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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


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


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


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


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 sparce 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 inbridled 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


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.

Is This a Modern World Full-Length, 1993

R.K.L. (USA)

This is jolly, optimistic thrash/crossover with an open punk attitude, the guys mixing it with the odd slower track, but 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.T. (USA)

American power metal meets thrash; the result is not 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


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-friendlly 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


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


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


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


"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


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


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


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 singalong.

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


Based on the demo, which is whole 10 songs, this act, who were previously an RAC-oriented gang, play speedy/thrashy hardcore with a more officiant doom/death metal edge. The epic/doomy 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


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 hammerign the listener into oblivion with pounding, seismic rhythms producing several imposing doomsters along the way: "Crippled Visions", "Avalanche".

Redemption Full-Length, 2016


The self-titled demo: 3 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


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 pseudonim 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 keybord 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 is 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


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


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 dramatism 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


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


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 preferrable 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


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


Based on the debut demo, these Czechs indulge in dynamic classic thrash with not very suitable gruff deathy/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


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


The guys have just 2 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


Based on the "Telepathic" demo, these folks play intelligent progressive power/thrash with long, elaborate compositions which never speed up, but offer enough twists and turns to retain the fan's attention. The lead guitar work is quite good, and the singer doesn't disappoint with his steady clean tember which he doesn't risk too much recalling Mike Munro (Meliah Rage).

Psychic Attack Demo, 1988
Telepathic Demo, 1989


Based on "In The Face Of Suffering", this band plays a modern blend of thrash and death metal; fast intense stuff with sparce 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 which 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


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 marvellous 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


Heroic classic speed metal with covert black/thrashy 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.

The Hammer Doctrine Full-Length, 2016


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" which is an exercise on heavy crushing riffage.
"Image Of Fear" is another 5 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

My Space


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 doomy semi-balladic riffs with hypnotic qualitites. 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


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 ablities 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 witrh 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


Quite good 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


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, coems "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 pointlessnoisy groove as well, not making this opus the greatest comeback effort of recent years.

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

Official Site


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


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 convncing 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


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 3 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 deathy 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 thrashig 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

My Space


Badly produced, and not very imaginatively played 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. The singer is probably the main asset with his attached clean tember his authoritative antics overshadowing the not very exciting guitar shreds. 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


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 2 overlong monotonous opuses where doom and the ballad supersede the more dynamic riff-patterns to a duller effect.

Sue\\\\'f1o Irreal Full-Length, 2010

Official Site


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


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.

The Cartographer Full-Length, 2016

Official Site


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 sparce 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


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 deathy and shouty, sometimes to the point of hysteria, with a slight presence of better clean insertions.

Farewell To Devotion Full-Length, 2015


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 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 deathy 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 positve impression.

Rain Shatter Full-Length, 2012

Official Site


"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 Fragille 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 doomy/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 2nd 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


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


One of the first bands from Sweden who followed on the steps of Pantera and Machine Head; this is heavy groovy 90's 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


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".
"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 2nd 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


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


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-cooaster 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


Aggressive thrash/death sounding like a more deathy "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 2 full-lengths and 3 demos of brutal death/grind.

Raising Fear Demo, 1994


This young Finnish outfit pull out (based on the 2nd 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


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 os 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


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 dramatism 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 guitat 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 2 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 sparce 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 doomy 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 coud 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 pseudonim is SfinX) outdoes herself with standout emotional performance, also recalling the singer (Rune Folger\\\\'f8) 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-doomy "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


Atmopsheric 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 Nighfall (Greece).

Ramayana EP, 2010

Official Site


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


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


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 oprtimistic 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-deathy 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


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/deathy barrage remorselesly now adding more brutal black metal insertions ("Contundente Final", 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 javing 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


"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 great 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 classical 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.

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

Official Site


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


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 2nd 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


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


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


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 thrashy "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


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/thrashy rhythms. Such lyrical pauses are nowhere to be encountered later on the band moshing out till the end in a remorseless extreme hashion.

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

Official Site


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


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 deathy ones.

Catharsis Full-length, 2018

Official Site


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" come swith 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


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


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


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


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 occasiional 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


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 flavour ("Object") can be felt.

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


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


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 is 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 is not 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


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 briliant melodic leads ala Kai Hansen.

Justice of Chaos Full-Length, 2014

Official Site


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 reliefs 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" affer 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-deathy 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

<. a>Official Site


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 tember, 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


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


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


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


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. DePena (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


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


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


Based on "Thrashin' Undead", this is good 80's thrash with slight crossover elements, reminiscent of Suicidal Tendencies' more thrashy 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


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


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 2nd demo), as opposed to the more hard-hitting numbers, mostly on the 1st demo.

Demo Demo, 2002
Demo 2 Demo, 2003

Official Site


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


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


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


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


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 doomy seismic riffage (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


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" takkes 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. "Paroxysm of Hatred: Procreation" moshes hard with less restrained deathy 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 deathy 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 dramatism 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.

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



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


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


3 tracks of modern groovy post-thrash; stoner/doom, alternative and even grunge are also covered; how did they manage to do that within just 3 songs... but, please, don't bother to check it out! You're going to hate yourselves...

Skull Hurts EP, 1995


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


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 Salyer-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.

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

Official Site


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 tember.

RattBlack Full-Length, 2015

Official Site


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


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


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


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


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 cruncny 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 is not anything out of the ordinary with his staple angry semi-shouty tember.

Demo Demo, 1995


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 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 is more concentration on the death metal side in the beginning with the 2 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


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 soolid 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 more and more thrashy, 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


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").

Alarm Clock Terror EP, 2016
Eradicate... Annihilate... Exterminate... Full-length, 2017

Official Site


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 2nd 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


American power metal meets thrash; the style is similar to a more aggressive Attacker.

Tear Down the Walls EP, 1987

Official Site


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


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


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


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 tember sitting somewhere between James Hetfield and Coburn Pharr (Omen, Annihilator).

We Are Become Death Full-Length, 2013


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

My Space


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 headbanging 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 is not 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

My Space


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


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


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


This outfit specialize in hard-hitting old school thrash with harsh semi-death metal vocals. The approach occcasionally "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


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 thrashy 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 themsleves busy with their other band: the heavy/progressive metal formation Stillborn Virtue.
"Red Flows": the 3 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-thrashy 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


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 are not bad and overall the listener will have fun listening to this sincere direct barrage which is topped by competent semi-slean 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


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 deathy shouter, and is the only more decipherable feature from this inspired mess.

Drunk Rawriders from Hell Demo, 2006

Official Site


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


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 as 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


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


A 4-track demo of total classic Anthrax worship with excellent clean vocals akin to Joey Belladonna; this is very cool headbanging stuff softening down a bit mostly in the lead department the leads beating the screamy ones of Scott Ian (sorry, Scott!), but the sharp chugga-chugga riffs are vintage Anthrax with a few more technical inclusions ("Blowout") and a more laid-back slower delivery on the more experimental "Self-Destruct".

Rawshock EP, 1990


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


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


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


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


This new formation play intense crushing old school thrash with sparce 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 whos emean-ish semi-clean antics are not a detriment to the dynamic musical approach.

Razboinix Full-Length, 2014

Official Site


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


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


2 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 tember reminiscent of J\\\\'f6rg Weiss (the first Angel Dust singer).

Megaforce Demo, 1989


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 2nd 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


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 conrolled ventures into a proto-death metal territoty ("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...

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

Official Site


This band specializes in a dark atmospheric brand of modern thrash/death which is mostly heavy and mid-paced with certain doomy 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


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


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 more thrashy) 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


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


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 5 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


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 3 songs of the same energetic brisk stuff, fast-paced speed/thrash metal with technical Testament-esque leanings and good semi-clean mid-levelled 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" drwons 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


This 5-song EP is a cool mix of melodic guitar "duels" ala Iron Maiden and edgier proto-thrashy 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 tember. 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 wth 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


The shadows of the veterans on the Argentinian 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


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 levelled 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


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 acompay 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" closey following suit as also evident from their titles. THe guys (and a girl) are enamored wirh 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


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 tehy released one album in 2000 of cllassic heavy metal under the name Unkind.

Prevailing Domination Full-Length, 1995

Official Site


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.

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


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


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/deathy 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 soundingn 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").

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

Official Site


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.

Global Degeneration Full-length, 2012
Social Programming Full-Length, 2016

Official Site


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 corse, the speedy "Speed". The vocalist is a cool asset, though, with his warm assured mid-ranged clean tember.

Generation Kill Full-Length, 2016



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 is not 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


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


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


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 deathy 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


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 blacky 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 2nd 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.

Demo Demo, 2010
Killed by Thrash EP, 2013
High on Radiation Full-Length, 2014
Heavy Full-Length, 2016

My Space


Young budding Spaniards who play energetic modern thrash with echoes of Dew-Scented with a more accentuated semi-technical fllavour. "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 deathy ones. Some of the musicians were also members of the retro thrashers Vivid Remorse.

Blackmailed Existence Full-Length, 2016

Official Site


These South American "reaktors" provide not very "reaktive" 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


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


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. The 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


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, but 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


Welcome to the "realino resort" where you'll be met with a barrage of amateursih 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 stage. There's a looong way to go...

Realino Resort EP, 2009



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.

Endless War Full-length, 1988
Suiciety Full-length, 1990
Demo Demo, 1992

My Space


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 is not 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 relentlesly 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


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/thrashy 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.

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

My Space


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


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 "Concience Analysis", this particular one a great reminder of Pestilence's magnum opus "Testimony of the Ancients". "Telepatic 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 weel traversed for metal palce, 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



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


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


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


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

My Space


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 neeeed ("Speak My Name"). The guys selbom 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 progressiveer "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 apltly 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.

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

Official Site


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 dramatism 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


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


Based on the "...Un Nuevo Reino" demo, these Mexicans provide darl retro thrash with agonizing death metal vocals and elements of death metal inserted mostlly expressed in spasmodic blast-beats scattered around the 3 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


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


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


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


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,a nd 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 closng "We Are Lost").

Another Place Without... Full-length, 1995


Based on "Dimensi Horror", this act deliver cool energetic retro thrash with not very fitting hysterical deathy vocals. The guitar sound is quite thin also accompanied by a hissing reverberation whic 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


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"). 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 jumpy, not as aggressive, but the guitars are more technical. "Fragmented Origins" is a nice "lead-meets-bass" instrumental piece, 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.

Demo Demo, 1989
Fragmented Reality Demo, 1990

Official Site


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 (4 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


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


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


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


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, or 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


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 riffage. 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 headbangers 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


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


A very obscure, but highly worth tracking down, 6-song demo of brilliant 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


This is heavy post-thrash with strong stoner/doomy 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


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


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 strutured thrash/crossover, but this isn't realy the main agenda of this unpretentious recording.

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

Official Site


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 controled 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 ("Overdoose").

Invasion Full-Length, 1993


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


Based on the 4-song demo, these Brazilians pull out modern 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 contains all the tracks from the demo, but the rest shows its teeth quite widely comprising more aggressive music which is not 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.

Red Front Demo, 2010
Memories of War Full-length, 2010

Official Site


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 which cling more towards power metal and "court" the American scene quite well with their epic atmosphere and blazing stylish leads. The singer has a passionate clean tember which doesn't have the necessary high pitch, but serves the music right. No hints at any thrash let alone industrial metamorphoses at this stage...

Occultica Demo, 1989
Nomindsland Full-length, 1992

Official Site


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, premedidated intention.

Red Lamb Full-Length, 2012


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


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


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 1st 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.

Beer Revolution Full-Length, 2015

Official Site


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


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-doomy "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

My Space


These death metal jazz/fusionists had started their career as thrash/post-thrash metal purveyors. Based on this 3-song demo, they played hadr abrasive music with various paces and angry shouty deathy 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


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 highi strung clean vocals; this band are perhaps better in the lead 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 anouncements 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.

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

Official Site


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


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


Based on "Dead \\'c6nd 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


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


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


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 tember, despite his tendency to hit the higher registers quite often, more or less appropriately.

Demo Demo, 2010


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



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 thrashy 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


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\\\\rquote 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 sparcely 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 Onset of Chaos EP, 2005
Into The Coiling Arms Of Mayhem Full-length, 2008
Standing Before the End of Time Full-Length, 2012

Official Site


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. Remorselsss 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



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


Based on the full-length, this act serve friednly 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 rosk and doom/stoner vibes ruining the initial more dynamic intentions.

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

Official Site


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

My Space


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



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


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 , anothe rtestament for which are the 2 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


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


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 is not 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 is 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 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

My Space


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 hail from the same province where Kreator and Sodom do. Their style, however, is not close to their renowned compatriots, but opts for a more ambitious, even proggressive 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 ornated 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


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.

Revenge Of The Mycosis EP, 2012

My Space


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


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/thrashy 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 come under 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


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


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


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

My Space


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


Based on "Exit Clause": ordinary moden 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 sparce use of solos, and some hardcore touches.

One would do wrong to avoid getting ahold 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 doomy 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


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 2nd 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 overabunfance 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.

Psycho Intentions EP, 2011
World Detonation Full-Length, 2012
Death Be Thy Shepherd Full-Length, 2015

Official Site


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 tember, and he could pass for the highlight on this pretty pedestrian effort.

We Will Fight Full-Length, 2015

Official Site


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


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


Based on the "Reignterror" 2-track demo, this formation offer decent progressive thrash with ripping riffs and a dry mechanical feel th elatter 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


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


Ex-members of the speed blackers Cerbero are responsible for this 4-track effort which shows a more intense thrashy 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 vocallist 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


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


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


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


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


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.

Wait for the Lightning EP, 2000

My Space


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


Based on "Slaughterhouse", this band play competent quirky modern thrash which is choppy and technical, and it's good that at times the guys remmeber 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 doomy 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


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


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 doomy "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


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 3 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

Official Site


Based on the "The Late Demo" demo, this act specializes in heavy modern thrash/death metal which combines the doomy brooding 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


The full-length shows a band pulling out modern thrashcore with very buzzy guitars and forceful deathy 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


Modern/classic thrash metal; the band's 2nd and 3rd 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 aternative, 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 V\\\\'e9ge II.". Watch out for "J\\\\'e9g", 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 6 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 at 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.

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

Official Site


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


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 deathy 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


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


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 5 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


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


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


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 4 tracks of direct retro thrash pretty much in the vein of "Disciple of Decline". A few sparce 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 is not 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 band can definitely do much better than that.

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

Official Site


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 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 Human Burden Full-Length, 2012
Do Not Deviate Full-Length, 2017

Official Site


Based on the debut, this is modern 90's post-thrash obviously influenced by Sepultura ("Chaos AD" and "Roots", in particular) so this is not 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


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 deathy distractions ( W.B.C.D.! ), more clever semi-technical leanings ( Admonition ), etc.

Give 'Em Help Demo, 1993


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


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 modelled 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


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 comes with a thicker proto-deathy 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 doomy 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, infleuncing the last few cuts which lose the headbanging idea at some stage.

Welcome to Reality EP, 2009
Enemy Full-Length, 2016

My Space


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 is not 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 familar 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


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


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


Classic speed/thrash clinging more towards the speed metal side; as such the harsh deathy 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 involed with the black/thrash sensation Cabra Negra, and the old school thrash metal cohort Metalfire.

Solid Metal Rules Full-Length, 2016

Official Site


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


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


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 3 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


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 is not 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 algorhythms on "Reborn Through Annihilation", the pure death metal madness ala Unleashed and Unanimated on "Leave Her to Rot", the speed/thrashy 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 gys 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 which can pass for the highlight with its emphatic dramatic accumulations.

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

Official Site


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


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

Soulmachine Full-length, 1994


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-doomy/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


Based on "The Meaning", this formation serve mechanical modern thrash which doesn't shy away from groove, and generally doesn't botther 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 2nd 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


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


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


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 tember, 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


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.

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

Official Site


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 "Persistance 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 technicaller 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 undulging 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


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 dramatism of "Tyrant") at more or less expected times. The singer is the staple death metal growler who is very close to Chris Branes (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


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


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


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


Based on the Compilation, this formation provide stylish technical/progressive modern thrash which elicits loads of abstract rhythmic patterns blending influences from Tool, Gojira, Mehshuggah, and Obliveon. The concoction holds thanks to not so expected twists throughout the latter at times hampered by the groovy implements which could be lessened for the future since the guys simply don't need them to pull it through. The singer delivers with his expressive quarrelsome shouts, but another side of his are the passionate clean inclusions the two styles creating a nice tolerable symbyosis.

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

Official Site


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 is also affected by the constant buzz especially on the few attempts at higher-pitched singing. The guys are occupied wiht numerous other projects: the avantgarde death metalk formation Barbiturate, the black metallers Necrotized Flesh, the power/thrash metal act Shadowgate, etc.

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



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 dramatism in the album by providing a clean attached tember.

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

Official Site


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 is 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


Another band which boasts the presence of Bobby Gustafson: the former Overkill and Skrew member; this time the style is not 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 agressive with intense, bordering on death metal, vocals.

Response Negative EP, 2004

Official Site


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


These not very known folks, one of whom later ended up in Warhammer, were actually one of the first extreme metal practitioners their "Frightning Visions..." demo a real statement of intent wirh its uncompromising violent bash the band comign 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


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


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 ineresting moment being the closing track which is a cover version of Dorsal Atlantica's "Guerrilha". The singer quarrles 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


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


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 2 pieces which show their darker sombre side being longer and more carefully plotted.

Behold Demo, 1991
The Fifth Sacrament Demo, 1991


Varied modern thrash with an alternative semi-technical flair; still, the stylish execution is not 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.

A Dying Lie Full-Length, 2013

Official Site


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


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


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


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 mannaging to nail down Lemmy's inebriate croons quite well! No mercy after it, though, "Morbid Preacher" "preacing" 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


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.

Seven Days of Destruction Full-Length, 2006



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

Official Site


This Brazilian outfit acquit themselves with decent old school speed/thrash which goes down to milder rhythms at times ("Tripallium"), but the EP's real power lies in immediate headbangers like "Sarcofagos Sagrados", "Na Decada De 80" and especially the brutal grind/death-laced closer "Assassinos" where the band spare no speedy lashing riffs to create a cool moshing atmosphere. The singer has a not very clearly heard mean husky death metal-ish voice with the frequent tendency to shout which surprisingly doesn't sound lame.

Pesadelo Real EP, 2011


The music here is a pure product of the 90's: groovy power/thrash, slow-ish, with some stoner/doom sections sneaking through; nothing really special, and quite melodic as well.

Masquerade of Fools Demo, 1990


Based on the "Ultra Violencia" demo, this band, now known as Retaliador, serves intense retro speed/thrash metal in the early German tradition: think early Destruction above all, and Vectom on the more speed metal moments ("Ulra Violencia", the excellent speedster "Violent Attack"). The singer unleashes unholy unmelodic shouts: some lower, some really high-pitched neither making a very positive impression. The music delivers, though, even lashing out in an extreme proto-death manner ("Guerreiro do Inferno") at times.
The "Comando das Trevas" demo comes with a worse sound quality which doesn't do justice to neither the music nor the singer. This is messy retro thrash which is served in a raw, primal manner reminiscent of the early efforts of Dorsal Atlantica and Holocausto. The singer here just whispers in a scary macabre fashion unleashing several highly inappropriate screams trying to imitate Tom Araya, but ultimately irritating the atmosphere which literally has nothing to hold onto: a very little display of musicianship, an awful sound, a sloppy cover (in this case of Sodom's "Blasphemer" from their debut "In the Sign of Evil" EP), among other "niceties"...

The "Sobrevivancia" EP is way more proficient than its predecessors the band bashing with more style in an early Whiplash-esque manner playing fast and intelligibly the singer now semi-reciting in a more comprehensive manner trying hard to keep with the fast musical downpour which only slows down a bit at the end for the capable cover version of Celtic Frost's "Nocturnal Fear" which is also helped by the gruff vocal delivery the singer trying to sound attached in a way akin to Tom G. Warrior.

Rotten Demo Demo, 2004
Comando das Trevas Demo, 2005
Ultra Violencia Demo, 2006
Sobrevivancia EP, 2012

Official Site


Intense retro thrash with very brutal low-tuned death metal vocals; the music is entertaining, mostly fast-paced with quite a few melodic "tricks". The listener can hardly remain indifferent on thrash bombs like "Obscure Side", and especially the headbanger's paradise "Deadly Routine". "The End Is Closed" will break your neck raising the aggression to death metal dimensions. "Fatal Sentence" offers a slight slower twist in the beginning, but soon after the guys start thrashing like there's no tomorrow once again. This slower twist develops into a whole song later, on "Voice From The Silence" which still thrashes with force at some point, but the dominant tempo is much slower compared to the other material; still this song remains a fairly good slab of pounding intense thrash. Time for more brutal thrashing with "Rease The System" and the ultra-aggressive proto-death closer "Dead Minds": thrashing fury at its most unbridled. Hopefully the band are alive and well; there's so much potential here lying in wait...

Retaliatory Attack Full-length, 2006

My Space


This is quite a mixed bag: thrash, death and black metal shake hands here topped up by vicious black-ish rasps. The band are actually not too far music-wise from the horde of acts who appeared in France in the late 80's/early 90's, and more particularly Agressor and Loudblast (plus the black metal elements). At times the music takes a nice turn towards pure thrash metal ("Lex Talionis"), but more often does it come as a not very convincing mixture of all the mentioned styles.

Au Nom de la Bobte Demo, 2004
Lex Talionis Demo, 2004

My Space


Classic thrash with boosted modern production; the gruff shouty death metal vocals are a bit irritating on the more proficient musical department. THe guys try to play fast'n tight as evident from "Propaganda Inimiga" and the marginally more technical title-track, but there's some "slackening" towards the end resulting in the cool thrash/crossover diverser "Puro Odio", and the excellent progressive closer "Tirania" which shreds with style and frequent time and tempo changes those coming on top of some nice melodic tunes and a couple of good twsited leads; a fitting epitaph to this otherwise pedestrian recording.

Aterrorize Full-Length, 2015


Based on "Hope Never Dies", this formation serve quite cool progressive power/thrash which is melodic and edgy in almost equal dozes the more aggressive thrashy engine working well on shredders like "A Reason" and "Demon Dance" which are more immediate and less complex. "Retrial" near the end is another more aggressive up-tempo cut after which arrives the Rough Silk cover of "My Last Farewell" as a finishing touch done in aheavy squashing fashion sounding more intense than the original. Some of the musicians also play with the heavy metal formation Magellan.

Above the Deadspace EP, 2011
Hope Never Dies Full-Length, 2015

Official Site


2 songs of laid-back old school speed/thrash sharing some of the catchy aesthetics of their compatriots Blood Money, plus the inebriate approach of Motorhead. The singer has a pleasant clean tember and fits the undemanding musical approach which suddenly gets pretty aggressive for a while on "Mortal Fear".

Rest In Torment Demo, 1998


Based on the 1st demo, this band play intense rolling thrash with dark motifs and very good forceful clean vocals. The approach is more on the squashing mid-paced side, but the volcanic riffs deliver every bit of the way speeding up a bit on "Dropping Like Flies" before "Endless Rhyme" brings memories from the recent at the time American power/thrash metal scene with more heroic rhythms including a vigorous aggressive semi-technical passage in the middle. The sound quality is very clear and one may be interested in finding out how the band's style had developed on the 2nd demo.

Demo Demo, 1991
Demo Demo, 1992


The full-length: an imposing intro, tiled "Leviathan Comes", inaugurates this cool effort which is centred around the works of several notable horror writers among which the legendary H.P. Lovecraft is covered the widest the tribute started with the atmospheric dark opener "The Dunwich Horror". Death metal is called for help on "...Of Madness" the latter reaching Nocturnus heights on the following "The Whisperer in Darkness". Sadly, the srylish intricacy of this composition isn't achieved later on although the band do their best to sound macabre regardless of the very good melodic lead sections amply presented. The closer "The Music of Erich Zann", unlike the one of Mekong Delta track of the same title, is a dreamy violin-driven instrumental lacking the not bad mid-ranged semi-clean vocals.

