalinka Maja" in the middle; afterwards the aggression tones down, but just a bit, and the guitars thrash with more precision although the very bad sound quality will be a big obstacle to enjoy this music.

Total Shit Demo, 1987
Terrible Ceremony Demo, 1988


Based on the demo, these Poles provide complex quasi-progressive thrash which is seriously obstacled by the bad sound quality. Otherwise the band have the necessary competence to come up with this complex stuff which is mostly mid-tempo with various riff-patterns entwined and cool leads scattered around. The pace may bore the listener, though, at some stage since the approach could have benefitted from a few faster passages which arrive near the end with "Pustynia Smierci", a fierce lasher with a proto-death metal shade. The singer isn't very rehearsed singing in a dispassionate semi-clean manner with a few shades of emotion.

Desert of Death Demo, 1990
Krew Czarnej Ziemi Full-length, 1992

Official Site


This act specialize in heavy groovy thrashcore which comes both more energetic and more melodic than the regular band in this field. Some of the melodies ("Cleansed In Agony") are really admirable and make more "brutal" cuts like "Dawn Of Brutality" barely noticed. "End Of Your World" is a nice slice of doom, but the tempo seldom goes below the mid. The singer shouts and quarrels throughout also displaying a small sense of melody on the softer moments. Some of the band members had played in the death metallers Ossuary in the early/mid-90's.

The Dawn of Brutality Full-Length, 2013

Official Site


This roughly-produced demo displays intelligently-written classic thrash in a solid mid-paced with dramatic build-ups and brutal death metal vocals. The approach is quite melodic with haunting melodic tunes coming from all sides to make this obscure effort a unique, less ordinary listen. Despite the relative short length of the numbers the band manage to spice the tempos with a few more dynamic moments (check out the shredding atmospherics on the excellent "Demention" which reach a blasting dramatism at some point) and several beautiful leads. The closing "Insanity" is just a sinister balladic instrumental with a rainfall accompanying the macabre guitar approach.

Demo Demo, 1995


The debut: metalcore-ish modern thrash which jumps in a predicle mid-pace with the obligatory "updates" in the headbanging department (the death metal-laced madder "Only With Death") and the soaring melodies some of which are really nice. There's definitely a lot of dynamics to be encountered: check out the technical cut "III to I" and the dramatic proto-deathster "Skeletons", and this effort could pass for one of the better offerings from the metalcore field.
"Invoke the Tempest" is a more intense offering even acquiring nice galloping tendencies ("Jobson" which is a prime brutal shredder). "Cyclone" is a nice more technical piece with blasting death metal overtones, and "Trust Fall" is another stylish roller-coaster. Towards the end the compositions start moving towards the Swedish melo-death/thrash spectre, but the music retains its dynamic character with more melody added.

Defiant Full-Length, 2010
Invoke the Tempest Full-Length, 2015

Official Site


Classic thrash/crossover mixed with jumpy groovisms reminding of Infectious Grooves at times, but this is heavier and groovier. "Haggard And Crucified" is a surprisingly dynamic piece with headbanging tendencies, but the 2nd half is way softer with ballads and doomsters plaguing the playing space helped by the cool clean vocals which turn to Russian on the merry roller-coaster "Two Words".

Ethnos Demo, 1994


I beg your pardon for the missing information here, but there was nothing available around to help me find more about this otherwise interesting band. Four tracks of instrumental technical thrash with numerous tempo changes and intriguing guitar work; apparently a draft for something bigger to come.



Only one person (Mats Andersson) is behind this modern thrash/death metal hybrid, which is competently done, with a good alternation between melody and aggression, seldom escaping the rules set by his homeland. This is fast, tight, also quite melodic at times, stuff with rough throaty, but intelligible, death metal vocals.

Demolition Demo, 2008
DEMOlition Part II Demo, 2011

My Space


This new act indulge in modern post-thrash with strong industral overtones sounding like a slightly more relaxed version of the Canadians Soulstorm. The guys try something more complex, but the noise coming from all the instruments doesn't make much room for anything more stylish to be heard clearly. Some death metal sneaks on the closing "Outbreak" to dissipate the "darkness", and it manages to move things around with its more vivid riffage also suiting the deep guttural vocals which take quite a bit of space.

Child's Play Demo, 2013


Melodic, laid-back post-thrash with sincere heavy metal leanings; this is soft stuff with adherence to groove quite a bit, as well as to better constructed balladic passages. The guitars are a bit noisy, and the singer is suily clean with an attached, emotional delivery.

Origen Full-length, 2011

Official Site


The full-length is a small ball of fury which will leave you gaping; just listen to the opening "Clockwork Toy" which in its a bit more than 2-min packs numerous aggressive riffs. This is nothing, however, compared to the following "Plain Pain", which is total blasting death metal with a genuine technical twist. "Children Of The Chords" is an awesome technical death/thrasher, a whirlwind of chaotic technical guitars and raging blasting ones. Later on the sound remains quite technical favouring death ("Decadence") or thrash ("Greetings From Hell", minus the very aggressive final riffs) more. "Symphonies Of Happines" will definitely make "happy" both the thrash and death metal fans, especially those who love the more technical side of those genres. "Runk Opstrom" closes this great work in a more offbeat fashion: after the short very furious death section in the beginning, the band give themselves a break with a melodic rock-ish ballad where the vocals take a good cleaner drunken edge.
"Swimming in the Moonlight" is perhaps more on the thrash metal side and sounds quite close to the Swedes Merciless' debut, and the early works of Massacra. After the longer, but very aggressive thrasher "Method Of Manipulation" the guys take a more direct approach with shorter numbers which will thrash your heart out. There is no much technicality involved; the band bash with ultimate aggression until the very end.

Swimming in the Moonlight EP, 1989
Festering Fairytales Full-length, 1990
Sandman's Store EP, 1991

Official Site


After 1986 brought the extreme winds of change in the works of Messiah, Kreator, Sarcofago, Slayer and Dark Angel, 1987 produced its two more vicious "monsters": Death's "Scream Bloody Gore" and Protector's "Misanthropy", and virtually gave birth to the death metal genre. Although death metal was already heard on Messiah's "Hymn to Abramelin", these two works gave the style its more complete form: more refined, still thrash-based on "Scream Bloody Gore", and more brutal and faster on "Misanthropy". The Protector debut EP with its 7 compositions is a small album in itself, unleashing 6 (the 1st one is an intro) tracks of misanthropic (the title is very appropriately chosen) blasting death metal to the bone with only "The Mercenary" showing some lenience with its slower riff work.

The two "fathers" of death metal were quick to release follow-ups to their pioneering debuts the next year, but while Death's "Leprosy" hardened the course, going deeper down the rabbit... sorry, death metal hole, Protector looked towards thrash for inspiration on "Golem", which didn't sound as merciless and extreme anymore. Still it remains pretty fast and aggressive with a better guitar work, but songs like "Apocalyptic Revelations" and "Golem" are mid-paced at best, even bordering on doom. Certainly, one can easily get a headache on the faster, more death-laced material, like "Delirium Tremens" or "Germanophobe", but the base here is strictly thrash, with one very cool attempt at a more jumpy technical play: "Only the Strong Survive".

"Urm the Mad" combined the two extremes to a not very positive effect: "Molotov Cocktail" is pure bashing grind; "Decadence" is benevolent speed/thrash, something which same year's Paradox' "Heresy" offered aplenty; and "Nothing Has Changed" is ponderous clumsy doom. The rest is more consistent intense blends of thrash and death metal, but still sounding like distant echoes of the groundbreaking debut. By no means full-fledged works of death metal, the first two Protector full-lengths set a good example of how thrash and death metal could co-exist, immediately picked by many new acts, who didn't feel too safe to jump heads-down into the death metal "abyss" without a "rope" (thrash metal, that is, for the less initiated).

"Leviathan's Desire" was solid death metal with fewer hints at thrash, with the guys' message further strengthened by the addition of 3 songs from the "Misanthropy" EP. This marked the band's return to the "realms" of death metal which resulted in the production of two more full-lengths, both very good exercises in fast aggressive old school death metal.
"The Return of Thrash and Madness": another legend is coming back, alive and well, with a 4-song demo which shows the guys not having lost their penchant for dark intense tunes crossing the thrash and death metal genres in a seamless fashion. "Road Rage" is rather a tribute to Slayer than a return to the band's older style, but comes "Deranged Nymphomania", and the death/thrashing madness begins followed by the short raging bomb "Terra Mater" before "Birth of a Nation" slows down a bit to pull the scales towards thrash at the end, the way it started. Martin Missy sings in a more hoarse manner now, lower-tuned and less expressive, albeit still pretty death-like.

"Reanimated Homunculus" sees the band fairly "reanimated", albeit with an almost entirely new line-up except for the vocalist Martin Missy, hungry for more thrash/death "terrorism" which now comes more thrash-infused as opposed to the last 2 releases in the 90's. Even speed metal comes covered on the short roller-coaster "Holiday In Hell", with the next title-track providing a solid doze of mid-paced stomping thrashism. The real rage is unleashed in the 2nd half with "Lycopolis" and the semi-technical "Antiman" before the appropriately-titled "The End" wraps it up with a portion of twisted speedy decisions. The album fits nicely into the overall reunion landscape of the past decade, and although it doesn't quite shine above the band's past achievements, it shows vigour and desire on the side of the band to be a part of the contemporary thrash metal scene.
"Cursed and Coronated": Missy is intent on continuing with the "heritage", and here comes another opus of the band's staple thrash/death "carnage" with the two styles balanced well as the delivery is often quite fast and aggressive. The title-track runs away from the formula with a portion of heavy ship-sinking rhythms, a rouising doomster. "Six Hours on the Cross" is a great galloping thrasher, and the next "Base 104" is a ripping headbanger with a nice slower mid-break. "To Serve and Protect" serves a more intriguing slab of thrash/death with a stylish alternation of the pace, and "\\tab Terra Mater" is the next in line crushing rager. "The Old Boil" is a shift towards more relaxed crossover, but is another tasteful cut ending this highly enjoyable album which sees the band moving up the scale towards the upper echelons of the scene.

Misanthropy EP, 1987
Golem Full-length, 1988
Urm the Mad Full-length, 1989
Leviathan's Desire EP, 1990
A Shedding of Skin Full-length, 1991
The Heritage Full-length, 1993
The Return of Thrash and Madness Demo, 2011
Reanimated Homunculus Full-Length, 2013
Cursed and Coronated Full-Length, 2016

Official Site


This band pull out playful modern post-thrash which isn't very eventful except on very few occasions when the guys just bash with hardcore abandon ("4 Paredes") and these moments should have been more (the vigorous closer "You Can Remember" also comes to mind). The singer is an attached angry shouter rarely helped by a more emotional female vocalist.

