Copyright (c) 2007-2018 THE THRASH METAL GUIDE

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


Although the name of Syke Bornetto may raise some hopes (to those to whom this name doesn't ring a bell, this is the singer who did a great job on the 2nd Exumer album, shouting his lungs out to produce one of the scariest, most brutal performances ever), the music is flat-out boring modern post-thrash, with predictable riffs, and numerous cheesy nods to something which is too awful to be described. 90's Chastain, but much inferior, mixed with the worst from Skid Row's "Slave to the Grind" would be a fairly complimentary description. Nedless to say, the sound often exits the thrash metal field, going into all undesirable directions known to the human being. It's not worth even a minute of your precious time...

Psyched... Full-length, 1995


3 songs of classic thrash/death metal with interesting, but undeveloped, heavy doomy sections; the tempo varies between those doomy attempts and fast aggressive ones topped by brutal low growls. The sound quality is bad with almost no bass to be heard also giving a very thin sound to the leads.
"Confrontos" is 3 songs of better music which this time mixes the classic roots with modern elements, and manages to stay dynamic and interesting offering a frequent change between heavy, almost doomy again, and faster headbanging passages the latter even coming proto-death-tinged on "Quem És" which live up to the brutality already served in the vocal department.

Qiasmo Demo, 2010
Confrontos EP, 2010

My Space


Heavy modern thrash metal with technical tendencies; the approach is jumpy with occasionally stylish sterile riffage mixing Coroner and Altered Aeon in equal dozes with the rough semi-death metal vocals a major detraction. The music, on the other hand, delivers on all counts with surreal, technical, and melodic sections alternating to a pretty positive effect, especially on the hallucinogenic abstract masterpiece "Houdini Massacres", which is a whirlwind of cool twisted riffs and puzzling signatures with also echoes of death metal (think Hieronymus Bosch and a more restrained Necrophagist).

Quaere Verum EP, 2011


This new formation specialize in classic thrash wiht heavy overtones not far from sacred Reich although the approach here is more complicated as evident from the opening "Subsisto Novus Ordo Seclorum" which is whole 8-min. Later on such a complexity is not to be encountered, and the guys start thrashing with might: check out the raging "Reckless Intensity", and the Slayer-esque brooder "Kill Fight & Survive". The last couple of tracks emphasize more on the pounding side of their repertoire which, combined with some more vivid riffage on the closer "Collision", stand for the highlight along with the impressive screamy leads.

Subsisto Novus Ordo Seclorum EP, 2014

Official Site


Modern thrash/post-thrash with very shouty aggro-vocals, but with friendlier thyrhms and a more playful attitude applied in the music department reminiscent of Pro-Pain and later-period Misery Loves Co. The problem here is that the guys never bother to speed up, not even for a split second, and the delivery may get tiresome on the ears at some stage.

Declaration Of War Full-Length, 2016


3 tracks of roughly-sounding classic thrash with rending hysterical vocals ala early Mille, and several more clever arrangements (the hectic technical shredder "Splenderous Awakenings"; the excellent virtuous leads on "Alcor Life Extension"). The dominant pace is mid as the guitars are constantly razor-sharp hampered by the mudy sound quality.

Demo Demo, 1994

Demo Download


All-instrumental modern post-thrash, hectic and heavy with industrial elements; there are interesting more melodic deviations ("Anomalous Temporal Reaction" which is an intriguing atmospheric technical piece; the more quiet progressive Opeth-esque "Finally, Terra Firma"), but the rest is hard unmelodic shred with loads of groove and smashing down-tuned guitars bordering on sludge/doom ala Crowbar.

The Traveler Full-Length, 2009


This band play intense modern thrash with light death metal "ornamentations" coming from the Gothenburg school. The slower material ("First Multinational Empires") recalls Amon Amarth also spiced with interesting Oriental motifs, but the faster numbers ("Relinquisition") are pure unadulterated bash ala Dew-Scented. "The Iron Law Of Money" is a more interesting semi-technical cut its seriousness partly matched by the closing semi-doomster "Extinction Of Thought". The singer is a typical deathy shouter who at least shouts intelligibly even trying to sing at times.
"AlieNation" is a more aggressive offering with more overt death metal-ish atmosphere. Surprising more technical cuts (the excellent"Internal State Experience") are also provided, albeit not abundantly. Still, the energy remains on a high level with the casual more stylish shredder ("One World, Two Sides") added to the really heavy delivery in the 2nd half where the riffs start weighing a ton and beyond.

