Copyright (c) 2007-2024 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

R.A.M.B.O. (USA)

Thrashcore of the fast intense type, without completely missing in the melodic department; the problem is that from the whole 19 songs included here there are barely two which slow down a bit to bring a change from the very one-dimensional, quickly wearing out, delivery.

Bring IT! Full-Length, 2009

R.A.V.A.G.E. (USA)

This is the early incarnation of the legendary Atheist. Traces of technical death metal are, of course, nowhere to be found. On "Rotting in Hell": if we exclude the vicious, harsh vocals of Kelly Shaefer, there is nothing too aggressive or brutal here, although the music is quite intense: definitely thrash, but quite raw, with a few moments of good musicianship, not miles away from early Hallows Eve, or Slayer's "Hell Awaits". The guitar sound is very thin, and sticks out of the other instruments to the point of annoyance.

The 1987 demos show a band ready to do some damage on a larger scale; the music is much better with cool aggressive parts, smelling death metal in a way similar to the Death debut, and these efforts are clearly some of the first full-blooded attempts at death metal. "Undefiled Wisdom" is one of the first death metal pieces, a furious and a violent number. "Hell Hath No Fury" is not too far behind boasting great guitar work, suggesting at bigger things to come in the near future. There are not too many technical deviations, but it was clear that these guys were having a lot more up their sleeve.

Rotting in Hell Demo, 1985
Raging Death vol. 1 Split album, 1987
On They Slay Demo, 1987
Hell Hath No Mercy Demo, 1987

R.A.W.W.A.R. (CANADA)

This is the band from where Alex Vachon (Quo Vadis, Cryptopsy) started his career. He shows his infatuation with a more technical play on this 5-song demo which is fast furious thrash/death metal not very far from the early exploits of Hellwitch. This is clearly one of the earliest attempts at pure death metal (check out the bombs "Rawwar" and "Delirium") as the concentration is strictly on speed and aggression with a few semi-technical licks present here and there. The bass work is quite good overshadowing the amateurish screaming leads, and the singer does a good job with his vicious semi-death shouts.

Delirium Demo, 1988

R.I.P. (ARGENTINA)

Based on the full-length, this band play decent ripping classic power/speed/thrash which is accentuated by a few lengthy quasi-progressive propositions (“La Prision”, “Ritual”), the energy factor quite high all over, including on the sprightly crossover-ish “Contra la Pared”, toned down for the pensive anticlimactic “Memorias de Guerra”. “La Gran Tempestad” is a hard-hitting headbanger, also fully epitomizing the hoarse semi-clean singer who emits a few scarier deathly growls here; and “Heavy Metal” is a softer anthemic sing-alonger which loses the biting edge somewhere.

RIP EP, 2015
Contra la Pared EP, 2017
Maldita Ficción Full-length, 2023

Official Site

R.I.P. (FRANCE)

This French duo play retro thrash with a dark ominous edge, "Domination of an Evil and Fatal Force" and "Malice Possession" also offering plenty of dynamic rhythms, the proto-death urgency of "Bag of Spider" another intense condiment. Later on there are moments of hardcore ("Satan Generation"), and punk ("Son of the Lie"), the rough semi-declamatory hardcore vocalist shining more on those less pretentious moments.

Music for the Unholy Full-length, 2022

Official Site

R.I.P. (MEXICO)

Based on "Las Damas De Salem", R.I.P. are a power/thrash metal band with nice melodic guitar work. Their style is similar to the Argentinians Hermetica. Don't expect lashing, sharp thrashy riffs: tracks like the intense killers "Cirrosis" and "Arsenico" are not too many; the other material offered is mid-paced melodic power/thrash metal with numerous nods to the classic heavy metal scene.
"Demencia Extrema" is uneventful groovy 90's post-thrash which suddenly livens up with more aggressive riffage, but these switches are awkward and not that frequent. Still, this effort doesn't lack energy and sharpness although the latter asset is mostly due to the buzz-like guitar sound. Near the end the guys "lose" it and start thrashing in a furious Sepultura-sque manner with the merciless "Berfagor" which remains the only pleasant surprise.

Placer Insano Full-length, 1990
Las Damas de Salem Full-length, 1992
Demencia Extrema Full-length, 1996

R.I.P. (PERU)

This Peruvian trio unleashes quite brutal death-tinged thrash metal which is constantly fast, both on the longer and shorter compositions. The incessant blasting makes the tracks merge into one another, and more variety would only be beneficial for the future, but not in the form of mellow, heavy metal numbers like "Minotauro 2". "Reaccion Cadena" is a cool attempt at a more complex song-writing, and has its moments, switching from super-fast parts to better slower ones, where the guitars sound atmospheric, supported by the strong bass work.

The "Escape a la Muerte" demo is another slab of raw aggressive death/thrash metal, in this case more death than thrash, but this time the blasting downpour is interrupted by cool heavier Slaughter-esque numbers ("Exhumados"). "Berserkers" is a jolly speed metaller, the only more light-hearted track which energetic approach "suffers" under the brutal death metal vocals.

Ejecucion sin Misericordia Demo, 2008
Escape a la Muerte Demo, 2009

My Space

R.I.P. SOLDIER (BRAZIL)

This act provide energetic roller-coaster thrash of the old school with early Sacrifice a close reference point. The boys know their craft and the listener should have no problems falling for this inspired, even intriguing at times (the more stylish hooks on "Bloody Nightfall"), album which keeps the tempo up also reminding of their compatriots Bywar in the way it incorporates sparse more aggressive death metal passages (check out the maddening piece of brutality "Hung War Pest Death") in a slightly random fashion. "Thrash Metal Force" by all means deserves its title being 2-min of unbridled thrashing fury which is pretty much what this release offers through and through. The vocals are of the shouty semi-death metal type and at times the guy overdoes it with the few attempts at super-throaty shouting which could be detrimental to his lungs.

The True Soldiers Never Die Full-Length, 2010

My Space

R.I.V. (BRAZIL)

The debut: aggressive fast-paced thrash, a direct take on Ratos De Porao's "Brazil"; short blitzkrieg tracks with scattered touches of grind and hardcore. Sometimes the speed goes over the line in a way similar to Wehrmacht, but these moments sound even better as sheer aggression is the order of the day there.
"Prog-Core": the veterans are back after a gigantic leave of absence, and their fans may have a hard time adjusting to their new style which is strictly for fans of the modern 90's trends like Darkane, Fear Factory, and Strapping Young Lad. The tag "prog-core" may be not very accurate as there's not much prog going on, but the headbangers would line up for sterile, dispassionate moshers like "Rainbow Warrior's Mayday", "Caligula 2332 D.C." and of course "Progressive Core" which keep the dynamics high and the setting noisy. "Animal" is a stylish quirky cut with echoes of Voivod, but the rest merges into one big vociferous, industrialized melee that would largely appeal to the 90's crowd.

Is This a Modern World Full-Length, 1993
Prog-Core Full-Length, 2018

Official Site

R.K.L. (USA)

This is jolly, optimistic thrash/crossover with an open punk attitude, the guys mixing it with the odd slower track. Generally this is up-tempo stuff which sounds quite samey, but from a fun point-of-view there's nothing wrong with it.

Keep Laughing Full-Length, 2011

R.O.D. (POLAND)

Based on "Hatespech", this act play fast intense blitzkrieg retro thrash which is mostly woven of short sweeping cuts some of which ("Get Offended", "Pigs on Two Legs") come more technically-decorated, with shades of proto-death ("Hate Speech") boldly splattered all over, and not only in order to match the aggressive shouty death/hardcore vocals. "Holocaust Industry" tries to slow down for a bit, but such a therapy simply can't last long, instantly overwritten by brief ripping headachers like "Awkward Reality" and "Cursed", with less bridled hardcore attempted on the wild closer "Slaves of Safety". Some of the musicians are also busy with the thrash/death hybriders Heresyer.

Death for All Full-length, 2012
Society Kill Full-length, 2018
Hatespech Full-length, 2021

Official Site

R.O.T. (USA)

American power metal meets thrash; the result isn't bad, mid-tempo reminiscent of the Savatage debut and early Laaz Rockit. "Fight" richly deserves its title speeding up admirably being a nice little headbanger. "War Stories", on the other extreme, sounds almost epic, but comes up with cool guitar melodies and war-like choruses.

War Stories Demo, 1987

R.U. DEADLY (USA)

Based on the self-titled demo, this act provide two songs of dark heavy power/thrash which manages to resist to the modern vogues of the time with right as rain classic riffs which are strictly mid-tempo relying on more radio-friendly heavy/power metal on "Bad Penny" which is still a good track with memorable choruses. The singer is the real winner here with his passionate semi-shouty clean voice leading the show with memories of David Wayne (R.I.P.) and Mike Munro (Meliah Rage). Nice leads, a sure-handed bass bottom, fairly good production... and yet, this is one of the best kept underground secrets from the US scene of the 90's.

Burial at Sea Demo, 1990
Into the Light Demo, 1992
R.U. Deadly Demo, 1995

Official Site

RABBATH AMMON (JORDAN)

Black/thrash metal with a slightly monotonous feeling, modern sounding, with a use of a drum computer which creates a somewhat artificial, mechanical atmosphere. There are a few stylish atmospheric, gothic-tinged moments, but generally this is not something really worth checking out, at least from a thrash metal point-of-view.

Rabbath Ammon Demo, 2005
Ammonites' Knights' Nights Single, 2006

Fan Site

RABBIT JUNK (USA)

Modern post-thrash, melodic stuff, with alternative and metalcore borrowings, and a couple of vocal styles quarreling within; the odd brutal track is certainly here ("Black"), but those moments are very rare.

This Life Is Where You Get Fucked Full-Length, 2008

RABBIT'S CARROT (SWEDEN)

The Swedish metal underground is full with demos like these: typical late 80's thrash of the aggressive variety with fast, proto-death moments and attempts at a more ambitious song-writing ("My Own Leprocy").

Question Of Pain Demo, 1989

RABID (USA, California)

Based on the "Led to the Gallows" demo: despite the bad sound quality, this effort pulls out well done speed/thrash metal reminiscent of the Whiplash and the Agent Steel debuts, with nice attempts at a more technical play ("Deadly Obsession").
The debut demo is another sure-handed effort thrashing far'n wide in a more stripped-down manner producing something close to Possessed's "Seven Churches", but faster and kind of rawer. This is pretty aggressive stuff concentrated around speed more sounding way faster than the Agent Steel debut album of the same year. The singer delivers with his angry semi-clean tone coming close to Phil Rind (Sacred Reich), but a bit more shouty. It's a pity talented acts like this one sank without a trace after showing so much promise on an underground level.

Demo Demo, 1985
Led to the Gallows Demo, 1986

RABID (USA, New York)

The band's early demos have nothing to do with thrash metal being brutal death/grind. On their only official release so far they have suddenly switched to thrash, and have done quite a good job with a sound reminding of many veterans from the 80's- Razor, Kreator, Destruction, among others. The band play fast and tight most of the time with only "Metal Massacre" being a slower, but also a nice heavy thrasher. This is definitely one of the more impressive debuts from the thrash metal field in 2007.

Annihilation Full-length, 2007

Official Site

RABID CAPTOR (USA)

"Last Rites": a 3-song demo of aggressive proto-death/thrash metal reminiscent of Slayer's "Reign in Blood" and Dark Angel's "Darkness Descends".
The "Disciples of Hatred" demo continues the smashing approach from the debut with the addition of several smart technical moments ("Formaldahyde Embrace", the diverse, aggressively hectic "Disciples Of Hatred"), but there will be a lot of mosh on short blitzkriegers like "Nocturnal" which also come with great bass support. The singer is a subdued death metal growler who doesn't take a very big space, leaving more room for the good music to develop, especially on those more technically-inclined numbers.

Last Rites Demo, 1990
Disciples of Hatred Demo, 1990

RABID FLESH EATERS (USA)

Based on "R.F.E.", these folks specialize in fast blitzkrieg retro thrash/proto-death which is quite close to the early Rigor Mortis exploits. Like the mentioned legends, they also offer the odd more entangled riff-fest ("Hallucinations"), the culmination in this trend reached on the 8.5-min saga "The Fall", a whirlwind of vitriolic tempos and enchanting melodic motifs. Even the more immediate material ("Demons Within", "Welcome to Your Funeral" have their intriguing moments, the vociferous shouty vocalist following the musical twists with unflinching, unwavering belligerence.

Reign of Terror Full-length, 2016
R.F.E Full-length, 2020

Official Site

RABID LASSIE (USA)

Brisk simplistic thrash/crossover with an open hardcore edge; this is wild frenetic stuff ala early D.R.I. and The Accused with a few more laid-back punky "reliefs".

Camel Toes Demo, 1987

RABIES (PHILIPPINES)

Intense "devastating" retro thrash with sharp lashing riffs and rough semi-declamatory vocals with a death metal blend. The music draws resemblances to both the German school (Kreator, Darkness) and Devastation. "Chernobyl" is a cover of their compatriots, the death metallers Effluvium, but this is the weakest song here, slower and kind of unfocused.
The "Apocalypse Agenda..." demo continues the "devastation" from the debut effort this time coming with a better sound quality which boosts the guitars quite a bit although the improvised Kerry King-esque leads remain barely heard. The pace is fairly speedy the guys moshing out relentlessly until the end "flirting" with the odd more brutal death metal hook at times.

Radiation Devastation Demo, 2010
Apocalypse Agenda... Demo, 2011

My Space

RACE WAR (GERMANY)

Based on the debut: melodic thrash/crossover which, along with the more energetic, jolly numbers features heavier, but slower ones ("Helliger Krieg") which work better, because it's where the guitars sound sharper. There are a few tender ballads as well, and a few punk-ish tracks. "Stimme des Blutes" is a soft hard rock affair, mixed with a huge doze of punk; no shades of thrash whatsoever, although some may find the melodies inside catchy and sing-along.

Kingdom Of Hate Full-Length, 2004
Stimme des Blutes Full-Length, 2005

RACES (GERMANY)

Based on the "Total Violence" demo, this act pull out cool old school power/thrash which is varied and not very expected on the jumpy atmospheric title-track, and cumbersome and semi-balladic on "Races". "Toxic Waste" is a tad more vivid, with a more expressed bass-bottom, and "Youth Crashes" is an optimistic power/speed metal number. "06-15" is a nice more technical proposition, again more in the power metal mould, and "Legacy" is a lively jump-arounder with nice soaring melodic licks. The singer is a gruff semi-shouter, his histrionics sometimes coming more attached and passionate. Later the band members regrouped under the name Sharkrage for a string of EP's and a full-length of streamlined retro power metal.

Beginning of a Nightmare Demo, 1989
The Last Great Act of Defiance Demo, 1991
Seed of Aggression Demo, 1992
Total Violence Demo, 1994

Youtube

RACIAL PURITY (GERMANY)

Based on the demo, which is whole 10 songs, this act, who were previously an RAC-oriented gang, play speedy/thrash hardcore with a more officiant doom/death metal edge. The epic/doom patterns permeate the songs to the point of making them sound quite battle-like ("Open your Eyes"). The mixture between the fast-paced and the slower passages is well achieved, and some merry punk tunes ("H.F.E.G.") can also be caught as well among the crushing thundering riffage accompanied by guttural death metal vocals ala Karl Willets (Bolt Thrower).

Last Days Of Humanity Demo, 2006
One Family Part One Split, 2008

My Space

RACING FATE (GERMANY)

Intense modern thrash which comes with abrasive, noisy guitars and semi-shouty death metal vocals. The music is more on the heavy steam-roller side the guys not speeding too much hammering the listener into oblivion with pounding, seismic rhythms producing several imposing doomsters along the way: "Crippled Visions", "Avalanche".

Redemption Full-Length, 2016

RADAMANTHYS (USA)

The self-titled demo: three songs of modern melodic thrash/death metal with more laid-back guitar work in mid-tempo with brutal low death metal vocals; "Earth Rim Roamer" has its ties to the gothic/doom metal field as well where the guitars start smashing heavily recalling early My Dying Bride.
The "Eternal Judgment" demo is a step up for the guys who show a bigger musical maturity their efforts also helped by the much better production qualities. "Eternal Judgment" is an excellent galloping shredder which speeds up in a hectic technical manner in the 2nd half the latter flowing into the pounding "Tartarus" which shows a great sense of melody with a few addictive tunes thrown in. Things take a more complex, almost progressive, turn on "Asphodel Meadows" which shows the band ready to enter the arena with a full-length: there's no need in beating about the bush anymore...

Radamanthys Demo, 2009
Eternal Judgment Demo, 2013

Official Site

RADAR (RUSSIA)

The demo: this Russian duo comes up with very good classic instrumental thrash often reminiscent of the Metallica instrumental pieces of the 80's; actually this is the "child" of only one musician, going under the pseudonym Ravendark, who uses the services of a singer (Britva), whenever needed. This is really music worth hearing: sharp straight thrash metal in various tempos and moods, but never too technical or complex; the approach isn't too distant from the one of another one man project, The National Cemetery Orchestra, or the Canadians Mastery, on the faster compositions (the excellent energetic "V"- all the tracks are numbers, without titles). There's a nice keyboard background to be heard, and the closing "VII" is an impressive combination of doom and thrash metal with nods to Metallica's "To Live Is To Die". The sound quality is crystal clear, and a full-length of the same material would be definitely worth checking out.

The EP is less striking, now the vocalist fully epitomized, containing energetic thrash with frequent death and black metal insertions, alternating between fast and slow sections the whole time with just hints at technicality. The sound quality is very clear, but the singer's put too much in front, and his shouty black-ish vocals overtake the riffs more than now and then.

Shemhamfothrash! Demo, 2008
Episode 1 Ep, 2011

Official Site

RADIACAO BESTIAL (BRAZIL)

Based on the full-length, these lads specialize in classic black/thrash which at times branches out into more carefree speed metal ("Nascido em Berco Negro"), at others is a nice semi-complex cannonade ("Dominios Abstratos de Saturno"), the raspy witch-like black metal vocals creating their form of drama, sometimes occupying quite a bit of space. "Coroado no Palácio de Ossos" is an ambitious epic journey with loads of atmosphere and melody; and the closing "Veneraveis Caminhos Antigos" is an alluring black metal symphony with echoes of Dimmu Borgir and Cradle of Filth. Some of the band members also play with the black metal cohort Black Devotion and Echoriath.

Padre Possuído EP, 2014
Rex Maximus Full-length, 2022

Official Site

RADIATHOR (HOLLAND)

This is a collaboration among luminaries from the Dutch thrash roster with members of all prominent late-80's/early-90's acts (Dead Head, Thanatos, Mandator, Usurper) presented. The music is quite intense, dynamic retro thrash the style the closest to the early Dead Head exploits; in other words, expect fast blitzkrieg skirmishes spiced by the odd stomping tinge ("Time to Burn", the officiant doom-laden opus "Corronation of Madness") and the several exercises in more complex, progressive thrash ("To Deliver Death") although it's hyper-active cuts like "Psychic Playground" and "Corruption of Innocence" that would keep the listener on his/her toes for most of the time, the quarrelsome shouty death metal vocals of the former Dead Head vocalist Ralph de Boer tearing the aether with their rending tirades.

Decay by Greed Full-length, 2018

Youtube

RADIATION (SWEDEN)

A crisp expressive sound quality greatly favours this tribute to the old school which comes with attached shouty female vocals and fast vivid guitars which "wink" at the early German school, above all, and one would be really pleased the band shredding like crazy for most of the time coming close to the antics of veterans like Battlefield, Wardance (both female-fronted, too) and early Tankard. Aggressive thrash takes over on the short explosive "Insomnia" before the closing "Thrashers Might" embraces a more speed metal-based approach. This is good headbanging fun which will keep the flag of 80's metal high hopefully also with a full-length released soon...

Sudden Death EP, 2012

RADIATION DUST (GERMANY)

Based on "Fister", this band play choppy abrasive modern thrash which is seldom on the truly energetic side, the doomy chugger "The Final Place to Stay" exemplifying the prevalent sentiments, opposing to the livelier shorter "Take a Ride With the Devil" and the spontaneous gust of retro thrash "Lost", the brutal Slayer-esque "Lord of the Rings" a truly rude awakening towards the end, challenging the low-tuned guttural death meal singer to attempt something higher-pitched and more attached. Some of the band members are also occupied with the melo-deathsters Kali Yuga.
"Whatever Remains" has nothing to do with thrash; this is a bluesy/stoner/rock-ish fare which can even be viewed meek and timid by these styles' standards.

Faceless EP, 1997
Fister Full-length, 2000
Whatever Remains Full-length, 2022

Official Site

RADIATION SICKNESS (USA)

Based on the "Elvis Ain't Dead" demo, this band play thrash/crossover which recalls Cerebral Fix's "Life Sucks...and Then You Die!", maybe more brutal and hardcore-ish at times, with clear grindcore pretensions (Elvis Ain't Dead"). Reportedly, on the later efforts the guys have increased the intensity by adding some death metal-styled guitars.

The full-length is finally a fact although it doesn't quite reflect very faithfully the band's flamboyant style which in this case is both aggressive and technical with death and thrash metal crossing each other, sometimes not very "politely", on almost every track. Surprisingly, the brutal side of the band's approach plays a 2nd "fiddle" here, for better or worse, the stomping pounding sections now being much more than before even overtaking the very short pieces, also introducing groove here and there. The dry shouty vocals contain both drama and anger, and are by all means a match to the intense steam-roller music. Still, this is a wild entertaining listen, quite unpredictable as well, the band running away from their expected delivery into something almost equally as intriguing.

We are All the Victims Demo, 1988
Elvis Ain't Dead Demo, 1989
More Than Death - Volume I Split, 1990
Bounds of Reality EP, 1990
The Other Me - A Journey Into Insanity EP, 1990
Reflections of a Psychotic Past Full-Length, 2012

Official Site

RADICAL (URUGUAY)

The full-length: a modern, and not really striking version of the thrash/crossover do these guys play with a shade of hardcore on the shorter tracks and occasional brutal tendencies where they get obsessed by grind even ("Pelea"). Among the speedy thrashers there are more moderate ones ("Kerosene"), but the problem is that they try to imitate Pro-Pain and other 90's acts. Others, on the other hand, are bland alternative experiments, pale copies of what bands like Tool or Helmet offer ("Milagro"). The industrial death/thrasher "Salvame" is the only song which matches the very cool Slayer-esque opener "Technosis".

Radio EP, 2005
Perfecto Infierno Full-length, 2006

Official Site

RADICAL CORPS (INDONESIA)

Based on "Born in the Land of Hate", this band plays a dark, modern brand of thrash/death metal which sticks to repetitive mid-tempo riffs where the groove reigns supreme, except on the moments when beautiful Oriental tunes take over, sometimes accompanied by good female vocals which are way more preferable to the main ones, which are rough shouty death metal-ish. The sound quality is pretty muddy giving the guitars an annoying buzz which is a constant presence, even on the aforementioned melodic passages.

The Unsolved Of Euphony Destruction Full-length, 1998
Born in the Land of Hate Full-length, 2004

RADICAL NOISE (TURKEY)

These Turks specialize in intense angry thrashcore which serves the same fast abrasive guitar sound on almost every track, and the same angry shouty vocals. Still, the dedication to speed on short blitzkriegers, like "Rising Values" and "Legal Murder" is admirable, and compensates for the more clumsy delivery witnessed on a few longer pieces ("Utopia Eliminated").

14 More Reasons to Burn Us Down Full-Length, 2004

RADIOACTIVE DANGER (CZECH)

Based on the debut demo, these Czechs indulge in dynamic classic thrash with not very suitable gruff death/shouty vocals. The guys shred with inspiration coming close at times to mid-period Messiah's histrionics ("Zona Ticna", the stylish technicaller "CS Army"). Still, for most of the time the just bash with vigour adding hardcore and proto-death metal more or less appropriately.

Army Depression Demo, 1992
Problem Generation Demo, 1993

RADIOACTIVE MONKEYS (SPAIN)

Based on "Ccrt", this act offer a classic brand of power/thrash which is more on the friendly side with not very sharp riffs although the title-track begs to differ with more aggressive histrionics which can't be heard elsewhere. The singer is an attached semi-clean hardcore semi-shouter who assists the not very demanding musical delivery without shining too much.

Radioactive Monkeys EP, 2014
Ccrt Full-length, 2017

Official Site

RADIOLOKATOR (CZECH)

The guys have just two songs released so far showing an act capable of pulling out pretty decent early Germanic speed/thrash also not far from the early efforts of their compatriots Kryptor to whom half of their discography so far is dedicated: "Rychlost Vitezi".

Nunslaughter/Radiolokator Split, 2009

RADIUM (USA)

Based on the "Telepathic" demo, these folks play intelligent, but slightly monotonous and not very eventful progressive power/thrash with long elaborate compositions which never speed up, but contain a range twists and turns to retain the fan's attention for at least half the time. The lead guitar work is quite good, and the singer doesn't disappoint with his steady clean timbre which he doesn't risk too much recalling Mike Munro (Meliah Rage). The title-track is an effective mid-paced stomper which sets the tone for the remainder the more energetic delivery left for the final "Nice Head" which plays around with more flexible rhythmic patterns for a desirable change of scenery.
The "Psychic Attack" demo starts very ambiguously with the ambient cosmic all-instrumental intro "Cosmos 88", but much bigger ambition is shown immediately after it with the gigantic 9.5-min behemoth "Transcending Commencement", another instrumental variation of the atmospheric, stomping variety which is superseded by the lively speed/thrasher "Live Your Own Life" where finally some vocals spring up, leveled clean ones which are more suitable for the radio-friendly heavy rocker "Electric Generation". The title-track is another rowdy proposition, thrash metal to the bone, a merciless way to finish this very diverse, not very evenly executed recording.

Psychic Attack Demo, 1988
Telepathic Demo, 1989

RADUX (FINLAND)

Based on the full-length, this band play intense blitzkrieg old school thrash which relies on a slew of short ripping headachers ("War of the Few", "Last Ones to Survive") to get the message through, the proto-death insanity racing with the speed of light, the respites arriving in the second half, "Instinct of Survival" being a moderate power/thrasher, and "Ceasing To Exist" an epic radio-friendly anthem. The very screechy hysterical singer takes a break on these last cuts, but unleashes his throat to the max on the speed metal winner "Good Night and Good Riddance" at the end.

Disaster Imminent EP, 2018
It's Going to Be a Great Day Full-length, 2023

Official Site

RADWASTE (SWITZERLAND)

Based on "War Within", these folks indulge in decently executed classic speed/thrash which isn't completely devoid of more elaborate motifs, the final result coming close to more recent Paradox ("The Spirit That Denies"), but with a more intense, throatier vocal presence. More linear speed metal-ish propositions like "Violent Delights" deliver almost as well, but the "laurels" are stolen by the intense varied speed/thrashing roller-coaster "Silent Scream" which vehemently opposes to the laid-back semi-balladic layout of the closing "Fair Winds".

Radwaste Full-length, 2010
War Within Full-length, 2018

Official Site

RAFFERTY RULES (BELGIUM)

Based on the full-length, this act serve modern groovy post-thrash that is led by harsh shouty death metal vocals. Interesting diverse stuff with prevalent bouncy groovy rhythms, sometimes upgraded to a more energetic headbanging melee ("Radium of a Hole"), sometimes branching out into something distinctly technical ("DisfunctionalSoul") with a pronounced classic flavour. Watch out also for the ripping headache "Random Shock", and for the progressive saga "Name Your God", a cool not very predictable journey with echoes of the French Aleister.

Name Your God Full-length, 2001
Dispossessed EP, 2003

Official Site

RAFFLESIA (BELGIUM)

Based on "In The Face Of Suffering", this band plays a modern blend of thrash and death metal; fast intense stuff with sparse metalcore breaks and more frequent melodic passages, some of which are quite striking (check out "Bow Down"). The guitar work is not bad, albeit pretty derivative, and the guys spare no speed which goes well with the melodic "decorations". The same, however, can't be said about the forced throaty death metal vocals that are intercepted by other aggressive styles one of which are shrieky black-ish ones.

Rafflesia EP, 2006
Embrace the Final Day Full-length, 2007
In The Face Of Suffering Full-length, 2010

My Space

RAGE (GERMANY)

One of the most respectable and most prolific German metal bands, earlier known as Avenger (one full-length and one EP were released under that name), Rage's beginnings are firmly rooted in thrash metal boasting energetic, technical riffs and great memorable songs. Their thrash metal past jumps up here and there on their later works, but the style is full-blooded power/speed metal: one of the finest of its kind, and also recommended for thrash metal fans.

"Reign of Fear" is a sure-handed debut with their style almost fully shaped. The music is energetic and sharp, and here one can easily hear all the trade marks of the band: the very catchy memorable choruses, the forceful semi-clean vocals of Peter "Peavy" Wagner, the fast-paced semi-technical guitar work, etc. The guys here provide blistering, speedy thrashers: the excellent "Deceiver", the opening "Scared to Death", the speed metal killer "Hand of Glory", the speed/thrashing furies "Echoes of Evil" and "Machinery". The more melodic side is also here, in the form of the softer, slower "Reign of Fear", "Raw Energy", and the fine heavy metal hymn "Chaste Flesh". The closing "Scaffold" fortunately comes at the end, otherwise it would have spoiled the fun, being a very long heavy, and a bit boring, ballad.

"Execution Guaranteed" is a strong follow-up, with tighter, and heavier guitar work. The album starts with a great speed/thrashing trio ("Before The Storm", "Deadly Error", "Down By Law"), before "Execution Guaranteed" slows down with smashing riffage, being a very satisfying heavy technical thrasher. "Grapes Of Wrath" is a marvelous technical instrumental, one of the band's finest achievements. The album loses speed and intensity after that, and "Streetwolf" could be considered the analogue to the long balladic closer of the debut: it's heavy, monotonous, partially saved by the more up-tempo final section. The last song "When You`re Dead" is a revelation, finishing the album the way it started: in a brisk speed/thrashing manner.
"Perfect Man" is the band's best work, along with "Trapped" (1992). All the 14 tracks are utterly compelling power/speed/thrash anthems, although thrash metal steps down, playing a secondary role. Speed/thrash metal hymns ("Wasterland", "Supersonia Hydromatic", "Don't Fear the Winter", "A Pilgrim's Path", "Between the Lines") take turns with more laid-back power metal ones ("Death in the Afternoon", "Time and Place", "Sinister Thinking", "The Darkest Hour"). There's no way you won't fall in love with this magnificent stuff: simple, direct, catchy metal at its best which marked the end of their more aggressive early period.

Reign of Fear Full-length, 1986
Execution Guaranteed Full-length, 1987
Perfect Man Full-length, 1988

Official Site

RAGE BEHIND (FRANCE)

Based on the full-length, these lads deliver groovy post-thrash which is built around both playful catchy (“Genesis”) and pounding volcanic expletives (“Through Wrath”), the face-melting pulverizer “Dictated Freedom” aptly backed-up by the dramatic earthshaker “The Blind”. The signer rends his throat selflessly, his belligerent shouts disturbing the peace at very opportunity.

Eminence or Disgrace Full-length, 2023

Official Site

RAGEHAMMER (POLAND)

The debut heroic classic speed metal with covert black/thrash overtones; fiery riffs, catchy sing-along choruses, sparse blacky passages: all is lined-up in "full metal jacket" to make the fan's day who should by all means be entertained in infectious anthems like "Warlord's Fall" (check the bassisms on this one and forget about Steve Harris). "Knives" goes over the top with a portion of less controlled blast-beats, but the battle-like speed metal spirit returns with "I am the Tyrant" and never leaves till the end the versatile music accompanied by shrieky hysterical black metal vocals which may get on the listener's nerves.
"Into Certain Death" is a more aggressive proposition with shades of black boldly showing up on the sides, with hyper-active numbers like "Jesus Goat" and "Peace" aggravating the setting to near-boiling proportions. There's no letting up anywhere, as a matter of fact, the guys marching on relentlessly, the more officiant epic rhythms of "Omega Red" creating a more academic, less menacing atmosphere.

The Hammer Doctrine Full-Length, 2016
Into Certain Death Full-length, 2020

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RAGER (UK)

A good 4-track demo of classic aggressive thrash in the vein of Slayer (both their more aggressive and more laid-back period) and Sepultura ("Arise"). The songs are fast and intense with the exception of "Idiot Circus", an exercise on heavy crushing riffage.
"Image Of Fear" is another five pieces of intense aggressive stuff which this time comes more varied, the entertaining thrash/crossover cut "Idiot Circus"; the brutal 2-min proto-deathster "Human Remains"; the more stylish technical breaks on "Terrorstorm". The singer is a vintage early Tom Araya, maybe shouting a bit less.

Pray For Death EP, 2007
Image Of Fear EP, 2012

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RAGESTORM (ITALY)

Based on the full-length, this formation provide melodic modern thrash/death which is a bit rough-around-the-edges, but some effective insertions (the acoustic guitar on "Moloch") reveal a more proficient side which should be explored further. The guys mix several tempos on each track as they lose it on the overlong dragger "The Thin Line Between Hope and Ruin" which is just doom/semi-balladic riffs with hypnotic qualities. More speed present should have been better since now the songs resemble each other to the point of merging into one melancholic whole topped by the staple shouty semi-hysterical death metal vocals.

The Meatgrinder Manifesto EP, 2011
The Thin Line Between Hope And Ruin Full-length, 2013

Official Site

RAGING DEATH (CANADA)

This Canadian formation offer intense old school stuff with nods to Slayer and the Viking debut. This is direct stripped-down music, done with passion and dedication, with fast lashing riffs and scarce leads which are of the screamy, semi-improvised kind not far from the ones of Mr. Kerry King. The singer has a forceful semi-death metal tone, but it fits the fast relentless musical approach except on the moments when he tries to shout sky-high where his limited vocal abilities are very clearly displayed.
The full-length doesn't betray the blitzkrieg style of the EP thrashing wildly the title-track also suggesting at some hidden technical prowess which should find a wider exposure if the guys decide to play at a slightly lower speed rate. No such thing here as the assault is constant with bombs like "Warrior of Revenge" and "Evil Command" falling from all sides mercilessly in quick succession, "Race of Races" trying to race with the speed of light, but what's more interesting there is the great melodic leads. "Cry for Time" is an idyllic acoustic instrumental preceding the closing "Changelled by the Unknown" which is another smasher exiting this effort with deserved aplomb: speed/thrashing to the death with a cool slower twist offered in the middle.

Pestilent Waste EP, 2012
Raging Death Full-Length, 2015

Official Site

RAGING FURY (CANADA)

Excellent semi-technical power/thrash metal sounding not far from Wargasm's "Why Play Around", and Savage Steel's "Do or Die" on the more inspired technical moments. The music is quite varied: there are fast speedy sections; slow, almost doomy ones; vigorous galloping ones; twisting technical crescendos, short memorable choruses, etc. The singer tries to follow those twists and does a good job with his potent md-ranged clean voice who doesn't miss the opportunity to unleash a higher pitch whenever necessary. The only complaint would probably come from the lead department: the lead guitar player spares himself with short naive, somewhat amateurish, solos which are well inferior to the very good riffage.

Raging Fury Full-Length, 1991

RAGING FURY (JAPAN)

With their first demo released in 1986, Raging Fury are actually the first real thrash metal band from Japan. Based on the "Wolf Spider" demo, these guys pull out good fast thrash metal tunes with a slight crossover element ("Donald Duck"); a really good start for the Japanese thrash metal scene.

The "The Rattlesnake Rules" is only two songs both of which show the band carrying on in the same vein, moshing out crossover-laced speedy thrashers, this time longer, but without too many ados.

The self-titled full-length is a revelation showing the band at their best pulling out clever thought-out thrash of the old school not far removed from late-80's Metallica. The opening "The Way of Life", however, is pure thrash/crossover, a logical continuation to the guys' staple style, but hits "Megaton", and things become more complex and edgier. "A Man Called Dragon" is a 9-min diversity with a wide range of moods and tempos, influencing the other material among which there's only one filler, the monotonous proto-modern pounder "Return". "The Triffids" is by far the highlight here: excellent speed/thrash with technical "ornamentations", followed by the great ballad "Black Future (The Day of the Triffids)" to which the forced hardcore-ish vocals don't quite suit despite their obvious effort to sound more tender. The final "Man-Spider" is a return to the guys' more stripped approach of old being vigorous intense thrash/crossover. After a long wait to release a full-length, the guys come up with their best material showing a nice penchant for a more elaborate song-writing without forgetting completely about their roots.
"Black Belt": the guys are back on the full-length release stage, and they're only too eager to show more of their fury with the opening "Chaos Reigns", a prime old school shredder ruined to an extent by the very modern, abrasive production. "Meifumado" follows a similar vigorous pattern, and at this stage it sounds as though the band haven't lost a beat. However, comes "Suspicion And Fear", and some modern groove is served to a not very positive impression the short melo-headbanger "Kamen" restoring some faith with its sprightly riffs. The album is a mish-mash from this moment onward featuring the intense mosher "Motor Psycho Gang" and the hardcore-peppered closing title-track, but a lot of pointless noisy groove as well, not making this opus the greatest comeback effort of recent years.
"Grotesque Masked Krusher" is another fluctuating, not really convincing ride the band mixing sprawling progressive walkabouts ("The Demonic Beast Front") with dry modern thrashisms ("Die Machine") and short thrash/crossover explosions ("Cain Rose Up"). The thing is that the bigger ambition never disappears, and here comes the gigantic 10-min saga "The Braizor" and the Nevermore-sque "Morphine" to arouse the thinkers from the audience before the band wrap it on with a string of ripping thrash/crossover pieces among which "Thrash Metal Dragon, Black Leather Tiger" is pure unadulterated hardcore.

Raging Fury Demo, 1986
Wolf-Spider Demo, 1987
The Rattlesnake Rules EP, 1988
Raging Fury Full-length, 1992
Deal You a Fatal Blow EP, 1999
Black Belt Full-length, 2013
Grotesque Masked Krusher Full-length, 2019

Official Site

RAGING MOB (CHINA)

After the haunting intro taken from the horror cult classic "Re-Animator", these Chinese present us with polished modern power/thrash metal which offers cool headbanging ("Slave to a Lie", "Rage", "Promise breaker") moments. The album brings nothing new to the scene, but is competently executed which shouldn't be a surprise if one finds out that behind this project stands Robert Gonnella: the same one who sang for the Germans Assassin, and also lends his vocal abilities here.

Raging Mob Full-length, 2008

Official Site

RAGING RED (GERMANY)

This act specialize in semi-progressive power/thrash moves on with creepy heavy riffage without many speedy sections, and it's only the muddy sound which hampers the guys' efforts. The lead guitar work is quite good as well: check out "Speed Kick" which should have been a bit faster to deserve its promising title. The vocals are also quite convincing with their dramatic clean high-strung blend. After this solitary effort the band branched out into two different formations: the thrash metallers Blood Red Angel, and the progressive metal outfit Vernissage.

Harmony/Tragedy Demo, 1991

RAGING STEEL (SWEDEN)

Nice old school speed/thrash metal with gruff drunken vocals sounding like a more aggressive Lemmy, also recalling M.S. "Scruff" Lewty (Hellbastard). The music is direct and straight-to-the-point shifting into full-blooded speed metal ("Dreadly Intentions") ala the Finns Solitaire to a positive effect, but the other extreme is by no means bad: the intense proto-death laced rager "Homicidal Death" which culminates in a furious death metal crescendo in the 2nd half, in a way very close to Devastation and Merciless. "Guilty As Charged" is a compelling mix of fierce guitars and catchy melodic hooks, a very stylish "symbiosis", also achieved on the slightly slower "Marked For Murder". The remaining three tracks would be no-brainers for the old school thrash metal fans offering ripping riffs and lightning speed tempos throughout, the closing "Wretched Command" acquiring again more intense deathly overtones. This is a worthy dedication to the retro sound, done with enthusiasm and inspiration, and as such will hardly leave anyone disappointed.
The 2-song demo is served with a much worse underground sound quality and could have been recorded before the full-length comprising furious riffage with a strong death metal inclination and incomprehensive brutal death metal vocals. This would be a shocking release for the band fans who may be scared with the hints at what direction their favourites may branch out any time soon...
The EP is a major ripper from beginning to end the band now thrashing more aggressively with an accentuated proto-death metal edge (check out the leftover from the demo "The Necromancer"). "Crypts of the Undead" is another leftover, but from the early Death sessions, an intense thrash/deathster with a few more interesting chops. "Wicked Fate" is a wild chaotic basher ala Dark Angel's "Darkness Descends" warming up the listener for the coming full-length which would be a scary affair judging by the brutal music on display here.

Guilty As Charged Full-length, 2010
Necromancer Demo, 2012
Beond the Perdition EP, 2012

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RAGNAROK (SOUTH AFRICA)

Badly produced, and not very imaginatively played retro thrash which develops in a tedious mid-pace strangely predating the groovy/aggro-vogues of the coming 90's with several genuinely proto-groovy sections ("You Are the One"). The singer is probably the main asset with his attached clean timbre his authoritative antics overshadowing the not very exciting guitar shreds, the exception being the more ambitious diverser "Dead Bang". Some of the band members even managed to reach the full-length stage with the thrash/crossover heroes Urban Assault.

Demo Demo, 1989

Official Site

RAICES MUERTAS (URUGUAY)

This band play dark pounding thrash of the old school with hypnotic mid-paced guitars and a few descents to power/heavy metal. Despite its predictable nature, this effort is not bad having a solid consistent heavy sound the major annoyance being the hysterical shrieky vocals which cover the whole range from high-strung clean to guttural death metal ones. The guys overdo it a bit at the end with two overlong monotonous opuses where doom and the ballad supersede the more dynamic riff-patterns to a duller effect.

Suefo Irreal Full-Length, 2010

Official Site

RAID (USA)

This not very known US trio offer (based on the debut demo) messy chaotic thrash/proto-death played an a fairly low semi-amateurish level with noisy guitars and drums and rending, barely audible, death metal vocals. Some cuts make sense (the stomping Slaughter-esque Morbid Assaults ) with their clearer approach, but once settling for a certain riff, the band never bother to change it till the end of the song.

Love Thy Neighbor, Hate Thy Bug! Demo, 1989
Subject to Violence Demo, 1991

RAIDEN (USA)

The debut: these American "cartographers" pull out modern melodic thrash which starts promisingly with the brisk instrumental piece "Blue Falcon". Later on the band focus on the gallops more, but this is by no means a complaint since there's energy aplenty all around also reflected in the more speed metal-prone nature of at least half of the material: check out the excellent "eagle fly free" closer "Tombstone", speed metal at its uncompromising best. The singer doesn't shine in the same way, but his steady mid-ranged, clean tirades are at least a capable "assistant" to the virtuous music.
"Khronos" is even more melodic than the debut the delivery not plain power metal-ish for at least half the time, the compositions having this progressive vibe going through them, interesting, but frequently edgeless power/thrash mixtures the lead-driven instrumental "Latnemurtse" a possible highlight, the closing title-track overdoing it a bit being over 11-min long, also completely losing the thrash idea at some point.