Criminal Hardcore Full-Length, 2011


Based on the full-length debut, this act provide intense classic thrash with some hardcore tendencies. The guys mosh with conviction adding the necessary stomping break ("Fueled by Hate"; the pensive, quasi-doomy "White Noise"), but you'll have to run for cover on the more aggressive, death metal-laced numbers ("Prophet$"). In the second half the speed gets diminished, even a few battle-like touches ("Blood and Sand"), in the spirit of Bolt Thrower, can be caught to a positive effect. Short, more immediate and more aggressive cuts come near the end where the bridled Slayer-esque aggression ("War Dance Black", "Kill Craft") is hard to be dusguised, even by the very stylish melodic leads. "Turning Tide" is a furious thrash/deathster closing the album in a shattering fashion moshing without mercy to the end. The singer is a lower-pitched hardcore-ish semi-shouter whose angry antics fit the aggressive music quite well.
"Abuse of Power" is another wild thrashing "beast" the moments of "tenderness" (the steam-rolling "freighter" "Enlightened Masters") only slightly more laid-back. The title-track is pure Slayer-esque fury, and "The Condemnation Flame" adds more brutal death metal elements into the already fairly aggressive melee which introduces a mellower crossover vibe on "Star Spangled Disasters".

The Truth Enslaves Us EP, 2008
The Corruption Code Full-length, 2012
The Invisible Hand Pt. I-We Never Sleep EP, 2015
Abuse of Power Full-length, 2017

Official Site


Based on the EP, this act plays typical modern Swedish thrash/death metal, at times fast and direct, at others choppy and semi-technical with a taste of metalcore which is the predominant side, occasionally exiting the extreme metal field ("Amulet"), straying into other softer directions.

The Only Problem In This Case Is The Solution Full-length, 2005
I Can't Find A Question To Survive The Answer Full-length, 2006
Don't Disturb Me When I Need You EP, 2008



This demo helped pave the way for the guys to continue their career later under the name Sackrace (see the title-track here) although the style presented on these 3 tracks is strictly classic the guys playing with relative professionalism except in the shouty deathy vocal department: the guy really doesn't know how to sing, not even in a deathy manner. The numbers are long-ish although at this stage the technical hooks haven't been mastered so well and the several attempst made in this direction are ultimately stifled by the noisy sound quality. Still, this effort is way above average even if viewed as just a rehearsal for the Sackrace strong full-length.

Demo Demo, 1991


The band's works of the 90's are mixtures of groovy thrash and death metal with industrial overtones, recalling the Canadians Obliveon on their best moments. This band are one of the very few who offer free downloads of all their efforts on their official website.
"Silence" is a good, but not the most thrashy, work of the band. "Straight" sounds like a thrashy industrialized Dead Kennedys, especially with the Jello Biafra-like vocals; actually this song isn't too far from the sound on the Biafra's side-project Lard. "Ombres" is a lengthy monotonous track which would easily make Godflesh or Scorn proud. "Silence" is an effective Killing Joke-like composition where it's a bit farfetched to talk about thrash. Later on the music indulges into industrial metal with only sparkles of more aggressive thrashy delivery: the Ministry-influenced "N.W.G." (the title could be a reference to that band's huge hit "N.W.O."), the dark brooding "Sex O-D". The outro is whole 19-min long, but is nothing more than just minimalistic ambient noise. This is by no means a weak effort, but from a thrash metal point of view it won't hold water for long.

La Nuit Full-length, 1994
Sphere Spike EP, 1997
Silence Full-length, 1998
La Casa de Bernarda Alba Full-length, 2007

Official Site


This band rose from the ashes of Psychosis (see the review a few lines below). The style is not as hard-hitting, but no less impressive, being progressive power/thrash metal with a jazz-like complex song-writing and some very aggressive riffs. "Cloned" is a very promising start, especially after the strong opener which will crush you with its heavy, but also very technical riffs. The music is slower than the one offered on the only Psychosis album, but is much more complex, with many non-traditional elements, including acoustic, surreal moments, which later acts like Opeth would make their staple. The shorter songs work better whereas the complexity of the longer ones might be confusing to some.
"Trinity" is a letdown; the concentration is on elaborate, progressive song-structures and the biting thrashy riffs which ruled on the EP, have been decreased quite a bit. Again the short tracks carry the genuine aggressive charge of the album: "By Breeze"; the acoustic passages are even more, but this is hardly a complaint, as they work quite well combined with the rest.
"Continuum" is a convincing return to form, with thrash metal taking the upper hand once again; the complexity of the songs is still there, but this time the riff attack never stops except on the dreamy progressive number "Devotion", and the short acoustic ballad "Undying". At the end there is a great remastered version of the best song from the Psyschosis album "Cold is This God".
Prototype are hardly the most prolific band out there, but their presence on the scene has been sparce at best recently. One has to agree that their complex, multi-layered style requires more time in order to be adequately executed, but at the same time he/she can't deny the fact that the 6-year hiatus has turned them into former hopefuls. With the drummer Pat Magrath (also Riot, Steel Prophet, etc.) back in the line-up (he was missing from the "Continuum" recordings) the band look well equipped to it hard again. And this is exactly the case...
"Catalyst": the guys' fondness of thrash is more explicit here, a testimony being the very opening tile-track which is hard-hiting thrash without too many progressive subtleties except for a few quirky rhythms near the end, and one may adjust his senses to a full-throttle thrash entertainment. Well, he/she will have to re-adjust them soon, on the next "Cynic Dreams" which enters the progressive realm with its sprawling decisions and a more laid-back guitar approach. The complexity and the song-length grow exponentially as time passes, but everything has its limits, and "Into Oblivion" come splashing in the middle with its lashing riffs and a more stripped-down structure. After it the album returns to the staple elaborate formulas which come accompanied by great melodic leads on "Gravity Well". "Exiled" is a dramatic ripping thrasher with echoes of Nevermore, and "Communion" is a fitting epitaph with its creepy technical guitars and the pounding base. Vince Levalois traditionally feels comfortable behind the mike his emotional mid-ranged tember suitable for all the multiple musical nuances. Generally the band fans won't be surprised by this effort which is good all the way providing twists and turns enough to satisfy the progressive metal lovers, and as such is a worthy addition to the band catalogue.

Cloned EP, 1998
Trinity Full-length, 2001
Continuum Full-length, 2006
Catalyst Full-length, 2012

Official Site


Typical modern thrash/death metal combining melodic with brutal sections the latter not that frequent playing a secondary role to the former which are very close to the ones used on the mid-period In Flames albums.

No Time To Trust Some EP, 2009


The debut demo: 3 songs of prime retro thrash ala Razor and Slayer, so expect fast aggressive music with very fuzzy guitars and noisy drums. The "radioactive" theme goes on unabated (and perhaps unresolved) on the "The Plutonium School Lunch Massacre" demo, but the musicianship has jumped quite a notch, and the annoying buzz of the guitars has been erased completely. Instead, the guys have concentrated on ripping classic thrash metal, not far style-wise from the material offered on the debut demo, but here the guitars simply crush easily reaching the intensity of "Shotgun Messiah" and "Eternal Nightmare": "Green Glowing Death" will shatter your skull, a pure headbanging delight all the way with a short relieving crossover break in the middle. "Operation Reinhard" (there are only two songs here) is another lasher mixing sections in a more relaxed speedy manner with more technical ones producing a few nice melodic hooks in-between. As a whole we have a competent more diverse, almost progressive, take on the retro thrash metal idea topped by gruff intelligible semi-declamatory vocals which are certainly more suile for the more direct approach, and some improvement in this departemnt on the eventual full-length would do no harm to this talented outfit.

The Radioactive Demo Demo, 2009
The Plutonium School Lunch Massacre Demo, 2010

My Space


The debut: this power trio pull out decent modern power/thrash which is both heavy and fast at various stages of the album both sides aptly mixed sometimes into just one song ("Knives For Fingers", "What's Your Pleasure"). The singer has a powerful semi-clean tember and acquires both more brutal deathy and cleaner tones at appropriate moments. The closer "Book Of The Dead" is an imposing closer, a heavy epic number with hammering riffs of the classic school nicely reminding of the 80's American scene, partially ruined by the unnecessary foxtrot exit taken from some old 1950's/60's film.
"From the Shadows" is more laid-back with a stronger presence of power metal, but the heavy seismic riffage shouldn't leave anyone cold, and when "I Am Wolf" starts speeding up somewhere in the middle, things almost get back on track. "The Thing Not Seen" is another very pleasant surprise being a great technical jumper which doesn't have a match later on, but serves its purpose as a deviation from the norm. "Return To The Lot" is a cool creepy semi-technicaller crowning above the two ordinary exits which are stomping quasi-doomsters. Still, this isn't a bad effort at all seeing the guys sticking to their guns without wasting all their ammunition.

After You Full-length, 2013
The New Blood EP, 2013
From the Shadows Full-length, 2015



Pretty decent power/speed/thrash metal EP along the lines of Attacker and Aftermath, which also features one fast, aggressive, less than a minute thrasher ("In Your Boots"), and a more melodic closer sounding like a more aggressive Motorhead ("Lick The Knife").

Prowling Death Squad EP, 1988

Vibrations of Doom


Quite good 80's thrash with hardcore tendencies, but not very fast or intense, with catchy riffs, melodic hooks, even genuine technical elements (the opening riffs on "Tortura"). Power/heavy metal tendencies sneak through ("Circo del Horror"), but they only nicely add to the overall jolly mood, especially when they come accompanied by cool speed metal outbursts ("Pogo, Ronda, Mosh").

Circo Del Horror Demo, 2008

My Space


Swedish thrash/death metal hybrid made in Chile; this is a really good band sounding like a more technical version of Dark Tranquillity.

Hate Regressions EP, 2002
The Crippled Machine that moves the World Full-length, 2004

My Space


Modern thrash with gruff death metal vocals; the music sticks to volcanic steam-roller riffs, but there's romanticism (the ballad "Conform to Your Reflection") to be savoured among the punishing seismic rhythms. Those same rhythms don't change throughout remaining unbearably heavy with dark doomy overtones permeatingmost of the songs creating a somewhat depressing "aura".