Crossing the Final Path EP, 2013
...of Madness Full-length, 2015

Official Site


Based on "Strain": typical modern groovy post-thrash serving as a good bridge between Sepultura's "Chaos AD" and "Roots"; it's much inferior to "Chaos AD", though, simply because the guys refuse to put more energy into the music and most of the time it sounds too one-dimensional, slow and consequently boring.

"Sounds of an Empty Gun" is an obvious improvement over the preceding efforts now showing the guys capable of thrashing with gusto and force (the Slayer-esque "Everybody Hates Everybody"; the crossover-laced "Lord of Chaos" which also contains a few interesting dry semi-technical decisions; the chaotic, but entertaining, headbanger at the end "Survival Instinct") which even touches the classic trends. Although the other tracks never reach the intensity of those ones, the material at hand is energetic throughout staying on the verge between the mid and the up-tempo ("Green God", "Into This Cage"). The rhythms don't get repeated too much evolving around a heavy steam-roller approach often spiced with more quiet proto-alternative breaks.

Retturn Full-length, 1995
Strain Full-length, 2001
Sounds of an Empty Gun Full-length, 2010

My Space


A 4-song demo of your average Swedish thrash/death metal with "clean-gruff" vocal "duels" and cool melodic licks in mid-tempo occasionally thrashing harder ("The Train").

A Rude Awakening Demo, 2005

Fan Site


The debut EP: modern technical thrash metal which begins with an excellent dramatic lead-infused "Intro" before it starts steam-rolling with heavy complex riffs on the diverse opus "Epidemic Vampire" which moves from slower twisted sections to fast proto-death ones in no time; great stuff with echoes of the Germans Flaming Anger and the Swedes Altered Aeon. "Angry at God" is a relatively more direct lasher with aggro-shades, but "Oddity of a Dead Landscape" will leave you with your mouth gaping wide after this whirlwind of time and tempo changes pours over you, a hectic frantic masterpiece effortlessly crossing Atheist with Coroner to an almost overwhelming effect. "Encrusted in Shit" remains on an Atheist ground to produce aggressive vitriolic riffage intercepted by a brilliant cosmic interlude ala the Australians Alchemist. The "Extro" at the end is a pullback being just quiet acoustic guitars serving to no purpose, and not very well coordinated with the previous material. Hopefully the guys' occupation with their other project, the gore thrashers Bitchslicer, won't keep them busy for too long to produce something more of the same soon...
"Eyesore": the band "return" with another EP which is by all means an "eyesore" for both better and worse. The guys' flamboyant approach staggers a bit with longer and not very focused numbers among which the shorter jazzy hecticer "Vital Functions" is by far the highlight with his overlapping dissonant rhythms. On the rest the band kind of miss the plot aiming at modern quasi-abstract pictures with not much technical bravery to support them the overall approach now reminiscent of Coroner's "Grin" with a few more brutal death metal riffs thrown in for a not very good measure. This is mostly instrumental stuff with the vocal participation really sparse, but it totally lacks the bold stylish musicianship so audaciously displayed on the first EP.

The Black Notes EP, 2011
Eyesore EP, 2013

Official Site


The debut sees a band crossing black and thrash metal in a dark atmospheric way sounding at times doomy and macabre ("Flowers & Bones"), at others complex and progressive (the long engaging opera "Death"), and occasionally fast and merciless (the shattering blaster "Nocturne of Eyes and Teeth") where some death metal sneaks in. The vocals are evil and semi-whispered seldom supported by cleaner male choruses of the mass-like, church type. The band members have another project, Waster, where the style is the same black/thrash metal hybrid.
"Flystrips" is a very cool dark brooding affair with not much thrash present, a statement of intent being the funereal doomy opener "I Am Going To Eat You". "Leopard Cunt" is a surreal thrash/deathy "cunt", but tenderness comes pouring down from the much slower and lyrical "Heart". Spacey progressiveness arrives with the short "Cadmium", the tendency continued on the excellent abstract Voivod-ish quirker "Comes Crashing Down". "Stale Smoke" is the next in line twisted shredder with strange time signatures floating around with strong hallucinogenic qualities. "Old Speckled One" is a larger-than-life progressive opus with weird dissonant build-ups disorienting the listener even further; before the final "Tame Your Neighborhood (With Knives)" brings this outlandish performance to its logical conclusion with spacey rhythms and oblivious Voivod-ish decisions making this transcendental effort one of the more original offerings of recent years.

Nocturne of Eyes and Teeth Full-length, 2011
Flystrips Full-Length, 2016

Official Site


Based on the "Ordering the Chaos" demo, these guys offer typical Swedish thrash/death metal of the more thrashy type. This is professionally executed, but rather pedestrian, music with the leads being the highlight delivering excellent melodic tunes all over. Some of the musicians are also involved in the gothic metal act Silent Dream.

Ordering the Chaos Demo, 2003
Life Cancelled! Demo, 2006

Official Site


Pretty decently executed retro power/thrash from this unknown outfit who boast a very good lead guitarist, and a not bad forceful semi-clean singer. More formidable doom arrives with the steam-rolling "The Revenant", but expect more hectic, choppier thythms on "Pulverized" as well as a serene atomspheric insrumental ("The Passing") thrown in in the middle.

Lo and Behold.... Demo, 1994


Based on the full-length, these folks serve intense classic thrash which is built around long compositions where dynamic galloping passages entwine with mazey atmospheric ones except on the short lashing "The Cistern" which may remind you of Death's hymn "Evil Dead". "Castle Of The Damned" is an odd ambiaent cut lasting for whole 6-min; and the closing "The Elder God Shrine" is an ambitious 13-min saga with a lot of things happening during its running time. The sound quality, though, isn't great giving the guitars a not very pleasant hissing reverberation.

Knee Deep in the Dead EP, 2012
Dominion of Darkness Full-length, 2014

Official Site


Revenant's debut is a cult classic featuring aptly-executed semi-technical death/thrash in the Incubus-vein, but more elaborate and arguably more compelling; quite original for its time sound, full of tempo changes and fine technical riffs. The songs are long, complex experiences, with constantly changing fast, brutal sections and slower, heavy ones. On the faster moments the sound is pure death metal, but on others the music thrashes just like in the 80's. "Ancestral Shadows" is an exception from the aggressive formula, being a heavy, stomping track, with no fast passages, sounding like more technical early Celtic Frost. "Asphyxiated Time" is similar, but it goes even further into slower doomy territories- quite an atmospheric dark song. The band looked well-fit into the ealy 90's picture with their potent thrash/death metal hybrid with a twist, but they split-up, with the members moving to other death metal acts (Incantation, Immolation); the singer Henry Veggian had a short spell with Whiplash singing on some of their concerts later in the 90's.

The "Overman" EP arrives after a very long hiatus seeing the guys straying from the path of technical thrash/death metal opting for much more ordinary doom/death on the first three songs, but the closing "Exalted Being" may be viewed as an "excuse" being an exemplary technical number, quite fast and raging as well, well conformed with their older material, but neither of the approaches had been developed as the band disappeared once again with one Best of Compilation released a few years later.

Prophecies of a Dying World Full-length, 1991
Overman EP, 2002

My Space


The debut: an awkward uneven mix of thrash, death, groove and doom; the guys at times try to put all styles into one composition, and the resulting amalgam doesn't work all the time. On the other hand the pure doom metal songs are clearly the highlight where the singer abandons the annoying hardcore shouts and tries something more melodic in the vein of Dax Riggs (Acid Bath). "Perfekt Hate" features some black metal even for a while, ably supported by the vicious raven-like vocals. "Bloodtide" is a pure death metal madness in the beginning, and later on there is also one tender ballad, a couple of grinding sections as well, in other words, a larger-than-the-universe effort will one find here, but its sudden jumps from one genre to a very contrasting one may not be to everyone's taste.
"Heroes Without Villains" moves towards a more industrialized sound as the more academic doomier approach ("The Rising Phoenix") seems to work better recalling the Chistian progressive metallers Biogenesis with short dramatic semi-ballads ("First To The Last Stand") making an equally as positive impression. In fact, there's very little thrash to be savoured here as the band have softened with time some of the cuts ("Club Dead") being pure abrasive dark wave those occupying the second half giving the album a strong Fields of the Nephilim vibe.

Imperial Rape March Full-length, 2007
Heroes Without Villains Full-Length, 2017

Official Site


"Death Sentence": very cool speed/thrash metal of the classic school; fans of early Helloween, Not Fragile, 80's Agent Steel and the Polish Hellfire will be jumping like crazy on this one. The music is mostly speed metal with a few thrashy breaks, but this spontaneous wall of speed has to be heard by many: nine songs of blistering uncompromising speed metal (the closer "After The Storm Of Steel" is a 1.5-min doomy instrumental) with excellent high clean vocals quite similar to Tomasz Twardowski (Hellfire). The band's first two efforts are capable power/speed metal efforts with not many ties to thrash.
"METAL IS ADDICTION AND OBSESSION" is one of the best "Walls of Jericho" worships ever made. This is speed metal in its purest form with hints at thrash here and there, but this sincere dedicated downpour of speedy, fiery riffs will make many fans' day. The guys play like possessed until the end producing the definitive speed metal opus of recent years graced by quite a few fine melodic licks along the way. "Speed metal to the bone", like one of the song-titles sums it up so well...
The band have a fairly lengthy discography, but the rest of their repertoire clings more towards the power/speed metal side with the German school (Helloween again, Running Wild, Warrant, etc.) paid special attention.

Death Sentence Full-Length, 2009

Official Site


Based on the "Nail Them All" demo, these guys come up with decent retro thrash sounding close to early Kreator. The music is fast and intense, topped by rough mean-ish death metal vocals.
"From Hell" follows the Germanic patterns once again, and although this time the guitars sound quite fuzzy, few would remain unmoved by heads-down speed/thrashers like the opening "Total Aggression" or the furious proto-death bomb "Jesus On The Cross". "Bloodfist" is another instant old school thrash classic followed by the other more death metal-based number "Revenge". "Evil Nightmare" is the melodic deviation offering some crossover rhythms and fails to warm up the scene for the coming of the nice cover of Sepultura's "Antichrist" from their debut "Bestial Devastation" EP. This is not the end, however; the end comes in the form of the mid-paced atmospheric laid-back instrumental "Revelation".

Nail Them All Demo, 2007
Jesus On The Cross Demo, 2007
From Hell Full-Length, 2008

My Space


This new Mexican outfit indulge in intense modern thrash/death which "flirts" with progressive at the beginning where the great melodic leads on "After Of The Rain" will enchant you big time. "Hyperspace" not surprisingly adds some hyper-blasts, but "Decadence" after it is uite quiet, a semi-balladic brooder with a lot of atmosphere. "Lost Past" is a glorious speed/thrashing hymn which influences the remaining material the closing title-track adding a bit of melo-death into the proceedings. The vocalist is a shouty death metaller, but his rendings are dramatic and don't annoy.

War For Money Full-Length, 2015


Fast blitzkrieg thrash/crossover with touches of both Slayer and The Accused. The band vary the approach later on by adding more relaxed structures including more brutal modern-ish thrashcore ("A Victim Is Born") and an impressive traditional doomster ("Reverend Whore"). The doomy elements spring up again on "Carve Your Though" and generally the 2nd half is more modern-sounding and arguably better with more cleverly-concocted, semi-technical numbers like "Slippage" present.

To the Wolves Full-Length, 2014


Based on "Eraser", this band pulls out decent modern thrash by varying the pace providing all sorts of tempos and moods, the dominant one being light-hearted, melodic despite the presence of vigorous pieces like the dramatic "Life" and the sweeping speedster "Holy Lies". On the other hand we have the doomy ballad "Deny" and the heavy power/thrasher "Pain". At the end the guys try their hands on a more elaborate song-writing (the closing "Hollow Soul"), but the speed gets lost completely there replaced by less imaginative, kind of monotonous, riffage. The singer shouts in a forceful deathy manner and produces intelligible antics most of the time.

"Lake of Fire" is another modern thrash offering without any big surprises with the melodic hooks leading the pack again. The approach has gotten a bit slower, but those numbers are the ones which bring a diversity from the predictable delivery (check out the dramatic pounder "The Day I Die" and the power/thrash metal anthem "Sin For Sale" which even offers a catchy sing-along chorus). Things become more aggressive for a while on the bashing "bombs" "Purest Of Emotions" and "Asylum" the latter serving a portion of stylish technical riffs which should be more next time.

A Decade in the Dark Full-length, 2004
Eraser Full-length, 2007
Lake of Fire Full-Length, 2012

Official Site


This formation serve in decent classic thrash along the lines of Paradox and Darkness; inother words, there'll be both more complex and sincere, straight-forward speedy arrangements. The opening "Immortal" is a good example of the latter whereas "The Shining" is a notable progressive speed/thrasher which influences the rest of the material the band combining both sides on most of the tracks till the end which comes in the form of "Ride of the Heroes", a prime speed/thrashing shredder with virtuous melodies and intriguing technical variations, the highlight on this interesting roller-coaster.

Immortals Full-Length, 2016

Official Site


Reverend was founded by David Wayne (R.I.P.) after his exit from the mighty Metal Church with the obvious intention to overshadow his former band. Well, this is not exactly the case, but his new gang delivered the goods on each of their works with excellent power/thrash metal not too remote from early Metal Church, with David Wayne in top form. The EP "Reverend" was just a decent beginning with its 3 tracks of mid-paced, but not really impressive power/thrash, and one really great one: "Ritual", which arguably remains the band's finest song.

"World Won't Miss You" comes out with all the guns blazing providing a much more hard-hitting, faster sound, all this greatly displayed with the opener "Remission". It has its downs, too, though: the not very convincing semi-ballad "Scattered Wits", and the slower, groovy "Rude Awakening". Another, much better effort in the ballad genre is included later: the brilliant acoustic piece "Leader Of Fools". Later on the album restores the speed domination with great headbangers like "World Won't Miss You" and "Gunpoint". They haven't forgotten even about the fans of doom: there is a very cool cover of Black Sabbath's "Hand of Doom".
"Play God" is the band's magnum opus, more thrash-oriented than the previous releases boasting cool aggressive pieces like the opening "Butcher of Bagdad", "Fortunate Son", "Warp The Mind", etc. Wayne's skills in handling the ballads (something he already showed on the Metal Church works) are displayed once again with the marvellous "Blessings", the heavier "Play God", and the short acoustic closer "Far Away" (here some might say that three ballads are too much on an album like that). The guitar work here is much sharper and cutting (check out the riff-monsters "Death Of Me" and "Blackened Thrive").

"A Gathering of Demons" arrives after a long 10-year hiatus showing that the band haven't lost their touch in producing some great thrash: the sinister aggressive opener "Massacre of the Innocents", the heavy doomy "Down", the fierce speed monster "Stealing My Mind", and "Legion" which is actually one of the best Metal Church songs included in the "Blessing In Disguise" album under the name "Fake Healer" (it was written by Wayne, one of his last contributions to the band before his departure). The band have voted to continue their career without David Wayne, and despite rumours circulating of a new work in the makings, nothing has been heard from them in quite a while.
"The Spirit Remains": a forgotten release dug up from the band's "cellar" seeing David Wayne's (R.I.P.) last spell with his comrades before the long hiatus. Despite the raw hissing production, the music is nothing short of top-notch "Forever" inaugurating this obscurity with heavy dramatic riffs recalling both Metal Church and the preceding two full-lengths. "Oceans of Pain" is an awesome semi-ballad Wayne helped by another throat on the laid-back passage (could have been him?); a great chorus on this one, too. "Piss for Blood" notches up the thrashing the pounding main motif later turning into a speedy moshing section; an exemplary speed/thrasher seamlessly flowing into the more aggressive shorter "Psychosis" which mixes fast and slower rhythms to a fairly dramatic effect. "Rolling Thunda" "winks" at the 80's American power metal heritage, a playful "rollin" rocker supported by the marginally more aggressive "Soul Eater". All the way to the semi-balladic "Vivisection" which is very close to capturing the cumulative grandiosity of "Watch the Children Pray". Better late than never, as they say, and it's good that this very obscure gem has finally managed to find its way to the fans' ears: another great entry into the band's short, but essential discography.

Reverend EP, 1989
World Won't Miss You Full-length, 1990
Play God Full-length, 1991
Live EP, 1992
The Spirit Remains Full-Length, 1993
A Gathering of Demons EP, 2001

Official Site


Playful merry-go-round old school speed/thrash which can be more ambitious ("Among The Pigs") with echoes of Paradox and Manticora, but expect mild heavy rockers ("Hell Is Here", the balladic stonerer "Off Beaten Tracks") as well. In other words, the diversity is quite big, but there's not enough hard thrashiness in the 2nd half to satisfy the hard-core fanbase which may just stop listening to the merry heavy metal anthems near the end. Some of the musicians also play with the heavy metallers Savage.

Release the Hounds Full-Length, 2015


Reviolence were formed after another Brazilian band- Panzer, split-up. On their only EP so far we have a continuation of the "thrash metal meets classic hard'n heavy style" which works quite well having in mind that quite a few bands have failed to bring the good out of such hybrids. All three tracks are cool with the last one "Constant Dream" being a nice semi-ballad.
"Violent Phoenix" shows the band concentrating almost entirely on thrash metal producing one great headbanger ("Violent Phoenix"), one slower atmospheric power/thrasher ("Abduction"), and one awesome semi-technical speed/thrashing number ("About Angels And Demons"); the 4th track "The Annunciation" is a half-min instrumental.

"Modern Beast" is a decent slab of melodic retro speed/thrash metal alternating between energetic speedsters and mellower tracks with a shade of power metal. The music isn't a distant departure from the music already heard on the band's previous material supported by good clean mid-ranged emotional vocals.

The "King of the Night" single is just two songs: the title-track which is an energetic speed/thrasher, and "Allied Forces" which is a jolly punky track.

In Pieces EP, 2003
Violent Phoenix EP, 2008
Modern Beast Full-length, 2010
King of the Night Single, 2010

Official Site

My Space


This is the same band who were previously known as Cryptic Warning. Why they had decided to change their name, isn't known; but fortunately the music is not a very distant departure from the technical thrash/death metal played earlier, maybe it's a bit more death metal-oriented this time, but the great technical riffage is intact (based on the EP). The music, however, bears no resemblances to Carcass at that stage and is not as hectic, but slower, and goes often towards more atmospheric jazzy-inclined acts like Cynic, Aftermath, Scenery from the Czech Republic, later period Pestilence. Of course, there are fast tempos (the shortest track "Unattained"), but not that many, and the guitar work is more complex, sometimes to the point of abstraction, not miles away from the Canadians Martyr on the most elaborate passages.

The full-length debut is a marvellous affair concentrating more on the headbanging factor in the beginning, but rest assured that the technical riffage comes aplenty, too. "Tail From The Crypt" is a very cool combination of the two trends after which starts the complex part with the Swedish school-influenced "Exhumed Identity" which seamlessly merges into the superb technical number "Fields Of Predation"; this one never speeds up relying instead on clever mid-paced melodic very technical riffs. The Swedish influence takes the upper hand once again on the excellent sophisticated instrumental "Alliance In Tyranny" which shows the more lyrical side of the band. Time for one more highly-charged super-technical song: "Suffer These Wounds", which explodes with some of the finest twisted guitars around, again without speeding up too much. Then the aggression returns with "Summon The Spawn" which is still pretty much high-octane technical thrash/death ala Atheist and Sadist. "None Shall Be Spared (All Shall Be Speared)" is a colossal technical composition with nods to all the greats in the field: Coroner, Pestilence, Atheist again, Death, Sceptic, etc. But this is not all as later on we have the brilliant vortex guitars on "Age of Iniquity" which, combined with the more quiet atmospheric parts, create a masterpiece worthy of Opeth, but this one is way better. There could hardly be found a better closer than the intense fierce "Empire Of The Obscene", which sums up the essence of the album, blending the tight complexity with a couple of more direct thrashy moments. This is a logical continuation of the career of this very talented outfit and it shouldn't come as a surprise the very high level of musiciahship displayed on this sure top ten pick for 2008.

"Existence Is Futile" comes up less than a year after the debut, but the bad news is that the technicality has been left behind for the sake of much more ordinary modern thrash/death metal "besieged" by frequent blast-beats and the prototypical Swedish melodic "decorations". Near the end the technicality miraculously returns on "Dismantle the Dictator": a fabulous technical death/thrasher, constantly switching from fast frantic sections to complex almost jazzy ones with great sharp guitar work. It may be a leftover from the previous album since the 3 remaining tracks are even more pedestrian modern thrash/death metal offerings. A few words, though, must be spared for the guitar wizard David Davidson: one of the undisputable guitar talents of recent years whose leads and shreds (especially the former) shine all over despite the more conventional musical approach at play. He also handles the vocals which are of the throaty semi-high type (read death metal here). Still, this effort could be a disappointment to the fans of the debut and the Cryptic Warning only release since it sees the band now just one of the numerous practitioners of a style which peak has long since passed failing to capitalize on the brilliance of their first effort.

"Chaos of Forms" is a continuation of the sound from the preceding effort starting with the carefree speedster "Cretin" which is a new breed which one may even call "technical death/crossover". Later on the blast-beats get introduced again with occasional sparkles of genius: the twisted modern thrasher "Dissolution Ritual"; the brilliant hectic 2-min instrumental "Fractal Entity", with Davidson in the usual top form the latter again playing the role of the saviour here. The rest is your average melo-death with a more stylish twist here and there.

The "Teratogenesis" EP is 5 songs of predictable modern thrash/death with again a few more stylish touches (the jumpy brutalizer "Maniacally Unleashed") thrown in including a few dissonant proto-groovy patterns ala Meshuggah ("Teratogenesis") as an innovation, but nothing too striking if one, of course, excludes Davidson's standout guitar performance which shines all over mostly due to the brilliant melodic leads (check out the virtuoso lead mid-section on "Bound By Desire").
"Revocation": well, apparently a self-titled effort had to arrive for the guys to get back on track. The band have miracilously found the way to thrash/death in a more inspired technical fashion once again, and this album is almost as good as the debut. "The Hive" opens it in a smashing blitzkrieg manner, and later on things only get better with the excellent stylish shredder "Scattering the Flock", a first-rate number with surreal shades; and "Archfiend" which is semi-chaotic technical death/thrash at its best finished with a cool balladic "leads vs. acoustic" exit. More guitar acrobatics on the shorter frolicer "Numbing Agents" before "Fracked" tames everything with its straight-forward mid-tempo nature. Don't expect two in a row, though, and "The Gift You Gave" is progressive thrash ala Alarum with beautiful melodic hooks. "Invidious" is another relatively more timid number, but "Spastic" is a virtuoso instrumental boldly "winking" at Spastic Ink both music and title-wise enhanced with a fast thrashy break in the middle. "Entombed by Wealth" marches forward in a stylish mid-paced manner graced by not very obtrusive epic ornamentations; and "AVisitation" is an abstract progressiver with a few hyper-blasting passages. The end is the cover version of Metallica's' "Dyers' Eve" done very well not straying too much from the original delivery. This is a desired return to form for one of the more promising young acts, and the more diverse nature of their approach at present should lay the foundation for a string of several high quality efforts.
"Deathless" starts assuredly with the fast technicaller "A Debt Owed to the Grave", and the title-track which follows is another brisk cut before spacey progressive takes over on "Labyrinth of Eyes" which also introduces clean vocals to better suit the oblivious mood of the song. This innovation may be a bit off-putting to some, especially after then next "Madness Opus" provides not very coherent doomy sounds... The joy eventually returns with "Scorched Earth Policy", but the more experimental abstractism remains a "stain" an almost every composition and one will have to learn to live with it not without the support from Davidson again who unleashes a few virtuoso leads with panache. "United in Helotry" is a brilliant progressive/technical thrash/death, labyrinthine twisting music at its absolute finest, later followed by the excellent spacer "Apex" and the diverse hard-to-swallower "Witch Trials" which is also the closer. The experimentalism may be a bit hard to get into at first, but the musicianship is simply too great to not be able to enchant the listener. The band are surely on the right track, and it seems as though they have found the creative source/well to keep them afloat along with the finest.
"Great Is Our Sin": the guys are back in action and this new opus makes them one of the more prolific practitioners of thrash/death metal hybrid at present. So do they continue to excel like was the case with the last two efforts? Yes, they by all means do albeit in a more melodic, sophisticated fashion as evident from the melodic histrionics on the not very predictable "Theatre of Horror" and the dynamic progressiver "Monolithic Ignorance". "Crumbling Imperium" is a swirling mid-paced deathster with a dramatic accumulation; but "Communion" rages hard with an added portion of complexity due to a few vortex-like decisions. "The Exaltation" is a calmer, more moderate instrumental piece with an abundance of melodic cavalcades the latter continued on the engaging progressive opus "Profanum Vulgus" which surprises with a speedy exit and very good cleaner vocals. "Copernican Heresy" is an intelligent brutalizer which crashes forward mixing blitzkrieg riffs with surreal melodic sections; and "Only the Spineless Survive" will delight with its meandering structure built around overlapping speedy rhythms and a pleiad of intricate, screamy leads. "Cleaving Giants of Ice" could be viewed the balladic escapade with its more meditative oblivious delivery predating the closer which is an awesome rendition of Slayer's "Altar Of Sacrifice", a remorseless speedster with a very clear guitar sound which makes it sound more polished, but also more compelling, then the original. Well, the band have found the right way to thrash, and hopefully no more pitfalls will make them stumble on the way to real greatness which, based on this listen, isn't too far ahead.