The Cartographer Full-Length, 2016
Khronos Full-length, 2018

Official Site

RAIDER (CANADA)

This act specialize in retro thrash with slight progressive pretensions, the vocal "growl vs. screech" duel creating more drama than the actual music, the speedier propositions ("Endless Vengeance", "Infernal Justice") generating more excitement in the process although the tempo is fairly up for a large portion of the time, the guys seldom slouching with a vast array of sharp lashing riffs. Some of the musicians also play with the progressive death metallers Aepoch.
“Trial by Chaos” is straight-forward mosh, with death metal now added to the thrashing excursions, the guys lashing fast rushing cuts (the title-track, “New Domain”) to no end, the more complex leanings from the debut nowhere to be heard, save for the more laid-back shredder “Labyrinth”. The short immediate speedster “Ark of Empyrea” transfers some of its infectious energy to the more entangled saga “Juggernaut Cerebrivore”, the highlight on this cool generally hyper-active offering.

Guardian of the Fire Full-length, 2020
Trial by Chaos Full-Length, 2023

Official Site

RAIDON (UK)

This is officiant progressive power/thrash of the old school which begins with the relatively linear "Suffer the Tyrant", a morose quasi-doomster. Things quickly become thrashier and more complex on the excellent galloper "Kill the King", but it's "Kingdom" which comes with more niceties being a prime technical/progressive shredder with cool headbanging trends. The middle is occupied by calm balladic cuts before the band discover their true progressive potential on the last two compositions which are lengthy diverse opuses sustained in a heavy mid-tempo for most of the time boasting inspired leads and some sparse fast-paced escapades. The singer is another star of the show with his deep emotional clean baritone who doesn't force himself too much, but impresses with his confident authoritative performance.

Reign Full-Length, 2015

RAIGN IN HELL (USA)

Ordinary modern thrash with a few classic throw-ins; the delivery is both melodic and intense as the best moments seem to be the slower cuts ("Eternal Chaos", the doomy moroser "Colourblind") which come with a nice epic colouring. The vocals are deathly and shouty, sometimes to the point of hysteria, with a slight presence of better clean insertions.

Farewell To Devotion Full-Length, 2015

RAIL RAGE (USA)

This is intense ripping old school thrash which either bashes with passion (the title-track) or prefers to settle down for a heavy mid-paced approach (the semi-technical "Terror Tower"). The short exploding "Demand" is a ball of fury, the spiteful mean shouty vocals accommodating all the music swings, the more diverse "Ghost" offering a wider range of tempos, but it's brief speedy breezers like "Dirt Nap" and the hardcore-ish "Wild Hunt" that provide the skeleton for this offering, the more melodic hooks on "Methods of Murder" a cool deviation from the main simplistic pattern.
“Wolves Among Sheep” is another wild fare, the guys bashing with vigour and little remorse, the somewhat one-dimensional barrage easily swallowing fast-paced lashers like “Atomic Amour” and the proto-death head-splitter “Rotting Alive”, before the more measured stomps of “Sledgehammer Strike” pair more or less well with the meek hospitable mid-pacer “Guns of the Patriots”. The epic melodic flair of the short instrumental “A.O.D.” is surely welcome, as is the more serious progressive swagger of “Wolfenstein Doctrine”.

Rail Rage Full-length, 2021
Wolves Among Sheep Full-length, 2024

Official Site

RAIN IS ART (CHILE)

This act plays laid-back modern thrash with brutal low-tuned death metal vocals and a few temptations in the more progressive sector ("En el Borde"). The band display a good sense of melody which is well reflected in both the lead and riff department and partly compensates for the relative lack of speed. Mid-period In Flames comes to mind at times ("Algo que Sentir") as well as the Finns Gandalf, but this is more dreamy and kind of more "beautiful" (the closing melodic feast "Invadido").

I Full-Length, 2011

RAIN OF FIRE (COLOMBIA)

This is mellow pleasant power/thrash which concentrates on melody almost exclusively the faster-paced moments ("Sangre y Tinta") coming with a tinge of epic, the not very convincing hoarse semi-clean male singer assisted at times by a much better female croon. The core of the album are mid-paced crowd-pleasers ("Holocausto", "La Tropa del Metal") which pale before the speedier propositions among which "Implosion" is a brisk fist-pumper.

Alma En Karma Full-Length, 2020

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RAIN OF TERROR (FINLAND)

Capable classic thrash which rolls on with little panache, the guys producing the leveled but suitable sharp mid-pacer "Witch Hunt", before turning the table towards the more ripping side of the show with the bouncy "Wasted" and the sincere straight-ahead headbanger "Axewielding Maniac". The rough death metal singer commands the proceedings with intimidating authority, and "Dogs of War" another less tamed proposition, the band even moshing more wildly on the short explosive "Doomsday Clock" and the hardcore-ish "Exicution Anthem".

Witch Hunt Full-length, 2021

Official Site

RAIN SHATTER (MEXICO)

"Rain" of merciless old school thrash will "shatter" you provided by these wild Mexicans who lash in an aggressive merciless fashion without breaking any sound barriers recalling Morbid Saint and early Sadus (check out the brutal death metal section on "Lucid Life" the latter immediately followed by an enchanting Oriental implement). "Anonymous" is a clever, more thought-out composition which is mostly instrumental indulging in a few nice melodies and stomping, smelling power metal at times, riff formulas. The sophistication remains for the next two songs stifling the hard riffing from the beginning although one would hardly complain listening to those clever decisions with a pinch of progressive, especially on the engaging closer "You're Already in Hell". The singer is the main detraction with his brutal low-tuned death grunts contrasting with the melodic sections to a not very positive impression.

Rain Shatter Full-Length, 2012

Official Site

RAINING (CHILE)

"Black Essence" provides a fairly good confident mix of power, speed and thrash metal which begins in a splashing way with the rigorous speed/thrasher "Time Is Running Devilishly". Things don't get much softer on the speed metal hymn "Black Essence" which lashes with intensity, seamlessly flowing into the thrashing "ball of fury" "Part Of Them". The guys' obsession with speed/thrash carries on unabated with the brutal "I Wish I Could Sleep", and it's on "Rage Is In Their Faces" and "Mad Men" where the band relax a bit with more moderate power/thrash metal rhythms. "7 Down" is vintage German speed metal ala Not Fragile who seem to be the main influence on the band, and "Dying Breath" is the other calmer power/speedster, before "H.M.D.W.D" sweeps you away with fast raging guitars. The final "There Will Be Blood" is an angry proto-groover which still delivers with heavy crushing riffs. The singer is the perfect match with his dramatic high-pitch recalling the early Chroming Rose singer Gerd Salewski.

The debut is another commendable achievement moshing out from the get-go with the maddening "Turn It Off!!", and the attack doesn't stop on another all-out speedster ("Pain Machines") right after. The speed/thrash roller-coaster gets a bit merrier on the more carefree "Enjoy The Hell", but "Silent Sin" is a formidable thrasher with crushing galloping riffs which turns into violent speed/thrash near the end, only to fade away in a nice doom/semi-balladic outro. "Mental Power" is the definitive blend of power, speed and thrash metal, a compelling tour de force in the spirit of early Metal Church. The guys remain on a US ground with the power metal galloper "Game Of Death", a compulsive headbanger with a huge horse-riding potential. "I Want To Live" is a welcome soft semi-ballad, after which the guys relax with more moderate power metal for a string of tracks, until "Eleventh" which is a heavier more dramatic power/thrasher. The closer "Legacy Of Evil" will exhaust your horses to the death with another portion of Attacker-esque galloping speed topped by the hellish Halford-like screams of the very good singer; the song abandons the gallops in the second half reaching out for pure lashing speed metal attack ala Angel Dust and Not Fragile again.
Both albums would be no-brainers for 80's metal fans with their compelling mixture of the three basic styles, and despite their obvious fascination with speed, there will hardly be anyone disappointed with these sincere, highly inspired, tributes to the old school.
"Aqueronte" would be a major disappointment for the band fans; this is unimaginative modern post-thrash with just shades of the old classic styles added to probably remind that this is the same act who released the first two albums. This is really bad with awful semi-shouty death metal vocals worsening things even further the final death metal-ish proto-blaster "El Ascenso" the only more aggressive piece here.

Pain Machines Full-length, 2006
Black Essence Full-length, 2010
Aqueronte Full-Length, 2014

Official Site

RAINMAKER (COLOMBIA)

Based on "Mente Holocausto", this act play an intense old school death/thrash blend which clings more often towards the death metal side. Nice melodic configurations ("Discernimientos Banales") intercept the dominant high-speed melee, and a couple of choppy semi-technical moments ("Deliros Suicidas") can also be encountered, but overall this is brutal stuff spearheaded by relentless outbursts like "El Pacto" and "Perdition City", and vicious growling death metal vocals.

Rainmaker EP, 2014
Remembranza Full-length, 2017
Mente Holocausto Full-length, 2019

Official Site

RAINSPAWN (ITALY)

One of the promising young Italian thrash metal bands, Rainspawn really pull it out with pretty good technical thrash similar to mid-period Megadeth on "No Escape". However, the whole album isn't sustained in this vein, and at times one can hear more uninspired moments as though the guys didn't quite trust themselves that they could come up with a masterpiece like "Rust In Piece". "Buried Alive" is an impressive opener setting the Megadeth influenced tone of the album, being quite an energetic technical thrasher. But then comes "The Execution" which at least in the first half features more melodic, slightly funky guitars, and the listener already has something in mind. But after it the music accumulates a lot of inertia, and the dull moments are few in-between; maybe "The Time Warp" is one, with its speedy riffs ala early Scanner and the catchy happy chorus; it's just a joke song, I guess. What follows, however, is the album's highlight "Soul's Cry", an excellent instrumental, which boasts great lead guitar work, and the long complex, but very satisfying "Two Month Sleep" which will remind you of several tracks from Megadeth's "Rust in Peace" put together (you sort them out).
The EP is a promising start for the guys, more in the power/speed metal camp, but convincing enough with even more pronounced Dave Mustaine-like vocals. The style varies from inspired progressive speed/thrashers ("Power of The Wind") to more moderate epic power metal anthems ("Awake"). "Legion of Chaos" is an energizing galloper, and "Ride The Storm" is a short electrifying speedster at the end.

Messenger Of Death EP, 2000
No Escape Full-length, 2004

Official Site

RAINOISE (ITALY)

Modern quasi-groovy thrash which works equally as well as a monolithic wall of heaviness ("Frustration Inside Four Walls"), as it does as a more energetic wink at the Gothenburg movement ("Black Fear"). The doomy lyricism of the atmospheric viruser "Covid19" is also welcome, the dramatic jumpiness of "A New Beginning" a not very heralded digression. Expect a faithfully reproduced cover of At the Gates' "Blinded by Fear" at the end, the possible highlight on this proficiently-performed but not very exciting opus.

A New Beginning Full-Length, 2021

Official Site

RAISE CAIN (SWEDEN)

One of the first bands from Sweden who followed on the steps of Pantera and Machine Head; this is heavy groovy 90's post-thrash mixed with hardcore in the Pro-Pain vein. There are both hard-hitting and more light-hearted moments; for fans of the genre these guys are well worth tracking down.

Call It Whatever You Want EP, 1994
Stench Full-length, 1995

RAISE HELL (SWEDEN)

Having started as a pure black metal band on their debut, the guys quickly jumped on the more fashionable thrash wagon with the follow-up which was still not cleared of all the black metal "remnants". "Babes" sounds like a leftover from Kreator's "Outcast", but the intensity increases later on with the pounding "Back Attack", and the aggressive "Soulcollector". The band don't aim at the very fast and brutal dimensions of the genre, and melodic, pleasant, black-ish songs are also around: "Devylin".
"Wicked Is My Game" is a great work with very sharp cutting riffs; although often citing Destruction as their idols, the band's music is not a very close soundalike to the Germans. The music is mid-paced, with very timid attempts at more speed ("Deathrace" is an example of the latter), infused with melodic hooks and good choruses. "Hellborn" uses the theme from the cult horror film "Halloweeen" as a base for a fine sinister thrasher, the highlight of the album.
"City of the Damned" is a real disappointment, a U-Turn from the band's biting thrash style, into a more melodic variation of modern post-thrash, similar to what The Haunted did on "The Dead Eye". It starts very misleadingly with the harder-hitting thrasher "Devil's Station", but later on such aggressive sentiments aren't encountered anywhere except for isolated moments from separate songs (the more invigorating "I"). A not very positive turn of events having in mind the guys' uncompromising stance epitomized on their earlier recordings.
"Written In Blood": the band are back after a gigantic hiatus, obviously thinking seriously about their next step after the not very convincing "City of the Damned". Well, it seems as though the guys have learnt their lesson cause this new effort starts in the most blitzkrieg manner imaginable with the scorching headbanger "Dr. Death". It becomes two in a row with the following brutalizer "Six Feet Under" before the longer steam-roller "Fallen Domination" calms the ball down. Afterwards the band's more diverse nature starts showing up stretching into more melodic fields with the balladic hymn "A Blackened Resurrection". In the second half the energy is brought back thanks to a batch of short bursting pieces ("The Bell Of The Reaper", We Arise", "In Cold Blood") which lead to the final "Final Hour", a kind of a not very eventful plodding anthem with a faster-paced finish. Overall the guys have done a good job trying to make a compromise between their old school approach and their more diverse character, and at least in this case they have by all means improved over the tame, mellow predecessor.

Holy Target Full-length, 1998
Not Dead Yet Full-length, 2000
Wicked Is My Game Full-length, 2002
To the Gallows EP, 2006
City of the Damned Full-length, 2006
Written In Blood Full-Length, 2015

Official Site

RAISE THE DEAD (UK)

A modern blend of thrash and death metal with cool guitar work and occasional technical implements. The guys vary the tempo from mid-paced to faster: check out the nice headbanger "Cloak of Mist".

Hymns of War EP, 2005

Official Site

RAISED HELL (BRAZIL)

Quite brutal death/thrash of the old school we have on display here, "Soul in Sacrifice" being pure death metal madness with cool semi-technical tendencies, the unbridled nature of "Condemned Society" courting thrash more for an intriguing hyper-active ride, the aggressive over-the-top riffage on "Desgraca" even crossing over towards grindcore at times, the quarrelsome shouty hardcore vocals adding more to the sizzling no-bars-held melee.

Necropolitics EP, 2021

Official Site

RAISER (HOLLAND)

This formation serve energetic retro thrash which is quite diverse even coming up with something weirdly technical like the meandering "Terminal Velocity". The rest of the material, however, is right as rain "I Am Nothing" reaching Slayer-esque heights in terms of aggression. "Unforgiving Worlds" is the other highlight being a stylish speedster its roller-coaster aesthetics partially captured by the two exiting tracks. The singer shouts in a slightly high-strung fashion resembling Russ Anderson (Forbidden) after absorbing a big bag of helium.

Power of the Mind Full-Length, 2011

Official Site

RAISING FEAR (PORTUGAL)

Aggressive thrash/death sounding like a more deathly "Beneath the Remains" with moments also reminding of early Death; this is fast music, never brutal, with deep death metal throaty vocals and straight sharp riffs. "Gone Mad" is obviously a leftover from an early demo, being mellower early thrash ala Slayer's "Hell Awaits". The guys concentrated more on their other project Genocide with whom they released two full-lengths and three demos of brutal death/grind.

Raising Fear Demo, 1994

RAISING HELL (CHILE)

This is retro speed/thrash assisted by gruff semi-shouty deathly vocals. The unbridled energy emitted from numbers like "Spitfire" and "Destroy" turns to speed/melo-death on "Fight For Your Life, PT. II", and to more lyrical romantic nuances on "Set Me Free". There's quite a bit of variety on offer, some of the influences heard probably coming from the other outfit with whom some of the musicians are engaged, the power metallers FrozenEarth.

Khaos EP, 2017
The Legacy Full-Length, 2023

Official Site

RAJALLA (FINLAND)

This young Finnish outfit pull out (based on the second demo) quite cool retro thrash with a primal underground vibe citing Slayer, Razor and Sacrifice as influences a good example of their impetuous approach being "Kurittaja" which also introduces the convincing semi-clean vocals which lead the show without being overly dramatic. "Arpa" is a tad more moderate with a speed metal vibe and a catchy, memorable chorus. "Verivala" is a vigorous headbanger the band coming out with all the guns blazing entertaining the listener with a portion of infectious melodic hooks as well. The sound quality is quite clear foreboding a full-length in the near future (hopefully...). Some of the guys also take part in the death metal outfit Exremains, and the progressive death metal formation All Dreams Dying.
The full-length is a more relaxed offering the band playing in a more carefree fashion with echoes of thrash/crossover. "Ihmisviha" and "Kurittaja" are more aggressive cuts with shades of Razor again leading the second half towards more brutal dimensions where also the perennial headbanger "Vihan Kieltaja" belongs.

Demo Demo, 2013
Demo 2 Demo, 2013
Diktaattori Full-Length, 2016

Official Site

RAKE-OFF (ITALY)

Based on the full-length, this act pull out retro thrash/crossover which is also supported by nice crispy production. Speedy headlong numbers ("Killing Machine", "Evil from the Depths") pepper the landscape, their catchy dynamics aptly backed up by the shouty semi-hardcore vocalist, the man spitting the lyrics venomously on the ripping Slayer-esque "Trapped", and on the very cool cover of Anthrax's "Deathrider" from the Americans' debut.

In Twenty Sixteen EP, 2016
Feeding the Fake EP, 2017
Goin' Mental EP, 2019
Observing Madness Full-length, 2022

Official Site

RAM-RAGE (RUSSIA)

Modern thrash on the melodic side is being served here except for the unpleasant shouty synthesized vocals which are nothing, but a major annoyance. The approach has a catchy friendly character, and some riffs are not completely a throw-away, but this guy behind the mike creates so much noise that it's not easy at times to hear the music clearly. The tone is laid-back and mid-paced, and "Fog" is a curious semi-ballad mainly because the "singer" starts semi-whispering there recalling a medieval witch rambling over a cauldron. Then comes "Ghost" near the end to bring forward a couple of more dynamic riffs, and one may wish those moments were more. And they do become more when the closer "Song of Night" provides another portion of headbanging riffage (but, please, ignore the closing groovy drags) for the already not too fascinated listener.
"The Grave Of Seven Billion" is a more aggressive affair with more overt death metal touches ("Betrayer", the brutal closer "Blood Money"), but thrash still reins supreme for a large portion of the time as evident from intense rippers like "The President" and "Rampage" the latter coming with a wild less restrained blasting break. "Last Defenders" brings a more experimental, more technical flair to the proceedings, and the title-track is another interesting, more complex combination of fast and slow passages.

The Depths Of Rage Full-Length, 2013
The Grave Of Seven Billion Full-Length, 2017

RAM-ZET (NORWAY)

The "avantgarde gothic/black metal" description given to this band is fairly inaccurate, and doesn't do them justice, consequently depriving the thrash metal fans of hearing one of the most stylish takes on their favourite genre of the past 10 years. While the "avantgarde" tag should by all means remain, the other two should go, or at least shouldn't lead the pack: there is nothing "black" about the style here, except in the raspy male vocals, which are truly scary stuff, having this characteristic arcane, witch-like quality, pretty effective, especially when they acquire those sinister semi-whispered synthesized aesthetics ala Malhavoc. There is not much "gothic" to be heard, either, mostly reflected in the very good clean female vocals, which will remind you of Anneke Van Giersbergen (The Gathering); and in the stylish keyboard insertions which echo The Project Hate and Bal-Sagoth. What we actually have here is interesting, original (all right, avantgarde) dark (all right, gothic) progressive thrash, mostly of the modern type, with touches of death and doom metal, plus certain industrial leanings. The male/female vocal "duel" is immaculately performed, creating escalating drama second only to the aforementioned The Project Hate.
"Pure Therapy" welcomes you with an initial portion of industrial noises and crunchy chugga-chugga riffs in the vein of early/mid-period Meshuggah, but when the two very contrasting vocal styles hit you assisted by haunting violins and suggestive keyboards, you know that this will never metamorphose into the mechanical non-melodic abstractisms of the Swedes. The guitar work remains cold and heavy, with not much speed involved, but the other influences are imbedded perfectly into the diverse picture, which becomes wonderfully complex on the twisted, and surreally melodic, piece "For the Sake of Mankind", which blends stylish technical riffs with breathtaking violin and keyboard melodies. This progressive approach stays around for two more opuses: "Eternal Voice" & "No Peace", before the final string of numbers arrives thrashing with more edge, "Kill My Thoughts" boasting some of the finest leads around; and the closing "Through the Eyes of the Children" being a formidable shredder with the only more intense headbanging sections on the album.

"Escape" is not exactly an "escape" from the band's larger-than-life delivery, but follows a similar path with all the staple tools of the trade, but this time all compositions are long which in its turn gives an opportunity for the musicians to show all their skill to the fullest: check the virtuoso sections on the opening "R.I.P." which would make Yngwie Malmsteen and Marty Friedman proud. The faster parts have been increased quite a bit, gracing almost every song, moshing hard on pieces like "Queen" and "The Seeker", the latter containing a sparse black-ish passage. "The Claustrophobic Journey" is a dark sinister shredder, and the final "The Moment She Died" is dark, atmospheric thrash at its best, an encompassing piece with officiant doom moments intercepted by fast thrashing ones and the trade mark enchanting violin/keyboard tunes.
"Intra" is the band's magnum opus, an exquisite piece of technical/progressive thrash with death metal overtones, in the best tradition of Coroner, Martyr (Canada), Theory in Practice, etc. All the expected "devices" from the band's repertoire are here, so don't expect precise technical shred all the way through, although this is pretty much what should be expected in the guitar department. The songs' length has been decreased, neither of them being an exercise in virtuosity, despite the presence of quite a few virtuoso sections. This is a truly compelling listen with the clinical, precise riffage intertwining with the beautiful melodies, with the technical headbanger "Ballet" leading the pack confidently with immaculate clinical guitars and mazey, jumpy structures. "And Innocence" is the "resting" place: a more peaceful gothic cut, but expect to fall off your chairs on the next "Born" which is an intense operatic thrash/blacker of the Bal-Sagoth and mid-period Dimmu Borgir proportions. "Lullaby for the Dying" is a stylish up-tempo technicaller akin to Coroner, before "Closing a Memory" "closes" the album in a captivating Theory in Practice-like manner with sweeping labyrinthine riffs and a grandiose balladic/gothic interlude.
One could hardly imagine anything better than the band's last effort so consequently the guys (and a girl) don't bother to reach similar heights, but settle for a more standard modern thrash/gothic approach, sounding quite similar to The Gathering's "Mandylion" and "Nighttime Birds", spiced with the odd more aggressive thrasher ("222"). Two lengthy, operatic pieces ("Addict", "Beautiful Pain") are included: engaging operas of the melancholic gothic/doom variety where the girl (the pseudonym is SfinX) outdoes herself with standout emotional performance, also recalling the singer (Rune Folger) of another interesting Norwegian act: Atrox. As a whole the musical approach here is more subdued and less elaborate, sticking to more conventional song-structures and a less varied concoction of styles which to some may be quite a disappointment since the musical excellence of the previous offerings is seldom achieved.

"Freaks in Wonderland": after the more conventional and not very exciting previous effort, the band switch onto more technicality and avantgardism, and in the latter department they pretty much hit the top. The opening "Story Without a Happy End" is the ultimate twister which develops on a technical/progressive thrash base before it turns to Orientalisms and jazzisms to "survive", among other lifebelts, also establishing a perfect symbiosis between the raspy male singer and the angelic female soprano who sounds almost as convincing as Anneke Van Giersbergen (The Gathering). This song alone will overwhelm you with moods and diversity, but this is just the beginning of this supreme "opera" of originality which continues with "I Am", another eclectic composition, jumpy and shreddy in a mechanical mid-90's Voivod-ish manner, relieved by more laid-back gothic inclusions. Then comes "Mojo" which is creepy and industrialized, a minimalistic track which grows into the dark proto-doom "Land of Fury". "Madre" combines soaring melodies and rough chugga-chugga riffs to a pretty positive effect. "Circle" is dreamy and pensive in a way very similar to The Gathering's "Nigthtime Birds". "The Sign" is again dark and doomy with several effective melodic insertions, and the closing "As the Carpet Silent Falls" is 10-min of heavy balladisms which are both romantic and edgy topped by the great female vocals which take over completely from the man in the second half; again an obvious nod to mid-period The Gathering. The band have raised back the level high, and at least they will have no problems reaching it. This is another great original, innovative work from our favourite "freaks in wonderland" who should be forgiven for the casual lapses provided that after them comes a masterpiece of this kind.

Pure Therapy Full-length, 2000
Escape Full-length, 2002
Intra Full-length, 2005
Neutralized Full-length, 2009
Freaks in Wonderland Full-Length, 2012

Official Site

RAMAYANA (SWEDEN)

Atmospheric dark thrash with brutal death metal vocals alternating with unemotional clean ones; the music is not bad being heavy with gothic touches and nice melodies reminiscent of early Nightfall (Greece).

Ramayana EP, 2010

Official Site

RAMGAR (MEXICO)

Two Mexican metallers are behind this project who, based on "The Beginning Of The Storm", specialize in sharp modern, all-instrumental, thrash which hard-hitting approach is interrupted by sweeping operatic passages. The guitars stay within the Swedish parameters for most of the time so in terms of originality this effort can't score very high especially when the pace is mostly mid and not very dynamic acquiring sincere doomy and even balladic tendencies near the end.

The World Fell Full-length, 2011
The Beginning Of The Storm Full-length, 2012

Official Site

RAMMER (CANADA)

One of the new Canadian thrash metal bands of the new millennium, Rammer offer a cool mixture of old school thrash, black and death metal (mostly on the band's new album). The German thrash metal scene is an obvious influence on the band's sound: Kreator and Sodom, in particular the latter especially in the vocal department (think of a more vicious version of Tom Angelripper). Apart from occasional metalcore moments ("Rammer"), everything here is done with style and competence.

Incinerator and Krusher Full-length, 2002
Suffer EP, 2003
Cancer Full-length, 2006

Official Site

RAMMING SPEED (USA)

The full-length debut is an energetic simplistic slab of classic thrash/crossover owing much to acts like Ludichrist, The Accused and Leeway. The guys thrash with conviction relying mostly on speed and catchiness adding the odd sense of humour in the song-titles: "Shane Embury Is the Brad Pitt of Grindcore". The surprise comes at the end, with the closing heavy metal hymn with the very appropriate title "Heavy Metal Thunder" which sounds as though directly taken from some of the 80's works of Saxon or Diamond Head. The guys were previously known under the name Despotic Robot when they had one self-titled demo released in 2006.
"Doomed to Destroy, Destined to Die" sounds way more aggressive now moving towards purer thrash without completely abandoning the frolic crossover elements. The songs are favoured by a very good sound quality the major detriment being the harsh shouty semi-death metal vocals. "Gorgon's Eye" is an explosive grindy shorter followed by an even shorter and grindier one, "Cretins and Coward". After these two jokes placed in the middle the album never manages to restore its more serious character branching out into more stripped-down hardcore/crossover in the 2nd half by still retaining its aggressive headbanging potential.
"No Epitaphs" crosses crossover with more intense thrash the resulting melee having energy to spare despite the presence of a few optimistic speed/rockers ("Don't Let This Stay Here"). "Ramming speed" is nowhere encountered, but "Walls" is a nice little speedster with echoes of Exciter, not to mention the wild proto-death basher "Break In The Chain" where the guys lose it for a bit. Still, the fast-paced tone is well sustained turning to a more serious delivery on the closer "Momentary Masters".

Full Speed Ahead EP, 2007
Brainwreck Full-length, 2008
Doomed to Destroy, Destined to Die Full-Length, 2013
No Epitaphs Full-Length, 2015

My Space

RAMON (COLOMBIA)

This is a one-man show, the full name Ramon Reinaldo Restrepo, who is also a member of quite a few underground Colombian black and thrash metal bands (Parabellum, Blasfemia, etc.), and he acquits himself here with rough-around-the edges classic thrash/death with strong doomy undercurrents and deep guttural brutal death metal vocals. The final result is a bit clumsy and underdeveloped the guy not quite sure whether to pull out a full-blooded doom metal effort, or to keep the faster riffs flowing. To these ears the slower side kind of suits him better, but he needs to improve the sound quality a bit.
"Contundente Final": the sound quality remains on a fairly basic level the guy continuing his thrash/death barrage remorselessly now adding more brutal black metal insertions (the title-track, and elsewhere) to the fore. His tribute to early Celtic Frost "Oh Musica" seems to be the finest cut, albeit lasting for just over 20-min. The rest is a bit more than plain noise Ramon apparently just having fun recording brutal mish-mashy sounds without any serious intentions to make a lasting impact on the South American scene.

Libre Albedrio Full-Length, 2009
Contundente Final Full-Length, 2012

My Space

RAMP (PORTUGAL)

"Thoughts" is one of the finest thrash metal albums which the Portuguese metal scene ever produced, a classic thrash masterpiece, fast and technical at the same time, bringing to mind Death Angel's "The Ultra Violence", but with a more technical edge. The vocals are of the clean type with adherence to rough higher-toned shouts. The sound runs away from the thrash metal formula into epic heavy metal fields in the middle: "The Last Child", and "Try Again", which is a cover of a rock'n roll number, which author I don't know; Tankard have the same cover made on "The Morning After" (could be a Tankard cover?). But the guys gain speed again on the last three songs, awesome thrashers gracefully finishing this very cool album. The band's future career follows closely on the steps of Pantera and Machine Head, and is not that bad with really aggressive, but derivative, approach.

"Visions" brings more life into the band's rigid approach adhering to more brutal riffage, still far from the classic standards, but entertaining enough, when it comes cleared of the groove and the Black Album-like leanings. The guitars hit hard on quite a few times, and for fans of the angrier modern side of thrash there is a lot offered to be enjoyed.
"Insidiously" is a meek groovy modern affair, the band seldom attempting something outside the trite post-thrash patterns, the title-track moving along in a lethargic quasi-doomy fashion, with only "A Million Places Faces" offering more vivid thrashy vistas. "Lost is a tender soulful ballad, and "Back to Scratch" is another livelier proposition with a covert hardcore lustre.

Thoughts Full-length, 1992
Intersection Full-length, 1995
Evolution, Devolution, Revolution Full-length, 1998
Nude Full-length, 2003
Planet Earth EP, 2005
Visions Full-length, 2009
Insidiously Full-length, 2022

Official Site

RAMPAGE (AUSTRALIA)

This band was founded by two members of the Australian thrashers Hobb's Angel Of Death after they left their previous band. The style here is more ambitious with slight technical tendencies not too far from Liege Lord's "Master's Control", but with a more aggressive attitude and a worse sound quality. The band show skills at thrashing with more intensity: "Acid Storm", "Producers' Edge", but their slower more technical side is kind of more appealing: "Sinister at Sunrise", "Satrap". The guys were surely going somewhere, but they never recorded again.

Veil of Mourn Full-length, 1988

Vibrations of Doom

RAMPAGE (USA)

This is modern post-thrash/core on the friendlier side of the spectre; not for women, though, but even the latter should be able to savour the relaxed frolic "Kill Ya Tonite" although "DeadRot" will scare even the fully prepared with its rude grindy veneer, "Deathcrush" following a similar pattern, the singer also mixing it up behind the mike, switching from welcoming hardcore-semi-recitals to infernal guttural deathly growls.

Misogyny, Thy Name Is Woman EP, 1998

RAMPAGE (USA)

Based on the full-length, this band specialize in aggressive thrash/death which suffers from a very bad sound quality and barely heard guttural death metal vocals. The delivery in then beginning is pure death metal, but thrash has its moments here and there as even merry heavy rock is given a chance with the awful hard rock hymn "Rampage". In the second half the mixture is pretty awkward with all the aforementioned styles thrown in again on top of each other without any sense behind it, and the fan may feel betrayed by the musicians' ineptitude to balance the bad with the good taste.

Misogyny, Thy Name Is Woman EP, 1998
This End Up Full-length, 1998

Official Site

RAMPANT DECAY (USA)

Brutal thrashcore with grind-y overtones, not for the faint-hearted; the guys relieve the pressure by inserting the odd heavy break, but most of the time they bash with no mercy in a not very intelligible semi-The Accused/semi-Cryptic Slaughter manner with an updated modern sound.

Antisocial Death March EP, 2008

RAMROD (USA)

This band were supposed to be the continuation of Liege Lord after a lengthy 6-year break. Well conformed with the 90's tastes, this 3-song demo also has a slight classic flavour, but is more along the lines of Flotsam & Jetsam's "Cuatro" and 90's Overkill, rather than the early works of Liege Lord. This is the reason, I guess, why the guys continued their career in Overkill after this solitary effort, and some of them were also seen in other famous American metal acts (Annihilator, Anvil, etc.) later.

Promo Tape Demo, 1994

RAMSES (MEXICO)

Based on "Guerreros del Metal", this band pulls out melodic speed/thrash with virtuoso lead guitar performance which beats by miles the other instruments. The style is a sure-handed forerunner to the 90's power/speed metal scene with the sing-along choruses and the soaring clean vocals. The album is a mix of slow and fast tracks with the slower material carrying a stronger thrashier colouring. But the speedy songs are really a wonder to listen to with the great melodic hooks and leads. "Adicto A La Velocidad" is a mighty speed/thrasher which goes away with all the "laurels" in both departments. "Sedientos De Poder" adds some technicality to the speed, but the closer "Necropolis" will shoot you at close range with its machine gun-like riffage and galloping tempos.

Apocalipsis Full-length, 1985
Guerreros del Metal Full-length, 1988
Pon Tu Cerebro A Remojar EP, 1991
Delirio De Desastre Full-length, 1992

Fan Site

RAN (HOLLAND)

Based on the full-length, this band play fast intense, but also fairly melodic, black/thrash which makes a wide use of the blast-beats without overdoing it. Still, this remains an ultra-fast downpour topped by scary raven-like vocals, a bit lower-pitched, and strictly on the black metal side. "Rock to Hell" can't possible be an all-out brutal track, and this is where the guys relax with a couple of more laid-back power/thrash rhythms. Such lyrical pauses are nowhere to be encountered later on the band moshing out till the end in a remorseless extreme fashion.

Rock to Hell EP, 2013
Demonstorm Full-Length, 2013

Official Site

RANAHMASSA (INTERNATIONAL)

This is quirky modern progressive thrash/post-thrash which lacks coherence, jumping from not very sensible hardcore cuts ("Eye for an Eye") to heavy groovy compositions ("Numeros"), the atmospheric industrial futurism on "Afterworld" standing for the highlight. The singer is a not very exciting semi-hardcore semi-shouter, but quiet meditative outtakes like "Meditate", or doom/semi-balladic sprawls like "Cambrico" don't exactly need his involvement.

Overlords EP, 2020

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RANCID CRISIS (CHILE)

Based on "Neuromorph", this act specialize in intense remorseless retro thrash/death with a dual, guttural vs. screechy, vocal attack. Expect a downpour of speedy, sometimes lightning-fast, riffs from all sides, the two genres well balanced throughout, with "Aeon" exhibiting some less elusive deathly sensibility, the closing "Magma Universe" taking away all the laurels with its dynamic more technical layout.

Rancid Crisis Full-length, 2017
Neuromorph Full-Length, 2020

Official Site

RANCID DECAY (USA)

Based on the Best of Compilation, which contains almost the whole discography of the band from the 80's, this act plays violent aggressive thrash/crossover quite close to Wehrmacht, and those three demos could well be placed right beside Slayer's "Reign in Blood" and Dark Angel's "Darkness Descends" as one of the early extreme works from The States. The music here is less serious perhaps, with nods to hardcore as well, but "Silent Scream" on the other hand could easily pass for one of the first takes on brutal proto-death metal.

Decaying Stench Demo, 1986
You Had to Be Eliminated Because You Are Breathing Our Air Demo, 1986
Rancid Decay-Live at Hung Jury Pub Demo, 1986
Presumed Dead Best of/Compilation, 2004

Official Site

RANCID SKULL (UK)

One musician, the name Zachary Scott, is in charge of this interesting, progressive thrash fiesta which starts quite ambitiously with "The Misanthrope", a thought-out complex proposition with several moods and nuances embedded throughout. "L'Appel Du Vide" is a more lyrical cut with balladic implements, and Zachary follows this string for a few quiet pieces until "Fatal Alignment", another more intense thrasher which precedes the interesting pounding "Cosmic Insignificance" and the more technical roller-coaster "The Devil's Crew". The man provides a wide range of vocals stretching from soulful clean to husky deathly ones.

Catharsis Full-length, 2018

Official Site

RANCOR (SPAIN)

This (based on the full-length debut) is cool classic power/thrash metal, mid-paced with occasional fast moments and nice melodic guitar work; the overall style recalls Ultimatum or early Imagika. "Release the Rancor" is a nice elaboration on the EP providing 10 brand new tracks for the fans which will hardly leave anyone disappointed with the brisk guitar sound, the cool attached semi-clean vocals, and the catchy arrangements. The tempo is energetic clinging between power and thrash metal this time also recalling early Meliah Rage and Overkill, apart from the other two aforementioned acts. Both sides are well mixed on almost every song until the coming of "Rancor": a short bursting speedster which shatters the established pattern slightly influencing the energetic proto-modern "Twist the Knife" after it. The inertia doesn't get lost later, first with the energetic "Incompetent", and later with the up-tempo semi-technical closer "Zombie War!".
"Dark Future" is another present for the classic thrash fans now sounding way more intense with power metal not given the chance to show at all. "The Last Drop of Blood" is an explosive opener and things only escalate from there, first with the short brutalizer "Addicted to Hate", then with the more controlled speedster "Knocking at the Gates of Hell". "Deaf People" introduces some nice melodies which stay around for the following furioso "Sea of Lies". The title-track enters with more interesting technical hooks, but those never get elaborated on the guys carrying on with their stripped-down approach on the remaining tracks finishing with the enjoyable moshing sections on "There's No Love".
"Evilization" comes with a more abrasive guitar sound, slightly modernized production and a marginally mellower power/thrash sound. Still, the impetuous gallops on "Cruelty" and the short ripper "Blue Depths" would hardly make anyone unmoved, and when more serious progressive exercises on the style ("Into the Fright Zone") arrive towards the middle, the situation doesn't radically different from earlier recordings. "Orgasmic Speed" definitely deserves its title with the brutal hardcore-ish riffage, and "Fatal Disease" tries something trickier and more technical to a fairly positive effect.

Death Is Everywhere EP, 2006
Release the Rancor Full-length, 2010
Raining Bombs EP, 2013
Dark Future Full-length, 2013
Evilization Full-Length, 2017

Official Site

RANDAGI (ITALY)

Based on "Seismic Area", this act plays jolly funky crossover-tinged thrash, quite melodic and happy to be taken seriously by most thrash metal fans. Some tracks are too bland and toothless to keep your attention, a situation worsened by the weak vocals, sounding like an impotent mix between Ozzy and Denis "Snake" Belanger (Voivod). The better moments are those where speed steps down for the sake of power/heavy metal riffs ala 90's Flotsam ("Seismic Area"), but they are so few that at first listen one may completely miss them, and a second listen isn't very likely to take place...
The debut is a more aggressive offering with edgier guitars and some really inspired thrashing (check out "Pottach"). Something more technical sneaks in on the headbanger "Sibilla's Cave", but the fuzzy guitars are a major impediment for those attempts to turn into an asset. Otherwise the band thrash with force also on the more crossover-laced moments: the Suicidal Tendencies-worship "The Chief". "Spanery" is a brutal raging piece, and the closer is a pounding shredder with a clandestine Bay-Area flavour. As a whole the guys have done a much better job, way more "seismic" than the one on their lacklustre sophomore effort.

Hard States of Conciousness Full-length, 1990
Seismic Area Full-length, 1991

RANDALL FLAGG (ITALY)

These Stephen King fans (Randall Flagg is a prominent antagonist in several of the American writer's works) pull out dark brooding thrash which exudes plenty of atmosphere, but also manages to provide quite a few intense fast-paced moments. The musicianship is quite admirable for such an obscure act recalling Rigor Mortis and Possessed the vocalist being a bit more death metal-inclined and less expressive from Bruce Corbitt (Rigor Mortis again).

Exogini Demo, 1988

My Space

RANDOM ACTS OF LUNACY (HOLLAND)

This formation offer varied stuff which is built on a jumpy thrashy base with elements of speed and progressive metal present the latter quite close to the strange palettes of the Japanese Sigh the Dutch sharing the same penchant for inserting odd influences at the least expected places. This is offbeat music which doesn't feature too many vocal parts (those are of the suggestive whispered kind, and are barely audible when in action) and plays with numerous nuances among which the virtuoso lead sections are the most impressive with the eclectic unpredictable closer "Dead Sparrow" a very close second the latter thrashing wildly at times with a solid doze of death metal before suddenly calming down to a very quiet dreamy passage this alternation repeated several times to a slightly disorienting effect.

Random Acts Of Lunacy EP, 2010

RANDOM ACTS OF VIOLENCE (USA)

The full-length provides a wild frenetic mixture of thrash, hardcore, punk and even grind. The songs are not very short, developed well beyond the spontaneous outburst. The approach is predictably fast, and the vocals are suitably hoarse and shouty with a gruffer death metal flavour at times. The guitar work gets occasional technical dimensions on some tracks which shouldn't be a surprise having in mind that Phil Dubois-Coyne (Cryptic Warning, Revocation) is responsible for them.

Unleashing Full-length, 2003
Cathartes Aura EP, 2005

Official Site

RANDOM CONFLICT (USA)

Based on the full-length, this act offers a more modern version of thrash/crossover with bad throaty vocals which border on death metal. The music comes with a very buzzy background, but the guitars can still be distinguished. The songs are mixtures of fast and slow sections, the former working better, switching onto full-fledged thrash at times where even some more aggressive proto-death metal sniff ("Object") can be felt.

Shadows of Existence EP, 1991
Internal Visions Full-length, 1992

RANDOM DAMAGE (CANADA)

Modern power/thrash metal close to 90's Flotsam & Jetsam; this is heavy, mid-paced stuff, spiced with quite a few slower, almost doomy parts, including one acoustic ballad as a finishing touch: "Calm Before The Storm", (again a reference to the Flotsams (their 1990 album), although nothing really "stormy" comes after this one. It sounds appealing when it speeds up ("Shut Your Mouth", "Broken Mirror"), but this doesn't happen that often.