Bekhor Full-Length, 2016

Official Site


Very good technical thrash/death metal, fast and intense, similar to mid-period Carcass, but the guys' bigger experimentalism jumps out on the longer tracks ("Draining Out", which winds like a snake through several moods and tempos), and their style is perhaps more jumpy and less predictable, like on the diverse "Human Testing" which suddenly moves from very aggressive sections to peaceful balladic ones. The typical for the Brits grinding parts aren't many at all ("A Cannibal Inside" and "Cranial Gangrene" come to mind being very brutal takes on technical death/grind, and parts of "Furuncles and Boil"), and the rest is either more thrash ("Great Order of Decline"), or more death ("Fisting Dick")-fixated as the technical edge never gets lost maybe only on the direct bashing "Furuncles and Boil". "Let There Be Rot" is a stylish exit from this very satisfying effort being quite an intriguing technical affair starting as a furious technical death feast before taking a much more controlled direction, transforming into vortex-like thrash ala Coroner and Deathrow, with the outro being high-octane doomy riffage.

Lethal Treatment Full-length, 2009

Official Site


This is bashing thrash of the raw, not very rehearsed type with borrowings from crossover, Motorhead, and speed metal (the optimistic galloper "Nuclear Winter"). The sound quality isn't great, and the guitars hiss and fuzz at will creating quite a bit of noise in the process. The singer isn't that bad, though, and his high-strung antics could even pass for singing for most of the time.

Mind over Splatter Full-Length, 1991

Official Site


The demo is 3 songs of forceful semi-technical thrash/death metal with Morbid Angel (including attempts at the latter's legendary backward play) an obvious influence although the music here is never too fast, and the leads are particularly stylish with Shrapnel overtones, even recalling the wild technical shred of the Russian virtuoso Valerii Gaina (Kruiz). "Perils Of Deformity" is probably the highlight, a potent mix of raging lashing riffs and contrasting slow doomy ones. The guys suddenly switched onto much more melodic power metal later in the 90's with their new formation Born of Fire.

Wake of Entity Demo, 1992
Decadent Delirium Full-length, 1994


This band easily stood out of the pack of Brazilian thrash metal bands in the late-80's. "Toxin Diffusion" was a smasher with its furious mixture of brutal thrash/death metal ala Sarcofago and Vulcano and some great thrash/crossover. The follow-up is a big disappointment, though, with the thrash/death elements completely gone, and the band settling for blatant mid-paced hardcore with very few traces of metal, not too far from the early works of Ratos De Porao, but not nearly half as good. It's really sad since the band have shown so much promise on their first album.

Toxin Diffusion Full-length, 1988
N+s Somos a Am+rica do Sul Full-length, 1989

Vibrations of Doom


This band was formed by Steve Cloutier who later pulled the strings in the technical death metal monsters Gorguts. Based on the "Bursting Dementia" 4-song demo, the style here is thrash metal with touches of death, and these guys pull out awesome heavy, and at the same time technical, riffs which result in a very intense sound. In the faster sections comparisons with Atheist are inevitable, but the music offers much more. Such heavy technical music isn't easy to compare; probably the Infernal Majesty debut without the speedy parts would be a distant reference point. Cloutier does a great job on the bass, but the others are by no means worse. With technical metal having always been highly regarded in Canada, it's a complete mystery how this band remained just an underground phenomenon...

Advanced Tape Demo, 1990
Bursting Dementia Demo, 1991


Based on "From the Asylum", these folks specialize in melodic merry-go-round old school speed/proto-thrash which is very close to the style of their compatriots Dogs with Jobs, so don't expect very aggressive music here "Aggressive" being the more intense piece here the rest present just for the fun of it. The vocalist is a cool clean throat who assists the music well, albeit not very adventurously.

On the Loose Full-length, 1988
25 Years and Still Alive EP, 2010
Sickx EP, 2015
From the Asylum Full-length, 2016

Official Site


These Spanish "psychos" deliver cool classic speed/thrash with more developed longer compositions in various tempos which culminate on the excellent diverse opus "God Against God" in the middle where the guys unleash a tornado of fiery riffs and fast paces the latter seldom disappearing from sight. On the other hand, we have more sleepy semi-balladic variations ("Demons"; the super-long 12-min sprawler "Requiem" which is partially saved by the great melodic leads) the level going up for one last temptation on the closing "Blest Dead" which shred with more passion making this effort an uneven, but frequently entertaining, listen with good attached semi-shouty/semi-clean vocals.

Mankind Disease Full-Length, 2013

Official Site


This young Singaporean outfit offers pretty decent old school thrash metal with scary witch-like vocals. The album starts in a relatively calm mid-paced thrashy pace, until "Meat Slit Grinder" which arrives with brutal death metal blasts in the beginning. Shocking moments of the kind, however, aren't many at all the folks preferring to play in the aforementioned steam-roller mid-tempo casually adding the odd technical flavour ("Revenge Of The Raging Whore"). Near the end the approach becomes more intense with references to doom/death on the last three songs where the guitars start to really crush coming close to the formidable battle approach of Bolt Thrower.

Pain Addict Pigs Full-length, 2011



The "psycho bitch" in this case is more crossover-oriented finding its place between Hellbastard and Leeway the nice phenomenon here being the stylish melodic leads which have been given quite a space to impress. The vocals are really brutal death metal-ish not really matching the inspired thrashy riffing which at times finds it hard to make its "voice" heard among the prevalent lead-driven barrage. The demo is whole 11 tracks long, and although the average song-length is just above 2-min, one would hardly be bored with this frolic reminder of the glorious genre's past which can actually be viewed as the continuation of the short lived formation Thrash Forward who released 2 demos in the mid/late-80's.

Puking Blood Demo, 1993


Based on the EP, these guys offer melodic post-thrash with a more angry (End of My Kingdom") at times, but also alternative edge the latter also coming from the cool clean mid-ranged vocals which are intercepted by much more aggressive semi-death metal ones on some songs. "Darwin Breed" at the end speeds up with an abrasive hardcore shade.

"Unraveling Chaos" is a better affair, more aggressive and dynamic, although the overall approach is again in the post-thrash camp, supported by the vocal "duel" already familiar from the previous efforts. There are scattered up-tempo moments to be heard, but most of the time the music bears no surprises being heavy, groovy, and occasionally jumpy.

"One Mind Less" is again a tad more aggressive at least in the beginning, but the sudden mellower alternative breaks are unexpected, and retouche the harder riffage quite a bit. The second half drags deplorably with a lot of unimaginative groove present. The vocals now are strictly in the shouty death metal camp, the clean ones barely heard at all.

Choke On This Full-length, 2002
One Mind Less Full-Length, 2005
The Last Moments of Absence EP, 2007
Unraveling Chaos Full-length, 2010
One Mind Less Full-Length, 2012

Official Site


A 2-song demo: "Death Desire And Ruin" is a dark intense thrasher in the Deathwish vein whereas "Confusion" is a more aggressive piece in the spirit of early Pestilence. The vocals are death metal-ish sounding like a lower-pitched version of John Tardy.

Demo 1 Demo, 1989


Based on the full-length, this trio play "psychotic" thrash/crossover with carefree punk-ish attitude, more on the second half, and cool melodic insertions at every opportunity. The guys keep the hyper-active approach intact throughout with vivid roller-coasters like "Burning Down" and "Subliminal Brainwash", the vocals beign a bit harsh for the style with an inebriate, shouty blend. "Maimed Humanity" would be a big surprise, a heavy semi-balladic pounder with a few faster-paced accumulations, and "Crysis" is a nice stretch towards purer thrashy execution, aptly supported in its cause by the early Metallica-worship "Take a Walk", and the final "Awkward Assembly", an unexpected turn to visionary progressive thrash ala Blind Symphony with great Oriental melodic hooks and quite a few tempo changes, a really fine finale to this eventful contrasting, but all in a good way, recording.

Demo-EP Demo, 2016
Subliminal Brainwash Full-length, 2017

Official Site


This is very eclectic progressive thrash which sounds like a mix of Mekong Delta, Voivod and Psychotic Waltz; another very close soundalike would be the Japanese avantgarde thrashers Doom. Despite the many abstract and dream-like moments, the music delivers the goods most of the time as the band never forget that above all they are a thrash metal band, although this is not a headbanging material, and the music is mid-tempo to slow, with the exception of "Shadow of Life", which is more intense and straight (well, this is very relative here) number, which still has a very complex technical break in the middle where great bass work can be heard (the bass performance is generally very good on the whole album). The songs, as expected, are long, with loads of moods and time-changes; the last song "Reality Falls", which is two parts, and is more than 11-min long, is a symphony of surreal atmospheric progressive music with sparse participation of thrash, but quite interesting and unusual. Very non-conventional surreal riffs and almost absurd, but very listenable, song-structures are featured all over this work; recommended to those who prefer to fully concentrate on their music.

The EP is another very weird effort. It's only two songs, the first one "Strange Illusion" being shorter, but very intricate and sinister, even including quite cool fast-paced headbanging elements among the numerous surreal abstract passages; as expected, there's so much to be heard here that everyone should listen to it for himself. "Purple Coloured Kingdom" is a 12-min "symphony" of "psychotic" progressive thrash, creepy and doomy, with echoes of Mekong Delta and Psychotic Waltz, with hard-hitting riffage present as well; the peaceful dreamy interlude is a bit overlong, but wait till you hear the twisted jazzy tunes which follow after, and the technical break ala Coroner near the end. Then more aggression comes before the minimalistic doomy thrash riffage wraps it up nicely. If one wants to listen to really non-conventional progressive avantgarde metal, this is one of the best choices he could make (make sure to check the Italians Garden Wall as well). But one has to be prepared for this...

Silent Fall Full-length, 1997
Schizoid EP, 2002

My Space


Two guys, who also had another band at the same time called Ferocity (not reviewed here), provide brutal Slayer-esque thrash metal with frequent heavier insertions ala early Celtic Frost the latter descending to doom here and there. The sound quality is pretty raw, and the singer growls in a terrible drunken, very unintelligible, way.

Final Expiration Demo, 1989


Based on "Butchered": this is quite a worthy mix of thrash and death metal of the more classic type which might remind of Deicide on the more brutal parts (not too many). On the more technical sections another Floridian band comes to mind: Morbid Angel. Hey, this isn't full-fledged death metal; there are enough thrashy riffs to keep you interested: "The Hessian", "Eternal Nightmare". The vocals are of the dual variety: think early Carcass, low-tuned brutal ones and mean crow-like snarls.

(Si-Ko-Man-Sur) Full-length, 2001
Butchered Full-length, 2007

Official Site


Based on "Shock em Dead!", this act offer jolly optimistic old school thrash/crossover with modern post-thrash and grunge overtones. The delivery is too mild and radio-friendly for most the time, and the speed applied initially gets lost way before the end. So the hard-core thrash metal fan will turn the player off way before the end... and for a good reason.