Evolution To Annihilation Full-Length, 2013
AlieNation Full-Length, 2015

Official Site


Quite good, albeit roughly-produced, classic thrash, very energetic stuff with somewhat high-strung, slightly hysterical, vocals which are at times helped by brutal death metal ones. The band play fast and tight with explosive riffs and a not very overt shade of proto-death metal ("Dead, Though Not Guilty", "Usufructuary") the latter side having a certain Rigor Mortis-esque character with a very cool bass bottom.

Useless? Demo, 1990


Based on "Fight For What You Believe", this young Brazilian band play thrash mixed with hardcore along the lines of Pro-Pain reminding of this band's earlier, and better period. Mr. Iggor Cavalera guests on the remake of the album opener "Conscience" at the end.
"Pushed Out ... of Society" is another intense thrashcore affair the guys moshng out with passion without overdoing it with short energetic cuts among which "Discord" is the most violent one only matched at the end by the Sepultura cover of "Troops of Doom" whic is turned into pure death metal slaughter.

Resista! Full-length, 2003
Fight For What You Believe Full-length, 2007
Rise Up Full-length, 2009
Life Is a Fight Full-length, 2011
Out of Society EP, 2013
Pushed Out ... of Society Full-length, 2015

Official Site


The band's debut is fairly good energetic classic thrash topped by some slighly hysterical, high-pitched vocals; the music has its shades from the Bay-Area scene, but Slayer could be another close call on some parts. The band have the detrimental tendency to insert really odd, melodic, heavy/power metal songs ("Show No Mercy", "Injected"), which is not exactly the best way to look for a wider appeal; the rest is hard-hitting, intense thrashing, served with a considerable doze of aggression at times (What's Next?").
After the reformation in 2000 the music has become more melodic and modern and far less impressive. "Money, Lust & Greed" is bland boring post-thrash which falls far behind most of the comeback albums made by their 80's contemporaries. It falls somewhere between the Machine Head mid-period and the Black Album, but is about 8/9 years late. It desperately tries to insert as many modern elements as possible, but should have stuck to the hard riffage, like it happens on a few tracks ("Money, Lust, and Greed"). Instead, near the end the guys just fall prey to the balladic and stoner sound, and lose it completely. "IV Life" is even worse with its unfocused mild approach, seemingly a preparation for the band to leave the metal field.

The Unreleased EP is a graceful continuation of the full-length, containing songs which range from heavy, seismic power/thrashers ("House of Way") to more intense speedy pieces ("Surgical Splatter"). The sound quality is a bit muddy, though, but it can hardly stand on the way on furious thrashterpieces, like "Lobi Down", for example. The singer this time sounds better, not as high-pitched, still preserving his attached melodic style, now curiously recalling John Mathias (Unleashed Power).

Circus of Death Full-length, 1988
Unreleased EP Demo 1990
Money, Lust & Greed Full-length, 2000
IV Life Full-length, 2003

Official Site


A cool tribute to the 80's speed/thrash heritage; the guys play with gusto and passion the playful melodic leads a particular highlight. The speedy saga continues even on a couple of longer pieces in the middle which could have had some progressive pretensions if it wasn't for the relentlessly fast riffage: check out the 8-min speed/thrashy delight "Casus Belli". "Hypnotized By Death" is a kind of a break with its more restrained galloping riffs, but the following opus "Necronomicon" will shoot you at close range with a mighty portion of fiery, blitzkrieg riffs lasting for over 7-min. The compositions become longer towards the end, "Traitors" alone being 10-min slowing down a bit, but introducing clever semi-technical sections which are even more effective. And this should have been the end since after it comes the quiet all-instrumental oddity "Solar Wheel" which is a dreamy, doomy cut with slightly distorted guitars and a better faster-paced lead-driven edning. It's really good to hear an act from Argentina trying something fresher than the mild power/thrash patterns of the genre pioneers (Lethal, Horcas, Hermetica), pulling it out with style with seldom a foot wrong.
"War, Philosophy, Death" doesn't exactly disappoint if we exclude the slightly pristine sound quality, a drastic difference from the crystal clear one from the debut. The band have slowed down referring to more frequent epic passages which kind of don't sit too well with the very expressive bass support and the screamy leads. Again, the pieces are long some fo them too full of influences like the totally out-of-context deathy section on "The Mask Of Human Soul" which is an otherwise fairly cool speed/thrasher. Thumbs up for ambitious musicianship with the 12-min opus "Twilight Of The Gods" which lacks the soaring flair of the Helloween hit of the same title, but develops in an officant doomy manner for at least half the time.