Random Damage Full-length, 1995
Human Flytrap Full-length, 1998

Official Site

RANDOM MULLET (FINLAND)

Based on the "Lifeless" demo: this is very technical/progressive stuff, which at its best comes close to the Canadians Electro Quarterstuff. This is not all-out thrash all the time, but has its furious thrashy moments: "The Statement", "Penetrated Skin" and "Infected" are fine examples of the latter, but the guys never settle for something more ordinary, and all compositions are filled with various tempo changes and atmospheric, semi-balladic passages, where the guitars lose their cutting edge, and then come the clean, melodic vocals which give the sound a distinctive, but not very desirable semi-alternative edge. There's a lot happening here, especially on the 9-min epic "Waters of Shame" which is an impressive work of progressive, thought-out metal. The thrash metal fan should give this band a listen; those who like their metal more complex and non-conventional, would certainly be not disappointed.

The demo is three songs of technical/progressive modern thrash, but the clean vocals, which are more clearly accentuated here, and the melodic breaks kind of leave something more to be desired. "Transmission" is the best song, quite dynamic and edgy, whereas "Alive Six Feet Under" is a bit heavy-handed Meshuggah-esque mechanical affair, and "A Moment in Nowhere" is a cool semi-ballad, with the initial quiet balladic parts sounding much better than the closing groovy noisy tunes.
"Remission" is three tracks of more ordinary semi-progressive modern post-thrash having almost nothing to do with the band's excellent debut demo, except for the more intense passage from "Asshats"; the rest isn't really worth your attention being a very typical for more recent (and not so recent) times attempt at "injecting" a more technical/serious doze of music to the already tired 90's groovy patterns.

Lifeless Demo, 2005
Infection EP, 2007
Remission EP, 2009

Official Site

RANDOM REVENGE (COLOMBIA)

This young Colombian formation play classic speed/thrash with sharp modern production. The guitars cut like a knife although the guys have a good sense of melody displayed on almost every song (check out the soaring speed metal joy "Weapons of Mass Paranoia"). "Random Revenge" is hard-hitting thrash to the bone the screechy death metal vocals there replaced by a bit more appropriate throaty ones. That same hard-hitting thrash is later very well covered till the end despite the presence of the more thought-out "One Last Word", and the closing engager "March of the Guilty" which is a seamless mix of furious fast-paced riffs and more moderate mid-paced passages, not to mention the brilliant melodic leads ala Kai Hansen.

Justice of Chaos Full-Length, 2014

Official Site

RANDOMORDER (AUSTRALIA)

This is pretty decently executed classic thrash with a modern production. The guitars bite and lash with force, and the guys stick to the speedy patterns for most of the time, and will make quite a few heads bang throughout. The melodic relieves are in the form of short, but effective, leads (check "The Dark Science"). "Forbidden Knowledge" is an awesome smasher reaching an almost death metal-like intensity. "Caught In The Crossfire" after it is a sweeping speedster with a technical shade, followed by the similarly-styled "Salvation". "Exiled" complicates things a bit with a longer structure and more varying tempos, still thrashing wildly for at least half the way through. The closing string of songs provides an intense headbanging fest which finishes with the proto-deathly outrage "Ghost Demons" which is 2.5-min of ultra-aggressive shred. The singer is the staple low-tuned death metal growler, but doesn't detract from the musical delivery.
"Doomsday" is another apt display of the guys' abilities and few would be those unhappy with this sincere slab of old school thrash which is at time served with a portion of more aggressive proto-death ("Morbid Isolation", the short proto-basting "Solace In The Ancient Mind"), at others with sweeping speed/thrash ("Self Annihilation"). "Terminated Experiment" is a curious, more technical "experiment", and the final "Yours To Ruin" is a nice diverse shredder again reaching out for the death metal cohorts.

The Forbidden Knowledge Full-length, 2011
Doomsday Full-Length, 2016

Official Site

RANGER (FINLAND)

Based on the full-length, these Finnish youngsters serve pure classic Germanic speed/thrash in the spirit of early Deathrow, Exumer, and Destruction. The band open with the nearly 7-min of pure speed metal madness "Defcon 1", and things only get better from here. "Deadly Feast" is a major galloping delight, but later on thrash plays a more prominent role excluding the merry go-rounder "Dead Zone". "Where Evil Dwells" is a true revelation, 10.5-min of relentless speed/thrashing with barely a slow moment, making the closing "Storm of Power" just an afterthought. The singer has a high-strung shrieky timbre, but his piercing exploits are a good match to the constantly speedy downpour.
"Speed & Violence" justifies its bombastic title every bit of the way as the guys continue the high-speed attack from the debut with hardly a relieving moment. The vocalist screams even more this time, but this is again to the music's advantage since the incessant speed/thrashing cannonade hardly needs any sophistications behind the mike. "Satanic Panic" is a heroic more ambitious anthem, but don't expect any remorse on the remaining material: this is pure old school malice through and through.

Knights of Darkness EP, 2013
Shock Skull EP, 2014
Where Evil Dwells Full-Length, 2015
Speed & Violence Full-Length, 2016

Official Site

RANKKEN (FRANCE)

Based on "History of Violence", this French trio serve modern thrash/death which is rich in melody, a few groovy implements ("New World Order") kind of work to the band's advantage, especially when there's not much energy exuded, the guys mostly dirging in a steady near-hypnotic mid-pace, the agenda propelled slowly but surely with minimalistic sleepers like "The Day the Earth Stood Still" and quasi-doom pageants like "The Day the Earth Stood Still", te ensuing drama eventually reaching headbanging dimensions on the vivid closer "The Matrix".

Dark Messiah Full-length, 2018
History of Violence Full-length, 2021

Official Site

RAP'S DEATH (SWITZERLAND)

Dark atmospheric thrash of the classic type, with gruff semi-clean vocals. There's pertinent keyboard presence circling around the guitar-driven passages, with a potent gothic flair embedded as well, the latter especially evident on the slower material ("Dead Wish", the playful Cemetary-sque "God of Illusion"), the more technical shredder "One Hour Black" the possible highlight. The closing "Castle in Dark" is another relatively strong showing, a more aggressive violator with a death metal-tinged propeller.

Natural Urge Full-length, 1999

Youtube

RAPE (GERMANY)

These "children of a lesser god" are too industrial-prone to impress many thrash metal fans. In the best case scenario they manage to capture the manic shreds of Swamp Terrorists and Front Line Assembly's "Millennium", but the dancey rhythms of KMFDM are also around to ensure the wider appeal of this odd album which is also full of plenty of electronics and samples. The singer has a dispassionate sterile voice which is melodic, but never changes throughout sounding like someone from a dark wave band (think Bauhaus, above all).

Children Of A Lesser God Full-Length, 1994

RAPED APE (USA)

With a name like this, one would expect hard or even grindcore. Well, there's nothing like that here; this is very good classic Bay Area thrash with quite stylish guitar work akin to Exodus and Testament with a dual vocal attack: rough death metal growls and more typical thrashy ones ala more aggressive Max Cavalera. The music is quite hard-hitting having also shades of Sepultura's best period ("Beneath the Remains", "Arise"): "Land of Promises". The concentration is not on speed, but on heavy crushing riffage with a nice semi-technical edge. Unfortunately this very good effort is only six tracks. Later some members continued their career under the name Paingod.
The debut demo contains three energetic tracks straddling between the blitzkrieg style of early Exodus ("Evangelistic Deceptor") and the more hectic, choppier approach of Defiance ("Raped Ape""). The "Perpetual Aggravation" one has gone up in the proficiency department, and the fans will enjoy semi-technical walkabouts like "Da Krasha" and "Shrouded In Darkness" the latter a really nice combination of hard-hitting thrash and clever and progressive histrionics. "Kill Thy Neighbor" is a stomping mid-pacer with an abrupt speedy finale, and "Circle of Blood" is an intense mosher with Slayer-esque overtones. "S.T.D. (Socially Transmitted Death)" gallops with the finest Bay-Area "horses" (think Testament, above all) out there, and "Pieces of Aggravation" is a short semi-technical all-instrumental shredder, a nice epitaph to this very good effort.
The "Lost in Mind" demo carries on with the high quality moderately elaborate retro thrashisms from its predecessor, "Hypothermia" relying on a heavy, mid-tempo layout to pull it through. "Lost In Mind" thrashes with more vigour and also with bigger technical dexterity, and "Monkey See Monkey Do" is a ripping short headbanger with a few pounding stopovers. "Feet First" is another less restrained exploder, but expect a number of twists and turns during its 5.5-min of playing time as well as nice melodic leads the latter also briefly covered on the jumpy hardcore closer "Wastoid", the joke track here.
The 1994 demo is precursor to their transformation as Paingod so expect heavy groovy post-thrash all around without any particular surprises if we exclude the short roller-coaster "Mass Population" provided at the end.

In Ape We Trust Demo, 1988
Perpetual Aggravation Demo, 1990
Lost in Mind Demo, 1991
Terminal Reality Full-length, 1993
Demo Demo, 1994

Official Site

RAPED GOD (MEXICO)

A promising new band from Mexico who play death/thrash metal with bigger emphasis on death, but with good semi-technical thrash riffs involved, too. The sound is quite heavy and pounding accompanied by sparse furious blast-beats with a very occasional use of the lead guitar.

Raped God Full-length, 2004

My Space

RAPED GOD 666 (MEXICO)

This is the same band, known as just Raped God previously (see the review above), who had to change their name because of the clash with the former singer for the old name. The style here is pretty much the same, but more thrash-based, and to these ears better sounding. The new singer does a very good job with a semi-clean rough voice close to Katon W. De Pena (Hirax). The music is fast and intense combining the German thrash metal trends with some Slayer-esque parts. Actually death metal-like intensity is almost nowhere to be found, with very few exceptions: sections from "The Eyes Of Hate", "The Hellbeast", etc. "Metal, Muerte, Destruccion" is a smashing thrashterpiece; a raging instrumental which starts in a calmer softer way before it turns into a ball of fury later on.
The "Tyrant Resurrection" demo is a more brutal offering now sounding purely death metal on quite a few times, although thrash is still the dominant force being of the fast type ala the Merciless debut and early Kreator.

The Executioner Full-length, 2008
Tyrant Resurrection Demo, 2009

My Space

RAPER (CHILE)

This is intense thrash/death with both modern and classic echoes, alternating fast with slow songs (those sounding pretty epic in a way not too dissimilar to Esqarial and more recent Entombed) the whole time, producing one aggressive thrash/deathster at the end ("Cannibalypse"), where the guys lash fiery riffs for over 6-min to a smashing effect. The singer is a low-tuned death metal growler, but his rendings are intelligible, and are not detrimental to the incessant barrage which may annoy a bit due to the slightly noisy guitar sound.

Cannibalypse Demo, 2011

RAPES (JAPAN)

Old school thrash which relies on nice melodic leads and intense bash which is at times close to thrash/crossover ("I Gather Sheep Into Clouds"), at others attempts something more complex and more melodic ("Become Frantic") bordering on power metal. "Epilogue" is expectedly the finale, a cool varied instrumental with power, speed and thrash covered in almost equal dozes the appetizing blend winning from the absence of the husky, mean semi-declamatory vocals.

Final Collection Full-Length, 1991

RAPID DECAY (USA)

Based on "Thrashin' Undead", this is good 80's thrash with slight crossover elements, reminiscent of Suicidal Tendencies' thrashier releases. The production is slightly dull putting the drums too much forward. The tracks are fast and short except the last one "Commanding Legions Of The Walking Dead", which is a nice deviation from the straight formula.

Rapid Decay Full-length, 2003
Thrashin' Undead Full-length, 2004

Official Site

RAPID DOMINANCE (USA)

This 5-piece EP shows a band intent on adding more progressive arrangements to the scene with their brand of more complex modern thrash which needs a bit more dynamics, though: this elaborate landscape may drag at some point on a full-length. "Inheritance of Suffering" nicely speeds up with more energetic galloping rhythms, and at the end comes the cover of Death's "Spirit Crusher", overshadowing the preceding material, expertly done, wisely staying close to the original, excelling in the lead department; the rough death metal singer doesn't possess the high pitched semi-scream of late-period Chuck Schuldiner (R.I.P.), but it's the music which has always mattered on this immortal song.
The full-length continues with the more elaborate progressive decisions, but the approach is kind of samey and not really exciting. The songs develop in a monotonous mid-pace for most of the time although some tracks like "Indoctrinated Youth" try to bring more dynamics into the proceedings. "Beneath Baghdad" is an 8.5-min clumser which splits the album into two and remains the weakest composition here with its sleepy doomy tempo. Nothing interesting happens later, unfortunately, and this effort would be a waste of time for both modern and classic metal lovers.

Premonition EP, 2012
Of Innocence and War Full-Length, 2015

Official Site

RAPID FIRE (POLAND)

Quite cool classic thrash with a few modern implements, mid-paced, not very aggressive, with nice melodic guitars, and good mid-ranged, semi-clean vocals. Some tracks have a more modern, also alternative shade including two ballads where the singer is by all means the star of the show (the second demo), as opposed to the more hard-hitting numbers, mostly on the first demo.

Demo Demo, 2002
Demo 2 Demo, 2003

Official Site

RAPID FORCE (SERBIA)

This band was founded by a former guitarist of another Serbian thrash metal band, Heller. Based on "Apotheosis Of War", Rapid Force's style isn't pure classic thrash like the other band; their sound is heavier with more modern tendencies reminding of 90's Overkill. There's also a certain 80's spirit here recalling late 80's Metallica. The musicianship is particularly good with impressive solos and a great bass bottom.

"Burst Under Pressure" sees the band having grasped the groovy tendencies much tighter, following on the steps of early Machine Head and Pantera closely. Successful attempts at stoner/doom ala Down can one hear as well ("Eyes For An Eye"), as well as a very good thrashing up-tempo closer ("A Song For Me").

Apotheosis Of War Full-length, 1993
Burst Under Pressure Full-length, 2008

My Space

RAPID STRIKE (CROATIA)

Based on the self-titled, this band with a female vocalist play a power/speed/proto-thrash mix of the old school, generally melodic not very engaging stuff which is also strongly oriented towards the ballad/semi-ballad, killing the accumulated inertia, the later winning from the presence of the more dynamic "Sweet Terror", but the rest is strictly on the friendly side, led by the leveled mid-ranged, not exceptionally attached timbre of the girl. Some of the band members also play with the thrash/black metal cohort Grob, and the power/thrashers Witchcraft.

God Take Me to Hell Full-length, 2011
Rapid Strike Full-length, 2021

Official Site

RAPID TERROR (SWEDEN)

This is pretty nice fast moshing retro speed/thrash which races with the speed of light at times ("Rapid Terror"), at others goes for the heavy stomping sound (the title-track), the vicious shouty death metal vocalist notching it up in the aggression department, the thrash/crossover optimism of "Chasm of Dementia" adding more to the diversity at play here, with even proto-death coming to the fore on the explosive madder "Rapid Invasion". One of the two musicians involved in this enterprise is Leif Nicklas Rudolfsson aka Terror, a stalwart on the Swedish metal circuit with quite a few eminent outfits (Runemagick, Deathwitch, Swordmaster, etc.) under his belt.

Speed Metal Bastard EP, 2013

Official Site

RAPIER (ARGENTINA)

This act provide wild unbridled classic thrash, the restless “Destructor” leading the show with Kreator-esue vehemence, “Templo En llamas” epitomizing more streamlined speed metal trajectories for its layout. “Luz de Tempestad” is another hyper-active piece, and “RealidadIncauta” is a short albeit more technical shredder. The singer is a passionate semi-clean tenor who at times screams like a banshee to a near-apocalyptic effect. Some of the band members also played with the retro thrashers Hostil.

Despertando la Ira Demo, 1988

Youtube

RAPINE (UK)

Based on the full-length, this outfit deliver capable old school Bay-Areasque thrash which loses a couple of points from the misled “Distant _ Hollowed Out” duo, mostly groovy post-thrash noise, the brisk elevating a total take on the early Metallica tunes, particularly recalling the Americans' take on Diamond Head’s “Helpless”. “Fateful Trauma”, on the other hand, is a remake of that same band’s “Disposable Heroes”. The original material comprises the cool albeit mellow instrumental “Race for Rome” with echoes of “Orion”, and the closing “Plague”, a rowdy thrash/crossover odyssey. The singer is a horse semi-clean reciter, a rather dispassionate presence with not very big involvement.

RedRath EP, 2022
Statutory Resentment EP, 2022
Cries for Reprise Full-length, 2023

Official Site

RAPSOD (CZECH)

Fast blitzkrieg stuff with a pinch of hardcore which contains energy aplenty the short 2-2.5min tracks "spitting" fiery riffs to no end aptly assisted by the shouty hardcore vocals. This is stripped-down very intense music which still preserves the light-hearted crossover spirit of similar recordings.

Pochoden Full-Length, 2012

Official Site

RAPTOR (ARGENTINA)

Modern groovy post-thrash made by the same guys who have a much more consistent career under the name A.N.I.M.A.L.; one can hear faster classic riffs from time to time, but these are rather "remnants" from a previous formation than a suggestion for a future direction to be taken.

Raptolandia Full-length, 1995

RAPTORBABY (SOUTH AFRICA)

The sterile mechanical riffs of Meshuggah are brought here for the umpteenth time this millennium, but these South Africans have produced a good elaborate affair with a less predictable approach also graced by very good Shrapnel-like virtuoso leads, labyrinthine structures, quiet balladic breaks, and last but not least, aggressive thrashy moments. The quiet passages may come as a bit too much for the diehard thrashers, but the complex execution will keep them hooked, especially cleverly-plotted, hallucinogenic shredders like "Emperor". The main vocals are harsh semi-declamatory death metal, but they have support from much better cleaner ones.

Citadel Full-Length, 2016

RAPTORES (BRAZIL)

Based on the full-length, these Brazilians play an uneven blend of crisp fast-paced numbers and slower proto-groovy ones thus sitting between the old and the modern school. The former side has a certain crossover, and even openly hardcore, edge at times ("Chapel of the Flies"), but these energetic flashes are quickly buried under seismic doom riffs (the creepy "Come... Bleed for Us"). The alternation continues till the end leaving the anthemic epic title-track to wrap it up in a catchy sing-along manner those moments ruined by the harsh semi-death metal vocals which just completely lack depth and emotion for such passages.
"Plague's Goat": the almost hardcore intensity of the debut is untouched here, and the guys leave no prisoners with their fast blitzkrieg delivery which at ties has a happier, speed metal flavour ("Devil in a Bottle") as opposed to relentless thrashers like "Under Buckshot". The title-track is a nice "wink" at early Celtic Frost with its heavy hypnotic riffs and the suitable deep semi-death metal vocals; and later on another doom-laden "colossus" comes forward, "Reptiles Lair", a morose gloomy affair which has no back-up later, though, as the remaining cuts unleash steel fiery riffs of the more dynamic variety.

Forgotten Is Not Dead EP, 2010
Age of Fear Full-length, 2012
Plague's Goat Full-Length, 2016

Official Site

RAPTURE (GERMANY)

This is mostly mid-paced retro power/thrash aggravated by shouty death metal vocals; "After Four" adds some less bridled aggression to the foray but this is more on the crossover/hardcore side of the spectre, the officious doom-laden clout of "Metaphor of Honesty" at least giving the singer a chance to rend his throat more freely.

Metamorphosis EP, 1998

Youtube

RAPTURE (GREECE)

Based on the full-length, these Greeks unleash speedy blitzkrieg old school thrash which also finds time for the casual more melodic tune ("Born Dead") the latter also bordering on death metal with its more urgent rhythm-section. "Suicidal Cannibalism" is another remorseless speedster, and "Transorbital Lobotomy" takes a slightly more technical direction reaching towards mid/late-period Death. "Borderline Disorder" relaxes with a portion of more laid-back mid-paced riffs, but there's no respite offered on the remaining three numbers "Spiritual Paralysis" inserting a few nice more technical hooks the closing "Sadistic Shredding of Flesh" thrash/deathing with passion making this new release a sure winner on the Hellenic metal horizon, and not only.
"Paroxysm of Hatred" is a wild roller-coaster the opening "Thriving on Atrocity" a most active rager with death metal frequently present here alongside more technical ways of execution (the shape-shifting opus "Vanishing Innocence"). "Redemption Through Isolation" upgrades towards full-blooded death metal with brilliant technical Coroner-esque developments and impetuous speedy surges. The title-track moshes hard with less restrained deathly surges, and "Misantrhropic Outburst" is another less orthodox shredder with shades of Coroner again also capturing some of the classical virtuosity of the Swiss masters amongst the dazzling fast-paced skirmishes. "Taken by Apathy" brings back the deathly brutality, and there's little sophistication offered on it as the guys embrace the more linear approach for the finale which also comprises another very stylish Coroner tribute, "Paroxysm of Hatred: Revelation", an amorphous technicaller with surreal rhythmic patterns, with slower and faster passages taking turns the whole time, the ensuing drama reaching towards the purer death metal side at the end. This is a huge step forward for the band who may as well provide more niceties of the kind for the fanbase in the future.
"Malevolent Demise Incarnation" is another hyper-active proposition, with death metal more extensively covered this time, the title-track unleashing the stylish carnage, with "Inanimate Frigidity" trying to reach the dimensions of the dazzling brutality movement (Cryptopsy, Suffocation), but thrash comes to save, the heavy pounding "Predatory Menace" calming the ball a bit, before "After Your Eternity" serves a more entangled near-progressive layout, death metal again coming to the fore. The second half is a revelation thanks to the twisted hectic wonder "I Am Become Death" and the wild frenetic Hellwitch-esque technicaller "Herald of Defiance", a lot of help also coming from the closing saga "Requiem for a Woeful Dynasty", an encyclopaedic masterpiece with a wide array of time and tempo changes, a progressive thrash/deathster second-to-none, with delectable atmospheric build-ups and a supreme atonal epitaph.

Gun Metal EP, 2013
Promo EP, 2014
Crimes Against Humanity Full-length, 2015
Paroxysm Of Hatred Full-Length, 2018
Malevolent Demise Incarnation Full-length, 2021

Youtube

RASKAT (RUSSIA)

Based on "Ogni Drugoi Realnosti", this act plays melodic thrash/death metal which is both classic and modern. The album begins with the peaceful melancholic "Master Of The Dead", but picks intensity very soon after with "Sovremennyj Inkvizitor", although later on both tendencies alternate throughout, but near the end the speed takes over resulting in a couple of energetic headbangers finished with the furious closer "Vemeret' Odnomu".

Beyond Good and Evil Full-length, 2008
Ogni Drugoi Realnosti Full-length, 2010

Official Site

RASPATUL (SINGAPORE)

A typical for modern times mixture of thrash, black, and death metal. It has its moments, though, and at times the music takes a nice technical turn, or comes up with a cool headbanging riff, or descends into atmospheric gothic/black ala mid-90's Rotting Christ; there are also ultra brutal death metal passages.

Devils In Renewed Birth Full-length, 2007

Official Site

RASPUTINS (DENMARK)

Three tracks of modern groovy post-thrash; stoner/doom, alternative and even grunge are also covered; how did they manage to do that within just three songs... but, please, don't bother to check it out! You're going to hate yourselves...

Skull Hurts EP, 1995

RATOR (MALAYSIA)

A very buzzy guitar sound hits you from the get-go and stays with you till the end which may be quite a detraction to some. Otherwise the Malaysians play tight and fast presenting us with furious, seldom semi-technical, black/thrash metal of the old school. The slower compositions kind of work better ("Satan Slave") coming with a touch of sinister epic/pagan. When the band abandons the frequent blasts the songs develop into nice up-tempo thrashers ("Spell From Fire"). The last 3 tracks are with a much worse sound quality (can you imagine?!) and are either live recordings or are taken from an old demo; the style is pretty much the same.

Possessed Full-length, 2008

Fan Site

RATOS DE PORAO (BRAZIL)

Although this band boast one of the longest running careers on the Brazilian metal scene, it's the albums featured here that are of importance to thrash metal. The band's hardcore past is obvious on "Dirty And Aggressive", but "Brazil" smashes everything in its way with its uncompromising, hard-hitting thrash and short straight-in-your-face tracks. "Anarkophobia" is another very strong release with a more serious song-writing, but with the same direct, take-no-prisoners attitude. "Just Another Crime in Massacreland" is less thrashy paving the way for the return to the more hardcore-based sound.
"Seculo Sinistro" is an excellent return to form the the Brazilian veterans who thrash with absolutely no remorse whatsoever to produce their most brutal recording so far. Certainly, adherences to their more hardcore-ish past are inevitable ("Grande Bosta", short blasting outbreaks), but thrash reigns supreme for most of the time with Slayer-esque "explosions" like "Stress Pos-Traumatico", "Pra Fazer Pobre Chorar" and "Conflito Violento" falling very near you. The vocal delivery now is more on the forceful death metal side, but the staple shouts are still intact, albeit a bit more throaty.
"Necropolítica" is an intense moshing riff-fest, the band raging onward with brisk lashing numbers ("Alerta Antifascista", "Aglomeracao"), the headbanging factor really high, "Passa Panopra Elite" slowing down wisely with an array of heavy mid-tempo rhythms, only to be swept away by the overt hardcore vigour of the title-track and sizzling speed/thrashing urgency of "Guilhotinadoem Cristo". The surreal psychedelic pensiveness of "O Vira-Lata" is by all means a nice digression, the band playing around with less orthodox possibilities, only to hit the hyper-active parametres with the corey roller-coaster "Bostanagua" and the exhausting moshing riff-fest "Entubado"; watch out for the stupendous spacey Voivod-ish break on that one; the closing "Neonazi Gratiluz" adding more to the contrived nature of that one with a portion of cleverer more entangled riffage on a still fervent speedy base.

Cada Dia Mais Sujo e Agressivo/Dirty and Aggressive Full-length, 1987
Brasil/Brazil Full-length, 1989
Anarkophobia Full-length, 1990
Just Another Crime in Massacreland Full-length, 1993
Seculo Sinistro Full-Length, 2014
Necropolítica Full-Length, 2022

Official Site

RATTBLACK (USA)

Members of Cage and Suicidal Tendencies have joined efforts here to produce this jolly merry-go-round of retro power/speed/thrash which is more on the radio-friendly side lacking both the bite of the Cage's steely rhythms and the tongue-in-cheek attitude of the Suicidals. "Wheels on Fire" is a cool reminder of the Metallica debut, but the rest would be of little interest to the hard-boiled thrashers. The singer at least does a good job with his warm emotional, clean timbre.

RattBlack Full-Length, 2015

Official Site

RATTENKRIEG (CHILE)

This act specialize in intense blitzkrieg retro all-instrumental thrash which borrows from both the black and the speed metal camps for a thrilling hyper-active ride that would bring to mind the 80's German school, above all: think Necronomicon, early Deathrow, Darkness. "Satanism" is a bold wink at the early Venom heritage, and "Earthquake" is an interesting hypnotic doom elegy, an interesting respite from the prevalent no-bars-held delivery.

No One Step Back\ Full-length, 2018

Official Site

RATTLEHEAD (USA)

Melodic speed/power/thrash metal (based on the debut), strongly recalling Meliah Rage, Destructor, and other 80's American acts; there is not much thrash to be heard here, but the catchy melodic hooks will keep you entertained ("Devil's Workshop", above all, where the guitar work is really impressive). The intro and outro are awkward silent tracks with barely anything to be heard.
"Tales From the Gutter" is a similar affair, mostly power/speed metal with touches of thrash, but now the sound has acquired more modern tendencies making spontaneous bursts, like the speedsters "Walk with the Dead" and "Digging My Own Grave", more than welcome. Another more pleasant surprise would be the galloping "rider" "The Losing Hand" which is a satisfying piece of power/thrash metal lashing riffs for more than 7-min recalling Attacker's "Second Coming". The singer doesn't add up to the merry mood, though, singing in a listless gruff semi-hardcore tone.

Responsible Moshing? Full-Length, 2004
Rattlehead EP, 2006
Step Inside for the Slaughter Full-Length, 2008
Tales From the Gutter Full-length, 2010

My Space

RATTUS (FINLAND)

Pretty decent old school thrash on offer here, with crossover thrown in for good measure, the steam-roller urgency of the title-track finely matched by the frolic jump-arounder “Bad Dreams” and the early-Metallica worship “A Moment Before Death”. The hoarse semi-declamatory vocalist doesn’t make a very big effort behind the mike, but his at times emotional tirades fit the profile, including on the surprisingly complex and melodic saga “Sleep in Boothill”, and the optimistically galloping anthem “Geronimo”.

Stolen Life Full-Length, 1987

RATWARS (CANADA)

Brutal black/thrashcore with shades of death metal expressed in short 1,1.5-min pieces obviously influenced by the Australian "monsters" The Berserker, but without the industrial landscapes of the latter, although the guitars here are pretty noisy, too, and may also remind you of the Voivod approach on their debut "War & Pain".

Warpunk Demo, 2010

RATZINGER (CHILE)

This is typical groovy post-thrash the way it used to be played in the 90's; if you like mid-period Prong ("Beg to Differ", above all) and the last two Accuser works, there's no way you won't like this. There's a few moshing parts in the vein of Pantera and Machine Head, but this is mostly minimalistic music with a little variety offered.

"2012" is a milder affair, and consequently the less impressive listen. The guys play without any inspiration reflected in the repetitive soulless guitars and the indifferent shouty vocal participation, piling a rehashed after rehashed riff to an ultimately boring effect. Still, a pleasant surprise would be the tender closing ballad "Life Goes By" where the singer finally shows some emotion.

Under Attack EP, 2005
State Enemy Full-length, 2007
2012 Full-length, 2011

Official Site

RATZKRIEG (USA)

This band really deserve to be better known because their only demo is a good example of an early thrash/death metal blend. The style draws comparisons to Benediction, but the British band haven't been founded at that time yet. The vocals are also similar to Dave Ingram's. In the slower parts one could hear shades of the other British death metal giants Bolt Thrower. So what is this band doing here? Like I already wrote, this is not entirely death metal; songs like "Retribution" and "A New World" carry the Slayer-esque thrash metal spirit pretty well. A very rare item, but well worth the time to track down.

Black Reality Demo, 1989

RAUNCHY (DENMARK)

Post-thrash on the more stylish, not very predictable side; the guys still have their eye on the Helmet works from around the same time, but their crunchy riffage has more vibe despite the groovy surroundings which at least offer a few nice melodic lead sections ("Question") as well a few wilder outbreaks: the faster hard corey sections on "Hard Times". The sound quality is a bit buzzy, and the singer isn't anything out of the ordinary with his staple angry semi-shouty timbre.

Demo Demo, 1995

RAVAGE (GERMANY)

A nice fusion of death and thrash metal with both technical and fast guitar work involved at times; there are two vocal styles on the albums: one is low death metal growl, the other is higher-pitched snarl close to Kelly Shaefer from Atheist. Music-wise the band are similar to Defleshed from Sweden or the Dutch Thanatos (more technical than the former, and less technical than the latter). "Infernal Devastation" is more thrash/death metal-based, with more frequent brutal outbursts (parts from "Infinite Hate", "Execution Call" and elsewhere), whereas "Get Fucking Slaughtered" clings more towards thrash metal, with nods to Destruction in the guitar department. The songs are short, direct, speedy smashers, except for "Blazing Chaos" which is longer and more complex.

"Violent Offense" offers another thrash/death mixture, but this time the sound is clearly on the modern side with the Swedish school more than just slightly hinted at. There's more concentration on the death metal side in the beginning with the two raging openers where the guys spare no speed, but then they slow down for the dark stomping "Systematic Anguish" and the excellent more melodic instrumental "Marooned". Death metal steps aside after those two and the continuation is in the form of fast brisk thrashers: "Disposer of Cruelty", "Apocalyptic Raid". Near the end the aggression comes back; death metal shows up, and the blend delivers with "Christian Deception" even trying to sneak something technical into the album. Although in terms of speed this recording may even surpass the previous two ones, the reliance on trite modern patterns makes it a less interesting listen in the long run.

Infernal Devastation Full-length, 2003
Get Fucking Slaughtered Full-length, 2005
Violent Offense Full-length, 2008

Official Site

RAVAGE MACHINERY (FINLAND)

The EP: this band play modern thrash/death mixing the sharp riffage of Dew-Scented and Maze of Torment with more sweeping melodies ala Unleashed and Amon Amarth. Both sides meet at the end for the production of the engaging number "March Of The Consumed" which is a diverse amalgam of riffs and melodies alternating on regular bases to an engaging progressive effect the latter kind of not very ably supported by the throaty death metal singer.
"Subordinates of the Mechanism": the modern thrash "mechanism" is on full display once again spiced with a solid doze of death metal the latter going away with all the technical tricks: check out the excellent hectic "Supremus Deus Machinarum". With each passing song the sound becomes thrashier and thrashier, and the guttural death metal vocals less and less suitable although this is by all means a minor complaint; this is intense aggressive music which will sprain your necks way before the end.

The Dystopian Tide EP, 2011
Subordinates of the Mechanism Full-Length, 2015

Official Site

RAVAGER (GERMANY)

Based on the full-length, this formation serve standard modern thrash with echoes of more recent Kreator with very screechy, nearly hysterical vocals. The speedy delivery dominates the scenery sometimes on the edge of death metal ("Human Sacrifice", the furious "The Walking Dead") as the relief is provided in the form of less intense speed/thrashers ("Superior Forces") or more melodic semi-technical deviations ("Dr. Mad"). Some of the band members are also busy with the death/thrashers Excavator.
"Thrashletics" is another assured display of prime thrash "athletics" the sharp cutting guitars flying from all sides to keep the headbangers busy and one must be an incorrigible cynic to dislike hyper-active anthems like "Society Of Blunted State" and "Dysphoria" although to these ears the highlight is the 9-min saga "Slaughter of Innocents", a high-octane moshing riff-fest with a great balladic interlude, the band close to repeating this progressive feat on the closing melo-speed/thrasher "Dead Future".
"The Third Attack" is the next-in-line decent thrash attack, the hyper-active opener "Intruders" enlivening the setting big time, the more diverse layout of "Planet Hate" creating a picturesque, more speed metal-fixated show, the guys also trying something mid-paced ("Back to the Real World") later, before the short ripping title-track and "King of Kings" restore the mosh, the latter also preserved for the closing 8-min saga "Destroyer".

Alarm Clock Terror EP, 2016
Eradicate... Annihilate... Exterminate... Full-length, 2017
Thrashletics Full-length, 2019
The Third Attack Full-Length, 2021

Official Site

RAVE AGE (FRANCE)

Based on the debut: heavy groovy post-thrash with hammering riffs and a couple of intriguing melodic hooks inserted; the overall approach resembles GZR (their second album, above all), and near the end the album picks more dynamics offering more playful optimistic stuff with a shade of the dance-potential approach of Rammstein ("Death is not for Me").

Burning Generation Full-Length, 2010
Right Now! Full-Length, 2012

Official Site

RAVEN BITCH (USA)

American power metal meets thrash; the style is similar to a more aggressive Attacker with less concentration on the gallops. "East III Gates" is a stomping nervy cut with abrupt time-changes, the intense threatening vocalist spitting the lyrics with panache, disappearing from the "Old Dark House" which is a cool semi-galloping instrumental. "Tear Down the Walls" is a short heavy power/thrasher, and "Next Victim" is a n elaboration on the same steam-roller sound with a more energetic rhythm-section running underneath.

Tear Down the Walls EP, 1987

Official Site

RAVENDARK (COLOMBIA)

Based on the full-length, this act pull out interesting progressive speed/thrash which straddles between Manticora and Paradox the entire time, the galloping vigour of "Rise of the Ever-Living (Ancient Evil Spirits Part I)" aptly assisted by the more varied, less thrash-prone layout of "Breath of Anger (Ancient Evil Spirits Part II)", and the pensive officiousness of the power/speed metal anthem "And the Cure Was the Sickness". Pure thrash seldom materializes here, with moments recalling Blind Guardian and Persuader ("Everything from Nothing") also popping up more or less regularly, the main downpoint being the death metal growls sometimes emitted by the vocalist who should stick more often to his customary semi-shouty/semi-clean, but quite emotional, antics. Some of the musicians also play with the power metal outfit Atria.

Rising Legions EP, 2016
The Art of Execution Full-length, 2020

Official Site

RAVENDARK'S MONARCHAL CANTICLE (BRAZIL)

Based on "Sob a Bandeira do Odio e da Arrogencia", this evil hellish trio offers intense retro black/thrash metal which is mostly fast and blasting showing very little mercy, mainly on the cool Hellhammer cover of "Reveles das Sombras" ("Revelations of Doom" from the "Satanic Rites" demo) sung in Portuguese, which abandons the raging downpour near the end, but would hardly be enough to relieve the listener from this tiring one-dimensional music which at least boasts more intelligible semi-declamatory vocals.

The demo is pretty similar music-wise mostly, as in the vocal department we have an unholy raspy shouter. The guys slow down for the casual scary Bathory-sque hypnotizer ("Infantaria Belica"), but generally this is a pure Sarcofago and Vulcano worship with echoing underground guitars and a frequent incorporation of blast-beats and other brutal gimmicks.
"Sobre as Cinzas do Fracasso Alheio": the cacophony continues on full-throttle here the band blasting through the motions with very little sophistication whatsoever, the sole respite from this incessant barrage being the epic hymn "Hino Revolutio Paulista" in the middle. The guys stick to their guns unflinchingly, but from a thrash metal point-of-view this album has very little to offer.

Forca Beligerante Brasileira-semiCulto a Guerra Demo, 2006
A Ascensao Da Arrogancia, Odio E Intolerancia Full-length, 2008
Sob a Bandeira do Odio e da Arrogencia Full-length, 2010
Sobre as Cinzas do Fracasso Alheio Full-Length, 2015

My Space

RAVENOUS (AUSTRIA)

The finest Austrian thrash metal output so far, this one-album-wonder will make your day with its sure-handed semi-technical riffs and fast energetic pace. The vocals are a bit of a letdown with their rough low-tuned delivery closer to death metal rather than thrash. The overall style resembles Mandator's "Perfect Progeny" quite a bit with the steel riffage and the aggressive delivery. The energetic play is seldom interrupted; the songs are speedy and are not really complex experiences except for the great multi-layered technical opus "Welcome Terrible", and the shorter, but equally as intriguing instrumental "Psycho Trilogy". "H.O.G." slows down to mid-pace, but comes up with nice crushing guitars and is the only deviation from the speedy formula.

Book of Coventous Souls Full-length, 1991

RAVENOUS (FINLAND)

Based on the "Bestial Legacy" 2-song demo, these guys pull out an uneven mix of classic and modern thrash kind of recalling 90's Slayer without any temptations towards a faster, more dynamic, play. The riffs evolve around a mid-paced semi-groovy base, and despite the vivid tone they are not very exciting, neither are the flat unemotional semi-hardcore vocals.

From the Ashes Demo, 2006
Delicious Disease Demo, 2007
Bestial Legacy Demo, 2008

Official Site

RAVENOUS (UK)

This new act offer quite decent modern/classic power/thrash, clinging more towards the latter probably, despite the boosted guitar sound and the few references towards more recent Annihilator. Still, gems are easy to dig out: "Suffocate" which is a creepy galloping power/doom/thrasher; the dramatic shredder "Ravenous" with bold echoes of Attacker; the excellent heavy ballad "Alone" which will remind of the Metallica exploits in the field. The only less convincing piece is the closing groover "The Strawman" which is a total Pantera worship and doesn't really deserve to finish the album. The vocalist is by all means a match with his forceful semi-shouty/semi-clean timbre sitting somewhere between James Hetfield and Coburn Pharr (Omen, Annihilator).

We Are Become Death Full-Length, 2013

RAVENOUS MOB (BRAZIL)

Based on the full-length, this act serve energetic retro thrash with a cool semi-technical sting which still can't rule over the headbanging proceedings those particularly accentuated on the ripping "Decaying Theories" and the more stylish and less predictable Megadeth-esque "Unholy Secrets". "Wrath of Cherokee" is another worthy mosher at the end, keeping the fiesta within the hyper-active confines, not without the help of the intense semi-shouty semi-clean vocals which create a lot of drama when in action.

Unholy Secrets EP, 2017
Among the Mob Full-length, 2018

Official Site

RAVENS CREED (UK)

Based on the debut EP, these guys offer old school thrash metal with Slayer the main influence although the very abrasive fuzzy guitar sound will be a major annoyance to some. This can actually be considered a super group consisting of ex-members of renowned British acts like Sabbat, Cerebral Fix, Skyclad, etc. There are a few heavier passages which recall early Celtic Frost, and "Dead Crow Mantle" at the end is an aggressive ball of fury with proto-death overtones.
"Nestless & Wild" is also good fun the band making references to old timers left and right (the EP title is a direct "wink" at Accept; "Stampede Of Skeletons" is a cool nod to Venom's groundbreaking hit "Black Metal") keeping the tracks short and to the point seldom leaving the tempo fall down below the up. The guitars remain on the abrasive side, but they co-exist well with the speedy pace and the gruff semi-shouty death metal vocals.

Militia Of Blood Sacrifice EP, 2007
Neon Parasite EP, 2009
Albion Thunder Full-length, 2009
Nestless & Wild EP, 2011

Official Site

RAVENSTHORN (USA)

Few are the bands nowadays which pay such a good tribute to the 80's American power/thrash metal scene. The debut is a massive slab of classic power/thrash metal summing the best from the 80's works of acts like Helstar, Manilla Road, Liege Lord, early Overkill, Meliah Rage, Anvil, etc. "House of the Damned" is a sprawling power/thrash metal composition with an epic feeling in the best tradition of late 80's Manilla Road mixing fast-paced sections with heavy, almost doomy, ones. The singer is a great asset delivering dramatic mid to high-ranged vocals always keeping a nice melodic blend throughout. "Lament Configuration" thrashes more intensely with great steam-rolling sharp riffs in a fine up-tempo, and a cool lead-driven outro. "Lust for a Vampire" carries on in the same spirit, maybe a tad slower and more power metal-based, and with higher-pitched vocals. "Ouija" could be annoying in the beginning, with the overlong 1.5-min intro of an ouija ritual, but then the guys start lashing without mercy, and this track is a thrash delight of the highest order, also boasting fine lead performance. "Possessed By Evil" again starts with a slightly long-ish intro, but this small gem is all-out speed/thrash metal at its uncompromising best reminding of the Flotsam & Jetsam debut, among other efforts. "Up from the Crypt" is a very cool heavy mid-tempo number with samey, but catchy, pounding riffage. "Walk with the Undead" is highlighted by superb bass performance, followed by a slab of first-class moshing thrash, interrupted by a couple of slower, more melodic sections, one of which is a breathtaking acoustic guitar-driven one. "Wolf Witchery" is energetic speed/thrash metal which never slows down for a split second providing some of the finest headbanging moments on this very strong debut.

"Hauntings And Possessions" is a commendable follow-up, but can not rank as high as its predecessor. It's more power metal-sounding, acquiring at times softer heavy metal tendencies ("Buried In The Basement", the cool haunting theme on "Buried in the Basement"). "The Ring" introduces up-tempo dark thrashy riffage paving the way for "Lost in Darkness"- smashing fast-paced thrash, but the gained inertia is lost on the next "Hand of a Killer". "Possessed by Evil" thrashes like there's no tomorrow again: who cares that this is actually the same song from the debut. "Bloodthirst of Dracula" is the analogy to the "House of the Damned" from the debut: a long, progressively-laced composition, opting for a more technical play, without forgetting about the faster, more aggressive side of the style. This is by no means a very big step down for the guys who remain true to their roots giving their music a wider appeal with cool nods to other genres apart from thrash metal.

