Copyright (c) 2007-2024 THE THRASH METAL GUIDE

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

RETADOR (SPAIN)

Intense old school thrash which simply knows no respite, the band lashing vicious ripping rhythms to no end, the mid-tempo march "Titeres" also having its fast-paced digression, matching neck-sprainers like the very aptly-titled "Furia" and "Juicio Final", the shouty death metal vocalist possessing a versatile throat, ranging from vicious rasps to low-tuned growls.

Retador Full-length, 2022

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RETALHADOR (BRAZIL)

Old school thrash/death which meanders from all-out rippers ("Extermination") to corrosive mid-paced dirges ("Escoria"), the throaty guttural death metal singer becoming more submissive on the minimalistic morose "Cyborg". "Fear Is the Order" is a welcoming bouncy speedster, and "Cemiterio" is a more energetic briefer, the most dynamic piece in the not very interesting, anti-climactic second half. Some of the band members are also engaged in the death metal formation Disformes.

Escoria Full-length, 2024

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RETALIACAO (BRAZIL)

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

RETALIATION (USA)

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

RETALIATOR (BRAZIL)

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

RETALIATOR (SPAIN)

Classic thrash which is mostly on the fast-paced side, with "Explotadores" leading the pack, the lead guitarist a major performer with his proficient pyrotecnics, the impetuous fervour of "Fucking Blood" aptly assisting the hyper-active cause, the latter also comprising the equally energetic "Survive" and the explosive "Not Wars". Most of the songs are performed live, but the musicianship is admirable, and the singer is an attached rending throat with echoes of early Mille (Kreator).

Explotadores Demo, 1991

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RETALIATORY (BRAZIL)

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

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RETENTUM CURIAE (FRANCE)

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

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RETHURNO (BRAZIL)

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 twisted leads; a fitting epitaph to this otherwise pedestrian recording.

Aterrorize Full-Length, 2015

RETRIAL (RUSSIA)

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 a heavy 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

RETRIBUTION (HOLLAND)

This outfit indulge in a retro brand of death/thrash which is high on both aggression and atmosphere. Early Dark Tranquillity and In Flames come to mind on the more entangled material ("Dystopia"), and even the shorter cuts ("My Escape", "Song of Praise") are not just ordinary bashers. "Within the Hourglass" is an imposing all-instrumental doomy dirge, and the final "Obscure the Sky" is an encompassing near-10-min long progressive saga, summing up what this diverse album is all about, the harsh shouty death metal vocals by far the most ordinary ingredient. Some of the band members are also active with the death/thrashers In Memoriam.

C.H.A.O.S Full-length, 2009
I Am The Ghost Of My Past Full-Length, 2019

Official Site

RETRIBUTION (UK)

Two 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 timbre and fits the undemanding musical approach which suddenly gets pretty aggressive for a while on "Mortal Fear".

Rest In Torment Demo, 1998

RETRIBUTION (USA)

Based on the first 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 second demo.

Demo Demo, 1991
Demo Demo, 1992

RETRIBUTION LAW (USA)

Direct concrete classic thrash/crossover which displays a more melodious sensibility on the more stretched title-track, but overall this is concise non-fussy stuff with "Strength Within" trying something stompier and more varied, the unbridled energy of "Of My Own Volition" and the infectious roller-coaster "Spineless" cancelling such digressions, the shouty quarrelsome vocals helping their cause with all the vociferous passion they can muster.

Exposed... Disposed Full-Length, 2019

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RETROFAITH (USA)

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 stylish 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

RETTURN (BRAZIL)

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

RETURN TO THE MIRE (BRAZIL)

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

RETURNER (USA)

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

REVEAL! (SWEDEN)

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-esque 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 quirkier "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.
"Scissorgod" follows the path of eclecticism whole-heartedly for another hallucinogenic ride which at times gets straightened into a more orthodox black/punk hybrid ("Harder Harder"), the lyrical abrasiveness of "Decomposer" rudely disrupted by sincere blasting black metal downpours ("Down Through The Hole"), the industrial minimalism of "Feeble Hearts" making a new hole into the musical reality of this larger-than-life recording which doesn't find any place for thrash, but the psychedelic disorientation of the aptly-titled "The Plot Thickens" and the quiet Voivod-ish abstracter "What Pigs Get" will delight many with their off-the-beaten-path flair and the eccentric musical decisions.

Nocturne of Eyes and Teeth Full-length, 2011
Flystrips Full-Length, 2016
Scissorgod Full-Length, 2019

Official Site

REVEL IN FLESH (FINLAND)

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

REVELATION (USA)

This band offer pretty cool retro thrash which moves along in both dynamic and semi-technical lines with the sprightly "The End of Me", a nice moshing thrasher, "Into The Black" shredding with similar precision if not even harder. "Twisted Mind Mentality" is a short energetic pulverizer, and "If I Die" is a consummate near-complex journey through the corners of the good old thrash, a multifaced saga with a high satisfaction value, if we exclude the not very expressive hardcore-ish vocalist.

Revelation Demo, 1992

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REVELATÖR (USA)

Based on "Noble Rot", this US trio pull out dynamic roller-coaster thrash/crossover of the old school, the delivery both intense and bashing ("Jesus Just Left Chicago") and frolic and punky ("Part-Time Pope"), the singer shouting in a not very restrained hardcore fashion the entire time, the more serious thrashy "Scimitar" pouring more brains into the instilled pogo, the quiet idyllic instrumental "Pronoia" showing the guys' mellower but by all means more proficient side.

Revelatör EP, 2017
Cardinal Sin Full-length, 2019
Noble Rot Full-length, 2022

Official Site

REVENANT (UNKNOWN)

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 rhythms on "Pulverized" as well as a serene atomspheric insrumental ("The Passing") thrown in in the middle.

Lo and Behold.... Demo, 1994

REVENANT (USA, CA)

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 ambient 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 (USA, NJ)

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 early-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

REVENANT DEAD (UK)

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 Christian 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

REVENANT HOST (UK)

Based on the “Spider Glass” demo, these folks serve pretty cool classic power/thrash that exudes effective elephantine volcanic stomps on “Contagion Whore”, before “Skull Face Thorn” changes the format towards brisk semi-technical energetic thrashing. Less fussy pummeling is offered on the still potent “Emily in Black”, before “Sculptures of the Myre” shatters the environment with a gust of vehement no-bars-held rhythms. The overall approach recalls mid-period Nasty Savage, but faster and not as intricate, the mean spiteful vocalist standing his ground in a curt quarrelsome manner. Worth of note is the presence of the drum authority Jay Graham (Skyclad, Wraith, etc.), and the one of former members of the thrash/death obscurity Cyber Syndrome.

Spider Glass Demo, 1993
Bio-Weaponry Demo, 1993

REVENGE (COLOMBIA)

"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
METAL IS ADDICTION AND OBSESSION Full-length, 2011

Official Site

REVENGE (GREECE)

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 isn't the end, however; the end comes in the form of the mid-paced atmospheric laid-back instrumental "Revelation".
"Massacre in Heaven" is the most aggressive offering so far, the band bashing with vehemence and spite, with death metal materializing more fully on the diverse violator "The Eclipse of Existence" and the brutal grindy outrage "Oblivion". In fact, thrash plays a very little role here, "Necrochakal" bringing back memories from the early Brazilian school (Sarcofago, Vulcano, Holocausto, etc.).

Nail Them All Demo, 2007
Jesus On The Cross Demo, 2007
From Hell Full-Length, 2008
Massacre in Heaven Full-length, 2020

My Space

REVENGE AFTER DEATH (MEXICO)

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 quite 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

REVENGER (CANADA)

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

REVENGIA (SWEDEN)

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 deathly 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

REVERBER (ITALY)

Based on the debut, this formation serve decent classic thrash along the lines of Paradox and Darkness; in other 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.
"Sect of Faceless" is sustained in a very similar to the debut vein, the speed/thrashing parade already quite alluring on the opening "Gods of Illusion" with almost every song a highlight of complex energetic mosh with the shorter cuts ("Channel 666") surprisingly carrying the less dynamic charge opting for a less wild mid-paced delivery. Elsewhere one will encounter steel gallops ("Nightmareland"), lyrical balladic developments ("Wood of Suicides"), some seriously hard-hitting thrash ("Arachnophobia", "Vlad"), and a cool impetuous cover of Angel Witch's "Angel Witch" at the end.
"The Satan Creation" doesn't break any new ground, the hard vehement thrashing of the title-track and the more entangled "Culpa Gravis" setting the militant tone for the remainder, the short stripped-down "Ekbom Syndrome" annihilating quite a few posers along the way. Soaring dazzling leads overflow form "Hail the Psychopaths", with "The War is Yours" following suit with a more laid-back friendlier layout, the end preserved for a much more energetic, sped-up version of Manowar's "Thor (The Powerhead)".

Serial Metal Killer Full-length, 2009
Immortals Full-Length, 2016
Sect of Faceless Full-length, 2020
The Satan Creation Full-Length, 2024

Official Site

REVEREND (USA)

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 isn't 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 three 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's 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 marvelous "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

REVEREND HOUND (GERMANY)

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 second 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

REVEREND VICE (UNKNOWN)

This is modern post-thrash/heavy which switches from fast-paced abrasers ("Time's Against Me") to radio-friendly walkabouts ("I'm Your Satan"), the latter side much better covered, the guys not very exciting as musicians, dragging along in a not very exciting, one-dimensional manner, seldom generating entertainment for the hard-boiled thrash fanbase. The singer isn't very bad but his leveled hoarse semi-clean croon never changes from beginning to end.