Masters of Procrastination Full-length, 2004
Shock em Dead! Full-length, 2012

Official Site


3 songs of not very well constructed messy thrash which is vigorous barrage for most of the time the delivery recalling Anthrax at their less proficient the screamy leads leading the pack along with the attached semi-clean mid-ranged vocals which have a good sense of melody at times, something which can't be said about the bashing musical landscape despite the bassist's efforts to make the approach a bit more stylish with his constant supplements.

Demo Demo, 1991


This formation specialize in intense lashing modern thrash/death which can also be heavy and stomping ("Infected") on demand, but the guys' real power lies in the fast-paced moments ("Black Rabbit of Death") where they thrash with no remorse which, unfortunately, happens not as often as the steam-roller sections which smell groove sometimes more than what the good taste allows. The vocals are angry and quarrelsome with a forced shouty death metal tinge.

Killuminati EP, 2011

Official Site


Based on "Avaritia", these Polish "psychopaths" provide a contrasting blend of clever semi-technical cuts and much more immediate shorter "explosions". The resultant "cocktail" will take time to settle in since the changes are too abrupt for the regular fan, but the latter will have a lot of fun with raging thrash/deathsters around, like "Sentenced to Thrash" which is more of "sentenced to thrash/death" with the "death" part taking a bigger space later on, making cuts like "Constant Agony" sheer death metal ragers. "The Point of No Return" at the end is a surprising melodic instrumental which mixes hard riffage with breath-taking melodies on a mid-tempo background, the highlight here. This isn't a very even mix which with a more serious attitude in the future could grow into something more substantial.
The debut is "compulsive" classic thrash without too many gimmicks. The guys lash out in a pretty wild fashion with death metal standing by to step in at the right moment (the vocals are also in the death metal camp). There's no remorse shown anywhere except for a short while on the 2-min "Instrumental": this is a thrash attack of a fairly high calibre before the band became enchanted with the more technical side of the genre as evident from their sophomore effort, for better or worse.
"Hatred Outside" exudes "hatred" from both "inside" and "outside", and as such should leave the fans satisfied who will have plenty of opportunities to jump around on major neck-sprainers like the title-track and the death metal madness "MK Ultra". The approach is consistently fast and remorseless with technical flourishes ("Killing Hunger") again showing a more proficient side which again remains only partially realised due to the guys' desire to bash to oblivion reaching hardcore dimensions on the closing rager "Dead End".

Compulsive Submission Full-length, 2009
Avaritia Full-length, 2010
Hatred Outside Full-Length, 2015

Official Site


The full-length: quite good technical death/thrash metal quite reminiscent of Coroner (the magnificent technical number "Without a Clue" would fit even onto "Mental Vortex"; it actually resembles quite a lot a track from that album: "Semtex Revolution"), only more death metal-fixated at times ("Altered Minds") when the approach comes close to Atheist's "Unquestionable Presence" and Hellwitch's "Syzygial Miscreancy". The guys mix the tempo nicely: at times we have very choppy and technical rhythms ("Metro-Shock"), at others the music speeds up although it seldom reaching any extreme aggression-like parametres (parts from "Performing A Self-Discovery"), both well presented on the album closer "Crystal Clear". There are sinister atmospheric moments as well as spacey acoustic ones, but they intertwine with the sharp technical riffs just fine, and the overall sound has this dark quality also typical for other acts like Revenant, Assorted Heap, etc.

The "5-Song Advance" demo is an excellent jumpy modern affair with plenty of atmospherics, strictly in the modern thrash camp in a way not too far from Aftermath's "Eyes of Tomorrow", maybe a tad less dynamic. Certainly, shades of Coroner's "Grin" inevitably come to mind, and some intriguing technical groove can be heard on "Counterparts" which nicely turns to a shredding mechanical headbanger in the second half. The final "Shadows That Stretch" is the only true link to the band's heritage moshing in a sure-handed classic fashion sounding like a leftover from Coroner's "Mental Vortex". It seemed like a fairly good set-up for a promising entry into the 90's trends, but the band disappeared without a trace leaving a small, but definitely worth checking out, legacy behind them.

The Soul Personification Demo, 1990
Making The Transition Full-length, 1991
5-Song Advance Demo, 1992


A classic mix of thrash and death metal, done by just two guys, quite fast reminiscent of the Protector works of the 90's, but with a more simplistic guitar work. The vocals are pretty much in the vein of the aforementioned band; the guys take a break from their relentless style only once: on the mid-paced stomping number "Dead Man Walking" which will remind you of recent Bolt Thrower. Before forming this act, the musicians were known under the name Depravity in the early-90's when they released a couple of demos and EP's of classic death metal.

"230204" is pretty much in the same vein if we exclude the harsh abrasive guitar sound. The faster material now is pure death metal again staying close to Protector and the early Swedish school (Unleashed, Entombed, etc.), whereas the slower numbers are vintage mid-period Bolt Thrower full of steam-rolling battle-like riffs. Both sides are mixed almost song by song to produce a nice tribute to the old school with a boosted modern production.

"Revolt" would be quite a shock to the band fans: the convincing old school delivery has mutated into pure industrial thrash with synthesized guitars, techno/electronic moments, atmospheric inclusions ala Front Line Assembly, etc. As a work of modern art it delivers almost as good as Skrew and Ministry at their best, but its value to the retro sound is practically zero...

Fucker Full-length, 2006
230204 Full-length, 2008
Revolt Full-length, 2011
4:You Shall Not Destroy Full-length, 2013
War Against the Global Maze of Tyranny Full-length, 2015

My Space


A more modern mix of power and thrash which also has a carefree crossover "sting" the latter surprisingly accentuated on the longer material ("Muerte Roja"). "No Desaparezcas" is a more ambitious progressive cut with cool balladic deviations, a tendency which runs throughout the album, also reflected in the more energetic "Sin Piedad" and "Taxidermia". The vocals are hoarse quarrelsome semi-shouty ones, but fit into the energetic optimistic melee.

PsychoShock Full-length, 2018

Official Site


A masterpiece of classic technical thrash akin to mid-period Accuser, early Testament and late-80's period Metallica; there are only six tracks on offer here, but this is more than enough for high quality music like this; the sound is very riff-based, and will delight you with its great head-banging potential. The lead guitar work is less impressive, but it doesn't take too much room here. The tempo is never too fast, and stays more in the mid-paced sector. The highlight of the album is the excellent "Cold is This God": a first rate riff-fest. The vocals are levelled, semi-clean, coming as a fusion of Chuck Billy and James Hetfield. The band disappeared the way they came up: unheralded, but with their name remembered, at least by those who spend time digging in the metal underground. Their legacy is now being carried on by another very good formation: Prototype (see the review a few lines above), featuring two members of Psychosis.

An underground legend rises with a short self-titled 3-song EP which shows them in a cool form lashing razor-sharp music crossing the modern and the classic school on a heavy mid-tempo base with shades of the Black Album, but hopefully on the eventual full-length release the band would be able to go further down the classic hole.

The "By Our Hand" EP is already a sign that the band aren't brave enough to venture into the full-length field although listening to the music on offer here, they should have no worries whatsoever. The title-track is a dynamic opener with sharp cutting riffs, and from now on things only get more interesting: "The Soon Dead" is a great technical piece with nice proficient melodic leads and although the remaining numbers are much shorter and much more immediate, this short effort has all the rights to be viewed as the dress rehearsal for the band's return album. The vocals aren't in the shouty semi-hardcore camp anymore, but their attached antics fit into the intense musical picture which is just a few steps short of reaching the previous heights from the band's early days.

Lifeforce Full-length, 1992
Psychosis EP, 2010
By Our Hand EP, 2012

Official Site


"Complex" is a waste of time, even for the 90's trends' lovers; it offers nothing but clumsy stoner/doomy riffs mixed with rehashed groovy patterns on every single song; no deviation, no faster moments, just major boredom, only relieved (but partially) by the cool soulful Peter Steele (R.I.P.)-like insertions which intercept at times the main throaty angry vocals.

The debut is a bit better effort although it has already surrendered to the 90's fashions trying to sit somewhere between Flotsam & Jetsam's "Quatro" and the Pantera releases around the same time resulting in a pretty intense heavy sound with doomy overtones and shades of blues. The vocalist doesn't hide his fascination with Phil Anselmo adding a more lyrical, melodic note on occasion.

Squirm Full-length, 1993
Complex Full-length, 1996


The debut: very good thrash/crossover similar to the Suicidal Tendencies' more thrashy releases (1988-1990), and Excel. This is fast-paced energetic music with very occasional heavy stomping deviations ("Drunken") with a doom metal edge; great fun with short, 1-2min songs, and really meaty thrashy riffs.
"The Unquenchable Thirst" is more aggressive with an open hardcore edge at times and pure thrashy outbursts ("Electrocuted" which even blast-beats for a while). The short length of the songs remains as well as the cool mean-ish semi-clean vocals.

"Another Disease" is "another" addition to the thrash/crossover mill thrashing its way out with direct vigorous riffage with Slayer touched ("Despotic Leader", "Skaterade") on the more aggressive parts. The other material mixes slow and fast sections the purer hardcore passages now not so clearly heard. "Misery Mirror" is an odd doomy track, a pretty slow number by the guys' standards, but gradually building momentum to become an effective sleeper with an abrasive quasi-industrial flavour. The drowsiness will leave you big time on the following "Sociopathic Child" which is a short explosive proto-deathster. Bluesy doom comes served later on with "Stormbringer" to a slightly mixed effect since the guys betray their style once more. The last string of fast uncompromising blitzkriegers apologizes for those "lapses" moshing out in a more stripped-down hardcore fashion.
"Clicking Sound Of A Hammer Pulled Back" is the staple for the band fast-paced mosher the guys thrashing with passion "mining" the field with short 2/3-min bombs which are straight and to-the-point seldom containing the odd semi-technical "Grand Mal Seizure") diversion the biggest surprise remaining the 5-min (!) acoustic instrumental "Downcast", a fair compensation for the "carnage" encountered earlier, and a stylish touch nonetheless.