The band's infatuations with horror films carries on "Horrors of the Black Mass" which music-wise is much less intense compared to previous recordings evolving in a prevalent classic power metal mould with one high score in the doom metal field: "For the Love of Jinx". Excitements on the faster side of the spectre are not that many: "Come Walk With The Undead" is a more laid-back speedy piece; and "The Witch's Curse" is a rough galloper sounding as though having been recorded much earlier in the dark ages; and the excellent aggressive lashing closer "Up From the Crypt". Overall this isn't a bad listen at all although the thrash metal fan may just give it one listen out of curiosity which would still be worth it.

House of the Damned Full-length, 2002
Hauntings And Possessions Full-length, 2004
Horrors of the Black Mass Full-Length, 2012

Official Site

RAVING MACHINE (USA)

This is modern thrash which means that apart from the staple fast-paced rhythms (“Raving Machine”) one will also come across thick not very penetrable grooves (“Precision”) and a few mellower tricks like the playful stoner/doomster “Revolution”. The singer accommodates all the stylistic switches with vociferous confrontational hardcore panache, even shifting to some cleaner singing for a bit on the closing diverser “Dark New Order”.

Memento Mori Full-length, 2024

Official Site

RAVING MAD (SWEDEN)

Based on the "A Dazzling Display" 2-song demo, this is power/thrash similar to Manninya Blade (the band from whom Hexenhaus originated) and early Laaz Rockit.

The Promo contains a similar material which sounds more serious with a certain progressive touch. The compositions are longer and are full of volcanic seismic riffs and good melodic leads, the shorter stuff presenting the few more energetic moments (the speedy "Lethal Greed"). The 9-min opus "Seduced" at the end is an ambitious undertaking worthy even of Heathen's "Victims of Deception" with a several sudden speedy outbursts well sustained with nice technical guitars. The singer still has to go up the proficient scale in order to catch up with the music, his dispassionate clean singing lacks both depth and range.

Expirience II Demo, 1986
A Dazzling Display Single, 1987
Master Mind Demo, 1989
Lethal Greed Single, 1990
Promo Promo, 1990
Pure Existence Demo, 1991

RAW (GERMANY)

The debut: intense aggressive thrashcore with shades of death metal with brutal low-tuned death metal vocals interrupted by the odd hysterical semi-blackish scream. The guys know no mercy playing quite fast with simple direct guitars which manage to create the necessary musical landscape without adhering to too much noise. Among the 20 tracks one may come across merrier speed/thrashers ("World of Fire"), smashing death metal outrages ("Sirens Calling"), as well as pure old school thrash/crossover ("Drug Me").
"Rawzilla" is another highly energetic amalgam of the aforementioned 3 styles the band moshing out with passion this time the pogo supported by very good sound production. There's seldom a stop from the bash which turns to pure hardcore ("A Farewell to Civilization") on quite a few times a particularly interesting moment being the very good melodic leads and the several catchy melodic escapades ("I Zombie"). The same can't be said about the frequent blast-beats which give this effort an unnecessarily brutal decoration at times.
"Battalion of Demons" follows pretty much the same path the short ripping numbers leaving marks all over the body, especially on the aforementioned blast-beating sections. The delivery acquires more carefree crossover shades ("Full Speed Ahead"), but make sure to stay away from brutal deathsters like "Start a Cult".

Moshpit Full-length, 2009
Rawzilla Full-Length, 2012
Battalion of Demons Full-Length, 2016

Official Site

RAW ENERGY (USA)

One of the least successful attempts at crossing traditional metal with thrash from the American metal scene; the band incorporate some thrashy riffs, but they get buried in the mish-mash which also includes power, heavy metal, doom and even something more. This could have sounded better on a full-length, but in an only 4-song EP such a mixture is awkward, to say the least.

White Stallion EP, 1988

Vibrations of Doom

RAW ENSEMBLE (GERMANY)

This outfit specialize in hard-hitting old school thrash with harsh semi-death metal vocals. The approach occasionally "flirts" with death metal, and overall the 2nd half notches up the intensity with varied headbangers like "Bleeding Out" and the proto-blasting "Weakness & Fear" (please note the jokey "wink" at AC/DC at the end).

Suffer Well Full-Length, 2016

Official Site

RAW IMAGE (USA)

Acceptable classic power/thrash which contains plenty of energy as evident from the bouncy opener "Betrayed and Burned" before "I'm the King" adds some boisterous gallops to the proceedings alongside more intriguing developments. "Crawl" is a wild speed/thrashing headbanger, and "Alone" is a friendlier, also more modern-ish piece with "Destroyed" logically adding more speed/thrashing fury to the proceedings the vocals acquiring a not very pleasant synthesized blend on that one as opposed to their otherwise quite cool clean emotional delivery.

Melodic Agression Demo, 1993

RAW IN SECT (GREECE)

A 3-song demo of very cool technical semi-modern thrash/death metal of the heavy mid-paced to up-tempo variety; at times the music might remind you of Bolt Thrower ("The IV Crusade", "For Victory"), but with a more technical and thrashier edge. Shades of mid-period Death ("Human") could also be heard as well as slight jazzy moments ala Cynic on "Meeting My Ecstasy". Mixing all that together, this band manage to come up with their own style which, hopefully, will develop further on their official releases.
The "Red Flows" demo is three tracks which sound more conventional, still offering something more intriguing, although this time the approach sits somewhere between Darkane and the 90's groovy aggro-school, the closing minutes of "Protect" being a very good example of the latter, a smashing steam-roller with a strong Pantera vibe. "Wall Of Greed" is a dynamic semi-technical jumper, and "Man Less" is not far behind even lashing out in a more classic fashion at some point. The singer is an angry semi-shouter also adding the more aggressive death metal touch to his delivery. The guys are keeping themselves busy with their other band, the heavy/progressive metal formation Stillborn Virtue.
"Red Flows": the three tracks from the promo are placed in the beginning setting the tone for this moderately exciting modern groovy amalgam occasionally graced by sparkles of genius (the more technical puzzler "Scars of Deception"; the dynamic hectic thrash/deathster "Mirror in Ice"). The rest is forceful and confident enough, but lacks the spontaneous outflow of technicality which made the debut demo such a compelling listen. The singer is an aggressive semi-shouty death metal growler, and fits the mechanical chugga-chugga riffage which gives a cold, bleak colouring to the album.
"Blue Haze" is by no means as good as Jimmy Hendrix's "Purple Haze"... kidding of course, but seriously, the guys have messed it up abandoning the thrash field completely for the sake of some not very exciting modern post-thrash quasi-progressive sound. It would probably satisfy fans of Voivod's milder period (1989-1993; 2004-2011), but is more modern-sounding and not as stylish, and also carries the patches of the 90's groovy movement proudly on its sleeves.

Demo Demo, 2007
Red Flows Demo, 2010
Red Flows Full-length, 2011
Blue Haze Full-Length, 2014

Official Site

RAW POWER (ITALY)

Cool thrash/crossover with a heavy shadow of pure hardcore on at least half of the tracks, but still interesting enough to make one stand through all the 15 numbers which are short and fast so there'll not be any boredom settling in. The longer cuts inevitably contain some slower moments, but those aren't bad and overall the listener will have fun listening to this sincere direct barrage which is topped by competent semi-clean hardcore vocals.
"Tired And Furious": the veterans are back on the circuit, and they by all means sound "furious", but hardly "tired"... The good old thrash/crossover (much more crossover this time, than thrash) is served in a merry uplifting manner, these oldies having a very good time pouring these jolly rhythms packed in short 1.5-2min tracks mostly sustained in steady up-tempo which also brings Motorhead to mind. A good relaxing fun all the way...

Mine To Kill Full-Length, 1989
Tired And Furious Full-Length, 2014

RAW RUST (ITALY)

This outfit play rowdy intense classic thrash, not far from the style of the band some of the musicians were involved earlier, the old school thrash outfit H.o.S. The histrionics here are perhaps a bit more aggressive reaching proto-death dimensions with ease on "Zoocracy" in a manner not very far removed from another Italian band, Schizo. Elsewhere we have a relentless, but stylized attack on the senses reflected in effective tireless moshers like "Necrophagism" and "Buffering Emotions". The 2-part title-track reveals a more technical, more complex, also more atmospheric and laid-back on occasion, side of the guys which should be explored more fully in the future. The vocals are passable deathly semi-recitals which don't intrude too much on the way of the hyper-active soundscapes.

Darwinist Regression\ Full-length, 2018

Official Site

RAWATTACK (BRAZIL)

This is raw primitive retro thrash/proto-death which has a sincere old school attitude, but very little else. The guys bash relentlessly the whole thing having this unfinished rehearsal-type aura so characteristic of the mid/late-80's underground scene. The approach is usually fast bordering on hardcore at least half the time. The vocalist is a harsh deathly shouter, and is the only more decipherable feature from this inspired mess.

Drunk Rawriders from Hell Demo, 2006

Official Site

RAWFOIL (ITALY)

Quite good semi-technical classic thrash performed in an appropriate fairly dynamic setting as the headbanging party seldom stops here with diverse gallopers like "Josey Wales" providing a lot of fun alongside more moderate mid-pacers like "Broken Black Stone" and more complex roller-coasters like "Demons Inside". Cuts like "Circle of Hate" give a big boost to the fiesta near the end with their moshing fervour, the intense shouty vocals walking with the energetic musical approach all the way.

Evolution in Action Full-length, 2018

Youtube

RAWHEAD (USA)

Based on the first demo: these guys come up with very cool stylish technical thrash metal which is hectic and jumpy, but never too fast, strictly in the classic mould which, when it takes more chaotic and frantic proportions ("Stillborn"), sounds even more compelling recalling such greats in the technical thrash camp, like Savage Steel and Terrahsphere. The untitled track at the end is a more direct heavy thrasher in the Bay-Area vein.

Something Crushes Spine Demo, 1991
Bones of All Men Demo, 1993

RAWHEAD REX (USA)

Modern thrash/post-thrash which provides both heavy stompers ("As For Pain") and choppy energetic cuts ("Perverts Row"), the clumsy doom "On Mountains Still" a bit of a filler, its soulful vibes partly upgraded on the dramatic "Broken Back", the rough hardcore-ish vocalist trying to fit those mellower moments with a more composed delivery.

No Stranger to Pain EP, 1995

Official Site

RAWHIDE (PARAGUAY)

A really awesome start for the guys who later went on to form the excellent act Corrosion. The music here is less adventurous but equally effective being more aggressive thrash, very similar to Sepultura's "Beneath the Remains" (could have been an influence on the Brazilians, and it was released earlier- kidding, of course! But... you never know), but with a more technical edge. The tempo is fast and relentless with interesting guitar moments which would later find a fuller realisation on the Corrosion album.

Caceria Humana Demo, 1989

RAWOIL (FINLAND)

The debut: this is decent old school thrash which sometimes shreds with more thought ("Rawoil"), sometimes lashes with reckless abandon ("Perpetrator", "The Narcissist"). The rough shouty hardcore-ish vocalist tries to accommodate all musical nuances, but is overshadowed by the superiority of his comrades who pull themselves for the exemplary speedster "Primal Fear" and the choppy semi-technicaller "Asylum".
“Last Day” is a wilder more aggressive entry, the furious “Overdose” juxtaposed to the more volatile elevating “Change” and the steam-roller tank “Incurable”, the more elaborate arrangements of “Sky Burns Red” annulled straight-up by the brutal skirmishes unleashed on “Wonderland”. The closing title-track is a longer more serious proposition with a wider array of time and tempo-changes.

A Sign of Evil Full-length, 2020
Last Day Full-Length, 2023

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RAWRIDE (USA)

Competently done modern thrash with power/speed metal elements thrown in and good emotional, high-strung vocals; the music is intense switching from all-out speed to crushing mid-pace on almost every song, "Radiation" is a particularly vicious piece of thrashiness with very sharp riffage and a heavy stomping portion in the middle.

III Demo, 2010

RAWSHOCK (USA)

Speedy ripping, semi-technical, very good thrash which flirts with a few modern pounds on "Blowout", but expect smattering dense technical passages to take over at some stage, turning the setting into a near-Watchtower-esque wizardry. "Self-Destruct" is a nervy frantic piece with time and tempo-changes galore, and "Next Life" switches to more linear speed/thrash algorhythms, a light-hearted merry-go-rounder which also has its more intense vibe. "Enter Reality" thrashes with little remorse, also adding a couple of more contrived hooks, the cool clean attached singer covering several octaves, coming close to Joey Belladonna (Anthrax) on the more convincing moments.

Rawshock EP, 1990

RAWWAR (CANADA)

This is the band from where the Cryptopsy guitar player Alex Vachon started his career. The music is very fast and brutal with Kreator's "Pleasure To Kill" the prime target for worship. Happy crossover moments can also be found here ("Razzle"), but the rest is relentless devastating thrash metal which would please most fans of the genre.

Delirium Demo, 1988

RAYDEAD (AUSTRIA)

One of the very few thrash metal bands from Austria; this is more of a death/thrash mixture; fans of Protector will enjoy this. Some shades of Benediction could also be heard in the faster parts.

Raydead EP, 1991
End In Sight Full-length, 1993

RAYZ (SPAIN)

A 3-songer containing heavy abrasive modern post-thrash which lacks dynamics and also suffers from too many vocal participations all of them within the death metal confines, and neither of them very pleasant. "Mafia De Dios" is a surprising faster cut which death/thrashes in a shockingly brutal manner (compared to the previous material) that it may catch the listener completely unprepared.

Maqueta EP, 2013

RAZA DE ODIO (ITALY)

A very good band playing modern technical death/thrash spiced with flamenco melodies; among the band members one can see names who are also a part of more renowned bands, like Necrodeath and Sadist. The style is slightly reminiscent of Necrodeath, their slower moments, but is more choppy, and slower. The acoustic guitars are perfectly embedded in the sharp riff wall of sound; a unique band who are yet to show their best. Although this is not fast and aggressive stuff, the frequent change of tempos create quite a dynamics, aggravated by the sudden, but stylish insertions of the acoustic flamenco guitars. Surprisingly, there are no pure flamenco songs, except for the most of "Vente pa Madrid", and the short tracks are clearly hardcore-influenced ("Odiados"), including the cover version of Cryptic Slaughter's immortal hymn "United Forces" at the end.

La Nueva Alarma Full-length, 2004

Official Site

RAZBOINIX (RUSSIA)

This new formation play intense crushing old school thrash with sparse adherences to hardcore. Some tasteful lead guitar work permeates the songs and makes the proceedings more appetizing which increase the intensity with each passing number to reach an almost Slayer-esque aggression near the end. It's too bad that the songs are all quite short (2-3min) and leave some moments unfinished which disfavours the guys' skills which definitely deserve a longer playing time including the singer whose mean-ish semi-clean antics aren't a detriment to the dynamic musical approach.

Razboinix Full-Length, 2014

Official Site

RAZE (SPAIN)

This EP contains four songs of energetic crisp speed/thrash which hits the top on the frenetic shred on "Crime Scene, Do Not Cross". "Man vs. Machine" is more controlled and laid-back, but the wild approach returns with "Operation Enduring Freedom" which alternates fast with slower sections on a dramatic riff-base. "Into the Fire" is another inspired speed/thrasher which sees the guys add a few more technical licks to the moshing melee. The vocalist is the right semi-cleaner who emits both emotion and aggression in equal dozes giving a nice push to this promising short effort which should be used as the backbone of a fulfilling full-length.
The full-length is a pretty decent achievement the band also showing their more interesting side with the stylish, semi-dissonant, opener "Bad News". "L.O.B." carries on in a more orthodox speed/thrashing fashion. "Evil Waits" is more on the power/speed metal side, but "The Siege" is fast-paced semi-technical thrash which leads to a short string of speedsters before the closing "Streets of Wickedness" provides more complex arrangements on a solid speed/thrashing base and a few quirks on the bass.

Man vs Machine EP, 2011
Mankind's Heritage Full-Length, 2015

Official Site

RAZED (MALAYSIA)

Based on the "Forever Venus" EP, these Malaysians play rough groovy post-thrash which has enough edge to make the listener stay till the end, but apart from hectic groovy formulas one would hardly come across anything else. Wait, there's one surprise: the mid-break on "Imagination's Pigmentation" is a sudden switch to hard-hitting headbanging thrash with a nice balladic interlude. Also, the unexpected technical guitars on the closing "The Face Of Bliss" in the middle may raise an eyebrow. That's it...

Faith & Victory EP, 2011
Forever Venus EP, 2013

Official Site

RAZED RITUAL (USA)

This is retro thrash with covert semi-technical overtones, heavy pummeling stuff which relies on seismic volcanic mid-tempo riffs (“Ouroboros”, “Pulse of Death”) to pull it through, the very shouty death metal singer a somewhat grating-on-the-nerves presence. The pounding squashing grooves of “Innocent Still Burn” are a slight betrayer to the instilled old school mentality, but “Wither” is a sure-handed headbanger, working well in team with the more contrived closing saga “Plague of Justinian”.

Detrimentum Full-length, 2023

Official Site

RAZEFORCE (BRAZIL)

Two songs of energetic speed/thrash akin to Iron Angel and Vectom; the riffs lash with force hampered by the awful sound quality, and the singer is not bad with his semi-declamatory timbre reminiscent of Jurg Weiss (the first Angel Dust singer).

Megaforce Demo, 1989

RAZEND (HOLLAND)

Members of Acrostichon and Outburst are involved here for the creation of this fairly decent impetuous classic thrash which pulls off all the progressive thrash gimmicks on the excellent, very vivid opener "Girl In The Mirror". Things don't reach the same heights later on, but the delivery remains on the dynamic side except for the slightly underwhelming semi-balladic "Time". "Substantia Nigra" compensates to an extent serving nearly 7-min of fast-paced, hard-hitting shreds; and the remaining material in the second half retains the energy the closing "No Cure For Dementia" betraying the pace a bit with heavy stomping rhythms. The vocals are quite good, high-strung and clean with a nice emotional blend, and can even pass for the highlight.

White Goat II Full-Length, 2016

Official Site

RAZGATE (ITALY)

Based on "Welcome Mass Hysteria", these guys specialize in crisp lively old school power/thrash which can be served with a goofier air ("Sweetest Poison", the title-track) respectively staying closer to speed metal at times, but can also be intense and jumpy (the nearly hardcore-prone "Ride for a Fall"). The guys show their more serious side towards the end with a string of longer, more thought-out propositions (the heavy steam-roller "Skinwalker", the speed/thrashing diverser "1348"), the attached shouty semi-clean vocalist assisting his comrades with his omnipresence, even stifling their endeavours at times. Some of the band members are also active with the progressive/power metal formation Inside Mankind.
"After the Storm... the Fire!" is a much more belligerent affair as evident from the rowdy battle-like opener "Rising Death", and the impetuous gallops on "Broken by Fire" handsomely support this exemplary inauguration which later receives more able assistance in the face of the all-out headbanger "After the Storm" and the speed metal roller-coaster "Grinding Metal". Things are close to getting out of hand on the proto-death outburst "Behind the Walls of Terror", and generally there's no speed lost on this intense saga which even offers something for the hardcore fanbase ("Bloodshed & Deliverance") towards the end.

Countdown to the End EP, 2014
Feral Evolution Full-length, 2017
Welcome Mass Hysteria Full-length, 2018
After the Storm... the Fire! Full-length, 2020

Official Site

RAZO (COLOMBIA)

Modern thrash with harsh death metal vocals accompanying the musical fiesta which can at times be on the proto-groovy side ("Attack Me"), at others can swing towards the more dynamic parametres ("Guerrero"). The latter is covered more widely and ripping moshers like "Guere" and "Flame" lead the show assuredly, letting a few more officiously executed pounders ("Deathless") slip through the cracks.

Deathless Full-length, 2018

Official Site

RAZOR (CANADA)

These Canadian thrash metal legends were one of the first, alongside Anvil, Exciter and Voivod, to try their hands on more extreme metal north of the USA, but their debut EP remains just a more energetic version of the widely spread at the time US heavy/power metal with shades of Motorhead, leaving the band behind their three aforementioned compatriots. The guys, however, were determined to make a more lasting impression, producing two full-lengths in 1985, "Executioner's Song" now being full-fledged speed metal, with Exciter a very obvious influence although still far from the greatness of "Violence & Force", maybe on isolated cuts (the furious speed/thrasher "City Of Damnation"). The energetic speedy delivery and the subdued, gruff semi-declamatory vocals of Bob Reid gave the band a cool, individual shade which was well translated just a few months later, on "Evil Invaders", which saw the band quickly moving towards the up-and-coming thrash metal trends, with a forceful sound aptly reflected in the bridled fury of the opening instrumental "Nowhere Fast". Later on the style still remained a mix of speed and thrash metal, but the approach had become more aggressive and rougher, with no shades of the heavy metal past left, boasting pretty efficient, intense thrashing pieces: "Evil Invaders", with the legendary catchy chorus; the ultra-speedster "Speed Merchants"; the "thrash dance" on the closing "Thrashdance". The band's hard work eventually paid-off, turning them into the first real thrash metal act from Canada well before the genre's peak.

The guys' productivity remained high with albums released barely half a year apart from each other, with "Malicious Intent" being another "malicious" thrash assault from beginning to end. "Custom Killing" was a shift into more thoughtful music with regards to the new demands on the field during the late-80's, offering interesting, albeit still pretty uncompromising, thrash in various tempos on the fairly long 11-min opener "Survival Of The Fittest". Other deviations included a return to the more conventional speed metal approach ("Shootout") of old as well as less controlled ventures into a proto-death metal territory ("Forced Annihilation"). Another diverse 11-min thrashing opus was served in the middle ("Last Rites") followed by more laid-back speed/thrashers, all this finished with the cool 30-sec "Russian Ballet" instrumental. The album was quite a concoction of styles, rather for the better than for the worse, but in the year when Infernal Majesty released their eponymous debut, Voivod came out with the ground-breaking "Killing Technology", and the newcomers Savage Steel shot two albums ("Begins with a Nightmare" & "Killing Time", in a manner similar to Razor themselves two years ago) of fairly good technical power/thrash metal, it could have hardly made too many heads turn in their homeland, let alone around the world.

The guys abandoned the experiments, apparently not happy with the results, and "Violent Restitution" (the decision also reflected in the album-title) was forceful hard-hitting thrash to the bone, even coming with a certain hardcore edge at times on the shorter, more violent pieces (14 songs altogether). This effort served to ensure that the thrash metal fans could rely on at least one act to not make compromises with their traditional blitzkrieg style during those times. And when "Shotgun Justice" came out, it delivered exactly that: another 14 pieces of fast aggressive thrash at its finest; direct rapid-fire riffage falling from all sides to an exhausting effect made this album Razor's best, and one of the undisputable gems from the Canadian thrash metal crown. Reid's style had shifted towards a more expressive, higher-pitched, but also angrier, singing, suiting the intense musical delivery just fine.

"Open Hostility" continued in the same vein, spitting venomous brutal thrash all around, the band one of the very few who remained faithful to their main style during the genre's metamorphosis years of the late-80's/early 90-s. True to their determination to not succumb to the modern trends, the guys took a long 6-year break during the modern times, before hitting with their latest offering so far: "Decibels" was a capable comeback release, with just a few adjustments to the tastes of the period (the more synthesized edge of Reid's vocals, the boosted guitar sound, etc.) made. The title-track is a major thrasher, which opens the album in an invigorating fashion, paving the way for the flood of "mad thrashin'" numbers, which this time come with a stylish, more technical edge, a nice twist, and a pretty good addition to the hard-thrashing. "Great White Lie" offers a few heavier sections, and "Open Hostility" (there is no track of that name on the previous album) is a softer speed metal cut reminding of the guys' infatuation with Motorhead in their early stages. "Goof Soup" is a formidable galloper with sharp crushing rhythms, but the final "Violence... Gun Control" would be an entirely different story, a creepy industrialized affair in a moody mid-pace, an obvious tribute to the 90's, done well, but scarily suggestive at what might follow later.
What followed, however, was a long indefinite hiatus which lasts to the present day: although the band are reportedly active, they are apparently taking their time, carefully preparing their response to the reunion/comeback vogue which is in full swing at the moment. By all means the scene would be happy to have some justice restored soon, be it a "shotgun" one...
"Cycle of Contempt": wow… hard to believe… but you better believe it; cause the Canadian veterans have finally decided to grace mankind with another creation… a more than welcome entry into the modern metal horizon, the lads thrashing with might with the opening "Flames of Hatred", the remainder following this hyper-active trend closely, "Off My Meds" a most pummeling delight, a brief to-the-point violator, "A Bitter Pill" another very speedy proposition. There's very seldom a respite on this all-out old school attack, "First Rate Hate" providing the obligatory more technical inclination, the rest thrashing your neighbourhood in no time, Bob Reid spitting the lyrics in his staple quarrelsome semi-declamatory fashion, helped by his comrades on the shouty choruses on the hardcore-ish mosher "All Fist Fighting", adding a more sinister deathly shade to his timbre on the excellent fast-paced semi-technicaller "Darkness Falls".

Armed And Dangerous EP, 1984
Executioner's Song Full-length, 1985
Evil Invaders Full-length, 1985
Malicious Intent Full-length, 1986
Custom Killing Full-length, 1987
Violent Restitution Full-length, 1988
Shotgun Justice Full-length, 1990
Open Hostility Full-length, 1991
Decibels Full-length, 1997
Cycle of Contempt Full-length, 2022

Official Site

RAZOR'S EDGE (GREECE)

This band specializes in a dark atmospheric brand of modern thrash/death which is mostly heavy and mid-paced with certain doom undercurrents. The guitars crush like hammers, and the singer will scare you further with his brutal low-tuned growl.

Royal Hate EP, 2011

Official Site

RAZOR BUTCHERS (FRANCE)

This is decent retro thrash aggravated by a variety of death metal vocals. The guys exhibit a good sense of melody which graces both the pounding steam-rollers ("Judgment Day") and the ripping headachers (the ironically-titled "Whispers"), the more relaxed power metal-ish nature of "Purgatory" a bit debatable addition. Still, when the band thrash, they take no prisoners ("Razor Butchers") although the more ambitious stomping aesthetics of "Hammer's Rage" aren't to be ignored, either.

Slaughter Full-length, 2019

Official Site

RAZOR FATE (USA)

These guys play "louder than god" who may be mildly entertained by their noisy volcanic brand of modern power/thrash which has its fair share of dynamics and may even come subtly technical ("Bless the Blade") at times. "Reap The Whirlwind" would be a rude awakening, a dramatic heavy thrasher which brings other nice "fruit" after it: the almost death metal-sounding "The Siege of Heaven", a mid-paced steam-roller; and the imposing closer "The Cursed Seed of Cain" which is faster and more melodic excelling in the lead department. The singer is quite dramatic without hitting any high registers; his emotional semi-clean croons are suitable to the heavy abrasive musical picture.

Louder Than God Full-Length, 2008

Official Site

RAZOR FIST (USA)

Based on the full-length debut, this band play power/speed/thrash metal the way it used to be played in the 80's in the USA: think Destructor, Agent Steel, Attacker. This is an entertaining mix of forceful speed/thrashers ("Demon Christ", "Death's Head Revisited") and heavy American power metal tracks ("When The Witches Ride", "Razor Fist Force"). The singer is really a find with his high-ranged voice, reaching almost Rob Halford-like heights at times.

"Metal Minds" is a faithful follow-up, concentrating on speed metal a bit more, well expressed on the "furious" opener "Fury of the Warrior". The next "Metal Minds" misleads with calmer riffage developing in a milder power metal fashion, but there's lots of moshing on this one later. Saddle the horses for the galloping "Runner", before a few reminders of the more recent power/speed metal scene ("Cosmic Hearse Driver", "The Seer", this one is thrashier) hit the speakers. Ultra-speed/thrash this way comes with "Thirst for Disaster" and "Breath of Fire" and the more controlled "Silver Howler". The song length increases for the closer "Loud into the Night", but the fast energetic pace remains, and this track would be another no-brainer for the speed metal lovers. All the guys, except the singer (who wouldn't possibly fit into the other picture), try their hands on something quite different, playing a melodic brand of black metal with their other band Tower of Babel.

Rage of the Black Blade EP, 2005
Razor Fist Force Full-length, 2006
Metal Minds Full-length, 2009

My Space

RAZOR OF OCCAM (AUSTRALIA)

The line-up includes two members of Destroyer 666, but the music lacks the death and epic metal elements of this band's later releases, and concentrates on pure black/thrash assault of the old school; fast and intense most of the time, but offering pleasant variations with a slower, doomy sound. "Homage To Martyrs" is way more brutal, often sheer black hyper-blast madness, but the thrashy breaks can be come across more than now and then, and those which come with an epic, mid-period Bathory shade ("Heat Of Battle"), are quite compelling; the other highlight is the intense riff-monster "Pattern On The Stone", where the guys shred like crazy. However, the high speed on the other material might come as too much for the more conventional thrash metal fan.

Diabologue EP, 1999
Pillars Of Creation EP, 2003
Homage To Martyrs Full-length, 2009

Official Site

RAZORBACK MX (MEXICO)

Based on the full-length, these lads serve abrasive retro thrash which is woven of speedy blitzkrieg knots ("The Path of Flames and Pain", "Asylum") the latter dancing around a few more complex Bay-Areasque shredders ("Founders of Our Nation") and especially the excellent prog-thrasher "Biological Solution", the undisputable highlight here and a major statement of intent that also comes supported by the similarly-styled albeit more direct "Fires Falling". These lads by all means have future; if only they could take care of the muddy production and the not very expressive murky, semi-declamatory vocals... some of the band members are also active with the symphonic black metal formation EverWinter.
“Eternal Abyss” continues with the old school thrash odyssey, the guys moshing with subdued passion on “Ephemeral Intoxication”, but come out with all the guns blazing on the ripping “Catharsis Unbound”, before the delivery gets embraced by heavy seismic rhythms (“Serpents of Deceit”, “Cyanide Words”) for a bit in the middle, the war-like riffs brought back with “Fatal Warfare”, the final “When the Wrath Comes Down” exhibiting some admirable complex proficiency as a finishing touch. Some of the band members are also occupied with the symphonic black metallers EverWinter.

Supercharged EP EP, 2016
Time Collapsing Machine Full-length, 2020
Eternal Abyss Full-length 2023

Official Site

RAZORHAIL (IRELAND)

These Irish folks provide diverse modern thrash/death metal which overflows with atmosphere the latter provided by either ethereal operatic inclusions with a lush use of keyboards; or by sprawling quasi-industrial landscapes. The style needs to be refined a bit here and there since now it has a not very coherent shape with the direct guitar passages stifled by the other references which are too long for a short effort like this (there are only five actual compositions here). Otherwise the guys shred with competence their mechanical dispassionate inclinations rubbing shoulders with acts like Meshuggah, Fear Factory, Grope, Scarve, etc.

No Forgiveness Full-Length, 2013

Official Site

RAZORMAZE (USA)

The demo is vintage 80's speed/thrash, well done, mostly in the early German tradition; good sharp riffs, mean enjoyable semi-clean vocals, screaming leads, fast tempo, nice melodic tunes ("Annihilator"), and mid-paced heavy riffs ("Lobotomized") thrown in the end.
"The True Speed of Steel" elaborates on the sound from the demo starting with the smashing speed/thrash instrumental "Dawn of the Shred". No speed lost on the next "Annihilator" which lashes riffs from all sides like there's no tomorrow. "Slaughterotica" even acquires proto-death tendencies for a while before "Desperado" calms the tempo down with galloping up-tempo riffs also offering a cool interpretation of Ennio Morricone's main theme from "The Good, The Bad, and The Ugly". No mercy, however, on the thrashing delights "Bleed on Command" and "Lobotomized". "Dipsomaniac" is the other "catalyst" providing slower mid-paced guitars with a power/thrash metal edge. The closing "Slave to the Maze" brings back the all-out attack pulling out quite cool technical moments ala early Testament along with a couple of more melodic hooks taken from the Metallica debut. The band is the continuation of the 90's thrash metal act Aggroculture who is still active, by the way, with a demo released in 2007.
"Miseries" is three songs of the same energetic brisk stuff, fast-paced speed/thrash metal with technical Testament-esque leanings and good semi-clean mid-leveled vocals. The tracks are direct and lashing with "Miseries of the Flesh" being a bit more complex and longer also recalling Paradox's "Heresy".
"Annihilatia" is another fitting addition to the band's growing catalogue, and it won't disappoint with its fixation on old school speed/thrash which is served with a nice technical/progressive flair on the opening "Something Like a War" which is followed by shorter and more accessible cuts which will make you headbang to oblivion ("Vorshipping the Void"). "Demagogue" is a slower heavy stomper, and the following "Electric Deception" is another more engaging longer number with great progressive undercurrents. The remaining material retains the complexity by also reducing the duration the closing "Without Words" ripping the air with speedy steel technical guitars to a pretty imposing effect. This is a real improvement over the already fairly cool debut in almost every department seeing another force looking to establish themselves on the front echelon of thrash metal.
The "Spawnsong" EP is a cool more technical turn for the band, still retaining the fast-paced approach from the previous recordings, even reaching blast-beating extremes on "Litany", before the closing "Rotten Altar" drowns everything and everyone into a sea of addictive, breath-taking melodic tunes.

Slave to the Maze Demo, 2008
The True Speed of Steel Full-length, 2009
Miseries EP, 2010
Annihilatia Full-Length, 2013
Spawnsong EP, 2016

Official Site

RAZORWYRE (USA)

This 5-song EP is a cool mix of melodic guitar "duels" ala Iron Maiden and edgier proto-thrash riffage in mid-tempo except for the nice vigorous speedster "Suspiria". The music needs a little refinement: there are a few awkward hardcore-ish moments ("Fuck You Tonight") and the guitar sound comes a bit gruff here and there. In the vocal department things look normal the singer pulling out a convincing performance with his semi-detached, clean mid-ranged timbre. And who knows, maybe on future efforts the guys will decide to explore the thrash metal field further?
The full-length is out and shows the guys in an inspired form to produce more classic-inclined power/speed/thrash the opening "The Conjuror (Shaman's Wrath)" being an imposing speedster with epic overtones. "Knights of Fire" is shorter and more immediate, and will raise the flag of German speed metal high with memories of early Helloween and Not Fragile. "Fight Or Be Fucked" gets the message through from the very title, but music-wise it's more moderate and not as fast clinging towards the epic power metal side with echoes of Manowar and Omen. This softening leads to a string of mellow power metal compositions. Then out of the blue jumps out the formidable speed/thrash on " Desert Inferno"; there will exhausting mosh on this one assisted by a few blazing leads. "The Fort" is glorious soaring speed metal with the German peers touched again the same ground covered quite well with the aptly-titled "Speed Warrior" which is the last "call for speed" since the exiting 2 songs are laid-back power metal cuts. The singer is a good asset with his warm clean mid-ranged voice who doesn't experiment with it a lot, but at the same time doesn't drag the good music down. This is a faithful dedication to the old times also expressed in the appropriate quasi-rough sound.

Coming Out EP, 2009
Another Dimension Full-Length, 2012

Official Site

RAZZIA (ARGENTINA)

The shadows of the veterans on the Argentine metal scene Horcas & Hermetica loom heavily over this new effort which comes as a feelgood blend of power and thrash which is hardly on the exciting side, marching clumsily forward in a tedious mid-pace, producing absolutely no surprises along the way. There's no reason why one should try this album out unless he/she is a diehard collector with a passion for the least adventurous.

Desde Abajo Full-length, 2011

My Space

RDH (UK)

One man-show, the name Richard Larkum, indulging in a classic/modern thrash blend which has enough edgy moments to satisfy the more pretentious fans out there; the overall delivery isn't very far from more recent Slayer, and dark brooding shredders like "Reap What You Sow" and "Your Disaster" reveal a slower, but equally as exciting side of the album although the poignant ballad "This Can't Be Real" may come as too much. The second half is built more on groove mostly relying on the more vivid "The End" to pull it out although the final "Never Forget" is a heavy semi-ballad. Larkum provides a leveled mid-ranged semi-clean baritone behind the mike which is on par with the decent, albeit not very impressive music.

From Out of the Darkness\ Full-length, 2017

RDX (JAPAN)

Based on the full-length, this act provide vintage classic roller-coaster thrash which nicely reveals its hard-hitting nature with the smashing opener "Third Eye-My Lord". The interesting gimmick here is the inclusion of nice female vocals to accompany the main shouty male ones. Expect mid-tempo balladisms ("Third Eye-New World") as well where the leads are simply stunning, some of the best to ever come out of Japan. "Third Eye-Black Wind" is a ripping headache causer, and "Purge" races with the speed of light influencing the following "Crossover!" which is pure unadulterated thrash, if you ask me, no crossover here. "Throw Away" is not exactly a "throwaway" with its blitzkrieg riffage "Speed Metal Violence" and "Thrash Metal Attack" closely following suit as also evident from their titles. The guys (and a girl) are enamored with the good old thrash, as also quite obvious from the efforts' titles, and by all means do a fairly decent job keeping the second golden period of the genre afloat. Worth of note is also the presence of Masayuki Suzuki, a drum guru also known for taking part in the heavy metal legends Loudness and Saber Tiger, and the thrash one-album-wonder Negarobo.

Thrash Metal One EP, 2000
Thrash Metal Two EP, 2001
Thrash Metal III Full-length, 2006

RE-ACTIVATE (USA)

These are the same guys who later made better more technically-inclined music as Faust. Here the approach is modern-ish without forgetting about the classic remnants resulting in a heavy, not very dynamic, affair which volcanic character is nicely broken by the faster cuts ("Time of Reality", "Retard the Non-Essential") which still carry the steam-roller charge. Some of the musicians are now active as Yuck Fou where the style is more on the thrash/crossover side; and they released one album in 2000 of classic heavy metal under the name Unkind.

Prevailing Domination Full-Length, 1995

Official Site

RE-ANIMATOR (UK)

The band had a fairly impressive start with their first two works showing a lot of promise with its forceful, crunchy and somewhat original sound. "Deny Reality" was a good way to "test the soil": a cool little slab of energetic, semi-technical thrash, with nods to the Bay-Area scene (Testament, in particular), picking more aggression at times ("D.U.A.F."). "Condemned to Eternity" is not a very distant departure, but the presence of several longer, more complex tracks, makes it the more ambitious effort. The guitar work is more proficient and pounding, and the sound has shifted towards late 80's Metallica on those longer songs; the rest is also pretty good more straight headbanging thrash. Unfortunately, the band's desire to give a more original edge to their sound threw them all over the music spectre on their next releases (including the notorious funk tunes on "Laughing"; there will be hardly a handful of fans "laughing" on this one, though, ...) with the final result quite unsatisfactory, to put it mildly; a sad example of a sheer talent gone wasted.
The "One More War" EP: another veteran is rising to meet new challenges in the new millennium... having in mind how deplorably the guys fell in the early-90's, one can't help but have reservations regarding a comeback stint from this camp. Well, we have all the reasons to doubt the band's predilections as this offering is a very predictable hesitation between the modern and the old school, a vacillating thrash/post-thrash offering which finds little solace in the varied but energetic chugging title-track, before "Condemned to Eternity II" winks at the guys' full-length debut with a more intense thrashing approach with a sniff of the old canons. "Old Stinker" is not exactly a stinker but is nothing more than a rugged groovy sing-alonger its clumsy feelgood-ness cancelled outright by the moshing headbanger "Blood Soaked Vacation". The remake of the title-track at the end is a very debatable decision as it's by no means an enhancement on an already unconvincing hymn, the semi-shouty/semi-clean vocals trying to tear their vocal cords on this one.

Deny Reality EP, 1990
Condemned to Eternity Full-length, 1990
Laughing Full-length, 1991
That Was Then... This Is Now Full-length, 1992
One More War EP, 2019

Official Site

RE-ANIMATOR (USA)

An excellent demo of aggressive fast-paced thrash metal sounding like a more controlled, and a more technical, version of Slayer's "Reign in Blood", or Vio-Lence's "Eternal Nightmare". The songs are longer, and more complex arrangements are present ("A Product Of The State") reducing the speed a bit. The rest is great speedy stuff with mighty steel riffs, occasionally impressive lead work ("Nuclear Devastation"), and forceful semi-clean vocals.

The Final Stage of Evolution Demo, 1988

RE-ARMED (FINLAND)

Based on "Rottendam", this act serve pretty conventional modern thrash which is dynamic and all, but doesn't have its individual face trying to insert a few heavier grooves to spice the generic delivery. The vocals are of the shouty/death type reaching the point of hysteria at times.
"The Era of Precarity" continues the modern thrashing saga now adding more brutal death metal elements, ending up sounding like another Gothenburg wave clone. The melo-thrash/death melee never stops till the end with spasmodic blast-beats appearing later on alongside short hardcore outbursts ("Three Headed Beast").
"Ignis Aeternum" is a softer more melodic affair with catchy melodic hooks galore and pompous symphonic gimmicks ("Ode to Life") where keyboards and cleaner vocals pop up at will for the creation of cheerful uplifting atmosphere. Speed isn't the order of the day, the prevalent mood sustained by heavy stomping walkabouts like "Resistance" and the semi-balladic elegy "Words Left Unsaid".

Worldwide Hypnotize Full-length, 2012
Rottendam Full-length, 2014
Total Lack of Communication EP, 2015
The Era of Precarity Full-length, 2016
Ignis Aeternum Full-length, 2020

Official Site

REABILITATOR (UKRAINE)

The debut: this Ukrainian trio quite nicely reminds of the veterans on the scene from their homeland Adem who disappeared after leaving two fairly effective technical Bay-Area influenced albums in the late-80's, and one really disappointing interpretation of the modern 90's tendencies in 1996. Here the focus is on the band's early efforts and these youngsters pull out inspired retro thrash developed in a vigorous up-tempo with expressive guitars and strong bass support. The thrash "assaults" follow one after another the band not offering anything too complicated preferring to shred with power and speed the only minor complaint coming from the vocals which are of the shouty, slightly hysterical, type and don't carry any emotion or a tad of melody which could have been cool assets. This is a true dedication to the old school done with competence and understanding of the genre canons despite the fact that there is hardly anything too original on offer here.
"Social Programming" would be an appropriate soundtrack to any "social programming" around the world as the band thrash much harder than they did on the debut the sound now bordering on proto-death more than now and then. "Stop!" pulls a "stop" on the more aggressive delivery with calmer rhythms, and "Pseudoexistence" is a really cool stylish technicaller, still raging hard, but throwing quite a few hard to swallow sections at the listener. "Thrashers Protest" will serve as a slogan to every "thrasher's protest" (a lot of social comments today) with its blitzkrieg riffage, and "Intentional Suppression" is a raging speedster second to none with burning, cutting riffs. "God Of Earth" is an excellent, more proto-death prone, semi-technical cut laying the foundations for the closing "Thrash! Destroy!" which sets to "destroy" what has been left from this exhausting downpour.
"Mentally Defected" is a tasty slice of the good old thrash the lads moshing with glee and overt enthusiasm, the headbanging spontaneity of the title-track and "Holy Lies" infecting everyone in the vicinity, the less fussy thrash/crossover spirit of the breezy "Deadly Infection" pairing well with the more serious mulling of "Annihilation by Vaccination" and the intense but melodic speed/thrashisms unleashed on "Annihilation by Vaccination" and the very fittingly-titled "Thrash Way of Life".