To This Hell Full-length, 2022

Official Site

REVERSED (BRAZIL)

These violent Brazilianos are largely obsessed by death, but the sneaking thrashy strokes are by all means worth mentioning, making this hyper-active recording a less ordinary proposition, especially the less speed-oriented side of it like the multifarious melodic riff-fest "Manifest in Fury", or the more technical, again infectiously melodic, roller-coaster "Southeast Warfront". The very brutal guttural vocals may scare the unprepared, especially on blasting outrages like "Plague Eradication" and the near black metal experience that is the closing "Ignition to the Apocalypse".

Ignition to the Apocalypse Full-length, 2018

Official Site

REVERSED (CANADA)

Classic black/thrash/death which takes no prisoners with the maddening melee "Maelstrom Juggernaut", the more epically-performed thrash/deathster "Hungry Graves" infusing then hyper-active proceedings with the needed doze of melody, the same formula followed by the seepingly dramatic "Beneath Evil Eyes" and the rampant semi0chaotic closer Black Seed". The vocalist is a shouty deathly presence, his intimidating antics suitable for the exhausting musical palette. The musicians are also busy with the black/death hybriders Mitochondrion, the heavy metal units Stryker and Spell.

Wildly Possessed Full-length, 2024

Official Site

REVIGATOR (SWEDEN)

Based on the full-length, this one-man stint (the name Stefan Forsberg) serves intense retro thrash/death which races with the speed of light ("Witch Mountain (Part 2: The Execution)") for at least half the time, the other half on the more laid-back darker side (the atmospheric "Malleus Maleficarum"), but Forsberg is clearly fonder of the brutal gimmicks more, and before you know it both uncontrolled blast-beats ("Judas Cradle") and hysterical takes on hardcore ("Heretics Fork") take over, the man providing harsh shouty death metal vocals except for the time when he screeches like a banshee to a really apocalyptic, also laughable effect.

Pleasure to Guillotine EP, 2019
Coronaviridae EP EP, 2020
Medieval Full-length, 2020

Official Site

REVIOLENCE (BRAZIL)

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

REVOCATION (USA)

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 musicianship 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 three 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 five 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 frolicker "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 doom 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.
"The Outer Ones": time for another low after a string of fairly capable outings; the band slacken once again producing this tepid, not very technical at all, effort which sticks to the ordinary, plain banal at times, death metal idea for a large portion of the time the overall delivery quite reminiscent of the one of "Chaos of Forms", with the supposedly more contrived material ("That Which Consumes All Things", the mazey title-track) lacking the visionary flair of the guys' most inspired work. A very standard melo-death, occasionally thrash, affair that may even be viewed as the band's weakest achievement so far; productivity in their camp is by no means synonymous with quality, unfortunately...
"Netherheaven" is a slight improvement over its lackluster predecessor, the band carrying on with their fluctuating performance, this time betting on the marginally more technical side of it, the opening "Diabolical Majesty" ripping through the speakers with both dazzling brutality and intricate sophistication, the atmospheric pensiveness of "Lessons in Occult Theft" influencing a couple of tracks after it. No such films on the fast-paced technicaller "Strange and Eternal", a cool reminder of death's later period, the doom-laden morbidity of "Galleries of Morbid Artistry" a somewhat unexpected insertion, the band toning it down again, the escalating drama of "The Intervening Abyss of Untold Aeons" not much to salivate over, the guys missing another opportunity to fascinate, leaving all the semi-pleasant surprises for the closing "Re-Crucified", a redeeming restless speedster that can even pass for the highlight on this pretty mediocre showing.

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
The Outer Ones Full-length, 2018
Netherheaven Full-Length, 2022

Official Site

REVOKER (UK)

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, surprise ("Don't Want It").

Revenge For The Ruthless Full-Length, 2011

REVOLT (CANADA)

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

REVOLT (GERMANY)

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 thrashing 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 marvelous 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

REVOLT (MAURITIUS)

This is modern post-thrash that has its unexpected mashing moments (“Rebirth”), but it’s the steady mid-paced trot epitomized by pieces like “Oppression” which make the cut better, aptly supported by the consistently threatening throaty death metal vocals. “Destruction” is a curious semi-deathly cut with an intriguing quasi-progressive layout, and “Liniver” is a nice epic trip with numerous nuances covered, including a couple of less bridled dynamic sections.

Chapters of Resistance Full-length, 2022

Official Site

REVOLT (PAKISTAN)

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 timbre 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

REVOLTAGE (BRAZIL)

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

REVOLTED (BRAZIL)

The "revolution" has begun, and these Brazilians 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 death metal tone.

Revolutionary Order Full-Length, 2014

Official Site

REVOLTED MASSES (GREECE)

The debut demo: four 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".
"Rise" isn't radically different from the preceding affair as again modern sterile walkabouts (the title-track) shake hands with faster-paced thrashers ("Drown in Apathy", the ripping headbangers' hymn "Stand in Line") both sides alternating on a near-track-by-track basis, with a couple of intriguing melodic pageants ("The Favourites of God") beautifying the environment, the cool balladic instrumental "Lydian Colours" also working in that direction.

Revolted Masses Demo, 2009
Seeds Of Revolt Demo, 2010
Us or Them Full-Length, 2013
Age of Descent Full-Length, 2015
Rise Full-Length, 2020

My Space

REVOLTING BREED (GREECE)

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

REVOLTONS (ITALY)

Based on "Lost Remembrance", these guys play thrashing 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.
“Celestial Violence” is a modern power/proto-thrash fiesta which is built on flashy melodic lead sections (“Escape or Drown”) and sleepy minimalistic strolls (“The Darkfall”), the lyrical balladic “Nany John Skennon” a definitely positive occurrence. Expect to headbang for a bit on the lively “Spiritual Monster”, but elsewhere such opportunities haven’t been provided for the audience, if we exclude separate sections from the closing crowd-pleaser “Cosmic Disabled”.

Night Visions Full-length, 2003
Lost Remembrance Full-length, 2007
Underwater Bells Full-length, 2009
386 High Street North: Come Back to Eternity Full-length, 2012
Underwater Bells Pt. 2: October 9th 1963 Act. 1 Full-length, 2020
Celestial Violence Full-length, 2023

Official Site

REVOLUTION WITHIN (PORTUGAL)

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

REVOLVER (SLOVENIA)

This is typical for the time of release groovy post-thrash, probably a tad more dynamic than the rest "Druzba" strongly recalling Pantera'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

REVTEND (PORTUGAL)

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

REVULSED (COLOMBIA)

Based on the full-length, this is fairly cool complex retro thrash/death spearheaded by terrifying shouty death metal vocals; the more technical expletives of "Revulsed" are more than welcome to alleviate the pummeling, and later the situation only gets loftier, first with the virtuoso-prone symphony "Armputated", and then with the tight hectic shredder "Infamous Organ Puzzle". More pleasantries served later with the dazzlingly brutal "Carnal Sabotage" and the short pulverizing conundrum "Child's Play", with some pure thrash eventually materializing on the brisk "Pot of Gore", "Together as One" a full-blooded entry into the etch-death realm, and the closing "Le Cirque des Monstres" tasting some progressive metal grandeur thanks to tight elaborate riff-patterns and challenging labyrinthine decisions.

The Untold Nightmares EP, 2015
Terrifying Cacophony, Vol. 1 Full-length, 2022

Official Site

REX MUNDI (GREECE)

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 even 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

REZET (GERMANY)

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 sparse 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 influences 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.
"Deal With It!" is the next in line mixed bag from the band who provide a similar concoction of styles and influences among which the speed metal-based material (the title-track, "No Plan B") deliver more convincingly whereas the remainder serve more as fillers to the more energetic core, including the mild tepid ballad "Alone" and the groovy sing-alonger "Dead or White". Still, the dynamics is big throughout, and although thrash is very sparsely heard, one shouldn't complain too much while listening to these merry uplifting tunes.
"Truth in Between" is woven of the same diverse material, mostly a power/speed metal mixture with a couple of more convincing dramatic, semi-balladic escapades ("Populate. Delete. Repeat."), plus a few hard-hitting thrash-fuelled numbers ("Half a Century"). "Infinite End" is a bland soporific ballad, and "I'm Not Gonna Stop" is a cheesy radio-friendly rocker, some of the signs that this effort can't possibly be taken seriously, and not only by the hardened thrash fanbase.