Deus Sol Invictus Full-Length, 2012
War, Philosophy, Death Full-Length, 2015

Official Site


This band play classic thrash of the gruff stomping type which suddenly gets intercepted by stylish hooks and melodic leads. The guys seldom speed up and consequently their monolithic, consistently heavy delivery may wear thin at some stage, although the end would inevitably raise some brows: "Infame Justicia Masterizado" which serves aggression, melody and even a pinch of technicality within just under 3-min.
The full-length: the tracks from the demo are here so the seismic pounding nature of this effort is guaranteed the guys relieving the situation with the casual carefree crossover cut ("Ira Latina", the jumpy not very predictable "Engendrados Por La Radiación"). "Plaga" is another song worth mentioning, a vigorous intense headbanger, but the rest is really steam-rolling forward the stylish melodic leads a nice detraction from it. The closing already familiar from the demo "Infame Justicia Masterizado" is again the best composition here its sophisticated technicality pretty much one-of-a-kind on this otherwise not very original redestrian offering.

Demo Demo, 2010
Caos Full-Length, 2012

My Space


On the band's debut some quite interesting, and frequently brutal progressive black/death metal can be heard with timids nods to thrash, but on "Archetypal Transformation" thrash steps over, and the final result is really impressive. The songs meander quite a lot, containing loads of melodies, moods and time changes, and consequently easily close over the 7-min limit. The lead guitarist is all over the place, and could put to shame many more renowned names from the shred department, and most of the time leaves a good impression although his pyrotechnics are too many, like on the opener "Venom Of The Pernicious" which is a great number, by the way, a small album in itself. Another very complex masterpiece follows: "The Universal Longing", but don't expect very technical play of the Polish Sceptic or the Canadians Martyr type: this album is infused with a lot of melody ala Misanthrope or another Canadian band: Quo Vadis. Something shorter, more brutal, and less elaborate comes after: "Absent Illumination", and then the crowning achievement of the album: the exquisite technical piece "Formative Evasion" which abruptly jumps on the technical thrash/death metal wagon. "Forgotten But Not Undreamt" is a 10-min symphony of orchestral, classical thrash/death not far from, but more technical than, Bal-Sagoth, and the closer leaves room again for the lead guitar player to amaze even further the listener with the umpteenth mind-blowing performance as a finishing touch.
"Initiates of the Great Work": the band took a lengthy break bordering on the disband due to its duration, but they're back in the game with another classical-infused opus. The opening "The Wanderer Travels" pours a lot of dramatism over the listener who will again be stupefied at the briliant lead sections which are now even more prominent since the riff-patterns are much less technical, to these ears a major pullback. "Flight Without Form" is an engaging operatic progressiver, but overall the guys take it easy settling for a more conventional approach. The technical exuberance of the hectic "Mystical Union" is not to be come across elsewhere "Lunar Power" being a quiet meditative composition, and the instrumental "Linear Articulation of Intent" a linear speed metal shred. The title-track thrashes with more brains, but it's the closer "The Elixir of Liberation" which rages the hardest the untamed blast-beating passages bringing some hope that the guys still have some energy left for subsequent releases. Now this calm, not very eventful effort would sit best with the progressive metal fanbase.

Neutrality for Defined Chaos Full-length, 2006
Archetypal Transformation Full-length, 2008
Initiates of the Great Work Full-Length, 2016

Official Site


Based on "Deathward", these folks deliver modern progressive thrash/post-thrash which relies on heavy lashing riffs and a not bad "gruff vs. clean" vocal duel. "Checkmate" is a hard-hitting thrasher without breaking any speed barriers, and generally the approach is on the heavy mid-paced side with the obligatory balladic digressions ("I Become Me") where the clean vocals lead the show. There's some groove ("Pills 'N' Ghosts") to be savoured, but expect your neck to be sprained on the more aggressive tunes, like on the closing "Down in the Basement" which thrashes hard with a covert death metal flair.

Villain Full-length, 2012
Deathward Full-length, 2017

Official Site


Your average Swedish thrash/death metal ala The Haunted and Terror 2000, fast and energetic with not very pleasant hardcore vocals; the guys vary the tempo, and there's plenty of catchy melodic hooks to be heard, but this is hardly the most original effort of recent times.