Global Degeneration Full-length, 2012
Social Programming Full-Length, 2016
Mentally Defected Full-Length, 2022

Official Site

REACHER (UK)

This British outfit indulge in fairly cool retro speed/thrash which lashes hard on short direct cuts like "Cybernectica", but mix their rapidfire approach with more moderate heavy/power metal cuts ("Londons Burning"). "Loaded Gun" is an energizing galloper, but the 2nd half is not as dynamic only producing the rigorous "Angel" and of course, the speedy "Speed". The vocalist is a cool asset, though, with his warm assured mid-ranged clean timbre.

Generation Kill Full-Length, 2016

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REACTION (ITALY)

A new trio from Italy who provide a tad less predictable modern post-thrash which is reflected in longer for the style compositions and several melo-Swedish sections which kind of don't work quite well with the calmer passages. The balladic moments ("Cage of Freedom") seem to work better since the overall tone is not very hard-hitting at all except on the faster cut "Resistance" and the more dynamic shredder "Human Race" where the approach becomes more overtly thrashy, and also graces the final "Kill the Parasite" where the band show their teeth more widely with more aggressive guitars recalling mid-period Megadeth and Annihilator. The singer isn't a highlight with his subdued clean tone which lacks power and depth at times completely buried under the instruments.

Kill The Parasite Full-Length, 2013

Official Site

REACTOR (CANADA)

This is the band where Dave Galea, who later played for Cryptopsy, started his career. Based on the self-titled demo, these guys pull out heavy mid-paced thrash metal which on its best moments might remind you of Celtic Frost ("Nosferatu"), but there are moments where the music becomes very fast, like on "The Plunge". The mixture, however, is quite uneven, and the final impression is mostly on the negative side.

Reactor Demo, 1988
Dangerous Music by Dangerous People Demo, 1989
Matches Demo, 1990

REACTOR (UK)

Based on the 1989 demo, this act plays aggressive thrash/proto-death with very gruff brutal death metal vocals. The guys lash with passion often moving towards the pure death metal camp ("AIDS", "Midnight"), and despite the messy sound quality the guitars can be heard clearly most of the time including the fine melodic moments which don't last for too long also strangely recalling Flotsam & Jetsam's "Flotzilla" from "Doomsday for the Deceiver", but are an interesting addition to this dark obscure effort.

The Final decision Demo, 1988
Demo Demo, 1989

REACTOR (UKRAINE)

This is intense aggressive thrash/proto-death which lacks a bit in the production department, but the band compensate with inspired musicianship which keeps the high speed on top for most of the time. "Paranoia" is an admirable technical cut with serpentine guitars and meandering decisions which are quite impressive and not very predictable. It's obviously the culmination of this effort since after that the songs are very short and bashing the guys taking it easy after such standout performance from which only the singer slouches with his unrehearsed deathly rendings. Later the guys went onto bigger glories turning into one of the more productive outfits on the Ukrainian metal scene with a string of full-lengths of fairly cool industrial-tinged death metal.

Demo Demo, 1990

Official Site

REACTORY (GERMANY)

A German "thrashin'" act (based on the demo) who specialize in old school speed/thrash which sounds like a weird mix between Exumer's "Possessed by Fire" and Exodus' "Bonded by Blood", the latter impact (which is not "imminent") being stronger. The exception is the gruff black metal vocals, but in a musical sense we have an able mix of "speed and thrash", like on the vigorous "Thrash And Speed", and the short bombastic "Drop The Bomb". Expect a few melo-death leanings on "Gone In The Wastelands", but the rest is solid retro stuff with a slightly buzzy guitar sound.

The EP is a sure-handed entry into the almost empty at this stage thrash metal catalogue of 2013. The band thrash on with no remorse playing quite fast and aggressively "courting" the German patterns almost exclusively this time recalling Destruction quite a bit on the more engaging material: the prime lasher "Total Destruction" which even goes beyond Destruction being "total". So there is real danger here for you to be "killed by thrash" like the title of the closer suggests: this is a heads-down old school assault which should serve as a good warm-up for the ensuing "massacre" later in 2013.
"High on Radiation" will put everyone "high on radiation" with its blitzkrieg delivery which spits fire from the very beginning with the aptly-titled "Shell Shock" which is not exactly the Manowar cover you would expect. "Spreading Brutality" will "spread the brutality" far'n wide also adding a nice melodic edge to the raging guitars. The winning formula is applied over and over on the ensuing cuts the overall approach recalling the Brazilians Violator quite a bit with early Destruction another very close call ("Metal Invasion" is not far from the fierceness of the immortal "Bestial Invasion"). Prepare to be quite surprised near the end, first with the exemplary progressive speed/thrasher "Orbit of Theia" which beats almost every composition from the last few Paradox albums (almost seriously...); and finally with the closing technical rager "Blasphemous Attitude" which sees the guys on top of their game, and arguably the hottest proposition from Germany for the past few years.
"Heavy" doesn't disappoint the band sticking to their staple highly-energetic delivery which here is spiced by blotches of technicality ("Shrines Of The Forgotten Gods") and sweeps of breath-taking melody ("Angstharsis"). "Monolith" is a mid-paced stomper which infects a couple of cuts in the second half before "Let Me Rage Before I Die" shoots everyone at close range with a portion of fast raging riffs. The closing number is a cover of Motorhead, but it's "Eat The Rich", not "Ace of Spades", played with conformity with the guys' intense approach turned into a potent speedster.
"Collapse to Come" is one fairly intense beast, and the listener will get an almost instant neck-sprain from the opening duo, ten vitriolic approach never subsiding later, and although "Graves of Concrete" tries to insert more moderate mid-tempo drama, the headbanging delights ("Drone Commander", "Evolving Hate") keep coming in quick succession, the more technical lustre of the closing "Enemy" again promising a more contrived fun on future instalments.

Demo Demo, 2010
Killed by Thrash EP, 2013
High on Radiation Full-Length, 2014
Heavy Full-Length, 2016
Collapse to Come Full-length, 2020

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READY FOR DEATH (USA)

Fast pummeling old school thrash/death which is reflected in both heavy, intimidating stompers ("Blackmasker", "Chamber of Disease") and brisk speedy roller-coasters ("Savior Sinner", the noisy hardcore-ish "Worldwide Blackout"), the rending hysterical death metal vocalist doing even bigger damage than the bellicose music.

Ready for Death Full-length, 2022

Official Site

REAKTION (SPAIN)

The debut: young budding Spaniards who play energetic modern thrash with echoes of Dew-Scented with a more accentuated semi-technical flavour. "Back to Reality" flirts with death metal for a while, but the thrashy tone isn't broken that often. The clean vocals on "In This Valley of Tears" create some confusion due to their very melodic nature as opposed to the gruff shouty main death metal ones. Some of the musicians were also members of the retro thrashers Vivid Remorse.
"To Expect Nothing" doesn't offer any surprises, the lads moshing in an expected modern/retro thrash blend fashion with impetuous headbangers ("Before Your Eyes") crossing swords with more speed metal-based frolickers ("The Immortal Unreason"), the neck-spraining qualities of "Bleeding of Memories" hard to ignore. "Obsessions" is a heavy epic mid-pacer, but expect near-death intensity on the unrelenting title-track, "Rainy Fridays City" serving another portion of laid-back welcoming rhythms.
"Justice Flies" is a cool intense entry, the guys focused on the bashing side of the spectre with biting bullets like "The Confession of Magnicide" and "The Party Of The Dead" roaming around with intent, sweeping compromising pacifiers like "The Will to Escape" aside, among which one can also count the heavy pounder "The Fallen of the Mask". Grip your chairs tight for the Slayes-esque ball of fury "The Revenge at Last", and also make sure to savour the more thought-out meeker closer "The End", a varied moody/atmospheric progressive achievement with not much thrash featured.

Blackmailed Existence Full-Length, 2016
To Expect Nothing Full-length, 2021
Justice Flies Full-length, 2024

Official Site

REAKTOR IV (ARGENTINA)

These South American reaktors provide not very reaktive (pun intended) modern post-thrash which is plain boring for at least half the time the guys wasting their time playing a rehashed after a rehashed riff breaking the monotony at times with the odd misplaced blast-beat ("Sofocado"). This effort could have found its fans some 15 years ago, but for the moment its application for obscurity will pass without any obstacles.

De Muerte A Vida Pasamos Full-Length, 2008

REAKTOR (ECUADOR)

Based on the full-length: a gifted classic thrash/death unit who rage on with ripping smashing volleys (“Usurpador de Almas”, the semi-technical delight “Siete”), the stylish melodic complexer “Kaliyuga” the sure highlight, the doom/death hybrider “Semillas de Muerte” another sure shot at glory. “Palida Cruz” is another right hit with its aggressive straight-forward riffage, and “Ritual de Guerra” is a raging but entangled rifforama which is backed-up by the excellent dazzling brutality movement closer “Suicidio”, the aggressive guttural death metal throat a sure fit to the no-bars-held musical delivery.

Usurpador de Almas EP, 2009
Ritual en la Tierra del Sol EP, 2018
Emperadores del Sol Full-length, 2022

Official Site

REAL ANIMAL (MEXICO)

Based on the demo, this band is a real animal offering vicious, brutal thrash/death metal with a bad sound quality and more peaceful sections, recalling the early Messiah attempts in this direction, but these are more dodgy. "Escape de la Realidad" is an utterly surprising "oasis" amidst this aggressive fast-paced bashing being a very cool acoustic ballad with great guitar performance.

Real Animal Demo, 1990
Divine Perfection...? EP, 1991

REAL FICTION (GREECE)

Based on the "Seven Faces of the Truth" demo, this band plays modern power/thrash metal of the dark morose variety which steps on a doom metal ground a few times as well. There are more intense galloping sections as well as calmer balladic ones. The singer is cool with a deep clean voice which stays within the mid-ranged parametres.

Demo Demo, 2000
Seven Faces of the Truth Demo, 2006

Official Site

REAL INSANE (BRAZIL)

Rowdy abrasive modern thrash/post-thrash which by all means has its more energetic moments ("True Disease") although the prevalent mood is one of heaviness and grooviness. Still, the faster-paced deviations keep showing up reaching proto-death intensity on "Lies and Deceit" before "Legions of War" wraps on the show in a more melodic, epic manner the imposing march-like rhythms transferring into something more aggressive with a early-90's Sepulura-sque flair save for the vocal delivery which is more in the shouty death metal camp.

Underworld\ EP, 2018

Official Site

REALIDA (MALTA)

This is heavy stomping thrash ala Xentrix, still with a classic vibe and with quite a few more intense headbanging passages. The tracks are lengthy creating the impression that something progressive is going on, but this is just more organized bash stumbling a bit under the not very clear sound quality, still winning points from the singer's performance whose attached semi-clean antics are quite reminiscent of the ones of Chris Astley (Xentrix).

Facing Reality Demo, 1994

REALINO RESORT (INDONESIA)

Welcome to the Realino Resort where you'll be met with a barrage of amateurish classic thrash/crossover which would hardly make your stay very pleased since the singer is an awful hysterical shouter, and the others are just a tad better playing rough messy stuff reflected in short tracks which sound samey showing the band in a fairly rehearsal-like stage. There's a looong way to go...

Realino Resort EP, 2009

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REALM (USA)

An essential progressive/thrash metal band; the debut is the weaker effort with its slightly unfocused sound mixing straight thrashers with more ambitious progressive songs. The vocals are in the high range, and quite screamy at times, but at least to these ears are well-suited to the music. The music is quite speedy, and less technical compared to the follow-up, and on the best moments comes close to the same year's Toxik's "World Circus". Well, moody slow pieces like "Eminence" could have been avoided, as they by all means have no place on an album like this. Watch out for the excellent speedy cover of one of The Beatles' finest songs "Eleanor Rigby".
"Suiciety" is a classy progressive thrash work which might take time to fully grow on you because of its quite complex and technical nature. The guitar sound is heavier, and at least half of the songs still retain the speedy rhythms of the debut: check out the brilliant fast-paced thrashers "Final Solution" and "Energetic Discontent". The tracks, albeit more technical, are shorter with the sole exception of the album closer "Suiciety" which lasts for 10-min although after the 7th min what one hears is just thunder (accompanied by lightning, I guess) and quiet acoustic guitars. This is by far one of the finest entries into the progressive thrash metal field from the USA.
The demo contains two songs one of which is a King Crimson cover, "One More Real Nightmare", and the guys' effort to preserve its weirdness has resulted in a melodic progressive composition with no shades of thrash. "Cast the First Stone" saves the day being a nice fast technical thrasher with the staple for the band's sophomore effort's twisted time-signatures and excellent lead guitar work.
The "Perceptive Incentive" demo is a true masterpiece of complexly woven US power/speed/proto-thrash siding with Ulysses Siren's debut demo and Watchtower's Energetic Disassembly" as the first genuine exponents of less linear, more technically exuberant music on US soil. "The Omen" is a vehement overpowering galloper the high-strung glass-shattering vocals leading the lofty proceedings which are greatly enhanced by virtuoso screamy leads. The second coming is in the form of "Second Coming", an exquisite frantic technical shredder that must have perplexed many a metal fan back then; schizoid overlapping rhythms fly from all sides to a dizzying effect, the several more melodic walkabouts adding to the absolutely surreal atmosphere which very well-deservedly placed this no-brainer on the full-length debut three years later. "Night of the Jugular" moshes onward with a few more galloping layouts, but the delivery is more elaborate with both abrupt stopovers and surging accumulations intercepting the stride in a more or less expected manner, the twisted lead sections doing their fever-pitch magic on the side. "Beyond The Realm" is an early technical thrasher sustained in a less active, mid-paced fashion with fast-paced excursions suddenly rising from out of nowhere, only to disappear in the same puzzling, unheralded way replaced by equally as perplexing stomping doom excursions, not to mention the gorgeous intricate epitaph. This is probably the most impressive first showing in the annals of American metal, a sure testimony of genius at play at this very early stage.
The "Final Solution" demo has a very heavy boulder on its shoulders, to fulfill the expectations after such a grand showing that was the debut demo. And it by all means delivers almost as well with two cuts ("Poisoned Minds", "All Heads Will Turn to the Hunt") finding their place on the full-length debut a year later, and the title-track sneaking onto the sophomore. The remaining material is by no means a sloucher "Theseus And The Minotaur" unleashing a cavalcade of expertly executed steel gallops, the dominant approach still more power/speed metal-flavoured with Shrapnel-like virtuoso guitar work provided all over. "The Temple" surges forward providing the template on which Attacker's "Second Coming" was built, a sure speed metal winner with a couple of more dramatic accumulations served mid-way before things become more serious and thrashier on "Terminator", a rowdy bursting headbanger with echoes of Angel Dust's immortal debut. "Walpurgis Night" is a more melodic, but also more contrived proposition the dazzling fretwork dueling with Antoni's soaring highly emotional vocals all the way to the pathos-like finale. After this one the guys seemed more than well-equipped to enter the official release stage on full-throttle, and this is exactly what occurred less than a year later.

Perceptive Incentive Demo, 1985
Final Solution Demo, 1987
Endless War Full-length, 1988
Suiciety Full-length, 1990
Demo Demo, 1992

Youtube

REALM OF ILLUSION (BRAZIL)

This band play exercise modern power/speed/thrash which is pretty elevating on the brisk "Blue Note", the sing-along catchy "Lights of Reality" treading dark wave/gothic territories, its mellow lustre stifled by the harsh industrialized guitarisms of "Turning the Page". The second half consists of shorter less serious numbers with a deep tinge of frivolous crossover, the cool attached semi-clean vocalist staying the course, providing the binding link among the contrasting styles visited here.

The Legacy Full-length, 2024

Official Site

REANIMANIACS (ITALY)

Based on the EP, these guys serve energetic retro thrash with expressive hardcore-ish vocals which have a curious semi-clean/semi-declamatory blend. The approach is fairly direct with both early Prong and Slayer made references to. The sound quality isn't very clear, though, making the drums sound too hollow, but the guitars have the necessary edge, and this party stuff (check out the punk joy near the end "The Sad Story of a Lonely Bum", as well as the short grindy closer "Beer, Boards and Bandanas") will definitely make the fans happy with the carefree delivery and the catchy shouty choruses.
The full-length is on the less serious side being pure direct thrash/crossover with a strong hardcore sting ably assisted by the songs from the EP. The guys mosh relentlessly with short aboveboard tracks the more aggressive material nicely carrying the thrash charge as casual melodic deviations ("Punx on My Back") are not completely excluded. The guys just have fun here bashing with vigour and manage to capture the frolic spirit of old heroes like Suicidal Tendencies, Lawnmower Death, and Leeway.

Fistful of Thrash EP, 2010
Undead Thrash Revenge! Full-length, 2011

Official Site

REANIMATOR (CANADA)

This EP is a mixed bag: on the more energetic thrashers these guys bring their compatriots Razor to mind, but some of the songs lack intensity sounding like uninspired heavy/rockers. Well, let's not forget that the Razor beginnings were pretty humble, too...

"Ignorance Is No Excuse" doesn't rely on a material from the EP, but offers brand new songs of better, more thrash-focused stuff. A song of the title "Thrashin' The Neighborhood" finally appeared, since there was no track of the same title on the EP, and it really may help one thrash his/her neighbourhood. Here the sound has moved towards another notable representative of the Canadian scene: Sacrifice. The opening trio is vintage old school fast-paced thrash, until "Maximum Overdrive" reminds in the middle of the EP's boring softer material. "The Desolator" remains more mid-paced, but "Ignorance Is No Excuse" smashes everything in its way: aggressive speed/thrash with clever semi-technical implements. The next two songs are less intense, and the final "Speak No Evil" is a 10-min thrash opus, more melodic, with a cool balladic mid-break and hooks reminiscent of the power/speed metal acts of the 80's including the leads which are proficient, albeit too melodic.
The "Great Balls" EP is a brisk speed/thrash offering not betraying the band's staple delivery moshing with a bit more melody perhaps: check out "Contradicted By Reality" and the varied semi-technical mid-pacer "Peaceful Eradication". The title-track, like some of you may have guessed, is the Jerry Lewis cover of his hit, sustained in a merry-go-round fashion even resembling the original with its frolic rock'n roll rhythms.
"Horns Up" doesn't take any undesirable shifts towards other influences, and fans of the good old speed/thrash will rejoice all over also entertained by a few more technical moments ("Tempted by Deviance"), probably partially pulled back by the mellow cuts like "Thieves of Society" which are pure speed metal ala Exciter and early Razor. Still, the majority of the material is hard-on thrash with only the final "Mock a Mockingbird" displaying a rarely encountered on this effort mid-paced lenience.
"Commotion" is a crisp varied recording, the guys getting wonderfully technical ("The Ditch") on occasion, a few mid-paced power metal fillers ("Burnt by the Witch") slightly ruining the landscape, but there's little wrong with the light-hearted speed metal winner "Terry Fire", or with the ripping headache "L'Appel Du Vide", this one smelling melo-death a bit. The diversity goes on in the second half but the guys pull themselves towards the end with the moshing cuts "Heads or Tails" and "Out for Justice".

Thrashin' The Neighborhood EP, 2007
Ignorance Is No Excuse Full-length, 2009
Great Balls EP, 2013
Horns Up Full-Length, 2015
Commotion Full-Length, 2022

My Space

REANIMATOR (RUSSIA)

Based on the "5 Ghastly Stories on the Death Theme" demo, this band pulls out chaotic intense thrash with touches of death metal ("Morgue"), but expect also brutal grinding jokes ("Griadustii Apokalipsis") and more appropriate cover versions (the abrasive take on The Chantays' "Pipeline": the instrumental piece which has already been done by Assassin and Anthrax, here called "Power"). "The Protest" is a dynamic pounder with Bay-Area overtones which can also be felt on the faster cut "Chuma"; but this is too awkwardly mixed and not very professionally executed to make you jump with joy. The singer is an amateurish death metal growler who doesn't improve things much with his not very intelligible antics.

5 Ghastly Stories on the Death Theme Demo, 1993
Autopsy Will Show Demo, 1994

REANIMATOR (SLOVAKIA)

The "Flight to Eternity" demo shows a band intent on giving the modern 90's tendencies a more technical/progressive, also more atmospheric, flavour with nods to Death, above all. Beautiful melodic configurations take turns with stunning Coroner-esque pirouettes ("Prison Of Soul") the drama enhanced by the addition of several haunting keyboard-dominated passages. "The Gory Sick Of Death" clings more towards the death metal side, a marvellous technical masterpiece with a wide gamut of time-signatures plus superb melodic lead sections. "Instigating To Subjection, Subjugate Lies" speeds up and embraces thrash more whole-heartedly the mellower moments coming on the form of great leads again and a couple of slower, pounding showings. "Flight To Eternity" is an encompassing progressive opus with the keyboards featured more prominently reminding of Nocturnus with alluring melodic guitarisms "roaming" around. The vocals are low-tuned guttural death metal ones, and generally don't contribute much to the ethereal aura of this first-rate recording.
The "Bar-do Thos-grol" demo is another standout affair although the delivery clings more towards the modern 90's canons. The more abrasive guitar sound favours the more complex, also slower pieces like the labyrinthine "Hate The Day", an impressive achievement with a pleiad of more or less expected time shifts. More delights with "Chains", a gorgeous all-instrumental fiesta with exemplary lead guitar performance, and the eccentric industrial oddity "The Secret Way". "Virtual Fantasy" could be a leftover from the first demo being a fast-paced melo-progressiver with a few more intricate pirouettes the latter remaining for another exercise in more retro-based technical thrash/death "Conscience Analysis", this particular one a great reminder of Pestilence's magnum opus "Testimony of the Ancients". "Telepathic Toy" is a grand fusion-infused progressive saga with some of the greatest technical swirls to ever come out of Eastern Europe; a lot of atmosphere here as well coming on top of a couple of more sterile "excursions" ala Darkane, not to mention the supreme lead sweeps again. This outfit are a very pleasant surprise coming from a not very well traversed for metal place, and are by far one of the most distinguished representatives of the always full of surprises European underground.

Flight to Eternity Demo, 1995
Bar-do Thos-grol Demo, 1996

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REAPER (COLOMBIA)

Based on the "Sacrifice" demo, these guys pull out retro speed/thrash metal of the more laid-back variety with a playful Motorhead flavour and occasional leanings towards the early German scene ("Hate") the allusions also strong in the vocal department where the singer doesn't make the effort to hide his fascination with Schmier only coming lower-pitched.

Thrashattack Demo, 2005
Sacrifice Demo, 2008
The Foolish Hope EP, 2009

My Space

REAPER (MALAYSIA)

This is pretty cool retro thrash/crossover with addictive melodic hooks which border on the technical ("Inside Ravine"), great lead guitar work, and slightly annoying hardcore vocals. Often is the music pure thrash ("Eternal Damage") also providing slower stomping moments ("Warriors Tendency"). "Thrash till Death" is an excellent instrumental which even offers more technical moments, which get more fully developed on the following "Eruption of Mayhem", before the final touch which is a jolly take on the "Ghostbusters" film main theme executed in a carefree punky manner, less serious than the one done by Xentrix more than 20 years ago.

Eternal Damage Full-Length, 2009

REAPER (UK)

The debut: this is classic power/speed/thrash which combines engaging progressive roller-coasters ("Possessor of Evil", the diverse not very predictable closer "The Way of Shinobi") with more immediate, also shorter shredders ("Wartorn", the speed metal winner "World at Redemption"). The vocalist aptly handles all the music swings with his passionate clean timbre, and the lead guitarist is another noteworthy performer with his frequent short stylish pirouettes.
"Stranger than Fiction" is a milder affair as a whole, the band largely relying on not very eventful mid-pacers ("The Titan") to pull it through, the more epically-executed "Upon the Sun" winning some points due to its more versatile character. "Jericho" is the other more intriguing stopover, a brisk fast-paced number, but generally this is a more lethargically-performed album.
"Rebirth of Chaos" follows a similar path, and although the prevalent mid-paced clout ("World At Redemption") leads the show, one can't deny the compelling power of the mode diverse material ("Entropy", "Wings of Darkness") where more energetic moments can be heard among the heavy pounding rhythms. "Checkmate" is ad admirable breezing speedster, and the final "The Way of Shinobi" is another hyper-active proposition, the guys ending in a high note, consequently producing a superior sequel to their somewhat lacking first instalment.

Birth of Chaos Full-length, 2018
Stranger than Fiction Full-length, 2020
Entropy EP, 2021
Rebirth of Chaos Full-length, 2021

Official Site

REAPER-X (UK)

This is modern power/thrash/post-thrash which falls into the groovy traps way too often to be able to accumulate the requisite inertia. However, cuts like "Fury in Flames" and the semi-galloping "Red Menace" do contain some power and dynamics to make the listener pay more attention, but the trite melo-death histrionics and the not very suitable gruff semi-death metal vocals don't create too many reasons for that.

Rise Full-Length, 2019

Official Site

REAPERMANSER (USA)

Based on the full-length, these folks unleash intense roller-coaster black/speed/thrash which crosses the less bridled histrionics of Impaled Nazarene with the more controlled Germanic approach of acts like Cranium and Alastor (Portugal). The tracks are generally short (2-3min) with blast-beats filling in at times to enhance the already aggressive mood. The singer is a death metal shouter who leads the proceedings with panache taking quite a bit of space. The musicians can also be seen in the black/death/thrash purveyors Nuclear Infantry, the black metal/crust punkers Doomkryer, and the black/thrash formation Urban Warfare.

Orgasmic Death EP, 2014
The Reaper Awaits Damnation Full-length, 2016

Official Site

REAPER SCYTHE (COLOMBIA)

Based on "Incarnation of Emptiness", this Colombian trio play simplistic, not very pretentious old school black/thrash that also has its speed metal heart firmly in place ("As Old As Time"), the mid-paced catchiness of "Black Harvest" crossed with the raucous aggression of "The Nameless Grave". The screechy black raven serving for the vocals adjusts to the sizzling environment quite well, oitching it higher, naturally, on the blacky bombast "Incarnation of Emptiness" and the short but pretty effective galloper "Photophobic".

Darkness Song (Remastered Death) Full-length, 2015
Incarnation of Emptiness Full-length, 2023

Official Site

REAPERS (ITALY)

Based on the debut, this band plays a classic brand of power, a bit of thrash, and a bit of the good old heavy metal. The music is mid-paced with a lot of melodic touches, dissipated by the gruff semi-clean singer who could have put more emotion to better suit the laid-back musical approach. Tracks like "Reapers From Hell" and "Knights of the Night" are energetic proto-speedsters, but on the other hand we have pure romantic ballads ("Crying Soul"; yes, indeed, your soul may start crying on this one, despite the heavy guitars included near the end).

Metalness Full-length, 2004
World In Chains Full-length, 2007

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REAPTER (ITALY)

Based on the full-length debut, this band pull out creepy meditative thrash which is more on the modern side with post-thrash standing by to help whenever needed ("Speak My Name"). The guys seldom bother to speed up, and the monotonous not very eventful character of the guitars may just make one lose interest at some point. The singer isn't bad although his clean mid-ranged tone lacks the requisite passion to compensate for the not very lively musical delivery.
"Cymatics" is a much more energetic affair and song-titles like "Tsunami" clearly where the guys are aiming at this time; and indeed, thrash is very well covered even on more melodic shredders like "Time Lapse" and the melodic progressiver "The Alchemist". "Life and Horror" is the next in line sharp power/thrasher, and it's "Behind a Mask" which reminds of the debut with its softer semi-balladic nature. Watch out for "Useless" which is anything but; this is very cool aggressive thrash which is later very aptly supported by razor-sharp cut "Tram Out", before the closing "Omega Revolution" exits the album with serious progressive power/thrashing making this offering a sure winner for power, thrash and progressive metal fans alike.
"Blasted" follows the same path as its predecessor, energetic old school thrash that allows a few stomping heavy pieces ("Cold War") to sneak through, the modern groovy clout of "Riot" not quite a spoiler, although the dynamics disappear in the second half, "Eve" being a doom/balladic expletive, and "The Way Out" is a catchy heavy metal-ish sing-alonger.

First One EP, 2007
The Storm Approaches EP, 2008
M.I.N.D Full-length, 2010
Cymatics Full-Length, 2016
Blasted Full-Length, 2022

Official Site

REAVER (AUSTRALIA)

This band unleash blitzkrieg classic thrash which is accentuated by merry hyper-active numbers like "Reaver" and "Wolfpack", the stomping modern nature of "Iron Nation" balancing things out a bit. The more streamlined layout of the semi-complex "Flatlined" is disturbed later by spasms of fast-paced exploits, whereas the modern chugs on "Losing Game" bode different winds for a change. The singer is a shouty hardcorer who doesn't spare his throat, sounding fittingly bellicose and confrontational.

Iron Nation Full-length, 2023

Official Site

REAVERS (GERMANY)

Abrasive hardcore-ish thrash which still smells the old canons more thanks to inspired Madball-esque moshers like "Scene of Crime" and the melo-mid-pacer "Artillery Death". Both more technical and more aggressive propositions ("Sleeping Toxic") can be come across alongside crunchy mid-paced epicers ("War Machine"), but the harsh semi-shouty hardcore vocals can't seem to accommodate those laid-back moments that well.

Exit Humanity Full-length, 2019

Official Site

REBEL'S MOTHER (USA)

Based on "Sanctity", this act plays modern power/thrash with groovy overtones and clear shades of the Black Album. The music is harsher probably, and more complex aiming at the progressive sector at times. There's a lot of atmosphere created by interesting guitar melodies, fast acoustic guitars and gothic borrowings. An ambitious undertaking as a whole sounding more convincing when sticking to the more stripped-down patterns, like on the cool galloping "Fatherless" which is pure classic 80's American power/thrash metal with a touch of epic. "Night" is a cool attempt at edgier progressive power/thrash metal at the end, a dramatic composition sustained in an energetic mid-pace with a few twists both in the lead and riff department. The singer begins the album in a brutal vicious death metal fashion, but soon after reveals his more attractive side with a gruff, but clean-sounding, voice in mid-range managing to keep certain drama the whole time without changing the pitch a lot.

The debut already shows the band's staple approach: more modern-sounding power/thrash with progressive overtones. The compositions are relatively long, but the not very diverse riffage doesn't make them the most interesting listen in the world; that's why the shorter more intense numbers ("Sorrow") seem to deliver better, surrounded by sprawling, often semi-balladic, ones. The Black Album is again a major influence, but its both stomping and melodic qualities have not been translated very well here.

The Dark Unknown Full-length, 1998
Shipwrecked Full-length, 1999
Sanctify Full-length, 2000

Official Site

REBEL COPTER (RUSSIA)

This Russian outfit indulge in simplistic one-dimensional retro thrash barrage; not very rehearsed semi-amateurish stuff done by one or maximum two musicians, with ripping headachers ("Triple Death") taking turns with more melodic excursions (the title-track), the guys producing better results when they don't speed up too much (the pounding "God Mode"). The singer is a semi-drunken semi-reciter, trying to keep some melodic blend running throughout, but his vocal abilities are limited at best.

Rebel Copter EP, 2019

REBEL HELL (VENEZUELA)

Modern post-thrash mixed with the jolly speedy boogie of Motorhead; unpretentious stuff played just for the fun of it with good semi-angry emotional vocals.
"Genosuicide" is a harder offering now stepping the pedal on classic speed/thrash harder recalling early Exciter quite a bit, and going way beyond the Canadians on the short rager "Violence Solves Everything" which is pure unadulterated thrash packed under 2-min. This shorter gives a good boost to the album which only stumbles a bit on the awkward punky groover "Parasite System". This is good unpretentious party fun which adheres to more stripped-down hardcore on the last string of songs.

Fury, Faith and Hatred Full-length, 2010
Genosuicide Full-Length, 2013

REBELION (MEXICO)

Based on the "...Un Nuevo Reino" demo, these Mexicans provide dark retro thrash with agonizing death metal vocals and elements of death metal inserted mostly expressed in spasmodic blast-beats scattered around the three songs which come with a very bad sound quality and bashing distorted guitars.

Rebelion Demo, 2002
Aspectos No Unilaterales De Un Mundo Concreto Demo, 2004
...Un Nuevo Reino Demo, 2012

Official Site

REBELLION (VENEZUELA)

Thrash/death metal close to Protector and the French Agressor with a dark gothic atmosphere; some songs are sprawling, long-ish, and are placed in the beginning, creating the impression that this would be a progressively-laced experience, but later come the more immediate aggressive thrashers, which are by all means the more appealing side of the band's style. The guys have a good sense of melody ("Beyond the Reality", etc.), which makes even ultra-fast and brutal sections sound cool. Seldom do the band adhere to pure gothic numbers ("Night of Terror").

Land of Hate Full-length, 1996

REBIRTH (URUGUAY)

A 3-song EP of more classically-sounding thrash/death metal with atmospheric touches (keyboards, slower breaks, etc.); the guys have a good sense of tempo, and the mid-paced moments are quite well integrated, although at times the gothic flavour comes a bit over the top ("Black Garden", which is also served epic-decorated in the Amon Amarth vein).

Blood Dimension EP, 2007

REBOOT THE SYSTEM (SWEDEN)

This is the product of one musician only, the name Mattias Zimmergren, who specializes in the typical for his homeland modern thrash/death, the cool deviation from the pattern "Beast of Prey" a nice more technical shredder. "The Truth That Lies Beneath" is a more moderate epically-executed saga, and "Hourglass" is an officious stomper supported by the very shouty intimidating death metal vocals.

The Fall Full-length, 2023

Official Site

REBORN (BRAZIL)

This not very known Brazilian trio offers intense retro thrash metal spiced with more atmospheric modern passages. Almost every song mixes the two sides the final result sounding not far from late-90's/early-00's Slayer, but with a more direct bashing spirit reflected in a couple of short bursting pieces. The guitars have a very dry mechanical sound, and the singer tries to emulate the way Tom Araya sings nowadays, and admirably succeeds coming with an attached forceful semi-shout.

Renewed for Revenge Full-length, 2003

REBORN (ITALY)

These folks made two demos in the early-90's under the name Rest in Pain where the style was classic speed/thrash. The name of the game now is modern power/post-thrash which has the dynamics and all, but the riffage is more on the melodic side, and the band are more conscious of the wider metal fanbase than the strictly thrash metal one; as also evident by the cover version choices: Billy Idol's "Rebel Yell". The vocalist is good, though, with a melodic clean mid-ranged baritone which acquires harsher notes on the more intense Pantera-sque moments (the closing "We Are Lost").

Another Place Without... Full-length, 1995

REBORN DAMNATION (INDONESIA)

Based on "Dimensi Horror", this act deliver cool energetic retro thrash with not very fitting hysterical deathly vocals. The guitar sound is quite thin also accompanied by a hissing reverberation which is only missing from the cool ballad "Usang Dan Berkarat".

Reborn Full-length, 2011
Konflik Nurani Full-length, 2013
Dimensi Horror Full-length, 2015

Official Site

RECALCITRANCE (USA)

Very well executed aggressive thrash metal bordering on death similar to Recipients Of Death (see the review a few lines below) and Dark Angel's "Darkness Descends", on the first demo; the songs are longer, though, and the guitar work is more engaging, albeit hectic and chaotic at times ("Craving Death") easily bordering on death metal on the more brutal walkabouts ("Destined to Die"), but managing to unleash a few really great intricate licks ("Absence of Existence") with a shade of Nasty Savage's "Penetration Point". The band play fast and aggressively trying to insert stomping slower elements all of a sudden those coming accompanied by short, but good, lead guitars.
"Fragmented Reality" is even more hectic and jumpier, not as aggressive, but the guitars are more technical and the layouts are more thought-out and more patiently woven. The title-track is a nice "lead-meets-bass" instrumental piece, relatively laid-back and peaceful, but then comes the very aggressive death-laced "Self Perpetuating Fury" which also boasts very stylish riffs and fast screaming leads: a really nice example of the band's flamboyant original style which is also nicely reflected in "Unsure Reality".

Demo Demo, 1989
Fragmented Reality Demo, 1990

Official Site

RECENTLY VACATED GRAVES (USA)

This is a mix of well-crafted classic thrash and brutal death-metal outbursts. There are also gothic/black metal passages accompanied by organs and keyboards where there is an inclusion of declamatory vocals, too, in addition to the "duel" between the deep growls and the black-ish vicious snarls. You wouldn't be surprised if I tell you that quite often do the thrashy sections get lost in the rest which is sad since when they're there the music really takes off.

The "Consumed by Death" EP is a short (four songs) spontaneous recording which sees the band carrying on in the same diverse manner combining the aforementioned genres into one eventful, but flawed at times, whole which can get nicely technical ("Muughgh"; yes, all the song titles are just vocal concoctions of letters without any meaning and respectively without any text except casual growls and shouts emitted by the vocalist) on occasion. "Vlaagkk" is a cool dark morose black/thrasher with plenty of atmospherics which is the keyword describing this stylish, but yet to be polished, effort.

True Zombie Metal Full-length, 2004
Former Human Sergeant Full-length, 2005
Consumed by Death EP, 2012
Antietam 1862 EP, 2012

Official Site

RECIDIVIST (MALAYSIA)

Retro/modern thrash metal with hardcore overtones; simplistic direct stuff in up-tempo with rough hardcore semi-shouty vocals. At times the music acquires dry modern tones ("Blood oath") akin to Biohazard and mid-period Prong, and this is where the EP loses its initial appeal sounding clumsy and derivative.

Peaceful Of Doom EP, 2008

RECIPIENTS OF DEATH (USA)

The band's sound is an impenetrable wall of brutal violent thrash metal rubbing shoulders with Slayer's "Reign In Blood" and Dark Angel's "Darkness Descends"; a truly impressive debut. This is one of the best bands from the more extreme side of thrash metal. Apart from the relentless bashing heavier slower sections are also included ("Seizure"), again in the Slayer mould (their late 80's period), as well as super-fast proto-death ones ("The Aftermath").

"Final Flight" tones down the aggression, but the music remains in the thrash metal realm, this time coming with more varied guitar work ("Democratic Life"); as a whole the overall style is again close to Slayer (Seasons in the Abyss"): a nice combination of intense speedy and heavy pounding riffs.

Recipients of Death Full-length, 1988
Final Flight EP, 1990

Vibrations of Doom

RECKLESS TIDE (GERMANY)

Cool thrash metal of the old school, but with a very modern production which makes the band sound like some of the modern thrashers at times. There are two vocal styles here: the one is clean, the other one shouted. The music is pretty good with very sharp riffs and nice dual melodic solos recalling Iron Maiden. For fans of modern day Kreator and Testament this band are well worth tracking down.

Repent Or Seal Your Fate Full-length, 2005
Helleraser Full-length, 2006

Official Site

RECLUSION (SWEDEN)

A band who mix the two modern trends in thrash metal: the 90's aggro-sound of Pantera and Exhorder, and the fast-paced thrash/death metal hybrid of The Haunted. Fans of modern thrash will definitely like this band, who are actually quite good musicians, adhering to a cool technical play at times.
The demo is a bit of a step down, offering less adventurous music, slower and softer, kind of moving in a direction similar to the more recent The Haunted works without losing the groove completely. There's no speed nor any intense riffage here: just modern pedestrian mid-paced thrash.

Shell of Pain Full-length, 2001
Inventory of the Morgue Full-length, 2005
Demo Demo, 2006

Official Site

RECRUCIDE (CHILE)

Based on the full-length debut, this band plays well-executed aggressive modern/classic thrash metal along the lines of Dew-Scented. Some leads will strike you as being quite stylish for the otherwise more ordinary straight delivery ("Fear Injected", and elsewhere). "Generhate" is the odd slower semi-groovy track, and "Coronation" goes over the top with its ultra-fast death metal riffs. The closer "Rebellion" goes away with all the laurels being a fine furious mix of the two aforementioned styles again more death metal-sounding.
"Blood Divine" is a more aggressive offering now boldly venturing into death metal with good results making the music quite dynamic and even semi-technical ("Art of Crime"). Later on the diversity becomes bigger the guys adding the familiar groovy patterns and the ultra-heavy, steam-roller guitars. Still, the faster cuts keep flowing ("Tyrano", "Blood Divine") and manage to save this release from being another boring generic modern groovy experience.
"Svpremacy" is a modern raging beast which often races with the speed of light at the beginning, gracing its repertoire with some interesting pounding death metal-ish breaks ("Ritual"). Later on death metal again provides the more interesting moments with "Uncontrolled", a hectic semi-technical piece with cool expressive melodic leads; and the maddening ripper at the end "Vultures on the Prowl" which fury is relieved by the brilliant short acoustic lead-driven closing instrumental "Candelabrvm II", a masterpiece of virtuoso musicianship which should be repeated later.

"The Cycle" doesn't betray the working thrash/death formula which comes with more sterile, more mechanical guitars this time, but also with more regular melodic "excursions" ("Illumination", "Spiral"). The really intense speedy moments aren't that many as the band are obviously intent on displaying their more melodic, also more deeply atmospheric side as the only genuine moshers are the opening shredder "Disowned" and the closing amorpher "Stay Away".

Gamma EP, 1997
Rebellion Full-length, 2005
Blood Divine Full-length, 2011
Svpremacy Full-length, 2014
The Cycle Full-length, 2017

Official Site

RECTIFIER (TURKEY)

A promising promo of classic 80's thrash metal; the music is heavy, mid to up-tempo with crushing riffs which will remind you of Heathen's "Victim of Deception", but Rectifier's approach is more straight-forward. "United Killers", on the other hand, introduces a Slayer-esque aggression, whereas "Monopolizing Violence" with its galloping rhythm brings to mind the Germans Pyracanda's great anthem "Top Gun". In other words, you get a classic headbanging delight which will come in bigger dozes with the band's full-length, which is in the makings.

Promo Promo, 2007

RECTIFY (HOLLAND)

Based on "Home", this act provide vivacious modern thrash which is reflected in both more meditative exercises ("Stranger Journey") and overtly headbanging expletives ("War Is Only the Face"), the overshouty hardcore vocals fitting all the mood swings, including the steam-roller drama "To Take Down My World". The man tones down his rendings on the decent rock-ish sing-alonger "Dance with Me", the closer "Break It Open" unleashing hell with a wild orgy of restless vehement riffs.