Summon The Spawn EP, 2006
Empire of The Obscene Full-length, 2008
Existence Is Futile Full-Length, 2009
Chaos of Forms Full-length, 2011
Teratogenesis EP, 2012
Revocation Full-Length, 2013
Deathless Full-length, 2014
Great Is Our Sin Full-Length, 2016

Official Site


Modern post-thrash of the clumsy stoney type; this is predictable pedestrian stuff coming as a bit more dynamic version of Down plus the odd more intense aggro-moment, or the faster, ala The Almighty, suprise ("Don't Want It").

Revenge For The Ruthless Full-Length, 2011


A really cool 4-song demo ("Evil Ways") of fast-paced thrash with short, 2-3min tracks, and somewhat screechy vocals which sound like a more annoying version of Mille Petrozza. The music delivers the goods, though, being quite speedy, even reaching for Wehrmacht ("Evil Ways"), but the major influence here is probably Slayer's "Reign in Blood".

"Metal Krusties Attack" offers a rawer sound, mostly mid-paced to slow, containing slower, almost doomy, heavy tracks (the opener "Opening", "Destiny of Doom"). The compositions are lengthy with a nod to early Celtic Frost, and even Hellhammer. "Air raids" at the end tries to liven things up a bit, but the awful sound quality on this song in particular doesn't give it too many chances to do that. The vocals are rough, low-tuned death metal ones, truly one of the most brutal ones at that stage of the genre's development. Listening to this, one might remain quite surprised that this is the same band who released another, much better-sounding, demo four years later.

Metal Krusties Attack Demo, 1986
Evil Ways Demo, 1990


The full-length debut sees a band pulling out an intense modern mix of thrash and death metal. There are plenty of headbanging moments to be enjoyed here: "Born To Meet The Devil", "Exit Life...Reborn in Hell", "Bloodbath", etc, as well as numerous melodic insertions which betray the guys' infatuation with the Gothenburg trends in the craft. "Devil Inside" is a surprisingly heavy doomster, but the rest is a speedy fun topped by pretty gruff, albeit intelligible, death metal vocals.
"Torture to Exist" carries on in the same way thrashig harder without too many melodic decorations this time. "Secrets Of Death" and "Stalked! Catch! Bondage!" are inspired dynamic headbangers the respite provided by a bunch of laid-back mid-pacers ("Kill The Rapist", the ambitious progressiver "Deliverance") contrasting with the couple of raging deathsters ("Innocent Life") near the end. The closer "Depraved Mind" is a marvellous chaotic technicaller, a completely surprising masterpiece of high-class musicianship; a very good way to finish this otherwise pedestrian effort.

Exit Life, Reborn in Hell EP, 2006
Bloodventure Full-length, 2010
Torture to Exist Full-Length, 2016

Official Site


Dark moody thrash with progressive overtones; the guys know their craft providing clever semi-technical riffs and excellent Oriental hooks here and there, and the only real drawback would be the gruff death metal vocals which at times become more intelligible acquiring semi-whispered tendencies, but are hardly a match to the better music; actually they make sense with a nice clean tember on "Bridge Of Despair" (could be another singer), but that's about it. The sound seldom develops beyond the mid-tempo ("The Next Command" is the only place where the band start thrashing with passion for a while), but the guitar work is varied and moves around, also offering nice balladic interludes on almost every track. The doomy approach on the aforementioned "Bridge Of Despair" is a stylish deviation contrasting to the jumpy groove on the sprawling progressive opus "Termite Faction".

ReVolt Full-length, 2009

My Space


Rough pristine thrash which contains a few more intriguing chops, but the bad death metal vocals and the awkward switches to proto-death ruins the proceedings, not to mention the awful muddy sound quality. "Hero's End" is a surprisingly engaging progressiver, but the rest is just too messy to make more than a handful of heads turn.

Revoltage Demo, 1992


The "revolution" has begun, and these Braziilains are here to lead it. Otherwise the guys offer friendly well-constructed classic thrash which would hardly cause a "revolution", but will warm the fans' hearts with its sincere approach despite the triggered guitar sound at times. A string of immediate short songs opens the album before the delivery gets a tad more complicated later on the guys inserting the odd more brutal death metal element ("The Scars Of Insanity") which gives an additional push to the already fairly dynamic music. In the 2nd half the tracks are mixtures of slower and faster rhythms the former increasing the atmosphere: check out the creepy "Epidemia". The closing "We Are Only Free" serves a whirlwind of fierce vitriolic riffs accompanied by piercing leads and macabre semi-whispered vocals which elsewhere acquire a harsher deathy tone.

Revolutionary Order Full-Length, 2014

Official Site


The debut demo: 4 tracks of dark semi-technical thrash with deep death metal vocals and frequent Oriental "decorations"; the demo is rich in atmosphere also created by a few balladic lead-driven sections although there are moments where your head will start banging spontaneously (the intense smasher "Revolted Masses" which even blast-beats in a brutal death metal fashion at some point). Still, the music relies more on heavy mid-paced riffs with intriguing melodies and clever riffs.
The "Seeds Of Revolt" demo is a step back from the preceding one being less dynamic with adherences to doom metal ("Avdei Far'oh") with the Oriental motifs still around to create the best moments here. The technical element, however, has disappeared quite a bit showing up timidly on the hectic stomper "Terra Infernal" which also boasts a fine female vocal inclusion. On top of all that there is a well performed cover of Motorhead's "Ace of Spades" at the end (now that's something new!) with a few individual decisions like the cool pounding riffage after the second chorus, etc.
"Us or Them" is pretty much a combination of the two demos plus a few new tracks scattered around: "Us or Them" which is an ordinary proto-groover; "Disaster Capitalism (The Rise Of)" which is a melodic Oriental-oriented track; "DeathBlock11" which is a sleepy semi-ballad; and other boring additions which make this album a bottom-of-the-shelf product.
"Age of Descent" brings more dynamics to the stale proceedings, and now things sound better although hard-hitting thrash is again not the order of the day, and the harsh sterile, industrialized environment may come as too much for some who will be widely entertained on the aggressive shredder "Discrimination", and perhaps on the more brutal sections from then progressive deviation near the end "Ruled by Rats".

Revolted Masses Demo, 2009
Seeds Of Revolt Demo, 2010
Us or Them Full-Length, 2013
Age of Descent Full-Length, 2015

My Space


A modern blend of thrash and death metal with a hardcore singer; the music bears no surprises, but is quite energetic and hard-hitting, and with a slightly more technical guitar sound than usual.

Revolting Breed Single, 2006
Rise Against Full-length, 2007

Official Site


Based on "Lost Remembrance", these guys play thrashy power/progressive metal which nicely mixes heavy complex and faster riffs on the opening "Children of Human Fault", but generally later on those faster riffs are not very common the dominant delivery being mid-paced of the heavy stomping variety. The sound constantly hesitates between the modern and classic school managing to stay convincing thanks also to the heavy sharp riffs, the fine keyboard implements which are never overdone, and the good mid-ranged clean vocals which always stay attached to the music without being very dramatic. "A Falling Bridge" near the end offers more energetic riffage again for a change, also finding time for a cool balladic deviation. That same deviation grows into a full-fledged ballad: the closer "Tears Of Neptune" which shows the singer in an inspired bright light. Some of the band members also play more aggressive stuff in the death metal formation Karnak.
The debut is a nice slab of progressive power metal, coming as a darker and more atmospheric mix between Lethal's "Programmed" and Heir Apparent's "Graceful Inheritance". It's good edgy music mostly in mid-pace, but its relations to thrash metal are merely passing.
"Underwater Bells" is close in spirit to its predecessor, maybe a bit more aggressive with a more modern sound and a less obvious thrashy edge. The faster compositions are more which shouldn't be a surprise as the overall number of the songs is bigger although at least one third of them are short quiet/balladic interludes sometimes accompanied by vocals.

Night Visions Full-length, 2003
Lost Remembrance Full-length, 2007
Underwater Bells Full-length, 2009

Official Site


The debut: standard modern thrash with classic overtones; Dew-Scented come as a very close reference as well as more recent Paradox (the lead guitar work, in particular: check out the excellent shredder "Silence"). The band plays at a semi-high speed calming down on the underwhelming mid-paced closer "Sinner". The sinner... sorry, singer, is the prototypical angry semi-death metal shouter (think Peter Dolving (The Haunted)).
"Straight from Within" is a ripper from the get-go although again it's nothing that hasn't been heard before the guys thrashing with gusto, but without a trace of originality still keeping the mosh going seldom slowing down (the heavy steam-roller "Revenge Now" comes to mind, a damaging number with shades of Fear Factory and Grope). This is an acceptable addition to the legions of thrash, but at the same time easily forgettable.
"Annihilation" is the installment from the band's catalogue seeing them thrashing in the same old way "Growing Inside" trying to break the old formula; and "Suicide Inheritance" unexpectedly introducing more classic-sounding Slayer-esque riffage. The rest is the familiar modern thrash with shades of death metal the latter tendency best expressed on "Without a Reason for Denial".

Collision Full-length, 2009
Straight from Within Full-Length, 2012
Annihilation Full-Length, 2016

Official Site


This is typical for the time of release groovy post-thrash, probably a tad more dynamic than the rest "Druzba" strongly recalling Panter's heydays with its intense dramatic groovisms. Elsewhere the band just groove and groove to no end "Tema" containing a portion of very cool stylish leads to the listener's utter surprise. The vocalist aptly alternates an intense aggro-voice with cleaner, more attached inclusions and could be considered the best performer from the lot.

Sistem Full-Length, 1997


This EP begins in an openly modern groovy manner with "New Order", but "Welcome to Hell" is vintage early Slayer with a machine gun-like delivery; "Sentenced Man" is another cool classic thrasher, slower and atmospheric, with "Revolution Tendencies" mixing the two trends from the past 2 tracks at the end even reaching out for the opener by adding the odd groovy hook.
"Welcome to Hell", of course, includes the track of the same title from the EP as well as the other three offering 6 new numbers which cross the modern and classic trends on a not very impressive mid-base introducing only two more energetic pieces ("Death Should Pay For Its Sins", and the furious closer "War", which again recalls Slayer at their best). The vocalist has an authoritative semi-declamatory style which reminds of Tom Araya on the 80's Slayer material.

Spread the Word EP, 2009
Welcome to Hell Full-length, 2011

My Space


The EP: cool technical/progressive thrash metal which comes as a blend of the Swedes Hexenhaus and Opeth. "Diesel Machine" is moderately complex, quite intense, mid-tempo, with one speedy section at the end: a promising beginning. "Whispers of My Soul" is slower with a cool Oriental atmosphere, maybe a bit underwhelming, with a less intense delivery. "Figure In A Dream" is an ambitious, but flawed 9-min long composition which begins as a ballad before introducing furious blast-beats that bring a change in the vocal style as well to brutal death metal ones (the main ones are melodic, mid-ranged clean), before returning to the peaceful patterns from the beginning; the Opeth influences are obvious on this one, and the aggressive death metal break is awkward, to say the least, and most of the time spent in dreamy, acoustic guitars, doesn't make it a really fine addition to just a 4-track EP (the first one is an intro). Still, there's certainly a potential here, and with a more energetic approach in the future, these guys could reach far.
"Perception in Design" is built around the songs from the EP, but the new material is evn more appealing: the excellent twisting opener "Perception", a creepy complex affair in mid-pace. Things pretty much hit the top on the next "Words Buried" which is standout technical thrash ala Coroner with a few more melodic implements, even trying something headbanging at some point. "Images From a Mirror" is a proto-modern progressive track mixing doom-laden with much faster riffs which go into not very necessary mindless blasting near the end. "Stars of Deception" is energetic technical thrash with vigorous galloping guitars reminiscent of Helstar's "Nosferatu". "New Age Narcotic" is a heavy doomy ballad ala later-period Hexenhaus, a nice touch with a cool Oriental motif. "Crumbles to Eternity" is jumpy progressive metal with not much thrash to be heard, but the closing "Into the Maelstrom of Inertia" is a revelation: exemplary progressive thrash blending aggressive shreds with more quiet semi-balladic sections. The new songs are not as long, and lack the dragging element which permeated the ones on the EP (also present here, but not reviewed). There's very little to remind of Opeth here, and as a whole the band have managed to move into a territory of their own without sounding too much like someone else which should please fans of progressive, power and thrash metal, above all.

Balance Between Madness And Hope EP, 2007
Perception in Design Full-length, 2010

My Space


The full-length: a new young German hope pulling out good classic thrash metal; the album starts in a splashing manner with the brutal headbanging instrumental "Red Alert", before the singer hits on "Toxic Avenger" which is a bit more laid-back still lashing quite briskly recalling Headhunter's debut "Parody of Life", which is the main target for worship. Back to the singer: the guy does a very good job impersonating Schmier quite well unleashing the latter's legendary husky semi-whispered antics down to the -T-. "Metal Rite" is a nice speedster again recalling Headhunter, but "Altar of Satan" is a bad semi-funky filler, totally off-context. "Steamrolling the Society" thrashes like there's no tomorrow, and the following "Have Gun, Will Travel" is even more aggressive reaching early Destruction with ease. "The Final Breath" is a softer power metal track with balladic overtones and sparce vocal participation before the closing "Fallen Angels" comes out raging although in the beginning it will remind you of Megadeth's "Holy Wars" with the singer softening down on the vocal cords to slightly resemble Dave Mustaine; this track is a very good exit providing the desirable twist from the Destruction/Headhunter worship heard previously. If the last Headhunter effort has pulled you back, and not completely without a reason, here is a new band bringing you right back to that act's roots.
"Civic Nightmare" is a very mediocre effort which this time reduces the speed for the sake of heavy choppy rhythms, and is overall quite disappointing. The slow numbers drag quite a bit at times (the sloppy poppy anthem "Out for Blood"; the funky non-sense "Full Throttle" which awkwardly switches to fast thrash at the end), and the faster ones are not many at all in order to save this effort from sinking into almost immediate oblivion. This is an unimaginative, pedestrian affair which would hardly convert any new fans, but would surely make some of their old ones scratch their heads in doubt.
"Reality Is a Lie" is just a bit more than a flop the band trying to incorporate as many infuences as possible (speed metal, crossover, power/heavy metal, etc.) again to very mixed impressions. The frolic speed metal spirit ("Dead City") seems to lead the pack, but at the same time there are several mellow fillers ("Breaking the Chains") which dissipate the energetic feeling and ultimately pull the album down recalling other would-be-thrash "failures" like their compatriots Liar.

Toxic Avenger EP, 2008
Have Gun, Will Travel Full-length, 2010
Civic Nightmare Full-length, 2012
Reality Is a Lie Full-Length, 2016

Official Site


Two songs of energetic modern power/speed/thrash metal alternating slow stomping with less controlled speedy passages the latter coming with nice melodic decorations. The ideas could definitey find a fuller realisation on an eventual full-length: the guitars are sharp and edgy, and the singer is an asset with his attached clean tember changing pitches whenever appropriate. Some of the musicans shred in another thrash metal act, Empathy.

The full-length is a winner the guys not wasting time, but start speed/thrashing with passion and quite a bit of melody, the opener "Rage Against Us" a "raging" fast-paced piece with a good catchy chorus. The "carnage" carries on with "Hail to Armageddon" and "Beyond the Rapture" both numbers recalling more recent Paradox, but that's only a good thing. "Tomb of the Incarcerated" is a short semi-technical ripper, followed by the over a min of piano tunes on "Flag Runs Red". "To Arm the Rebels" is drowned in melody, but "Onset of Plagues" captures the speed/thrashing magic with style the guys reaching progressive heights ala Manticora which get translated on the closing "And Hell Followed With Him" in a more restrained semi-balladic manner. Despite the calmer ending, this album is a fine addition to the growing British thrash metal catalogue of recent years, and a strong statement of intent for future exploits to come.

The Nightmare Begins... EP, 2010
Corruption Kingdom Full-Length, 2013

Official Site


This band, whose line-up features two ex-members of the death metal outfit Web (the drummer Cristian Borlaand the bassist Vali Zechiu) specialize in pretty decent modern post-thrash following the well-trodden paths quite faihfully. The music doesn't lack energy completely and even manages to branch out in several headbanging sections ("Unbound"). Otherwise the approach is solid, heavy with hammering riffs and the staple angry vocals.
"By Any Means Necessary" is in a similar vein trying to break the formula with several more energetic moments ("The Game Of Life"). "Wake Up!" will indeed "wake" you "up" with its wild headbanging riffage, but the peaceful tone of the recording is seldom broken later on except for the very end where the closing "To A Bitter End (In Hell)" thrashes with passion as a finishing touch to this predictable, but mildly amusing effort.

Beware the Silent Full-length, 2011
By Any Means Necessary Full-Length, 2015

Official Site


This band was formed by Ard van Bers: the guitarist (and also singer) who graced with his presence, and apparently was the mastermind behind one of the best moments from the Dutch scene of the early-90's: Donor's "Triangle of the Lost". This magnificent album is even better being state-of-the-art progressive thrash/death metal. The bad thing is that there are only six tracks on it one of which is a pure acoustic (but very good) instrumental ("Saxum Tantali"). Half the songs are long complex pieces within the 8-9min range full of brilliant technical guitar pyrotechnics, stunning tempo changes, sticking to the doom metal patterns at times (the opening two minutes from "Pile on the Agony" could perfectly fit on any of the Candlemass' 80's albums). There isn't much headbanging material here as the sudden turn of rhythms and riffs will often leave you startled, but utterly delighted, especially those who like technical masterpieces like Coroner's "Mental Vortex", Deathrow's "Deception Ignored", or Droys' "And If". Ard van Bers's vocal duties are kept to the minimum here with only sparse participation, opposing to the quite good basic death metal ones. But his presence is felt in every other department making this release one of the undisputable treasures of the whole Dutch metal scene.

Labyrinth of Thoughts Full-Length, 1995


The demo: 2 tracks of atmospheric dark thrash/death, quite cool, with technical "decorations" and an overall approach not too far from early-90's Messiah, but more leaning towards the slower doomy side. The full-length carries on with full force, this time adding epic elements to the picture, now coming closer to late 80's Bathory, but with a clear thrashy edge. Actually the pure doom metal passages are very few, as the music develops in an energetic mid-pace, the exception being "Fodya" where the guys tear it loose for a bit blasting in an extreme black metal fashion. The technicality is not being elaborated on, which is a pity since those elements were quite a nice touch previously. Still, this effort is not bad at all, if we possibly exclude the crude black metal vocals, which are at times accompanied by very low-tuned brutal growls, both choices much inferior to the stylish music which should make this, very obscure for music, place proud.

Bulumwa Demo, 2009
Heart of Mkango Full-Length, 2009


From the riff work down to the vocals this is vintage 80's Kreator. These guys have managed to bring back the glorious Kreator sound even better than the Germans themselves. Fast aggressive riffs attack you from beginning to end; a really impressive debut. The Brazilians' sound is more extreme at times seldom bordering on proto-death metal ("Inside A Torn Apart", "Tsavo-The Place Of Slaughter" which is a masterpiece of aggressive technical thrash/death metal worthy of acts like Massacra and Hellwitch). The longer songs nicely recall Kreator's more technical period, and even go beyond that: "Bullet In Point", which is slower, heavier, with a genuinely technical sound, and a great bass bottom (the bass-performance is actually quite strong all over). "Die Like A Dog" is an awesome short bursting speed/thrasher with a jollier crossover shade. "Sacrificed by Mistake" is a nice mix of slow pounding guitars and super-fast ones followed by the most brutal piece on this album: the grinding "Doomsday".

Seven years gone, but the guys are alive and well; and not only that, but "Games of Joy... Games of War!" delivers every bit as well as the debut. Kreator are again the closest soundalike, but the welcome deviations are all here to make this album a no-brainer for the classic thrash metal fan. "Rage is my Food, Hate is my Guide" is an awesome technical fast-paced opener in the best tradition of "Extreme Aggression". "Trivial Pieces of Meat" is already slower, though, creeping forward in a nice technical doomy fashion in the beginning before hitting with fast intense riffs later, a masterpiece of diverse complex thrash with some of the most addictive riffwork around. "Hate! Is What I Feel" is another energetic fast-pacer with brilliant technical deviations, and the title-track and "How to Explain" carry on in the same vein thrashing hard and fast till the end; no deviations here. "Silence ... Around Me" is a bit more varied, both slower and more technical including a smashing blasting exit. "Untiring Torturer" is "Pleasure to Kill" brought into the new millennium with a nice atmospheric balladic interlude in the middle, a fast blitzkrieg riff-machine followed by the more laid-back speed metal-based "Scars". "Fuck Off!" is speed/thrash metal as Germanic as this style can possibly get nowadays. One may mourn the loss of technicality in the second half, but comes the closing "Cowardly Terror" and everyone will be delighted, this one blending fast raging guitars with clever more elaborate arrangements to a very positive effect. Despite the long break this new offering sees the band more than well-equipped to compete with all the big names from their homeland and worldwide. Some of the band members also play in two other retro thrash metal acts, Jailor and Rythual.

Embryo of the Endless Sands Full-length, 2003
Rest of Old, New and Rare of 15 Years EP, 2008
Games of Joy... Games of War! Full-length, 2010
Heavy Metal EP, 2013

Official Site


This Spanish act pull out angry heavy post-thrash with frequent allusions to hardcore those making this effort fairly dynamic and not always predictable. Still, too many points for originality can't be given here the band shredding with competence surprisingly producing a few poignant moments (the balladic passages on "Las Putas Del Infierno (Atake Berserker)") along the way as well as some fast-paced headbanging riffs on the closing "S.T.U.P.".

La Casa De Las Serpientes Full-Length, 2013


This is a mix of classic and modern speed/thrash which has a strong computerized spirit which kills the guitars' bite considerably and doesn't favour the forceful mean vocals which are otherwise quite fitting for a thrash metal album. The tempo is mostly up the guys thrashing wildly most of the time with a few more stylish moments here and there, and if it wasn't for this awful synthesized production this effort could have struck more cords in the fans' hearts. The end is preseved for a modern cover of Iron maiden's "The Trooper", but hasn't been taken very seriously in the vocal department where the vocalist takes a thin cleaner tember which is too thin to even distantly resemble Bruce Dickinson; music-wise it's faster than the original with an industrial edge and could be heard just out of curiosity.

Lich Queen's Death Horse Full-Length, 2012


A heavy crushing fusion of thrash and stoner doom ala Down/EyeHateGod; there's no much speed involved, but the punishing rhythm section and the pounding guitars will make your day. This album sounds like a more aggressive, and thrashier companion piece to Corrosion of Conformity's "Blind", or even Entombed's "Uprising", if you like; even the classic thrash metal fan may catch some retro riffs; a cool sure-handed debut, not a typical work from the Spanish metal scene.

Breed the Chosen One Full-length, 2007

Official Site


Based on the full-length, this formation specialize in intense old school thrash/crossover which is often full-fledged thrash even serving quirky, semi-technical decisions ("Dark Energy"). Although the tracks in the 2nd half seldom go over the 2-min mark, the guys preserve their hard thrashing stance except for the breathtaking instrumental "Interlude". The singer is a gruff semi-shouter, but his antics are not annoying and even carry a shade of melody.