Toxic Avenger EP, 2008
Have Gun, Will Travel Full-length, 2010
Civic Nightmare Full-length, 2012
Reality Is a Lie Full-Length, 2016
Deal With It! Full-Length, 2019
Truth in Between Full-length, 2021

Official Site

REZINWOLF (UK)

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 definitely 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 timbre changing pitches whenever appropriate. Some of the musicians 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

REZISTOR (ROMANIA)

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 faithfully. 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 moshing 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

RHADAMANTYS (HOLLAND)

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

RHANAWA (MALAWI)

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 doom 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

RHESTUS (BRAZIL)

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 doom 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

RHESUS (SPAIN)

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

RHETT AKERS (USA)

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 preserved 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 timbre 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

RHINO (SPAIN)

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

RHYTHM OF FEAR (USA)

Based on the full-length debut, 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 second 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 aren't annoying and even carry a shade of melody.
"Fatal Horizons" moves towards the purer thrashy ways of expression, the guys moshing on full-throttle, the opening "Obsolescence" setting the tone, the title-track offering a more diverse arsenal of rhythms and riffs, the possible highlight here, with both "Self Destructive Brain" and the closer "Simulated Times" adding their contribution to the more varied palette, the later also with a stomping steam-roller section.

Mass Illusion EP, 2015
Maze of Confusion Full-length, 2016
Ritual Dementia EP, 2019
Fatal Horizons Full-length, 2022
p>Official Site

RICHARD III (IRELAND)

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

RICOCHET (USA)

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 vivid 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

RICTUS GRIN (USA)

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 antediluvian 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

RIEL (ARGENTINA)

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

RIFF RAFF (GERMANY)

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 quality ("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 thrash 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

RIFFER MADNESS (USA)

A power trio from The States who indulge in riffy, also mad, all-instrumental thrash which doesn't constantly 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, death metal rhythms enhancing the atmosphere.

Sinister Smoke Full-Length, 2013

Official Site

RIFFMASTER GENERAL (IRELAND)

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

RIFFOBIA (GREECE)

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.
The self-titled would be another feast for the moshers, the band rushing with impetuous numbers (“Herald of Pain”, the brief explosive “Prisoner”) from all sides, the more moderate riffs on “Welcome to Hell” finding their match on the more pensive execution on the closing sleeper “Soul Collector”.

Laws of Devastation Full-Length, 2013
Death from Above Full-Length, 2016
Riffobia Full-Length, 2023

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RIFFORIA (SWEDEN)

Really cool retro power/thrash with a steady stomping main engine; some powerful clean emotional vocals can also be detected easily among the vigorous fast-paced skirmishes (“Sea of Pain”) and the heavy dramatic riff-fests (“Built to Destroy”). The officious epic flair of “The Devil's Sperm” is also well acknowledged, as are the polished intensity of “Evilized” and the galloping fervour of “Rifforia”, the thrashing urgency of “Death Row Child” a really nice closure to this admirable entry. The band were earlier known as Tuck from Hell, and later as Brother Tuck. Some of the musicians are also engaged at present with the heavy/power metal unit Civil War.

Axeorcism Full-length, 2024

Official Site

RIFFRILDI (ICELAND)

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

RIFFTERA (FINLAND)

The debut: 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 that lasts for whole 12-min and pulls the album down. The band members are also involved with the death metal outfit Chain Reaktion.
"Across the Acheron" is an obvious improvement over the preceding saga, the guys moving towards the progressive metal spectre with clean vocals soaring above the complex soundscapes on "Two Sides of the Story". Both thrash and death come back with full force on "Eye of the Storm" and never leave although the only genuine chance at full-blooded headbanging thrash they get on "Cry Wolf" as the remainder flirts boldly with the purer progressive forms, the band overdoing it again at the end on the overlong 11.5-min title-track where too many things happen for one to stay put the entire time, not necessarily related to the hard-hitting side of metal.

Pitch Black Full-Length, 2015
Across the Acheron Full-length, 2019

Official Site

RIFT (UK)

The debut: 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 recall 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 with 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 gets recognized due to his more aggressive delivery.
"Purge": the Rift saga goes on on full-throttle the guys again offering their wide palette to the eager audience. The guitar sound is a bit more sterile this time, but this doesn't appear to be a big impediment on diverse shape-shifting shredders like "Hymns Of Hate" although less eventful mid-pacers like "Dark Daze" kind of fail to utilize all the tools available with their insistent early Venom-esque vibe. "Waiting For The Gods" touches the more epic parametres again with echoes of Sabbat, and remains the most interesting proposition with the semi-technical mosher "Division" a very close second.

Super Killer Fragile Full-length, 2017
Purge Full-length, 2018

Official Site

RIGHT TO THE VOID (FRANCE)

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

RIGHTBRAIN (JAPAN)

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 exercise 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

RIGHTEOUS DEATH (AUSTRALIA)

Not bad classic heavy/power/thrash with vicious mean semi-death metal vocals; this is a strange conglomerate of heavy pounding pieces (the weird jumpy "In the Shadows") and more stylish, more diverse allusions to the Mercyful Fate repertoire ("It's Just Death"), the epic battle-rousing "Dragonstein" carving a different trajectory, the hard'n heavy sing-alonger "Sinner" contrasting with the jumpy neurotic semi-technicaller "Temple of Hate".

Rituals Full-length, 2020

Official Site

RIGID DOMAIN (DENMARK)

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.
The "Mandatory...End of the Story" demo is by all means mandatory, the guys (and a girl) partly falling prey to the modern groovy tunes of the decade, still producing a heavy volcanic sound that is frankly close to doom ("Black Fire"), when it doesn't mosh around ("Game For Life") in a playful semi-headbanging mode, the full-blooded thrashing on "Angel Tears" still contaminated by swathes of modern me(n)tality. Nothing to complain on the rowdy raging "Time of Possession", a major head-splitter with a few sagacious balladic insertions. Everyone performs adequately here, including the girl, the name Julie Molin, who does a particularly good job with her powerful convincing tirades.

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

RIGOR MORTIS (ARGENTINA)

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

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RIGOR MORTIS (GERMANY)

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

RIGOR MORTIS (JAPAN)

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, Rosenfeld, 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

RIGOR MORTIS (USA)

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 really 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 The Ramones' "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 mostly 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

RIIVAAJA (FINLAND)

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 thrashier Barathrum, spiced up with vicious death metal-ish blasts. There's 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

RILER (COLOMBIA)

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 mid-pacers like "IOh Gran Muerte!" a true rarity. The singer rends his throat mercilessly in a not very appropriate black metal fashion, and seems like the least capable performer of the lot.

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

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RILUTTANZA (ITALY)

This is dark somber mid-paced thrash with resounding heavy riffage and deep guttural death metal vocals. The second 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 doom-flavoured passages and overall better musicianship well displayed on the closing creeper "Vision in Black".

Riluttanza Full-Length, 2011

My Space

RIMMSHOT (HOLLAND)

Rough abrasive modern thrashcore accompanied by vociferous rappy vocals; a typical product of the 90's with nods to Biohazard, Prong and Sick of It All with a couple of sincerely brutal outtakes ("Impisoned Mind", "Useless Toy") on top of more carefreely executed ("Get Out of My Way") cuts the latter partly ruined by the very aggressive quarrelsome deathly vocals.

Get Out Of My Way Demo, 1996

RINGWORM (USA)

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 thrashier. 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 themselves 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".
"Death Becomes My Voice" shows little sophistication although the opening title-track adds an intriguing quasi-progressive flair initially, before the short ripping numbers take over, turning the album at times to a frenetic hardcore battlefield ("The God of New Flesh"). More controlled crusty rhythms can be detected on "Dying by Design" as well as an elusive doom veneer on "Separate Realities", but there isn't much mercy shown elsewhere if we also exclude the abrasive dirgy closer "Final Division".
"Seeing Through Fire" is the next-in-line unrestrained affair, the band throwing brutal bullets ("Carved in Stone", "Death Hoax") at the intimidated audience, the abrasive very shouty vocals further scaring away the more squeamish. The seeming respite is titled "You Want It To", a marginally more measured thrashcore hymn; the rest is one violent moshing melee which still has its more proficient lead-driven side: check out the nice allusion to Dario Argento's horror blockbuster "Suspiria"'s supreme soundtrack on "Power and Blood", and the absolutely ravishing pyrotechnics on the closing "Playing God".

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
Death Becomes My Voice Full-Length, 2019
Seeing Through Fire Full-length, 2023

Official Site

RINJYU-ZANGE (JAPAN)

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

RIOT AGENTS

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

RIOT SQUAD (AUSTRALIA)

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

RIOTCHAIN (AUSTRALIA)

Abrasive modern-ish thrash which doesn't win too many points from the noisy production department, but the guys try their best under the challenging circumstances, and manage to come up with some sensible stuff like the admirable semi-technical shredder "A Place To Run To" and the consistent mid-paced stomper "Degustations Whore". Bigger musical proficiency is also exhibited on the short closing "Truth It Come", a choppy pounding delight which also nicely accommodates the somewhat hysterical shouty vocals.

Panic Attack Full-length, 2019

Official Site

RIOTOR (CANADA)

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 deathly 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.
"Recrudescence of Darkness" is another brisk brutal affair, the band moshing like demented, thrash still panting prominently ("Onward to Devastation") here and there, like on the tight ripping "Tower of Silence", but there's a certain doze of hyper-blasting black epitomized as well this time, the speed metal winner "Fraternal Genocide" another variegated condiment. The bigger technical prowess displayed on "The Pigs of the Martyr" can pass for the highlight, but make sure you don't miss the epic build-ups on "Turning Land to Red" or the operatic pomposity of the closing "Devil's Pass".