Have Mercy... Full-length, 2005
Heartbeat Full-length, 2009
Home Full-length, 2022

Official Site

RECTUM (FINLAND)

A very obscure but highly worth tracking down 6-song demo of brilliant classic technical thrash/death metal; music which will keep you guessing what follows next with not much success. The tracks are short (2 to 3-min), but they are full with tempo changes and stupendous riffs which leave enough room for great melodies and solos, too. The music is full of energy without being too fast or aggressive. But, when the guys unleash more aggression, they could easily beat even masters like Hellwitch ("Golden Gates"). This is probably how the follow-ups of Atheist's "Unquestionable Presence" or Coroner's "Mental Vortex", or Pestilence's "Testimony of the Ancients" should have sounded, if these bands hadn't taken a much more experimental approach on their last efforts...

Enforced Prick Demo, 1992

RED BEAST (USA)

This is heavy post-thrash with strong stoner/doom and psychedelic overtones; occasionally acceptably jumpy ("Hell Know") stuff that can also get creepily quirky ("Fatherless Creation") on occasion, but the headbangers have to forget about it as there's barely a moment above the mid-tempo served. "W.Ar" tries something more aggressive for a change, but these dashes are more of a justification for the hoarse semi-clean vocalist who circles around these seismic, ship-sinking musical formulas.

12 Songs From Hell... Full-Length, 2017

Official Site

RED BLED THE SUN (SWEDEN)

Dry mechanical modern thrash which isn't completely devoid of melody, but the detrimental groovy shades are all over the place making this effort sound too derivative in the long run. The faster-paced passages are a pure Gothenburg sound, but their presence is minimal the guys moving forward in a sleepy mid-pace which wears thin quickly despite the more intriguing riffage heard on the last two songs. The vocalist is a raspy death metaller who doesn't possess any striking vocal abilities.

Red Bled The Sun Full-Length, 2016

RED DEATH (USA)

Based on "Formidable Darkness", this band offer abrasive crusty thrashcore which can be playful ("Usurped") and speedy and headbanging ("Iron Willed"), the forceful shouty angry vocals doing additional damage on the side. "Vagabond (Wondering & Roving)" is a nice switch to more carefully structured thrash/crossover, but this isn't really the main agenda of this unpretentious recording.
"Sickness Divine" serves more serious music, but the high-octane speedsters ("Face the Pain", the melodic semi-technical marvel "Sword Without a Sheath") remain. Another display of bigger musical dexterity is the brilliant short lead-driven instrumentals "The Anvil's Ring" and "Dreadful Perception", the band also offering something epic and pounding ("(Refuse to Be) Bound by Chains") to their fans, the brooding progressive closer "Exhalation of Decay" another positive occurrence on this entertaining opus.

Permanent Exile Full-length, 2015
Deterrence EP, 2016
Formidable Darkness Full-length, 2017
Sickness Divine Full-length, 2019

Official Site

RED DYNAMITE (BELARUS)

These guys offer a not very even mix of retro thrash and the coming modern trends, as the former "remnants" recall the Brits Xentrix quite a bit including in the expressive semi-clean vocal department. The guys adhere to cutting sharp riffs which work on both approaches including on the curious Sweet cover of "Ballroom Blitz". "Maniac" is a less controlled speed/thrasher which influences the following intense piece "Black & White" with echoes of Paradox, but expect also a bit of crossover with "Molotov Cocktail" before the end as well as a nice technically-charged Bay-Areasque closer ("Overdose").

Invasion Full-Length, 1993

RED EYES (PORTUGAL)

Based on "Servos de Satanas": this is a crusty abrasive offering, the band mixing crossover and hardcore along the way, sounding decidedly mellower than on their earlier efforts, the instilled atmosphere still favouring the guys who embrace early Venom and Bathory on "Guerra Nuclear" for a rousing black/thrash melee. Elsewhere it's either the uplifting thrash/crossover veneer ("Asmodeus") or the melodious currents on the all-instrumental piece "Viajando Pelos Bosques do Inferno" that will compel the listener, the latter also left perturbed by the tenebrous sinister doomster "Magia Heretica".
"A Chama Satanica" is strictly in the speed/thrash camp this time, a lively dynamic recording that has its overt shades of doom ("Santuario Das Almas Perdidas"), those fighting through spasms of speed metal fury ("Azazel", "Inferno Celestial") and spasms of more pulverizing intimidating thrashing ("Conde Dracula"). "Thanatos" is a dark oppressive twister, the highlight here, and "Deus Cao" is a multifarious closer with myriad nuances and motifs featured, a fine far-reaching representation which alone makes this effort a recommended listen.

Em Nome do Mal Full-length, 2020
Nós Somos a Morte Full-length, 2021
Servos de Satanas Full-Length, 2022
A Chama Satânica Full-length, 2023

Official Site

RED EYES (SWITZERLAND)

Ripping modern/classic thrash topped by rough shouty semi-death metal vocals; the band vary the pace ably using the ballad on the progressive opus "Mighty Osiris", but the rest of the material is way more energetic despite the constantly seismic nature of the guitars. "Some heavy shit", indeed...

Some Heavy Shit Full-Length, 2016

Youtube

RED FRONT (BRAZIL)

Based on the 4-song demo, these Brazilians pull out modern thrash/post-thrash which clings between the fast, blitzkrieg (the sweeping opener "Just A Game") school and the angry groovy heritage of the 90's (the boring "Institutions Down") trying to alternate the two sides eventually choosing the less exciting modern side which kills the accumulated inertia supported by the bad shouty death metal-tinged vocals.
The full-length debut contains all the tracks from the demo, but the rest shows its teeth quite widely comprising more aggressive music which isn't constantly fast, but has the requisite dynamics "Killer" being a particularly vicious piece with brutal proto-death characteristics. The groove springs up more towards the end where the songs become longer, but by all means less interesting livened up by the forceful throaty death metal vocals which are clearly one of the highlights on this decent, but hardly exceptional, effort.
"Reborn in Hate" is a similarly-styled blend with modern and classic thrashisms jumping over each other, the groovy heroics ("No Escape") operating independently from the solid rigorous retro thrashers ("Path of Fire"), the latter taking the upper hand at the end for a rousing headbanging finale (check out the frolic speedster "Leave This Hell").

Red Front Demo, 2010
Memories of War Full-length, 2010
Reborn in Hate\ Full-length, 2018

Official Site

RED HARVEST (NORWAY)

These extreme industrial metal wizards started their career as thrash metal practitioners. Their only venture into thrash metal shows them as quite well capable of pulling out fairly cool intriguing technical riffs spiced with numerous influences. "The Cure" is an awesome opener, a great progressive thrasher with a more aggressive death metal edge and brilliant flamenco tunes; it sounds like something the Brits Acid Reign could have written if they were a level up the music scale. The guys concentrate more on the aggressive side of their style on the next "Righteous Majority", but "Acid" is a wonderful short abstract technical thrasher in the best tradition of mid-period Voivod. "No Next Generation" is another fine progressive thrasher which will remind you of the Germans Depressive Age, who released their full-length around the same time. "Machines Way" thrashes intensely with dry mechanical technical guitars and impressive leads, followed by the excellent "(Live & Pay) The Holy Way" which is another impeccable exercise in technicality, maybe a bit more straight-forward and more melodic, boasting probably the best guitar performance on the album. This song marks the end of the progressive aspect of this effort leaving room for three shorter less intricate (that's relative) numbers (the closer is a happy crossover hymn: "Wrong Arm Of The Law", and the only song which doesn't carry the technical charge) to close this masterpiece of progressive/technical thrash metal which showed the band more than well equipped to play a more important role on the 90's thrash metal scene, and not only because it was deprived of its best performers at the time.
The demo is three songs which already show the band as a less ordinary presence in the underground with the long elaborate arrangements (the diverse labyrinthine odyssey "Embrace of Misery") which cling more towards power metal and court the American scene quite well with their epic atmosphere and blazing stylish leads, not to mention the measured mid-paced chops on the Metallica-sque hymn "Beneath The Mask". The singer has a passionate but not very expressive semi-clean timbre which doesn't have the necessary high pitch, but serves the music right. This is very well performed old school progressive power/thrash which doesn't quite resemble the less orthodox rowdier style of the debut.

Occultica Demo, 1989
Nomindsland Full-length, 1992

Official Site

RED LAMB (USA)

This band specialize in laid-back modern post-thrash which "flirts" with both groove and power metal. The resultant concoction is pretty melodic, for better or worse, despite the heaviness of the riff-section, and the good performance of the singer who has an effective mean-ish clean voice reminiscent of Sebastian Bach (Skid Row), resemblances with Bach's act also coming in the music department (think "Slave to the Grind"). The riffs jump and turn at times, but those moments are just a compulsive decision rather than a programmed, premeditated intention.

Red Lamb Full-Length, 2012

RED METHOD (UK)

Dry sterile, mechanized modern thrash/post-thrash with overt shades of djent ("Split"), staccato Meshuggah-esque riffs ("Cycle of Violence"), and some more serious thrashing ("Messiah", the vehement "Ideology Of The Sick") involved as well at times. The steady forceful death metal vocals add more drama to the jumpy proceedings, the more technical shredding on "My Psychosis" a sure highlight, with the more relaxed balladic closer "Heart Shaped Box" on the opposite side of the spectre.

For The Sick Full-Length, 2020

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RED NAILS (CANADA)

Excellent heavy pounding thrash, very similar to Slayer's late 80's period; of course, there are the obligatory fast sections some of which exceed the limits of thrash (a few seconds of blast-beats on "Ancient Blood") metal, but most of the time this is heavy crushing music ably supported by harsh aggressive vocals ala Phil Rind (Sacred Reich), maybe less intelligible and lower-pitched.

Mutiny of a Small Group of Lemmings Demo, 1992

RED PILL (ITALY)

Laid-back groovy post-thrash which gets wonderfully fast on occasion ("Love Song", the shocking classic-sounding crossover speedster "Caco-phonic Party"), but this shouldn't mislead you; nothing more interesting happens if we also exclude the stylish melodic leads. The clean side of the vocal participation is not bad, actually, having a nice alternative edge as well as the music itself which at times resembles a more aggressive Alice in Chains. The closer "Always Behind You" is another hit moshing out in a less controlled manner also relying on a spinning more technical section near the end.

Sinners' Club Full-length, 2010

Official Site

RED RAZOR (BRAZIL)

The debut: old school moshing thrash which will make most "shut up and mosh", like one of the song-titles suggests, and indeed, there'll be a lot of jumping around here as the guys rage on with no remorse, especially in the first half, capturing the controlled aggression of their compatriots Violator and, of course, their "godfathers" from the Cold North Razor. "Alive" is the serious number here splitting the album into two with its more clever, less aggressive rhythms. The "beer revolution" is guaranteed after the title-track is over despite its not very speedy character, but at the same time there'll be fans who will start wondering what happened to the fast-paced riffage from the beginning. The latter eventually comes back with "Malignant Cell" for about 3.5-min, but the guys' desire to sound more serious and thought-provoking slows the second half down the closing "Temple of Lies" being another moderate mid-paced shredder. This is a somewhat uneven affair, but there's always time for the band to choose their more fitting path on future works.
"The Revolution Continues": there's no musical revolution witnessed here as the band carry on with their chosen stance, complicating the environment on the more crooked title-track, but the mosh is on full-throttle elsewhere with more contrived arrangements again popping up on "Born in South America", a varied delight with bold shades of death metal. Violent shorters like "Sour Power" and "Brewtal Mosh" bring the sound close to hardcore even, but watch out for the closing "The Sadist", a nice more technical piece with a diverse rhythm-section.

Beer Revolution Full-Length, 2015
The Revolution Continues Full-length, 2019

Official Site

RED RIOT (ITALY)

Based on the full-length, this act play a frolic unpretentious blend of speed, heavy metal, power and a bit of post-thrash the guys energizing the environment with dynamic speedsters like "Rise or Fall" and "H.I.P.S.T.E.R" the rest belonging to more moderate territories where power and heavy metal shake hands in a not very turbulent, friendly manner. The vocalist is a cool mid-ranged cleaner supervising the proceedings without imposing himself too much.

Fight EP, 2016
Seek! Kill! Burn! Full-length, 2018

Youtube

RED ROOSTER (POLAND)

The modern post-thrash is brought to you here in a jumpy hardcore-ish manner with a few lyrical passages ("Different Places", the tender closer "Fears") with a good balladic potential. Things get rougher on a few pieces ("Check This Up!"), but generally this is peaceful stuff with hoarse shouty hardcore vocals.

Check This Up! Full-Length, 1994

RED RUNNING RIVER (GERMANY)

Based on the full-length, this act specialize in friendly classic power/thrash which is clearly on the light-hearted side, the cool mid-ranged clean singer occasionally disturbed by harsh deathly grunts. Expect heavy semi-ballads ("Operation Scorpion"), more dynamic walkabouts ("Goddess Of Wisdom"), and doom-laden processions ("Burning Skyscrapers") on this varied but strictly unpretentious entry.

In the Realm of Bigotry EP, 2017
Silence Full-length, 2023

Official Site

RED SKY (ITALY)

This is decent retro power/thrash which offers both immediate energizers ("From Beyond") and more ambitious progressive thrashers (the title-track), the not very expressive mid-ranged clean singer trying to do his thing without interfering much. "Red Sky" is a weird friendly semi-balladic etude, and "Running through the Fire" is a bit bouncier power metal hymn with nice infectious melodies. .

Silence Demo, 1993

RED SKY (USA)

Based on the debut, these guys offer an entertaining mix of hardcore (not much), thrash and death metal which is both fast and technical with death metal leading the pack still leaving enough room for thrash metal to breathe, and the latter acquits itself with energetic pieces like the speedy "Knife Behind The Smile", the pounding Ghoul-like "In Throes of Disappointment", the steam-rolling proto-doom "Free From Nothing", or the surreal technical "Vault". Certainly, the death metal side carries more of the speed here, with the casual more technical hook springing up, and the latter should be given more space in the future.
"MPFW" is exclusively death metal with hardcore again present, but the thrash metal fan may not be very satisfied since his/her favourite style is hardly involved the guys lashing directly with the technical leanings left aside as well producing short to-the-point tracks of the fast intense kind.

Knife Behind The Smile - LP Full-length, 1998
MPFW Full-length, 2000

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RED TIDE (USA)

These death metal jazz/fusionists had started their career as thrash/post-thrash metal purveyors. Based on this 3-song demo, they played hard abrasive music with various paces and angry shouty death metal vocals. The lead guitar work is worth checking out, but there's hardly any experimentalism at play on this straight-forward effort with buzzy guitars a really muddy sound quality.

Steps to the End Demo, 1994

RED TO GREY (GERMANY)

A fine retro thrash metal band; the band's debut consists of six songs only, but is a commendable effort with great stylish guitars and a mighty bass-bottom. The guys play energetically with heavy riffs, several technical and balladic breaks, jumping occasionally on the power/speed metal wagon, "The Phantom". The style is very similar to the one of the one-album-wonder Sardonyx including the high strung clean vocals; this band here are perhaps better in the lead guitar department.

"Wrath of the Weak" is a better work with more technical and faster riffs, sounding well more aggressive than the debut. The music here is closer to the first two Forbidden albums, sharing both the technicality of "Twisted into Form" and the energy of "Forbidden Evil". The singer sings higher, and better. The only complaint is the inclusion of "The Phantom" which was the weakest song from the debut, here offered without any changes whatsoever. Fortunately it's followed by the awesome up-tempo piece "Total Cleaning", a really nice song with a great chorus, very cool tempo changes and swirling, melodic leads. There were rumours of a third album in the makings including announcements on the band's website, scheduled first for 2006, but they're all gone now...

"Admissions" is finally out after numerous delays and cancellations mostly due to some of the musicians' involvements with other bands (the progressive metallers Valley's Eve; the power metal outfit Ferra Saeva, etc.), and shows the band in fine form once again. The album continues exactly from where "Wrath of the Weak" left off; the opening title-track offers a nice combination of straight thrashing and more complex passages. "Cast The First Stone" is an awesome up-tempo technical thrasher, in the Scariot and even Coroner vein, if we exclude the catchy memorable chorus; a track which the band put for download on their website a long time ago, here re-mastered and sounding better. "Free" calms down with slower heavy riffs and a touch of power metal. "The Amour Piercing Dread" follows in the same spirit adding epic elements and very cool leads. "In The Darkest Corner" desirably returns the sound to the faster, thrashier territories, and the lashing riffs will make you jump around in no time. "Sweet Suffering" is a speed/thrash riff-fest at its best, again accompanied by a great chorus, and amazing guitar hooks from beginning to end: another song released for download on the band's site earlier, here coming almost unaltered. "The Fall Of God" is a more melodic power/thrasher, and "Celebration Of The Cult" adds some speed metal to this mix. "The Cheated One" is more than a worthy closer to this very good album being a stomping heavy piece with smashing punishing riffs. It was really worth the wait to see whether one of the biggest hopes of German thrash metal would manage to sustain their high status; they did, with flying colours.
"Balance of Power" is a truly excellent return for the guys, who now have a girl in their midst, a familiar face from the past; we're talking about Gaby Weihmayer, the fabulous diva who sang on the musicians' first stint, the one-EP-wonder Aeons' End ("Spiral Seas", 1994). Her presence alone ensures the golden status of this saga, which shoots everyone in the vicinity into the classic speed/thrash stratosphere with the opening "Hellburner", a superb bristling hymn that steps aside, by putting too much fight mind you, for the more intense thrashier "Trigger of Lies". "We March" is a mid-tempo power metal anthem, Weihmayer adding a nice catchy chorus on that one; and "Vanity and Pride" brings the delivery back to the more dynamic patterns with a firework of blazing riffs. "Fight", needless to add, shares the same militant spirit, and "Object of Observation" is a nice heavy dramatic saga with Weihmayer again excelling on the chorus section. The fearsome gallops unleashed on "The Dead Walk" come intricately-decorated, paving the way for the arrival of the closer "Within Grey Rooms", another more diverse proposition with bigger variety incorporated into the rhythm-section, including a few urgent fast-paced skirmishes, with Weihmayer as outstanding as ever, both covering and conquering octaves with ease, producing another spell-binding chorus, leading this procession to the very front of the metal roster.

Circle of Pain Full-length, 1998
Wrath of the Weak Full-length, 2000
Admissions Full-Length, 2008
Balance of Power Full-Length, 2021

Official Site

RED ZONE (FRANCE)

This is intense thrash/proto-death with strong references to Rigor Mortis although the singer is a throaty semi-reciter, and creates noise rather than actually sings. This is one semi-amateurish intense barrage from which one will probably savour the more ambitiously-executed "Seal of the Destiny" and the more comprehensible speed/thrashing anthem "Against", the very muddy production not facilitating the musicians' efforts at all.

Sweet Violence Demo, 1991

REDACTED (UK)

Based on the EP, this duo indulge in modern computerized, industrial thrash which suddenly switched to hyper-active melo-death on "Skywatchers". An uneven effort as a whole which isn't certain which path to take, but the vocals are at least passable with a forceful semi-clean pitch which suits many styles, and is quite comprehensive.

Alien Nation EP, 2014
Alien Nation Full-length, 2015

Official Site

REDBACK (POLAND)

This band play modern thrash which is pleasantly dynamic ("Redback", the headbanger "Velvet Skin") without overdoing it also covering a wider ground with a couple of heavier, more laid-back numbers ("Scream" which also boasts cool melodic leads). The singer semi-shouts in a harsh semi-death metal fashion, and doesn't contribute much to the overall picture.

Path of Life Full-Length, 2016

Official Site

REDEEMED IN PAIN (GERMANY)

Based on "Dead End Decisions, these folks serve modern thrash with a more aggressive death metal vocalist. The music is more on the peaceful side siding with mid-period In Flames and the Finns Gandalf on at least half the tracks so expect a few melo-death references the resulting amalgam offered on a strict mid-paced base.

Ikarus Full-length, 2010
Dead End Decisions Full-length, 2015

Official Site

REDEEMER (AUSTRALIA)

Very good power/speed/thrash metal akin to Helstar, Liege Lord, and the Canadians Messiah Force similarities with the latter act in the vocal department as well as here we also have a very good emotional female singer (the name Cindy Grimwood). The short atmospheric sinister introduction will impress you from the very beginning although it has nothing to do with thrash or power metal. The guitar work is heavy, and the pace is mid-ranged, but the guys know how to move things around by adding more intense riffs, like on the nice "Transmuter". "Metallic Frenzy" deserves its title although this isn't a very aggressive number, but combines a lot of energy with cool semi-technical hooks, and is probably the best song.

The Light is Struck Full-length, 1990

REDEEMER (CANADA)

Modern power/thrash metal also featuring other influences, like the cool doomster "Dark Passenger", for example, and generally trying to walk on the path carved by more recent Annihilator, except for the several annoying groovy moments. The approach is not very edgy with the fastest tracks opening and closing the album ("I Am Revenge & "Scourge Of Man"); the rest is pretty peaceful in mid-tempo topped by throaty semi-shouty vocals.

Global Exorcism Full-length, 2010

Official Site

REDEMPTION (USA)

Based on the demo, this trio specialize in speedy blitzkrieg old school thrash, the decent clean mid-ranged vocalist giving his fair contribution to the generally positive impression produced by this obscure entry. There's also some complexity roaming around ("Rude Awakening"), including on the choppy semi-galloping wonder "Silent Towers", the intricate thrashing unleashed on "Live 'Til Tomorrow" crossing the border towards the Bay-Area, the approach staying there till the end, before which one will also savour the short but delectable shredder "Think Fast", the brief crossover joker "Skull", and the semi-balladic sentimental elegy "Winter of Despair".

Rude Awakening Demo, 1990
Spare Some Change Full-length, 1993
How I Spent My Summer Vacation E.P. EP, 1995

REDEMTHOR (COLOMBIA)

An enchanting ambient, nearly 3-min, intro ("A Hope In The Dark") doesn't promise the old school fun which ensues, the guys acquitting themselves with cool thrashy riffs, both in the speedy and stomping department with an expressive cutting edge, switching at times to pure Germanic speed metal ("X-Lerion") to a positive effect. The sound quality is very good, and the singer is fitting with his clean timbre, despite his tendency to hit the higher registers quite often, more or less appropriately.

Demo Demo, 2010

REDENIK (SERBIA)

Based on the full-length, this outfit provide intense retro thrash/proto-death with intense angry death metal vocals. The guys take no prisoners for a large portion of the time with an uncompromising no-bars-held delivery, but cuts like "Omca" reveal a more serious, also heavier side of their repertoire, the more optimistic attitude provided by shorter crossover-prone pieces ("Polumrtav").

Mrtvi Crossover EP, 2015
Nekrografija Full-length, 2017

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REDEYE (FINLAND)

Fast intense old school death/thrash metal close to the early Swedish school (Merciless, Grave, Unleashed) adding the casual slower deviation (the steam-rolling Bolt Thrower-esque "Walking Circles"). The riffs are both fast and heavy, and the vocalist is the typical guttural death metal growler.
The demo is another tribute to the early Swedish thrash/death metal school played with the maximum intensity the ripping guitars boosted to the brim by the crisp production. Death metal is reached on the shorter cuts ("Sacrifice"), but the album stays within the thrash realms for most of the time slowing down for the heavy closer "Death By The Cross". The singer is more comprehensive now his rending authoritative antics recalling Lars Goran Petrov (Entombed) quite a bit.

...Of Blood EP, 2011
I Am God Demo, 2012

My Space

REDIMONI (SPAIN)

The demo: if we exclude the hysterical part of the dual vocals used here, we'll be left with very good classic thrash along the lines of Darkness and Necronomicon.
The full-length goes a few levels up the aggression scale and offers high-octane retro thrash metal again with a classic edge, but considerably faster. Certainly there are calmer moments: the steam-rolling "Shah Mat"; the crossover-laced "Wrath Wars"; the epic/power metal oddity "Hell's Ascension"; the galloping speed/power metal anthem "Irongoat", and, of course, the melodic Motorhead-ish, with an epic twist, closer Riding To Battle . Some of you may say that this list is quite long for a thrash metal album, but believe me, all those songs get lost among the rest of the material since the album is whole 13 tracks long. And this is this rest which will make your day with its uncompromising high-speed approach and a decidedly faster and more brutal sound than their 80's counterparts.

"Standing Before the End of Time" is another diverse offering the band crossing thrash, speed, power and a bit of death metal even this time happening within short song-structures consequently the more aggressive side of the mix given more space, to a positive effect. The mix works for most of the time, the band thrashing with passion on at least half of the tracks, and the only annoyance would be the hysterical vocals which plainly scream their lungs out the more normal cleaner side of theirs showing up only sparsely here and there. Still, as a piece of primal headbanging retro thrash this album shouldn't disappoint seeing the guys paying their fair tribute to the old canons.
The "On the Brink of Existence" EP is a cool return to the more blitzkrieg style of the earlier recordings, the guys lashing with passion on the short ripping "As the Soul Leaves the Body", with "Death Shall Come to Us All" indeed bringing the winds of death for a maddeningly brutal ride. The more stylish semi-technical mosher "Ancient Buried Secrets" is clearly the highlight, toning down the aggression for a thrilling, sizzling rifforama which transforms into pure old school speed metal on the final "Axes".

The Onset of Chaos EP, 2005
Into The Coiling Arms Of Mayhem Full-length, 2008
Standing Before the End of Time Full-Length, 2012
On the Brink of Existence EP, 2021

Official Site

REDMIST DESTRUCTION (UK)

Based on the full-length debut, this young outfit delivers decent retro thrash/crossover with a more aggressive, Slayer-esque edge (the merciless opener "Eternity Deprived") on occasion. The vocals are of the shouty hardcore type, but suit the music just fine. That same music, for most of the time, is jolly and energetic, seldom leaving the up-tempo compartment with a few surprises along the way: the "bass vs. acoustic" balladic instrumental "The Noble Dead", on the more lyrical side; the more serious engaging thrash/proto-deathster "Gefngnisstadt", on the more brutal side. Merry tributes to H.P.Lovecraft (or to Stuart Gordon's cult film: "Herbert West-Reanimator") can also be heard; in other words, the party never ends here...
"Fear Through Violence" continues the joyride with ripping, clear production and more varied this time compositions some of which ("The River") grow into curious progressivers with a couple of interesting decisions. Remorseless cuts like "Meatgrinder" and "It's Nothing Personal (You're a Bastard)" are good to come across, especially when they come with a portion of tasteful melodic leads. "The Black" is another more diverse shredder, but the real revelation is "Forest Witch", a nice atmospheric instrumental which shows a more serious side of the band's repertoire that needs to be explored more fully in the future.

Redmist Destruction EP, 2010
Nobility In Death Full-length, 2012
Fear Through Violence Full-Length, 2015

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REDOUT (USA)

Interesting progressive 90's post-thrash that brings about a lot of ambition to the fore with the epic 11.5-min title-track, with stoner and doom also tussling for a place in the sun. The psychedelic vibes on "Dead on Sight" get nicely aggravated later with blotches of untoward intensity, but the actual revelation is "The Second Terminus", an intriguing jumpy proto-thrasher which later has a sidekick in the form of "Gateway No. 9", a stylish near-technical shredder with subversive melodic undertones. The singer is another merit with is warm clean mid-ranged baritone, a nice reminder of John Bush (Armored Saint, Anthrax, etc.).

Shades of Sangria Full-Length, 2024

Official Site

REDOX (SPAIN)

On the full-length debut these Spaniards pull out heavy mid-paced modern power/thrash metal which hesitates sometimes towards the classic spectre (the excellent riff-fest in the early Overkill vein "Playing with Lies") but not hard enough. So groove takes over on quite a few times, and the best song is a semi-ballad: "Fear of Not Dying", with the short acoustic instrumental "Lullaby" a very close second. "Need Turned Into Addiction" is a cool pounding modern thrasher which could have been well fitting into Flotsam & Jetsam's "Quatro".
"Equilibrium" treads similar to the debut waters offering uneventful modern power/thrash metal with again the more balladic moments working better ("Time Cures Everything"). "Perfect Gene" is a nice headbanger with a cool female vocal insertion accompanying the quiet balladic break in the middle; but the rest never leaves the mid-pace sitting somewhere between more recent Children of Bodom and Lyzanxia.

Forgotten Nature Full-length, 2000
Sharpened Knives EP, 2002
Equilibrium Full-length, 2010

Official Site

REDRAW (SWITZERLAND)

Based on the full-length, this act serve friendly rock-oriented power/proto-thrash which suddenly branches out into less restrained retro speed/thrash ala the Bay-Area. This is fairly contrasting stuff which wins on the speedy moments where some admirable headbangers can be encountered: "Motherf*cker", "Party Time", etc. Alas, the majority of the cuts are sleepy rockers, quite long at times as well with also desert rock and doom/stoner vibes ruining the initial more dynamic intentions.

Death House EP, 2014
Habeas Corpus Full-Length, 2015

Official Site

REDREIGNER (GREECE)

Based on the full-length, this is a retro death/thrash recording which comes with a pleasant shade of playful groove (the opening "Wound Closure") on occasion, the shadow of mid-period carcass ("The Morbid Statistic" and elsewhere) also looming heavily over this slab which also wins a few points from the expert lead department. The more aggressive, also more intricate extrapolations of "Eater" are definitely worthy of note, too, 'Futile Cause" flirting with mellower more playful possibilities, influencing, or rather marring, the second half as the delivery never recaptures its more dynamic clout, the virtuoso bassisms unleashed on the final "The Myst" a sure eyebrow-raiser, the harsh shouty death metal vocals more on the inferior side, their rending performance not very fitting to the sometimes openly minimalistic character of the music.

Redreigner EP, 2021
Eater Full-length, 2022

Official Site

REDRUM (BRAZIL)

This act indulge in classic thrash with the casual more modern reference. The energy of cuts like "Chemical Trip" and "God" has to be acknowledged, but expect "Faith" to shatter your faith with steam-rolling hammering riffs, the shouty confrontational vocalist largely a noise generator despite his over-dramatic attempts. Some of the band members used to play in the old school thrashers Anger.

Inferno Demo, 1997

Youtube

REDRUM (USA)

Very cool energetic 80's speed/thrash metal sounding very similar to Intruder; the music is quite speedy and the guitar work is heavy with the leads being the downside: short and screamy (although on "Power Corrupts" they suddenly get too proficient for a while). The singer is quite good, not too far from Jimmy Hamilton (Intruder again), having the same tendency to high-pitch scream sometimes. Some riffs have the original and technical edge, but the concentration is clearly on pounding crushing ones with a small break near the end: "World War III", which is a more melodic crossover piece.

Power Corrupts Full-Length, 1989

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REDSKY (USA)

This is modern melodic thrash/death metal, as generic as it could possibly get nowadays; fast and slow moments intercept each other the whole time the latter occupying more space also due to the frequent metalcore references.

The Circle of Blood Full-length, 2010

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REDSPHERE (NEW CALEDONIA)

Based on the full-length debut, this act play standard modern death/thrash which is long on both intensity and heaviness both sides mixed on "The Stranger" to a pretty positive effect, this one a really nice more technical, futuristic proposition. Elsewhere it's the ripping headacher "Eldritch" and the choppy mid-pacer "Eyes Behind the Doors" that dictate the proceedings, the harsh guttural death metal singer facilitating the death metal side of the guys' repertoire. Some of the musicians are also involved with the thrash/deathsters Gautama.
“Immortalized” is a more aggressive fare with blistering bullets like “.Into the Maelstorm” and “Thought Crime” smattering the horizon, the more epic and restrained ” Eyes of the Beholder” contrasting with the short explosive “2 Minutes of Hate”. Expect more pummeling on the heavy seismic “Stone by Stone” where some thick grooves can also be detected.

Facts EP, 2017
Immortal Voids Full-length, 2019
Regnum Lupus EP, 2023
Immortalized Full-length, 2023

Official Site

REDTIE (BRAZIL)

This young act pull out modern thrash with low-tuned death metal vocals and stylish melodic leads which can be also quite screamy at times. The right as rain delivery is spiced with more technical/progressive elements on "Divine Punishment", but the latter work better in union with the more speedy riffs as evident from "Sexual Killer". The rest is a symbiosis between slower and faster numbers, nothing groundbreaking, but done with taste the lead guitarist again being the star of the show.

Since 1893 Full-Length, 2012

REEK (SPAIN)

Spain rises for more old school thrash, and these "reeking" moshers are there to defend the faith. This effort is full of classic hard-hitting riffs which "explode" at times into furious crescendos ("Hypochondriac") unexpectedly which in their turn come superseded by stylish lead sections. "HN3" thrashes with a nice semi-technical edge and a nice Oriental atmosphere (the influence of the Arabs from long ago, I guess?); and "Babidi's Resurrection" at the end which is instrumental-only, will make you respect the band even more, this piece being a classy classical-driven composition with echoes of both Marty Friedman and Jason Becker making the guitar players a really hot proposition on the contemporary European metal scene right now.
The full-length is mostly a Destruction worship with an immediate nod to the German masters with a short excerpt from "Curse the Gods" thrown at the listener, but is done with professionalism and dedication the hard thrashing never stopping except on the melodic mid-pacer Hypochondriac which is still graced by a cool fast-paced passage. The other quiet moment is the acoustic instrumental Ethereal Shadows . More instrumentals following, the speed/thrashing frolicness Landscapes of Elysium with some of the merriest, and also virtuoso, lead guitars for quite some time. Then Human Condition sees the band in a very cool headbanging condition , another testament for which are the two short speedsters which follow suit before another instrumental piece, Scions of the Void ; the closer, shoots you at close range. It seems as though the veterans on the Spanish scene Fuck Off will have to learn from their apprentices now...

Rubbish Through Your Veins EP, 2012
Necrogenesis Full-Length, 2014

Official Site

REEKER (USA)

A heavy brutal mixture of thrash metal and hardcore which gets the message through with aggressive, at times death-laced, riffage and low-tuned guttural vocals. The music certainly has its heavy slower moments, but the guys seldom find room for compromises. One of them is actually the final track which is a faithful cover of Misfits' "Brain Eaters", a nice "oasis" after the brutal stuff heard before it.

Reek and Destroy EP, 2006

My Space

REENCARNACION (COLOMBIA)

Based on the debut, this band play raw brutal black/thrash metal along the lines of their colleagues from Brazil Sarcofago, Vulcano and Sextrash. The music is quite noisy with the drums put too much forward in the mix, and the overall sound is quite amateurish and undeveloped, typical for the early stages of South American thrash metal.

"Se Puede Vivir Sin Dios" is the ultimate raw black/thrash affair of the new millennium, with an unholy underground sound quality; an uneven mixture of fast, grinding moments and much slower, funereal Hellhammer-esque ones. Between the frenetic delivery there are quiet, ambient interludes inserted, taking some of the ferocity of the actual musical material, which is pure senseless bashing for most of the time.

"Visiones Terrenales" would be an enormous surprise for the band's fans: this is much more quiet, often purely acoustic, music which is devoid of vocals and drums, and sounds as though the guitarists were trying to hone their weapons preparing for the next "carnage" although based on this one would hardly even anticipate some ultra-furious black/thrash metal to follow suit. This is a laid-back meditative affair which sounds like an entirely new band.

"Mas Hombres, Menos Estatuas" arrives after the pensive soft approach of "Visiones Terrenales", and sees the guys going back to their roots although this isn't an all-out brutal offering. The band shred with more sophistication, and the music makes sense for most of the time staying quite close to the retro thrash patterns even adhering to the odd crossover hook ("Accion De Gracias") also featuring a few purely acoustic cuts. "El Vuelo Del Ancla" is a nice vivid headbanger, and there's even an attempt at a more progressive song-writing: "Muerde La Muerte" which is a diverse thrasher with several mood and time-changes. This is well constructed thrash with a very sharp guitar edge topped by semi-shouty, semi-declamatory vocals which are quite comprehensive and don't sound annoying.
"888 35 An?os" is the next-in-line brutal entry into the band's discography, then morose flair of "Nexus Universali-S" dissipated by spasmodic blast-beats, the latter decorating at least half the material here, with only the more experimental eclectic shredder "El Canto de los Sepulcros" escaping those, and certainly the early-Bathory worship "Funeral del Norte".

888 Metal Full-length, 1987
Acompaname A La Tumba EP, 1988
Egipto (1990-1995) Full-length, 1996
Visiones Terrenales Full-length, 2000
Mas Hombres, Menos Estatuas Full-length, 2006
Se Puede Vivir Sin Dios Full-length, 2011
Kaosmos Full-length, 2022
888 35 An?os Full-length, 2024

My Space

REFLECTING BLACK (FINLAND)

A good mixture of progressive thrash and gothic; the music is on the modern side, and there are a few vocal styles used. The concentration is on the progressive, more thought-out, aspect as the songs twist and turn in many directions, but the final result is quite satisfying. There are elements of symphonic black metal used, too.

For Those Demo, 2004
Songanglion Demo, 2005
Progressively Aggressive Demo, 2006

REFLECTION (GERMANY)

Reflection hail from the same province where Kreator and Sodom do. Their style (based on the debut), however, is not close to their renowned compatriots, but opts for a more ambitious, even progressive at times, song-writing. The music is a cross between modern and classic (more classic than modern) thrash metal with nice sharp riffs and good technical licks. The pace is not fast, and the guys focus on mid to up-tempo songs only slightly acquiring some speedy tendencies ("Made in Hell", "Everlasting Conflict") where the sound recalls Paradox's "Collision Course". There are moments when the music slides down to slower semi-balladic territories as well: "The Journey".
The band moved into the "hopes-to-be" category after failing to produce a follow-up in the years to come, but "better late than never", as the saying goes, and here we are graced by "Advertising Violence" which begins "advertising the violence" big time with the fine speedy opener "Sparks of Life", a song full of energy and enthusiasm with again Paradox a close soundalike. "Rip and Slash" "rips and slashes" all over with crisp semi-technical riffs, another sure-handed "fistful of dynamite". "Rise" will make you "rise" and mosh around being another full-on thrasher followed by the even more aggressive death metal-laced "Bury You". At this point the fan will have noticed how much faster this album is than its predecessor, but the complexity eventually arrives with excellent progressiver "Collecting Memories", still in the speed/thrash metal camp, but ornate by nice melodic leads. But that was all since the next "Flash and Bones" is stripped-down blitzkrieg thrash. "No Way Back" is merciless fast shred to the bone, and "Apocalyptic Chaos" is only a bit more laid-back with its slightly retouched jumpy riffs. "Value for Warfare" is a jolly speed/thrasher in the best tradition of Tankard, followed by the speedy Shrapnel-like lead-driven instrumental "Perplexity", the last relief coming in the form of "The Last Relief", fast tight thrash on full-throttle ending this very good comeback release with passion. Well, it was worth the wait, indeed, but this time this inspiring effort shouldn't be left to extinguish...

Made in Hell Full-length, 2004
Advertising Violence Full-length, 2011

Official Site

REFLECTIONS REVERT (GREECE)

Based on the "Unveiling the Mirroring Delusion" demo, this act play outstanding progressive power/thrash which exudes quite a bit of drama from the epic accumulator "Merchants of Lies", with melodic lead licks and steel precise riffs adding more to the excellence. "The Haunting Eyes" is vintage Helstar's "Nosferatu", a classical-infused speed/thrasher with nice authoritative bassisms as well, amongst the clinical awe-inspiring shreds. "A Madman's Lullaby" is a longer more complex exercise, with quite a few twists and turns throughout, not to mention a breath-taking melodic etude, one that stretches into a whole balladic intro on "Such Is the Question...", another nod to the progressive metal roster with less intense, power metal pretensions. The steady mid-ranged clean vocalist holds himself with dignity without emitting too much passion, his composed performance recalling James Rivera (Helstar again), the clear sound quality another plus worth mentioning.
"The Judgement of Shallow Life" is a similarly-concocted no-brainer, only that it's shorter, and it spares whole 4-min for an ambient orchestral intro ("The Time of Confession"), before the guys start an admirable journey through the progressive thrash labyrinths, first with "A Requiem to Artistry", a smattering tractate from Helstar's "Nosferatu", a thoroughly arresting piece with bedazzling melodic segments and tight technical vortexes, the only drawback being the vocals, those the same from the first instalment, but here sounding quite laughable, especially his articulate accent. The tributes to Helstar's magnum opus keep coming, "Embraced by Expiation" adding a brilliant Oriental touch to the proceedings, the razor-sharp riffage remaining alongside the mazey guitar knots and the several faster-paced developments. "Impulse Definite" follows the same super-lofty trajectory, only that it speeds up with a couple of fervent whirlwind-like crescendos, the sizzling setting also receiving a few virtuoso bass implements, on top of etudes from classical music lore extrapolated from the magnificent lead-driven passages. This is easily one of the finest works of art from the always full of surprises Greek underground.

Unveiling the Mirroring Delusion Demo, 1998
The Judgement of Shallow Life Demo, 1999

Official Site

REFLEXOR (GERMANY)

The EP: this band were previously known as Crush Hatred under which name they released one demo in 2008. Four years later they're alive and well mixing some songs from the demo with some new material for the production of this energetic modern/classic thrash affair which interrupts the dominant direct delivery with the sparse more technical decisions ("Organized"). The leads are quite good, albeit constantly screamy with a piercing drilling quality, and the singer is a suitable semi-rasper in the vein of Schmier. "Pyroclastic Extinction" is a deviation into more laid-back power/thrash, the other "interruption" being the aggressive proto-death laced closer "Ubiquitous Force" which blasts wildly for a while.
The full-length shows no remorse for a large portion of the time the guys moshing with vigour and passion, with more stylish riffage ("Organized") showing up from time to time alongside vigorous gallopers ("Empty Space") and uncompromising headbangers ("Ruins of the Past") the latter leading the show throughout with the final "The Obscene End" adding some spice to the proceedings with more entangled arrangements.

Revenge Of The Mycosis EP, 2012
Pyroclastic Extinction Full-length, 2018

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REFORE (CZECHIA)

Based on the full-length debut, this act provide fast ripping before... sorry, retro thrash which is accentuated by very shouty hardcore-ish vocals. Music-wise there are a couple of staggering hardcore-bound cuts ("Nobody Can Save Me"), but the good sense of melody on those elevates them to a higher pedestal, the mid-tempo entertainer "Your Price" and the tepid balladic dragger "Something to Say" not quite reaching there. Elsewhere things look good with ripping headachers ("In The Name of the Law", "Where Is Your Heaven") peppering the landscape, keeping the moshing factor high.
"Illusion of Existence" is an even more brutal recording, the guys lashing fiery unrestrained riffs to no end, the title-track utilizing the blitzkrieg no-bars-held approach with iron determination, the band later following with the full-on moshers "Imprisoned in Thoughts" and "Tormented", "Confusion" adding proto-death to the equation, "Life Forgotten" preserving the fervent delivery, death metal coming to the fore more prominently on the wild closer "Vicious Path".