Mass Illusion EP, 2015
Maze of Confusion Full-length, 2016
Official Site


An Irish act paying tribute to an English king... quite unusual, but the music on the "Drunken Wisdom" demo shows a band knowing their craft shredding in an intense mid-pace with very good proficient leads everything culminating on the galloping delight "State of Insanity" which is close to qualifying for "Master of Puppets" even with its inspired riff-patterns. The production is a bit muddy, and the vocalist is a bit uncertain with his highly-strung thin voice which is perhaps too melodic for this kind of music.

Drunken Wisdom Demo, 1991
Feel No Pain Demo, 1992


Jumpy groovy post-thrash with bouncy dynamic riffage, never crossing the mid-tempo but delivering with its not very predictable jolts. "Question Reality" "questions" the groovy canons with viivd more classic-oriented riffs recalling Sacred Reich's "The American Way", also with the excellent bass burps; and "On The Outside" nearly reaches the semi-technical aesthetics of Prong's "Beg to Differ". The singer is a passabe hardcore semi-reciter sounding like a less passionate, also less capable Tommy Victor (Prong again).

Demo Demo, 1992


A really cool, obscure band; the vocals are firmly in the death metal camp, but the music is pure thrash with genuine pagan/epic touches not too far from bands like Bifrost and the great Sabbat. At times there are displays of bad taste ("Rictus" from "Living The Dream", for example) where the band try to play awful groove which on albums like this sound awkward, to say the least. Fortunately, these moments aren't that many, and as a whole we have a good band with a more original take on thrash.
The debut is probably the least polished effort evolving around a rough mix of early Xentrix and proto-modern thrash, resulting in plenty of jumpy, stomping sections ably supported by forceful semi-clean vocals with a slight aggro-edge. "Gateway" is a more stylish attempt at technical thrash, an instrumental-only, but it remains isolated in the middle surrounded by a much more ordinary material. "Lothar" is pure antedeluvian doom ala Saint Vitus, but expect at least one fast-paced number ("King Of Raunch") before the end, as well as a very cool hidden track of mysterious Oriental tunes: an excellent, albeit not as deserving, touch.
The "Truth of Darkness" EP is an attempt for the band to enter the aggro-arena on a full-time basis offering pure groovy post-thrash all the way with only "Left Behind" thrashing nicely, but with a strong modern edge again. The bass bottom is admirably heavy and audible, and from a musical point of view there shouldn't be disappointed although the guys are certainly capable of more.
"Burning a Cold Fire" sees the band alive and well despite their very irregular presence on the scene. The delivery has become more atmospheric and slower with more pronounced epic power metal elements (the galloping anthem "Sleeping or Dead"). The dark atmosphere instilled seldom gets dissipated and consequently thrash doesn't get too many chances to shine the truly speedy moments a rarity, the closing "Severed Head" coming with all the guns blazing to provide the only genuinely headbanging passages on the album.

No Regrets Full-Length, 2001
Truth of Darkness EP, 2002
Taste the Steel Full-length, 2003
Living the Dream Full-length, 2005
Resurrection Full-length 2007
Burning a Cold Fire Full-Length, 2016

Official Site


This is a rough mix of thrash and speed metal topped by raw semi-clean vocals which sometimes growl to a scary death metal effect. The musical approach is also a bit messy, ranging from sure-handed speed/thrash to less impressive crossover, to less intense, heavy power/thrash which betrays the guys' country of origin: they end up sounding quite close to their renowned compatriots Horcas and Hermetica, but this is hardly their most attractive side, since this is when they lose the speed settling for a not very interesting mid-paced delivery.

Anestesiados Full-Length, 2011


The band name suggests nothing like thrash, but the music is quite hard-hitting and heavy, recalling mid-period Accuser. Some songs have a somewhat poppy quallity ("Fright Night"), and the album isn't full-out thrash till the end, but is enjoyable nonetheless. It actually starts quite aggressively with the pounding thrashy delights "Deep Frustration" and the speedy "Death Zone". "Brainshake" is pure crossover happiness, but "Evil in White" returns to the heavy pounding riffage from the beginning. The thrashiness gets partially lost in the middle which also includes the aforementioned "Fright Night", but the speed metal number "Education" brings back the energy, this time accompanied by nice melodic leads. "Fuck Off" is a punky track ala Sex Pistols, after which the intensity never really goes back resulting in two cool mid-paced power/thrashers. Later the guys changed their name to Cosmic Haze, and released another, better, thrash metal album.

Recently Deceased Full-length, 1993


A power trio from The States who indulge in "riffy", also "mad", all-instrumental thrash which doesn't constabtly rely on screamy leads to pull it through, but provides the obligatory hard-hitting riff-driven passages which aren't very fast per se, but make the head bang especially on the complex divers closer "Green Dragon" which is a virtuoso display of musicianship with a few quite stylish technical, also dramatic, deathy rhythms enhancing the atmopshere.

Sinister Smoke Full-Length, 2013

Official Site


An enjoyable mixture of thrash, power and classic heavy metal; the thrashing goes towards the Bay Area-territory (think Metallica, Exodus), but the rest is by no means worse providing the listener with great headbanging tracks as well as a few calmer ones for the more traditional metal fans.

We Like That Single, 2001
A Trust Betrayed Full-length, 2001

Official Site


The debut: this is right as rain old school thrash solely betrayed by the modern production which gives the guitars a somewhat sterile, mechanized edge. The band play on with a lot of vigour not relying on speed all the time mixing things up with heavy dramatic mid-paced stompers ("Invisible Hate"). It's all done professionally, but the album seems to lack a very individual character, and will inevitably end in the sea of numerous similar practitioners despite its competent enthusiastic execution.
"Death from Above": after the interesting, virtuous instrumental intro the band start the "assault" with vigour and produce admirable headbangers along the way. The dedication to speed is impressive although again in the originality department this effort doesn't score very high regardless of the truckload of fiery, hard-hitting riffs pouring from all sides and will by all means make the headbangers' day in every corner of the world.

Laws of Devastation Full-Length, 2013
Death from Above Full-Length, 2016



These Icemen offer modern laid-back thrash which is by all means proficiently done, but the perennial mid-paced riff-patterns and the frequent balladic insertions create a really relaxed mood which is also aggravated by the regular sing-along choruses provided as an additional epic flavour.

Myrka Fulll-Length, 2016


Modern thrash with aggressive death metal vocals which alternate with much more convincing clean ones. The music is nothing too exceptional the band elongating the songs, bit this isn't some progressive or technical stuff the riffage being linear and orthodox, still professionally executed with echoes of their neighbour Sweden and several beautiful lyrical moments ("Ashes Fall") plus one more up-beat track, "Open Wounds", which towers above the boring closing title-track which lasts for whole 12-min and pulls the album down. The band members are also involved with the death metal outfit Chain Reaktion.

Pitch Black Full-Length, 2015

Official Site


The all-star cast comprising members of Skyclad, Holocaust, Sabbat, etc. doesn't disappoint as this is very cool retro thrash which can't be called exact Sabbat emulation, but there are moments that recalll the Brit's repertoire. There's quite a bit of variety in the riff applications, like on the diverse shredder "Ghosts From the Ruins" or the calmer power metal-based "Flames of Hate". "Free Speech Talking" is a wild soaring galloper, and "The Day the Sky Exploded" is a fine more intricate number wirh echoes of Megadeth's "Holy Wars". "The Seer" is a more linear energizer, and "Fear God" isn't very far behind thrashing with power leaving the more complex arrangements to the final "Super Killer Fragile" which closes this entertaining album with a vast array of tempos. The vocals are provided by Simon Jones, a former guitar player of Sabbat, and may take time before he gest recognized due to his more aggressive delivery.

Super Killer Fragile Full-length, 2017

Official Site


Based on "Kingdom of Vanity", these Frenchmen indulge in fast energetic modern thrash/death which is not exactly a Gothenburg clone, but has its relatively own face with the semi-technical passages scattered around the more brutal blasting sections ("We Have Failed") gracing some of the songs. Still, there's not much to write about this effort since it offers nothing new to the oversaturated musical landscape. The vocals are the typical screechy ravens with a tinge of black.
"Light of the Fallen Gods" follows the well trodden path now sounding more Swedish-prone, but also more intense with a more frequent use of blast-beats and other aggressive gimmicks. The speed is admirable although in terms of variety this album can not possibly score very high regardless of the seemingly inspired musicianship which usually comes in the form of relatively short (3-4min) compact tracks where the blistering leads seem to be the highlight.

It Has to Be Done EP, 2010
Kingdom of Vanity Full-length, 2013
Light of the Fallen Gods Full-Length, 2014

Official Site


Based on the full-length, this band plays well-executed "evil thrashing" metal, exclusively for the "right" part of your "brain", which on the opening "Chain of Hatred" comes as a potent fusion of speed and technicality, but it's only speed which remains for the next "Win The Battle But Lose The War", which is a short brisk number. "Bind" is an intense mosher which beats everything in terms of speed, and "United For Thrash" shows only a bit more mercy, also graced by nice melodic hooks. "Zithromax" is the ultimate ball of aggression again offering haunting melodic tunes, a mad headbanger ala Hypnosia and Fastkill. "Defector" is a clever execrise in more technical thrash, still quite up-tempo, before another thrashing bomb befalls you ("Thrash All Around", everyone!). "Can't Hide" is a capable closer which can't possibly be "hidden", speed/thrashing "all around" with a couple of more intriguing riffs thrown in the middle. The Japanese scene has already proven its worth in the field of thrash metal, but there's always room for good new acts like these guys to make our day. Some of the band members are also involved in the death/thrash metal act Dead by Dawn.

Pleasures of the Thrash EP, 2003
Evil Thrashing Disaster Full-length, 2009

Official Site


Based on the first two demos, this band offer outstanding power/thrash metal in the vein of late 80's Helstar and Znowhite. The tempo changes from heavy stomping sections to speedy ones, and sometimes it all gets quite complex and technical, but without overdoing it ("Rigid Domain"). The singer on the "Short Tales" demo is a girl, and her powerful vocals, sounding like a better version of Leather (Chastain), kind of lift the quality of the music, too, which is more technical and more aggressive with great riffs and melodies, albeit not as fast. This is great stuff which easily rivals the official Artillery releases if not even surpassing them on the best moments. Although consistently releasing demos in the late 80's/early 90's, the band failed to find support of the labels, and their very good music remains just an underground phenomenon.
The "Death's Just Another Whore..." demo is three songs which are a further display of the guys' (and a girl) skills. "Time of Possession" is a diverse headbanger with quiet moments scattered throughout, and "White Alley" is a short exploder with a nice technical motif and brilliant stop-and-go breaks. "Dark Moments" thrashes hard, too, with the odd more melodic hook appearing among the fast-paced semi-technical licks. A really handsome 3-tracker which again presents this act as one of the finest to ever walk the Danish underground.

Futile Existence Demo, 1987
Short Tales Demo, 1988
Death's Just Another Whore... Demo, 1990
Promo Demo, 1991
Mandatory...End Of The Story Demo, 1992


Based on "Habemus Diabolos", this act deliver quite good aggressive thrash/death of the old school. This is cleverly-concocted stuff along the lines of mid-period Messiah and Merciless so expected a few less predictable twists and turns, including some really proficient solos, but at the same time be prepared to cringe on the several brutal blast-beating passages. The singer is an authoritative death metal shouter who spits the lyrics with the utmost malevolence. "Quebrantafe" is a surprising thrash/crossover relief with a maddeningly brutal exit, and the closing "Mentiras Sagradas" is a really cool semi-technical epitaph to this really exhausting listen.

Bienvenidos a la Ceremonia Full-Length, 2008
Habemus Diabolos Full-Length, 2014



A good 4-song demo of speed/thrash metal which is strangely oriented towards the American scene, with its sound recalling early Exciter and Savage Grace. "Dark Power" is a great hard-hitting number which would be very fitting even into Helstar's "Remnants of War".

Demo Demo, 1985


The debut EP: this is very cool retro thrash of the German school with very rusty, semi-shouty vocals which have to be heard to be believed. With only three songs released so far, Rigor Mortis are yet to make a breakthrough, though, but this shouldn't be a problem having in mind the involvement of the drummer Masaki Kamomiya (also Grim Force, Rosehfeld, etc.).
The "Grave New World" EP is another sure-handed portion of edgy retro thrash, but again, those characteristic vocals have to be heard, definitely not for everyone's taste, although to these ears they have a raw, inimitable charm of their own. The sound quality is very clear, giving the guitars an enormous boost, so you will enjoy plenty of hard shreds with a certain abrasive flavour. Heads will bang on prime cuts like "Slaves World" and "The Time Come", which this time "court" the Bay-Area more, the adherence to the European trends left for the longer, more "serious" pieces: "Metal Onslaught", which is an uplifting Angel Dust-esque ripper; the cutting speed/thrasher "Death Game". 8 years down the line, and the guys haven't lost the touch, so it may come as a bit of a surprise why they keep testing the soil with EP's, rather than going for the real deal...

Betrayal EP, 2003
Rigor Mortis EP, 2004
Grave New World EP, 2011

Official Site


This band definitely had influence on the death metal genre. The self-titled debut is furious, intense thrash with excellent guitar work courtesy of the maestro Mike Scaccia (R.I.P.) who later moved to the industrial masters Ministry. The guys play fast and tight touching death metal at times ("Slow Death"), but the guitar performance realy makes their sound stand out; Scaccia is all over the place providing stylish leads and very infectious, memorable melodies all on an insane speedy background. Bruce Corbitt is probably the only singer who can sound both brutal and emotional at the same time without changing his style. Because of the uncompromising, aggressive nature of the music it is hard to define it as technical, although it is not too far on quite a few moments ("Vampire", "Shroud of Gloom").
"Freaks" follows the same path thrashing mercilessly and fast with an even bigger technical edge added to the sound, boasting really stylish technical numbers ("The Haunted"), and one brilliant larger-than-life 10-min instrumental: "Six Feet Under" which is an encyclopaedia of superb riffs: one of the highest achievements of its kind catapulting Scaccia on the very top of the guitar wizard fraternity.
"Rigor Mortis VS. The Earth" begins with an imposing atmospheric orchestral intro which is the first sign that this will be a different story. Well, the first song "Mummified" is a speedy aggressor sounding like a leftover from the first two efforts, but later lightning speed numbers take turns with slower, heavier ones. One pretty faithful cover of Sex Pistols' "Psycho Therapy" comes in the middle followed by another super-fast explosion "Asphyxia", but after that the sound loses steam completely with the crossover-based "Dead Fish", the galloping power/thrasher "SOG", the Motorhead-influenced "Speed Whore", and the interesting, but too melodic and edgeless heavy metal instrumental "Afterbirth of a Midget". Although Scaccia is in top form once again sounding even better than before (especially on this last instrumental, and on the brilliant technical opus "The Rack"), it was clear that the band would need something more to compete with the death metal hordes during the 90's. Scaccia chose the easier way and later joined the very popular and up-and-coming Ministry.
"Slaves to the Grave": wow, if this isn't the biggest surprise of the year! The kings of "rigorous" thrash come back with full force, it seems... Certainly, one should keep his head low in respect to the deceased guitar wizard Mike Scaccia (R.I.P.), one of the greatest guitarists to ever grace the metal scene and a very big loss for his colleagues, although the latter reportedly took part in the recording of this effort which actually shows from the very opener "Poltergeist" which is a varied speed/thrasher with a very cool lead-driven quiet interlude the latter also encountered on the 1st part of the Scaccia-driven vehicle "The Infected". Thoughtful, more progressive deviations from the kind are not to be come across later, but the rage is big and mighty mostly reflected in short bursting pieces... Still, the more interesting moments are contained within the longer compositions ("Blood Bath", the excellent atmospheric instrumental "Sacramentum Gladiatorum" with a standout performance from Scaccia) particularly on the imposing 9.5-min closer "Lududs Magnus" which is an epic cut with doomy overtones where Corbitt motly recites with pathos nicely suiting the very officiant tone of the music. One may mourn the presence of the latter cut which has nothing to do with the previously heard headbanging "carnage", but generally the joy should be big with the return of one of the unsung underground heroes of US thrash, who are obviously waking up at this stage by all means the bigger, and better, exploits lying ahead of them, albeit without... rest in peace, Mike.

Rigor Mortis Full-length, 1988
Freaks EP, 1989
Rigor Mortis VS. The Earth Full-length, 1991
Slaves to the Grave Full-Length, 2014

Official Site


Based on the band's debut (which is clearly a compilation of their previous demos), we have quite a variety here ranging from jolly punk-ish numbers to more serious attempts at a better song-writing resulting in quite a few cool tracks recalling a more thrashy Barathrum, spiced up with vicious death metal-ish blasts. There is also a very cool semi-ballad ("The Ghostwriter") and other atmospheric gothic-tinged songs.

1994-1997 Full-length, 1997
Filosofi Full-length, 1997
Pappi EP, 1999
Riivaaja Full-length, 2000
Jlleensyntym Full-length, 2002
Seitsemn EP, 2005

Official Site


Based on "Engendros Del Mal", these Colombians offer bashing retro thrash/proto-death with a strong bass bottom which remains the highlight as opposed to the hollow-sounding drums and the noisy guitars, all evidence of sloppy production qualities which may have been intentionally applied after all. Otherwise the band thrash on with little remorse shown officiant midpacers like "IOh Gran Muerte!" a true rarity. The singer rends his throat mercilessly in a not very appropriate blacky fashion, and seems like the least capable performer of the lot.

Mortal Sacrifice Full-length, 2013
Engendros Del Mal Full-length, 2015



This is dark sombre mid-paced thrash with resounding heavy riffage and deep guttural death metal vocals. The 2nd half will surprise with longer gothic-tinged opuses where nice female vocals come to dissipate the darkness. The riffs remain heavy, but now the atmosphere takes the upper hand with imposing doomy passages and overall better musicianship well displayed on the closing creeper "Vision in Black".

Riluttanza Full-Length, 2011

My Space


Based on the first two full-length albums, the band's style is a solid take on thrash/crossover which will bring to mind Pro-Pain, D.R.I., Cro-Mags' "The Age Of Quarrel", and other veterans from the 80's. Despite the 8-year gap between the first two releases, there is no big difference in style, maybe "Birth Is Pain" comes a bit more aggressive ("Madness Of War") and more thrashy. Fans of thrash/crossover will surely find their new heroes here.

"Scars" is another thrash/crossover roller-coaster moving up the aggression scale with more frequent grindy outbreaks, but there is also an introduction of longer songs where modern groovy borrowings become the order of the day for a while. "Burning Bridges" is a wonderful 2-min atmospheric instrumental with haunting keyboards mixing with standout lead guitar work; and the closer "Hellbound" is a fearful doomster with seismic high-octane riffs. Two of the guys also take part in the melo-death/thrash outfit The C.O.A.S.T.; while the other two are constant companions of Tim "Ripper" Owens in his various projects, like Beyond Fear, Charred Walls of the Damned, etc.
"Hammer of the Witch" is another energetic offering the band moshing in the expected way this time without exiting from the established confines of the good old thrash/crossover; so expect mostly not very long bursting numbers with the casual more stomping execution ("Psychic Vampire"). Ragers like "King Of Blood" will remind of Slayer and Vio-Lence's Eternal Nightmare as the less serious hardcore side is left for the very short cuts ("I Recommend Amputation") which roam around isolated in the more engaging material. The main criticiSm goes towards the vocals: these hysterical overshouty rendings can be really annoying at times.
"Snake Church" is the next in line ripping direct effort which this time leans more heavily on the more stripped hardcore side the final result being the guys' most immediate work reflected in short bashing cuts with more or less expected lyrical deviations (the balladic tendernesses on "Shades of Blue"). Near the end the band pull themsleves together for the creation of several intense Slayer-esque exploits ("Believer, "The Apparition") before the return to the dominant hardcore melee on the closing "Angel of War".

The Promise Full-length, 1993
Birth Is Pain Full-length, 2001
Justice Replaced By Revenge Full-length, 2005
The Ninth Circle: The Venomous Grand Design Full-length, 2007
Scars Full-length, 2011
Hammer of the Witch Full-Length, 2014
Snake Church Full-Length, 2016

Official Site


Thrash/crossover made in Japan; this is brutal relentless stuff, fast but also pretty one-dimensional, although at their best the guys reach a Wehrmacht-like intensity.

Who's the Founder EP, 1988


Punk-ish thrash/crossover with a fuzzy guitar sound played just for the fun of it; unpretentious very simplistic music also touching The Offspring on the merrier moments, except in the vocal department where the guy is a typical hardcore semi-shouter.

Too Hard to Fall Full-Length, 2010


Two Aussies offer energetic modern thrash which doesn't shy away from metalcore even, but the music is not bad also incorporating moments from power and speed metal, among other more or less overt influences. "Ambassador" is a fast cut with ripping rhythms, and "T.R.G." is a cool more technical piece with very good surreal leads. The final moments are no slouchers, either, first with the excellent galloper "Pack Hunt", and finally with the fine closer "Taser" which even captures some of the weird magic of Annihilator's 'Alice in Hell" with its twisted puzzling riff patterns. The singer is on the semi-declamatory/semi-clean side and his antics are not obtrusive and at times not very clearly heard.

Break Free Full-Length, 2014

Official Site


Based on the demo: very well-executed intense fast-paced thrash along the lines of Rigor Mortis; the singer is not far from the gruff delivery of Bruce Corbitt, but this one strains himself to sound evil. The music takes more stylish dimensions from time to time although it never sacrifices the speedy riffage. Seldom does the sound get proto-death-ish ("Ode to Death"), but such a sheer speed approach requires some "rules broken". On the other hand, the short blistering "Void of Emptyness" is vintage old school speed metal in the spirit of early Helloween, so there is balance and again, a lot of speed. "Despiter" comes thrashing with technical implements, and things hit pretty much the top, not without the help of the closing "Poser Hunt", which is heads-down speed/thrash at its best, recalling also the Angel Dust debut. There should be no problem for the band to find a label interested in hearing something more from them: there is a lot of potential here...
"Beast Of Riot" is finally out, and the guys prove their worth way beyond doubt from the very beginning with the intense speedy opening instrumental "Dawn Of Death And Destruction" which within its 1.5-min will warm you up big time for the ensuing "massacre". The latter starts with the ultra-speedster "Riotor" which well deservedly carries the band name blast-beating in a furious black-ish manner at some stage. "Sextasy" may literally throw you into ecstasy (I'm not very sure about the sex part) being another fine speed/thrasher leading the way to some more "sex" on "Fucking Metal", a more relaxed heavier piece of the fast type. "Poser Hunt" is in the same vein, and just when one wonders whether there'll be any break from the intense thrashing/speeding, comes "Poser Hunt" to bring forward slower, almost epic-sounding, moments without, of course, forgetting about the good old speed at the end. From then on very little mercy is shown the songs developing in a relentless speedy way making this cool effort one of the fastest offerings of 2010, and not only.
"Rusted Throne" touches even death metal at times showing obvious signs of a more aggressive upgrade and also a slightly more technical execution on the opening "Nightmare Is My Life". "Learning to Hate" is a dramatic deathy epicer, and "Desintegrator" is in the other extreme being a wild proto-blaster influencing another aggressive death metal-laced cut later, "Thy Drunken Sinner". The last string of songs are cool speed/thrashers with an elusive epic flavour ala the Dutch Bifrost, a cool worthy epitaph of an entertaining, diverse effort.

Death and Destruction Demo, 2007
Beast Of Riot Full-length, 2010
Rusted Throne Full-Length, 2015

Official Site


5 "hymns" of heavy 90's groovy post-thrash; the music is not extremely smashing, and the guys find room for mellower semi-alternative sections and a few memorable vocal lines with semi-chorus tendencies.

Doom Generator EP, 2009

Official Site


This band offer a potent mix of heavy, power and thrash metal. There is nowhere "Speed of Sound" to be heard, although the opener of the same title is an energetic power/thrasher, and may remind you of the Anvil approach on their effort of the same name (but released 6 years later). The other tracks are slower, mid-paced for most of the time, clinging between the modern and the classic sound. Near the end the guys pick up more intensity for a change, and end up with the up-tempo galloping number "Frontline" and the cool heavy, Overkill-influenced "Voices".