Dark Days Of The World Full-length, 2008

Official Site


Throughout their lenghty career, Quo Vadis offer a wide variety of styles. Their base is definitely thrash, but there is a certain doze of death, modern metal and even some industrial and more laid-back heavy metal parts. Their first two releases are of a more consistent quality featuring some cool, well played death/thrash. "Babel" is another worthy release, reflecting the band's music's diverse nature very well, including some furious death metal numbers: "Judasz", mixed with equally as intense thrashers: "God", plus the cool deviations from the path: the epic track "Ishrael", the pure heavy metal hymn "Pax", and the nice ballad at the end "Feniks".
It turned out that the band's mid-period is also worth checking out. "Uran" is a cool work of more laid-back thrash; "Uran" thrashes with force in a way quite similar to the most aggressive material from the band's previous efforts. Later the music loses the intensity, acquiring more technical tendencies, but remains fairly interesting, with the Bananarama cover of "Venus" (don't frown here, folks- the cover is well made, not too dancy: lol!), followed by the nice choppy, modern thrasher "Nie Kazdy". "Nabrani" is an aggressive, direct piece, with nods to death metal. "Nazajutrz" is the highlight of the album, being a heavy technical number with slight industrial overtones, after which another very enjoyable cover awaits you: an energetic crossover take on Sting's "Every Breath You Take" (hey, guys, enough with the awkward choices!). The last "Wielki Ogie?" is an ambitious, but excellent 8-min slow-ish, semi-balladic opus with nice female vocals, which will truly make your day (this depends on the taste, of course, since there is hardly anything inside that belongs to the thrash metal field). This is a very diverse, but enjoyable listen, ranking among the highest achievements of the band.
"Infernal Chaos" is an expectedly varied affair with thrash and death metal the main genres the former more prevalent also reflected in a couple of more laid-back melodic tracks. The sound is definitely modern with sparce classic leanings. There are several gothic-tinged songs ("Cross of Gold", "Chaos") which strongly recall mid-period Cemetary, resemblances with the Swedes also in the vocal department. The album actually starts in a high note with two energetic intense pieces ("Caducus", "Blood for Oil") which promise a lot of headbanging fun, but the rest is not even half as fast and aggressive which may be a pullback to some. Still, there will be many entertained on the jolly crossover closer "Russia" which is an amalgam of a few famous Russian folk/revolutionary songs.
The "Novem" EP is heavy modern thrash which rubs shoulders with the post-thrash formulas to create a heavy seismic landscape which still leaves room for the odd outburst of energy (the thrash/crossover joy "Ropa Za Krew"). Attempts at more progressive performance ("Caducus") will not remain unnoticed since they carry the best misicianship and the most intriguing moments. Generally the "cocktail" is served with panache without any displays of bad taste and a more monolithic sound which is also ably supported by the very clear sound quality.
"Born to Die" starts with the intense opener "Orient Express" which sees the band firing on full-throttle playing much faster than on the several preceding releases. The title-track slows down in the middle following a string of fast, mad thrashers, but "Hiroshima" comes crashing down, a pure death metal crazer with nice melodies. "Motorhead" is not exactly a tribute to the British legends, but is a melodic speedster with echoes of the 90's power/speed metal scene with a cool catchy chorus. Elsewhere the guys death/thrash with passion produciing one of their most aggressive recordings in their long career.

Quo Vadis Full-length, 1991
Politics Full-length, 1993
Test Draizea Full-length, 1995
Uran Full-length, 1997
Po Full-length, 1999
Król Full-length, 2002
Babel Full-length, 2006
Infernal Chaos Full-length, 2010
Novem EP, 2013
Born to Die Full-Length, 2016

Official Site


A rough modern blend of thrash and death (more thrasn than death) metal with surprising more laid-back semi-progressive nuances; the malagam doesn't work all the time since the guys stick to heavy groove quite a bit, and brisk energetic passages are often "killed" by clumsy uninspired ones.

Vosmidesijatie Demo, 2009


A surprisingly strong entry into the progressive thrash metal genre from the most unlikely place. This is very jumpy, but very coherent, music with sudden tempo changes and plenty of interesting both technical and melodic decisions to be appreciated. "A Future without Tomorrow" is an intense "busy" opener ala Atheist plus great Oriental hooks which remain a lightmotif throughout. "Doom In Heaven" has nothing to do with doom, and is a brilliant technical thrasher with addictive melodic Oriental "decorations". "Evolution" is longer and more elaborate with balladic throw-ins and hectic jumpy riffs, followed by the atmospheric acoustic instrumental "Tide". Then "Revolution Of Thought" does further damage with lashing steel technical riffs going up the speed level as well recalling old masters like Flaming Anger and Deathrow. "Destroy The Lies" is a moody slower composition with sudden faster inclusions, a more conventional less complex track compared to the rest. It's followed by the interesting more technically-graced cover of Slayer's "Spirit in Black" which is virtually the closer if we exclude another peaceful acoustic piece at the end ("Land Of Caves"). This is so surprising that one may want to give it a few listens in a row; still, the effect will be the same: a standout offering from the more technical side of metal that should find a wider exposure considering the place where the guys come from.

Rationalism Full-Length, 2010

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