Social Failure EP, 2018
Built to Nothing Full-length, 2021
Illusion of Existence Full-length, 2024

Official Site

REFRACTORY PERIOD (USA)

This US trio specialize in quite cool thrash/crossover which walks the thin dividing line between hardcore and thrash, the intense throaty shouty vocalist siding with both styles, the short semi-technical rippers "Senator Satan" and "Horny Farm Animals" clear highlights with the surreal Voivod-ish "Phukin N Sane" a very close second. The rest is more on the immediate bashing side with the shadow of the mentioned Canadian legends popping up again on the goofy dissonant title-track.

Refractory Period EP, 1991

REFUGE THRASH (USA)

This outfit were earlier known as just Refuge. The style remains classic thrash which is marked by melodic semi-progressive riffage and not very audible mean semi-declamatory vocals with the Canadians Sacrifice an obvious soundalike. A good sense of melody ("Containment Zone") pops up at times also reflected in several not as intense numbers ("Human Science") which are the lesser choice compared to the fiery headbangers like "Malicious Medical Intent" and "Airborne". The sound quality isn't great impeding the guitar interplays, taking away from their sharpness.

Patient Zero Full-Length, 2017

Official Site

REGICIDE (GERMANY)

An early Rage-worship (1986-1989) done with style; the renowned German act never managed to surpass their early output (the writer is yet to hear anything more compulsively catchy than the really "perfect" "Perfect Man"), so someone else had to do it for them, in 1995, of all years. This not very known act started their short career in 1987, pretty much along with Rage and the others, but a huge gap hangs between their early demos of the late-80's and the full-length reviewed here, with only two songs from their early period included. "Adrenaline" opens this gem with heavy hypnotic riffs not promising much speed, but delivering with its dark ominous atmosphere, an intense galloping ending, and very good forceful clean vocals the latter obviously emulating the early "Peavy" Wagner's (Rage) style, with a more throaty shade ala David Wayne (R.I.P.) added on the higher tones. "Don't Cross My Way" is another heavy shredder with a compulsive faster second half which turns into a roller-coaster speed/thrash ably supported by a catchy chorus again sustained in the best tradition of early Rage. "Regicide" is finally the full-blooded speed metal hymn, an "eagle fly free" track with the definitive chorus and the soaring encompassing melodies, also a strong reminder of the 1st two Helloween efforts and another compatriots of theirs: Not Fragile. "Never Surrender" carries on in the same vein speeding happily with uplifting rhythms and memorable choruses. "Schwanz" tones down the speed opting for a more serious power/thrash delivery with calmer semi-balladic overtones, but "Welcome In The Family" will split you open being a short blitzkrieg thrasher with jumpy hectic riffs and great bass support. "My Attitude" is another more optimistic power/speedster, before the closing "Unwanted" shoots you at close range with the last portion of raging thrashy riffage assisted this time by clever leads and the staple catchy choruses which are some of the best to be encountered on the scene, and not only during the 90's. To produce an album of such a genuine slassic quality, was equal to a heresy in those times, and under those circumstances it should be no wonder that the band disappeared without a trace... Still, "welcome in the family", guys!
The debut demo is already an accomplished speed metal affair despite the messy production and the too highly-strung semi-shouty vocals which had experienced a big metamorphosis till the time of the full-length. The approach is quite close to Not Fragile's early efforts without the thrashy sting of the latter, and the riff barrage is a tad more naive and merry-go-round, and less polished.

Never Surrender Demo, 1987
Welcome In The Family Full-length, 1995

REGICIDE (UK)

Based on the full-length, this band play modern 90's post-thrash which is rich on bedazzling Oriental melodies ("One by One"), but expect also tons of not very imaginative chugs ("Suppression"), their suppression not that tangible elsewhere, either, save for the several headbanging occurrences ("Disposable Crown"), the vociferous hardcore shouter behind the mike alleviating those moments with his insistent, sometimes hysterical, presence.

Burnt Eyes EP, 2022
Resist Control Full-length, 2024

Official Site

REGICIDE (USA)

Regular modern thrash without any seeming highlights; the delivery is right as rain and doesn't contain any pleasant or unpleasant surprises the singer being a higher for the style pitched semi-clean voice with a charming gruff blend. The pace changes from one song to another "Life or Death" being the more convincing track with its hard thrashing aesthetics and the curious quiet, balladic interlude. Shall we listen to this again... well, it depends on what your feelings towards the closer "Again" are, which isn't a bad up-tempo shredder closing this effort with more panache than it actually deserves.

Fall Of An Empire Full-Length, 2015

REGIME (FINLAND)

Based on the debut demo, this is surprisingly polished thrash/crossover which comes with very good leads and contrasting semi-death metal vocals. The pace is mid and one can come across delectable bass implements on "Suicide Parents" and a couple of sinister Celtic Frost-esque stomps on "Freedom Village".
The "Who Am I" demo is sustained in pretty much the same vein although "Psychoholic Asylum" is a lively thrashing cut, and "Freak Clique" is another intense headbanging proposition both opposing to more atmospheric doom-laden tracks like "Mediocre Freezer Fuck" and "Grudge".

Psychoectoplasmic Rings Of Atmospher From The Planet Dufus Demo, 1990
Who Am I Demo, 1991

REHASHED (CANADA)

The debut: fast blitzkrieg hardcore/thrash the intensity well expressed on the speedy 1-1.5min (with a few exceptions near the end) tracks which surprisingly come accompanied by stylish leads at times. This would be a good fun for those who don't look for any musical merits, but like to pogo to oblivion...

The self-titled demo is a pure thrashcore frenzy consisting of fast manic tracks within the 1-2min range; ultra-speedy relentless music topped by screachy shouty vocals. Only for pogo maniacs again...
"Government Cheese" doesn't change the course drastically as this is the good old thrashcore maybe performed with more verve and vigour as evident from fast rippers like "Rinse Repeat" and "1000 Ways to Die". Seldom does a track go beyond the 2-min margin except for the closing "Sonder" which is a fascinating progressive thrasher with ethereal rhythmic patterns and atmospheric serene interludes.

Rehashed Demo, 2008
Code Black Full-length, 2010
Government Cheese Full-Length, 2017

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REIFY (AUSTRALIA)

Heavy modern thrash, well conformed with the tastes of the time with a punishing rhythm section, but lacking the vigour and anger of Pantera. The music loses intensity at times, and generally the mid-pace is seldom crossed over except on the cool faster thrasher "Where 4 Art Thou Soul". Another good touch is the closing acoustic instrumental ballad "Memory", very well done.

In Your Dreams Full-length, 1995

REIGN (UK)

Based on "Exit Clause": ordinary modern 90's groovy thrash along the lines of Pantera and Machine Head; the tracks are slow-ish to mid-paced in the best case with very sparse use of solos, and some hardcore touches.

One would do wrong to avoid getting a hold of "Embrace", based on the not very good impression "Exit Clause" may have produced on him/her. The debut is a much better achievement; the music is still on the heavy groovy side of thrash, but moments from the 80's scene are also present, and the tracks are more complex, much longer as well, and the guitar work is way better, even with technical touches. The only complaint comes from the tempo which is slow doom and this might create a somewhat monotonous atmosphere although faster passages are featured on the longer numbers (most of which are within the 8-9min range), albeit not very long. The shorter songs are nice energetic thrashers: "Erosion", and especially the crushing "Infinity Within", which serve as a slight relief, before another epic heavy track comes over you. This is thought-out dark stuff which would perhaps find its fanbase among some doom metal fans as well.

Embrace Full-length, 1994
Exit Clause Full-length, 1995

REIGN (USA)

Based on the full-length, this act indulge in really good stylish classic thrash which blends seismic pounders ("Faceless") with dynamic full-on technical speedsters ("Last Man") with "In God We Rust" being a surprisingly effective Coroner-esque creeper. The real behemoth here, however, is the 12.5-min progressiver "As Life Unfolds", a spiral-like encyclopaedia of moods and time and tempo shifts ranking with the best produced from acts like Zero Hour and Sieges Even, which encompassing character still leaves a few surprises for the final technical jumper "The Declaration of the Jungle". The vocalist is another asset with his attached semi-clean/semi-shouty timbre, not participating too much, but always available to spice the very eventful proceedings.

WMD EP, 2015
Maximum Carnage EP, 2016
Destitute Full-length, 2018

Official Site

REIGN OF FURY (UK)

Based on the full-length, this act offer retro melodic speed/thrash which varies the tempo the speedy cuts ("Envy the Dead", "Born to Die") leading the pack. Suddenly in the second half appears the engaging opus "World Detonation" which lashes clever Bay-Area riffs with a stylish technical edge to a pretty positive effect this delivery recalling the guys' compatriots Evile, among several older practitioners. The more elaborate approach remains till the end, bearing the diverse semi-balladic "Vile Submission" and another larger-than-life number: the closer "The Hound" which is a bit less adventurous, but works on all counts with its more stripped, more intense style, the good Iron Maiden-like guitar "duels", and the dramatic pounding exiting section. The singer doesn't really shine, but his mid-ranged semi-clean antics are a good fit for this inspired debut which should see the guys catching up with their peers in their homeland and beyond.
"Death Be Thy Shepherd" elaborates the delivery and now all the compositions are lengthy, progressive-tinged melo-thrashers which provide an overabundance of melodic licks never forgetting the up-tempo sections (the "hypnotizing" "Hypnotise the Masses") which dominate the landscape on the sweeping speedster "Gates of Sanity" the latter's fury compensated by the cool semi-balladic rhythms on "All Is Lost". The closing title-track is 10-min of epic power/thrashisms which doesn't contribute a lot to the dynamic atmosphere heard up to this point, but serves right the the band's agenda of stretching out to a wider gamut of fans.
"Exorcise Reality" surely benefits from the presence of vigorous entangled speedsters like "To Fight and Conquer", and although the friendly tone is established early with the sing-along crowd-pleaser "I May Be a Bastard but I'm Not a Fucking Bastard", the album never loses its ironclad veneer thanks to energizers like "Capitalism" and "Haunt the Murderer" which keep the setting immersed in the headbanging idea, the progressive infatuations exhibited towards the end on "The World Belongs to Me" and elsewhere more on the welcoming power metal side.

Psycho Intentions EP, 2011
World Detonation Full-Length, 2012
Death Be Thy Shepherd Full-Length, 2015
Exorcise Reality\ Full-length, 2019

Official Site

REIGN OF IGNORANCE (RUSSIA)

This band were first known as Jesus Christ, and here they offer their debut under this new moniker. This same debut is conventional retro thrash which doesn't break any new ground regardless of the several more interesting moments (the varied speedster "Blind Humanity"). The singer is passable with his attached semi-shouty clean timbre, and he could pass for the highlight on this pretty pedestrian effort.

We Will Fight Full-Length, 2015

Official Site

REIGN OF TERROR (AUSTRALIA)

Based on the sophomore EP, this Australian trio indulges in heavy one-dimensional thrash with repetitive mid-paced riffs and guttural death metal vocals. The guitars come with a very buzzying sound which will become quite irritating by the end.

Under Blackend Skies EP, 1998
Book of the Dead (Ten Years of Terror) EP, 2005

Official Site

REIGNING (CHILE)

This is modern thrash/post-thrash that disturbs the peace with abrasive dynamic cuts (“F.Y.G.”) before the groovy corrosion of “666 P4rty” and “New Devil” instills the prevalent noisy sentiments, the moody doom-laden aesthetics of “Crimson Valley” at least suiting the shrieky black/death metal vocals, the latter also showing some high-pitch dexterity on the more viciously-executed “Remnants”. Some of the band members are also busy with the metalcore horde Sectarian.

New Devil Full-Length, 2023

Official Site

REIGNSAW (USA)

Brisk modern thrash which covers a wide range of tempos including several attempts at a more serious, progressive song-writing ("Like Brothers in Blood"). The headbanging side of the genre hasn't been applied extensively, and at some stage the album may start dragging a bit. The singer is an attached semi-shouty semi-cleaner.

Reignsaw Full-Length, 2017

REIGNTERROR (JAPAN)

Based on the "Reignterror" 2-track demo, this formation offer decent progressive thrash with ripping riffs and a dry mechanical feel the latter still smelling the old school nicely recalling Dark Angel's magnum opus "Time Does Not Heal". The pace is mostly mid with an accentuated bass bottom and cool mid-ranged clean vocals distantly recalling Joey Belladonna. The band members were also involved with the classic heavy metal outfits Gorgon (a very curious band who, after 20 years in the business, still haven't released a full-length) and Magnesium.

Demo Demo, 1991
Reignterror Demo, 1992
The Day of Judgement Demo, 1993

REINCARNAGE (SWEDEN)

Based on the "Black Vision" demo, this act, which is only two people, offers intense classic thrash/death metal ala their compatriots Dismember and Entombed, but with a dirty guitar sound and a stronger bass-bottom. The music is generally fast with frequent heavy insertions and vocals which are very close to Lars-Goran "L-G" Petrov (Entombed).

Reincarnage Demo, 2010
Black Vision Demo, 2010

My Space

REINO SANGRIENTO (ARGENTINA)

Ex-members of the speed blackers Cerbero are responsible for this 4-track effort which shows a more intense thrashier side of their musical proficiency which is expressed through heavy mid-tempo riffs poured under a wall of abrasive noise which is totally detrimental to the guitar sound. The vocalist assists with his hoarse semi-death metal voice which is quite contrasting to the screamy melodic leads the only part unscathed by the bad sound quality. Later some of the musicians released two full-lengths in the late-90's/early 00's under the name Visceral of better constructed retro thrash.

Demo Demo, 1993

REIONIZED (ITALY)

Quite cool albeit schizophrenic thrash of the old school which begins with the short corrosive Voivod-esque futurister "Proximity", its infectious intensity later picked by both the ripping "Building Better Worlds" and the weird psychedelic shredder "Entry Descent Annihilate", "High on Drugs Kill for Khorne" going over the top a bit with an array of less bridled aggressive rhythms. "Frozen Trenches" is a dry sterile delight, a nice robotic chugger which leaves the headbanging pirouettes for "Reaching the Singularity", the definitive spacey roller-coaster which flows into the closing "D.L.R.", an abstract saga with a subversive industrial flavour and a cumbersome mechanistic finale. The singer is an intense near-rending hardcore shouter who doesn't make any honest attempts at singing.

Exiting the Galaxy EP, 2020
Entry Descent Annihilate Full-length, 2022

Official Site

REJECTED (ITALY)

This Italian outfit specialize in hyper-active retro thrash which borders on hardcore due its sheer intensity at times. This is fast, very energetic stuff with short (1-2min) tracks and shouty punky, semi-clean vocals.

One Infection Full-Length, 2016

Official Site

RELAPSED (USA)

Based on the full-length, this band play interesting modern death/thrash/core with overt psychedelic additives ("Take Back the Reins") and a few weird twisted developments ("Snuffed By Ash"), all those served on a heavy mid-tempo at best. "Ruptured" is a steady epic march, and "Furtive Respite" is another moderate abraser, the subdued growling death metal singer overwhelming the intriguing short technicaller "Verisimilitude", but acquires a second-fiddle status on the sprawling spacey saga "All That Once Was". Some of the band members are also active with the death metal act Carrion.

Vivarium EP, 2020
The Way and Its Power EP, 2022
Take Back the Reins Full-length, 2024

Official Site

RELAYER (USA)

Hectic classic technical thrash staying somewhere between Kreator's "Coma of Souls" and mid-period Sadus, but the time-changes here are more abrupt and the singer is more on the clean side with the occasional tendency to scream sky-high. "Life Goes on" reaches some progressive heights with its more elaborate decisions, and "Decapitation of Mind" is an aggressive shredder without any too speedy sections (the guys don't use speed a lot, maybe on isolated passages). The sound quality is a bit muddy, but the band know their craft and it can't stand on the way of the great bass performance and the virtuous leads. This is a promising testing of the soil, and hopefully the band would be able to capitalize on it. The guys made some noise in the underground previously under the name Primeval where the style was technical death metal with one full-length and one EP released in the late-90's.

Life Goes On Demo, 2012

Official Site

RELEASE (USA)

This band boasts the presence of the ex-Metal Church singer Aaron Zimpel and the guitarist Gary Wendt (Sacrilege BC, Skinlab). Unfortunately they don't go over the conventional 90's groovy post-thrash so typical for the time. This is dark one-dimensional music with doomy overtones and dry industrialized riffs; hardly the best collaboration of two famous metal heads.

End of the Light Full-Length, 1995

RELEASED ANGER (GREECE)

The band's line-up includes former and present members of another very good contemporary Greek thrash metal band: Crucifier. If these guys manage to keep the high quality displayed on this demo, the sky is the limit for them: perfectly executed old school thrash in the Kreator, Destruction-tradition. The singer impersonates Mille Petrozza quite well; another highlight is the tight, razor-sharp guitar work. If for all of you out there Flames have always been the leaders of the Greek thrash metal scene, you might have to think again very soon.

"Faces of Fate" fulfills all the promises given with the demo; the music is in the best German tradition, this time also recalling Tankard and Toxic Shock along with the aforementioned bands and with better, and faster guitar work. The riffs are still sharp, but more melody has been introduced which is a very positive change here making the band sound more appealing, but without completely ignoring the more aggressive numbers: "Parasite", and especially the great "Shadows of Insanity": a masterpiece of raging thrash metal. A cool cover of Whiplash's "Power Thrashing Death" is thrown in the middle.
"Revenge" isn't a departure from the established no-bars-held delivery on the earlier output, but more melodic respites in the vein of more recent Kreator are provided as well like the more thought-out "Problems Remain" and the cool more diverse speed/thrasher "Inner Enemies". Still, the backbone of the album are fast-paced shredders like "Certain Death" and "Justice" which turn this opus into one perennial thrashing roller-coaster, a prime old school riff-fest to the bone.

Violent Instincts Demo, 2005
Faces of Fate Full-length, 2007
Revenge Full-Length, 2017

Official Site

RELENTLESS (USA)

Early Exciter and Savage Grace brought to you in four energetic tracks by just one musician (the name Rick Buentello), which are more deeply rooted in the power/speed metal scene, but up-tempo numbers like "Storm The Gates" and "Wait For The Lightning" will make you raise your fist in agreement.
The full-length is more in the power/speed metal mode, but “1,000 Yard Stare” is a fairly lively proposition, the galloping seismicity of “Lycanthropy” holding some fascination for the hard-boiled thrashers, “War Without End” another more aggressive cut, “Storm the Gates” wrapping it on with a gust of fast-paced riffs.

Wait for the Lightning EP, 2000
Life Is But a Dream Full-length, 2023

My Space

RELENTLESS AGGRESSION (NORWAY)

Based on the full-length, this act offer energetic roller-coaster old school thrash that sometimes gets unnecessarily vivid with scattered portions of semi-blasts ("My Wrath Prevails", "End of Religion"), the more imposing epic accumulations on "Flawed" a cool break from the speedy freighter which wins more points from blitzkrieg merry-go-rounders like "Time to Die" and "From Beyond", the attached semi-clean/semi-shouty vocals supporting the hyper-active melee which gets upgraded to more optimistic crossover on "Living, Lying, Dying".

Re-Animated Songs EP, 2018
A Shadow of All Things Broken Full-length, 2021

Official Site

RELICS OF MARTYRS (JORDAN)

This Middle-Eastern outfit indulge in Oriental motifs-infused thrash/death which sounds like the thrashy version of Nile and Melechesh blended together topped by a not very holy black/death metal rasper. The pace varies from song to song as the really fast sections are not too many as the focus is on atmosphere and melody a part in which also play the very cool leads. The closing "The Martyr's Journey" is a nice more technical attempt although at some stage it also surrenders to the atmospheric Oriental elements.

Scenes of Blood and Betrayal Full-Length, 2012

Official Site

RELICSEED (LATVIA)

Based on "Slaughterhouse", this band play competent quirky modern thrash which is choppy and technical, and it's good that at times the guys remember to insert the casual faster-paced passage ("Domestic Devil", the excellent sterile shredder "Queen") to dissipate the fairly officiant mood. The title-track is a nice dynamic piece with more classic, and also progressive, tendencies. More progressive avantgardism later arrives with the labyrinthine "Pointless Gravity". "Best Friend" is a first-rate hallucinogenic technicaller, the highlight here, a masterpiece of uncanny rhythm and time-changes. The closing "Surgeon" is another surgical modern piece which is a bit on the doom side, but is captivating nonetheless making this album a fairly interesting offering, and one may be intrigued to find out what this "sapna" from the debut's name means... ("a dream" in Latvian)

60 Minutes of a Dream EP, 2010
60 Minutes Sapna Full-length, 2010
Slaughterhouse Full-length, 2014

Official Site

RELICT (RUSSIA)

Based on the full-length, this act play modern thrash/post-thrash which recalls at times the more classic heritage ("This Moment"), but moments of the kind are generally a rarity as the band settle for the mid-paced groovy delivery the latter ably assisted by the cool clean mid-ranged vocals. Some of the band members also play with the heavy/power metal formation Oderjimost.

Relikt EP, 2012
Immortal EP, 2013
Chaos Chamber Full-length, 2017

Official Site

RELIGIO MORTIS (ITALY)

Based on the "Varcata La Soglia" demo, these guys offer a mixture of thrash and death metal with a few black-ish implements. This is intense stuff, quite diverse as well ranging from fast delights ("La Prima Qliphot") ala Dissection to vintage traditional doomsters ("Bitch Torment"). Fierce blitzkrieg death/thrashers like "Lingua Di Serpi" may scare the unprepared, but fans of the other two mentioned genres will find quite a bit here to enjoy if we exclude the rough sound quality which gives the guitars a certain screamy edge.
"Before Christ...After Death" comes served with a much worse sound quality and is much more aggressive and faster the highlight being the dark doom "Blood Of The Tyrants" in the middle. The rest is pure bashing most of the time, the noisy abrasive guitars often stifled by the cacophonous duel between the two vocal styles neither of which leaving a very positive impression.

Before Christ...After Death Demo, 2008
Varcata La Soglia Demo, 2009

My Space

RELLIK (USA)

Based on the "Deceive the Deceiving" EP, these guys offer fast intense thrash ala Kreator's "Pleasure to Kill" and the Swedes Hypnosia. They break the pattern for the longer heavy "Die As I Say (Not As I Do)", but the other 4 tracks are speedy exercises in vicious 80's thrash metal occasionally carrying a hardcore shade ("Means To An End"). This band can be considered the continuation of the Philadelphia thrashers Violemosh, who released one EP in the distant 1989. Some of the band members also play in the death metal formation Masada.
The "Devoured In Sin" EP is three songs which are served in the same energetic vein even crossing the borders of good behaviour with the frenetic proto-deathster "Dominion". "Fight to Die" is a supreme technical number which shows the band shredding with professionalism also adding a good sense of melody in the lead department. The vocals are high-strung shouty death metal ones, but are suitable and quite intelligible.
"Spiraling Infinite Chaos" continues the band's flirtation with both death metal and the more technical side of the genre which would be good news for the fans who will have fun on diverse aggressive shredders like "Doomsgarden" and the "spiralling" title-track which easily reaches Death and Gorguts-esque heights with its sharp stylish guitars and fast maddening tempos.

Deceive the Deceiving EP, 2004
Devoured In Sin EP, 2007
Spiraling Infinite Chaos Full-Length, 2015

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REMAIN UNTAMED (HOllAND)

Based on the "New World Order" EP: ex-members of the old school thrash veterans Brutal Obscenity team up with musicians from the short-lived thrash/crossover formation Skeletons of Society for the execution of more classic thrash/crossover tunes, only assisted by gruff death metal vocals. The music lashes and rips in moderation, even coming served with a tinge of technicality ("No Pain, No Gain"), the easy-livin' roller-coasters "Rise or Fall" and "The Sane Mind" best exemplifying the mood permeated here, the closing "New World Order" showing bigger musical prowess as well, the band providing a wider array of rhythms and riffs for an eventful thrilling ride.

Remain Untamed EP, 2018
New World Order EP, 2021

Official Site

REMAINS OF EDEN (USA)

Based on the "The Late Demo" demo, this act specializes in heavy modern thrash/death metal which combines the brooding doom riffs of Bolt Thrower with the more epic inclinations of Amon Amarth, and if the sound quality wasn't so bad, they could have come up with a more listenable material. Now the guitars form an almost impenetrable wall of mid-paced sound topped by very brutal low-tuned vocals creating the impression that this might have been a live recording.

Advanced Indignation Demo, 2003
The Late Demo Demo, 2005

Official Site

REMINISCENCIA (ARGENTINA)

A talented young outfit from the deep Argentine countryside, Patagonia to be perfectly precise, who specialize in state-of-the-art classic, also classical in both execution and structure, technical/progressive death/thrash, a great reminder of luminaries like Toxik, Atheist and Nomicon. This is a very hectic delivery for the most part, the opening "Bariogenesis" alone a whirlwind of fast-paced intricate crescendos, the aggressive semi-shouty death metal vocals supervising the very lofty musical proceedings with spite and authority, the short but dazzling lead sections more on the melodic side, making circles around the contrived riff-patterns. "Multiuniversum" is a symphony of entangled rhythmic conundrums, a very busy composition with constantly overlapping tempo-changes, the delivery only marginally simplified for the more aggressive fast-pacer "Teoria del Caos", a restless piece with awe-inspiring intricacies served on a fervent hyper-active base. "La Matriz" is more controlled from a speed point-of-view, but the super-complex formulas remain, and even get elaborated on, the guys also inserting more frequent melodic pirouettes to near-operatic proportions. Mentioning opera, the latter musical structure gets erected in its entirety on the 8-min odyssey that is the title-track, a fulsome tribute to musical dexterity, the band filling the aether with curt staccato rhythms, contrived riff-knots, abrupt speedy rushes, and sweeping melodic tractates, a few isolated brutal deathly escapades further adding to the larger-than-life stature of this track. Logically, the guys close the proceedings with a short non-metal, operatic etude ("Metaphysica Mentem Roborat") as a way to mirror the classical heritage to which this opus is a really handsome tribute.

Ilusion Tetradimensional Full-length, 2022

Official Site

REMISSION (AUSTRALIA)

Based on the full-length debut, these Aussies provide traditional melodic thrash/death which is a bit thrashier than the Swedish school models, with the finest cuts strictly belonging to the retro thrash headbanging school ("Black Scorched Earth", "Like Tears in Rain"). "The Tether's End" is a nostalgic lyrical progressiver with echoes of Amon Amarth, but watch out for "Transcending Chaos" and the short piece of fury "Forced Entropy", ripping classic thrash at its finest, the scary shouty death metal vocals a vital ingredient to this frequently hyper-active offering.
"Impermanence" is a faithful follower of the first instalment, the band death/thrashing in their staple melodic fashion, producing a couple of notable speedy pageants ("Noctis Bestia", "Hellfire") along the way, the more technical deviations of "Constricted" contradicted by the patiently-woven epic developments of the final "Paralysis".

Genocide EP, 2016
The Tether's End Full-length, 2019
Impermanence Full-length, 2023

Official Site

REMORSE (HOLLAND)

The full-length shows a band pulling out modern thrashcore with very buzzy guitars and forceful death metal vocals. The approach is quite dynamic, although bombs, like the explosive "Flooded Plains" and the "emotive" closer "Emo", should have been more.
The EP comes with a much better sound quality although the musical approach is pretty much the same: modern thrash with elements of hardcore alternating fast with slower sections maybe favouring the latter more. Still, the energy flows effortlessly reflected in vigorous cuts like "Emo" (also featured on the full-length) and "Suicidal Tendencies" which may be a tribute to the Americans the music on this one being more light-hearted thrash/crossover.

Awating Your Death EP, 2008
Crush Your Pride Full-length, 2011

Official Site

REMORSE (HUNGARY)

Modern/classic thrash metal; the band's second and third efforts, considering the time of their release, are modern thrash, and are not really anything special. "Harc!" is a nice turn to classic thrash metal with just a few remains from their more modern-sounding releases. This album is a great headbanging feast in the first half; the opening track "Valosag" is slow-ish, heavy number, but every subsequent song adds more and more speed into the proceedings. The second half is less impressive, and the album loses steam little by little, despite the presence of stylish technical riffs ala Jeff Waters: "20/40", as well as classic heavy metal hymns: "Miert van Csesd?" (the title is obviously some question in Hungarian); what follows until the end is mid-paced, more modern thrash, which still delivers the goods, but the compositions acquire groovy, even alternative, tendencies.

"D.O.H." thrashes with full force in the beginning providing numerous delights for the headbangers, without completely forgetting about the more lyrical side of the genre, with the cool semi-ballad "Amikor Vege II.". Watch out for "Jeg", which comes straight after that: the ultimate speed/thrash metal experience, played at the speed of light. After this hyper-intensity the guys take it easy, and this ease stretches onto whole six tracks leaving a solid aftertaste in the mouth, which the closing "Kin" tries hard to erase with another portion of speedy thrash riffage. Not a bad album at all, this work could have had more appeal if the band had chosen to thrash their souls out, instead of taking a very long break, dissipating the excellent impression left at the beginning.

The debut is the most melodic offering the band sharing the stage with power, speed and thrash metal in almost equal dozes, but the material on display is proficiently done splitting the influences between the modern and the classic school. Still, to talk about full-blooded thrash here would be quite stretching for the imagination which would be really challenged on the final string of tracks which are long semi-ballads and have no merits from a thrash metal point of view.
"Koho" is another pretty decent offering, the band not a very regular presence on the scene anymore, moshing with moderation ("Hazudnak", "Sodor az Elet") without any extremes, adding the odd more commercialized power metal hymn ("Meg Egyszer"), also exuding more viciousness with the raging Slayer-esque "Gyozni Fogsz". Some thicker modern grooves ("Indulunk") are inevitable, including a cool soulful ballad ("Jobaratom") which shows the singer in a very bright light.

In Versio Full-Length, 1993
Lmatlansog Full-length, 1996
Sodatsdag Full-length, 2000
Harc! Full-length, 2005
D.O.H. Full-length, 2008
Koho Full-Length, 2021

Official Site

REMOTE CONTROL (HOLLAND)

Intense ripping classic thrash on display here, the guys moshing with little restraint, recalling their compatriots Messina. The more technical arrangements on the less linear "Drug Addiction" are noteworthy, but run for cover on the short explosive "Speak Up", pure Slayer-esque madness followed by the friendlier, more technical stomper "Alive & Dead", the shouty hardcore-ish vocals adding more drama into the uncompromising hyper-active layout.

Promo Tape Demo, 1989

RENAZCORE (USA)

Based on the "Veritas Vincit" demo, these lads pull out decent retro progressive/thrash which also offers something for the death metal lovers ("Withering Certitude") including in the vocal department where the man rends his throat like there's no tomorrow. Cleaner more passionate vocals sneak in on the more laid-back material (the epic semi-balladic "Fossilized"), "A Day In the Life" a cool reminder of the Sabbat and Bifrost heritage with its pagan motifs. The cover of Iron Maiden's "Alexander the Great" arrives towards the end, faithfully performed with the deathly singer tucked away on this one.

Technical Renaissance Demo, 1999
Veritas Vincit Demo 2001

Official Site

RENEGADE (AUSTRALIA)

A very good but forgotten thrash metal band; their style is quite close to the first Onslaught albums or Hallows Eve: dark, evil thrash, quite energetic with shades of black metal. The album is a cool mixture of more light-hearted speed/thrashers and vicious, more aggressive ones. Slower, more power/thrash-based numbers are also here ("Threshold of Death"). You won't find any technical play here, but the intensity of the material will satisfy even the more pretentious thrash metal fans.

Total Armageddon Full-length, 1987

Vibrations of Doom

RENEGADETH (DENMARK)

These lads started as a cover act of Megadeth, but based on the "Fake Divine" demo, this act play classic prog-power/thrash that has the drive and the verve, sometimes epitomizing power/speed metal-ish gallops ("Crimson") for the ride, sometimes shredding with consummate precision for the provision of the excellent diverse title-track. "The Time Is Now" is a somewhat overlong ballad, and "The Craving" is a brief speedy breeze. The vocals are clean mid-ranged, at times pulled to the more dramatic higher parametres. The musicians also participate in other acts like the, the progressive thrash formation Indoctrination, and the melo-deathsters Beyond Reality and Defiled Dreams.

Fake Divine Demo, 2003
Rehearsal Shit Demo, 2004

RENEGADOS (BRAZIL)

Based on "Intolerance", this band play retro thrash with brutal guttural death metal vocals. "God and Demons" picks up less bridled death metal brutality, but overall the delivery doesn't go towards such extreme territories, the guys even attempting something more speed metal-ish (the title-track, "Fire War") here and there. This is direct non-fussy stuff which will also delight fans of the German speed/thrash movement.
"Death Blade" is played with the same intensity, except that the approach is a bit drier and also more proficient, the excellent leads on "We Are Nothing" showing bigger musical prowess, the latter also displayed on the quirky escapades on "Empathe". "Listering to Voices" is a pounding atmospheric violator, and "Murderos Mothers" is a stomping bleak shredder with cavernous doom tendencies.

Storm Hate Full-length, 2004
Looking for My Insanity Full-length, 2015
Insanity EP, 2017
Intolerance Full-length, 2019
XXXV Years Full-length, 2022
Death Blade Full-length, 2024

Vibrations of Doom

RENEWAL (IRELAND)

This is the early incarnation of the thrash/deathsters Carnun Rising. The style here is more on the thrashy side reflected in intense, mostly mid-tempo, rhythms which harden the course suddenly on aggressive cuts like "Age Of Tribes". "Bloody Whore" is a dramatic galloper, the highlight on this energetic effort which only hints at more deathly things to come on the future "godfather" "Carnun Rising" which semi-blasts for a while. The demo suffers in the sound department: the guitars come with an annoying buzz which is especially evident during the lead sections.

Old World Order Full-Length, 2002

RENEWAL (RUSSIA)

Not very proficiently executed retro thrash which at least on the "Instrumental" shows signs of dexterity with more volatile rhythmic patterns, only if it wasn't for the really sloppy production. "Smile" is a relatively hectic mid-pacer, but the very rough unrehearsed semi-clean vocals ruin the proceedings almost beyond repair; and the "Outro" (there's also an "intro") is 2.5-min of mid-tempo instrumental variations which could have been turned into something more substantial.

Demo Demo, 1998

RENFIELD (GERMANY)

A band who refuses to lay to rest the classic sound from the 80's, and mixes it with the typical groovy trends, resulting in occasionally interesting music which at times lightly touches the German progressive/technical thrash metal wave (check out the avantgarde Depressive Age-sque "Rain Will Fall") which at that time had almost completely disappeared. "Renfield's Dream" is a cool galloping technical speed/thrasher, and "Hate Song" is a more aggressive thrash/crossover outbreak; don't ignore the closer "It's Greed" which is another dynamic piece of up-tempo technical power/thrash. The early speed metal scene from the same country is paid tribute with "Burnout" and "Someday".

PolyToxicoMania Full-length, 1997

RENTGEN (RUSSIA)

Based on the "Lost Castle" demo, this act, which consists of two members only, plays stylish technical all-instrumental thrash metal, mixing the pace the whole time, the predominant one being mid with dark overtones, but there are outbreaks of raging speed ("Obsessed Devil") as well as great Oriental implements ("Other Worlds"). "To Stars" is a brilliant progressive thrasher with the lead guitar playing a major role, but the riff-driven "Blood On Sand" makes up with plenty of sharp heavy guitars, also quite brutal at some stage, again graced by some of the finest Oriental motifs around. "Lost Castle" is another display of progressive instrumental brilliance, an impeccable mix of virtuoso guitar parts and straight cutting riffs. "Poured The Whole" is a creepy minimalistic thrasher with a nice closing balladic lead-driven section. A true underground gem, which will inevitably raise the interest in tracking down the band's other catalogue.
"Intrusion From Hell" is a more brutal affair staying closer to death metal in the beginning, and is less technical, except for the leads which are again on a high level. The thrash returns towards the middle with the Bay-Area smasher "Judicial Psychiatry": vintage early Testament following closely Alex Scholnick in the lead department. "My Grave Became Tight For Me" is a no-brainer with its seamless mix of technical thrash, speed and death metal the latter occupying a small space near the end. "Post-Mortem Autopsy" is heads-down thrash aggression ala Slayer with both a more technical and a death metal twist. "Angel's Fall" is a heavy speed/thrashfest offering a slower approach which carries on on the next melodic lead-driven "Black Sunset". There is one vocal bonus track as a finishing touch: "Epidemic", intense thrash ala Sepultura's "Beneath the Remains" with very brutal low grunting vocals.

"Black Sunrise" shows the guys in a much more simplistic form with an abrasive guitar sound, and with vocals. The music has almost no shades of technicality, but is decent retro thrash/death metal in mid to up-tempo, a bit one-dimensional and uneventful, finished with a cover of Sepultura's "Troops of Doom".
The "Armageddon" EP is a big improvement over the debut demo serving five songs of more proficient thrash/death metal, more brutal than the one on the debut now being pure death metal for most of the time, still preserving the vocals also adding a considerable amount of leads which were completely missing from the demo. The technical performance is still not on a very high level if we exclude the excellent lead guitar work which is omnipresent creating haunting atmospheric landscapes which starkly contrast with the frequent blast-beats and the very low brutal growls. Seriously, this guy is probably the finest shredder on the Russian scene right now, his style not far from the one of his compatriot and peer, the guitar maestro Valerii Gaina (Kruiz).

Black Sunrise Demo, 2002
Armageddon EP, 2003
Lost Castle Demo, 2004
Intrusion From Hell Demo, 2005

REO (ARGENTINA)

Based on "No Tienen Lugar", this band specializes in modern power/thrash metal full of catchy melodic riffs, some of them coming with a nice Oriental shade, the latter totally contrasting to the very brutal shouty death metal vocals, the worst possible choice for this kind of music. That same music is pretty heavy, exclusively mid-paced, relieved by the more stylish melodic hooks which are still not enough to "kill" the monotony which at some stage may overtake the listener.

Promesas Full-length, 2000
No Tienen Lugar Full-length, 2004

Official Site

REO (SPAIN)

Based on "Phobia", these Spaniards pull out melodic power/thrash which is both classic and modern excelling in the melody department thanks to the stylish memorable leads. There is not much speed to be savoured the guys settling early for the uneventful mid-tempo approach not being tempted to leave it very regularly. The vocalist has a warm friendly voice which delivers without leaving the mid-ranges too often.

Condenados a Vivir Full-length, 2005
Phobia Full-length, 2007
El Valor De La Sangre Full-length, 2012

Official Site

REPELLEDEATH (CANADA)

If we exclude the ultimately screechy hysterical witch-like vocals, the rest is actually not such a throwaway, ranging from blasting outrages ("Human Centipede") to bursting Slayer-esque pieces ("Amityville"), to dirgy doom-prone processions ("From Dusk till Dawn"), the light-hearted power/speedster "Repelledeath" siding next to the heavy behemoth "Carrie", the band obviously knowing their horror cinema inside/out, including their "Mad Max" franchise on the wild grinding basher of the same title.

Repelledeath Full-length, 2024

Official Site

REPENT (GERMANY)

A rising star from the German metal scene, Repent started with a nice mix of modern and classic thrash with technical tendencies; the opener "Feel Your Pain" is a really good initiation in the band's intense, semi-technical style, being a great intense thrasher. What follows is no less aggressive, but the tracks get longer, and the technicality increases. The last composition "Never Fallen Tear" comes as a complete surprise being slow, industrialized doom, sounding as a very good mixture between Saint Vitus and Neurosis, and lasts for whole 8-min.
Contrary to the expectations, instead of developing their interesting style further, on "Disciple of Decline" the guys moved towards aggressive, direct, blitzkrieg thrash metal along the lines of Slayer and Sepultura, which also worked great. Only time will tell what the next album from this very talented band would sound like...

The Promo sees Jurgen "Eumel" Aumann from their compatriots Final Breath taking over the mike, and offers four tracks of direct retro thrash pretty much in the vein of "Disciple of Decline". A few sparse proto-modern sections can be caught, but this would hardly turn into a dominant tendency with these purveyors of the old school sound.
"Vortex of Violence" tries to find the perfect balance between the old and the modern school, but most of the time the approach isn't very exciting with repetitive riffs and predictable gimmicks. There are enough ripping pieces to stir the blood here, even some coming with a shade of proto-death metal ("Howl", the "suicidal" rager "Suicidal Dreams"), but a once original and promising band can definitely do much better than that.
"Condemned to Fail" is a more assured offering the band attempting something more flexible and progressive ("Progress Paradox") with the moshing factor still around including on a couple of more modern abrasive shredders ("Theo-crazy"). "Hypocrite´s Tears" is a nice melodic diverser, but the high-octane thrashing never gets lost completely thanks to energetic cuts like "Empires of Evil" and the semi-technical chopper "Mutilation Ritual", the guys sounding positively invigorated and definitely more enthusiastic.

Escape From Reality Full-length, 2000
Disciple of Decline Full-Length, 2004
Promo Demo, 2010
Vortex of Violence Full-Length, 2012
Condemned to Fail Full-Length, 2019

Official Site

REPLACIRE (USA)

The debut: this is first-rate technical thrash which will make you listen in wonder at the happenings within throwing you into memories of old heroes like Mekong Delta, Coroner, Target, the Czechs Chirurgia, the French Droys, even Nomicon if you like. The opening "Mask of Weary Eyes" paints a truthful picture of what to expect here: puzzling complex riff-patterns lying in wait at every corner also infused with great melodic tunes: check out the labyrinthine chaos of riffs and time-changes "The Human Burden" which will even make you headbang in a bemused state at some stage for a bit. Things don't really calm down later on except probably on the abstract progressiver "Along the Frame" which is just a tad more straight-forward. Some more abstractism, but of the discordant Voivod-ish type, will one come across on "Pure Will" before "Corridors of Resolution" wraps you up in another portion of complex vortex-like rhythms. "Price to Pass" would be a reward to the more patient ones who managed to survive this mind-bending musical amalgam being a more direct fast-paced thrasher with virtuous leads. The aggression goes a level up on the death metal-laced "Slow Cuts Inside a Throat" which is another maze of head-scratching elaborate landscapes the latter gracefully continued on the brilliant closer "Circles", a glorious sum-up up of all the infernal complexity roaming around here: fast dissonant riffs, weird quiet passages, brutal chaotic outbreaks, illogical guitar chains something which Coroner left unfinished; everything is here to make the listener utterly enchanted and also quite tired from this overwhelming technical/progressive listening experience which is a major contender for "the top ten" of 2012. So hurry up, and make those top tens before the end of the world comes... time is running out...
"Do Not Deviate": the guys are back after a five-year hiatus, and this opus shows them in fine form again to do some major damage on the technical/progressive metal horizon. There's no jarring hectic technicality lost on the opening shredder "Horsestance" which also sees very good deep clean vocals ala Burton Bell (Fear Factory) bonding with the dominant shouty death metal ones. "Act, Reenact" tries to brutalize the environment with less controlled chaotic rhythms, but "Built Upon The Grave Of He Who Bends" puts things back on track with dazzling intricate decisions and surreal dramatic accumulations. "Any Promise" is a stomping cut with more linear thrashing involved, and "Cold Repeater" is a more abstract quasi-groover with uncanny atmosphere. Towards the end the band prefer to explore the less melodic chugs of Meshuggah and the djent movement, but the labyrinthine "Spider Song" restores the vitality which later gets translated on the headbanging mechanizer "Traveling Through Abyss". As a whole this recording isn't as impressive as the debut the band sounding more sterile and rigid, not venturing too much into the flamboyant technical department.
“The Center That Cannot Hold” gracefully returns to the more complex and more compelling format from the debut, and although death metal occupies the front seat for at least half the time, there’s nothing worn in sterile dystopian technicallers like “Bloody-Tongued and Screaming” and the spastic nervy wonder that is the title-track, the composed serpentine creeper “The Helix Unravels” a supreme achievement in the annals of modern tech-thrash/death. More niceties provided later with the excellent hectic shorter “Inglorious Impunity” and the futuristic abstracter “Hoard the Trauma Like Wealth”, “Transfixed on the Work” a brilliant reminder of the entangled conundrums of the Swedish masters Theory in Practice.