Death and Destruction Demo, 2007
Beast Of Riot Full-length, 2010
Rusted Throne Full-Length, 2015
Recrudescence of Darkness Full-length, 2022

Official Site

RIPCHAIN (USA)

Five hymns of heavy 90's groovy post-thrash; the music isn't 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

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RIPCAGE (HOLLAND)

Retro thrash sustained in a consistent mid-tempo fashion, the band also attempting something laid-back and semi-balladic on "Restless to Explore", which also shows their more modern side, the title-track an imposing steam-roller which best sums up the approach here, the jumpy faster-paced "Emptiness Inside" the most energetic occurrence here, the leveled mid-ranged clean vocals trying to be an asset for most of the time.

When the World Burns Full-length, 2022

Official Site

RIPCORD (USA)

This band offer a potent mix of heavy, power and thrash metal. There's 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 six 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

RIPFENCE (USA)

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

RIPGUT (USA)

Four 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

RIPHOUSE (USA)

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

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RIPPED (USA)

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 doom passages thrown in. The singer here (if that's the same one) delivers a gruff low-tuned timbre 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 overlapping 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

RIPPED OFF FACE (USA)

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

RIPPER (CHILE)

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 timbre.
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 shredding guitars quite reminiscent of none other than Mike Scaccia (R.I.P.; Rigor Mortis, 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/death 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. The title-track 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 mention 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.
The "Sensory Stagnation" EP is another sheer display of musical mastery from these established now powers on the scene, the intricate speedster "The Unreal" leading the proceedings guided by the later-period Death legacy, the title-track rushing onward without much ado. "Like a Sacrilege" excels in the lead department, stomping furtively without too many fast-paced surprises, those left for the death-laced "Terror Streets", a more active representation the guys showing a lot of promise for the eventual full-length.
"Paranormal Waves" is another short format, the band obviously feeling more comfortable with it at this stage; no complaints music-wise whatsoever although the title-track is full-blooded death metal ala early Death, the more entangled configurations beginning with the schizophrenic roller-coaster "Uncontrolled Abjection" before "I Origin" serves a web of intricate riff-patterns on a heavy stomping base initially. "The Médium" is a raging death metal shredder the guys orienting towards the more brutal side of the spectre here, but there's no slackening in the musical department if we exclude a few more unmitigatedly linear sections.

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
Sensory Stagnation EP, 2019
Paranormal Waves EP, 2020

My Space

RIPPER (COLOMBIA)

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

Youtube

RIPPING CORPSE (USA)

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

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RIPPING HEADACHES (USA)

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

RIPPR'D (CANADA)

This is another band where the new Razor drummer Rider Johnson exercises his hitting skills. Style-wise this isn't too far from Razor's latest, only served with a more carefree crossover shade, the crunchy mid-pacer "Banned for Life" finding its place amongst the speedy walkabouts, "Tales from the Ripp'd" and "Beer, Bud, and Bitches" leading the pack with vigorous headbanging glee, the intense confrontational semi-declamatory vocals doing their own version of the pogo instilled. Some of the musicians also shred with the modern post-thrashers Warlord Messiah.

Red, White, and Ripp'd Full-length, 2021

Official Site

RIPSAW (HOLLAND)

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

RIPTOR (COLOMBIA)

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

RIPTORN (USA, FL)

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 sparse 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.
"Open Your Third Ear" is abrasive hardcore-ish, crusty stuff where longer, more elaborate numbers ("Bowl Patrol") shake hands with friendlier heavy/power metal propositions ("The Grip"), leaving the serious thrashing for "High Speed D.S.L." and "Mr. Mystery Man". The closing "The Wrath of Torn" is an epic semi-balladic/doom instrumental which misses the mean spiteful semi-clean vocals.

Demo Demo, 2012
The Shit EP, 2012
Total Ripoff EP, 2014
Open Your Third Ear Full-length, 2018

Official Site

RIPTORN (USA, NY)

Quite cool classic thrash which is reflected in three tracks only, the restless hectic “Cutthroat” showing some musical prowess with its fervent entangled riffage, the semi-shouty vocalist doing a good job with his venomous tirades. “Remnant of Sanity” is a streamlined mid-pacer, not much to extract from it, but “Slave of Hate” is an energizing roller-coaster with near crossover frenetics epitomized for a thrilling exhausting ride with a gain a couple of twisted unorthodox rifforamas.

Riptorn Demo, 1989

Unofficial Site

RISABOV (GREECE)

The demo: 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.
"Light Years Towards Impact" retains the more complex delivery from then preceding slab, the choppy hectic "Sanction" complicating the environment in no time, leaving both the more brutal and more melodic embellishments for "Dreaming Infinity". "What If Time" is an engaging multi-layered all-instrumental progressiver with a perennially nervy rhythm-section, and "Directive 4" is built around a very similar layout, another vocal-less composition which gets energized and vocalized for "Inner State", a dynamic shape-shifter that is followed by the equally perplexing masterpiece "Outer State", a feast of sudden time and tempo-changes with dizzying vertiginous qualities.

Risabov Demo, 2011
Rise Full-Length, 2013
Light Years Towards Impact Full-length, 2024

Official Site

RISE BEYOND (USA)

Modern feelgood power/thrash with bold shades of metalcore; the jumpy, not very eventful approach wears thin too soon as there's too much time wasted on lyrical balladic developments ("Requiem", "This Man That I've Become") which at least epitomize the more melodic cleaner side of the vocal duel.

The Truth Untold Full-Length, 2018

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RISE FROM YOUR GRAVE (USA)

Classic power/thrash which is high on melody as evident from the epic sagas "Ghosts in the Graveyard" and "Where Darkness Sleeps", the speedy barrage "The King in Yellow" moving the spirits around, the actual pogo stirred with "Phantom of Flatwoods", a vehement proposition that leads to other fast-paced heroisms like the short non-fussy "WendiGo-Go", but make sure to skip the radio-friendly piece of cheese "In Love with Evil", nothing evil here, just hospitable hard'n heavy which at least shows the hoarse semi-clean vocalist as a more capable romantic tune handler.

Tales of Terror Full-Length, 2024

Official Site

RISE OF CALIGULA (USA)

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 doom-laden "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

RISE OF INSANITY (FINLAND)

Based on the full-length, this band play modern thrash which also reaches for the deathly realms on the less bridled "The Hangman", whereas "Battle Anthem" is a galloping winner with delectable melodic undercurrents. "All Eyes on You" is a pounding but belligerent stroll, and "Mania" is a merry optimistic roller-coaster with sprightly uplifting rhythms. "Happy Nation" attempts something epic and laid-back, where also the closing sprawling odyssey "The Righteous" belongs, a doom-laden procession with not much thrashing occurring throughout its 8-min.

Dark Figure EP, 2020
Suicide Ride Full-length, 2024

Official Site

RISE OF KRONOS (GERMANY)

Based on "Where the Gods Return", this act deliver old school thrash/death which is a combination of heavy stomping tractates ("Hateful Fury"), battle-like roller-coasters ("Olympic Warmachine") and occasional speedy extrapolations ("Exit the Light"), the shouty death metal vocalist spitting bile and venom when in action, losing it a bit on the maddening brutalizer "Kraken". Some of the musicians are also busy with the similarly-styled thrash/death hybriders Surface and the death metal outfit Meister Scheisze.
“Imperium” is very similar to its immediate predecessor, the battle-like atmosphere instilled by the bellicose “Arrival of Delusion” dissipated by the galloping vigour of “Children of Leprosy” and the dynamic trots of “Proclaiming Empery”, the headbanging aesthetics of “LegioTitanum” well acknowledged, although to these ears the highlight remains the 1.5-min instrumental “Imperial”, a virtuoso lead-driven piece that would make a lot of guitar heroes envious; with the moshing delight “The Offering” at the end a very close second.

Rise of Kronos Full-length, 2018
River of Souls Full-length, 2021
Council of Prediction Full-length, 2022
Kraken EP, 2024
Where the Gods Return Full-length, 2024
Imperium Full-Length, 2024

Official Site

RISE OR DIE (UKRAINE)

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 second 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) compensates 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 vocalist is an attached suitably angry shouter who even acquires sparse melodic notes here and there which "rise and die" out of nowhere.

Adrenaline Rush Full-Length, 2013

RISE TO BURN (USA)

This act play a modern brand of thrash/death metal that can be both intense and headbanging ("Redefine", the excellent short ripping "Dementia") and more complex and more melodic ("Sixes and Sevens", "Trigger"). The latter aspect isn't as strongly accentuated on as the guys prefer to stick to the speedier confines where uncompromising blitzkriegers like "The Great Demotion" and the more death-prone "Dark Endeavor". The band members are involved in numerous other projects: the old school thrashers Everything's Ruined, then more hardcore-prone bashers Leech, the avantgarde metal formation Fast Eddie, etc.

Baptize the Nightmare Full-length, 2018

Official Site

RISE TO RUIN (USA)

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 of Carnivore, an impression further supported by the heavy throaty vocals ala early Peter Steele (R.I.P.). "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
Baptize the Nightmare Full-length, 2018

Official Site

RISE UP (POLAND)

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

RISEN PROPHECY (UK)

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 earlier. 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 second 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

RISING DARK (ITALY)

The demo: retro power/thrash, not very well-constructed, 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 second 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 thrashier 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 second half as a whole isn't 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

RISING NATION (BELGIUM)

Based on the "Fears" demo, this outfit serve modern death/thrashcore with scary death metal vocals. The delivery fluctuates between fast ripping proto-deathsters ("Earth Declines") and more moderate mid-pacers ala early Pro-Pain ("Rising Nation"). Both sides work and this effort isn't that bad with face-melting speed taking turns with squashing steam-roller sections, sometimes within a single track ("Cartoonized"), "A Love Song" being a mild friendly crossover cut. Some of the band members also play with the brutal death/grinders Punished Earth.