Tales Of The Unbelievably Cheap Full-Length, 1999
The Unquenchable Thirst Full-length, 2006
Another Disease Full-length, 2010
Clicking Sound Of A Hammer Pulled Back Full-Length, 2015

Official Site


Based on "I Only Smile Behind the Mask", this Brazilian outfit indulges in fairly intriguing melodic progressive death/thrash with loads of catchy melodic hooks, some of which are simply addictive to listen to. The shadow of later-period Death can definitely be felt although this is mostly thrash with probably just the vocals belonging to the death metal camp being mean-ish with a harsh semi-blacky blend. The compositions are all elaborate listens with plenty of mood and tempo changes not far from Anacrusis even, with several lyrical moments artfully embedded, and again numerous melodic lines which will never bore the fan who shouldn't expect too much speed present, but mostly directed mid-paced meandering of the beautiful, dreamy variety. The final "The Girl" is a cool progressive cut of the calmer, semi-balladic type, but overflows with emotion and atmosphere and could be viewed the highlight on this really strong effort.
The debut is another great release featuring the same appetizing elements present on the follow-up. The approach is a bit faster, but melody and technicality aren't spared anywhere. The title-track is a great minimalistic technicaller with echoes of Coroner, and "Black Lotus" shows how speed and technicality can co-exist without disturbing each other. But this isn't all since right after that comes "Carnage is My Name" which is a prime shredder in the best spirit of later-period Death. Twisted technicality and melody "marry" on the excellent puzzler "The Hand of Fate" which also comes epic-decorated. No time here for any more straight-forward sections, except maybe on the more deathy "The Logic of Deterrence" which in its turn arrives with the most stylish lead guitar work on the album. "Psychotic I: remember" is an engaging operatic closer, a nice atmospheric touch which only adds up to the unique character of this really cool work.

Psychotic Eyes Full-length, 2007
I Only Smile Behind the Mask Full-length, 2011

Official Site


3 sogs of intense, but melodic, modern Gothenburg thrash/death metal; the music is fast with several slower deviations and quite cool melodic lead guitar work. The influences are as follows...

The full-length bears no surprises offering the same modern thrash/death metal hybrid the major complaint being the very noisy guitar sound and the unpleasant shouty vocals which create quite a mess from which not much can be deciphered and consequently appreciated. Oh, the leads are quite intelligible and aren't bad at all saving this album from sinking completely. There's a certain industrial vibe running through the songs, and allusions to Fear Factory and even the Australians The Berserker are inevile on the more aggressive moments.

Handcrafting the Apocalypse EP, 2010
Psychotic Pulse Full-Length, 2013

Official Site


This legendary progressive metal band used a strong thrashy base in their beginnings, better expressed on the excellent debut. "And The Devil Cried" after all these years remains one of the finest progressive thrashers: a dark complex song with its steel technical riffs, creepy, haunting tunes, and jumpy, sudden time-changes. Although this track is the album's highlight and the most aggressive one, the rest is by no means less striking: the multi-layered dark "Another Prophet Song", featuring one of the finest performances of Buddy Lackey; the doomy crushing "Halo of Thorns"; the magnificent ballad "I Remember", with Lackey again in top form. The guys create a unique sound, heavy and mid-paced, with numerous vortex-like passages, starting out of nowhere, suddenly turning into a more direct one which is followed by a more atmospheric slower, almost doomy, section: check out the great labyrinthine "In This Place", or the superb intense (no pun intended) thrashing "Intense" with some of the finest spiral-like leads around. This is one of the undispule masterpieces of progressive metal which made it impossible for the guys to ever produce anything better.

"Into the Everflow" is not even close to the debut. Intense thrashing elaborate pieces like the chaotic, but utterly compelling "Out of Mind" are truly impressive, but aren't too many; they're actually placed in the beginning ("Tiny Streams" is another technical, head-spinning piece) leaving the rest of the album hanging in the air. The title-track is a quiet dreamy balladic progressive track, quite good, but are we talking metal here? "Little People" restores the faith with more aggressive riffage, but is far from the examples from the beginning. "Butterfly" is similar to "Into the Everflow", but at least the guys here insert more edgy guitars. Still, it shows that the band have moved on and their later works have no ties to thrash although they remain some of the best moments from the progressive metal arena.

A Social Grace Full-length, 1990
Into the Everflow Full-length, 1992

Official Site


One of the most promising German metal bands of recent times; their style is slightly progressive power/thrash metal not too far from Nevermore, but the guitar work often shifts towards straight Bay-Area riffs. The guys handle both the more direct thrashers and the more complex longer songs with dexterity. "Chaos Cosmic Time" opens in a marvellous way with the pounding technical thrasher "Psychotron", one of the band's highest achievements, but later on the album loses steam containing much less impressive ordinary progressive power metal tracks, falling down even to modern groove ("Eternal Stream", "The Raging Pit"). In the second half the quality song-writing returns for one complex power/thrasher ("Belief"), but the presence of two ballads: one- heavy, the other a pure acoustic piece, pull the final impression away from the positive scale.

"Open The Gate": four years later the band were ready to strike again, but this time they have done a much better job; from the very beginning this album starts thrashing with force and conviction (the title-track) with great sharp, but also technical riffs with a certain Bay-Area vibe (think early Testament and Forbidden, above all) again. The thrash attack continues unabated further on as the complexity increases little by little reaching its culmination on the progressive masterpieces "Closed Doors", which is a slower, more power metal-based, atmospheric number; and "Lightbringer", a striking dark power/thrasher, followed by another equally as impressive, shorter one: "Necromantia". Having finished their job so well, the guys relax on the album closer which is an 8-min haunting acoustic instrumental, partly spoiled by the drunken attempts at singing made at the end.

After such a strong effort, a well-deserved break would be natural to follow suit, but the guys were ready with another stellar material less than a year later; "Pray For Salvation" follows a path similar to the previous album, but the music isn't as fast and energetic, but is more complex, and the riffs lash with the same intensity, as separate compositions are superior to the previous output: the dark technical power/thrashterpiece in the Nevermore vein "Chasing Shadows", the mighty technical thrash metal opus with an Oriental touch "Circle of the Damned", the brooding doomy "The Awakening", the intense speed/thrashing delight "Life on Borrowed Time". The end is again preserved for something more quiet: the ballad "Shattered Illusion". If Courageous, the other German band who used to play a similar brand of metal, have failed to please the fans with their more recent works, this band, on the opposite, are going stronger and stronger...

Chaos Cosmic Time Full-length, 2000
Open The Gate Full-length, 2004
Pray For Salvation Full-length, 2005

Official Site


Based on the full-length: angry heavy 90's post-thrash which is pretty intense for most of the time the intensity dissipated at times by stylish melodic leads to a positive effect ("The Caravan"). Occasional displays of bad taste aren't spared (the awful funky/rap "atrocity" "Ponoc"), but the headbangers, on the other hand, will be stunned to hear the brutal neckbreaker "Black Angel" at the end. The guys started their career under the name Slaver when they played speed metal before moving onto thrash with their 2nd formation Thrasher Death. However, any classic "remnants" from that band's sound are hard to trace here.

Violence Full-length, 1995
Perverse Tango EP, 1997
The Grave Doctors EP, 1998

Official Site


Based on "Before the Winter", these folks epic/pagan retro thrash, at least in the 1st half, recalling the Dutch Bifrost and early Skyclad the latter also "courted" in the vocal department with good hoarse, semi-clean tirades. The title-track is an awesome folk-ish shredder fitting well the more aggressive material, like the shorter headbbangers "Guardians Of Mankind" (you have to hear the gorgeous leads on this one!) and the dramatic, pounding masterpiece "Wrath Of Gods". "Reptiles" takes a hefty step back being a more ordinary power metal hymn with keyboard assistance; thhe bad news is that after this track the album takes a much more melodic turn towards the 90's power/speed metal movement drowning the second half in cheesy, "eagle fly free" riffage, making this album one of the more uneven efforts of recent times.

In the Eyes of the Beast Full-length, 2010
Masters of Fear Full-length, 2013
Before the Winter Full-length, 2016



This is decent modern thrash metal with industrial overtones which make the guitars too noisy at times. The approach is close to Swamp Terrorists and early Misery Loves Co. the guys thrashing really hard at times ("Future=History") without losing the catchiness anywhere. "Wrong Song" is a great steam-rolling thrasher, hardly the "wrong song" here, but "Not Yet" is hardly the best continuation of the "saga" being a soft balladic piece. "Never" after that rips like there's no tomorrow, and "Live Your Life" keeps the headbanging going which even goes up on the maddening "Pulverize". This is a perfectly acceple piece of industrial music well conformed with the demands of this sub-genre without sticking to annoying non-music industrial landscapes too much even managing to keep quite a bit of melody along the way with entertaining high-strung semi-shouty vocals being a nice support.

The Psyclops Concept Demo, 2000


3 songs of dynamic modern post-thrash with sharp lashing riffs which don't cross over the mid-tempo (except for the beginning of "U Don't Get Ma Money" which is quite headbanging), but the consistent delivery pays off with a heavy monolithic sound ably supported by the typical for the style angry shouty vocals.

Your Entropia Has Arrived Demo, 2011

My Space


Quite a few death metal acts (Punish, Trepalium, Gojira, Alarum, etc.) have recently looked back in nostalgy towards the good old thrash for possible inspiration... Here come the technical death metal behemoths Psycroptic to join this ever-growing cohort with their self-titled effort which sees them taking a break from teir busy, intense death metal schedule. If one comes to think of it, the band cemented their reputations as the greatest death metal export from Down Under ther sophomore effort "Sceptre of the Ancients", universally considered one of the ten finest technical death metal albums of all times.
A self-titled album either instigates a bold return to the band's roots or it's a sign of a new stylistic beginning. In this case we have the latter, a nice venture into thrash metal teritory, a fairly appetizing offering which sees the masters able to handle more than one metal genre with dexterity. There's some death metal rage still left in them, though, as evident from the intense opener "Echoes To Come", a spastic metamorphic shredder which flows into the fast-paced technicaller "Ending". "A Soul Once Lost" is progressive acrobatics reminiscent of the guys' compatriots Alarum's last effort "Natural Causes", and "Cold" is more aggressive thrash/death with fast twisting rhythms which explode on the brutal shorter "Setting The Skies Ablaze". "Ideals That Wont Surrender" is more pensive, more moderate thrashism with virtuous melodies and sharp lashing riffs. "Sentence Of Immortality" takes it easy on the speed, and the final result is a dramatic spacey cut with echoes of more recent Mastodon, only more aggressive. "The World Discarded" is the epitome of technical thrash/death, a serpentine piece with constantly shifting time and tempo-changes, leaving the more linear delivery for the final "Endless Wandering" which still thrashes hard with serious intricate arrangements. Whether the band will continue in this direction, or this was just a subconscious experimentation is to anyone's guessing... regardless, the fans will always be eager to hear whatever comes out of the heads of these genuine metal auteurs.