Speed of Sound Full-length, 1993


Based on the demo, this act indulge in aggressive old school thrash/death which is both slower and fast, but the crushing rhythm-section never ceases for a split second accompanied by expressive shouty semi-death metal vocals. Modern-ish proto-grooves sneak on "Merchants Of Death", a track which recalls Pantera at their most ferocious, but some cool melodic tunes emerge on the virtuoso lead-driven cut "Degrees Of Blame" as well as more technical twisted riffs on the closing "Dead Rotting Earth"; so there is something for everyone on this inspired effort which for some reason reminds of the Evildead's "The Underworld" at times.
The self-titled debut contains two cuts from the preceding demo, and generally more technical and more complex music which takes something from later-period Death, but twists it through the guys' own perspective to be another appetizing addition to the modern thrash/death roster with a twist. "For Dead Ideals" is a very good example of the band's intriguing "carnage" the latter finding a more fertile ground on the hard-thrashing "Dark Days". "Our Failure" is a nice quite acoustic instrumental, and "Our Disgrace" is a meandering progressive composition which flows into the choppy demo reminder "Betrayed By Mortality". "Crushed Beneath" is a hypnotic mid-pacer with sudden flashes of speed, and the closer "Without Death" is an atmospheric progressiver. The band have done a really good job here, and it seems as though the best for them is yet to come.

Merchants of Death EP, 2007
Failure of the Storm EP, 2007
Ripfence Demo, 2012
Ripfence Full-Length, 2016

Official Site


4 tracks of intense retro thrash close to Razor and Slayer with more aggressive death metal vocals; competent, albeit workmanlike, stuff with short screaming leads.
The self-titled EP is another energetic affair emitting sharp crushing riffs the songs this time being longer with more developments, but without any technical "excursions": this is direct classic thrash which slows down mercifully ("SATANabis") at times, but always keeps the seismic intensity. The closing "Fish Fingers" is served with a worse muffled sound quality which mostly disfavours the vocals which are of the angry shouty death metal variety.

Gut RippinGood EP, 2010
Ripgut EP, 2012

Official Site


This EP opens with the very good ballad "Circles", but what we have later is capable technical Bay-Area thrash along the lines of early Testament and late-80's Metallica. The lead guitarist is obviously fascinated with Alex Scholnick, and his pyrotechnics are well worth a listen. There is not much speed present on the two longer compositions which makes them a bit dragging, but "Existence Refused" is all-out headbanging thrash abandoning the more complex arrangements for the sake of direct aggressive riffage.

The Cat Starves EP, 1990

My Space


A good, but obscure band; the band's style is technical thrash, quite unique, and to describe it you have to imagine a blend of Equinox, Voivod, Dead & Bloated, and the more technical moments from the early Megadeth albums. The music is never fast, but stays in the mid-tempo range although this could be a bit misleading as it gets quite jumpy and choppy at times, frequently changing the rhythm. The songs are surprisingly short for this kind of music (2 to 3-min long), but you are guaranteed to get enough satisfaction since the music never gets stale or boring even for a split moment. All this is ably supported by good vocals sounding like a mix of angrier, and harsher, Dave Mustaine and not very sober David Wayne (R.I.P.).
The debut has a more accessible sound which would also appeal to the more conventional thrash metal fans, whereas "Through My Eyes" comes with a more complex musicianship and a heavier sound, featuring some riffage ala the first two Atheist albums, and even Sadist (Ripped could have been an influence on the Italians). The three-part technical symphony "Friends" takes their style to the most abstract level, containing sections which later made bands like Ephel Duath stars on the scene; on the other hand, "Gibraltar" is a lesson how technical thrash metal should be played. This band is a proof that the true greats of the technical side of metal never managed to quite leave the underground.
The "Temporary Insanity" demo is an inauspicious beginning containing nothing of the unique technical flavour of subsequent recordings; this is rough-sounding straight thrash metal ala Hallows Eve and early Slayer, of the up-tempo variety with a couple of heavier doomy passages thrown in. The singer here (if that's the same one) delivers a gruff low-tuned tember which is miles away from the much more sophisticated vocals heard later.
The "Easter Island" EP only contains three actual songs (the first track is just senseless verbal bullshit, a total waste of space) which suggest at the complex landscapes which the guys would release later on their sophomore full-length; this is wonderfully chaotic thrash with fast and slow riffs overlappig each other to a dizzying disorienting effect, but fortunately the songs are very short sounding like rehearsals, or rather jam sessions, for bigger and more serious things to come still served with a fairly good sound quality.

Temporary Insanity Demo, 1989
Blotter Full-length, 1991
Easter Island EP, 1992
Deep Monster Ocean EP, 1993
Through My Eyes Full-length, 1993


Thrash/death metal of the modern variety; the band try to keep things more interesting involving technical elements and frequently changing tempos. There are times when the music comes close to mid-90's Voivod ("The Lioness"), or to the majestic cosmic sound of Bal-Sagoth ("Hymn to the Dismal Tide"), but the gamut of influences is too big to keep all the separate parts glued together.

Disease and Medicate EP, 2007
We Are The State Full-length, 2008

Official Site


Based on the "Destroy the World" demo, this Chilean act specialize in cool classic speed/thrash/proto-death which wastes no time nailing you down from the very beginning with the ripping instrumental "Rain of Boom" (whatever that may mean). What follows is a more stylish attack than your average modern act recalling Invocator and Pestilence with right as rain direct riffage mixed with clever technical arrangements ("Dark Light"). "Terror Street" is a pure early Destruction and Kreator worship, and the final "People Kill The People" is a dark headbanger with again a couple of stylish riffs thrown in making you want to track the other demos down, and hope for a full-length soon. The lead section is quite good as well, both melodic and technical, and the singer is not that bad with his subdued husky death metal tember.
The full-length is finally a fact, and the band fans should rejoice as their favourites completely fulfill the expectations from their good demos. The guys play with the expected professionalism ably mixing straight ripping passages with more subtle technical hooks which, when graced by a few virtuous melodies ("Vomiting Blood"), hit the top. "Corpses of Fire" is a great cut with shreding guitars quite reminiscent of none other than Mike Scaccia (R.I.P.; Rigor Motris, Ministry). The guitar wiZardry is also prominent elsewhere, like on "Spaces of Delirium" which boasts some great leads; or the more technical implements on the excellent thrash/deathster "People Kill the People". "The Last Day" is a short immediate rager, and "Agony" is a blistering display of musical mastery, a consummate technical piece bringing the best from mid-period Death, Messiah, Invocator and Merciless. The closer "Raising the Corpse" tries its best to match it death/thrashing with passion lashing fiery riffs galore during its over 4-min. This is a no-brainer, plain and simple, a sure winner in South America for the year, and a high recommendation to all thrash/sdeath metal fans from the rest of the world who are yet to discover them.
"Experiment of Existence" is another step for the band to the ascension on the very upper echelon of the metal movement worldwide. No prisoners taken with the splashing opener "Magnetic Solar Storms", before "Anthropophagic Life" lifts the delivery towards more technical heights. "Experiment of Existence" is a ball of fury reaching the speed of light still managing to insert a few more technical licks in way no worse than the Dutch Expulsion. "Anatomy of the Galaxies" is a brilliant instrumental, a highly dynamic technical display of death/thrashing mastery which carries on "Stellar Evolution", a masterpiece of spastic abrupt time-changes done on a vary fast-paced base not to menntion the great melodic tunes served. "The Alpha Orionis" is the next in line high-speed technicaller, a sure leftover from Pestilence's Testimony of the Ancients" setting the scene for a string of similarly-styled numbers the exception being the 1.5-min of bass-driven instrumentalism "Chromatic Fantasy". This is a no-brainer, plain and simple, a prime example of high quality musicianship catapulting the band straight to the very front constellation of metal practitioners at present.

Ripper Demo, 2008
Destroy the World Demo, 2009
The Exit Demo, 2010
Fatal Memories EP, 2013
Raising the Corpse Full-length, 2014
Experiment of Existence Full-Length, 2016

My Space


A talented young outfit who specialize in a potent power/speed/thrash blend which can be pretty wild ("Holocaust") at times with speed metal anthems ("Hell on Earth") offered at every opportunity to a rousing, "eagle fly free" effect. As a whole the speed metal fraternity will be happier with this one, especially if one gets exposed to these high-strung clean vocals which can break a glass with ease, and don't hide their fascination with Rob Halford. At the end the guys serve a cover of a song from their earlier incarnation Nekromantie where the style was more brutal black/thrash on two demos made in the distant mid/late-80's.

Here Comes the Ripper Full-Length, 2016



This band have been bothering the underground with demos since the mid-80's. They have all been of a high quality, starting with pure thrash, and later moving onto death metal by retaining their thrash roots. On their full length the band have almost completed the transition to death metal, but there are still enough thrash riffs to keep the thrash metal fan interested. The music is quite brutal at times bordering on grindcore even. With all the right elements to become one of the leaders of the death metal movement of the 90's, the guys never recorded an official release again. Their guitarist Eric Rutan later joined Morbid Angel, whereas the others formed one of the finest technical death metal acts of the past 10 years: Dim Mak.

Dreaming With The Dead Full-length, 1991

My Space


Quite good demo of intense, frequently fast-paced thrash with certain hardcore tendencies which sounds both technical and aggressive on different parts, and always compelling. There are attempts made at grindcore even: parts from "Discount Abortion", and the vocals are quite striking having this sinister semi-black metal rasp.

Demo Demo, 1988


Thrash/crossover, which sometimes sounds quite classic ("In a Flash"), sometimes groovy and modern ("Life Show Gamble game").

Skullbashing Heavy Metal For The Masses Demo, 2007

Official Site


Based on the debut EP, this band provide intense old school thrash with speed metal elements lashing out without too much control still remaining within the borders of the good behaviour. Some creepy atmosphere sneaks at times ("Soldado En Guerra") and the otherwise husky semi-whispered singer unleashes at times effective high-pitched shouts out of the blue making this effort a less ordinary one especially when the closer "Riptor" comes served in the form of bashing outrageous thrash/crossover.
"Sounds from Hell" starts very interestingly with the technical shredder "Welcome to the Holocaust", and the title-track nicely elaborates things towards more progressive heights. Later on the band just thrash with vigour without any complications, and riptors... sorry, rippers like "Absurd Faith" and the maddening "Madness" will make any fan's day with ease. "Dirty Trooper" clings more towards more technical fields once again the latter accentuated by the cool cover of Death's "The Philosopher".

Absurda Fe EP, 2012
Absurd Faith EP, 2012
Sounds from Hell Full-Length, 2015

Official Site


This is an intriguing 4-song demo which mixes less serious thrash/crossover ( Keepin Those Cats At Bay ) with more thought-out pounding thrash ("We Are Super Metal (And Tough") spiced with the sparce wild death metal outbreak. "Riptorn" is a cool digression from the more intense delivery into mid-paced dramatic music with echoes of Cerebral Fix and Sacrilege showing a band still looking for their most fitting face, but having enough ideas and talent to make a more lasting impression on the scene.

Demo Demo, 2012

Official Site


This is a more engaging form of the modern thrash reflected in longer compositions which are spiced with more aggressive death metal sections which fit better the very brutal low-tuned vocals. "Cannibalism Is The Less" is a nice melodic piece with great hooks suggesting at the band's bigger potential, and generally the guys don't spare melody to impress the listener which fortunately doesn't happen for the sake of the intensity.
"Rise" sees the band "rising" with more inspired musicianship now spiced with several more elaborate passages (the nicely abstract riffs on "Butchered And Preserved In The Refrigerator"). Death metal is mostly reflected in the very brutal guttural vocals which at least suit the few genuinely epic battle-like moments ("Head Deficiency", the stylish nod to Bolt Thrower "Kill Them" which finishes with a virtuous speedy section). The leads are on fairly high level, too, especially those on the final galloper "Rise Above" which sees a talented young act determined to carry on despite the severe economic conditions in their motherland "rising" way above them and all similar annoying hindrances.

Risabov Demo, 2011
Rise Full-Length, 2013

Official Site


The early atmospheric style of the Greeks Nightfall is brought back by these Portuguese. So expect soaring melodies intertwined with spasmodic blast-beats, not very frequent, but pretty efficient doomy interludes, and gothic allusions; and, of course, be prepared for just a bit of thrash. There are also several spacey cosmic arrangements ala Bal-Sagoth, so as a whole the guys have served us a larger-than-life "cocktail", well executed with a nice balance between brutality and melody.

Serpentarius Full-Length, 2010


Old school thrash/death metal staying close to the American patterns with technical pretensions where their style comes close to Morbid Angel. The tempo varies from super brutal to slower atmospheric parts (the doomy "Polar"), to stylish, but undeveloped technical passages ("Midmorning Disintegration" is a particularly striking piece of chaotic technical thrash/death: the highlight here).
"Rise of Caligula" is noisy brutal death metal with awful abrasive guitars seldom interrupted by heavy Godflesh-esque industrial passages, and a couple of peaceful lead-driven short instrumentals which are by far the best part of this confusing below average effort.

Libretto Full-Length, 2008
Rise of Caligula Full-Length, 2009


These guys are indeed "thrashers", like the title of the opener says it all so well; the assault stops in the middle, though, the guys mixing things (the heavy stomper ala Slayer "Soul Scream") distracting themselves too much in the 2nd half by offering a long string of slower, not very exciting, numbers. "Die for Honor" revitalizes the album big time near the end with its energetic thrash/crossover riffs, and the closing "Antichrist" (which is not a Slayer cover) copmensates for the aggression lapses with a final portion of fast hard-hitting riffage and some cool blazing solos, an imposing speedster which should have been followed as a model more here. The vocalis tis an attached suitably angry shouter who even acquires sparce melodic notes here and there which "rise and die" out of nowhere.

Adrenaline Rush Full-Length, 2013


A fusion of classic and modern thrash metal which hesitates between modern day Annihilator ("Iron Youth") and the classic sound which comes in the form of the excellent "Indictment", a great mid-paced thrasher, graced by stylish technical licks. Some songs have this dirty garage sound which for some reason remind me of Carnivore, an impression further supported by the heavy throaty vocals ala early Peter Steele. "Karbringer Of Demise" is a gothic-tinged piece which would fit any of the last couple of Sentenced albums, although here the guitar work is better (check out the nice leads on almost every song).

Iron Youth EP, 2007

Official Site


Based on the debut demo, this band plays minimalistic mid-tempo post-thrash which crosses the Black Album with Flotsam & Jetsam's "Quatro" to create cool pounding music which manages to escape from the groovy "traps" along the way with a more dynamic, even proto-classic ("Freedom Lord") at times, delivery. The singer tries to emulate James Hetfield, and succeeds, except for the times when he acquires a gruffer down-tuned tone. At present some of the band members take part in the death/thrash metal formation Spinal Cord.

Different Type Demo, 1999
Rozdzial III Demo, 2003
Unforeseeable World Demo, 2004

Official Site


Based on "Screaming for Death", this band play epic retro power/thrash which indulges in long sprawling compositions where the consistent mid-paced riffage doesn't provide too much excitement except for a few cool melodic tunes of the epic type which starkly contrast with the weak clean vocals which can't hold a high pitch even if their life depends on them. The absolute highlight is the steam-rolling anthem "The Faithful Stand Alone" which crushes forward, albeit hardly compensating for the unmitigated boredom encountered eralier. Another relatively successful shot in the target is the saga "Screaming For Death" which is quite energetic and galloping with a catchy sing-along chorus. Just when one is ready to give the 2nd half a higher score comes the 10-min closer "Within Their Hands" which is another monotonous epic pulling the album down again, at least from a thrash metal perspective. Some of the guys also play in the classic thrash metal formation Wrath Within with whom they're still on a demo stage.
"Into the Valley of Hinnom" is the next chapter from the epic power/thrash saga which again indulges in long, a bit boring at times cuts where dynamic sections intertwine with crushing slower ones this symbiosis best achieved on the excellent "To the Wolves". The closing "Into the Valley of Hinnom" could have been another highlight if it was at least twice as short: now during its nearly 12-min one will come across some not very convincing balladic passages which are way too lomng to make a positive impact. The band have chosen their path and walk it steadfastly, and surely there will be fans to enjoy this battle-like, epic take on the good old styles.

Screaming for Death Full-length, 2010
Into the Valley of Hinnom Full-length, 2015

Official Site


The demo: retro power/thrash, not very well-construcred, awkwardly switching from energetic fast to slower parts, inserting ballads (the long monotonous "We Are Reborn"), and even a grinding section on "Your Blood Is On My Hands". "I Refuse" is close to being the highlight with its 1st part thrashing far and wide, but the 2nd half is a disappointing balladic one with no life at all. Clumsy modern groovy riffs come with the final "Drown In The Blood" to pull this effort even further down.

"Apocalyptic" is a more intense, thrashy offering, the band having grown musically, evidence for which are also the longer compositions which are nothing progressive per se, but deliver with their consistent mellower riffage. There are certainly lyrical moments, like the closing ballad "Phoenix", which is a good piece with good leads and pretty decent vocal performance.
"A World in Ruin" embraces the speed/thrash idea even tighter at the beginning, and one can't complain on impetuous numbers like "Plague" and the opening title-track although the slower material also comes in bounds ("Military Operation Slaughter") also occupying the end where "Teotihuacan" is a dragging mid-pacer, and the closing "Dreams Lost In War" is nothing more than a wasteful monotonous semi-ballad; despite the great proficient leads on that one the 2nd half as a whole is not really striking failing to produce a match to the much better beginning.

Demo Demo, 2008
Apocalyptic Full-length, 2011
A World in Ruin Full-Length, 2016

Official Site


Based on the two demos, these guys offer modern groovy post-thrash quite close to the works of recent Machine Head (before "The Blackening"), and another American act: Motive (actually the drummer: Andy Luffey, is also a full-time member of Motive). The music picks up good speed here and there, but most of the time it bears no surprises. The vocals cling between more aggressive Phil Anselmo-like ones and semi-clean ones, recalling the style Rob Flynn acquired for the Machine Head's mid-period releases.

"The Essence of Decay" adds more dynamic Swedish riffs and the sound now is faster, although again it will hardly surprise anyone. The "peace" is broken rudely with the grinding "Feel Less Alive", which will make you feel either less or more "alive", depending on the taste. No more "surprises" of the kind although the speed gets a level up after this one with the exception of the cool acoustic instrumental "A Matter of Time".

Useless Shell Demo, 2002
Salvation For None Demo, 2003
Existence Is Futile Full-length, 2007
The Essence of Decay Full-Length, 2009

Official Site


This talented outfit never made it to the upper echelon of German power/thrash metal although they richly deserved that. As a matter of fact, this is one of the oldest metal bands in Germany, and even in the whole of Europe, second only to The Scorpions perhaps (known as Faithful Breath previously). The band decided to change their name to Risk in the mid 80's, and give a more aggressive edge to their music. The first two albums betray the band's roots of classic heavy metal, being more power/speed metal-based with really nice melodic guitar lines and infectious choruses ("Russian Nights" from "Hell's Animals" is a great heavy metal hymn), giving quite a push to the power/speed metal movement which took its complete shape later in the 90's.
"Dirty Surfaces" is a decent entry into thrash metal with its heavy, more elaborate progressively-tinged tracks. It begins in exactly the same way as the previous works, fast and light-heartedly with the first two songs. The catchy choruses are preserved, and work quite well, combined with the more aggressive guitar work. "Warchild" slows down, and introduces more complex arrangements and heavier riffs culminating in the cool, but overlong, ballad "Letters From Beyond". The problem is that several consecutive tracks of the same type, with not much motion, comes a bit too much, and one might start begging for something just a bit faster. It comes near the end with the blistering galloping "Dirty Surfaces", which is not as thrashy, but is very welcome to give this album more life.
One could not help, but have some reserves for the band's next offering, considering the slightly uneven nature of the predecessor, but "The Reborn" is a good album, a really commendable work of heavy semi-technical thrash. When "Last Warning" reaches you with its superb Oriental riffs, you know that this will be a different experience, in a better way. It's always a "risk" to open an album with a very long, 9-min song, but "Last Warning" delivers the goods in every way. The tempo is again not fast, mostly mid-paced, with another very good heavy ballad added ("Lullaby"), but the interesting, stylish guitar work will keep you entertained the whole time. The last song ("Noone Will Remember") is the only drawback having again balladic tendencies instead of offering another diversion, but of the more up-tempo headbanging kind.
Similar to Coroner, the band released the anti-climactic "Turpitude" after that, which was their answer to the modern tendencies with its dry, mechanical, groovy sound, and remained their swan song.

The Daily Horror News Full-length, 1988
Ratman EP, 1989
Hell's Animals Full-length, 1989
Dirty Surfaces Full-length, 1990
The Reborn Full-length, 1992
Turpitude Full-length, 1993

My Space


Modern power/thrash which recalls mid-period Machine Head, but the guitar sound is heavier, and some tracks are cool up-tempo thrashers ("Dreamspire"), and "Prey Of The Misery" is a good blend of classic riffage and stoner doom ala Down.

Promo Demo, 2004

Official Site


This band later turned into Psychic Possessor, and traces of the later act can be felt in every department, the music being aggressive thrash/proto-death with sinister, echoing death metal vocals, which are the only difference from the Possessors. Both songs are intense dark affairs mixing fast and slow passages on a buzzy guitar background.

Zombie Night Demo, 1986


Based on the full-length, this act play really good retro speed/thrash the guys lashing out in a way no worse than Forbidden and Death Angel, keeping the speed in the high parametres with the title-track and "Extreme Unction" perfect examples of the no-bars-held delivery. "Blood for Land" brings forward a more varied, technical play with a few less tamed blast-beats also incorporated, and "Garden of Ravens" goes up the complexity chart with a more diverse palette with a more frequent alternation of pace the latter also carrying on on the following "Blood for My Blood", a superb galloper with ripping ironclad riffage. "Memory of Betrayed" is a maddening speedster with swirling intricate guitars ala Testament and Wrath, with great melodic leads pouring more into the hyper-active drama. "Phobia" pulls out more technical chops, among the dominant gallops, to bemuse the listener with loads of busy, hectic rifforamas the acceptable cool clean so far vocals acquiring gruffer deathy notes. "Twisting Your Mind" is another raging shredder with marginally more moderate rhythms cosing this effort with style to spare. This is an excellent album which would make quite a few top tens for 2016.

Twisting Your Mind EP, 2000
Global Terror Full-length, 2016



Excellent retro power/thrash metal reminiscent of Helstar and Deadly Blessing; "She Rides The Sky" is a very strong opener which will also remind you of old Helloween, and not only because of the title, with nice galloping rhythms, great vocals, and a catchy soaring chorus. Later the music slows down, and although the following "Where I Belong" is a cool heavy power/thrasher, a couple of songs are softer, power metal-based pieces, quite good as well, even sounding technical at times ("Addicted to Fire"). "The Forgotten" is a great intense power/thrash opus similar to the opener, but more aggressive recalling Helstar's "Nosferatu". After such a strong entry it would be hard for the rest to impress you a lot although it doesn't descend to power metal completely, but contains enough hard riffs to please the fans, especially "Dementia" which is a nice little semi-technical piece, and the closing track "City Of The Dead" which will surprise you with the very fast, aggressive middle break and the nice melodic leads.

Trials of Torment Full-length, 1993
Relapse Of Aggression EP, 1995


Based on the debut demo, this act play laid-back mid-tempo thrash the highlight probably being the cool heavy ballad "Blind". "Random Ritual" contains some more interesting seismic riffage, but the overall approach is just too mild to impres the thrash metal fanbase too much. The singer is a hoarse semi-cleaner who tries to show bigger attachment by semi-shouting at times.

Demo 1 Demo, 1991
Demo 2 Demo, 1992


The best Japanese thrash metal band and one of the finest to ever grace the genre, Ritual Carnage were founded by Damian Montgomery, an American living in Japan. "The Highest Law" is a strong debut, mixing death and thrash metal, strangely acquiring a lighter, crossover-based sound on the shorter songs ("The Unjust:, "Succumb to the Beast"), which contrast to the speedy "monsters" ("The Highest Law", "Domain of Death"). The closing track "Death Metal", ironically, has nothing to do with death metal, but is the most melodic one here with a strong early Venom, Motorhead-influence.