The Last Waltz Demo, 1990
Man's Creation Demo, 1991
Fears Demo, 1992

Official Site

RISING PAIN (USA)

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

RISING REGIME (USA)

There's only one musician behind this project, the name/alias Rytzyk, who specializes in quite good intense classic thrash/death which has enough technical chops to satisfy fans of Hexx and Vacant Grave, especially on the more thrash-fixated material like the cleverly-galloping "Swwer Slaves" and the brilliant diverse "Coroner meets Baphomet" roller-coaster "The Swing of the Pendulum". Explosive more immediate headbangers like "Death Breath" and "Immortal Son" restore the balance which tips towards the technical side on the final "The End's Begun", a stylish less ordinary shredder offering a variety of tempos for another thrilling ride including a delightful portion of dazzling melodic leads.

Survive or Die Full-length, 2019

Official Site

RISING SUN (CANADA)

This Canadian trio pull out fairly cool technical/progressive thrash of the old school, with echoes of both Darkane and Vektor, which is replete with spastic guitar acrobatics on the effervescent opener “Archons of Death”, the hyper-active progressive “Primal Regression” keeping the entertainment value very high, not without the help of the variegated riff-fest “White Cross”, a steady variegated parade with nice complex guitar work. “Silent Eulogy” is just an idyllic acoustic all-instrumental interlude, but later on the listener will savour the steel sharp intricacy of “Unknown Deity”, the breath-taking balladic respites on the larger-than-life progressive instrumental “Infinite Horizon”, and the virtuoso pyrotechnics of the closing “Quest for Absolution”, the shriek death metal vocalist exacerbating the sizzling atmosphere with his venomous presence.

Language of the Warrior EP, 2019
Quest for Absolution Full-length, 2023

Official Site

RISK (GERMANY)

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 swansong.

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

RITES OF PAIN (CZECH)

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

RITO PROFANATORIO (PERU)

Based on “Grimorios…”, this band play old school black/thrash/death that indelibly has its bashing side, the calmer semi-galloping strides of “Templo de la Herijia” not quite fitting the harsh guttural death metal vocals. Welcome a portion of wild unfettered blast-beats on “Reminicenciasdel Chaos” and “Epitome de la Perversion”, the cover of their compatriots Hadez of “Sodoma y Gomorra” the familiar unpolished brutal downpour. Some of the band members are also active with the thrash/death/blacksters Feretrum and the retro thrash unit Street Thrash.

Necro-ritual Full-length, 2013
Grimorios e Invocaciones Desde el Templo de la Perversion Full-length, 2015

Official Site

RITUAL (BRAZIL, SANTOS, SAO APOLO)

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

RITUAL (BRAZIL, AGUAS DE LINDOIA, SAO PAOLO)

Based on the "World in Crisis" demo, this band play dark ominous old school thrash/proto-death with not very rehearsed screechy blacky vocals. The leads are surprisingly proficient, and "Way Without Return" is a cool more stylish basher, an all-instrumental piece which sticks out from the rest among which one may also notice "For Whom the Bell Tolls", not a Metallica cover, a violent ultra-fast death/thrasher.

Ritual Demo, 1990
World in Crisis Demo, 1991

RITUAL (CHILE)

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 death metal notes. "Twisting Your Mind" is another raging shredder with marginally more moderate rhythms closing 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

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RITUAL (USA, IL)

Based on the "Poor" demo, this band play heavy 90's post-thrash with not very good, unrehearsed shouty semi-death metal vocals. The music has its characteristic semi-twisted character ("Thrown to the Lions") at times, the atmospheric suggestivity of "Fail/Safe" a surely stylish presence despite its not very compatible nature. There's also a clean vocal presence which is way better than the other one, especially on the semi-balladic closer "Not Long Now".

Onward Through the Agony Demo, 1992
Demo Demo, 1994
Poor Demo, 1995

Youtube

RITUAL (USA, OH)

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 Fear"). "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

RITUAL AGGRESSION (USA)

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 impress 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

RITUAL CARNAGE (JAPAN)

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

RITUAL CONTRITION (USA)

Modern, moderately contrived thrash which gets the message through with consistently heavy mid-tempo riffage, the progressive thrash bouncer "Duality Trades" the clear highlight, its jumpy delivery later partially translated on the 11-min closing saga "Constructs Eclipse", a not very eventful mid-paced march the guys steadily refusing to speed up even for a split second. The vocalist is a sinister deathly reciter whose harsh industrialized blend can get on the nerves at some point.

Hang the Moon Full-length, 2020

Official Site

RITUAL DICTATE (CANADA)

Classic/thrash/death which comes served with a pronounced abrasive clout, this is an intense hyper-active offering which all of a sudden switches to beautiful lyrical balladisms on "Given to Despair" where even the shouty hysterical deathly vocals are replaced by very cool emotional clean ones. This is a very momentary respite, though, as later on the guys are back on track with the more technical walkabout "Last Phase of Life" although "Aperiam in Porta" is another mellower deviation, a melo-death progressiver which suggests bigger musical prowess that needs to be elaborated on.

Give In To Despair Full-Length, 2020

Official Site

RITUAL MISERY (USA)

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 permeating modern groovy 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

RITUAL MOON (USA)

This is catchy black-ish speed/thrash performed by three vicious but proficient damsels... yes, this is an all-female product which either rages on in the manner of Aura Noir and another Norwegian act, Inferno ("Grave Soul"); or stomps atmospherically (the title-track) with dark more melodic strides. The headbanging side is more accentuated on, but also amplified by the odd galloping flair ("Your Own God"), the gloomy tenebrous "Dismal" a first-rate instrumental with a more pronounced black metal presence. "Transcend" brings back the thrash with badly disguised vehemence, and "Sadistica" is a cool dirgy tribute to early Celtic Frost, another tasty addition to a pretty entertaining template. Some of the firls also play with the heavy metal outfit Sirenhex.

Ritual Moon I Full-length, 2021

Official Site

RITUAL OF AGONY (USA)

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 in their turn develop in a clumsy manner, the sleepy atmosphere further deepened by the indifferent, unemotional, semi-declamatory vocals.

Half Past Dead Demo, 1990

RITUAL OF TORMENT (USA)

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

RITUAL SACRIFICE (USA)

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 hefty technical twist. The opening title-track 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

RITUAL SERVANT (USA)

Based on the full-length debut, this duo play "ritualistic" "servile" old school thrash which flirts with both the bashing headbanging ("Amongst the Wolves") and the atmospheric, more elaborate ("The Sacrifice") side of the spectre. "Dying to Self" throws in a few more stylish technical rhythms into the already interesting melee, the focus in the second half more on heavy stomping formulas ("The Just") with heightened musicianship. The vocals are intense semi-clean coming as a more aggressive, also more shouty version of James Hetfield.
“AlbusMendacium” is a much more controlled offering, the moody brooding opener ”Whitewashed Tombs” creating a near early-Celtic Frost-like atmosphere, the genuine pogo-inducing moments very few in-betweens, the heavy squashing rhythms of “Lazarus” clinging towards the battle-like heroics of Cerebral Fix; and “Death and Life” even tasting the power metal confines with a more streamlined veneer. The ambitious progressive clout of the closer “Revelation 3_16” is another novelty, the band expanding their palette also outside the strictly thrash metal spectre.

777 EP, 2017
Metallum Evangelii Full-length, 2019
Albus Mendacium Full-length, 2023

Official Site

RIVER'S EDGE (SWEDEN)

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

RIVER FRESHNEY (UK)

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

RIVER OF TIME (POLAND)

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

RIVERGE (JAPAN)

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 sophomore 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

RIVERVIEW NIGHTMARE (CANADA)

Four tracks of dark mid-tempo power/thrash with very unsuitable semi-death metal 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 canceled 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

RIVET

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

ROADHAUL (AUSTRALIA)

Based on the full-length, this act specialize in carefree unpretentious thrash/crossover which either stripped-down hardcore ("Shredded") on the shorter material, or is reflected in longer more moderate walkabouts ("The Hangman") the latter losing the thrash idea somewhere. The latter isn't very assuredly caught on the shorter cuts like "Warship", either, but this is a merry recording which makes claims at nothing save for partying.

EPitaph EP, 2016
Shredded Full-length, 2019

Official Site

ROADKILL (AUSTRIA)

Based on “Insanity Inside”, this formation serve classic speed/thrash that is characterized by brisk elevating cuts (“No Compromise”, the crossover-laced “Chainsaw Love”) some of which (“Heart Attack”) are pure speed metal joy. The bursting thrashing urgency of “Lady Revenge” is hard to bypass, as is the fist-pumping catchiness of “Magnum Opus No.1”, the radio-friendliness of this number amplified by the rock-ish goofiness of “First Blood”. The singer is a decent clean performer, singing his heart out at times with panache and passion.