Psycroptic Full-Length, 2016

Official Site


The demo: 3 songs of energetic old school speed/thrash; "Toxic Fugitive" is a brisk vigorous speedster; "Terror at 3 A.M." is a nice galloper in the American spirit; and "Bonestorm" is a heavy mid-paced Bay-Area thrasher which could perfectly fit on Exodus' "Fabulous Disaster"; great Oriental motives are also there well embedded with the consistent main riffage. The singer delivers with his hoarse semi-clean tone which at his best comes close to Chuck Billy (Testament).
"Welcome To The Psyko Ward" is an accomplished full-length, albeit closing on just under half an hour. The guys thrash with a lot of confidence with steel gallops ("Hunt To Kill") tearing the aether. "Driller Killer" is an optimistic speed/thrasher standing well beside the speedy roller-coaster "Mortar Platoon". "Tag Your Dead" is the more restrained Megadeth-esque hymn, and "Terror At 3am" is another infectious galloping anthem, before the closing "Toxic Fugitive" wraps it on with the final slab of hard-hitting, but merry thrashisms, not to mention the excellent virtuoso lead section thrown in at the very end.

Toxic TerrorStorm Demo, 2010
Welcome To The Psyko Ward Full-Length, 2016

Official Site




Modern thrash/death which is a very diverse listen also borrowing from doom, gothic, post-thrash, crossover, and more. The sound quality is pretty bad giving the guitars a screamy, noisy edge which gets even more irritating under the awful, unrehearsed shouty death metal vocals. There's certainly some energy at display, and here and there one can catch the odd more technical riff ("Therapy"; the Meshuggah-sque jumper "Just a Mask"), but it all comes too messy in the end with so many nuances inserted including several short balladic interludes.

Psykosis Full-Length, 2011

Official Site


Intense, battle-like, steam-rolling modern thrash which is built exclusively on volcanic, heavy guitars the relentless musical approach topped by angry deathy vocals which are at times interrupted by more vicious thinner ones with a black metal edge. If we exclude the infectious gallops on "Faceless Killers", the rest is strictly in the mid-tempo parametres; officiant, warrior-like stuff.

Wicked White Lies EP, 2015

Official Site


The debut: this new outfit indulge in classic/modern power/thrash the diversity in the delivery recalling Annihilator. The faster, headbanging side of the album is nothing short of oustanding ("GBQ", the more technical twister "Trust In Us (The Psython's Song)"), but the slower material ("DNA") is too clumsy and pulls the effort down by a hefty notch. The vocalist is a semi-shouty, mean semi-cleaner who makes himself heard, at times quarrelsome, at times more emotional. Some of the band members earlier played with the speed/thhrashers Septic Fatality.
"Hatred" has a more aggressive thrashy edge, but this comes for the sake of the clear guitar sound which now is too abrasive. The overall approach recalls Testament's "The Gathering" this time, but without the latter opus' more brutal, death metal-ish staggerings. "Teeth" is a wild headbanger with hardcore overtones, but "H.A.T.E." is a decent more lyrical mid-pacer which sides well with the material in the second half including the more complex shredder "One In Deed" and the closing modern proto-groover "Hashtrap".

...Outputs Full-Length, 2016
Hatred Full-Length, 2017

Official Site


This band's line-up features Richard Christy: the drummer who has also taken part in several more renowned bands around the metal spectre (Control Denied, Iced Earth, Burning Inside). With this band he plays thrash/death metal with technical tendencies, stomping and heavy most of the time with sudden jumps into more aggressive waters along the lines of early Morbid Angel, but less dynamic and more thrash-fixated.

Public Assassin EP, 1993

My Space


Raw amateurish thrashcore with grind and punk very close "neighbours"; noisy unrehearsed stuff creating the impression that the guys are completely drunk when recording it with very badly tuned instruments and not a single musical idea in mind. Later the band changed their name to Belial and started playing more sensible music of the death/grindcore variety, and have 3 full-lengths released so far.

Demo Demo, 1989


This band was founded by Shinichi Suzuki-the singer who has done services in other Japanese thrash metal bands: Cocobat, Lawshed, etc. Based on "Martyr Immortal", his new band does a better job than the aforementioned acts, playing classic fast-paced thrash with short, 1-2min songs, similar to Hirax and the Swedes F.K.U. Despite the short length of the songs, there are barely shades of hardcore, except on the very short tracks, where even proto-grindcore sections could be caught. The album closer "Dismissed in Time" is a break from the intensity displayed earlier, and is an offbeat acoustic ambient instrumental.

"Thrash Cats" is a less satisfying effort; it's not too far stylistically from "Martyr Immortal", but the sound borders on hardcore quite a bit. The songs are again short and direct, but the thrashy riffs are not that sharp. The approach is too one-dimensional, and there's little more than pure bashing of the hardcore type. These "cats" are far from thrash for sure...

NWOJHM Full-length, 1999
MTJ Full-length, 2000
Pulling Joke Full-length, 2001
For whom the Teeth Pulled? Full-length, 2003
Thrash Cats Full-length, 2006
Martyr Immortal Full-Length, 2007

Official Site


A prolific young act who, from their melodic thrash/crossover beginnings, have moved towards the melo-death/thrash metal spectre, as evident from their latest offering "Fuerary". Certainly, reminders of their roots are present kind of retouching the intensity of the other material, which comes seriously "buried" on the monumental 10-min funeral doom opus "Funerary", very appropriately-titled, by the way, cancelling the energetic, but pretty mish-mashy 1st part. The doom metal saga carries on with the melancholic My Dying Bride-sque "At Peace", and from this moment till the end we have doom metal epics, quite well done, but a total contrast to the much faster 1st half. This is an uneven album which shows the guys producing a sound more appealing when they play it slower, and a future transition into a full-fledged doom metal act wouldn't be a bad idea at all.

Vicious Skin Full-length, 2006
Witches Sabbath Vol. 02 EP, 2007
Witches Sabbath 01 EP, 2007
Martyr Immortal Full-length, 2007
Witches' Sabbath vol. III EP, 2008
Witches Sabbath 05 EP, 2009
Paranoid Delusions|Paradise Illusions Full-length, 2009
Witches Sabbath IV EP, 2009
Funerary Full-length, 2011

Official Site


Based on the full-length, these Dutch play right as rain classic death/thrash reminiscent of the early Pestilence efforts and the Merciless debut. The guys shred with power with a boosted cutting edge to the guitars their efforts culminating on the excellent more technical speedster "Suffocating Inheritance" in the middle. Those moments of seriousness aren't that many "This Is The World We Live In" carrying on with the "carnage" which transforms into pure death metal on the following "Free Your Mind". There's no compromise later at "the end" with the short explosive 1.5-min deathy outbreak "The End". This is an impressive dedication to the old canons seeing a band treading old paths, but with inspiration and respect. Some of the musicians were previously seen in the death metal formation Solarisis.

Depths EP, 1998
The Greedy Illness Full-length, 2002

Official Site


Based on "Implosion Of Pain": this is the "brainchild" of just one musician, Damiano Premoli, who has also taken part in other thrash metal formations (Human Shield, etc.) around Italy. On this project he focuses on modern sterile thrash which can be quirky and semi-progressive ("End of Emptiness"), but more often is it brooding and doomy (the excellent Oriental "Psicostasia"). There's a certain industrial vibe going through the album which reaches early Fear Factory-sque dimensions on the closing rager "Look Through the Eyes". Damiano may learn to sing a bit, though: his hysterical angry shouts are the clear downside on this effort.
"Atmosfear" is by all means an "atmosferic" recording thne opening "The Soul Collectress" showing strong industrial predilections which grow deeper with the mechanical headbanger that is the title-track. "Crows Belong to Her" serves more brutal death metal starkly contrasting with the few serene passages the latter becoming a regular presence on almost any other subsequent number. "The Price of Trust" is another less restrained piece of aggression, but the exiting string of cuts are unfinished etudes of industrial noises givign this album a somewhat casual aura.

Reaching the End Full-length, 2012
Implosion Of Pain Full-length, 2014
Atmosfear Full-Length, 2017

Official Site


This band was formed by two members of Gammacide. The style presented here is miles away from the aggressive old school thrash of the old band. This is heavy crunchy modern post-thrash with a strong industrial edge; some more speedy parts actually remind of Gammacide, but most of the time the music is crushing sounding like a more aggressive version of Pantera. "Immune" is probably the better achievement with its more insistent abrasive character the guitars dominating the landscape on notable hard-hitting heavyweights like "Suck City". Elsewhere we have "Dutch Fist", a passable metallic dancer ala KMFDM, and a lot of other less distinguished tributes to the industrial noise of the 90's.

Puncture Full-length, 1994
Immune Full-length, 1996

Official Site


Very typical for the time groovy post-thrash, industrialzed at times, a heavy monotonous affair with a few very stylish melodic leads contrasting to the ordinary heavy repetitive riffs. "Right From Wrong" is quite a surprise in the middle serving more intelligent semi-technical thrash in a much faster pace, and "Desensitized" may make you pay more attention being a cool moody groover ala 90's Prong with a few edgier moments, but the rest will hardly make you very happy; maybe the closing thrashy section from the last song "Individual" would also be another one although one may get angry there for not hearing such intense music earlier.

State Of Grace Full-length, 1995


These masters of technical death metal have suddenly switched onto thrash by also retaining their metal roots to produce this enchanting thrash/death metal opera which wastes no time pulling in the listener with the excellent opener "Call", the definitive thrash/deathy technicaller with sudden time-shifts, impetuous gallops, and vortex-like arrangements. "Pan" more fully reveals the band's dominant style blast-beating among the intricate riff-patterns; and "First" thrashes with all the style it can summon for the creation of 7-min of superb elaborate twists and speedy crescendos. "Viles" is a first-rate thrash/deathster,a virtuoso all-instrumental piece with fiery riffs flying from all sides assisted by great short, spat out leads. "Invert" is the epitome of the jumpy, stop-and-go technique the latter later intercepted by more speedy, but equally as complex riff-formulas, not to mention the brilliant leads near the end. "Binding" "flirts" with death metal more again ending more on the technical melo-death side. "Mother" rages hard with lashing guitars, adding the odd blast-beat among the precise, technical riffage. The closer "Eternal" is an encompassing, 8-min all-instrumental again opus the guys unleashing all their classical-prone exuberance, not so widely covered on the album earlier, toproduce one of the finest instrumentals of the new millennum, a breathtaking amalgam of maddening speedy parts, enchanting lead-driven tapestries, mind-scratching riffs, and symphony-like structures. Needless to add, few will be those outfits to be able to top this grand pretender for "the best abum of 2016" award.

Panik Full-Length, 2016

Official Site


Based on "The Reckoning", this act offer modern thrash/death executed proficiently with sharp cutting guitars and a few great melodic leads. The tempo is mostly fast with several crushing sections the latter taking more space on the longer "The Reckoning" which is a cool more complex composition. Despite the fairly high level of musicianship encountered here this album might easily be forgotten due to its derivative nature. Some of the band members previously played in the power/speed metal formation Fading Starlight.