"Every Nerve Alive" moves more into thrash metal territory, keeping the speed from the debut, but removing the crossover numbers. Now nothing can stop aggressive bombs like "Death Judgement Fate" and "World Wide War". Stylish technical guitars can be heard on "Scars of Battle" as well as on the mid-paced heavy number "Escape from the Light". The end is preserved for a very cool faithful cover of Metallica's "Hit the Lights".
If the first two efforts were good, but not striking, the band really hit the top with their next two albums. With a much better sound quality and much tighter, more technical guitar work, these two albums are some of the finest achievements of the whole Japanese metal scene. The guys again concentrate on the speedier side of thrash, and Montgomery adjusts his vocals, now sounding angrier, but also cleaner. "The Birth of Tragedy" reminds of the band's death metal past with a cover of Death's "Infernal Death" at the end, which is a tribute to Chuck (R.I.P.). Around the same time, some of the band members found time for the release of another very good classic thrash metal album under the name King's Evil.

"I, Infidel" is arguably the band's finest hour. Montgomery here sounds much cleaner and more melodic, taking a higher pitch, not miles away from Sean Killian (Vio-Lence) which suits the fast-paced music just perfect. This album is a non-stop headbanging riff-fest seldom achieved before; this is "Eternal Nightmare" of the new millennium. The guitars are more technical resulting in some really fine, more technical numbers: "Do Not Resuscitate". With Montgomery reportedly preparing to go back to the States, the future of this great band is, unfortunately, uncertain.

The Highest Law Full-length, 1998
Every Nerve Alive Full-length, 2000
The Birth Of Tragedy Full-length, 2002
I, Infidel Full-length, 2005

Official Site


The band's style is proto-modern power/thrash metal reminding of 90's Flotsam & Jetsam, but clinging more towards the thrash metal side. The sound is heavy, thick; the tracks are mostly mid-paced, and some of them have this modern groove vibe. This is a good effort, but the approach is slightly one-dimensional, and you might find it hard to remember what the album was about later.

World of Hate Full-length, 1995


This obscure act offers minimalistic power/thrash in mid-pace; the guys try to keep the songs lengthy, but this would only tire the listener since the delivery is pretty samey, except for the lively speedster "Pariah", which contrasts with the rest of the tracks, which develop in a clumsy manner, the sleepy atmosphere further deepened by the indifferent, unemotional, semi-declamatory vocals.

Half Past Dead Demo, 1990


This is the same band who under the name of Ritual recorded a fairly strong album of American power/thrash metal. Why there was any need in changing their name, remains a mystery. This album is actually a re-recording of the Ritual's album with two live videos added of tracks from that same album.

Ritual of Torment Full-length, 2006

Official Site


The music of this obscure formation on the demos is Slayer-influenced thrash with a few good technical licks on the later ones. "When Hope Is Pain" is a glorious sum up of all that has been heard during their demo stage offering vintage late-80's Slayer-esque thrash with a technical twist. The opening "When Hope Is Pain" is an awesome steam-roller also introducing the forceful Tom Araya-esque vocals. "Once Precious Life" already sounds more technical jumping and twisting in a way not too dissimilar even to Coroner. "Sleep Without Dreams" carries on in the same vein sounding a bit more straight-forward also offering very good leads. "Inhuman" changes the course into more aggressive faster thrash, but retains the technical riffage to an extent. "The Shape Of Rage" returns to the dominant crushing mid-paced patterns influencing the next couple of songs among which "Drop Dead" jumps on the death metal wagon bashing in a furious manner at some point. "This Other Self" is a brilliant short lead-driven instrumental, predating and maybe even influencing, Death's "Voice of the Soul" from "The Sound of Perseverance". The "idyll" gets broken after that with the brutal proto-death outbreak "Empty Churches" and the raging Slayer-esque closer "Where Is God?" which nicely spices things up with great technical hooks and, again, fine lead guitars. This is simply one of the finest achievements from the thrash metal circuit of the 90's, ironically released at the weakest year of the decade, more than a worthy epitaph not only of the band's short career, but of the whole classic thrash metal movement.

Ritual Sacrifice Demo, 1989
The Inhuman Race Demo, 1990
Into Darkness We Fall Demo, 1992
Bury the Living Demo, 1993
Dimmer the Light Demo, 1994
When Hope Is Pain Full-length, 1995

My Space


This very obscure act pulls out excellent "edgy" dark haunting thrash, mid-paced to up-tempo, with intriguing semi-technical guitar work recalling the works of the Germans Criminal Justice. "Awaiting Command" speeds up turning into an intense thrasher followed by the nice acoustic outro "Blackmoon Rising". The vocals are very effective semi-whispered sinister snarls again close, but more vicious, to Ken Kennedy from Criminal Justice.

Mind the Edge Demo, 1988


Based on the "Shit Just Got" split, this band plays energetic classic thrash with elements of crossover. This is cool music not deprived of melodic leanings neither of heavy stomping ones. The singer is a pure death metal shouter standing at times on the way of the good sharp riffage.

River Freshney 1 Demo, 2006
Get Fish or Die Trying EP, 2007
This CD Will Melt Your Face (and Turn You into a Knob Head) Split, 2008
Nothin 2 Catch: The Dem-ohhs! Best of/Compilation, 2009
Shit Just Got Split, 2009

My Space


This is dark brooding power/thrash which hesitates between the modern and the old school, settling for a heavy mid-tempo approach although fast blitzkriegers (the very aptly titled "Speed", the lively bouncer "Too Many Lies") spring up from time to time to dissipate the slight monotony instilled. The vocalist is a hoarse semi-cleaner who kind of lacks the depth and emotion to pull it off on the more diverse, progressive material ("Mirror's Edge").

Revival Full-length, 2017

Official Site


Based on debut EP, this band offer raw, intense thrash with awful, unrehearsed shouty vocals. The title track is amateurish pounding, something which Messiah in their very early stages did in a much better way, but "Hungry Child" saves the day, being cool speedy thrash in the Germanic tradition. The other highlight is the guys' penchant to wear masks in a way quite close to Kiss.
Their debut full-length is finally a fact, after a very long 20-year break, and displays a band having not forgotten how to play raging old school thrash metal. The rage takes extremes ala Dark Angel's "Darkness Descends": "Till I Die", and as a whole the aggression comes aplenty, so expect no rest along the way. There is a lot of Slayer here, and proto-death at times, as well as genuine speed metal delights: "Positive Ruin". The riffs vary, sticking to the more brutal paragons, also reaching hardcore intensity in the Wehrmacht spirit: "Cutting Edge". Listening to this spontaneous ball of fury, one may regret the fact that these guys were not given a chance to record something similar during the golden 80's. Still, it's never too late for the good 80's thrash...
"Raid For Riverging": the times are bright for the band and they have no intentions surrendering to the underground like it happened in the past. here they are with their sopohomore effort which thrash wildly leaving a very little room for the fan to breathe. This is super-intense blitzkrieg stuff served with a hardcore-ish attitude expressed in the bashing guitars and the shouty choruses. Exits from the good behaviour are inevitable: the grinding outrages on "Over The Justice" and "Winged Beast", for example, but the band know mercy at times slowing down, but just a bit, with the guitar intensity remaining making those stomping section ultra-heavy. This is a brutal in-your-face affair which closes on just under half an hour apparently emulating the explosive aesthetics of "Reign in Blood" and one should really think hard before coming up with another act from Japan who can sound as aggressive and uncompromising as this one here right now.

Till I Die... Single, 1986
Vol. 2 Demo, 1987
To Great Kids! Demo, 1988
Do A Threat For The Eye Single, 1989
Rebirth Of Skull Full-length, 2009
Raid For Riverging Full-Length, 2012

Official Site


4 tracks of dark mid-tempo power/thrash with very unsuitable semi-death mmetal vocals which make quite a bit of noise opposing to the otherwise not awfully bad music. The monotonous nature of the first couple of songs gets cancelled by the cool galloper "World Of Shit" which brings a fresh breath of life into the recording, but it doesn't find any support from the remaining material; neither does it get any help from the sloppy sound quality.

Demo Demo, 1989


Simplistic thrash/crossover of the jollier variety which can get quite aggressive ("Day Of Infamy") on occasion acquiring nice Slayer-esque dimensions. Sadly those moments are not too many, and one will have no choice but get accustomed to the carefree mood of the rest which develops mostly in mid-pace, still holding a few more intense surprises later on: a brutal proto-death section on "Flames Of Death", and less bridled hardcore-ish passages on the 8-min thrash/crossover opus "Time Kills". Actually, the songs are quite lengthy for the style, most of them closing somewhere between 5 and 6-min, although nothing too complex happens within. The singer delivers with his mid-ranged semi-clean, not very attached, tone.

Rivet Full-Length, 2010


This is decent mid-paced retro thrash which acquits itself with hard-hitting sharp guitars the latter solely missing from the desert semi-ballad "The Real World", but are quite aggressive on the ripping closer "Wolfshead". The sound quality is quite good, and the singer does a cool job with his attached, clean tember which he occasionally stretches towards the semi-shouty parametres.

Agenda EP, 1994

Official Site


A 3-song demo of smashing heavy, technical speed/thrash which will remind you of Flotsam & Jetsam's "No Place for Disgrace" in the more straight pounding sections, and late 80's Metallica and Toxic's "World Circus" in the more technical parts. The music at times picks a considerable amount of Slayer-esque aggression and speed (parts from "Think Song" and "Amended Freedom"), but is predominantly heavy, up-tempo, with great guitar work (both riff and solo-wise), a crushing bass bottom, and excellent high-pitched vocals ala John Cyriis.

Call It What You Will Demo, 1990


Thrash/crossover with a more expressed thrashy attitude; the guys bash with enthusiasm borrowing from both punk and grindcore in equal dozes the overall mess not very impressive, not to be taken seriously by any means despite the plenty of energy emitting from both the musical and vocal (read quarrelsome angry shouts) department.

Roadkill Carnivore Demo, 2010

Official Site


Based on "Triskaidekaphobia", this act offer lashing modern/classic thrash which comes served with an audible crossover "sting". The guys thrash with passion and "bullet" after "bullet" to crush your skull, including the prime doom metal hymn "Exitus Letalis Yersinia Pestis" which is 10-min of seismic, ship-sinking guitars. After this gigantic deviation come two blitzkriegers to finish you for good the cloosing "Inferno" adding the casual more technical hook. The vocalist shouts in a not very sparing death metal manner, but leaves a positive impression with his forceful attached performance recalling Tom Angelripper.

4 Bullets 4 You EP, 2004
Sick Sect Engaged EP, 2005
The Chronicles Full-length, 2007
The Separation EP, 2010
Triskaidekaphobia Full-length, 2014

My Space


4 songs of playful rock-ish post-thrash metal with strong stoner/doom overtones; the music is dynamic, though, and the singer is a forceful semi-shouter fitting well the heavy leaden riffs.

Roadsider EP, 2008

My Space


This lengthy 7-track EP is a total return to the 80's with the German scene paid special attention. This is blistering Germanic speed/thrash ala early Deathrow and Toxic Shock with a more aggressive, proto-death metal dramatism ("Those Who Never Had Faith", "Egoists and Cowards") added for good measure, the latter ingredient also bringing them close to Ravage and Cockroach's "The Observer". The band marches on producing one "bomb" after another never letting the high-speed go down, the very sharp, lashing guitars serving their purpose to make the sound more intense. The vocals are of the mean, semi-death metal kind similar to Flo Gebhard (Flames) and Kai Weber (Toxic Shock).
"King of Hell" is a ripper with a boosted modern production the guys obviously inspired to knock the listener's socks off thrashing competently with passion and a very good taste of melody (check out the Oriental crescendos on the roller-coaster "Die With Disonor"). "Metal or Death" contains some of the finest melodic lead sections of the past few years, and "We Are Roar" is a perennial speed/thrash entertainer with brisk lashing guitars lasting for over 7-min. Melody is the order of the day near the end, but from this the band only benefit without losing the bite of the riffs which are always in a vigorous up-tempo creating plenty of headbanging opportunities.

Thrash `Till Death/Metal For Life EP, 2011
King of Hell Full-Length, 2012

My Space


This young band specializes in modern thrash of the heavy pounding type with brutal death metal vocals. When the guys get pissed they will make your head bang till oblivion: the short exploder "I Will Find You" or the more serious, even semi-technical at times, "Warmachine". The rest is intense steam-rolling stuff with groove present as an able "companion".
"Echoes of Pain" is a more dynamic affair and the guys thrash with power now the vocals being more comprehensive and not as brutal. The madness easily reaches death metal proportions ("Manor Of Hatred", the perennial headbanger "Systematically Murdered") here and there, and the shreds are quite fast for most of the time the heavier approach solely gracing 2 or 3 tracks altogether most of them already present on the EP. The band have done a better job here, and few would complain with this furiously thrashing release.

Face the Sun EP, 2012
Echoes of Pain Full-Length, 2014

Official Site


These folks pull out modern thrashcore with a more abrasive hardcore edge, and with a more intense, thrashier attitude ("Passenger") applied at times. The singer is a typical hardcore-ish quarrelsome shouter leadign the show which becomes slower and mellower with each passing song.

Nothing To Fear Nothing To Fight EP, 2016


This is some heavy groovy post-thrash taken straight from the mid-90's. Could have been good if it wasn't too one-dimensional the guys seldom making any attempts to make this monolithic wall of volcanic riffage a bit more interesting: the nice galloping moments on "Cao Preto" come to mind, but... Still, for faithfully restoring the vintage tunes from 2 decades ago, the guys should be given points which would also increase a bit more near the end thanks to the good semi-ballad "Vida Bandida" (check the final closing energetic section on this one); and probably a few more for the forceful expressive angry vocals.

E Full-Length, 2012

Official Site


An obscure band from the German metal scene; based on the "Years Of Ignorance" demo, these guys play pretty cool speed/thrash metal close to Exumer's "Possessed By Fire" and Destruction. The demo is full of smashing, drilling riffs (some of them quite technical, too). "Haunting In Your Brain" and "New Horizons" are magnificent fast thrashers which deserve to be put in every "best of thrash metal" compilation. Another example of how unjust the music scene sometimes is.
The debut demo is just 2 songs which show the guys well versed with the thrash metal laws to produce a short blistering slab of speed/thrash the first track "Let's Thrash" coming with a very good sound quality, the second one "Excalibur" being noisy and less speedy apparently written at a very early stage from the guys' very short career.

Aufnahme Demo, 1989
Years of Ignorance Demo, 1989


Skid Row's "Slave to the Grind" comes mixed with the early speedy boogie of Exciter, all this served on a jolly rock-ish base. This is party stuff, getting nicely thrashy on the mid-paced pounder "Reason", and generally the music will keep you in high spirits, not without the help of the good mid-levelled Sebastian Bach-like vocals which at times take a more hoarse drunken tone.

Rock N Roll Weapon EP, 2009

My Space


This is pure groovy post-thrash taken straight from the "swingin'" 90's. The good news is that the guys at times feel like thrashing their hearts out, and provide several genuinely headbanging opportunities: the opener "Castigador", for example, or the over-the-top brutality on the deathy "Criatura". As a whole this album is quite dynamic, and will not be a boring listening experience for most of the time although nothing really new has been served including on the harsh semi-shouty vocal side.

Rodeno Full-Length, 2013


The debut: Tom Liebing (also Hateful Agony) is the name of the guy behind this interestingly-titled project which focuses on fast blitzkrieg thrash/crossover which gets quite wild and aggressive at times the equilibrium provided by some slower more playful tracks ("Ketamine Blues"). Liebling serves rough semi-shouty/semi-clean vocals which fit the unpretentious picture which is also ornated with a big doze of humour also in the lyrics department. So "thrash" may not be too "high" here, but crossover surely is...
"Summer in Space": the ambitious 10.5-min opening fiesta "Rodent Cyco Overload" sums up perfectly the ensuing thrash/crossover carnival which mixes short fiery Slayer-esque cuts ("Clowns") with surprisingly lyrical semi-balladic deviations ("Dear Todd"). Titles like "Fuck Slayer" or "Fucktallica" are supposed to poke fun at the renowned authorities on the field including with a couple fo direct musical references (the pounding riffs on the latter taken from various cuts from The Black Album).

Trip Out... Thrash High Full-Length, 2013
Summer in Space Full-length, 2018

Official Site


Three songs of laid-back modern power/speed/thrash metal which develops in a moderate mid-pace before the coming of the fast encompassing "Zabvenie": a sprawling epic with catchy epic melodies, but also fast raging riffs bordering on melo-death. The singer is cool clean, pleasantly screamy, and the guitars bite with a sophisticated, more polished, edge.

Demo Demo, 2010


Based on "Devil's Night", this formation offer retro power/proto-thrash with more orthodox heavy metal rhythms inserted at the first appropriate moment. The soft character of the music is very rudely interrupted on the title-track which is spasmodic brutal thrasher which sticks in the middle like a very sore thumb. The band members also operated in the heavy/power metallers Last Wish, and are at present with another similar band, 12:06 with whom they have two full-lengths released in the new millennium.

On the Outside Looking Within Full-length, 1996
Devil's Night Full-length, 1998


A nice epic take on the good old power/thrash hybrid coming as a cross between mid-period Manilla Road (think "Open the Gates", above all) and the Swiss Drifter. Heavy squashing riffs attack you from all sides the battle-rousing music aptly assisted by emotional, forceful clean vocals which adhere to more aggressive deathy shouts/grunts at times. The approach is mostly mid-paced with more overt doomy overtones ("The Ones That Came Before") and a couple of more technical, also creepy, touches (the excellent diverser "Nameless One"). "Sands of Six" is a more officiant semi-ballladic epicer, but "Only Way Out" is a faster-paced speedster with slower decelerations. "Blackheart" is a nice closer to this epic saga with great thrashing guitars intercepting the staple power metal-ish strokes.

Crimson Sight Full-Length, 2017


Based on the debut, this band play speed/thrash metal with black-ish overtones, akin to Alastor from Portugal, but the music also reminds of Exciter, and even the more recent works of Venom in the slower parts. Some numbers are exercises in sheer speed and aggression, coming close to Impaled Nazarene ("The Butcher of Baghdad"), which are balanced with pure heavy metal pieces ("The Fall Of The Macedonian Empire"). "Shit City" (now this is a title!) abandons the speed for the sake of almost doomy riffs. In other words, this is quite a mixed bag where everyone might find something to like.

This is satanik Full-length, 1998
Burning metal Full-length, 2001


Based on the first demo, Rommel play first-class speed/thrash metal recalling their German colleagues Angel Dust and Warrant. There are nice solos and the guitar work is quite strong; it features one fine speed metal classic ("Down With the Master"), two great intense speed/thrashers ("Burning Brains", "The Prince of Hell"), and one slower, less impressive, but cool mid-paced power/thrasher ("Night Hawk") which is longer and more melodic, quite close to the pattern introduced by Warrant on their full-length. With the growing popularity of thrash metal in the 80's, it's a mystery how these guys never made it big with the sheer talent displayed here.

Rommel-Vol 1. Demo, 1987
2nd Demo Demo, 1988
Indiscriminate Attack Three Demo, 1988


A 3-song demo of punk-ish thrash/crossover ala Gang Green and early D.R.I.

Demo Demo, 1987


One guy, that same Ronus (real name Ron Snyder), stays behind this noisy fuzzy affair which, with a bigger effort from the imagination, can pass for an early black/thrash metal amalgam with both the German school and early Bathory eventual influences. When the guys plays fast, he produces plain noise with not much to be enjoyed; but when he slows down, he can come up with nice catchy epic thrashers ("Bloodlust and Leather"), as well as one weird doomy ballad at the end ("So Dead is She"). Ronus sings in a mid-ranged semi-drunken manner, but his antics are hard to "decode" thanks to their unpleasant synthesized character.
"Empirical Mayhem" is way better then the messy debut, and much more varied, starting with the energizing epic speed/thrasher "The Ronus Creed", before "Inexorable Antagonist" hardens the course with more aggressive proto-deathy riffage. The guy now really sings in a surprisingly attached clean manner, reaching the culmination on the excellent semi-balladic hymn "Bleed Me Insane". Catchy power/thrash follows suit on "Skins of the Fathers", before more epic thrash, this time longer, comes with "Warlords Fight Until They Die". "Coddle the Child (Dedicated To...)" is merry crossover, and the closing "Burn Me-Till I Freeze" is a nice tribute to the early German thrash metal school with a pinch of death. As a whole this is a lesser mess although the inclusion of so many influences makes this effort sound like a rehearsal, another proof being the buzzy guitar tone and the not very clear production qualities.

Satanic Libations Full-length, 2006
Empirical Mayhem Full-Length, 2011

My Space


Based on "Phoenix", this act pull out modern post-thrash which all of a sudden branches out into uncontrolled blasting ("Phoenix") to a somewhat disorienting effect. On the other hand, those unexpected switches provide the requisite dynamics which is present even on the heavier groovy passages ("Labyrinth", "Pictures"). There is a certain progressive element showing its head (the lyrical "Senses"; the aforementioned "Pictures"), and it would be good if the guys try to elaborate later on this side of their repertoire; although few would complain if they release an album full of catchy headbangers like the closing "Noise". The singer is quite an asset with his attached high-strung clean voice with which he covers several moods and gamuts.

Nobody Move, Nobody Gets Hurt Full-length, 2008
Phoenix Full-length, 2013

Official Site


This legendary Czech band are more famous for their epic/doom metal works, but their beginnings are by no means less impressive. "Zjevened" is a great dark debut, a marvellous mix of sharp thrashy riffs and funereal doomy ones, suddenly interrupted by short brutal thrash/proto-death numbers ("Vodslech"). "Upe1lened" is a very cool mixture of contrasing styles: aggressive thrash riffage and slooow doomy parts. "Pedsen pro Satana" is a great black metal hymn which even surpasses the similar exploits of Bathory and Venom in the genre. "666" switches onto full-out aggression once again, a situation slightly relieved by the more melodic, crossover-styled "7 Eernodch Jezdcofa". "Cesta Zke1zy" is a masterpiece of raging thrash with a certain technical edge and a great atmospheric, doomy intro, accompanied by a haunting chorus.
"Hell Symphony" begins in a magnificent way with the fast technical thrashing instrumental "Belzebub", one of the finest achievements of the style, showing the band moving far ahead in terms of musicianship. "Belial-0" follows suit with slower, but hypnotic heavy, riffs. "Lucifer" crushes in a mid-paced fashion, supported by stylish semi-technical riffage, but "Abaddon" shows no mercy being direct aggressive thrash/death metal. "Asmodeus" is a nice nod to early Celtic Frost as well as a part of "Leviatha", although later on that same song the guys lose patience, and start bashing with full force, providing moments for the brutal technical death metal maniacs. The final part of the album is quite diverse offering one cool semi-acoustic instrumental ("The Pray"), one short brutal death bomb ("The Oath"), and another instrumental ("Satan's") of the slower, doomy variety. With this one finished the band's flirtation with the more extreme metal genres, and later their music took a softer, slower, but equally as effective direction.

Zjevened/The Revelation Full-length, 1990
Hell Symphony Full-length, 1991

Official Site


Based on the full-length, this band plays modern thrash/death metal, alternating fast energetic with slower groovy parts. The latter kind of predominate, and despite its edgy moments and the professional attitude towards the genre, this effort could hardly pass for the most original release nowadays.

Left To Stampede EP, 2005
Gallows Hill Full-length, 2007

Official Site


These Poles play modern alternative industrialized post-thrash adding the odd hardcore break and the melodic semi-progressive deviation. At best their music comes close to a more thrashy Tool, but often it is bland edgeless groovy/grungy/industrial mish-mash, borrowing heavily from the German industrial scene as well (Rammstein, Die Krupps, KMFDM, Oooomph, etc.).

Visionism Full-length, 2009


2 tracks of badly-structured modern thrash/death metal with bad semi-shouty/semi-death vocals; the music is not a very convincing blend of heavy groovy and faster melo-death sections.