The Human Burden Full-Length, 2012
Do Not Deviate Full-Length, 2017
The Center That Cannot Hold Full-length, 2024

Official Site

REPLICA (ARGENTINA)

Based on the full-length, this act serve modern 90's post-thrash that acquires some power metal tendencies at times, like on the dramatic diverser "Ojos En La Pared", the stoner/doom relaxer "La Maldicion" and the rowdier more confrontational "Guardianes" keeping the intrigue alive, the latter also retained thanks to the cool emotional semi-clean vocals. "Esclavo Del Odio" is a surprisingly vivid classic thrasher, the possible highlight on this otherwise not very striking recording. Some of the band members are also engaged with the old school thrashers Craneo.

Esclavo del Odio EP, 2016
Adelanto primer Disco EP, 2019
Sangre de Maquinas Full-length, 2023

Official Site

REPLIKA (HUNGARY)

Based on the debut, this is modern 90's post-thrash obviously influenced by Sepultura ("Chaos AD" and "Roots", in particular) so this isn't a total waste of time. Fans of those two albums will find a lot to like here. "Elvezetek Foldjen" is a total waste of time, though: bland soft alternative heavy rock with no ties to thrash whatsoever. The guys apparently put more energy in their other project at the moment: the death/black metallers Neochrome.

Nem Leszek Oldozat Full-length, 1996
Ima Full-length, 1998
Masik Vilag Kapujaban Full-length, 2001
Testbe Zart Lelek Full-length, 2001
Acoustica Full-length, 2003
Durva Olet Full-length, 2004
Nem Hiszek Full-length, 2007
Elvezetek Foldjen Full-Length, 2010

Official Site

REPOSTOR (POLAND)

An obscure Polish entry into the early-90's underground death/thrash catalogue, still classic-sounding, with somewhat distorted guitars and rough drunken death metal vocals akin to Martin Van Drunen (Pestilence, Asphyx, etc.). The style recalls later-period Messiah without being overtly stylish, and the messy sound quality doesn't give too many opportunities for the musicians to shine. They still try hard bringing several tricks on the table, like gothic atmosphere ( No More! ), brutal death metal distractions ( W.B.C.D.! ), more clever semi-technical leanings ( Admonition ), etc.

Give 'Em Help Demo, 1993

REPRESALIA (COLOMBIA)

This band play energetic classic thrash which has the requisite amount of intensity thanks to rowdy pieces like “El Retroceso del Indio” and “Sin Remordimiento”, the shouty semi-deathly vocalist following the plot twists with bitter determination, including the more entangled configurations on the deviant “Obligado a Creer”. Proto-death comes to play on the furious “Guerra Entre Pobres”, but the more relaxed thrash/crossover on “Duplicando la Muerte” and the choppy effervescent speed/thrashisms on “Rios de Sangre” desirably diminish the accumulated tension. Some of the musicians are also engaged with the retro thrashers Victimized.

Contrahechos Full-length, 2023

Official Site

REPRESION (VENEZUELA)

A calmer, more melodic, but also toothless version of the modern thrash sub-genre with cool semi-clean vocals, mostly in mid-tempo, reminiscent of mid-period Machine Head in many ways; in other words, don't bother...

Sobrevivencia Full-length, 2006

My Space

REPRESSION (FINLAND)

These Finns indulge in brisk old school speed/thrash which races with the speed of light from the get-go with the opening instrumental "I.S.T.N.A." which warms up quite well for the ensuing "carnage" the latter modeled after Devastation and early Sepultura, among other well implemented influences. These 4 songs will be enough for you to get tired and even more: pure attack from beginning to end, the only relief coming on "Revelations Of Death" in the form of a short, but really stylish, atmospheric section. Diverse headbanging thrash awaits you on the closing "Repression" which is 6-min of pure classic thrashy delight. The only minor complaint would be the shouty throaty death metal vocals which despite their intelligible antics, are still not too suitable for the music.

Repression Demo, 2012

Official Site

REPRESSOR (BRAZIL)

The EP: this band indulge in competent heavy old school thrash which varies things with different rhythms covered the speedy ones more favoured: check out the "free" headbanger "Free Choice" which even switches onto death metal at some stage. The singer is a scary low-tuned death metaller whose growls sometimes can't be deciphered very clearly.
The full-length debut comes with a thicker proto-death guitar edge touching both Devastation and Slayer. The bashing never stops here accompanied at times by a touch of crust ("Mercyless"), at others by a dark doom flair ("De Cara No Sangue"). "Brasil" almost reached death metal parametres due to a number of scattered blast-beats; and "Plague Instinct" is the friendly proto-groovy filler here, influencing the last few cuts which lose the moshing idea at some stage.
"Agnoia" is more on the modern side of the spectre the guys epitomizing a couple of heavy proto-groovy breaks ("Cabral", "Rebeliao") the moshing side not that widely covered this time although more dynamic shredders like "Ganancia" invariably roam around, including the more brutal, surprisingly death-oriented "Sangria".
"Monguite" is woven of the same sentiments, the production being a bit noisier this time, with impetuous speedy roller-coasters ("Invisíveis", "Mandala") occupying half of the playing time, the other half spared for slower pounding numbers ("AreiaMovedica", "Tamo Ai")the latter provided with a hefty modern flavour.

Welcome to Reality EP, 2009
Enemy Full-Length, 2016
Agnoia Full-Length, 2018
Monguite Full-Length, 2021

My Space

REPRISAL (CANADA)

Bashing intense classic thrash which is present in an ultimately virulent fashion, the reciting unemotional vocals striding next to the violent all-instrumental barrage “Human Nemesis”, “Affliction of Age” acquiring a friendlier crossover tone, “Retribution” trying something more elaborate, but the clumsy rhythm-section and the sudden spasmodic brutal passages ruin the intentions to an extent, not to mention the really muddy sound quality.

Nemesis Demo, 1988

REPRISAL (UK)

Based on the full-length, this band play dynamic modern thrash/death which is built around more elaborate, semi-progressive structures where isolated spasmodic blast-beats ("Monomania") shake hands with spacey encompassing vistas ("Cannibal Cosmos") and less exuberant, minimalistic layouts ("Hammer of Light"). Less scholastic headbangers like the stylish hectic "The Patronarch" should have been more, and the vocalist should have been less overtly shouty as his tirades deafen the musical shenanigans at times.

Ichneumanity EP, 2013
None Survive the Sun Full-length, 2018

Official Site

REPRISAL SCARS (FINLAND)

Typical melodic thrash/death metal (based on the full-length debut) with a strong Gothenburg influence in the guitar work; the vocals shift from the pattern, being low death metal growling ones. "Killing Art of Self-Deception" is a bit more of the same, no surprises, maybe the tempo this time isn't as fast sticking more to mid-pace with the occasional more intense headbanger ("Grand Assertion of Hate!").
The "Is This the Next Last Day" EP is very close in spirit to the full-lengths, typical modern thrash/death metal, maybe a bit slower now and more atmospheric, with a certain participation of clean vocals which hardly bring anything positive to the very familiar picture.

Dead End Road EP, 2008
Sobrevivencia Full-length, 2006
Killing Art of Self-Deception Full-Length, 2008
Is This The Next Last Day EP, 2010

Official Site

REPROACH (BELGIUM)

The debut: furious angry thrashcore with blasting, 1,1.5-min numbers and super high-strung shouty vocals. This is wild fun, done just for the sake of it, and for that matter it's really hard to "reproach" the lads for rocking your world so hard...

"The Bitter End" features 14 tracks packed within a bit more than 16-min; so prepare to run cover on this merciless thrashcore downpour which boldly ventures into both grind and punk to an ultimately destructive, but also joyful, effect. The singer quarrels the whole time adding the more melodic pitch on the slower parts which are not many at all.

Reproach Full-Length, 2003
The Bitter End Full-Length, 2011

REPTALIEN (MEXICO)

Members of Annihilator, Reverend, Bonfire, etc. have joined forces here for the creation of old school power/speed/thrash compendium, the short but atmospheric all-instrumental doom tractate "Tyranny" boding other trajectories for a bit, but make no mistake on "Offended", a stomping threatening piece in the best tradition of Reverend, the energetic speedy "Hypocrites" the liveliest proposition here, the remainder seldom leaving the mid-tempo confines, the singer standing tall with a leveled mid-ranged clean timbre.

Reptalien Full-length, 2022

Official Site

REPTIL (MEXICO)

Good power/thrash in the vein of Deadly Blessing, Aftermath and Destructor; the demo starts with two cool speedy numbers before it settles down for heavier, mid-paced riffage on the next two.

Basta Ya! Demo, 1988

Fan Site

REPTILE (COLOMBIA)

Classic speed/thrash clinging more towards the speed metal side; as such the harsh death metal vocals don't suit too well the mellower character of the music which crosses galloping passages in the spirit of the 80's American school ("Luciferian Street Killer") with the more sincere and less polished echoes of the German movement ("Reptile (The Science Of The Great Serpent)"), both sides coming with loads of catchy melodies. "Ancient Lizard" is a quiet balladic instrumental, but on the rest such respites are very rarely encountered the closing "Waves of Desolation" offering a more epic, semi-balladic rendition of their heroic, battle-like style. Some of the musicians are also involved with the black/thrash sensation Cabra Negra, and the old school thrash metal cohort Metalfire.

Solid Metal Rules Full-Length, 2016

Official Site

REPTILE (PORTUGAL)

Groovy, hard-hitting, and fairly energetic thrash/post-thrash which keeps a respectable mid-tempo for most of the time seldom degenerating into blatant groove ("Consequence") which would have been a sure winner some 12-15 years ago. At times one might find himself headbanging on some of the more edgy tracks ("Criminal Power", "Dark Memories", which speeds up quite a bit; the pounding "New Face"). Few are the albums nowadays which can capture the unbridled energy of the early works of Pantera and the Machine Head debut without sounding derivative and trite.

Reptile Full-length, 2008

My Space

REPUGNANT (SWEDEN)

Based on the full-length: a good fusion of old school death metal and heavy thrash ala Celtic Frost; the tempo varies, but seldom stays on the faster side opting for a heavy crushing sound with twisted riffs in the Morbid Angel-vein. Too bad these guys called it quits soon after the release of their only full-length.

Hecatomb EP, 1999
Premature Burial EP, 2004
Epitome of Darkness Full-length, 2006

Official Site

REPUGNATORY (CHILE)

Based on "Oscuro Ritual De Serpientes", these prolific rookies specialize in intense vehement old school black/thrash which also has its marginally more lyrical speed metal-ish side ("Muerto en Vida", "Tortura Infernal"), the more aggressive moments ("Hijos del Diablo") not shying away from a couple of less restrained hyper-blasts. The vocals are horrifying black rasps, shouty hysterical rendings that may scare the unprepared. Some of the musicians also take part in the black metal cohort Serpent Majesty.
“Eterna Abominacion” delivers competent well-produced old school black/thrash which blasts through the speakers (“Supremacia Infernal”) with unrestrained black-clad violators, but is also willing to consider the validity of more tamed representations like the dark atmospheric “Dios Muerto” and the more elevating speed/thrash joy that is the title-track. The vocals are strictly in the raven-like screechy camp, well suited to the sinister tenebrous setting.

Guerra Proclamada por Satán EP, 2017
Destruyo tu cruz Full-length, 2019
Artillería anticristiana Full-length, 2020
Oscuro Ritual De Serpientes Full-length, 2020
Alma Impura EP, 2022
Eterna abominación Full-length, 2022

Official Site

REPULSA (USA)

Based on the demo, this band, which were named after their female singer, play a blend of crossover/thrash and pop-metal; if you can imagine a "marriage" between Lita Ford and Excel... "F.T.W." (aka "Fuck the World") is a cool thrashy headbanger, though, but that's all about it.
"Sex Pig" is a better offering due to the presence of two guys who later on played for Exodus, including the drummer Tom Hunting (also Angel Witch, and the Jason Newsted side-projects Sexoturica & IR8). The three songs from the demo are here as well, but the other material is superior being pure thrash for at least half of the album, sometimes thrashing with gusto ("Big Lady") ala Anthrax, sometimes crushing in a heavy mid-pace ("World Gone Mad", the gritty steam-rolling closer "Fuck Yourself" which starts thrashing with force near the end, too). Although this is hardly the headbanger's paradise, this effort should be paid respect for its reluctance to lay the classic spirit to rest during those difficult times.

Demo Demo, 1992
Sex Pig Full-length, 1994

REPULSIVE (CHILE)

Right as rain old school thrash, energetic simplistic stuff which, apart from the regular ripping headachers ("Weapons Of Mass Distraction"), also takes itself more seriously on the stomping less dynamic journey "Undomesticated", a nice engaging entry that rises high above the mellow epic metal filler "Dying World", a string of speedy breezers ("Fed Up", "Pray, Praise And Obey") aggrandizing the more laid-back crossover, but surprisingly clever, tactics of "Social Earthquake".

Weapons of Mass Distraction Full-length, 2021

Official Site

REPULSIVE AGGRESSION (NORWAY)

This trio is a valuable addition to the not so voluminous at the moment thrash metal scene in Norway, and their potent dark sound "shaded" by the frequent death metal stroke is something worth checking out. This isn't stale stuff, but there are plenty of eventful moments to be enjoyed, like the pensive atmospheric "Plaguebringer", the grindy outrages on "Sub Human Destruction", the more clever technical algorithms on "Reborn Through Annihilation", the pure death metal madness ala Unleashed and Unanimated on "Leave Her to Rot", the speed/thrash crescendos on the closing title-track, etc. The singer is a traditional death metal growler whose subdued shouts are put too up front in the mix.
"Preachers of Death" is another potent offering the guys thrashing harder this time probably as evident form rigorous cuts like "Utter Repulsion" and the excellent technical thrash/deathster "Reign". "Lord of Men" is a nice melo-death/thrash piece with playful qualities, and "Hypothermia" is a dramatic pounder that can pass for the highlight with its emphatic dramatic accumulations.

Conflagration Full-Length, 2013
Preachers of Death Full-Length, 2015

Youtube

REPULSIVE HATE (CHILE)

Choppy modern semi-technical thrash which doesn't win to many points from the hysterical overshouty vocal department. Music-wise this is pretty decent, mind you, the alluring Oriental motifs on the title-track working well with the impetuous hyper-active thrashing unleashed on "Pacto", and with the dramatic deathly accumulations on the melo-death worshipper "Tierra Muerta".

Carnicería EP, 2021

Official Site

REQUIEM (AUSTRALIA)

Based on the full-length, this act pull out modern thrash which ranges from complex, multifarious compositions ("Divinity") to shorter more immediate shredders ("Absence ov Faith", "Severance") with the vocal delivery remaining in the overshouty hysterical department the whole time. Tracks like "Before Perdition Calls" bring the winds of death, but generally this is stuff staying more on the melodic side of the spectre.

Damnation EP, 2015
And the Earth Grew Dark Full-length, 2018

Official Site

REQUIEM (CHILE)

Based on "Unlike", this act specialize in rough abrasive heavy post-thrash which borders on proto-death metal at times (the energetic opener "Lost My Crown Of Thorns") for a change and that's good since for most of the time this album is just plain boring with rehashed sterile groovy rhythms being repeated over and over topped by dry angry hardcore vocals.

My Fear is Naked Full-length, 1995
Unlike Full-length, 1997

REQUIEM (GERMANY)

Derivative unimpressive groovy post-thrash metal which sounds like a very poor and toothless version of Pantera and Machine Head.

Soulmachine Full-length, 1994

REQUIEM (USA, Nevada)

Based on the "Christ Has Risen" EP, this band play energetic hardcore-ish thrash ala early Prong. These guys' music is more thrash-fixated, coming up with really intense pieces: "Stuck in Society", the opening fury "Christ Has Risen". The full-length debut is more varied, already introducing the hardcore aesthetics, although proto-death and groove can also be heard here and there. The problem is that the music lacks pace and energy, and the end is occupied by boring semi-doom/sludgy numbers with no life whatsoever.
The "U.$.$.A." EP offers noisy chaotic post-thrash mixed with senseless hardcore breaks the concoction done on a very noisy base with distorted guitars and a lot of groove. The fixation on thrash is almost completely gone the band sounding too uninspired and mechanical.

Grave Full-length, 1996
Dawn of Souls EP, 1997
Christ Has Risen EP, 1998
U.$.$.A. EP, 1999
Volume 6 Full-length, 2001
Lock the Dead EP, 2006
Retrowar EP, 2007

Official Site

REQUIEM (USA, Washington)

This band are probably one of the first to introduce a slight doze of groove in their music ("World Peace"), but only on one track. The music on the rest of the album is pure classic thrash, recalling Anthrax in the guitar department mostly. The delivery is quite hard-hitting most of the time, and somewhere in the middle it introduces a couple of original technical elements ("Mind Escape", which features more abstract Voivod-ish sections, and "Peace Child" which boasts the finest guitar work on the album). The following three songs bring back the aggression from the beginning, but the technicality remains resulting in a really potent sound. The last two tracks are less serious crossover numbers played just for the fun of it.

Earthquake Full-Length, 1991

REQUIEM MASS (USA)

Based on "The Meaning", this formation serve mechanical modern thrash which doesn't shy away from groove, and generally doesn't bother to spice the approach too much with more dynamic decisions, remaining for the most time mid-paced and calm. The delivery turns to more intense metal on the title-track and the next "Another Place" starts thrashing wildly as well with a pinch of death metal, while "Crown" is a peaceful heavy ballad. As a whole the second half is way better with ripping pieces like "Here I Am" tearing the air with might despite the presence of the mellower spacey progressive Mastodon-worshipper "Year Six".

Shattered Destiny Full-length, 1999
Another Vicious Cycle Full-length, 2003
Redefine Full-length, 2006
The Meaning Full-length, 2014

Official Site

RESENTMENT (UK)

Based on the "Friends of Insanity" demo, these folks pull out intense dark thrash along the lines of their compatriots Deathwish, maybe a tad more monotonous and with a more prevalent mid-paced character. "Violence Is Now" is a nice combination of balladic "idylls" and raging headbanging moments, an engaging progressive attempt ruined to an extent by the not very expressive rough semi-declamatory vocalist.

At Your Head Demo, 1988
Friends of Insanity Demo, 1989

RESIN (AUSTRALIA)

A 3-tracker ofheavy pounding 90’s post-thrash with a more insistent thrash engine on the pummeling “Repudiate”, the cool Phil Anselmo-sque vocalist providing the requisite vocal company, including on the smashing 10-ton hammer “Fearless”. Although there’s little here that doesn’t scream “Panera worship!”, one should be able to tolerate the near-classic moshing surprise “Resin” and the intriguing semi-technical twister “Thrive”.

Refuse to Accept EP, 1998

Youtube

RESIST

Hardcore/thrash of the more moderate variety, nor very fast, with numerous references to the 80's punk movement (think The Exploited), and a couple of more aggressive riffs ("See It Through") in the tradition of early Prong and D.R.I.

We Want Our World Black Full-Length, 2008

RESISTANCE (FRANCE)

A new band from France who offer very cool retro thrash; they play fast with intensity, and a great sense of melody, especially in the lead department. The riffs cut like a knife, supported by a great bass-bottom, sometimes coming with an Oriental touch ("Considered Dead", which is a smashing speed metal killer). "Necropolis" is a very cool cover of Manilla Road from their album "Crystal Logic" (1983) with the gruff death metal-ish vocals taking a nice melodic timbre, which still is not close to Mike Shelton, but gives the song the necessary epic feeling. After this softer moment the speed/thrash metal rage returns, but more controlled this time, on the up-tempo "Rage" and "Fist of Fire", and unbridled on the complex multi-layered "Soul Devourer", which also boasts low-tuned operatic gothic vocals. "Satans Call Through The River Styx" is a progressively-laced 9-min long opus, which is not that intense, if we exclude the beginning, but by no means less impressive, featuring sprawling epic moments, where the leads rule with full force, followed by a nice acoustic outro. It's guaranteed that you will spend quite a few moments "banging your fucking skull" on this one...
"A Tale of Decadence": the excellent lead-driven intro already sounds promising, and the opening speed/thrasher "Loss of Innocence" doesn't disappoint raising the joy high although the following "The Bloody Nun" is slower power/thrash metal cancelled by the speed metal anthem "A Premature Burial". The "slow-fast song" alternation carries on on the ambitious progressive "Conjurer of Fate", and with the fast blitzkrieg "A Silent Kill". The end is more dramatic and slower since the lyrics are built around the gothic horror classic "The Monk" by Matthew G. Lewis with excerpts from the book read in an emotional high-strung manner throughout. As a whole this effort is less striking with more concentration on speed metal which occupies half the space here the music obviously serving the demanding literary material.

Bang Your Fucking Skull Full-length, 2008
A Tale of Decadence Full-length, 2011

My Space

RESISTANCE (USA, GLENDORA, CA)

Based on "Lies In Black", this is modern power/thrash metal, close to the works of 90's Overkill. There are classic leanings in the guitar work, but not enough to put it in the classic camp. The music is dynamic with nods to both faster and slower grounds, packing a punch most of the time.
"Patents of Control" is a lot more classically inclined, and the better achievement. It's still a combination of various tempos the mid-tempo being the predominant one. Near the middle the sound gets more aggressive and sharp ("Paternal Shift") softened by peaceful, balladic sections. Then the music brings back the speed reaching more aggressive heights ("The Cleansing"). There's actually only one track which has a more modern groovy shade ("The Alpha & The Omega").
"Metal Machine" is a cool slab of old school power/thrash which stays more within the power metal confines in a way similar to more recent Meliah Rage and mid-period Metal Church. The thrash metal lovers may not find much to savour, but at least will be moved around by the bouncy title-track, and the nice cover of Scorpions' "Blackout" at the end.
"Skulls of My Enemy" continues the classic trend in the band's discography, the heroic epic hymns ("Valhalla Has Locked It's Doors", "On Dragon Wings") a bit more prominently featured this time, bringing the sound closer to power metal, with a bigger sense ("Earthshaker") epitomized as well. Thrash doesn't stand a very big chance here, and most likely it'll be completely phased out on future instalments.

A Certain Sorrow EP, 2002
Lies In Black Full-length, 2004
Patents of Control Full-length, 2006
Volume I Battle Scars EP, 2015
Metal Machine Full-length, 2017
Skulls of My Enemy Full-Length, 2022

Official Site

RESISTANCE (USA, SANTA ANA, CA)

The "Ascension to Ruins" demo: fairly cool wild blitzkrieg thrash predating the works of Gammacide and Morbid Saint. The brutal shreds are nicely intercepted by a few nice melodic tunes, and the guys wisely provide a place for a break, on the atmospheric darker "Veil of Mystery" which still bashes violently near the end. "Sarcastic Reasoning" is a good aggressive technicaller which will also remind of Invocator and Atheist's debut. The singer shouts intensely with appropriate death metal shades except on the times when he simply semi-recites in an angry quarrelsome manner. Some of the band members had a short spell with Execrate where the style was pretty much the same maybe a tad less intense.
The "And Denied Was Their Future" demo sees the band having grown considerably as musicians a sure evidence being the opening saga "Denied Future" which is 9-min of clever, also atmospheric, progressive thrashing recalling Anthrax's "Persistence of Time", among other masterpieces from around the same time. "Misused Power" is an exquisite technical speedster which will fill your head with impeccable super-precise shreds some of them bravely touching death metal; not to mention the short piercing leads. "Presence of Resistance" is another no-brainer for both the speed and technical lovers the guys predating the elaborate style of early/mid-90's Death the following "Suffocating Stress" another sure testimony for the musical genius of these obscures with the technical shreds reaching new heights not heard at this stage of the genre's development. The final "Without Recovery" is another consummate technical piece with the most overt references to death metal wrapping up this gem with so much style that it's a sheer mystery how this band never got signed. The singer retains both his shouts and semi-recitals, but sounds more clear and attached to the proceedings. This is by all means one of the best kept secrets from the American underground, a must hear both for its pioneering value and perfect execution.
The "Veil of Mystery" demo throws "a veil of mystery" over the band by indulging in aggressive thrash which comes stylishly blended with more or less expected technical decisions. Still, the brutal barrage is the prevalent force here the title-track boldly jumping on the death metal wagon bringing the delivery close to the "outrages" on the Death debut the same year. This effort can be viewed as a small version of what Slayer and Dark Angel created a year earlier, but the twisted dissonant riffage on "Sarcastic Reasoning" firmly suggests at greater things to come soon.

Ascension to Ruins Demo, 1987
Veil of Mystery Demo, 1987
And Denied Was Their Future Demo, 1989
The Doom in Failure Demo, 1990

RESISTANCE OF YIELD (GERMANY)

This is modern thrash with officiant battle-like overtones. The seismic mid-paced approach doesn't wear thin thanks to the band's varied delivery which "flirts" with doom as well plus an added doze of speedy thrash/death ("The Truth Is Just Another Lie"; the pounding drama of "Tyrant") at more or less expected times. The singer is the staple death metal growler who is very close to Chris Barnes (Cannibal Corpse, Six Feet Under) emitting the same intelligible, but quite quarrelsome at times, passion.

Brutality from the Heart EP, 2010
Towards the Apocalypse Full-length, 2012

Official Site

RESISTANT CULTURE (USA)

Based on the "Resistant Militia" EP, this band offer a very mixed bag of styles: the base is by all means thrash, but one could hear hardcore, heavy riffs akin to early Messiah, and pure vicious grindcore. When the band concentrate on just plain thrashing, they come up with cool energetic music and, fortunately, this is what they do for most of the time. Reportedly later their style incorporated elements from genres outside the metal field and, combined with their furious thrash/grind mixture of old, makes up for an entertaining, albeit quite an unusual, listen.

Resistant Militia EP, 1987
Living by Law EP, 1989
Ancient Future Full-length, 2003
Welcome to Reality EP, 2004
Welcome to Reality Full-length, 2005
Innate Rebellion Split album, 2005

Official Site

RESISTIENDO ANTE TODO (ARGENTINA)

Noisy abrasive modern post-thrash which develops in predictable mid to slow tempos, with rough shouty vocals and very heavy ultra-sharp riffs which could have stood better if the pace was a bit more dynamic. Now this incessant industrial-tinged chugga-chugga riffage may get on someone's nerves before long.

Resistiendo Ante Todo EP, 2011

RESISTENCE (USA)

A really good demo which combines the aggression of Slayer with the dark, brooding atmosphere of the Brits Deathwish which means that, apart from the fast intense parts, you'll come across some slower, brooding moments.

Veil of Mystery Demo, 1987

RESOLUTION15 (USA)

Based on the compilation, this outfit serve modern quasi-progressive thrash that is accentuated by jumpy corrosive riffs (“The Current”), seismic groovy accumulations (“Anjaneya”), and atmospheric laid-back sections (“Sunday Bloody Sunday”), the speedy immediacy of “Mr. Dark” colliding with the dark brooding minimalism of “Overdriven Maxim Mvt.”. The shouty deathly singer is more of an annoyance, but music of the kind hardly requires an expert emotional throat behind the mike.

Resolution 15 Full-length, 2007
Satyagraha EP, 2010
Svaha Compilation, 2013

Official Site

RESOUND (USA)

Based on the debut, these guys serve pretty noisy modern/classic thrash which has energy and all, but the buzz from the guitars is hard to bypass. The better moments seem to be the slower, heavier ones ("Show Me", the tile-track) where the squashing riffs will cause you pain. "Maiotic" is a more intense cut lasting for whole 7.5-min leading the winds of speed with it and the remaining pieces are way more dynamic the excellent rousing speedster "Survivor" being the highlight there. The closing "Far From Reach" is a steady mid-pacer bringing back the album sound to its seismic beginning. The singer is a cool clean throat who's also affected by the constant buzz especially on the few attempts at higher-pitched singing. The guys are occupied with numerous other projects: the avantgarde death metal formation Barbiturate, the black metallers Necrotized Flesh, the power/thrash metal act Shadowgate, etc.
"Crucifix" comes with a more elaborate, progressive sound and the multi-layered gravity of behemoths like "Threshold" and "Savior" will expose the fan to numerous twists and turns, some cool lead sections, and some infectious epic speed/thrashing ("Ruins of My Life"). "Painless Agony" is a near-addictive melody provider, and the title-track is a really fine semi-technical thrasher, the sharp riffs growing into a cavalcade of moods and riffs on the encompassing 9.5-min closer "Shadowgate".

Legends Full-length, 1998
Crucifix Full-length, 2000

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RESPAWN (GERMANY)

This band fit nicely along the better representatives of the thrash metal renaissance in Germany: Red to Grey, Psychotron, etc. Their style is similar to those two bands being a technical mixture of power and thrash metal, but while the aforementioned bands are firmly in the classic camp, Respawn show occasionally more modern tendencies in their sound akin to modern day Exodus and Onslaught ("Killing Peace"). As a result their music will appeal to both classic and modern thrash fans. This is a fine band who are yet to discover their full potential.
The full-length is a decent addition to the band's career although it sounds way more ordinary and standard than previous recordings very seldom escaping the trite modern thrash formulas. On top of that the guys have decided to keep the proceedings within the mid-paced parametres consequently missing the chances to make this pedestrian effort more listenable ("Erase" is a relatively more dynamic cut, but that's about it). At least the vocals aren't bad the man trying to inject more drama in the album by providing a clean attached timbre.

Demo Demo, 2002
Nature's Foul Child EP, 2004
The Chaos Engine Full-Length, 2009

Official Site

RESPECT (FRANCE)

The opening "Mort D'esprit" is a most misleading piece offering very cool energetic retro thrash riffage with a crossover shade promising headbanging paradise despite the affluent presence of keyboards on some parts. But then the experiments start leading the music out of the thrash metal field on quite a few times. There's actually one more more intense number reaching the opener: "Despair", but it's really short (less than 2-min) to make an impact. The rest is an awful, tasteless amalgam of modern post-thrash, hardcore, funk, and something else which is too bad to define. It seems as though the mid-90's were very gruesome times for French thrash metal (remember No Return's "Season of Soul", Mercyless' "Cold", among other "atrocities").

Despair Full-length, 1995

RESPETO (ARGENTINA)

Modern 90's post-thrash that is on the more playful side with friendly groovy rhythms and a couple of rowdier walkabouts ("Impulso"). This is overall feelgood stuff with not bad clean/semi-clean vocals that can be both angry and welcoming.

El Eclipse de la Razon Full-length, 2020

Official Site

RESPONSE NEGATIVE (USA)

Another band which boasts the presence of Bobby Gustafson: the former Overkill and Skrew member; this time the style isn't too far removed from Overkill, but goes back to their classic late-80's/early 90's days (hey, don't expect "Horrorscope 2", folks!), maybe a bit more aggressive with intense, bordering on death metal, vocals.

Response Negative EP, 2004

Official Site

REST IN CHAOS (BRAZIL)

Based on the full-length, this act pull out modern thrash with metalcore contaminants; brisk dynamic stuff as a whole with a few more intriguing developments ("Let Me Rest") which also carry the less energetic charge. The shouty deathly vocals hold their ground throughout alongside the lead guitarist who unleashes short but effective technical lead sections.

Worship Machines EP, 2017
Trapped by Yourself Full-length, 2020

Official Site

REST IN PAIN (ITALY)

Based on the debut demo, this formation provide various thrash which is both speedy (the short "Payed For Die") and semi-progressive (the heavy dramatic "Creating In Hate"). The singer is not bad with an attached semi-clean tone which sometimes hits the higher registers. The guys later continued their career under the name Reborn where they got "reborn" for the release of one full-length in 1995.

...for Revenge Demo, 1992
Rest in Pain Demo, 1994

REST IN PEACE (GERMANY)

These not very known folks, one of whom later ended up in Warhammer, were actually one of the first extreme metal practitioners their "Frightening Visions..." demo a real statement of intent with its uncompromising violent bash the band coming as a less controlled mixture between early Whiplash and Rigor Mortis. The singer is a hysterical shouter/shrieker, and the bass work is really impressive the bass player by all means the finest performer in the band. The songs from the demo are followed by live recordings which are surprisingly with a better sound quality and with more proficient musicianship.

Exhumed Compilation, 2011

Official Site

REST IN PEACE (SWITZERLAND)

Based on the "Inner Scream" demo, this is superb technical speed/power/thrash metal with standout guitar performance. This is a textbook of stunning riffs, leads and atmospheric acoustic passages (not too many, don't worry), which will literally overwhelm you. The great time changes and the sharp, technical guitars will make you listen to this wonder again and again. The singer has a very good clean voice, and doesn't really sound like anyone else. The music stays close to Helstar's masterpiece "Nosferatu", but is slower, and a bit more complex. Although with a very small output, this great underground band have all the rights to be ranked among the finest in the technical metal genre.
The promotape would be quite a surprise for those who have only listened to the "Inner Scream" demo; to begin with, the vocals are rough semi-death metal ones; music-wise the approach is much closer to pure thrash although equally as intricate. "Try It Again" "tries again" with intriguing, serpentine riffs where dramatic accumulations encounter sudden speedy sweeps the bass burping prominently in the background. "Alien" gives even more chances to the bassist to perform with a nice bass-driven intro; the guys thrash with force later on with mazey slower interruptions along the way, the alternation carrying on for nearly 7.5-min the leads and the bass "fighting" for domination near the end. "A Human Disease" is a nearly 12-min all-instrumental epic which sums up quite a bit within its structure, starting as a rousing speed metal anthem before technical, labyrinthine passages start piling up with more melodic epic riffage sneaking in at every opportunity till the inauguration of a brilliant atmospheric lead-driven interlude, as the hard thrashing is left for the second half. The progressive/technical repertoire is already here although the delivery is a bit scattered the guys borrowing from more influences at this early stage, trying to find their their most fitting style. Still, it remains a fairly well executed slab of metal which makes these unknowns some of the finest practitioners to ever come out of Switzerland.

Feeding Frenzy Demo, 1989
Promotape Demo, 1991
Inner Scream Demo, 1992

RESTLESS (BRAZIL)

Based on the band's full-length debut, Restless play energetic "restless" 80's thrash metal resembling Rigor Mortis. The guitar work is more simplistic (the guys don't possess a guitar virtuoso from the ranks of Scaccia), but the band play fast and the great bass work compensates for the lack of many stylish riffs. The music offers slower heavier numbers ("All The Worst"), as well as very brutal grindcore-ish jokes ("Tchom Rules"). "A Cry from the Dark" is a speed monster which surprisingly comes with the most interesting guitars including simple, but nice melodic leads along with the very fast uncompromising delivery.
"Unspeakable" is another average product of the 90's being heavy angry post-thrash with a strong hardcore flavour at times. This is weak stuff done just for the sake of it the only more interesting moment being the closing track which is a cover version of Dorsal Atlantica's "Guerrilha". The singer quarrels throughout with a forced shouty tone adding further to the derivative nature of this utterly forgettable recording.

Restless Full-length, 1991
Unspeakable Full-length, 1996

RESTLESS BREED (USA)

This cool obscure demo could serve as a nice companion to same year's Liege Lord's "Burn to My Touch"; this is excellent speed/thrash with touches of the American power metal scene and very good high vocals ala John Cyriis (Agent Steel). "Unleash The Beast" is an awesome thrashing opener followed by a couple of less intense power/thrashers until "After The Holocaust" picks up more speed again before the power/thrash metal mixtures reappear. Not an all-out thrash affair, this effort delivers the goods staying true to the dominant tendencies on the 80's American metal scene.

After The Holocaust Demo, 1987

RESTLESS DEAD (FINLAND)

Based on the "The Fifth Sacrament" demo, these guys play an intense atmospheric brand of thrash/death which borders on doom here and there, but generally there's a lot of wild semi-technical bashing to be encountered. Many of the songs end abruptly as though the guys were just jamming without any more serious intentions the latter eventually materialized on the last two pieces which show their darker somber side being longer and more carefully plotted.

Behold Demo, 1991
The Fifth Sacrament Demo, 1991

RESURRECT TOMORROW (HOLLAND)

The debut: varied modern thrash with an alternative semi-technical flair; still, the stylish execution isn't sustained till the end to make this effort another one from the excellent technicality-wise Dutch scene. Instead, the band branch out in a less restrained headbanging delivery ("A Dying Lie"), or into an almost hardcore-like simplicity ("Insane"). The second half is occupied by longer, clumsier compositions which are wrapped by a 90's post-thrash miasma with only sparkles of energy (the closing "Survive Yourself") timidly showing up from time to time.
"The Eagle" treads more in the speed/power/thrash hybridization camp, and as such is more tamed overall, the dynamic variations of "Absolution" and "The Fall" creating the requisite headbanging atmosphere, the more light-hearted rhythms of "The Light of Treason" translated on the clumsy quasi-doomster "Blind Snakes", too, with "The Untold Truth of Life" waking up everyone in the vicinity with bouts of hyper-active thrash/crossover optimism.

A Dying Lie Full-Length, 2013
The Wolf Full-length, 2017
The Eagle Full-length, 2024

Official Site

RESURRECTED (PHILIPPINES)

Energetic and overall well constructed 80's speed/thrash metal following the early American patterns in the genre: Hallows Eve, Anvil Bitch, Blessed Death, Sentinel Beast, etc. "Repro-Destructon" and "The Prisoner" pull all the stops with their brisk intense delivery, whereas "Race War" is full-blooded thrash of the more aggressive variety. "Death Toll" is the other all-out thrash bomb, but the award goes to the short, but very satisfying speed/thrash delight "Code of Conduct", and of course, the 2-min speed/thrashing riff-fest "Exit".

Past Scars Aria Full-length, 2005

My Space

RESURRECTION (CHINA)

And here come the Chinese to conquer the metal world as well. Well, not quite, but the full-length debut of these guys is really worth hearing; it is a very wild and frequently very brutal fusion of death, black and thrash metal which would mostly appeal to black metal fans, but the music is not a "stranger" to nice technical thrashy riffs, and generally the musicianship is not bad at all. The raspy, high-ranged black metal styled-vocals could be a detraction to the thrash fans, but the music may keep them interested.

National Martyr Full-length, 2006

RESURRECTION (GREECE)

Two songs of dynamic razor-sharp classic thrash with guttural semi-shouty death metal vocals. "70.000 Bombs" is a dramatic mid-pacer with cool melodic licks; and "Seeds of Death" is a bashing semi-technical roller-coaster with curt staccato rhythms.

Promo Demo, 2000

Official Site

RESURRECTION (POLAND)

This is intense, bashing thrash/death topped by growly death metal vocals. The delivery is tight and compact the guys packing loads of riffs into a song structure some of them bordering on the technical ("Whore of Babylon"), but without overdoing it. The tracks are short and to-the-point excluding the excellent diverse closer "Necropsy" which introduces slower stomping, atmospheric passages among the aggressive fast-paced "carnage".

Betrayed by God Full-Length, 2016

Official Site

RESURRECTION (RUSSIA)

A Russian young outfit who specialize in fast blitzkrieg retro thrash which will blow heads off even on longer numbers like the opening "Schizophrenia" which is vintage Devastation's "Idolatry" and early Sadus. The "carnage" carries on on full throttle every song being a "bullet" shot with the utmost intensity. "Killed & Cursed" races with the speed of light and is closer to pure death metal probably, leading a string of fairly brutal pieces which include the semi-technical shredder "Diabolic Force" and a surprisingly faithful cover version of... wow, how could you get this wrong! But of course Motorhead's "Ace of Spades", the singer even managing to nail down Lemmy's inebriate croons quite well! No mercy after it, though, "Morbid Preacher" preaching fire and death thrashing everything around, before the closer "We Are Resurrection" finishes the survivors for good; a cool fitting epitaph to this potent aggressive slab of the good old thrash done with panache and professionalism.

Hell is Empty Full-Length, 2014

RESURRECTIONS (NEW ZEALAND)

This is modern semi-complex thrash/death which doesn't take it very easy on the speed, and as such marches onward with fast ripping headachers ("Haunting the Night", "Deaths Rejected Resurrections"), the biggest stopover from the freighter being the quasi-doom "Awakening an Ancient One", the cavernous death metal vocals fitting all the musical currents without completely ignoring the insistent thrashy ones.

Spewed Forth From Hell Full-Length, 2020

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RESURRECTOR (BRAZIL)

The debut: a duo relying on somewhat complex, vaguely progressive, thrash to pull it through; fast and slow rhythms intertwine disorienting the listener a bit as to what exactly happens here. What happens is dark classic stuff with relatively long compositions (5-6min) which have their moments, but the pounding guitar sound and the strong bass presence leave little room for memorable riffage except on the peaceful power metal-inclined anthem "Mortal Thoughts". The singer is a typical semi-death metal shouter reminiscent of Lars G. Petrov (Entombed) and takes quite a bit of space.
"Beholder of Souls" relies on the same gimmicks with a more melodic flair ("Human Glory") acquired here and there. The more immediate material ("World of Sorrow") seems to deliver the better, dominating over more entangled, but ultimately slower compositions where not much actually occurs for the listener to be fully enchanted although the more death-fixated (don't read faster) "Monstruos Past" delivers with its more intense veneer.

Seven Days of Destruction Full-Length, 2006
Beholder of Souls Full-length, 2018

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RESURRECTURIS (ITALY)

Based on "The Cuckoo Clocks of Hell", this band offer rough, abrasive modern post-thrash with brutal death metal vocals. The tempo is predominantly mild with a few more interesting, alternative decisions ("Sleeping Reason") with a stylish technical edge. The guitar tone is pretty heavy, thundering, and seldom strays from the repetitive heavy formula (please, be prepared to run for cover on the brutal death/grinding section on the closing "I Corpi Privi Di Vita").

Nocturnal Full-length, 1998
The Cuckoo Clocks of Hell Full-length, 2004
Non Voglio Morire Full-length, 2009

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