First Punishment Full-length, 2010
The Reckoning Full-length, 2012

Official Site


A capable outfit from the Far East who specialize in retro Bay-Area influenced thrash which will remind of Death Angel and Testament, above all, except in the vocal department where the guy prefes the high-strung registers, but his thin voice gets lost quite often in them. Clever more technical structures ("Heyday") alternate with straight-forward mosh ("Regretless") the listener's fun ensured also due to the presence of several sophisticated Artillery-sque headbangers ("Out of Body") and more laid-back speed/power metal-based numbers (the excellent instrumental "Vulture"). "Lord of Evil" is a direct ripper whereas "The Heroic Ode" is a rousing epic galloper preceding the closer "Styx", a morose speed/thrasher with foreboding doomy passages and some of the finest leads to ever come out of Asia. The Chinese have tried hard, and one can't help but be impressed by this versatile effort which shows a lot of potential coming form a not very likely place on the metal map.

Battle of Grace Full-Length, 2015

Official Site


Crunchy, somewhat technical thrash with great bass work similar to Steve Digiorgio; the vocals are from the death-type. The songs are long-ish elaborate, but the guys manage to keep things interesting throughout. The sound is strictly modern with a shade of groove, and there are times where the music takes off towards more aggressive territories ("Beaten Down"), but again supported by choppy technical guitar work. The guys try to keep the songs dynamic and succeed since the music never slows down a lot. The guitars have this dry mechanical sound, typical for the Voivod works with Eric Forrest, and Meshuggah, but these guys' music has also shades of the classic times like the excellent energetic technical thrashers "Spirit of Vengeance" and "Weapon X". "In Cold Blood" shows the more ambitious side of the band, but the reduced speed and the slightly heavy-handed riffs, which evolve around a slow-ish progressive basis, lessen the impact. Near the end the guys take it easy with two more immediate headbanging pieces: "Loser" and "Eternal Democracy". The last track "Punisher" is a sudden, but a very satisfying, move onto aggressive thrash/death metal, fast and relentless, still retaining a certain technical edge, especially on the stylish ending.

Disillusioned Full-length, 1998


Based on the "Enter The Punisher" demo, this is retro up-tempo thrash with death metal vocals: one is of the low brutal growl, the other of the snarly type. Music-wise the band recalls Protector, especially when they speed up ("The Man is Crazy", "The Doom", which contains blast-beats near the end) which doesn't happen very often; and Ghoul, with whom they share the catchiness and playfulness of the guitar work.

Infernal World Demo, 2002
Enter The Punisher Demo, 2006

Official Site


These guys had done a pretty good job on their only album: this is a nice combination of power/speed and thrash metal; the faster tracks will remind you of early Helloween, Warrant and Vectom, whereas the slower heavier ones are close to the American school: think Helstar, early Laaz Rockit, Savage Grace. The guitar performance is of a particularly high level with nice technical leads which would perhaps make even Kai Hansen turn his head. At the time when this album was released, this kind of music was quickly fading away, and the band had made a good attempt at keeping it alive a bit longer.

Ten fe en Dios (Overtura de Metal) Full-length, 1990


Based on the "This Is The War" demo: this band offers a cool mixture of thrash and hardcore with a decidedly modern sound recalling more recent Pro-Pain, but less edgy, and with non-typical melodic leads, plus the occasional more intense thrasher ("Who Cares").

The full-length is an elaboration on the approach heard earlier on the demos mixing thrash and hardcore without speeding up too much which may bore the listener at some point because of the frequent heavy pounding guitars despite the cool melodic licks gracing at least half of the songs, and are a really stark contrast to the gruff semi-death metal vocals.

My Enemy Demo, 2006
This Is The War Demo, 2007
Hate Is Coming Full-length, 2009

My Space


Based on "Burn Fucking Burn Die Fucking Die", this act specialize in modern thrashcore which tries to sound faiithful to the already semi-extinct NWOAHM, but its allusions to metalcore are hardly the most precious ingredient. As a result this effort may tire the listener despite the inclusion of several more interesting moments, like the mechanical headbangers "Agbtb" and "Crawl", and the more engaging Prong-esque closer "Dead World". Those moments come in the 2nd half and may hopefully be elaborated on further along with some improvement in the vocal deppartment: the guy shouts in a dry sterile manner his rendings coming on top of the instrumentalism at times.

Choking on the Sweet Air of Freedom Full-length, 2007
Burn Fucking Burn Die Fucking Die Full-length, 2011

Official Site


This young act indulge in a bit more complex for the times modern thrash which has its clever moments and all, but as a whole it fails to deliver that well due to the scattered ideas which suddenly branch out into uncontrolled aggressive shredding before being replaced by pure metalcore breaks with shades of a more sylish technical play. All those influences have room to develop to some extent because of the compositions' length (6-8min) although the mish-mash there is quite big. The vocalist plainly shouts in a noisy semi-death metal fashion faithfully accompanying the abrasive musical landscape without any stretches into more adventurous performance. This isn't "purely negative", but it wouldn't hurt if the guys decide to "insert" some more technical elements, and "twist" things around a tad more on future releases. And, of course, "pull" those annoying metalcore passages out...

Insert [Twist] Pull Full-Length, 2013

Official Site


This band is a side project of the Nevermore drummer Van Williams who takes over the vocal duties here, too (and does a very good job, by the way). The sound is not anywhere near Nevermore, perhaps only occasionally. There is a wide variety of styles presented here: thrash, black, gothic, doom, industrial, post-thrash, etc. At times the band might remind you of some bands from the death/gothic field, like Trail Of Tears or The Project Hate, mixed with modern thrash.

"Spitting At The Stars" develops within the confines of modern post-thrash almost enrirely the heavy guitar tone still echoing Nevermore, but the rest has a certain dark alternative vibe, the more aggressive shred only casually showing up: the dramatic pounder "Architect"; the atmospheric lasher "Echoes Of The End", which boasts a faster-paced passage and very good leads. "Regret" is a potent creepy doom/thrasher which leaves its mark on the remaining numbers, which "march" forward with sinister hammering riffs, "Beside A God" stealing the show with its whirlwind-like finish; the final "Coldest Winter" not too far behind, being a cool atmospheric ballad. The vocals are in the semi-undustrial/semi-shouty category, pulling out a surprisingly good peformance on the several more lyrical, balladic moments ("Created").

The Voyeurs Of Utter Destruction As Beauty Full-length, 2003
Spitting At The Stars Full-length, 2011

Official Site


A young formation who specialize in standard modern thrash which is often on the edge of falling into metalcore saved by the more acceple heavy/power metal insertions which give the album a true radio-friendly appeal. This is the reason why the thrash metal fan won't make much sense from it the lack of any headbanging passages another pullback. The singer is an appropriate clean mid-ranger whose not very adventurous performance matches the laid-back character of the music.

As the Light Fades Full-Length, 2013

Official Site


These Chileans specialize in well produced classic thrash with technical/progressive elements with a lot of eventful music within: time-changes, virtuoso leads, fast blitzkrieg passages, etc. The songs vary in mood and execution and would be a good backbone for an eventual diverse full-length. The singer is a brutal, but not very low-tuned, death metal shouter always on track and fairly comprehensive.

Demo Demo, 2010

Official Site


These Chinese play brutal thrash/death with echoes of black metal which displays good musicianship, despite its pretty fast, blasting nature. Things get a more controlled shape on the long sprawling "Blood Flooding In Coldnight" in the middle, which loses all the speed there was before, settling for heavy, doomy arrangements wrapped in a nice progressive atmosphere. This composition is like "an oasis" among the aggressive rest, which becomes weirdly technical on the stylish proto-blaster "Retaliation from Dead" and on the jumpy, mostly mid-tempo, closer "Seventh Element", which is vintage mid-period Carcass, including in the dual vocal field. This is good, thoughtout music which main flaw is the very short length, barely going over half an hour.

Power Of Evilly Full-Length, 2007


This band, like their more famous compatriots Hydra Vein, look for inspiration towards Germany, but they also add more pounding parts, strangely recalling Venom, but their 90's efforts, after the reformation. The music softens a bit at times ("Messenger of Fear") paying tribute to the NWOBHM wave, but most of the time it's cool thrashy stuff if we also exclude the 1.5-min instrumental "F.L.T." .

F.L.T. Demo, 1988


Purgatory belong to the more melodic side of the speed/thrash/power metal hybrid with a style which brings to mind several German bands: Warrant, Iron Angel (the 2nd album), Tyrant, even early Helloween. This is good stuff, especially when the guys pull out the casual cool technical riff, which doesn't happen very often, but keeps the listener concentrated to eventually hear something more of the same.

Tied to the Trax Full-Length, 1986


Heavy mid-paced power/thrash metal akin to Flotsam & Jetsam's "Cuatro", predating their more famous compatriots' work with a whole year, but not as good; worth of note are the sneaking modern 90's tendencies which very soon after took over the scene completely.

Demo Demo, 1991


Based on the debut: this album is a typical "product" of its time: modern 90's thrash in the Pantera and Machine Head vein, but this is more melodic with stoner/doom elements ("Divided Faith") inserted reminding of Phil Anselmo's side project Down.

Form Of Release Full-length, 1997
Balance of Power Full-length, 1999


Based on the debut, this Brazilian trio offer choppy modern thrash with several more technical pretensions, but also with a few metalcore "interludes" present. The singer is a scary death metal growler, and his rendings don't quite fit the mellower musical background. The riffs change from fast to mid-paced and hectic, and create the impression that the guys are really busy to produce something more stylish, but the short songs (2-3min), among other obstacles, don't leave them many chances to realise that.

O Firme Fundamento Do Desespero Incessante Full-length, 2009
Faixa de Gaza Full-length, 2011
Nesse Chiqueiro Ningu'e9m vai pro C'e9u Full-Length, 2014

My Space


Based on "Built", this band offers 90's alternative power/post-thrash metal which is far from the derivative groovy efforts of thousands of acts at that time, but opts for a darker, Black Album-like sound spiced with more jumpy intense riffage ala 90's Flotsam & Jetsam. So more dynamic thrashers like "Dead End Street" shouldn't come as a surprise, but they aren't so many, and at some point the album may bore you sticking to samey chugga-chugga riffage and sudden switches onto laid-back, Alice in Chains-like tunes. There are stoner/doom, balladic and bluesy moments as well to make the cocktail even bigger. From the 90's perspective this work isn't completely illogical, but the contemporary fan might not be very entertained.

The debut EP is four tracks of mild heavy metal-oriented post-thrash which sounds lazy and uninspired relying on clumsy heavy riffage which livens up on the strangely mechanical shredder "Look (That's What We've Learned)" which also wins from the nice balladic digression in the middle recalling Flotsam & Jetsam's "Quatro"; a good intense number with lashing guitars which should have served as a model for the preceding material. The singer isn't bad at all with his convincing mid-ranged clean tember.