Demo Demo, 2009


Believe it or not, this is one of the oldest metal acts in Japan, second only to Loudness perhaps. Their beginnings were strictly for the punk/hardcore fans, but on "Vooothzer" the band shows obvious infatuation with thrash, death and grind, resulting in 13 short explosive tracks of energetic, frequently quite brutal and fast stuff, part of which is frenetic to the point of absurdity ("Last Chapter", "Despair", "Without Permission"). Shades of their past can clearly be felt on at least one third of the songs, but rest assured that thrash is given its share as well ("Grudge", "Wiping Off") although this is hardly music which will make the thrash metal fan fall in love with, even after a few repetitive listens.
"No Medicine Cures An Asshole" is a less brutal, but less striking, affair, again mixing thrash, hard and grindcore, plus a solid doze of groove which kills the speed on quite a few times. Thrash metal is given more space this time, and at least half of the tracks are all-out thrash blasters, although those alternative groove sections are too frequent, and do their best to ruin the headbanging fun.

Breed For You EP, 1985
From Born Till Die... EP, 1985
Emotional Disturbance Full-length, 1985
Skatehead '88 EP, 1986
Born To Be A Skate Boy EP, 1987
Mosh Of Ass Full-length, 1987
Kill Your Brain Full-length, 1988
Liquidation Full-length, 1989
Brutalize Full-length, 1991
Deaden The Nerve Pt. 2 EP, 1992
Degenerate Generation Full-length, 1993
Bemire Full-length, 1994
Private Or Not EP, 1995
Everyday Life Full-length, 1998
No Medicine Cures An Asshole Full-length, 2000
99% Is Shit Full-length, 2003
Neo Unknown Tranced Slayers Full-length, 2006
Cheaper Dream Full-length, 2007
Vooothzer Full-length, 2008

Official Site


The band's career began in the mid 80's mixing heavy, technical, long songs with shorter fast, furious thrashers. The overall style recalls less polished, and a little inferior Outrage (Japan again). There are moments which sound quite interesting, even technical: "Field of Roses", but the synthesized, harsh vocals and the dragging, heavy riffs on the longer compositions push the sound into many other directions, still within the confines of metal: "Rest in Peace" is pure doom, for example, but the guitars are repetitive and monotonous. When the guys keep it short, they are certainly more impressive, and manage to pull out effective little thrashers: "Holocaust Eve", "Pigs of the Empire", "Revenger". "Stormrtroopers" is an interesting mid-paced track, which starts as a power/heavy metal hymn, before it turns into quite a worthy speedy headbanger.

Pigs of the Empire Full-length, 1991


Rosicrucian looked as though they would take over from Hexenhaus as the leading technical thrash metal act from Sweden, and they did exactly that, but for a very short time. These guys' music isn't exactly a Hexenhaus-clone; their sound is more diverse, not as dark and more modern, but is of a high quality, too, if you can stand the vocals on the debut which are semi-death ones, and don't fit the technical play quite well. The already mentioned debut provides cool technical Bay-Area thrash with late 80's Metallica and early Testament (the short shouted choruses are directly taken from the latter's catalogue) the major influences, also recalling a more technical version of Mezzrow's "Then Came the Killing"; that same act provided Ulf Pettersson, the man who sings here. "Column Of Grey" thrashes with conviction in the beginning adding more twisted riffs as well as acoustic flamenco variations. Later on the music starts crushing in a mid-paced fashion with the next "The Way Of All Flesh" recalling very strongly Metallica's "Leper Messiah" with a more technical twist in the middle. "Within The Silence" surprises pleasantly with very cool Alex Scholnick-like leads, and after the balladic intro offers heads-down intense thrash. The speed remains for "Esoteric Traditions" which again offers short balladic experimentations and excellent leads which here threaten to overshadow everything. "Autocratic Faith" is a nice technical pounding thrasher which would easily qualify for both "Master of Puppets" and "...And Justice for All". The techno-beats at the beginning of "Nothing But Something Remains" shouldn't scare you, neither should the acoustic guitar after them: soon the guys start the thrash assault, and this composition is very close to the preceding one. "Aren't You Bored Enough" is more ordinary mid-paced thrash sounding as though directly taken from "Souls of Black". "Back In The Habit" thrashes faster, to the point of blast-beating at the end, this section coming "accompanied" by very good acoustic implements as well. "Do You Know Who You're Crucifying" scores high in the more aggressive thrash metal department, and is the only more openly brutal track although the slower and more technical moments are here, too, as well as a haunting quiet interlude. This "silent" effort very nicely fitted into the overall great thrash metal picture of 1991 delighting both the more conventional and more technical classic thrash metal fans. And, these leads will haunt you...

"No Cause for Celebration" begins like the most logical continuation to the debut with the fast intense "Much About Nothing", with the lead guitarist in a very inspired form again. "Parts Of Me" introduces the heavy technical sound heard on the longer songs from the debut, thrashing hard on quite a few times as well. The title-track is slower, almost doomy, with a hardly audible (at least to the not very trained ears) modern edge; catchy Japanese/Chinese melodies are here to save this somehow uneventful track. "Stench Of Life" is quick to compensate with speedy thrash riffs; check out the mid-performance on the lead guitar: Yngwie Malmsteen of thrash this guy is, and despite the clear show-offy purpose of this passage the talents of this guy are really hard to be denied. "Stagnations Of Emotions" is standout technical thrash, effortlessly mixing very technical twisted passages with straight headbanging ones, alternating speedy with slower tempos; again great acoustic guitar support "duelling" with the lead one. "Words Without Meaning" may be considered the ballad with its heavy doomy riffage and one more peaceful moment. "The Opening Of The Glory End" doesn't speed up much forward, but the marvellous lead intro and the smashing riffs will own you: do I have to mention another acoustic section? "Naked Face Down" may raise some eyebrows being too slow for the band's standards again, pulling the 2nd half a bit down, although the final "A Moment Of War" will throw you in a compulsive mosh around the house/apartment, being relatively direct aggressive thrash metal with a slightly awkward jazzy outro that lasts a bit longer to be considered a stylish touch.
Despite the couple of less impressive moments in the 2nd half this album is almost as strong as the debut seeing the guys proudly waving the retro thrash metal flag high with virtually no competition on the field in the barren mid-90's; so it came as a total shock when they released an EP less than a year later, under a new name: Slapdash, and a sound having almost nothing to do with the one reviewed here, being very common for the time modern groovy post-thrash without a single trace of the technical and lead guitar flair displayed here, followed by a full-length in 1996 in pretty much the same vein. The band guitarists are presently giving their fair share to the modern thrash brotherhood: Lars Linden plays in Carnal Forge, Magnus Soderman in Inrage.

Silence Full-length, 1991
No Cause for Celebration Full-length, 1994


A mix of speed, thrash and hardcore; the music is energetic without being too fast. A pleasant surprise is the mid-track "New Polyanitci" which is a very cool, more optimistic take on the great Cemetary hit "Now She Walks the Shadows" from "Godless Beauty". "The Watchtower", which follows right after, is first-rate classic thrash metal which will catch you with your pants down, simply because noone would be prepared to hear such greatness. This same greatness continues on the short explosive "To Each His Own", and partly on the long 8-min epic "Ice", which acquires some power/speed metal tendencies. The closing "Victory or Death" is a very nice semi-acoustic ballad.
The demo is pretty much classic power/thrash metal in a consistent mid-pace with not very suitable rough hardcore vocals. At the end one will hear two covers: Sodom's "Polytoximaniac" from their 1997 album "To Death Do Us Unite", sung in Russian and called "Narkota"; and Manowar's "Blood of My Enemies", also sung in Russian, both done faithfully the Manowar version sounding a tad more melodic with a stronger epic colouring.

Novoe Utro Demo, 2005
Moei Zemli Full-length, 2008

Official Site


Members of this band also play in the very good doom metal act Stonehenge. Based on "Quaerite Lux In Tenebris...": this is mostly black metal, with touches of death and thrash, which has some progressive pretensions, but the guys' desire to be all over the place makes them sound like a more blacky Bal-Sagoth. There are interesting riffs present, the tempo is constantly fast and dynamic, and the bass work is really outstanding, but the band's main target is those who are fond of Emperor, or Dimmu Borgir, above all.

Grotesque Demo, 1997
Imperium Tenebrarum Full-length, 1999
Quaerite Lux In Tenebris... Full-length, 2002
Live And Die In Moscow Live album, 2003
Regnum Somni Full-length, 2003
A Divinity For The Worthless Best of/Compilation, 2004
Moscow (The Sanguine Reign of Terror) EP, 2006

Official Site


The demo: very well executed technical thrash/death metal of the old school with a few modern updates; the music is heavy and not fast with great heavy riffs and a couple of really interesting musical decisions sounding like a more technical and thrashy Benediction. "Manhunt" is a marvellous number which really slows down, but comes up with awesome hypnotic guitar lines.
The debut is a nice affair not straying too much from the already chosen path concentrating more on death metal probably (check out the excellent technical opus "Slaves of the False Freedom"). "Erase" is a nice short technicaller, and "Choice and Duty" is more direct with slower pensive riffs. "Organized Murderer" nicely speeds up also notching it up in the technical department the heights in both sectors reached on the short brutalizer "Eradicate Evil". "Preacher of Hate" is an imposing steam-roller with Bolt Thrower overtones before "Strange" brings "strange" atonal moments ala Morbid Angel. The title-track closes the album with direct up-tempo riffs, a sure-handed headbanger without any gimmicks. The guys confidently march forward without any "fear", and definitely their sophomore effort is one of the most hotly sought out releases at present.
"Start to Exterminate" is a fair "exterminating" affair the guys death/thrashing with plenty of dynamics sticking to the fast pace more this time reaching extremes at times (the hyper-blasts on "This Emptiness"), but technicality-wise this album leaves quite a bit to be desired the guys sparing themselves with more repetitive, and not very exciting performance which turns to pure bash on a couple of shorter cuts.
"The Test That Divides Us All" continues down the more orthodox path the guys thrashing with power and gusto, but without any particular technical embellishments. "Moments of the Ecstasies" adds more style to the proceedings with its crunchy, not very predictable riffs, and "Pray, Hate.....Fight!" picks on those moments and gives them a cool vivid edge. "Lunatics Fanatics" is a nice stylish shredder contrasting with the much more immediate rager "New Direction" which gives the tone for the remainder some of the numbers bordering on crossover towards the end.

Promo Demo, 2007
Fear Is the Key Full-length, 2009
Start to Exterminate Full-Length, 2013
The Test That Divides Us All Full-length, 2017

Official Site


Based on the debut demo, this outfit serve melodic, a bit naive, classic speed/thrash with not very convincing, thin clean vocals which lack the depth to lead this kind of musical exploits. The band mix the pace as a particularly interesting cut is the intense hypnotic doomster "Dark Passion", closely followed by thed iverse epicer "vHammer & Cross". Near the end the delivery clings more towards the power metal side diminishing the riffs' sharpness, with more vivid speed metal added on the closing "Season's End".

Where Chaos Reigns Demo, 1990
Sea of Fire Demo, 1991
Inside the Glass Confines Demo, 1993


Good aggressive thrash/death metal untouched by the modern tendencies sounding like early Agressor (France) and Protector, but with a much worse production quality and a very thin at times guitar sound.

Malefactory Demo, 1996


Two people are in charge of this fast intense retro thrash/death affair which is characterized by its rapidfire delivery and venomous blackish vocals. The approach is fairly orthodox as the brisk thrashy rhythms dominate the scenery death metal mostly reflected in the several untamed blast-beating passages. "Giygas" is a surprisingly surreal technicaller with weird atonal riffs; and "The Unwilling" is another curiosity with hectic death metal riffage. The more direct, stripped-down delivery returns in the 2nd half to offer another doze of primal speedy parts for the headbangers who should have no complaints whatsoever here.

Rotting to Death Full-Length, 2016

Official Site


One would be quite surprised to find out that behind this offensive band name and silly demo-title hides some of the best kept secrets of the German underground. This is very cool speed/thrash with great lead guitar melodies rivalling Helloween, long interesting compositions, and excellent lyrical clean vocals whcih can become more aggressive on demand. The guys admirably combine tender ballad with hard thrashing riffs on "Sentenced to Death" which could even compete with Flotsam & Jetsam's "Escape from Within" as the best thrash ballad ever. The rest is only a tad more simplistic with virtuoso guitar sections on every corner making this effort sound like an unexplained dropover from the Shrapnel catalogue. The shadows of more known acts like Not Fragile, early Battlefield, Warrant and Deathrow loom heavily and it's a real pity that this band never had a chance to rise. Well, one shouldn't blame them: with this name and title... apparently they weren't looking for any wide exposure.

Who The Fuck Are Demo, 1988


Based on the full-length, these folks serve abrasive modern-ish thrash/death which isn't very cleverly executed, but will move the heads on the more dynamic tracks like "Drown Me In The Mouths Of Madness" and the Slayer-esque rager "Room Of Tears". The quality surprisingly goes up on the final opus "Tomb Of Forgotten" which is a nice progressive cut with epic melodies and impetuous mid-tempo thrashing. The vocals are harsh semi-shouty with a forceful death metal flair.

Empires Will Fall EP, 2012
Inhuman Sovereign Full-length, 2015



Varied modern thrash which offers borh energetic headbangers (the aptly-titled "Moshing Mummies") and dark brooding mid-pacers ("By the Might of Set"). There are loads of catchy melodic licks, most of them with a nice Oriental flair reminding of Melechesh ("Bringer of Light"). The last trio of numbers clings towards the progressive side with not as intense guitar work, showing a more proficient side of the band's repertoire, albeit one not strictly related to thrash.

Rotten Sky Full-Length, 2017


Thrash/crossover of the speedy less intense variety; the music will remind you of Bound For Glory and, respectively, Motorhead; "Disintegrating World" takes a more thrashy turn, but there are also a couple of pure punk tracks, as well as full-on rock hymns ("In God We Rust"), with only one more song near the end ("Manipulacion De La Religion") thrashing in a less compromising fashion. The vocals will keep you on the alert, though, being aggressive low-tuned death metal ones.

Anti-Trust In God EP, 2009


Classic thrash/crossover becomes increasingly popular these days with new bands coming from all parts of the world. These folks play fast'n tight not forgetting about the catchy melodic hooks which would make you sing along with them in no time, and consequently can rank among the better practitioners of the style with their very first effort. Yes, seriously, some of the riffs are so infectious and memorable that combined with the speedy pace and the melodic, albeit a bit hoarse, vocal lines make up for one interesting, invigorating listen. More thoughtful moments are a rarity ("Live For Yourself"; the stomping "march" "The March Of The Prayers"; the steam-rolling mid-pacer "The Ambuscade"), but they work well with the dominant light-hearted material also supported by the very good sound quality.
"Sick World": the guys are quick to capitalize on their blitzkrieg delivery, and here comes another pffering from their camp to please the fans of the good old thrash/crossover again with loads of catchy melodic hooks and a generally more carefree attitude reflected in a more relaxed riffscape which hardens for the uncompromisng smasher "No Rest In War" and partly on the more engaging speed/thrasher "Bad Salt Trip". The rest borders on hardcore too much including in the shouty chorus sector which is present on almost every song. With its unpretentious party atmosphere this album is hard to be taken as seriously as its predecessor and may be a "highway" to a pure crossover/hardcore joy served on future efforts. Well, if nothing else the world doesn't seem so "sick" with merry-go-rounders like this "rolling" around...

Kill It Yourself Full-Length, 2012
Sick World Full-Length, 2013

Official Site


Based on the "Que el Metal Vuelva al Infierno" demo, this act indulge in noisy amateurish thrash/death which is just one impenetrable wall of sound where guitars, vocals and drums come on top of each other to a very messy effect. Isolated more intelligible riffs can be distinguished at times usually played at the utmost speed he whole mish-mash resembling disttantly the less coherent moments from early Messiah. The guys produce more meaningful noise with the classic heavy metal formation Antikristo, and the classic thrash metal purveyors Chainsaw Killer.

Que el Metal Vuelva al Infierno Demo, 2006
Letheo, Nectarius Red Demo, 2007

My Space


The band had the interesting, anti-commercial concept to never sign with a label, and play thrash just for fun. Well, whether for fun or not, the result is really cool. The band's style varies from fast, bursting thrashers with a slight hardcore edge on the early demos, to heavy, slower pieces bringing Celtic Frost to mind. The similarities with the Swiss are also in the vocal department (the last demo, in particular). All demos are of a fairly high quality, showing a band who could have turned into one of the big names of thrash metal if they had given themselves a chance.

Demo Demo, 1986
Fuck It, It's Only Thrash. Demo, 1987
Demo Demo, 1988
Neck Breaking Fury Demo, 1990
The Demos Best of/Compilation, 2005

Official Site


This act pull out very heavy squashing groovy thrashcore which will remind of Soulstorm and Grope. This could be unbearably heavy for the unprepared and would mostly please the doom/sludge fans of Crowbar and EyehateGod. "Snake Pit Paralysis" is a more technical curiosity, and "Casket Ashes" is another surprising exercise in more stylish intriguing music. "Sydious" is the definitive doom metal hymn for the new generation, 12-min of antedeluvian dirgy doom alleviated by the fast-paced ripper "Intolerant Indifference" which is pure death metal madness at some stage with a portion of quirky rhythmic shifts. More variations on chaotic aggression at the end with the noisemonger "Unrelenting" which a cool invigorating blend of death metal anfd hardcore topped by the shouty death metal vocals.

Valley of Desolation Full-Length, 2012

Official Site


This is probably Mr. Dan Swano's best kept secret (although one never knows how many other short-lived acts he could hold underneath his sleeve...). He has summoned Anders Jakobson (Nasum, Coldworker) for the making of this fairly good progressive/technical thrash offering which seamlessly blends technicality and melody on the excellent opener "Griefcase" before things take off into more aggressive headbanging territories with the speedy delight "Lifewish". Then comes the 2-part "Before I Close My Eyes" which is more on the pensive mid-tempo side. The last two tracks don't really belong here being standard melo-thrash/deathsters with an Unleashed vibe apprently recorded for some other project also coming with a worse sound quality. Albeit a bit uneven, this obscure recording is a worthy addition to Swano's voluminous contributon to metal and it's a pity that he has refused to elaborate on it any further... at least until now.

The Works EP, 2001


This is fast classic thrash the guys lashing speedy blitzkriegers ("Demon in a Bottle", "Devil in Me") left and right although the guitar sound is a bit plastic ans suits better the more laid-back material ("My Merciless Sin") which is quite sparse. The singer is a not bad forceful semi-cleaner who manages to leave a positive impression without any more adventurous histrionics.

Blinded by Lies Full-length, 2017



This is melodic power/thrash metal still sounding pretty classic for the time of release, but the more aggressive parts (which are not that many) are awkwardly mixed with the mellow ones often clinging towards the ballad, and the musicianship is not on a very high level fitting well the bad sound quality. The singer has an interesting characteristic melodic blend, but again the sound seriously hampers his efforts.

Slitting The World Full-length, 1993

Fan Site


Cool classic power/thrash with shades of early Queensryche, Aftermath, early Laaz Rockit, and Savage Grace. The band seldom leave the established mid-paced environment, but it suits them quite well with the odd galloping rhythm ("Couldn't Give It Up") incorporated, and the less bridled short speedster ("Death Fairies"). The singer shines all over with his emotional attached high-strung voice reminiscent of Jeoff Tate (Queensryche) and William McKay (Griffin) quite a bit, unleashing more dramatic wails at times to again a fairly positive effect.

Silent Cry Full-Length, 1992

Official Site


Modern melodic thrash with a few death metal leanings; the guys know how to thrash with force as evident from a couple of tracks (the intense opener "Burn Your Cage"; the shredding manic closer "Taste of Blood") and generally the dynamics seldom drops the sharp guitars ensuring numerous headbanging moments. The main vocalist has a deep death metal tone, but is often accompanied by soulful clean croons as well as more hysterical deathy shouts.

Hate in Veins Full-Length, 2010

Official Site


This young act offers modern thrash/death metal played with competence, but seldom leaving the Swedish formula, and when that happens the sound acquires more melodic dimensions, maybe too melodic at times, where very good clean female vocals can be heard, too. The songs are mixed: some are fast and hard, others are mellow, with a touch of gothic. The sense of melody of the guitarists is quite big, by the way, and brutal blast-beating moments like the ones on "Rejected Remains Of Oblivion" and "Lost In Entropy" are very few.

Lost In Entropy Full-length, 2009

Offficial Site


Rudra play heavy, mid-tempo thrash/death metal with occasional deviations into more original riffage and black metal-styled vocals. This is good music, more laid-back, with calmer slower passages.

Rudra Full-length, 1998
The Aryan Crusade Full-length, 2001
Kurukshetra Full-length, 2003
Brahmavidya: Primordial I Full-length, 2005

Official Site


Thrash/death metal with great technical riffs ala Atheist (resemblances with this band in the vocal department, too) and an overall aggressive attitude with a frequent adherence to blast-beats, but used properly without being annoying. These guys have talent in abundance and it would be good to see how far they could reach.
The rehearsal is 3 tracks which sees the guys in their less bright light moshing without too many clever decisions the delivery now being quite straight-forward the only saving grace being the few stylish lead sections. The rest is just not very sensible bash without too many merits seeing the band failing to capitalize on the very good debut demo which excellence is nowhere to be felt here.

War Feelings Demo, 2004
Rehearsal Demo, 2005

My Space


These guys unleash fast aggressive thrash/death metal, a full-blooded representative of their homeland, speedy albeit one-dimensional music, long on energy and short on originality.

Ruin/Relentless Split, 2008


Two guys stay behind this sterile industrial post-thrash 2-song affair, one of whom is the famous Lasse Pyykk\\\\'f6, who has graced with his presence heavy doom acts like Acid Witch, Hooded Menace, and Phlegethon. The music at display here is also seismic, but clings more towards the bleak, apocalyptic landscapes of early Pitch Shifter and the Canadians Soulstorm, with the dark atmosphere of the French Minushuman well captured, too. "Charcoal Emptiness" is more laid-back with a slightly more uplifting mood, and is closer to doom in a way not too dissimilar to Mindrot. This is gloomy, depressive stuff which would definitely hold well on a full-length.

Demise in Disgrace EP, 2011

Official Site


Your average Swedish thrash/death metal which tries to mix the energetic nature of early In Flames with more epic arrangements ala Amon Amarth; the mix could have worked better if it wasn't for other not very unnecessary insertions, like sudden spasmodic blast-beats and melodic rock-ish death'n roll sections ala the Finns Gandalf and mid-period Entombed. The middle is occupied by a few slow tracks in the vein of Hypocrisy, but those here lack both an edge and sharpness. Quite an uneven effort as a whole, trying to embrace too much within a not very big space, consequently failing to take the best out of all those influences. Still, considering that there is only one person behind it all (the name is Johnny Johansson, who also plays guitars in the classic heavy metal act Disdain), one can not be too critical giving the guy more time to "hone" his approach in the future.

My Dying Day Full-length, 2010

My Space


This act pull out intense retro thrash/death which "flirts" with speed more recalling both Rigor Mortis and Razor the main difference from those old timers coming from the vocal department: the guy is a hoarse subdued death metal semi-shouter whose voice at times echoes not very pleasantly. The music by all means makes sense the guitarists trying to satisfy the more melodic fans with a few nice memorable hooks which would definitely remind of Mike Scaccia (Rigor Mortis). Some more serious epic thrash comes forward on the "final" "Final Redemption" which is a diverse number with several intriguing technical decisions.

Obelisk of Ruin EP, 2011

Official Site


The Best of Compilation reveals a one-man act who specializes in fast intense old school black/thrash metal with an approach not far from the early German models with a touch of Bathory. The slower doom-laden compositions are very few ("Ruins" is a cool moody atmospheric track), and one will find two covers as well: Onslaught's "The Devil's Legion" from "Power from Hell", and Sodom's "Outbreak of Evil" from... oh, come on!
The "Chambers of Perversion" EP is whole 8 songs, and its approach is pretty much the same: fast, no-bars-held, retro black/thrash with a pristine sound quality, which still is not a detriment to the inspired music. The man sticks to speedy simplistic riffs, which at times nicely turn to stomping doomy moments ("War In Heaven Pt.4 (Megalomania)") not far from early Celtic Frost, with a funeral atmosphere added, typical for acts like Barathrum and Khold. "Perverting The Priest", on the other hand, touches death metal, and remains the most aggressive track on this underground "beast", which is also not so far from the outrages of later-period Impaled Nazarene (check out "Sperm Of The Antichrist"), both music and lyric-wise.