Roadkill Full-length, 2016
Killers on the Road EP, 2017
Insanity Inside Full-length, 2023

Official Site

ROADKILL (AUSTRALIA)

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 timbre which he occasionally stretches towards the semi-shouty confines.

Agenda EP, 1994

Official Site

ROADKILL (PUERTO RICO)

This young outfit serve catchy old school power/speed/thrash which combines mid-paced power/thrashy joys (“Ash”, “Nuestra Tierra”) with either balladic sinners… sorry, sleepers (“Sinner”) or unrelenting speedy propositions( “Death in the Air”), the hoarse but assured semi-clean vocalist doing a decent job with his frequent authoritative inclusions.

This Killing Is for You Full-length, 2022

Official Site

ROADKILL (USA)

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

ROADKILL CARNIVORE (USA)

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

ROADKILL XIII (GERMANY)

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 closing "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

ROADSIDER (USA)

Four 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

ROAR (SPAIN)

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

ROARBACK (DENMARK)

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 two or three 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

ROBOTS & MONSTERS (USA)

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 leading the show which becomes slower and mellower with each passing song.

Nothing To Fear Nothing To Fight EP, 2016

ROCHA (BRAZIL)

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 two 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

ROCHUS (GERMANY)

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

ROCK'N ROLL WEAPON (AUSTRALIA)

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-leveled Sebastian Bach-like vocals which at times take a more hoarse drunken tone.

Rock N Roll Weapon EP, 2009

My Space

RODENO (SPAIN)

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

RODENT (WITH GLASSES) (GERMANY)

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 ornate 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

ROGER (RUSSIA)

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

ROGUE (USA)

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

ROGUE ARSENAL (USA)

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 deathly 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-balladic 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

ROK (AUSTRALIA)

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

ROLLING MACHINE (ARGENTINA)

Based on “Spiritual Death”, this band specialize in fast explosive retro thrash the title-track and “Warrior” clear outtakes from the “Beneath the Remains” recording sessions, the vocals also modeled after the Max Cavalera deathly semi-recitals. Expect to be squashed by the proto-death downpour “Vomit Delicius” and the earth-shaking ”Bastard”, the more intricate veneer of the closing “Ignorance” exiting this exhausting effort with style.

Apocalypse EP, 2019
Black Mass Full-length, 2020
Spiritual Death Full-length, 2022

Official Site

ROMMEL (JAPAN)

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

ROMPER ROOM REJECTS (USA)

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

Demo Demo, 1987

RONUS (CZECH)

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

ROOM (SPAIN)

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 motifs.

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

Official Site

ROOT (CZECH)

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 marvelous 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 contrasting styles: aggressive thrash riffs 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, doom-laden 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

ROPER (IRELAND)

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

ROOTWATER (POLAND)

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

ROGUE (USA)

This is dry sterile 90's post-thrash which tastes some corrosive dynamics on "Drift", "Complicated" serving nothing complicated, just mechanistic robotic riffs to no end. "Blind Rat" is the only place where one will come across a soothing balladic tractate as a deviation... the rest is one uninterrupted sea of chuggy groovy rhythms that the sometimes comprehensible semi-shouty singer tries to perturb with the casual cleaner antic. You should be able to detect "Ten-13" in the second half, a surprisingly vivid half-thrasher, a nod to mid-period Pantera with sharp heavy riffs.

If I Were God Full-Length, 1996

RORC (GERMANY)

Based on "Coniunctio": this outfit provide a thrash/death metal hybrid which overflows with catchy memorable melodies, the threatening stompiness of "New Hunting Grounds" partially overwriting the dominant fast-paced tactics, the latter reaching the blast-beating extremes on "End of the Line Pt. 2 (The Infinite Extinction)". The Amon Amarth-esque academism of "Swings of Melancholia" is a decent respite, with all nuances heard heretofore coming together on the encompassing 8.5-min closer "Two Souls and a White Night".

Den Veritabel Trakk EP, 2007
The Revenge of the Zombiecat Full-length, 2009
The Church of RORCology Full-length, 2012
Coniunctio Full-length, 2020

Official Site

ROSE OF SHARYN (INDONESIA)

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

Demo Demo, 2009

ROSE ROSE (JAPAN)

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.
"The Final Sign for Creatures" is another hyper-active affair the guys bashing with vigour, the intensity at times bringing the album in the vicinity of the hardcore realm (the short explosive "Controlled" and "Agony of Imposter") with ripping Slayer-esque cuts ("Corrupted Dictators Shit") following in close pursuit with a marginally more intricate layout. The friendlier goofier speed metal-ish veneer of "The Final Sign" is more than welcome, but such stopovers from the heavy freighter are hard to come by here, the band shooting everyone at close range with the outrageous moshing closer "Hang Out".
"Your Ignorance Is Our Death" holds no bars once again, the guys moshing on full-throttle the entire time, the thrash/death/hardcore blend working alright, "Survivor of Dead" well deserving its title being a maddening death metal experience, the more laid-back core-isms of "All Conflict Is Heading For Risk" and "Just like Justice" bring the requisite balance although the audience will surely run for cover on the short explosive pain inducers "World Wide Nightmare Service" and the grindcore-prone "Evil's Consume" lightning bolts of brutality which are matched every bit of the way by hyper-active cuts like "Black Hole" and "Murdered Realism" that put together the three mentioned styles into one violent melee, the extreme overshouty vocals adding more to the fervent setting, the latter also having a more proficient side like the expert melodic hooks on "Getting Lies and Screaming Cheat", or the more polished thrashing on "Crucified", the final "Money Game" racing with the speed of light by combining the two cores, hard and grind, into one exhausting sonic tornado.
"Liquidation" is a brutal unrestrained mix of grind, hardcore, thrash and death the guys moshing with very little remorse, with some twisted sense of melody interlacing with simplistic corey outbursts ("Conscious", "Nothing More"); 14 vehement tracks passing by within the span of 28-min, the stylish bassisms on "Don't Excuse" also showing up on the quirky semi-technical oddity "Vision of Power". Watch out for the closer "Rise Above", not exactly a rise above the violent barrage witnessed before it, but a cool more sensible thrasher with a wider variety of tempos.
"Brutalize" is an ultra-brutal outrage, racing with Napalm Death's "Scum" and Cryptic Slaughter's first as some of the most mind-threatening, face-melting recordings in the annals of music, a death/grind amalgam that would have little value for the thrash fans... not for the faint-of-heart: you've been warned.
"Unseen Terror" carries on in the same uncompromising vein, the band lashing wildly for the most part, the title-track straddling between grind and hardcore, "Fake It" attempting something thrashier, but apart from the crossover frolicker "Frozen Blood" and the longer, more complex semi-galloper "Distressed" the band show no mercy, moshing with spite and verve the entire time, jumping the death metal realm with the frenetic, also appropriately-titled "Death Tormenter" at the end.

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
Skatethrash Heaven Full-length, 2012
Fucking Crap Fucking Chaos Full-length, 2013
The Final Sign for Creatures Full-length, 2017
Your Ignorance Is Our Death Full-length, 2019
Unseen Terror Full-Length, 2022

Official Site

ROSENFELD (JAPAN)

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 (SWEDEN)

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 dueling 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 marvelous 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 second 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 second 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

ROSSIJA (RUSSIA)

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 no one 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

ROSSOMAHAAR (RUSSIA)

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

ROSWELL (CANADA)

This is more on the post-thrashy/hardcore side, but delivers at times with the less ordinary layout where one can detect funky/jumpy expletives ("Take Us to Your Leader") and hectic dynamic crossover rhythms ("Birdie"). The rest is more banal and doesn't generate the requisite interest although the larger-than-life spirit of Faith No More's "The Real Thing" can be felt on hard-to-define genre blenders like the Clawfinger-esque "Funny River..." and the psychedelic punker "Roswell" The shouty hardcore vocals strangely fit all the stylistic swings, sometimes adhering to more lyrical, near-poignant tirades. Some of the musicians are still active at present with the retro death/thrashers Voor.

ROTENGEIST (POLAND)

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

ROTHEADS (ROMANIA)

Based on the full-length, this band play classic intense thrash/death which mostly relies on the Bolt Thrower's steam-rolling stompiness to pull it through, and tank-like cuts like "From the Glowing Goo Rise" deliver alongside miasmic semi-technical anthems ("Rats in the Walls") where the spirits of Morbid Angel and Immolation are only too tangible. The deep guttural death metal vocals perfectly fit into the dark scenery which acquires really ambitious dimensions on the 11-min opus "The Mad Oracle of Seweropolis".