In Disguise EP, 1994
Built Full-length, 1996
Dear Evilyn Full-length, 2004

Official Site


Based on the "Burning Sky" demo, this band plays heavy modern-ish post-thrash, mostly mid-tempo, with aggressive death metal elements and atmospheric gothic passages ("Broken Wings"). The final result isn't bad, and there are very few bands out there at the moment who sound like them.

Silence Demo, 2006
Burning Sky Demo, 2006

Official Site


A typical for the time and age modern post-thrash offering with grunge and alternative borrowings, plus one nice take on atmospheric heavy doom ("Exit/Enter"), which however comes second to the energetic more classic-sounding "splash" "Dead End Street" in the middle. "Lost" is a curious quasi-progressive doom/thrasher with a quirky rhythm section, and the closer "For My Godson" is a short acoustic ballad which could be considered an allusion to Metallica's same year's "Mama Said".

Built Full-Length, 1996


Modern fast thrashcore with simplistic punk-tinged riffs, which give a cool melodic "decoration" to the tracks at times, and rending shouty vocals.

Destroy Everything Now Full-Length, 2010


Thrash and death meet epic and pagan metal on this varied affair. The concentration is clearly on the first two styles, and the delivery is frequently fast and brutal. The singer is an intense death metal growler seldom accompanied by nice female vocals. There are a few slow melodic instrumentals thrown in, and some of the fast moments border on hardcore. The band members are involved in several other projects: the grindcore "freaks" Educated Scum, the brutal death metal "monsters" Fatal Band, the death/thrash metal outfit Eternal Sick, and the symphonic black metal formation Sinful.

"Veter" carries on with the wild mixture this time sticking to death/thrashy hardcore more which gets openly brutal and chaotic ("Veter") on occasion. The slower epic elements are only slightly hinted at for the sake of the super-fast moments which boldly venture into death/grind.

Pobeditel Vsegda Ostaetsa Odin Full-length, 2010
Veter Full-Length, 2011

Official Site


Aggressive violent thrash/crossover with frequent stretches towards pure hardcore, with noisy shouty semi-death metal vocals; a not very welcome addition are the heavy groovy moments which sometimes turn to whole tracks although those same tracks seldom go over the 2/2.5-min range. The guitar work isn't bad providing sharp lashing riffs the whole time although there are almost no leads to be heard.

Conciencia o Muerte Full-length, 2008

My Space


A cool promo of retro headbanging thrash with angry semi-hardcore vocals; the music delivers with sharp semi-technical riffs, good lead guitar, and energetic up-tempos. The guys are obviously fond of Slayer, but touches of the Bay-Area can also be caught as well as the odd hardcore piece ("Pokvaren Do Srzi"). The end is in the form of "The End" which is excellent creepy technical thrash in mid-pace recalling Slayer's late-80's period with a twist.

The full-length is a sure pick for all lovers of the classic sound the guys' intense delivery now supported by a few more aggressive deathy sections (the short bombarder "Silovanje"). The sound has its hesitations towards the more melodic (the radio-friendly groover "Kontraudar"; the epic cut "Re-Animator"), but heads will fall on "aggressors" like the Slayer-worships "Zver" and "Prey". A relative "moment of clarity" for the listener would be the exiting instrumental "Moment of Clarity" which is a bashing cleverer with nice leads and cool semi-technical decisions.

Fire at Will Promo, 2009
Absolute Profit Full-Length, 2012

Official Site


Brutal thrash/death with echoes of the early Swedish death metal movement (Entombed, Unleashed, Dismember), but the overall delivery is more thrash-fixated excluding the brutal guttural death metal vocalist. The guys mosh with gusto seldom pausing for a break "Ancient Times" being a particularly interesting epic thrash/deathster closely followed by the blitzkrieg brutalizer "Black Vomit Capitalism", and the only full-ahead death metal cut, the closing "Destruction Feeling" which also serves a portion of twisted technical riffs as a finishing touch.

Under the Cementery Full-Length, 2016

Official Site


Groovy thrash with crossover elements sounding like a mix between Machine Head and D.R.I; their 2nd full-length effort is the better of the two featuring more aggressive Pantera-sque riffs and semi-alternative sections, "accompanied" by clean vocals as opposed to the hardcore shouts which are the main ones.

Scene Of Crime EP, 1994
Plant Of Life EP, 1997
Marrow Full-length, 1998
Still Disgusted EP, 2000
Add Fuel To The Fire EP, 2002
Denying the Consequences Full-length, 2005

Official Site


An alternative melodic brand of the 90's post-thrash with strong Helmet influences; the music picks more aggression here and there, but seldom reaches the angry aesthetics of Pantera opting instead for jumpy hectic riffs awkwardly interrupted by sprawling balladic sections which are well handled by the cool melodic singer.

Among Squabs Full-length, 1994


"Two Sides Of A Coin" is a really good debut with its polished, but forceful heavy thrash sound calling to mind the Bay Area scene, with a twist. "Top Gun" opens it in an awesome energetic manner, a nice combination of galloping and faster riffs. "Democratic Terror" thrashes more aggressively, setting the tone for most of the remaining material. Near the end the guys slow down, for "Goodbye Mary Ann": a cool, but maybe a bit inappropriate power/heavy metal hymn, and the speed metal closer "Don't Get Infected" which moshes in the spirit of early Helloween.

"Thorns" also begins quite well with the heavy semi-technical "At The Abyss", but the very next "The Dragon's Cult" is much less impressive sounding like pure classic heavy metal. "Shut Up" is faster, but the riffs are again too soft. Later the sound degenerates even further reaching the bottom with the pop-metal stupidity "Soulstrip" after which I see quite a few of you out there turning their players off. Timid attempts at capturing lost ground are made with "Montezuma's Revenge" which is a more intense thrasher slightly recalling the debut, and the technical, but slower closing title-track which could have had a bigger appeal if the rest was at least half as decent. Apparently not very happy with the final result, the band never bothered to record a follow-up.

Two Sides of A Coin Full-length, 1990
Thorns Full-length, 1992


Based on the "Retard/Asshole" demo, these Finns play an unpretentious mix of black metal and thrash/crossover. This is an uneven contrasting blend with very fast blasting moments alternating with much slower light-hearted ones the whole time, the latter bearing at least one good "fruit": the doomy epic "Round-Shaped Room"; and, of course, the interesting energetic cover of Manowar's greatest song "Thor The Powerhead" at the end, ruined by the rough raven-like black metal vocals. The guys take part in numerous other projects: the pagan black metal act Ancestors Blood; the pure old school black metal formation Black Blood; the thrash metal "monsters" G.O.R.E., etc.

Arson Demo, 2001
Pyromaniac/Vulture Split, 2002
Goatsemen Commando Demo, 2002
Bondage, Blood & Blasphemy Demo, 2004
Retard/Asshole Demo, 2007

Official Site


Based on the "Accursed Oblivion" demo, these guys (or a guy since there's one person (Uriel Aguillon) listed as responsible for this act) play dark, gloomy thrash with orchestral, gothic atmosphere and undeveloped progressive ambitions. The pace is mid with doomy "stops" along the way the latter made more attractive by the brutal guttural singer.

Diabolizing The Priest Demo, 2009
Accursed Oblivion Demo, 2010

Official Site


Based on the Split and the EP after it, this band offer excellent furious classic thrash in the best tradition of early Kreator and Necrodeath: check out the aggressive destructive "Nocturnal Violator", or "Recrucifixion". There's no mercy here, pure brutal thrashing pleasure which finds milder forms later, but remains equally as compelling: the speed/thrashing delight "Cursed Midnight", or the jollier crossover-laced "The Secret Of Steel".

Flames of Armageddon Demo, 2007
Thrash Clash Volume 4 Split, 2008
Cursed Midnight EP, 2009

My Space


This nice EP strangely reminds of the mighty Sabbat (UK). It has its unique, somewhat "pagan" aura at times, but there are songs which are straight thrashers with no gimmicks whatsoever. This is really good and hopefully these guys will be heard from again soon.

Good And Evil EP, 2005

Official Site


Based on "Oubliette Ontolgy": aggressive thrash/death with a genuine technical edge sounding like a mixture of Suffocation and Protector. The blast-beats decorate almost every song, but they are quickly replaced by really interesting technical decisions so there's balance. On top of that the guys slow down with very heavy crushing riffs sometimes bringing to mind Bolt Thrower: "Wound Opening, Part I"; the 2nd part of this song is a lesson in perfectly executed technical thrash/death metal, quite fast as well. The furious nature of some parts of this album shouldn't scare you: this is very proficient stuff which would also please fans of Chemical Breath, the Canadians Martyr, Droys, Necrophagist.

"Calliphora Vomitoria Introitus" offers more conventional stuff; the guitars are not as technical, and the approach is more aggressive with constant blast-beats which considerably ruin the impression created by the more stylish sections.

Baroquean Menuets For Oesophagus EP, 1999
Sublime Metrics Reallocation EP, 2003
Calliphora Vomitoria Introitus Full-length, 2004
Oubliette Ontolgy Full-length, 2007

Official Site


Finland is quickly turning into the new motherland of thrash metal with new bands springing up almost every day. Based on the debut, this band offer quite good old school speed/thrash metal, as already suggested by the slightly self-boasting title, with a strong nod to the German metal scene of the 80's: Destruction, Exumer, Kreator, etc.

"Not A God, Just An Executioner" is a less serious offering the band now bashing pretty wildly with a clear shade of hardcore, and even grind, reaching the intensity of early Cryptic Slaughter with ease for most of the time. The guitars, however, have a slight melodic edge, and the guys have included one bass-only instrumental ("Bonecrusher") to "crush" your "bones". Not many would be these who would be able to recognize the more intelligent delivery on the debut: even at their most laid-back ("Not A God, Just A Executioner") the guys sound like Slayer on steroids and consequently like an almost entirely new act.
"Still Underground": yes indeed, and without any seeming chances to escape from there.... not that the guys want to as evident from this new opus. "Speed Metal Attack" opens the album, and this cut couldn't have been more appropriately titled, this is speed metal to the bone in the best tradition of their compatriots Predator and the Swedes Cranium. This is as old school as old school can possibly get nowadays the guys just bashing with vigour here straying further away from their more serious exploits on the debut. The pristine barrage is also given a more archaic "aura" by the very medieval sound quality which at times makes the guitars sound like one massive impenetrable wall of noise. Mosh on...

The New Renaissance Of Speed & Thrash Metal Full-length, 2005
Not A God, Just An Executioner Full-length, 2011
Still Underground Full-length, 2014

Official Site

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