Baptised in the Name of Satan Demo, 2006
Bloodstorms of Hell Demo, 2007
Satanic Bitchpenetration Full-length, 2008
Baptized In Hell Best of/Compilation, 2008
Hellraging Hell Metal Split, 2009
Chambers of Perversion EP 2010

My Space


Based on "The Hunt", this Finnish act deliver competent classic thrash with a modern production and sincere Bay-Area overtones ala Testament the vocalist obviously emulating Chuck BIlly and doing a fairly good job as such with his warm versatile tember. The rhythm-section is pretty crushing and the speed varies the headbanging sections always present except on the imposing epic doom/thrasher "Witch Hammer" which features good operatic keyboards. No more "mistakes" later as the band thrash on with the short blitzkrieger "Hide And Seek" and the more technical and slower "Wounded And Defeated" where a certain keyboard background can be felt. Near the end, however, the sound becomes mellower with the keyboards now playing a more prominent role the Bay-Area spirit from the beginning disappearing under the wall of heavy mid-paced riffs the quiet acoustic balladic piece "Forced Confession" a seriously underwhelming epitaph to an otherwise not a bad effort which partly acquits itself on the closing shredder "Burst into Flames".
"10 Forms of Dominion" is another decent affair which this time straddles between the modern and the classic school and manages to sound convincing with a clever tempo alternation including a nice atmospheric crunchy semi-galloper ("In The Arms of Bitterness") whic best exemplifies the slower side of the album. "Checkmate" near the end rages hard with intense lashing guitars giving a push to the closer "Cycle of Slavery" which is another cool headbanger. The vocalist continues to be an asset with his dominant authoritative performance. Some of the band members take part in the heavy metal outfit Carcadial.

To Only Kill for Sport EP, 2008
Rise Up! Extermination? EP, 2009
The Hunt Full-length, 2012
10 Forms of Dominion Full-Length, 2014

Official Site


Classic-sounding thrash with heavy slightly dry-sounding guitars, reminiscent of early Meshuggah ("Raia Net") at times, but there are more energetic speed/thrashing moments also recalling the Bay-Area scene ("Voina Vnutri", the early Metallica reminder "Prokajennui"). "Tochka Izloma" is a curious bass-driven instrumental, and the closer is a nice take on the later 80's Metallica sound: a cool pounding steam-rolling technical piece. The singer doesn't really shine with his indifferent mid-levelled semi-clean delivery.

Izlom Dushi Postroit Schaste Full-Length, 2007


3 songs of heavy modern thrash, sounding like a less technical Meshuggah; at times the guys go straight into aggro-thrash ala Pantera, and overall this recording doesn't lack dynamics, jumping on the more aggressive thrash/proto-death metal wagon on the closer. The singer does further damage with his very intense angry delivery.

Rule24 EP, 2009


A playful rockish blend of thrash, post-thrashy groove and punkish crossover which is memorable and catchy and occasionally openly hard rocky ("Politicians") in a way quite reminiscent of The Almighty, Lawnmower Deth and even The Offspring at times, if you like. Sophisticated headbanging can be come across on "Holy Jesus" and "Alcoholic", but the radio-friendly tone of the album is seldom broken the suitable warm clean singer also serving very well the welcoming party atmosphere.

World Made Of Lies Full-Length, 2013


The best German thrash/crossover band; "Fuck Off Commercial" is a very cool debut, more in the crossover/hardcore vein, boasting really fine pieces: the energetic Oriental-infused "Bang Till Death", the great speedy thrashers "Fright of Stupidity" and "Full of Danger". The hardcore side is not bad at all represented by short compulsive tracks. "Rumble Attack" is a fine instrumental piece boasting smashing hard riffs, and is one of the best tracks the band ever recorded.
"They Give You the Blessing" starts with the compelling dark "The Church Cries", which after the heavy intro (with a marvellous bass performance) turns into a mighty up-tempo thrasher. "No Promises To No One" is a pure punk joy showing the guys having hard time to bid farewell to their past. The thrashing comes back with full force on the fine heavy "No Nazis", and the speed/thrashing delight with the interesting title "The Return Of The Commercial Bastards". "The Earth Is Turning Red" is a hard-hitting intense thrasher followed by the even more aggressive "Genocide". A break after such an intense delivery is definitely needed, and it comes in the face of the brilliant short ballad "Is This The Reason?"; the break also carries on on the jolly crossover piece "Can`t Understand", before the closing "Mirror Of Fortune" provides more energetic headbanging riffs and unexpected cool melodic leads.
"Stop Violence and Madness" is another very good effort featuring good headbanging thrash, well displayed on the first two songs "Boys In Blue" and "Reflection Of Your Videoprogramme". Then comes the obligatory remnant from the past: the much softer "You`re Sure", which sounds a bit awkward, compared to the preceding numbers. But with "Stop This Shit" the aggression returns, and "Save Yourself" is a smashing thrashing piece. Two more laid-back thrash/crossover tracks follow, but the end is strictly preserved for more forceful thrash which comes with a big doze of Slayer, Evildead-like aggression on "Waiting For Death", and with a more playful Suicidal Tendencies-like attitude, on "Stop Violence And Madness".

So far, so good; the band were sticking to the classic sound, but "Hate Me" introduces the modern trends with a certain industrial sound mixed with groove, and even pop-ish metal ("RM Family", "Sweet World") and rap ("Love And Peace Muthafucka"). Their thrash/crossover heritage comes up on tracks like "Profit Thru' Addiction", but this is a very weak album, much inferior to any of their previous output, and not a very diginified exit for the band from the scene.

Fuck Off Commercial Full-length, 1987
En Nombre del Ley EP, 1988
They Give You the Blessing Full-length, 1990
Destroy Fascism EP, 1991
Stop Violence and Madness Full-length, 1991
Wieviel Hass Wollt Ihr Noch? EP, 1993
Hate Me Full-length, 1994

Official Site


Good intense modern thrash metal which wastes no time nailing you down from the get-go with the fierce opener "Dead Slaves". The attack gets a bit more melodic, but equally as compelling on "Eternal Flames". Later on the intensity stays, but more clever, semi-technical guitar implements start to show up: "My Hourglass Never Fails". Not for long, as "Human" thrashes like crazy once again, but "Seven" slows down, adding cool lead guitar work. More headbanging thrash with "Internal Slaughtering" and "November 32st A.C.", but all the "laurels" go for the closing "Last Violence": excellent more classic-oriented thrash in a very cool energetic tempo.

Ten Hatred Degrees Full-length, 2008

Official Site


Now is this a cool band name, or what? (Rumpelstiltskin is a character from a Grimm Brothers' fairy tale). Regardless of what you may think about it, the music is a cool mix of classic and modern, and of melodic and aggressive, thrash. The guitar work is heavy and pounding with shades of groove ("The Day Merman"), occasionally interesting ("Stealing E.T.") and even semi-technical ("Grab A Shovel"). When the guys pick up speed, it comes with a certain touch of the Gothenburg school ("Unleash the Troll") and sparce blast-beats. "Ode to Tanks" jumps the death metal wagon for a while, graced by fine melodic hooks, but this is the only truly aggressive moment. The band members are involved in several other projects: the death metal/avantgarde formation Azure Emote, the black metallers Dust Is Everywhere, the black/death metal hybriders Armageddon, etc.
"Living for Death, Destroying the Rest" follows closely the model established on the debut, this time showing less mercy in the aggressive department: "Graveyard Vandalization", which is all-out raging retro thrash. "Brainwasher C. 1655" goes one step up, adding some death metal outbreaks. Afterwards the music settles for a modern, less intense sound, but "Traitor's Blood" will put you on the edge of your seat again, with more death metal riffs thrown in, which don't really work all the time with the bland groovy tunes surrounding them. "Beware The Thrash Brigade" justifies its title, serving pure classic thrash/crossover with cool leads. "Sewers Of Doom (Dethroning The Tyrant Part 1)" keeps the thrashing going, adding more fuel with meaty heavy riffage. "Darkness Never Ending (Dethroning The Tyrant Part 2)" is a wild, and somewhat incoherent composition, blending thrash, death and Bal-Sagoth-esque metal to a too overwhelming effect. "Revolution Of Underground Legions (Dethroning The Tyrant Part 3)" ends the trilogy, as well as the whole album, in a more controlled, but also less impressive modern groovy manner. There is hardly any surprise here, but those of you who liked the first effort will do no wrong tracking this one down.
"Ghostmaker" doesn't break any new grounds the band sticking to the familiar modern thrash pattern notching up the aggression a bit a tendency very well expressed with the ultra-speedy opener "Those Who Are Unseen". The title-track which follows is almost as vigorous featuring a couple of more moderate passages. "Fucking Wild" is a cool galloping "fucker" thrashing really "wildly" near the end reaching an almost death metal intensity. The relaxer here is "Dripping With Venom" wich is a slower rockish number with a big hit potential (seriously). "Cold Haunting Death" cancels it with a swing being another sweeping speedster, but "A Lurking Thief" is a pensive epic cut of the more officiant Amon Amarth-esque type. The joy gets pretty big after it with a string of laid-back crossover pieces before the album turns to melodic death metal as a finishing touch on the last 3 numbers. As a whole the diversity is big here this effort moving from one style to another to mostly a positive impression, and this larger-than-life concoction would by all means help increase the band's fanbase.

Buried in the Front Yard Full-length, 2005
Living for Death, Destroying the Rest Full-length, 2009
Ghostmaker Full-length, 2012

Official Site


Featuring two ex-members of the power/heavy metal stars Stormwitch, Runamok's first two efforts are in similar, but less epic classic heavy/power-mould with modern touches. "Dance of the Dead" however, is a nod to the thrash school, and well done at that. Some of their heavy metal roots are still audible, but in its essence the music is modern-tinged thrash metal along the lines of 90's Megadeth and more recent Annihilator. Although the album includes a cover of Pantera's "Domination", the music has very little to do with this band. Their most recent offering "Freak Business" is a safe return to the softer heavy metal style from the beginning.
After the mild heavy metal-oriented "Freak Business" the band shows an apparent hunger for thrash metal with "Electric Shock". Now also equipped with two members of Paradox (the album-title is an obvious reference to that band's 2008 release), the guys pull no punches thrashing from the get-go in a brisk intense manner with the opening "Corrupthead" which has more than a worthy follower in the face of the nice headbanger "The Last Song On The Left (Mondo Brutale)". The fun doesn't stop here, actually, and "Electric Shock" deserves its title stinging you with sharp speedy riffs. "Nothing I Fear" is more aggressive headbanging thrash with a melodic modern break, and it's in the middle on "People Like You" where the guys slow down a bit pulling out a cool doom/stoner section. "Silence" is nothing like the title suggests, but thrashes far and wide with vigorous riffs which reach the peak on the massive retro mosher "Object Of Desire". "Where Angels Die" is the other mellow part, a mid-paced number which lightly influences the next "Addicted To Vice", but all the guns blaze on the raging closer "Feed Me", a hard-hitting thrasher, more than a worthy closer to this good return to form. The album doesn't exactly reach the greatness of same year's Paradox's "Riot Squad", for example, but is a fairly satisfying blend of classic and modern thrash metal also recalling the last few Squealer efforts.

Make My Day Full-length, 2004
Back for Revenge Full-length, 2004
Dance of the Dead Full-length, 2005
Freak Business Full-length, 2007
Electric Shock Full-length, 2009

Official Site


Based on "Overdrive", this act produce decent retro semi-technical thrash which has the requisite amount of energy although the majority of the tracks are in the mid-paced camp. "Raging Nightmare" arrives in the second half to wake you up (a "nightmare" indeed) with fast lashing guitars, but the band slip back to mid-tempo riffage consequently missing the chance to impress on a larger scale since now their delivery is competent and all, but it lacks variety and may bore the listener way before the end.
"DressAge" is a more melodic affair the delivery now often clinging towards the power metal arena, and speedy briskers like "Delusive Silence" and "Heroes Of The Hour" are more than welcome with their dynamic riffage since for most of the time the listener will come across soft friendly rhythms with no relations to thrash.

Raging Nightmare EP, 2010
The Call of Extinction EP, 2012
Overdrive Full-length, 2015
DressAge Full-length, 2017

Official Site


Based on the full-length, this act play your average modern groovy post-thrash which is more on the uplifting cheerful side with quite a few hard-hitting riffs present as well (check out the shredding delight "My Rust"). At some stage things would inevitably become bluesy and doomy ("Memory's Gone"), and fans of Down should also be happy in the long run, also because of the good expressive semi-shouty vocals.

Rage Pain Fear EP, 2010
Feel the Anger Full-length, 2012



Based on the full-length, this band play intense old school thrash wirh shades of death metal. The guys rage on with very rare stops from the aggressive roster as the longer numbers ("Doomsday Funeral", "Ash") inevitably contain some deviations from the rigorous approach in the form of slower stomping breaks. The vocals are rending, hysterically shouty with a death metal flavour.

Death to Peace EP, 2014
Rise from the Mass Graves Full-length, 2017

Official Site


Acceptable roughly-produced thrash which crushes forward with heavy volcanic guitars not tempted much by the faster side of the spectre. Still, this is good memorable stuff with steady mid-paced riffs and cool semi-clean vocals with a meanish blend.

Death, Distrust, Dishonor Demo, 1989


Modern "beautiful" power/thrash metal, melodic and laid-back, relying on the casual doom/gothic riff, but pulling it out in almost every department with appropriate meaty sharp riffs (check out the ultimate shredder "Next Step") and capable melodic insertions; the guys could have tried something more in the faster parametres: the music is mostly mid-paced to slow only speeding up on occasion. The vocal side is probably the downpoint, where one will encounter deep mid-ranged clean vocals and harsher proto-death ones, the former leading the show although the better music "strangles" them at times.

Beautiful Life Full-Length, 2010


This is aggressive Slayer-esque thrash with elements of proto-death; the sound quality is quite muddy in the 1st half which is apparently the 1st demo (1985). The 2nd half (the 1987 demo) offers much more controlled power/thrash and the vicious semi-death vocals have been replaced by screechy clean ones. The spontaneity of the early recording is nowhere to be found this one sounding like the Argentinians Hermetica. "Thrash School Musical" this is not, by a long shot, and one may even find it difficult to see it even as just a decent rehearsal.

Thrash School Musical Best of Compilation, 2007


The "Rite of the Grave" EP: 2 guys, with the acronyms M & J, stand behind this dedication to the old school black/thrash idea expressed in violent, but controlled, bash with shades of early Bathory, Celtic Frost, and early Sodom. The band play with passion alternating fast with slower moments the music topped by unholy sinister rasps. "Death's Curse" is an aggressive speedster with crisp guitars and blitzkrieg tempos which get well translated on the following "Screams of the Damned" despite the few stomping sections on this one. The closing "The Grave" is brutal thrash/death with a nice funereal interlude in the middle. This is really cool stuff which would stand well on a full-length and would also win from the appropriate dark retro production qualities.
"Damned Hellish Voids" is more concentrated on thrash and as such would please the fans who will enjoy the fast blitzkrieg guitars regardless of the buzzy background and the few hyper-blasting destractions ("Hammers Of Hades"). The early German school is definitely followed closely with its newer purveyors (Alastor, Nocturnal) close soundalikes if we exclude the unpleasant hysterically shouting vocals which are the apparent link with the black metal fraternity.
"Raw Shredding Death" returns to the more primal black metal roots although the title-track is probably the most exemplary thrasher they have managed to come up with so far. "The Dead Towers" later on captures some of this inimitable early Bathory spirit, but the rest is too tightly connected to the early black metal cohorts with some Burzum sneaking in on the less bridled passages.

Rust EP, 2007
Rite of the Grave EP, 2009
Damned Hellish Voids Full-Length, 2012
Raw Shredding Death Full-Length, 2016

Official Site


The information about this band is not complete, so any help from you, thrash metal fans, would be highly appreciated. This is thrash/crossover with obscene sexual lyrics, and music which is similar to the first Carnivore album, but less interesting and slower.

Rust and Roll Demo


Based on the full-length, this "piece of metal" comes pretty "rusted" as the title of one of the tracks says it so well; but otherwise there's not much thrash to be witnessed the guys offering relaxed power/proto-thrash with several speed metal references (the galloping "cowboy" "Citicen Fear") the rest clinging too much on the epic side comprising mostly soft friendly riffage without too much edge. The singer is another mellod addition with his soulful soft clean tember which he hardens at times to mixed impressions.

Come to Ride EP, 2010
Piece Of Metal Full-length, 2013

Official Site


This Polish act play old school speed/thrash (based on the demo) ala Exciter and The Exorcist with slower implements which smell post-thrash. The resultant mix doesn't work all the time and one really has to arm him/herself with patience to wait for the intense pieces like "Waiting For Death" & "Anxiety" which arrive in the middle and lift the mood up big time. The more elaborate material ("The Age Of Reckoning") doesn't have the necessary edge and clumsy thrashcore cuts like "I Got Erection" placed at the end hardly improve the situation a lot.
The full-length is indeed "high voltage thrash" so the title is not misleading now the band stepping on the pedal much harder lashing out cool energetic speed/thrash with a few cuts from the demo "roaming" around. More moderate numbers like "Bloodpath" are present as well as shorter hardcore-ish moshers ("Juggler") so the variety is not that small still leaving room for the genuine "high voltage" thrashers to develop fully: "High Voltage Thrash" (but of course!), "Burn'Em", "Terrorzone", etc.). The overall approach now recalls early Metallica with brushes of early German speed/thrash the inspired musical barrage aptly assisted by the good forceful semi-clean vocals ala James Hetfield.

Juggler Demo, 2011
High Voltage Thrash Full-Length, 2013

Official Site


Edgy competent thrash metal mixing modern and classic influences, and at least in the beginning promises good headbanging entertainment. Later on things get a bit messy, though, with the band expanding into other genres, like death, black, and even metalcore. The energy from the beginning is preserved, but these jumps from one style to another, albeit for a short time, may annoy some listeners, especially when the closer "Down Below The Snake" also offers something for the doom metal fans with its slow leaden riffs. However, we have definitely heard worse "cocktails" of the kind. Some members also take part in the death/thrash metal act Blind Man Kills.

In Nights Of Nemesis Full-length, 2009

Official Site


Based on the second EP, these guys play more laid-back thrash/crossover with gruff hoarse shouty vocals; often does the music scream all-out thrash ("Master Species", "Burns And Bruises") with the intensity being partially taken away by short softer punk-ish breaks.
"The Black Tides Of War" contains a few tracks from the EP's and is pretty much in the same vein: cool dynamic retro thrash/crossover with not many deviations from the model ("Waking Streets" is one, a much longer composition (almost 7-min) clinging towards pure thrash). "Derelict" is a great little headbanger, but there is another, even shorter and a greater one, later on: the 1.5-min explosion "Stigmantis". The closing title-track is an oddity being a spacey much slower number with epic/doomy leanings.

Toxic Shock EP, 2006
Red Collar EP, 2008
The Black Tides Of War Full-length, 2010

Official Site


An obscure trio from France who, based on the "Fuck the World" demo, try to "fuck the world" with semi-technical energetic thrash which also comes with a pinch of atmosphere and slight echoes from the Bay-Area ("War Fear"). The sound quality is very bad making the guitars sound like distorted buzzsaws at times and it's a pity since the guys show their more proficient side on the cool semi-ballader "Illusion Of Life" which is an engaging composition with several nuances. "The Total Confusion" is a direct 3-min exploder which gives a dynamic push to the remaining material all the way to the end which compensates for the muddy sound with some inspired fretwork which culminates on the closing technicaller "Same Pain" which will throw you into spontaneous headbanging with its clever up-tempo riffage.

What the Fuck Is Midi Demo, 1988
Fuck the World Demo, 1990

Official Site


Based on the "Ruthless Horde" demo, this band make a really nice cross over the American thrash metal scene at the time: the demo opens in a furious and aggressive manner with "Deadly Mass"- a striking thrashterpiece in the best tradition of Dark Angel and Slayer. It's followed by "Dancing In The Morque" which, with its galloping rhythm, will take you in the direction of Aftermath and Helstar. "Forgotten Dead" slows down bringing to the table more technical guitars (great leads), introducing also a change in the vocal department: new more melodic (and better) vocals; the song brings back the speed from the previous two in the 2nd half. "Demonic Majesties" is a heavy doom-laden piece which also speeds up in the 2nd part. "Shadows Of Death" is a magnificent closer, the highlight of the demo, starting as a ballad, later developing into a great technical thrasher ala Helstar's "Nosferatu".

Ruthless Horde Demo, 1989
Darkness Comes Demo, 1990


Based on the "Kalaa Ei Pysty!!!" demo, these Finns pull out brisk old school speed/thrash in the Tankard and early Living Death vein producing instant hymns which are easy to remember and sing along, especially the final "Thrashfish" which should be a constant companion to those who go fishing every weekend: it would definitely help them catch all the fish around, at least those which are fond of thrash...

Pummi Pihalle!! Demo, 2010
Kalaa Ei Pysty!!! Demo, 2011

Official Site


These guys offer a very insane amalgam of quite a few styles: thrash, death, hardcore, grind, black metal and punk. The tracks are usually fast and short, trying to mix all of the mentioned styles into one, resulting in a very aggressive and brutal, but also varied and interesting, listen. There isn't really much room for thrashy riffs and they generally merge into the other genres, but the sheer intensity of the music would hardly leave many metal fans indifferent.
"Seitsemn Surman Siunausliitto" is a cool release concentrating on the thrashy side of the band's style; still more brutal grinding sections roam around, but most of the time what we have here is quality headbanging thrash with a more classic edge.
"Surmantuoja" hardens the course a bit with more aggressive proto-death insertions. The songs are again not very long, within the 2-3 min range, and several modern riffs can be encountered here and there. Still, the majority of the numbers are cool energetic moshers with direct sharp riffs assisted by gruff semi-hardcore vocals mostly in mid-range.
"Todellisuuden Mestari" is another full-fledged headbanging delight, strictly on the classic side for most of the time, the band not sparing themselves speed/thrashing energetically seldom giving a more officiant flair to their approach (the frolic stoner/doomy cut "Viinahampaat"). "J\\\\'e4ljet Johtavat Ryyppyk\\\\'e4mpp\\\\'e4\\\\'e4n" is a dramatic pounder again with a pinch of doom later this tendency a bit more widely covered in the 2nd half, but to a generally positive effect except for the few moments when the sound starts smelling proto-groove. There's nothing wrong with this effort which would by all means keep all the band fans happy.

Ihmisi Kuolee EP, 1990
Surmaty EP, 1990
Surman Siipien Havinaa Full-length, 1991
Surmaa Knniss EP, 2002
Saatana On Herra Full-length, 2005
Seitsemn Surman Siunausliitto Full-length, 2006
Sarvet, Sorkat, Salatieteet Full-length, 2008
Surmantuoja Full-length, 2010
Todellisuuden Mestari Full-Length, 2013

Official Site


Based on the last demo, this band offers 4 songs of vigorous classic speed/thrash metal in the vein of early Metallica with crisp energetic guitars and slightly annoying semi-shouty hardcore vocals. Good tempos, sharp riffs, nice melodic leads, even a more aggressive Slayer-esque section on "Totaalinen Sota" will one find here.

Demo Demo, 2006
Demo Demo, 2007
kkikuolema Demo, 2008

Official Site


Old school thrash metal in the vein of late 80's Razor with a couple of more moderate crossover elements thrown in (the jolly uplifting "Thrash'n Roll" which delivers exactly what the title promises); the guys play fast and tight, but the awful hoarse singer ruins their efforts quite a bit.
The Split with Drunken Bastards is in a similar unpretentious vein offering playful thrashy crossover, except for the last two tracks which are more aggressive speed/thrashers with a bad sound quality, and could have been written earlier. The guys concentrate on a more intense black metal sound with their other band Black Torment.

Thrash'n Roll EP, 2008
RStrong, Drinkin' Hard, Thrashin' Fast (Goin' South) Split, 2009
Global Nuclearism Split, 2009

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