Unfazed by Death EP, 2016
Sewer Fiends Full-length, 2018

Official Site

ROTHGAR (AUSTRALIA)

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 the diverse epicer "Hammer & 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

ROTOR (INDONESIA)

Based on "Behind the 8th Ball", these folks deliver nice ripping classic thrash which has a particularly earth-shaking bass bottom. All good on either front, the hoarse shouty vocals leading a show which is quite comparable to Sepultura's "Beneath the Remains" and the early efforts of the Swedes Merciless, the choppier more technical moments on "Beyond the Eyes of Pain" also translating on the volatile shredder "Curse of Leak", the eccentric bass-driven extravaganza a surprising flight of the imagination. "Nuclear Is the Solution..." is another lofty less ordinary headbanger, the guys really knowing their craft inside/out, including on the short crossover delight "Peluit Phobia", where the lead guitarist display his dexterity, the stylish rage unleashed on "A Dismal Picture of Mankind" another illustration of admirable musical proficiency. Some of the band members later also played with the hard'n heavy (previously death/thrash) heroes Sucker Head.
"New Blood" is a very weird eclectic affair which circles around the industrial rock/quasi-metal idea, and as such has very few ties to the stylized classic thrashisms from the debut. This is a surreal offbeat conglomerate of later-period O.L.D., Carbonized's "Disharmonization", and the Swiss Verwaint, with mind-fucking bizarroramas ("Dead In Sleep") taking turns with dancey electronic extravaganzas ("Javanese Liqueur II") and cheerful rocky vaudevilles ("Y-Nail Blue"). A very acquired taste which may even delineate the completists.
The EP is a mixture between the aggressive thrashing from the debut and the unorthodox eclecticism of the sophomore. The title-track is a jarring nervy tractate with jumpy dramatic guitars, and "The Frustrated Sheep" is a devious atonal shredder with a hefty technical sting, the highlight here, a lofty hallucinogenic nightmare which is superseded by the more linear thrashing/post-thrashing of "No War, Always Peace" which also throws a nonchalant crossover etude at the stupefied listener. "A Jail in a Cage" is an industrialized heavy stomper, the most modernized cut here, and "Inside and Outside" is straight-ahead old school bashing thrash.

Behind the 8th Ball Full-length, 1992
Eleven Keys EP, 1995
New Blood Full-length, 1996

ROTRAVE (ROMANIA)

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

ROTTEN (USA)

The debut: 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 second half to offer another doze of primal speedy parts for the headbangers who should have no complaints whatsoever here.
"A World of Torment" is more closely oriented towards the death metal side of the spectre, the wild unrestrained "Let Em Burn" shattering the senses in a subversive Hellwitch-esque manner, whereas the entangled "Obsidian Sacrifice" is a curious saga with heavy pounding riffs. The remainder preserves the more progressive tendencies, but the very muddy sound quality seriously hampers the musicians' efforts, the cover of Death's "Crystal Mountain" at the end dexterously performed, arguably the highlight on this intriguing but flawed outing.

Rotting to Death Full-Length, 2016
A World of Torment Full-length, 2021

Official Site

ROTTEN BITCH (GERMANY)

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 which 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

ROTTEN FILTHY (BRAZIL)

Based on the full-length debut, 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.
"The Hierophant" doesn't break any new ground if we exclude a couple of pretty effective minimalistic, creepy cuts ("Monarchy of Bliss"), but watch out for the several tasteless hyper-blasting black metal interruptions which, luckily, are not included on the intriguing doomster "The Wise and His Servants". The fascination with doom takes longer proportions ("Into a Sacred Rite", "Tyet") later on leaving thrash very few chances to breathe those also stifled by the hoarse shouty, semi-blacky at times vocals.

Empires Will Fall EP, 2012
Inhuman Sovereign Full-length, 2015
The Hierophant Full-length, 2018

Official Site

ROTTEN SKY (GERMANY)

Varied modern thrash which offers both 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

ROTTEN SPECIMEN

Thrash/crossover of the speedy less intense variety; the music will remind you of Bound For Glory and, respectively, Motorhead; "Disintegrating World" takes a thrashier 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

ROTTEN STATE (URUGUAY)

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 offering 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 uncompromising 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

ROTTING BLOOD (COLOMBIA)

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 distantly 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

ROTTING CORPSE (USA)

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

ROTTING THOUGHT (USA)

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 antediluvian 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 and hardcore topped by the shouty death metal vocals.

Valley of Desolation Full-Length, 2012

Official Site

ROUTE NINE (SWEDEN)

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 apparently 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 contribution 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

ROYAL OAK (GERMANY)

Based on the "Experience (Curiosity Has Its Price)" demo, this act serve quite good old school prog-thrash which picks up quite a bit of inertia with the complexly moshing saga "Tree of Life", a rushing marvel with decent albeit a bit thin clean punk-ish vocals. "Levart" is both a more entangled and more melodic proposition, the band varying the rhythms and riffs more, also thrashing hard on occasion on top of a lyrical quiet mid-section. "The Child" is a heavy mid-paced march but expect a fast-paced deviation at some stage on this hectic perplexer, which contrived layout is gracefully sustained by "Who Knows Where", a semi-balladic odyssey ravaged by spasms of speedy intricacies and nice acoustic guitar etudes.

A Childhood's Dream Demo, 1990
Experience (Curiosity Has Its Price) Demo, 1991

Youtube

ROYAL RAGE (BRAZIL)

This outfit, earlier known as Royal Rampage, pull out (based on the debut) energetic modern/classic thrash which comes with a not very obtrusive progressive flavour ("Far Cry from Death") which is kind of involuntarily compensated by the presence of the odd monotonous mid-pacer ("Feed The Herd", the proto-groover "Shred the World"). The thing is that the speed almost completely disappears in the second half, hitting the bottom on the bluesy non-sense "If I Don't See You This Christmas", the closer "Fear Me (the Warning)" doing little to make up for this sloucher with its jumpy, but not very eventful layout.
"Evolve" is a more classic-sounding affair, the sharp lashing riffs of the title-track creating the requisite headbanging atmosphere, the latter later sustained by the presence of the corrosive mosher "Eyes of Glass" and the confrontational steam-roller "Bloodlust", the remainder clinging more towards the not very energetic mid-tempo side, excluding the fervent closer "Real Dolls", these dolls sheer harbingers of razor-sharp lashing riffs.

Conquer Full-length, 2018
Evolve Full-length, 2024

Official Site

ROYAL SIN (SWEDEN)

The debut: 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 and 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.
"Annihilation" is sustained in the same vein with the fast-paced bullets ("Parasite", the exemplary speed/thrashing roller-coaster "Soldiers of the Damned") occupying the front seat, with a couple of misguided mid-pacers (the appropriately-titled "Lost") trying in vain to dissipate the assault-like delivery which reaches a fever-ish point towards the end on the headbanging delights "Baptized Through Fire" and of course "Mr. Von Thrasher", the band well-equipped to mosh with the finest out there at the moment.

Blinded by Lies Full-length, 2017
Annihilation Full-Length, 2019

Youtube

RUDAL (INDONESIA)

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

Slitting The World Full-length, 1993

Fan Site

RUDE AWAKENING (USA)

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

RUDE FOREFATHERS (ITALY)

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 deathly shouts.

Hate in Veins Full-Length, 2010

Official Site

RUDE REVELATION (LUXEMBOURG)

This young act offer 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

Official Site

RUDRA (SINGAPORE)

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. Their debut is their thrashiest achievement, the complex "Obesiance" opening the proceedings with miasmic atmospheric configurations, the guys following up with both raging death-prone cuts ("Black") and creepy more tamed musings ("Ahman"), the mean spiteful death metal vocals suiting the diverse brooding soundscapes.

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

Official Site

RUFFIAN (BRAZIL)

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 three 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

RUIDO ESTRIDENTE (COLOMBIA)

This is classic death/thrash which moves along the hyper-active lines on restless breeds like "Maestros y Peones" and the proto-death skirmish "Noche Pecadora", but watch out for the more tamed officious stroll "R.E." and the brief brutal grindy phenomenon "Putrefacta", some of this eye-gouging aggression also transferred on the closing "Oscuras Reminiscencias", a sure surrender to the deathly realms with a more complexly-woven layout.

Vestigios Sepulcrales Full-Length, 2024

Official Site

RUIN (SWEDEN)

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

RUINEBELL (FINLAND)

Two guys stay behind this sterile industrial post-thrash 2-song affair, one of whom is the famous Lasse Pyykksen, 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

RUINED SOUL (SWEDEN)

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's only one person behind it all (the name is Johnny Johansson, who also plays guitars in the classic heavy metal act Disdain), one can't be too critical giving the guy more time to hone his approach in the future.

My Dying Day Full-length, 2010

My Space

RUINIST (USA)

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

RUINS (GERMANY)

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 eight songs, and its approach is pretty much the same: fast, no-bars-held, retro black/thrash with a pristine sound quality, which still isn't a detriment to the inspired music. The man sticks to speedy simplistic riffs which at times nicely turn to stomping doom 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

RUINSIDE (FINLAND)

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 timbre. 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") which 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 mosher. The vocalist continues to be an asset with his dominant authoritative performance. Some of the band members also take part in the heavy metal outfit Carcadial.

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

Official Site

RUINY (RUSSIA)

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-leveled semi-clean delivery.

Izlom Dushi Postroit Schaste Full-Length, 2007

RUJO KATRAS (RUSSIA)

Based on "Kohtalon Oikut", this band play modern 90's post-thrash with heavy grooves ("Kortit") alternating with more energetic throw-ins ("VihaaTaynnaaPaa") and epic dramatic build-ups ("KohtalonOikut"), the creepy atmospheric "Veneneenveistaja" a sure highlight on this not very diverse recording, with the more boisterous thrasher "Mantykangas" a close second. The moody doom closer "Yksinaiset Tilaaja" is another worthy occurrence, epitomizing the low-tuned semi-death metal vocalist quite well, the latter raising the octaves on the few more melodic moments.

Virsiä Vähämielille EP, 2018
Ihmispalapeli Full-length, 2020
Kohtalon Oikut Full-length, 2022

Official Site

RULE24 (RUSSIA)

Three 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

RULES OF ADDICTION (NEW ZEALAND)

A playful rockish blend of thrash, post-thrash, 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

RUMBLE MILITIA (GERMANY)

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 marvelous 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 moshing 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 dignified exit for the band from the scene.
"Set the World on Fire": the militia is back after a lifetime of absence, but the good news is that the ads have found the way back to their roots, and this opus sounds every bit as convincing as their first two forays. "Street Riot" opens the showdown assuredly, a more complex eventful speed/thrasher which gives way to the more direct crossover tripper "Rules" before "Athens Is Burning" introduces a cool relaxed thrash/crossover flair with vivid rhythms and memorable shouty choruses. "Pretty Baby" is a short goofy punky joke, and "Kingdom" is a cool stomping nod at Suicidal Tendencies including with the nice Mike Muir-esque vocals. "R.M.F." stays on Suicidals' territory, a heavy pounding behemoth superseded by another brief breezy crossover uplifter ("Low Life"). A remastered version of their hit from "They Give You the Blessing" "No Nazis" follows suit, no major alterations here the odyssey wrapped on by the merry optimistic saxophone-induced punker "Zeit". A decent cross over the band's past repertoire which would also work as a nostalgic but exciting trip back to the times of frivolous thrash/punk/hardcore/crossover splendour, with a strong Suicidal sniff.

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
Set the World on Fire Full-length, 2020

Official Site

RUMORS OF GEHENNA (ITALY)

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

RUMPELSTILTSKIN GRINDER (USA)

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 sparse 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's 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" which 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 three 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

RUNA (PERU)

Based on the compilation, this band play classic death/thrash that is a fairly wild affair ("Evil Rites") at times, the more contrived shredder "Bullets of Annihilation" also displaying a few milder speed/thrash tendencies, those disputed by the rending shouty death metal vocalist. "Pest" is a more control bash with several heavy stomping sections, and "Dwellers of Darkness and Ruin" is a dark brooding march cancelled by the short bursting "Prophecy of War".

Bullets of Annihilation EP, 2015
Entrance to the Ancestral Wisdom Full-length, 2020
Three Divinities Commands Upon the Andes Compilation, 2024

Official Site

RUNAMOK (GERMANY)

Featuring two ex-members, the Schwarz brothers (Fabian (vocals, guitars) and Dominik (bass)), of the power/heavy metal veterans Stormwitch, Runamok's first two efforts were in a 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 was 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 had very little to do with this band. Their most recent offering "Freak Business" was 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 the title-track 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

RUNESCARRED (USA)

This is intense energetic, at least at the beginning, old school thrash which inserts a hefty doze of melody into its otherwise fairly dynamic core, with "Minor Progressions" switching onto full-fledged progressive thrash, with "Swallow Your Tail" offering a more officiant, not as blitzkrieg, tone. Thankfully, this isn't exactly an example to follow although both "Legionem Eclipsem" and "Twisting Flesh" don't rely on too many fast-paced histrionics to pull it through, the second half losing the inertia with balladic pieces ("Sorrow Is") and other pacifying gimmicks. The vocals are quite good, though, a powerful and emotional clean timbre which suits both the speedy and the slower delivery.

The Distant Infinite Full-Length, 2020

Official Site

RUNNING DEATH (GERMANY)

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 riffs 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

RUNOVER (ITALY)

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

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RUPSKALLEX (UK)

Based on "Black Wings", this one-man initiative, the name Dan Clarke, specializes in classic melo-death/thrash which is built on both intriguing semi-technical shredders ("Night") and heavy slow-burning anthems ("N(o)ne"), Clarke providing a husky shouty timbre with shades of black, the more overt thrashy character of "Unrest" dexterously juxtaposed to the hyper-active expletives on "Relentless".

Rupskallex EP, 2019
Pandemic EP, 2020
Freebies EP, 2020
Resistance Full-length, 2020
Black Wings Full-length, 2021

Official Site

RUPTURE (CHINA)

Based on the full-length, this band play intense old school thrash with 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

RUSSIAN STEAL (USA)

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 mean-ish blend.

Death, Distrust, Dishonor Demo, 1989

RUST

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

RUST (CHILE)

This is aggressive Slayer-esque thrash with elements of proto-death; the sound quality is quite muddy in the first half which is apparently the first demo (1985). The second 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 Argentines Hermetica. "Thrash School Musical" this isn't, 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

RUST (SWEDEN)

The "Rite of the Grave" EP: two 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 fuzzy background and the few hyper-blasting distractions ("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

RUST (USA)

The information about this band isn't 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

RUSTED (CHILE)

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 mellow addition with his soulful soft clean timbre which he hardens at times to mixed impressions.

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

Official Site


RUSTED BRAIN (POLAND)

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 isn't 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 isn't 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.
"Deceiver" tries to deceive the audience that this would be a logical sequel to the preceding effort, but the band reveal another, more immediate and more bashing face of theirs before long with short sweeping blitzkriegers like "Call of the Revenge" and "The Rite", the more contrived rhythms of "Face Yourself" and the more relaxed speed metal clout of "Satan's Night" diversifying the setting, leaving room for the more entangled title-track and the Paradox-esque all-instrumental roller-coaster "Krew za Krew".

Juggler Demo, 2011
High Voltage Thrash Full-Length, 2013
Deceiver Full-Length, 2019

Official Site

RUSTED CHAINS (GERMANY)

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

RUSTED DAWN (CANADA)

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's 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/doom leanings.

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

Official Site

RUSTY NAILS (ITALY)

Based on the full-length, this act play decent classic power/thrash in the vein of Heretic and Meliah Rage, with more epic build-ups in the spirit of Blind Guardian also present ("Day of Punishment", the melodic sing-along closer "The End of Days"). "Mind Control" is an infectious galloper, but balance has been found with pacifying ballads like "Out of This World" and more officiant doom-laden progressivers like "The Outer Lords". The singer is a cool addition with his attached high-strung clean tenor resembling Bruce Dickinson at times.

Mind Control EP, 2011
Seasons of Hatred Full-length, 2018

Official Site

RUSTY NUTSY (FRANCE)

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-ballad "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 that compensates for the muddy sound with some inspired fretwork which culminates on the closing technicaller "Same Pain" that 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

RUTHLESS HORDE (USA)

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 second half. "Demonic Majesties" is a heavy doom-laden piece which also speeds up in the second 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

RUUMIS (FINLAND)

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

RUYNED (ROMANIA)

This band exercise intense retro thrash/death that shoots short to-the-point bullets ("Impaled", "Ruyned"), the mor eovert speed metal clout of "Hellbeast" recalling the 80's German fraternity (Helloween, Angel Dust), whereas pieces like "Lobotomized" and "9th Gate" are on the genuinely brutal sid eof the spectre with death metal coming to play a more prominent role. The singer accommodates those more aggressive histrionics with his guttural semi-declamatory baritone.

Eternal Torment Full-length, 2024

Official Site

RYTMIHAIRIO (FINLAND)

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 thrash side of the band's style; still more brutal grinding sections roam around, but most of the time what we have here is high quality moshing 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/doom cut "Viinahampaat"). "Jeljet Johtavat Ryyppykemppeen" is a dramatic pounder again with a pinch of doom later this tendency a bit more widely covered in the second 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.
"Gambinapsykoosi" is not as seriously executed the guys bashing plain stripped-down thrashcore for at least half the time, the more thought-out, also more hard-hitting attitude of previous recordings showing up eventually ("Viinapirun kelkassa"), with atmospheric semi-balladic doomsters ("Osaako Huora Uida") adding an unexpected variety into the very simplistic layout which also comes with a pronounced modern vibe the latter ingredient hardly a big asset.
"Surmacore" isn't sustained in the same as its predecessor uncompromising attitude, the band still moshing vehemently here and there, but the more optimistic light-hearted vibe of "Käärme666" is readily met by both the mid-paced moderner "RHSC" and the playful crossover aesthetics of "Ihan ku Jenkeissä". "Mä teen sun Elämästä Vitun" is a not very exciting groovy dragger, and the closing "Spurgu-uhka" is a major pogo-stirrer, the major reminder of the guys' previous rowdy demeanour.

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
Gambinapsykoosi Full-Length, 2018
Surmacore Full-length, 2023

Official Site

RYVELION (COLOMBIA)

Based on the full-length, this act serve vociferous abrasive classic thrash that also comes decorated with an uplifting epic aura, the latter quite prominent on the rousing opener “Tierra de Metal y Fuego”. Afterwards the listener is assaulted by short biting bullets (“Muerte y Desgracia”, “Ingiyab”), the officious march “Badness World” intercepting the aggressive showdown, the arrival of the brutal deathly “Caos” violating all propriety backed-up by the sinister shouty death metal vocalist. Not much mercy shown on the ripping “La Ira del Dragon”, the closing “Human Extinction” moshing intensely as well, covertly hinting at some unmapped quasi-progressive prowess.

Desgracia y Destruccion EP, 2021
La Rebelion de los Condenados Full-length, 2023

Official Site

R (FINLAND)

Based on the last demo, this band offers four 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

R0TTEN (MEXICO)

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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